Bridal Makeup Artists Biography
Source(google.com.pk)
Dick Smith (make-up artist)
This article is about the make-up artist. For other uses, see Dick Smith (disambiguation).
Dick Smith
Born June 26, 1922 (age 91)
Larchmont, New York, USA
Occupation makeup artist
Years active 1948–99
Spouse(s) Jocelyn De Rosa (January 10, 1944-2003)
Richard Emerson "Dick" Smith (born June 26, 1922) is an American special effects make-up artist (nicknamed "The Godfather of Make-Up") known for his work on such films as Little Big Man, The Godfather, The Exorcist, Taxi Driver, and Scanners. He won a 1985 Academy Award for Makeup for his work on Amadeus and a 2012 Honorary Academy Award for his career's work.
Contents [hide]
1 Early life
2 Career
3 References
4 External links
Early life[edit source | editbeta]
Smith was born in Larchmont, New York, the son of Coral (née Brown) and Richard Roy Smith.[1] He attended the Wooster School and Yale University, the latter where he studied pre-med, with the intention of entering dentistry. After reading a book on Hollywood make-up techniques, he began administering make-up for the Yale drama group.[citation needed]
Career[edit source | editbeta]
Smith entered the field full-time after graduation. He was NBC's first makeup director, serving for fourteen years, pioneering in the development of latex and plastics used in quick-change applications.
Smith pioneered the method of applying prosthetics made from foam latex in small pieces as opposed to the standard of applying a latex mask as one solid piece. Smith's technique allowed the actor to have a wide range of facial expressions, making the makeup appear more natural. Despite initial criticism from many professional makeup artists at the time, Smith's makeup techniques proved to be superior. Today, the standard methods of applying prosthetics are those that Smith invented.[2]
Early work by Smith was seen on a short-lived syndicated supernatural Twilight Zone clone TV show produced by David Susskind out of New York in 1961 called Way Out, hosted by Roald Dahl. Most memorable was a make-up of a man who had half of his face suddenly erased by a spilled vial of photo retouching fluid that affected real people when merely applied to their photos. In another Way Out episode, a Hunchback of Notre Dame make-up created by Smith becomes permanently affixed to an evil actor who then became his character and could never remove his make-up. Smith contributed to 14 other memorable Way Out episodes, and other 60's television shows as well, such as several episodes of the gothic soap opera Dark Shadows, when he aged actor Jonathan Frid's character to appear over 175 years old for one storyline.
In the early-mid 60s, Smith published an instructional book, entitled Dick Smith's Do-It-Yourself Monster Make-up Handbook, a special edition of Forrest J. Ackerman's Famous Monsters of Filmland magazine series.
Smith was also one of the early pioneers of combining make-up with on-set 'practical' special effects,[citation needed] starting with The Exorcist in 1973. Though many of Smith's make-up effects were so well conceived as to go undetected, Smith's expertise gained prominence and acclaim through the variety and ingenuity of his many effects for The Exorcist.[citation needed] He also created the makeup for Robert De Niro's Travis Bickle character in Taxi Driver as well as created the effects for the bloodbath at the film's climax.[3]
Director Mike Nichols originally hired actress Karen Black to play the role of the sexpot Bobbie in Carnal Knowledge. When Nichols decided on a nude scene, he had Smith, who had been hired to create aging effects for the male characters that were never used, to fashion artificial breasts for Black. Disappointed by the way the artificial breasts moved, Nichols replaced Black with Ann Margret, who had large, natural breasts. Smith later recycled the foam rubber breasts in The Stepford Wives for the scene in which Katharine Ross played her robotic replacement in a nightie.
Smith's expertise with aging makeup effects was in evidence with his old-age makeup for Dustin Hoffman in Arthur Penn's Little Big Man, in which the actor played a centenarian at points in the film. (Smith had earlier worked with Hoffman developing his Ratso Rizzo character's makeup in Midnight Cowboy.) To create an aged Marlon Brando in The Godfather, Smith used a dental device called a "plumper" to droop the actor's jowls. The transformation was so real that Brando could eat at local restaurants around the set of the film without being recognized. For the 1985 film Amadeus, for which Smith won an Academy Award for Makeup, he transformed lead actor F. Murray Abraham from a young into an elderly man.
