POSTICHE | dramatic-context-kw

Postiche Work

The information that I have found in the book, Make-up, Hair and Costume for Film and Television, J.Musgrove, 2003, Focal Press:Oxford, has helped me to understand facial postiche and wigs in much greater depth with additional tips to aid in a realistic effect. When creating facial postiche work it is important to consider that hair grows outwards from the skin and hair grows in different directions in various regions of the face. This is important when dressing a piece of postiche as a lift is needed at the root of the hair to gain a natural line of growth. It notes that when cutting the edge of the facial postiche lace not to cut too smoothly as it will be harder to disguise, but also to remain close to the edge of the hairline. It is important to make sure that facial postiche is glued securely to the face as there is a large range of movement in the mouth area, therefore it is neccessary for the skin to be clear when applying. This means that I will have to think of placement of the prosthetic pieces as the hair will not stick as well to the different surface meaning that it could come loose.

Dressing Facial Hair

Dressing the postiche work is an essential part of the production process, as it makes the hair look realistic and blend in with the character design. The facial hair postiche must be attached to a malleable block or malleable chin block, it must be attached with blocking pins or blocking tape. The first step is to cut the hair to the desired length, making sure not too cut too short as it cannot be lengthened. The next stage is to curl the hair with moustache tongs or marcel waving tongs and then it is combed into the desird shape. The tongs must be very hot when used as hair is resilient, this means reheating it between sections, and also making sure it is not too hot. To check the heat hold the tongs to a tissue, if it leaves a scorch mark it is too hot to use and needs to cool slightly before use on the hair. As mentioned earlier natural hair grows directly out of the skin therefore there needs to be a good amount of lift at the base of the hair. Similarly the hair should be curled in the direction of growth, pulling the hair the direction it needs to eventually lay.

Removing and Cleaning Facial Hair

To remove a piece of facial hair it is best to use a brush with surgical spirit, the brush can get inbetween the face and the lace lifting it without much damage. To remove the spirit gum from the lace it has to be soaked in surgical spirit and then using a stipple brush should be tapped removing the left over gum. The spirit will then dry off and leave the postiche clean and ready for use again. Make-up, Hair and Costume for Film and Television, J.Musgrove, 2003, Focal Press:Oxford

Examples of Facial Postiche in Theatre/Film/Television

To get a better understanding of postiche and wig work used within film and television I looked at exisitng examples which work very succesfully helping to create the character's style. I found this research particularly helpful as I could see the quality to which the work is created. I have chosen a selction of wigs and facial postiche work from films that I have viewed that give excellent examples from which I can analyse and take note of the elements which make it successful. Johnny Depp is well known for his different looks in each of his films, most of these changes in appearance come from the postich and wig work used in the films, proving how much difference the hair work has an impact of the overall finish of a character.

Attaching Lace to Block Demo We were shown a demo as to how to attach lace to a malleable block in a way that prevents the lace from wrinkling where the new hairline will be.	Attaching Lace to Block Demo Side view of attaching the lace to the block, taught around the new hairline, to ensure that there are no whipping triangles near the front of the wig.	Placing Wig on Lace Demo Placing the wig on the block, making sure that the hairline is far enough back to create a seamless edge to the wig when knotting. Ensure that there is a margin of at least 1 Inch.
Pinning Wig Line on Block Demo When in the correct place pins along the block to see the line at which the wig will be attached to the lace. This provides a reference point for later in the process.	New Hairline Practise Draw the original hairline onto cling film wrapped around the block and then draw the new, altered line onto the block, do not use red coloured pen as this will transfer onto the wig and stain the lace.	New Hairline Practise Make sure the original and new lines are completed in different colours to tell the difference. Ensure that the lines are drawn on accurately as this will affect the final outcome of the wig.
Placing Lace on Bloc Practise Attaching the lace to the block, make sure that there are no pins attaching the lace within a 1 Inch radius of the new hairline as the lace could get pulled and may rip right along the hairline.	Pinning Lace on Block Practise Make sure to get the lace flat against the block and start to work out where the whipping triangles will be placed.

