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 again, this is Roger Bennett Riggle, I am a professional licensed makeup artist, and our model today is Vanessa Strickland. As we discussed earlier, we are doing makeup tips for Halloween. We are now zeroing in on creating a wound effect for Halloween out of molding wax. So, we are going to get started.
The very first thing that we need to do is to make sure the skin is nice and clean, because we want that molding wax to adhere to the skin quite well. So, again, we take the astringent and a cotton pad, and we go across the surface where we want to apply the wound. In this case I am going to apply the wound to the forehead, much as if the forehead had maybe hit the windshield of a car or was banged into the side of a door. Up in the head, where the skull is and the skin is tight, the head does bleed quite a bit, so it's a good place to have a wound happen, and to make it really bloody and gross for Halloween. So, the next thing we will do then is to start to mold our wound. This is the molding wax, and again, this is the putty knife. Im going to dig into the wax with the putty knife. You can always add more wax to your wound if you want to. Now, before I start to play with this, this is very sticky and it's going to stick all over my hands. So, what Im going to do is set that down, and I will pick up this makeup remover, or you can use baby oil, as we discussed earlier. Basically, I just put my fingers over it and just put it all over the tips of my fingers so that this putty will not stick to me. Then Im going to take the molding wax, and Im really just going to twist it into a bump, and I will make a bump out of it. Then Im going to take my fingers and press the edges. So, I want thickness in the middle of this wound so that I can really play with the injured part of the skin, but I want thinness on the edges so that I can blend it directly onto the skin surface in order to try and to disguise the wound. Now, you can see it's basically flat on the back. You can keep playing with it, and playing with it as much as you want to. You can even pre-mold your wounds if you want more than one. So, I've got thickness in the middle, and I've got extreme thinness on the edges. Notice, Im just mashing it between my fingers to make those edges paper thin, and to make them happen. If a piece comes off like that, you can just stick it right back in to your piece and remold it. So, you can build on this, let's say you didnt pull out enough putty, just pull out some more, add to your work, and keep going. Now, Im just going to wipe my fingers real quick to get all this stuff off. Now, we want to figure out where we want to put that wound. Like we said, we are going to put it on the forehead, and we are going to take our white pencil. Now, this time Im using a white pencil. If you remembered in the Tiger I used a black pencil because I was painting in black stripes on the tiger, but this time I dont want to really see my art work so much, so Im going to use a very light pencil, either white or skin tone would be fine. We will turn her head slightly to the side, and you can see there's a ridge of bone right there which is probably a good place for a wound to happen. Im going to place this wound where I want it. Im just going to take the pencil. See, I can even tap this onto her skin and get it to hold. Im going to outline this wound. Why? Because thats where I want the adhesive to go. In other words, I really dont want to put adhesive all over the forehead because you have to remove it. While it's not that difficult, the less adhesive you can use, the better because the clean up is easier, and you will only need the adhesive under the wound, and you dont need it on the extremities of the wound at all.
So, we are going to clean up our hands, and then we will show you exactly how to apply the molding wax wound that you have made onto the forehead.