By Karen Brewster, with Ryan Fischer

Transcription

1 Hair Preparation & Wig Application: A Lesson for Makeup Teachers, Wardrobe Supervisors, and Theatre Students By Karen Brewster, with Ryan Fischer Published in TD&T, Vol. 48 No. 1 (winter 2012) Theatre Design & Technology, the journal for design and production professionals in the performing arts and entertainment industry, is published four times a year by United States Institute for Theatre Technology. For information about joining USITT or to purchase back issues of TD&T, please contact the USITT office: USITT 315 South Crouse Avenue, Suite 200 Syracuse, NY tel: USITT ( ) tel: fax: info@office.usitt.org web: Copyright 2012 United States Institute for Theatre Technology, Inc.

2 Hair preparation & wig Application A Lesson for Makeup Teachers, Wardrobe Supervisors, and Theatre Students By Karen Brewster, with Ryan Fischer I have to teach them the proper way they are not learning the best way to prep for and apply wigs in school, lamented Ryan Fischer, resident wig and makeup designer for Barter Theatre, a LORT theatre in Southwestern Virginia. Every actor and every member of the wardrobe staff must be trained. Fischer and I had this conversation over a break during tech rehearsals for Alfred Hitchcock s The 39 Steps last summer. As a costume designer, design and makeup teacher at East Tennessee State University (a school that happens to be the training ground for some of Fischer s past and current crew members and actors), this gave me pause. So, what is the proper way to apply wigs? I casually asked, hoping not to sound as ignorant as I felt. I have been designing costumes and teaching makeup classes since the 1980s. Is it possible I have been doing it wrong all these years? Fischer s techniques are an amalgam of many he has learned from former teachers and fellow makeup artists during his extensive career. Like all good theatre professionals, Fischer absorbs techniques and methods from everyone he encounters and then reinvents, adapting the techniques to his own needs and perfecting them as he works. This constant practice of synergistically blending new methods together, coupled with the intense performance environment found at Barter a true repertory system producing over twenty productions per year has enabled Fischer to develop efficient, durable, and user-friendly techniques. He has encountered every imaginable challenge while on staff at Barter Theatre: super quick changes in and out of wigs, bald heads and short hair under wigs, extremely long hair under wigs, heavy perspiration and vigorous movement on stage, just to name a few. His methods of hair prep and wig application, some of which are summarized in the three steps that follow, work for all circumstances. 28 winter 2012

3 Step #1 Hair Preparation Pin Curling Medium to Long Hair (For Short Hair Skip to Step #2) Supplies Needed: Standard Bobby Pins When a performer has medium to very long hair and must wear a wig, the goal is to distribute the hair evenly across the scalp so the bulk will be invisible when the wig is applied. The best way to accomplish this is by pin curling at least pin curls spaced uniformly over the entire head. (If the curls are spaced evenly and curled alternately row one curled one direction, row two curled the opposite and so on the performer s hair can be brushed out into beautiful waves when the wig is removed!) The pin curls enable the even distribution of hair and also give anchoring potential for the wig the wig can be pinned into the bobby pins for added security. A. The amount of hair in each pin curl should be small no more than 1 wide at the base. Pull the desired amount straight up with one hand and place the forefinger of the other hand at the base of the strand next to the scalp. B. Wrap the strand of hair completely around the forefinger. C. Being careful to preserve the curl created by the wrap, point the forefinger straight down toward the scalp and slide the wrapped curl off the forefinger. Hold it in place. D. Bobby pin the curl twice, creating an x with the pins. Make sure the pins always point toward the back of the head; this will aid in applying and removing the wig cap and wig later. E. This photo demonstrates the completely pin-curled head with self-adhering sports bandage and wig cap applied over the pin curls (sports bandage and wig cap application explained next). Notice how the head looks smooth and the hair appears to be distributed evenly over the scalp. winter