Smith was awarded 2012 Honorary Academy Award for his career's work.[4]
Jack Pierce (makeup artist)Jack Pierce (born Janus Piccoula; May 5, 1889 – July 19, 1968) was a Hollywood makeup artist most famous for creating the iconic makeup worn by Boris Karloff in Universal Studios' 1931 adaptation of Mary Shelley's Frankenstein, along with various other classic monster make-ups for Universal Studios.
Contents [hide]
1 Early career
2 Collaboration with Karloff
3 Universal Studios Monster Maker
3.1 With Lon Chaney, Jr.
4 Legacy
5 External links
Early career[edit source | editbeta]
After immigrating to the United States from his native Greece as a teenager, Pierce tried his hand at several careers, including a stint as an amateur baseball player. In the opportunist twenties, Pierce embarked on a series of jobs in cinema—cinema manager, stuntman, actor, even assistant director—which would eventually lead to his mastery of in the field of makeup. The small-statured Pierce was never a "leading man" type, and he put his performing career aside to specialize in makeups on other performers. In 1915 he was hired to work on crews for the studio's productions. On the 1926 set of The Monkey Talks, Jack Pierce created the makeup for actor Jacques Lernier who was playing a simian with the ability to communicate. The head of Universal, Carl Laemmle, was won over with the creative outcome. Next came the rictus-grin face of Conrad Veidt in The Man Who Laughs, also a silent Universal picture. Pierce was then immediately hired full-time by the newly established Universal Pictures motion picture studio. The 1930 death of Lon Chaney, who throughout the 1920s had made a name for himself by creating grotesque and often painful horror makeups, opened a niche for Pierce and Universal, Chaney's films provided audiences with the deformed, monstrous faces that Pierce and moviegoers so clearly enjoyed.
Universal's first talkie horror film, Dracula, eschewed elaborate horror makeup. Pierce designed a special color greasepaint for Bela Lugosi for his vampire character, but apparently the actor insisted on applying his own makeup. For all film appearances of the character thereafter, Pierce instituted a different look entirely, recasting Dracula as a man with graying hair and a mustache. The most significant creation during Pierce's time at the studio was clearly Frankenstein, originally begun with Lugosi in the role of the Monster. The preliminary design (from contemporary newspaper accounts and a recollection of the screen test by actor Edward Van Sloan) was similar to the Paul Wegener 1920 German film of The Golem. This is not surprising, since studio head Carl Laemmle, Jr. and director Robert Florey were both familiar with German Expressionist films. When James Whale replaced Florey as director, the concept was radically changed. Pierce came up with a design which was horrific as well as logical in the context of the story. So, where Henry Frankenstein has accessed the brain cavity, there is a scar and a seal, and the now famous "bolts" on the neck are actually electrodes; carriers for the electricity used to revive the stitched-up corpse. How much input director James Whale had into the initial concept remains controversial. Universal loaned out Pierce for the Lugosi film White Zombie. They also loaned out some of the Dracula sets for the troublesome filming. Lugosi had collaborated with Pierce on the look of his devilish character in the film.
Collaboration with Karloff[edit source | editbeta]
Pierce's reputation was as bad-tempered, or at least extremely stern, but his relationship with Karloff was a good one. They both cooperated on the design of the now iconic make-up, with Karloff removing a dental plate to create an indentation on one side of the Monster's face. He also endured four hours of make-up under Pierce's hand each day, during which time his head was built up with cotton, collodion and gum, and green greasepaint (designed to look pale on black and white film) was applied to his face and hands. The finished product was universally acclaimed, and has since become the commonly accepted visual representation of Mary Shelley's creation. The Mummy, produced the following year, combines the plot of Dracula with the make-up tricks of Frankenstein, to turn Karloff into an incredibly aged and wrinkled Egyptian prince. Again, Pierce and Karloff's collaboration was critically acclaimed and impressed audiences. Interestingly, that same year Pierce designed the Satanic make-up for Lugosi in White Zombie, although this was an independent film, rather than a Universal production.
On November 20, 1957, Ralph Edwards got Jack Pierce reunited with a smiling Boris Karloff on the celebrity biography program This is Your Life. On that night's program, Jack unveiled some memories of working together with Karloff on the Universal film lot. Karloff, the special guest of the night, was pleasantly surprised to see Jack Pierce once again, and called him the greatest makeup man in the business.
