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.
Roger Bennett Riggle: Hi, I am Roger Bennett Riggle Professional and licensed makeup artist and this is our model Vanessa Strickland. And now we have attached the molding wax, pre made molded pieces that Vanessa and I had done together for the scarred joker. So we have these pieces on and covered with liquid latex. One of the techniques that we use is that when you stretch your skin and put on the liquid latex and then dry it, when you let go with the skin it starts to crinkle like this, so let's imagine the latex stretched and then it starts to crinkle.
And the more layers you do of that, the more crinkling effect that you can get. In this case we only did one layer, but you can do two, three or four layer and you can accelerate the drying with a blow dryer, just be careful not to burn your skin.
Now at this point, I am going to take the powder puff and a little powder, this is a Neutral Set powder, but I don't have to worry about the color in this case and to keep that kind of lightly sticky liquid latex in place, I am going to put a layer of powder over it, okay. This will allow my foundation to go on a little bit easier without sticking to the latex and you can see where the latex is picking up the powder on her face. Okay, so, I am really getting rid of all the sticky -- and see now it's nice and powdery and smooth and I don't have any problem with it sticking, because I really don't want to pull up the latex incase, it sticks to my sponge, okay.
Now in this case, I have decided to use the cake makeup, the water base cake makeup and when you use the water base cake makeup, you don't have as much problem with it changing colors between the latex that you put on and the skin. So, in this instance I do not necessarily have to use the Castor Sealer. When you use cream foundations you really do need to use the Castor Sealer first. I dip the hydro-sponge in the water and drain out almost all the water you just want it slightly damp.
Then you are going to roll your hydro-sponge in the white makeup and we are going to attempt to whiten basically her whole face with the makeup. We are kind of going to do the eyes black, so you don't have to worry about doing them so white and hopefully you can see and I think you will be able to see this as I start to put it over the liquid latex, see the texture that it's sticking up, it is starting to texture the face up and the mouth is going to be rather red or orangey red we have decided. So I just need to do the parameters of the mouth and not specifically inside of the deformity or the cut in the mouth.
Take up a little more water. Usually when you are doing white and you want to move quickly, you can just do the whole face. You don't really have to pink by number, you can just blockout. You can just start to blockout.
Now in this particular design it's quite interesting, it doesn't necessarily have to be creamy, white smooth like you would do to a white face clown. It can be rather broken up, it's a deformed character type, so the blotchiness works extremely well in this particular case and you can keep padding and adding makeup and get this look really, really white and smooth. If you were going to do a clown or a mime etcetera, etcetera, something with a really white face.
But in this case I think the blotchiness is going to work for us. This dries very quickly because it is a water-based foundation and it is very easy to wash off too. You can see the texture, old texture that's coming through with the white makeup over the liquid latex.
And like I said the more layers you do of that, the more texture in fact you really going get. Okay. I am going to put a little bit more of white, a little closer to the deformity of the mouth. Good. And I think we are in good shape with the basic coloring of the white face.
Now we are going to move into darkening of eyes and the nose for a joker Halloween costume's makeup.