The Hobbit Dwarves This film has an exceptional amount of postiche and wig work examples. This poster displays the highly stylised beards and wigs worn by the individual dwarves. The hair looks natural due to its effective blending into the hairline and the combination of hair colours mixed also adds to a realistic element. Although the hair work is bold and wild it is still believable due to the realistic traits that have been applied. This is an important aspect of hair to consider.	Charlie and The Chocolate Factory Charlie and the Chocolate Factory is a film filled with very surreal elements that are reflected in the sets and story. It is therefore necessary that the style of the characters match the atmosphere. Depp's perfectly styled bob giving him a soft face shape perfectly adheres to this concept making the character fit exceptionally in the environment.	Pirates of the Carribean The style found in pirates of the Caribbean is an interesting one to consider as it is partially realistic yet slightly exaggerated. Depp looks like a genuine man that could exist however he is in an environment that is unrealistic. The postiche in this film works well as it is based on genuine styles with slight twists and the hair looks realistic due to this base in reality. Similarly the way in which the hair grows on the face matches the postiche used for the film.
The Lone Ranger The Lone Ranger is another film which is based in reality yet deviates slightly to insert this character with a unique style. The wig work in this film follows the style of realistic dreadlocks yet gives it a twist to match the style of the character. Matching the hair to the character has a massive impact on the effectiveness of the overall character. therefore it cannot be overstated.	Edward Scissorhands Edward Scissorhands is an iconic role due to its style. Without this makeup the film would not be half as effective as a whole. The hair work is very crazed and wild which represents the character and his personality. This is a crucial in the consideration of character.	Dark Shadows This final wig worn by Johnny Depp appears in the film Dark Shadows, once again it completely changes his style makes him stand out as an individual character differentiating itself from the others.
Alice in Wonderland Alice in Wonderland is filled with wild and obscure characters. The hair work seen on Depp in this film has been well thought through it clearly represents the wild, untamed and complex nature of his character. This differentiation in character is predominantly made by the hair work alongside the makeup thus showing that it is a crucial element of character design.	Cats the Musical Cats the Musical has crucial wigs for the show, the wigs represent the feline characteristics of the characters and similarly the traits of their personalities. The colouration and detailing in the wig brings all the elements of the character together as a cohesive style. I like the way the hair has been brought onto the centre of the face and then replicated with makeup on the predominant portion. It ties the whole look together well.	Cats the Musical The differentiation between male and female characters in the musical is created through their makeup and hair. The wigs are predominantly longer in length with softer colouration. Similarly the makeup is more intricate and softer. As the wigs are created for theatre it is necessay for the wigs to be bold and large. This highlights an important point that the postiche work must be suitable for the medium in which it is being used otherwise it may look excessive or become unnoticeable.

