A Guide To Working In Performing Arts

Day to Day Tasks and Responsibilities

The tasks and daily activities would depend on the size of the production and how much work is needed to be done.

 

The following is an average day in the life of Kelly Hollands, a freelance make-up artist:

A typical day for me would usually consist of:

• Checking emails and enquiries – I like to make sure I am always up to date with any enquiries that need responding to.

• Head off to do make-up for a bride and her bridal party.  This usually involves a very early start and could be anywhere between 5 miles and 60 miles from my home.  I’m a regular at most of the venues within Essex so it’s always nice to work somewhere familiar where I know the staff, etc.

• Once I’ve finished up with a wedding in the morning I will then go on to bridal make-up trials.  I always schedule these on an afternoon so that I can fit a wedding party in in the morning.  A trial can take up to two hours so I can normally only book in a maximum of two in the afternoon.

• From trials I may go on to a ‘special occasion’ make-up or a make-up lesson.  These are always popular all year round.

• My weekend days usually end around 7pm and from there I’ll re-check emails, carry out any invoicing/accounts and then sort my kit out (washing brushes, re-stocking) ready for the next day.

   

 

Whilst on the job, there are more tasks a make-up artist would be responsible for taking care of. These could include the following:

 

• Studying the production - reading scripts, researching previous productions, budget

• Sketching out design ideas for both hairstyles and make-up.

• Ensuring that continuity in hair, make-up and costume - liase with other members of the design team to ensure consistency.

• Demonstrate a practical understanding of lighting, colours and the impact of special effects/make-up processes on the skin

• Ensuring that appropriate action is taken to minimise unpleasant side effects from the use of specialist make-up/hairdressing techniques

• Maintaining awareness of health and safety issues and legislation

• Casting facial and body moulds and sculpting latex foam, known as prosthetics

• Fitting and maintaining wigs, hairpieces and prosthetics;

• Hairdressing

• Maintaining an up-to-date knowledge of available make-up and beauty products

• Sourcing, budgeting and ordering materials and equipment from specialist suppliers

• Time management, knowing how long a subject will take to be made-up

• Working quickly and accurately in time-pressured conditions

• Taking detailed notes and photographs of work, maintaining an up-to-date portfolio of work.

 

 

 

 

 

 

 

 

 

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Qualifications and Experience

Entering make-up artistry can be a difficult task but can be done when all of your time, effort and dedication is put in. The main thing needed is experience.  Furthur education is not nessecerilly needed but is preffered when given the option. 

 

The following subjects may increase your chances when applying for a make-up artist role within performing arts:

 

• creative/performing arts;

• make-up artistry;

• hairdressing;

• fine art/visual art;

• history of art;

• fashion and textile/costume design;

• photography/film/television;

• graphic design/illustration;

• drama/theatre studies

 

Education can be gained through attaining a degree in film and television production or theatrical design with an emphasis on makeup, or through attending a traditional cosmetology school. Candidates will often undertake a number of specialist HNDs in make-up artistry as a precursor to freelance industry experience/traineeships.

 

Several colleges and universities have a variety of two-year foundation degrees as well as a three-year BAs in areas including :

 

• hair, make-up and prosthetics for performance;

• special effects make-up design for TV, film and theatre;

• media make-up and character design;

• fashion, theatrical and media hair and make-up.

 

NVQs in relevant subjects are also acceptable, such as:

• hairdressing;

• beauty therapy;

• media and theatrical make-up.

 

There are several ways to gain experience within this area of work, for example you could be working backstage at amateur dramatic productions or working in a beauty or hair salon, plus any work placements or relevant unpaid work.

 

Job shadowing/work experience assisting a make-up artist gives insight, develops your portfolio, helps to build a network of contacts and demonstrates your commitment. Observation is one of the best ways to learn skills and techniques.

 

 

 

 

 

 

 

 

 

 

 

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Working Conditions / Hours / Place of Work

Your hours are likely to be varied throughout your career and most likely won't be set hours. The hours you work are oftwn going to be long and irregular, depending of what the production needs you for.

When working in theatre, you are most likely going to be needed during the evenings for rehearsals and shows.

 

Your working environment would vary depending on what you are working on. Some artists have a studio where they may do small jobs in but usually a make-up artist would travel to where their work is needed. When working on films and in theatre, make-up artists will usually have their own designated work space, especially when the make-up needed is complex and would possibly take longer to apply e.g. special effects make-up.  

