KW
Wig Construction
To create a wig, one must wrap the hair as it would be done on the day to ensure that the wig fits the actor perfectly. To do this it must have pin curls placed in the desried locations for attachment called anchor points. These are located at the temples, the nape of the neck and if neccessary the fore point of the head above the forehead. The next step is to take the remaining hair and wrap it tighlty to the head creating a close fit. This must be done correctly as the wig will based off of this tempplate, therefore it is important to try to get the hair as close to the head as possible in order to create a realistic shaped head. Depending on the style of the wig that will be placed on the head it is important to consider where to place the pin curls, if there is a parting ensure that there are none in a close proximity to this. Ensure to take photographs of the process as the hair will need to be recreated for the show, it provides reference for people that were not there at the time.
Muppetdoodle (2007) Close Every Door - Lee Mead in Joseph [Online] Available From: https://www.youtube.com/watch?v=-QA0MMUSJqM Date Accessed: 05/03/2015
As seen in this video some actors wear two microphones in order that if one is sweated through the other will still work, carrying the voice of the actor on stage. However having a microphone requires a battery pack, as Lee was not wearing anything on his upper body it meant that it needed to be hidden in the wig. The wig also allows for the actor to change his hairstyle and it not have an effect on the show. This is an important part of working on a theatre show as the actor or actress will be doing the show for months at a time and may need to cut their hair for a future role or audition. It gives some freedom, also ensuring that there is continuity throughout all of the shows, the hair will be styled and designed in the same way every time.
These photographs show the aforementioned process of wapping the hair for a wig template to be constructed. First pin curl the anchor points (a good size guide is to make them the circumference of the grip being used), then wrap the hair as depicted in these photographs in order to achieve a successful wig application.
There are many different varieties of wigs that can be created, using different materials or shaping for the segments which will be combined to create the wig. A lace front wig has a very fine lace at the front of the wig which is almost invisible therefore it is used for Stage, Televsion and Film. As the front hairline is made of lace, it allows for the wig make to reproduce an exact copy of the artist's hair line. Excess lace is left at the front in order to attach the wig to the artist's head. Wig Making and Styling noted three other ways of creating foundations for wigs other than the three part construction shown below. This allows for a better understanding of the varieties available when creating a wig. They all have their individual uses and materials, detailed in the photograph to the left.
Another important thing to remember when creating a wig is the context in which it will be used, this is also detailed in this photograph. If the wig is for stage and a large audience it does not need to be so invisible, whereas a small, close audience would need a much higher quality wig with an invisible front.
To create the template a few materials will be needed in order to create a successful result. These are:
A Tape Measure
Notepad
Hairdressing Scissors
Cling Film
Sticky Tape
OHP Pen (Sharpie)
Camera
Grips, Pins, Wig Nets
Once the hair has been wrapped the next step is to place the clingfilm on the head. This must cover the entire hairline in order to get an accurate template of the head. To do so, cut off a long sheet of cingfilm to ensure that it will wrap around the circumference of the head. Get the model to hold the clingfilm on their forehead and wrap around. Leave the back straight upwards and tuck foreward to remove any air and get a smooth finish. Then cover the clingfilm in cellotape. Make sure the whole thing is covered as it will rip if not. After this is completed mark the hairline, be careful to go on top of the hairline, not infront of it as this will alter the whole look of the model's face. Square off the back hair line to make a neat finish. After this point, the measuring must happen, make sure to take note of the exact measurements and the units used to measure them. Write the circumference measurements onto the template for ease. The measurements that are required are:
1. Circumference around the head
2. Front to back
3. Temple to Temple around the back of head
4. Ear to Ear over crown
5. Nape of Neck
6. Top of Ear to Nape of Neck
7. Ear to Ear over Forehead
8. Temple to Temple across face
This chart to the right shows all the necessary measurements and notes
that should be taken when creating a template for a wig.
Once the measurements have been taken cut out holes for the ears using
your hand as a protective barrier against the model's hair and face. If the
template then becomes baggy due to this it can be cut up the back and
altered accordingly cellotaping back in place. Equally if the template is
too small it should be adjusted by cutting the back and adding more
clingfilm to increase the circumference. This concludes the creation of a
wig template.
It may be necessary to take a sample of the model's hair in order to successfully match the wig and create a realistic result. To do this two swatches will be needed as the front of the hair can vary greatly in colour. To cut the hair use a razor and take a small section of hair from a conspicuous place on the head. Cellotape these samples to the sheet on which all the notes have been taken for the wig maker to create the wig.
Useful Terms to Know
Hand Made Wig - The wig foundation is constructed by hand through sewing or whipping foundation net and lace together. The hair is usually knotted by hand.
Lace Front Wig - The hair has been knotted according to the design requirements and thinned out at the front edge to replicate the actor's hairline. Thefinal product is a bespoke wig that fits the actor's hairline perfectly.