Hairline References To create the wig I took my model's head measurements and hairline and applied this to the head block. I drew my models's original hairline on to give me reference to the new hairline that I am creating for the portrait.	Hairline References In this image the original hairline is at the front, the re-fronting hairline slightly behind and the sequence of dots represents the line to which the wig will line up and the point from which I will need to knot the hair.	Hairline References This photograph shows the hairlines from the other side, both sides match similarly. I used these lines a reference in order to make sure that everything will fit well through each stage in the process.
Cutting the Wig The first step of re-fronting a wig is to cut the existing wig to size and alter it to fit the model's head. To do this I measured the size of my model's head and placed the wig on a template, I then proceeded to cut the wig at the necessary points (Around the ears and the front hairline). This allows for a better fit on my model.	Gluing the Wig To make sure that the hair did not fall out after cutting the wefts in the wig, I used a glue gun to glue small amounts onto the ends preventing hairs from falling out ruining the wig. It is important to use only small amounts of glue as it hardens and becomes solid potentially causing the wig to be deemed useless as it will not be flexible or pliable.	Placing Wig on Block The first stage after gluing the wig is to place the wig on the block in order to attach the lace to the wig. I placed the wig where the edges matched up with the ears to make sure that it would fit my model after knotting and styling. I pinned the wig in place to hold it whilst arranging the lace.
Placing Wig on Block This photograph shows the placing of the wig on the blcok after the gluing process. I kept a small amount of the wig in front of the ear to add volume and give a bit of structure to the overall wig. I kept the wig far enough back in order to make a realistic graduation of hair to the front hairline.	Placing Wig on Block This photograph shows the other side of the wig, One side was much thinner than the other and had less hair, I therefore had a larger area to knot behind the ear slightly to make sure that the hair looks realistic.	Refronting the Wig After sewing the wig to the lace the next step was to reattach it to the block and begin the knotting process. I began by bulk knotting hairs near the edge of the wig to hide the sudden drop in amount of hair. This created a seamless edge that worked well for the wig. This photograph shows the first segment that I completed, I began at the edge of the wig working forward as the hair would then lay backwards covering the area I had just completed.
Refronting the Wig When re-fronting this wig I began on one side and working back to front. I started on the left side from the wig forward till reaching the new hairline. This photograph shows the finished hairline on the left hand side. I think this side of the wig worked very well as the hairline works gradually backwards to create a realistic graduation of the hair.	Refronting the Wig This photograph shows the bulk knotting in closer detail on the right hand side of the head. I used roughly three or four hairs in each hole to give a good thickness to the hair. and make sure the edge of the wig was not visible. On reflection I would make the area of bulk knotting less regimented as the edge toward the lace was quite straight. I would begin single knotting in a random format to make the graduation smoother.	Sewing Lace to the Wig The next stage in the process was to sew the the lace to the wig in order to re-front the wig. To do this I pinned the wig to the lace whilst on the block, I then removed it all and sewed the line with invisible thread in order that it was not seen. I did two separate lines to make sure that the wig was securely attached to the lace and would make a successful wig I find sewing difficult therefore it was a challenge for me however I successfully managed to complete the task to a high standard.
Final Result My portrait has a small segment of hair at the front of the hairline which falls slightly forward, the hair is very fine and thin. I therefore knotted some hairs at the front in the opposite direction that lay forwards. I will cut these hairs short and style them to hold the hairs in place to make sure that they match the portrait.	Final Result This photograph shows the final hairline that I created for the wig. I am very pleased with the result as I think the majority of the hair works seamlessly into the wig. There are small areas where I would bulk more amounts of hair to make the difference between bulk and single knotting more gradual. Apart from this issue I am very pleased with the result.	Final Result This photograph shows the final hairline on the right hand side of the wig. For this side of the wig I had to knot hairs around the ear as the wig did not lay correctly for it to suit the portraits hairstyle. I am happy with the knotting on this side of the head the amount of knotting went well. Overall I was pleased with the amount of knotting I completed for this wig as I had not done so much previously and the finish looked professional.
Refronting the Wig The next segment that I knotted on the lace was the right side, I bulk knotted the back portion of hair to give a good amount of thickness and depth to the hair. I chose to work the two sides towards each other as I felt the front section of the wig is the most important and by the time I reached that area I will have perfected the knotting technique therefore the edging will be more successful.