4 Step #2 Applying Self-Adhering Elastic Sports Bandage (Ace Brand Products), Wig Cap, and Wig Supplies Needed: Self-Adhering Sports Bandage, 2 to 3 wide, four Pop Clips, 3 Hair Pins, Wig Cap Really short hair, like the hairdo donned by our model Ashley Campos, cannot be bobby pinned and poses a challenge when it comes to securing the wig. The following technique gives opportunity for great security when this technique is used, Ashley can dance, swing, even stand on her head, and the wig stays put! Use this self-adhering sports bandage/ wig cap technique over very short hair and also over bobby pinned longer hair for a very secure application. A. Firmly wrap a self-adhering sports bandage (Ace Brand Products), 2 to 3 wide around the head following the hairline; make sure it is long enough for an overlap. B. Attach pop clips in four places: at the temple areas and behind the ears. These pop clips should secure the bandage to the hair underneath. C. Make sure the bandage sits just behind the hairline in front. D. Once the sports bandage is secured with the pop clips, apply the wig cap. The actor holds the edge of the cap center front while the assistant stretches the cap over her head across the back. E. Be sure to line up the back edge of the cap at the base of neck hairline. Do not cover the ears. F. Secure the wig cap to the sports bandage by using 3 u-shaped hairpins beside each pop clip. With hairpin points directed toward the front, poke the hairpin into the wig cap and back out quickly, then... G. Turn the points backward, pushing the pin firmly under the sports bandage. The u-shaped pin is pushed firmly under the sports bandage on each temple and behind each ear next to each pop clip. When complete, there should be four u-shaped pins securely holding the wig cap to the sports bandage. H. The proper way to apply the wig is very similar to applying the wig cap: the actor holds the edge of the wig center front (careful not to stretch the lace if it is a lace-front wig). I. The assistant gently stretches the wig foundation over the actor s head across the back. The assistant makes sure the back of the wig covers the wig cap center back. J. The assistant stands behind the actor and gently holds each wig tab located in front of her ears and centers the wig (when adjusting the wig never pull on the lace front or sides). This step can also be done by the actor herself. U-shaped hairpins are used to secure the wig to the sports bandage in exactly the same way the wig cap was secured to the sports bandage. If the hair underneath has been bobby pinned, additional u-shaped hairpins can be placed in the top of the wig into the bobby pinned curls. Criss-cross these top pins. There are three general categories of wigs: hard-front, lace-front (hand ventilated/knotted hair in lace along the front hairline), and full-lace (fully ventilated/knotted hair in lace over entire head). The wig worn by Ashley in the photographs displays a hard-front wig. Since there is no lace extension, the front hairline of the wig looks hard and unnatural (wigs can be styled to hide the hard edge). Wig makers can add a lace front to commercially purchased hard-front wigs in order to hand knot a more natural looking hairline. This is a quick technique that utilizes the best of both commercially purchased wigs and advanced wig making techniques. (The lace is a special wig making lace, available in a variety of mesh sizes from specialty wig-making supply companies such as De Meo Brothers in New Jersey.) The most natural looking wig is the full-lace wig. This type of wig is constructed for a specific performer and a specific character, so this wig-making technique has the best fit and fullest creative potential. (Creating a full-lace wig is far more time-consuming than putting a lace front on a purchased wig.) Both lace-front and full-lace wigs leave an extension of unknotted lace along the front next to the face of the actor, called the leading edge of the wig or the gluing lace. This leading edge helps visually blend the hair into the hairline and softens the front edge of the wig considerably. Depending on the proximity of the audience to the performer, this lace may or may not be glued to the actor s face. 30 winter 2012

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6 It is never too late to learn the proper techniques for the simple and routine wig application tasks that designers, wardrobe supervisors, teachers, and students perform regularly. Step #3: Gluing Lace on a Lace-Front or Full-Lace Wig Supplies Needed: Spirit Gum (Kryolan Mastix is recommended), Powder Puff A. Gently pinch the gluing lace edge between two fingers as illustrated. B. With a brush in the other hand, apply three dots of spirit gum adhesive under the gluing lace (more or less can be used depending on need). C. Using a standard makeup powder puff, firmly press the glued lace to the face being careful not to drag use a blotting motion. Repeat the same technique with the gluing lace on the sides in front of the ears; carefully position the lace and press. Always be sure to never stretch the lace. D. To loosen the lace and remove the wig, gently drag the curved end of a u-shaped hairpin flat against the face under the lace until the lace is released. E. If the glue does not release readily, apply a cotton ball soaked in alcohol ahead of the u-shaped hairpin, as illustrated. Wigs go on front to back and should be removed front to back. To remove, begin by gently holding the wig on either side of center front and pulling backwards until the wig slips off the head (remove wig caps the same way). Bending over and placing the wig at hairline and flipping it on or flipping it off is never acceptable. This bad, yet too common technique, causes static buildup and ruins the style. Storage Techniques Wigs should always be stored on canvas wig blocks. Styrofoam heads are acceptable, though canvas blocks are preferred. Use a block the same size as the actor s head or smaller never stretch the wig. If the wig must be pinned to the canvas block, use glass head pins or hat pins. Never use T-pins as they can become tangled in the hair and ruin the styling of the wig. There are times when special circumstances demand a special storing technique: when heavy perspiration is involved, for example, or cases when the wardrobe crew members wish to put the wigs on blocks instead of letting the actors do this task. In these circumstances, the performer should place the wig on its back on the makeup or wardrobe table, preferably on a clean, dry surface covered with a towel. The wig can then air out for a few minutes before being placed on the canvas block. Conclusion It is never too late to learn the proper techniques for the simple and routine wig application tasks that designers, wardrobe supervisors, teachers, and students perform regularly. Perhaps many of us did learn the proper techniques earlier in our careers and just need a brush up on the steps, or maybe, as in my case, we gathered wrong or outmoded information over the years and need to relearn the steps altogether. Fischer s techniques are easy to learn, maintain the integrity of the wig, and solve age-old wig securing challenges with user-friendly efficiency. v Karen Brewster is Associate Professor of Theatre at East Tennessee State University in Johnson City, TN, where she serves the Department of Communication as associate chair, and the Division of Theatre and Dance as resident costume designer and costume shop supervisor. She and Melissa Shafer recently wrote the textbook Fundamentals of Theatrical Design, A Guide to the Basics of Scenic, Costume, and Lighting Design published by Allworth Press. 32 winter 2012

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