Universal Studios Monster Maker[edit source | editbeta]
As the head of Universal's make-up department, Pierce is credited with designing and creating the iconic make-ups for films like Frankenstein, The Mummy (1932), The Wolf Man (1941), and their various sequels associated with the characters. Utilizing his "out of the kit" techniques, Pierce's make-ups were often very grueling and took a considerable amount of time to apply. Pierce was always reluctant to use latex appliances, favoring his technique of building facial features out of cotton and collodion (a strong smelling liquid plastic), or nose putty. Pierce eventually started using latex appliances, most notably a rubber nose for Lon Chaney, Jr. in The Wolf Man (1941) (the edges of the appliance are clearly visible through most of the film), and a rubber head piece for Boris Karloff in Bride of Frankenstein (1935) and Son of Frankenstein (1939).
With Lon Chaney, Jr.[edit source | editbeta]
Pierce was not especially liked around Universal, which in part led to his demise at the studio.[citation needed] His most notorious relationship being with Lon Chaney, Jr., the two despised each other. Both worked on four Wolf Man films and three Mummy films at Universal. Chaney claimed that Pierce compounded difficulties in the long uncomfortable process with the adding on of sticky appliances. Lon's Wolf Man make-up partially consisted of yak hair being glued to his face, and having it singed with a hot iron. Chaney furthermore claimed, Pierce would purposely burn him with the hot iron. Chaney also had an allergic reaction to the make-up Pierce used on him in The Ghost of Frankenstein. Later, Chaney suffered with Pierce's laboriously wrapped bandages for three Mummy films. In Jack's defense, the use of the fused elements of make-up was a needful 8 hour task for the desired effect that Pierce was looking for, and Chaney was well known for not working well with others on set.
Outside of his unusual horror makeups, a recurring signature of Pierce's makeup was to give actors a widow's peak hairline. Bela Lugosi and his Spanish-language counterpart Carlos Villarias both wore widow's peak toupees in their respective versions of Dracula in 1931, and Lugosi's makeup for 1932's White Zombie included an even more severe widow's peak. Pierce shaved the hairline of Boris Karloff and turned it into an arrow-like widow's peak for the 1934 film The Black Cat, and had comedian Bud Abbott augment his thinning hairline with a widow's peak toupee in his early films with Lou Costello. Pierce even gave Lon Chaney, Jr. a low, pointed hairline in such Inner Sanctum films as Strange Confession and 1943's Son of Dracula. For 1938's Service Deluxe, a comedy in which Vincent Price made his film debut, Pierce flattened Price's natural widow's peak with hair plugs.
Unfortunately for Pierce, throughout the 1940s, make up artists were dropping their "out of the kit" techniques in favor of molded foam latex appliances that were cheaper, quicker, and more comfortable for the actors. Pierce, always known as a stubborn man, continually resisted this way. The old regime at Universal was gone by the late 40s and new studio heads were looking for quicker, more cost-effective make-ups. Pierce was eventually let go from Universal in 1946 after over a decade of creating make-ups. It had become difficult for him to adapt to more modern and less costly methods. Jack was a man of tradition to his own executed designs. In the 1950s, things took a turn for the worse as television broadcasting came onto the scene. The Hollywood studios saw television as competition. Universal started the process of cutting their costs by selling needless studio assets, and trashing the unnecessary things they thought at the time were questionable.
Pierce's final credit is as makeup artist for the TV show Mister Ed from 1961 to 1964. He died in 1968 from uremia.
Legacy[edit source | editbeta]
Jack Pierce's enduring work at Universal has become a huge influence to many in the entertainment field, including make-up artists Rick Baker and Tom Savini. Jack Pierce was an innovator in the world of screen entertainment and material design. Pierce understandably felt he never got the recognition he deserved and died a bitter man. Finally, in 2003, Pierce was recognized with a lifetime achievement award from the Hollywood Make-up Artist and Hair Stylist Guild.
In recent years, there is a strong desire to give Pierce a Hollywood Boulevard star for his popular lasting triumphs that have been preserved for decades on the movies he worked on. Pierce undeniably created screen icons to last beyond his lifetime. His contributions still continue to attract droves of attention to his astonishingly memorable, entirely original designs.
Rachel Devine'sRachel Devine was born and raised in Hamilton, Ontario. Since she was a little girl, Rachel has always been passionate about creativity, makeup and beauty. Throughout her highschool years, Rachel experimented a lot with makeup and loved the way it made her feel both physically and psychologically. Searching endlessly through magazines, Rachel would often replicate her favourite looks and loved experimenting with different colours and textures. Rachel's passion for creativity and beauty continued after highschool so Rachel decided to turn her passion into a career.