Knotted Beard This is the beard in its finished form. I made sure to knot the hairs in the style of the portrait. I kept the left hand side (looking at the beard) thinner as there is a small area where Deveria's skin is visible just under the lip. The beard is also heavier in the centre under the mouth. I think that this beard works successfully, I am pleased with the result as it is filled out like the portrait and I have improved on my knotting technique therefore creating a more realistic beard postiche.	Knotted Beard This photograph shows the beard from the side view, The hairs go slightly under the chin to create a realistic looking beard. A genuine beard would not suddenly stop at the base of the chin therefore it was necessary to go underneath slightly. From this angle the shaping of the beard is more apparent. I am pleased with the beard as it resembles the portrait well, I included a slight amount of grey yak hair for ageing in the beard, I will colour the beard so that it matches the portrait and wig.	Knotted Moustache This image is the final knotted moustache. The moustache segment in the portrait is very thick and has little direction other than downwards. I knotted the hair in the overall shaping of the top lip shape to create the most representative postiche that fits my model well. At this stage it is knotted correctly and need styling to make it fully representative of the portraits beard.
Knotted Moustache This close up photograph shows the individual knotting that I completed. I am happy with the technique that I have applied to the postiche. There are a few rouge hairs that fell upwards, however these can be altered in the styling phase. I completed the beard and moustache without knotting multiple hairs to make it look as realistic as possible.	Knotted Moustache and Beard This is the final knotted moustache and beard. The two work well together as they fit perfectly creating a seamless edge that will work well as a goatee postiche and will also allow movement for my model.	Moustache Styling To begin styling my moustache element of the goatee I placed it on a maleable block in order to tong the hairs and set them in place.
Trimmed Beard I first trimmed the beard to get the hairs to the correct length for the postiche. I got the basic shape sorted to allow me to work out the shaping of the moustache to fit alongside the beard. I did not have much time to style the beard before the formative therefore it does not look as it will in the summative and still needed fine tuning.	Trimmed Moustache I initially tonged the moustache very roughly to give the hair some lift and curl to the make it look realistic. I left the hairs much too long and very roughly styled whilst applying to give me an idea of the final look of the portrait recreation. I was not happy with the overall shape and style therefore leading me to fine tune the hair in greater detail after the formative assessment.	Moustache and Beard Styling This is the moustache and beard almost in its final form. I trimmed the hairs above the upper lip to create the short segment that appears allows for easy speech. I made sure to blend the moustache and beard hairs into each other to create a flowing facial postiche that looks realistic. I used freeze spray to hold the hairs in place making a strong postiche that will hold its style.

Postiche Research

When refronting a wig there are three different types that can be completed. A quick front, standard front and deep front. From the describtion I have deduced that I have created a refront on the cuspe of a standard front but will most likely be considered a quick front. A quick front is the fastes and least expensice way to add a realistic hairline to a commercial wig. A quick front it typically around an inch in depth. A standard front has approximately 1-3 inches of knotting. (Ruskai, M. and Lowery, A. Wig making and styling : a complete guide for theatre & film.) There is a section in this book detailing the direction of hair growth which is an important thing to consider when creating a wig as the aim is to make the hair look as realistic as possible. Be sure to follow the natural growth line of the hair.

Ruskai, M. and Lowery, A. Wig making and styling : a complete guide for theatre & film gives a step by step guide for creating a quick front that was very helpful.

- Place the wig on the block directly over the lace and secure.

- Sew the commercial wig to the fronting lace

- Ventilate very densely near to the wig line, bulk knot the hairs to create volume and density and slowly decrease to single hairs with wider spacing at the front edge of the hairline.

- Once the ventilating is finished take the wig off the block and sew in place. Its a good idea to have two rows of sewing holding the netting in place.

A very important part of creating the wig is to style the hair once the wig has been made. Be very careful to not overstyle the hair as this will make the hair look like a wig. Try to style the hair with very little volume. As my wig was made out of synthetic hair I had to be very careful when styling to make sure not to heat the marcel tongs too much otherwise they would burn the hair creating a big clump of melted plastic. Style a wig in sections otherwise it wil be too unmanagable and will ruin the wig.

Care and Maintenance

Cleaning a wig is a crucial step in the process of application and removal as if there remenant makeup it will eventually build up and be seen, it is also very unhygenic. To clean a wig made from real hair you can use acetone dip a brush and gently prise the glue off of the wig, however if the hair is synthetic do not use acetone as it will melt the hair. Use remover of the product that was used or soap and water. As I will be using mastix to glue the wig I shall use MME to remove the excess glue. Make sure to have a towel on hand to dab at excess remover to stop it going on the hair itself. If there is any makeup left after cleaning use some alcohol on a cotton pad and run it along the inside of the wig this will remove any excess. The process is essentially the same for when cleaning a moustache or beard, just brush the remover on the postiche and dab with a towel. (Ruskai, M. and Lowery, A. Wig making and styling : a complete guide for theatre & film.)

