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, a licensed and professional makeup artist and this is our model today, Vanessa Strickland. We are in this segment of creating a scarred joker, a deformed joker, a totally new creation in the idea of the joker, from the famous comic strip from Batman.
So, we are into applying prosthetics on either side of the mouth to look like the mouth has actually been cut and scarred etc, etc and as we have said, we had pre-molded these pieces, so I am just going to lift them off of the palette and I am going to place them where I want them on Vanessa's face. I will start with the left side and this is going to look like part of her lip here and we will make it a little bit coming across like that out to the side and I am going to just circle it quickly with a white pencil, so that we know where it goes. It's also important that maybe you lay this on this side, so you know that that one goes on to the left side and then we will switch to this one, which goes on the right side.
Again, I will come in close to the edge of the lip and I am going to outline where I want to adhesive and now I have a roadmap of exactly where I want that adhesive to go. Now, we go to the spirit gum, don't forget when you buy spirit gum to get spirit gum remover because you are going to need it to take off the spirit gum. Here's my spirit gum applicator with the brush. Again, I wipe it so that it doesn't drip.
She doesn't necessary have to close her eyes this time because I am working below eye level and I am going to paint in the spirit gum in the area where I want the molded wax to go and I am going to take another quick dip and do the other side. I am going pretty far up to the edge of the lip because I want a kind of mold this from the edges of the lip into the molded piece itself, so it looks rather continuous. In other words, we are making a bigger smile on the joker than not, and it will be a deformed smile.
We take our cotton ball and we pull it in half so that we expose the fibers like that, take one of your far away finger and tap into the spirit gum. If you need a refresher, all of this we did when we did the wound segment. In other words the scar is a healed wound and you can see your skin sticking to my finger, see that's when it's just right and you take your cotton fibers, don't forget the cotton fibers helped to hold on the molding wax better because you have multiple surfaces going on instead of a slick surface underneath the piece. You will see the cotton, it sticks to the spirit gum and I quickly want to get this piece on here and I give it a couple of taps to hold it into place, while I switch to other side.
Now, at this point I want to wipe my hands off as best I can quickly and I might even take my palette knife and I will start to mash the edges onto the skin, hopefully without messing up too much of my molding. I want to blend this right into the lip. So that you can't really see it start and I want to make sure I get these edges down all the way around so that it does adhere.
Now, when you are doing deformity, it doesn't necessarily have to be pretty. It can be very, very rough, so all you got to do is to make sure it's pretty much on there that you can make it look very rough and unrefined, shall we say. So, I just want to make sure it sticks on there, but I am not making it particularly pretty.
Now, at this point we are going to a technique that I have not shown you with liquid latex for a joker Halloween costume's makeup.