In 2003, Rachel graduated from the Applied Cosmetics Program and the Aesthetics Program at Mohawk College of Applied Arts and Technology in Hamilton, Ontario. Rachel won the Donna J. Edwards Bursary Award for having the highest marks in her Applied Makeup Program.
Being a Makeup Artist as well as the owner of Aesthetics by Rachel since 2004, Rachel has a vast amount of knowledge in skin care which is so important for flawless makeup applications. Rachel really enjoys offering her clients skin care tips and advice so that they can have naturally beautiful skin and get the most out of every makeup application.
Rachel is experienced in several areas of makeup such as advertising, print and editorial, glamour and beauty, fashion, runway, creative, film and TV.
While Rachel loves doing all of the above types of makeup applications, Rachel specializes in wedding day bridal makeup. Rachel recently won the 2012 WeddingWire Bride's Choice Awards. The WeddingWire Bride's Choice Awards recognizes the best local wedding vendors from the WeddingWire Network who demonstrate quality and service excellence within the wedding industry.
Having a huge bridal makeup portfolio and having done hundreds of weddings and bridal makeup applications throughout the past 8 years, Rachel loves helping every bride feel her best on her wedding day. To learn more about Rachel's wedding and bridal makeup services as well as her bridal makeup packages, please visit her Bridal Makeup page. Please also visit her Makeup Blog to read more about wedding tips and bridal makeup advice, tips and tricks.
If you would like to learn more about Rachel or if you would like to book her to do the makeup for your event, please contact her.
AzeliaAzelia has been a professional make-up artist since 2002. Once she was formally qualified, Azelia began her career in the fashion and bridal industry working on photo shoots, fashion shows and providing professional bridal make-up expertise all over Ireland. It wasn’t long until her talent was recognised by the press and her peers.
She then opted to travel abroad in search of international make-up experience.
She was spotted by a well known Australian make-up company called Mecca Cosmetics and worked extensively throughout Australia and New Zealand, gaining a wealth of experience and learning new techniques and styles from international celebrity artists from Japan to New York and from LA to Germany and the UK. She worked for top brands such as Nars, Stila, Duwop, Kevin Aucoin, Shuerma, and By Terry.
She worked on many major photo shoots, films and magazines, but the highlight was working back stage on Gucci 2008 fashion show in Sydney. Her wealth of international experience now sets her apart from any other make-up artist.
On returning home she became a tutor teaching eager make-up artist students Fashion and Photographic Make-up. In this setting, her enthusiasm and passion for make-up comes across while she teaches. She gains self achievement in helping to develop the talents of new students in the world of make-up.
“I always loved applying make-up but teaching is a whole new level of passion for me,” she says.
Azelia’s career has taken her to the top and her work has graced the covers of Marie Claire, Glamour, Northern Women, Ulster Bride, In Magazine and Fate to name but a few. Her expert advice on beauty and the latest make-up trends has been in beauty columns in many newspapers such as News Letter, Belfast Telegraph, Irish News and the Daily Mirror.
She has built a strong rapport with top fashion photographers such as Jim Crone, Gavin Millar and Jessica Bill among many others.
Her special talents have also been sought by major advertising agencies such as Walkers Communications and Ardmore and she has worked on major projects such “Smoke Kills” for Northern Ireland Fire Safety (NIFS), and the Norfolkline campaign. She has also worked in television and on a host of TV commercials. Of recent she has been doing music videos and short film productions, expanding her talent further.
She is a highly sought after make-up artist by the major International fashion shows such as Gucci as well as many Northern Ireland fashions shows.
She has had the honour of gracing the faces of celebrities such as Trinny and Suzanna, Nicole Kidman and Alex Best to name but a few and she was recently labelled by Alex Best, as her favourite make-up artist of all time.
Her approach to bridal make-up has
established her as a top artist in the bridal industry. Her professionalism and immaculate work, her signature looks for each bride and her genuine care and listening skills have stunned hundreds of brides nationally and internationally. She has an extensive catalogue of positive feedback which underpins her deserved reputation as Ireland’s most sought after wedding make-up artist by far.
Over the last eight years Azelia has mastered the skills that place her at the top of her field. Her clean, consistently excellent work is highly credited and recognised within the fashion, bridal industry and has placed her as one of the top make-up artists not only in Ireland but also abroad.
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
Bridal Makeup Artists Bridal Makeup Looks Smokey Eye Pakistani 2012 Tips Pictures Natural Look Pics
No comments:
Post a Comment