(Johnny Depp Images) Griffin (2013) [Online Image] Available From: http://elizabethjanegriffin.com/tag/wigs/ Accessed Date: 1/12/2014

(The Hobbit Dwarves) New Poster: The Dwarves (2012) [Online Image] Available From: http://www.thehobbitblog.com/new-poster-the-dwarves/ Accessed Date: 1/12/2014

(Brown Cat) Pinterest (2014) [Online Image] Available From: http://www.pinterest.com/innateidealist/jellicle-cats-come-out-tonight/ Accessed Date: 1/12/2014

(Black Cat) AnimalGals (2014) [Online Image] Available From: http://animalgals.wordpress.com/2014/07/01/cats-the-musical-make-up/ Accessed Date: 1/12/2014

Postiche Work

Attaching Lace to Block Demo

We were shown a demo as to how to attach lace to a malleable block in a way that prevents the lace from wrinkling where the new hairline will be.

Attaching Lace to Block Demo

Side view of attaching the lace to the block, taught around the new hairline, to ensure that there are no whipping triangles near the front of the wig.

Placing Wig on Lace Demo

Placing the wig on the block, making sure that the hairline is far enough back to create a seamless edge to the wig when knotting. Ensure that there is a margin of at least 1 Inch.

Pinning Wig Line on Block Demo

When in the correct place pins along the block to see the line at which the wig will be attached to the lace. This provides a reference point for later in the process.

New Hairline Practise

Draw the original hairline onto cling film wrapped around the block and then draw the new, altered line onto the block, do not use red coloured pen as this will transfer onto the wig and stain the lace.

New Hairline Practise

Make sure the original and new lines are completed in different colours to tell the difference. Ensure that the lines are drawn on accurately as this will affect the final outcome of the wig.

Placing Lace on Bloc Practise

Attaching the lace to the block, make sure that there are no pins attaching the lace within a 1 Inch radius of the new hairline as the lace could get pulled and may rip right along the hairline.

Pinning Lace on Block Practise

Make sure to get the lace flat against the block and start to work out where the whipping triangles will be placed.

The Hobbit Dwarves

Charlie and The Chocolate Factory

Pirates of the Carribean

The Lone Ranger

Edward Scissorhands

Edward Scissorhands is an iconic role due to its style. Without this makeup the film would not be half as effective as a whole. The hair work is very crazed and wild which represents the character and his personality. This is a crucial in the consideration of character.

Dark Shadows

This final wig worn by Johnny Depp appears in the film Dark Shadows, once again it completely changes his style makes him stand out as an individual character differentiating itself from the others.

Alice in Wonderland

Cats the Musical

Cats the Musical

Hairline References

To create the wig I took my model's head measurements and hairline and applied this to the head block. I drew my models's original hairline on to give me reference to the new hairline that I am creating for the portrait.

Hairline References

In this image the original hairline is at the front, the re-fronting hairline slightly behind and the sequence of dots represents the line to which the wig will line up and the point from which I will need to knot the hair.

Hairline References

This photograph shows the hairlines from the other side, both sides match similarly. I used these lines a reference in order to make sure that everything will fit well through each stage in the process.

Cutting the Wig

Gluing the Wig

Placing Wig on Block

The first stage after gluing the wig is to place the wig on the block in order to attach the lace to the wig. I placed the wig where the edges matched up with the ears to make sure that it would fit my model after knotting and styling. I pinned the wig in place to hold it whilst arranging the lace.

Placing Wig on Block

Placing Wig on Block

This photograph shows the other side of the wig, One side was much thinner than the other and had less hair, I therefore had a larger area to knot behind the ear slightly to make sure that the hair looks realistic.

Refronting the Wig

Refronting the Wig

Refronting the Wig

Sewing Lace to the Wig

Final Result

Final Result

Final Result

Refronting the Wig

Knotted Beard

Knotted Beard

Knotted Moustache

Knotted Moustache

Knotted Moustache and Beard

This is the final knotted moustache and beard. The two work well together as they fit perfectly creating a seamless edge that will work well as a goatee postiche and will also allow movement for my model.

Moustache Styling

To begin styling my moustache element of the goatee I placed it on a maleable block in order to tong the hairs and set them in place.

Trimmed Beard

Trimmed Moustache

Moustache and Beard Styling

KW