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: Hello! I am Roger Bennett Riggle. I am a licensed, professional make-up artist, and this is our model today, Vanessa Strickland, who you may not recognize because we are three-quarters of the way into creating her into a Werewolf for Halloween. We've put on the prosthetic, we've adhered the prosthetic, and we've laid in the base foundation coat of all the colors that we are just creating. Now, we are going to lay in the details.
My best advice on detail is to look at the prosthetic itself, and kind of let it tell you the story. In this case, you can see that the prosthetic is very angry, kind of a growling type of muscle, and that the teeth are showing so that they are vicious. I am looking at this prosthetic and thinking I could pop-out the teeth a little bit more, and I could accentuate the wrinkles and the muscle of it, by making the highlight parts of it very, very light, and by making the depth of it very, very dark. Dont forget that when you paint up a prosthetic that you want to blend and flow it into the skin because that helps to disguise the prosthetic even more after you have applied it and try to make the transition into the skin rather perfect with the liquid latex.
As I said before in the Cat design, the Tiger design, most designs that you paint are best accented with contrasting colors and white and black are normally your best friends, or something light and something contrasting very dark. So, I am going to take some white, and I am going to make sure that I get a nice, opaque coat on the eyes because I want those eyes to be big and really rather light and the best way to get it more opaque, is to put a lot of make-up on the brush. I can even color over the eyebrow to help pull down on that human feature. I get the other eye quickly. Then I can take a little bit of light, and I can put a little accent, really at the top edges of the snarling face, and dont forget when you use more than two colors, you are really getting quite a bit of a three-dimensional effect going on.
Notice also that there are ridges here on the nose, and there's a depth ridge in there, which I can also accent. I will bring some strokes of color up into the forehead to help to stimulate fur, and I can move into these other areas of color wash that I have done and I can put a little bit on the chin to create some hair-like structures there as well. On these highlight sections, I can move out into this area. You can see that continuing the stroke from the prosthetic out to the skin, really helps to disguise that you are actually wearing a piece. You dont want people to really know where the piece stops and where it starts.
This could be a light brown, this is a white. You can put in some animal colors like a little bit of yellow. You can create anything you want. Even a Werewolf can be black, white and grey, but you are still using at least three colors. Now, let's go into the black, and you see the nose is black, and thats giving me a hint on using the black and maybe even some dark browns to fill in the shadow colors. So, I can go into these grooves in here.