St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1892-01-03
lear water, AMIR dry by patting, not

clear water, amt dry by patting, not
|. Wlping, with a soft towel.
In mixing paints each tint, of course.
is kept separate. Small butter plates
do admirably to hold them. For red,
make the cream. stiff with powdered
:arnine to make the mass brilliant.
For blonde flesh tint use more white
powder, with red enough to give pink
tInge. and very little yellow Ochre.
For brunette, put little more yellow
and red, with suspicion of burnt UNI
Der. For Jap or Chinaman, use the
yellow and brown, with but trace of
red. For an Indian, use red and brown,
with very little yellow. Make gray
paint. for shadows and old faces, with
ivory black or lamp black. mixed with
violet powder. For the gray blue Of a
bruiSe. or long beard, add a tone of
Prussian blue. For black, take either
ivory or lamp black. Make also red
flesh tint by adding rouge to the mix
ture first made, and you have the ist of
indispensables, though several tones of
gray and brown will not be amlss. The
pigments should be in dry powder, md
in that form a little is to be busted over
the complexion as q finishing touch.
Take care IN the beginning not to
touch with the cold cream any place
that is to have hair applied, as eye
brows, upper lip and so on. 1t is bet
ter, of course, to buy wigs, boards and
the like ready for use. The clever
amateur, though, may sew wool or moss
or hair upon cloth, paste it on with
spirit gum and md it answers his pur-
pose. 10 fit wig, measure from ear to
ear, from temple to temple, and around
the head from forehead to nape. Make
the foundation to correspond and cover
it as BELTS the character.
For eyebrows, muStacheS or WhiSkerS,
the best thing is the crepe hair sold in
the shops.
1t is not costly. and by help of spirit
glue can be used just where and how
yOu will.
To Obliterate hair or eyebrows paste
them down with beeswax, sOftentd with
sweet oil, and paint them over heavily.
With pains and patience even a promis-
ing mustache may be preserved, yet it's
owner look and act the lady to perfec-
ton.
To make up youthful face, first rub
all over with the blonde flesh color.
Rouge the cheeks well. putting the
color just under the eye. Do not make
it too deep. Indeed, moderation IS the
amateurs golden rule. Remember al
ways that you have not the depths and
distances of the stage to soften and
shadow your colorS. Be sure the rouge
blends we'll with the face tint, and that
it does not come too low. Make the
lips delicately brilliant with carmine
rouge, and shadow the upper and lower
eyelids family with purplish gray
tint. If the eye needs charging, draw
dark line along either lid and let it
end beyond the corner. You will be
amazed to see how it brings Gut the
liquid brilliance that makes no small
part of youths beaute du diable.
A mature face takes the dark flesh
tintless, but lower rouging, and in
place of lash-lines, crow-feet and
wrinkles on brow and at base of the
nose. Paint them in with rouge
and burnt umber, using the finest
camePS hair pencil.
If feature is to be exaggerated to
groteSqueneSs, nose putty comes into
play. A fair substitute is soft dough
either of course is applied), moulded to
shape, then painted over. 1t is posi-
bic, though, to make the apparent size
much greater by painting it several
shades lighter than the rest of the face.
COntrariwSe long nose or chin can
be shaded down with a darker flesh
tint, mixed with a very light grey. A
little practice before the glass will
teach you more than volume as to the
possibilities of shading with this com
bination. A touch here or there; you
are fat. lean, mirthful, sorrowful. For
the wrinkles and emaciation of old age,
darken the mixture with burnt lumber.
For an old face paint the lips sort of
an ashy blue, with parentheses of deep
wrinkles. A hale old man should be
slightly slightly-rouged, putting
the color low and giving it yellowish
cast.
Make sina lstoa y. n round, staring