 

 

Salary

When working as a make-up artist, freelance work is more common than permanent work, and rates can vary widely. This means that you would be paid a fee for each contract that is taken out. The amount you are paid can vary between employer and the type of production you are working on. 

•   For example, a make-up artist working a 10-hour day on a TV drama could expect to earn around £210.

 

The Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) publishes recommended pay rates on its website. It recommends that trainees are paid at least the minimum wage or the London living wage, if working in the capital.

 

 

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Career Progression

A Make-up Artist would learn and develop their skills on the job by helping/shadowing experienced make-up artists. You may be able to find trainee positions at the start of your career or places on new entrant training schemes. These are sometimes run by:

• broadcasters

• regional screen agencies

• media training organisations.

 

Some broadcasting companies offer trainee schemes and other ways of getting industry experience. Some schemes only recruit at certain times of the year and competition can be very strong. Examples of these broadcasting companies incluse:

• BBC

• ITV

• Channel 4

 

A make-up artist's career progression would usually mean to be able to secure more temporary contracts and demanding higher rates of pay. This would all depend on the experience the make-up artist has, networking specialist area and the popularity of the individual. Sadly, there are very few permanent posistions available in the make-up artist industry. 

 

As there is no actual career progression path for a make-up artist, the freelance nature of the profession means that individuals may move between trainee make-up assistant, make-up artist, chief/key make-up artist and designer roles, depending on their experience and confidence within a sector. 

 

A make-up artist who wishes to develop their career in the industry may aim towards the position of make-up director. Artists who do not reach this position or aim to reach this position still enjoy an autonomous and lucrative career.

 

A make-up artist may become a specialist in one aspect of the job, such as a wig or prosthetics specialist, body painting or making contact lenses or teeth.

 

 

Unions/Organisations

Unions/Organisations can be very useful for a make-up artist, especially for the health and safety aspect. 

 

For a make-up artist, the most common organisation to join is NASMAH - National Association of Screen Make-up Artists and Hairdressers. 

NASMAH was formed to maintain the high standards of artistry achieved in previous years and to promote the profile of hair and make-up professionals in the industry.NASMAH is a not-for-profit professional association run by an elected committee of volunteers.
 

NASMAH provide 3 types of membership, all having the exact same benefits:

 

FRESHMAN            
For media make-up/hair artists who have been working in the industry for less than 10 years.

FULL
For media make-up/hair artists with over 10 years' industry experience. 

ASSOCIATE        
For companies that provide services to hair and make-up, including wig makers, training providers, make-up suppliers, hair product supplies etc.

 

Current fees for 2015:

FRESHMAN                £30
FULL MEMBER        £48
ASSOCIATE                £48

 

For make-up artists, NASMAH can provide information and support with career advice, training and insurance. 

 

http://www.nasmah.co.uk/#

 

 

 

 

Interellation Within the Theatre

Make-up Artists would usually interelate with mainly the design side of things rather than the technical crew. The main roles the make-up artist would have connections with are the make-up and hair designers, production designers, costume designers and actors/performers. 

Communication between all of these roles is very important and without these roles interealting, the production may not go to plan;

1. Make-up and Hair Designers would need to breif the make-up artist of what they want to be created. The make0up designer would provide their designs of what each performer will need to be done and when. The hair designer will also be involved in the breifing to make sure that the designs correlate with the hair designs in order to keep coinuity throughout the look. If the communication between these roles was not there, the make-up artist would not know what needs to be done which can cause mayhem on show night and timings could go wrong. The final look can be affected and the desired look of the performer may not be acheived.

2. Production designers would also need to communicate with the make-up artist to make sure they know what needs to be created. They would again breif them on what is wanted and what the characters need to portray from their look on stage. If this isn't done, the final outcome may not be achieved to plan and the director could be unhappy with how the production has turned out.

3. Costume designers should have a lot of communication with the make-up artists. This is to make sure that the look of the costume fits well with the final look of the make-up and everything correlates well together. If this communication isn't there, again - the final look of the character may look wrong and not to the directors hopes. This could portray the characters in a different way to what was asked.

4. Actors/performers definitely need to communicate with the make-up artists. This is to make sure that the actors/performers are not allergic to any of the products that the make-up artist is going to use on them. They would have to meet previous to the dress rehearsal so if there is any complications with any of the products, the make-up artist has enough time to get a suitable product in time for more testing and then the dress rehearsal and show time. If this communication broke down, and they only met for the first time on the show night, there is a possibility one of the actors/performers is allergic to a certain product and the make-up artist wouldn't know. This could lead to an allergic reastion which could affect the the whole show and the actor may not be able to go on stage.