FORM
The variation of form that may be suggested by painted high lights
and shadows is effective enough when the full face is observed. For
instance an almost white line on the bridge of the nose seems to give
this feature additional prominence when the actor looks directly toward
you, but on getting a view of his profile this illusion disappears, in
fact the true shape of the nose is realised.
If it is desirable to really alter the shape of a feature, a face, or
even the entire head, another method must be used.
The simplest and most popular is the application of nose paste, or
what I personally prefer toupee paste. A sufficient quantity of this
material is taken and kneaded into a soft mass. To do this it is
sometimes necessary to warm it slightly. It is formed roughly into the
shape desired and then stuck to the skin. Some make its adhesion more
certain by applying a small quantity of spirit gum to the skin first.
I have found it better to melt the surface of the paste in the heat of
a candle before placing it into position. When the paste has adhered
to the skin a little grease applied to it with the fingers will
facilitate the subsequent shaping. The modelling should be carefully
finished with the fingers and a modelling tool until no juncture is
observable. In fact it should seem to be part of the face. Plenty of
groundwork spread all over the actual flesh and the parts that have
been built out brings the whole face into accord.
The nose paste can be used for altering the shape of the nose either by
making the bridge more prominent, the end longer, and this increase in
its length may be made in any direction either up or down. The nostrils
fuller, in fact, the whole nose may be covered, and its shape and size
entirely changed.
In a similar way the prominence of the forehead and of the cheek bones
may be built out and additions may also be made to the chin.
It is well to remember that all such distinctive features are due to
the shape of the underlying bony structure of the skull, and when we
desire to alter the shape we must do it in such a way that all the laws
of anatomy are not ignored.
The paste may also be used for imitating unpleasant growths such as
warts and moles.
The entire outline of the head may be altered by the shape of the wig.
On deciding what this alteration shall be it is simplest to think of it
as having roughly a geometrical form. A head may be round, square, or
oblong, and this distinctive form is noticeable when either the full
face or profile is observed.
When ordering the wig even a very rough sketch will prove of great
assistance to the wig-maker.
The beard is also a great help in changing the shape of the face. The
chin may be strengthened or modified by a suitable arrangement of the
hair.
A great double chin of padded silk is sometimes worn round the neck,
but this is only convincing when the chin is slightly bearded.
The foregoing alterations have almost all been in the shape of
additions to the features. We will now consider how modifications may
be made.
The first time that I played the part of a negro I found that I should
not be able to imitate the flattened nose of the race unless I used
some method to depress my own very prominent organ. I found that by
holding the tip of my nose down with my finger I very nearly got the
illusion I required. I next took a piece of strong sewing silk, and
first protecting the skin of my nose with a piece of kid, passed the
silk over this, and tying this at the back of my head got exactly what
I required. Then building the nostrils out with nose paste and covering
it all with dark grease paint I look sufficiently negroid to deceive a
native.
The nose may be given a very decided upward tilt by passing a similar
thread under the end of it. This thread is then joined to the upper
part of the wig.
At a short distance these threads are not noticeable.