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, I am Roger Bennett Riggle. I am a professional licensed make-up artist, and this is our model today Vanessa Strickland. We've been working on creating wounds with molding wax. We now have the molding wax adhered to the skin, and we are now going to color it to look very injurious, and then we are going to cut it open and add the blood effects to that. Dont forget, this is all just fake. So, it's done with make-up that you can get at your regular Theatrical Supply Store or you can contact us on the website. You remember, in the previous video, we talked about how to create a bruise effect. So, we are basically going to use the same colors for the wound, except a wound where it is actually cut, it's going to have a lot of redness and a lot of blood. So, again, I am going to use forefinger and this time, I am going to use three colors because we are not in the healing process of the sallow green yet. We just want the very injurious looking colors, the red, the purple and the blue. So, I am going to use a rather bright red out of this Severe Exposure Wheel. You can use, theres also a color made by Ben Nye called Cut, a Fresh Cut. So thats a good color as well. Then I am going to dip my finger into a little burgundy red. So, I've gone red, burgundy red, and then I want to go into purple, and maybe I'll add a fourth color. I'll go into a little bit of the midnight blue.
Going to her forehead, of course, will be slicing through the thickest parts of the wound. So, on that part of the wound, I am going to want the reddest, bloody color, the kind of blood color that would happen when the blood actually meets oxygen and turns very, very red. Then on the outside to that I am going to add the dark burgundy. So, I am still hanging with red, but it's a little bit darker. Then I go to my purple, so, on the outside of that I am going to put a little purple. Again, you can always add more. Dont put too much on at one time, and if you need more, you just pick up more. Again, notice that I am using a patting technique so I am controlling how much make-up comes off from my hand. I also kind of be, got to be kind of protective of this wound, because it is molding wax, and if you rub it too hard, you can change the shape of it or you can rub it off. Remember that when we blend, we wipe all the make-up off of our hands and we basically use a clean finger to blend the colors together. So, I want to keep the red, rather red, and I am going to tap and blend the dark red into the edges of it, to change the color and then I am into the purples, and I am blending into the midnight blue that kind of is the less injured skin around the circumference of the wound. So, you just keep patting and blending one color into another until you get the desired effect. I must say in make-up, I think the most important thing about make-up, all and all, is your blending technique. So take your time with the blending, because it really makes the difference in the final look of your creation. I've got a little extra puddy here in her hair, so, I can simply take the puddy knife and just scrape it out. It wont hurt anything, but if I want that hairline pretty clean along there, I want to keep that going. I am going to add just a touch more of purple on the top, take my clean finger and again, there. You see the purple coming out? I want a little bit more injury going on.
Sometimes you want to blend the color into the hairline, so that it doesnt looks like your wound has stopped in the skin and hairline has started, because if you really got hit up here, it could extend up into the hairline. So, dont make a line of demarcation there between the natural hairline and the wound that you are trying to create. Okay, we've actually got that color pretty good for now, and we can always add colors to that as we need.