Roger Bennett Riggle has been a licensed, professional make up artist for over 20 years. He began at Kinetic Artistry, a theatrical supply house in Takoma Park, MD. During his 10 years there, Roger managed the make up department -7 different lines; sales, consultation and artistry.
Roger has hosted numerous Washington, D.C instructional seminars for area artists; everything from beauty and photography make up to Halloween transformations and special effects make up techniques. Roger worked for over 10 years as the make up artist for Tom Radcliffe, a leader in headshot photography at the Point of View Studio also in Takoma Park, MD. Roger applied the photographic make up to thousands of actors, sports celebrities, musicians and opera singers.
Roger specializes in Halloween make-overs and the transforming of personalities for diverse, special events. In addition, Roger has created special make up effects for disaster simulation used in the training of nurses, doctors and EMS personnel. His credits include triage exercises at the Baltimore/Washington International Airport, for the Secret Service, and for the UHUHS military training facility. Roger has also designed for numerous theatrical productions which entails researching and articulating the authenticity of period styles.
Roger has a degree in drama from the Catholic University of America, Washington, D.C. and, since 1978, has choreographed, directed and produced numerous operas and musical theatre productions. For eight years, Roger was the Associate Producer of TheatreFest, theatre-in-residence program, at Montclair State University, Montclair, N.J. Roger has worked with many celebrities including: Leslie Uggams, Susan Lucci, Debbie Reynolds, Kim Zimmer, Pattie LuPone and Betty Buckley. Roger has directed operas at the annual Amalfi Music Festival in Italy . He is a member of the Society of Stage Directors and Choreographers. Roger is the make up consultant for Parlights, Inc. in Frederick, MD, a leading theatrical supply house for the greater Washington/Baltimore areas.
Hello again, I am Roger Bennett Riggle, I am a professional licensed makeup artist, and our model today is Vanessa Strickland. We are doing makeup tips for Halloween, and we are specifically zeroing in on doing a wound; a bloody, gross looking wound, and we are making them out of modeling wax.
We've already molded our wound and now we are going to apply the adhesive. This is Spirit Gum adhesive. You do not want to get this in your eyes or in your mouth. So, whenever I am working on a model with the Spirit Gum, I make sure they close their eyes. The other thing is, it's very, very smart to get a little dispenser like this that you pour the Spirit Gum in, and it has a nice cap on it, and a very nice brush. Whenever I pull the Spirit Gum out, I slide the Spirit Gum off the brush so I dont have a problem with it dripping. So, Im going to ask Vanessa to close her eyes. I will apply a thin quick layer of Spirit Gum to the section that I have already outlined around the wound. Remember, we used a white pencil so that it would be easy to disguise. Another wonderful safety tip is whenever you finish using your Spirit Gum, screw the lid on it. You dont want to spill this Spirit Gum on a counter because it's very messy to clean up. So, whenever you use products, it's a great, great habit to put the lids back on them, because as youre working you can knock stuff over, and it's best to have a lid on it. At this point Im going to pick up the cotton ball, and we pull the cotton ball apart to expose some of the fibers, like that. Now, what Im going to do is take my finger and tap into the Spirit Gum. This works oxygen into the Spirit Gum and you can actually feel it set up and get sticky. See, her skin is almost sticking to my fingers. At this point I will also dab in the cotton fibers onto the skin, right into the Spirit Gum. So, the sticky Spirit Gum will pick up your cotton fibers.
The reason we use cotton fibers and adhesive is that adhesive helps to hold this on, but the cotton fibers help to work themselves into the molding wax shall we say, like little fingers. So, there's a lot of surface helping to hold this wound on. Then we put the wound back up where we had it, and I will simply take my fingers and Im going to press and pull the edges of this molding wax right onto her skin. I want it to blend right into her skin, so that it looks very, very real, and natural. The more that you play with it, the smoother and flatter you can get it to go right into the skin. We've actually gotten this on really very well, very quickly. It doesnt take a lot of time, and you can mold and shape and press that. Keep using clean fingers if it's sticking to you. You can also put a little lubricant on your fingers and blend these edges in even better. There is a little lump here that Im going to work into the skin real quick, and were good. We've got a little extra cotton, I will just pull that away, and all in all, were in very, very good shape. The next thing that we want to do is to color that, to disguise it even more. You can see its a little bit different coloring than Vanessas skin. So, we've chosen a color for her. Were going to take our non-latex sponge. These come in blocks, and theyre cut in eight triangles. Triangles are great to work with because you can go underneath the eyes, over the eyes. You can use the flat surface for the skin, etcetera, etcetera. We've chosen a color for her that pretty much matches her skin tone. Again, because this is a wound and were going to cover it with the bruise colors and blood and everything else, it doesnt have to be perfect. If you were going to do a nose, a fake nose or something like that, you would want it to be rather perfect to match the skin tone. This foundation -- Vanessa is pretty fair, so this foundation is close to her skin tone, without the blushes and the reds put in it, etcetera, etcetera, but you can see that the molding wax was darker than her skin tone, so were actually lighting it up to help to blend in. You can see already that we've blended that really, really quite well in a predisguise step of the whole process. So, there we have the foundation color on with a non-latex sponge. Now, we will switch palettes, and I will show you how to take the Bruise Wheel and make that wound look quite real as far as having been severely injured, or let's say banged into a windshield.