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, and I am a professional licensed make-up artist. Today, our model is Vanessa Strickland, and we are going to show you a very simple technique for creating a bruise effect for Halloween. The first thing that we are going to do is to wipe the face down with a cotton pad and the astringent. We want the face nice and clean before the make-up goes on. It helps to hold the make-up on. So, I just do a quick wipe on the area that I am going to use to create the bruise effect. Where to put the bruise, sometimes is very important. Usually, when a bruise happens, the impact and the most center red part of the bruise happens on the bone. So, I've chosen this cheekbone right here as it actually meant to help protect your eye. Thats why your eye is surrounded in bone, so that if you get hit, the eye socket is behind. So, we are going to make the strongest impact of the bruise right here on the cheekbone. So, now, we are going to go our Four-Color Wheel. The fastest, easiest way I found to do this is to put one color on each finger, starting with your forefinger, and working down to the pinky. I want to put the impact color on the forefinger first, that is the dark red. Next, the red would blend into a more purple color, and there's the purple, and on the ring finger, I am going to dip into midnight blue, so the bruise goes from most impact red, to on the outer circle is purple, and then midnight blue, and then, like I said, when a bruise ages, it starts to heal, and turn a very sallow, yellowish, green color. So, you also have to really kind of study bruises, and know at what stage the bruise is in injury. So, the first thing I am going to do is take this forefinger and I am just going to pat a little of the reddish color on there in the center, and I'll just go pat, pat, pat. You dont want to put on too much. Then on the outsides of that I am going to add a little purple. Then the ring finger has the midnight blue on it, so, I'll just pat in a little of the blue around there. Sometimes an impact on the eye will cause it to be kind of like a black eye, so, I can put a slit in there underneath that eye. Then on the very, very outside, I will show you at least, the effect of the sallow green.
Sometimes, in a brand new bruise, you will not see the sallow green immediately. That has a tendency to happen more in the third, fourth day of a bruise healing. Then I wipe all the make-up from my hands, and then I take a clean finger and I blend. So, I want the red part in the middle to be the strongest and you notice I am tapping. I am not really rubbing. Then on the parameters of that bruise, we start to work into the purple and blend into the midnight blue. I can blend underneath the eye there a little bit, and then I am going to gently smear the sallow green on the outside. So, I basically work from the middle, and start to work and blend these colors into each other, until I get what I feel is a very natural look. If I want a little bit more blood burst at the centre of the bruise, I can go into another color that has a little bit more red to it, and I can add that to the center. You can see where that brightens that red up in that area. Usually, when you apply, you have the color on the fingers and you want very little, and then when you blend, you want a clean finger, so that you are not applying any more. Dont forget it's always easier to add more make-up, than putting on too much make-up at the beginning. I've blended it basically like I wanted. If I want to I can add a little to the eyelid, so that the injury looks rather serious, and I usually stand back and kind of look at my work and say, does that look real? And I keep blending until, yes, I feel like it does look pretty real. Now we are going to set it, which is a very easy process. The first thing that I'll do is to get a tissue or a paper towel, and I lay it down on the table, because, you dont want too much powder, and this is a way to prevent you from using too much powder. Just tap your powder, sometimes, they come in shakers. Dont forget, this is the Neutral Set Powder. It has no color to it, because you dont want to really diminish the colors that you've been working with. You take your powder puff and you press it into the powder and I work the powder into the puff and I tap it. You dont want a big lob of powder on your creamy make-up. You just want a very thin surface of powder over the colors that you've done. Then I just take this powder and lightly press it into the cream. The cream is still wet, so, it will pick up the powder quite nicely. Then I take the clean side of the puff, you can also take a brush, and you get rid of the excess.
If you should get too much powder on, you can take a damp paper towel, and just press it on to your art work and the color will come right back through. Now, the powder does diminish the color slightly, but in about 10 or 15 minutes the color will start to pop right back through your work. So, I am going to keep removing a little bit more excess, and you can see how the powder helps to blend your art work as well.
So, basically, and very simply, we've used four colors on our model today, Vanessa, and we have created a bruise effect for Halloween, probably an effect that you could scare someone at the doorway.