Hard Front Wig - Term used to describe a wig that has no lace front. A sewn seam replaces the lace thus creating a 'hard front'. This limits the type of hairstyles achievable. This type of wig ususally has a fringe to hide the hard front.
Machine made Wigs (Weft Wigs) - The wig foundation is made out of a stretchy, elasticised net producing a foundation that will stretch to fit many head sizes. Wefts of hair are sewn to the base in various patterns to produce a non-flexible style.
Weft - Term used to describe a length of weaving. A weft can be made by machine or by hand.
Ventilating - An Amerian term used for knotting
Cap - Term used to describe an area of a wig that has been knotted. Caps are used to recreate fringes, bangs, partings and crowns and can be inserted into a weft wig to give a more realistic finish to the styled wig.
Blocking a Lace Front Wig
Choose a wooden block that is closest to the size of the model's head place the template onto the block. Make sure to place it as it would be worn on the head, not at a different angle as this may distort the final wig. If necessary pad out the block to fit the template. Once fully attached draw the three lines for the foundation. Enusre that these are even and precisely drawn. Measure the distances between the segments at multiple points of the template. The overall template should mirror each side, creating an even finish. The foundation net layer should be 6-8cm back from the hairline on all sides. And the Caul net line should be a further 6-8cm back from that line.
First block the foundation net around the circumference bind (where the hat would sit on a head). To do this fold the net in half, noting the midpoint, unfold it and place the mid point at the front of the head. Pin this in place with points from front to nape, try to make sure there are no wrinkles as we do not want darts in this section. The foundation net should overlap to create a central seam at the centre of the nape.
Whip this central seam to itself, on both sides of the net. Cut the excess net off leaving a 1 cm seam around the nape, as far up to the ears on both sides of the head. Fold this seam under the net to the hairline and whip. Cut any excess off from the caul net area leaving a 1 cm excess to bind the two parts together.
Block the caul net onto the template making sure that the hexagons have a bar across that lies in the direction of the hair. Block this net at the North, South, East and West points and make darts in the net to make it sit close to the head. Make sure the darts are folded downwards so that when the wig is finished and the hair is dressed they do not stand against the direction brush stroke. Cut away any excess leaving enough to make sure there can be a double seam for security and whip both of these edges together.
Position the lace so that there are no darts on the hairline and none immediately in front of the hairline. Point the lace at North, South, East and West points. Fold any excess darts downwards or away from the parting behind the hairline. Point down excess lace at the front of the wig, making sure not to go near the actual hairline as the lace may rip or tear. Whip a double seam along the joining line between the lace and the foundation net.
If there will be a parting in the wig, the model's hair must be parted in the desired place and then drawn over for the template. The foundation net, must then cater for this parting, by creating an indent in the template, with more lace so that the scalp is seen underneath and the hairs look realistic knotted into the lace. This can be seen in the first photograph below.
These processes are all displayed in a visual format below for reference.
Ruskai.M and Lowery.A (2010) Wig Making and Styling: A complete Guide for Theatre and Film, United Kingdom; Focal Press (Pg 88)
Ruskai.M and Lowery.A (2010) Wig Making and Styling: A complete Guide for Theatre and Film, United Kingdom; Focal Press (Pg 89)
Ruskai.M and Lowery.A (2010) Wig Making and Styling: A complete Guide for Theatre and Film, United Kingdom; Focal Press (Pg 89)
An important thing to consider is the seams and edges, as described in this segment found in Wig Making and Styling the netting should overlap in order to create two whipping lines in case one breaks, the other will hold. It also notes about the fraying of the material, which happens after time, therefore paying attention to the type of net that is needed at the beginning of the process may save a lot of time and money. The use of such materials is talked about in this image. The process of creating a wig must be thought out before beginning the process in order that the final result be successful.
This image from Patsy Baker's Wigs and Makeup book displays another style of construction for a wig. It does not have crcular bands going around the head, instead it uses the majority of the space with caul net and darts inplace to make it smooth. Only using foundation netting at the hairline around the back of the head and lace at the very front hairline. This proves that there are many ways in which a wig can be constructed, showing that there is not one correct way, allowing for the possiblity of alternate methodologies. This highlights the importance of research as it may open different methodologies that were previously unthought of that create a similar or better effect.
Baker.P (1993) Wigs and make-up for theatre, television and film, Focal Press (Page 117)
Construction of a Wig
Here are the photographs noting the process of creating my own wig foundation, the process was not particularly effecitve, however it taught me a lot as to what not to do in the construction of a wig. Therefore I learnt more that I would have if it had been correct first time around. -
To understand the use of wigs within film and television I looked at examples of hair work is various productions. Below I have shown some images from productions that display excellent use of hair pieces and wigs to create the character as seen on screen. There are varying examples below of different wigs and hair pieces all of which make a very big physical difference to the actors and actresses that wear these hair peices.
Fansided (2014) Michele Clapton and Kevin Alexander Detail Royal Wedding, Costumes and Hairtyles [Online Image] Available From: http://winteriscoming.net/2014/04/16/michele-clapton-kevin-alexander-detail-royal-wedding-costumes-hairstyles/ Date Accessed: 5/03/2015
PopSugar (n.d.) Lena Headey as Cerci Lannister [Online Image] Available From: http://www.popsugar.com/entertainment/photo-gallery/21694311/image/21694341/Lena-Headey-Cersei-Lannister-Game-ThronesDate Accessed: 5/03/2015
Fashion Cloud (n.d.) Game of Thrones Emilia Clarke Hair [Online Image] Available From: http://fashions-cloud.com/pages/g/game-of-thrones-emilia-clarke-hair/ Date Accessed: 5/03/2015
Orphan Black is a television series in which one actress plays multiple characters. This therefore requires multiple changes in physical aesthetics. meaning that there needs to be complete changes in appearance for the effect to work and be impressive. I have displayed photographs of the main characters and their appearances. The photograph at the very bottom displays another of the characters in the makeup studio and some of the wigs in the background of the picture. This gives an insight into the environment on set and the wigs that are used to create the final looks.
This first image displaying the character Alison uses a small hairpiece to create the fringe. This is attached into the hair to create a seemless transition from the actress's hair to the piece. Alison is a soccer mum therefore the hair must represent her personality. This is important to consider when making a difference in hairstyle. Sometimes the smaller, natural pieces make a very big difference.
This second photograph shows the character Cosima who has a very unique hairstyle with dreadlocks. To create this look the artists had to be inventive wih the approach as the actress could not have genuine dreadlocks for practical and personal reasons. Therefore to reate the look they attached a 'cage with hair on it' to the back of her head. It creates the height and texture of the hair mimicking the style of dreadlocks. From my own personal analysis it looks as though the artists have twisted the hair at the front of the head tightly to create the rows of dreadlocks this then fades into the wig with the dreadlock extensions. These dreadlock extensions can be seen in the bottom photo of the studio.
The third look is a full wig that is used to create the effect. It goes over the actress's wrapped hair. The hair has been cleverly thought out, from the intentional roots on the hair as if it has been badly dyed by the character. I think this wig makes the most effect, with a very wiry effect.
This final look of the main character is the most simple, ithas a distressed look with a natural wave. However her style has changed a lot since the first appearnce on the television show. In the beginning of the series she has blonde dyed sections of hair. The actress cut her hair later in the shows history therefore requiring extensions to create the length that is seen in the character. This is relatively simple using wefts which attach into the hair.
Overall this shows how the difference in hair can create very vast differences in apperance. These hair changes have all been created using a variety of techniques and produce varying results all of which work particularly well to represent the personality of the character. It goes to show how much of a difference hair work can make.
I recently went on a trip to the Warner Brothers Harry Potter Studio Tour during the tour I noticed a large amount of the wigs that were used throughout the series for a variety of characters. Here I have displayed said wigs and hair pieces. A lot of these are full head wigs, in which the actors ad actresses will have had their hair wrapped very tightly to the head so as to reduce the distortion of the head shape after the wig is applied. These wigs have been created with lace at the front so as to hide the hairline, due to the high quality of the filming process used on the harry potter series even the smallest of details would be noticed therefore the lace has to be unnoticeable.
For Game of Thrones there are many different wigs used for various characters I have displayed three below. These women all have very different hair in real life. The first has dark brown long hair, the second short dark brown hair and the third long blonde hair with one half of the head shaven off.
To create the first wig the actress has corn rows applied to her hair in order to get a very flat tight finish that would mean no distortion in the head shape. This makes a very imressive difference in the hairstyle. This wig has been created to have an invisible front lace so that the HD cameras do not pick up the wig lace.
This wig is very impressive as the actress has completely different hairstyle in real life. I order to create this hairstyle the way the hair must've been wrapped up so that the actress's real parting is seen through the wig. This is a very impressive wig as the hair is exceedlingly long with a light colour. The way in which all of the wigs have been styled also shows the impressive effect of these wigs.
This wig is displaying the wig on the future queen at the royal wedding, therefore it has a very impressive and powerful structure to the hair. Hair designer Kevin Alexander said that he was inspired by a waerfall for the look. He used a five-inch tall cage to raise the hair at the back of the wig. Similar to the other hairstyles the actress's real hair was braided tightly to the head. The cage was covered in extra hair which was all then curled. The whole process took two hours to apply to the actress. Overall these wigs are very impressive, with minute details to make the overall effect very impressive and realistic.