Makeup Artist

Rick Baker on the use of prosthetics in makeup

Rick Baker on the "club" of special makeup effects people, and competition among them

Rick Baker on choosing his projects

Rick Baker on advice to an aspiring special effects makeup artist

Tommy Cole on various aspects of his career

Eryn Krueger Mekash on starting to do effects makeup as a child, loving Halloween, and doing makeup for her Halloween costumes

Eryn Krueger Mekash on An American Werewolf in London, the video for "Thriller," and movies solidifying her desire to work in makeup

Eryn Krueger Mekash on attending Sandy Burman's makeup effects school, and how that led to her first job in the industry -- working for John Buechler

Eryn Krueger Mekash on the life-casting process, making foam prosthetics, and appliances

Eryn Krueger Mekash on her role as makeup designer on American Horror Story and how the visual effects and practical effects teams worked together

Eryn Krueger Mekash on assembling her team for American Horror Story

Eryn Krueger Mekash on how closely she works with the hair department

Eryn Krueger Mekash on how the COVID-19 pandemic impacted makeup for television and what the then-current production conditions were like

Eryn Krueger Mekash on her favorite part of doing makeup for the screen

Eryn Krueger Mekash on the role of a makeup artist

Eryn Krueger Mekash on how involved she is with network testing

Eryn Krueger Mekash on working with various complexions and skin tones

Eryn Krueger Mekash on how makeup for television has changed since she first started in the industry

Eryn Krueger Mekash on advice to an aspiring makeup artist

Howard Smit on the challenges of doing makeup on early television

Howard Smit on the process of corrective beauty makeup

Howard Smit on sharing information with other makeup artists

Howard Smit on creating fake blood for television and movies

Howard Smit on the process of aging actors and using various prosthetics on them

Howard Smit on helping improve working conditions for hair stylists and makeup artists as president of the union

Howard Smit on doing freelance work as a makeup artist

Howard Smit on dealing with continuity in makeup

Howard Smit on the makeup artist dealing with different skin tones and ethnicities

Howard Smit on the most important developments in television makeup, and on technological innovations in the medium

Dick Smith on the book that changed his life

Dick Smith on giving up the idea of becoming a dentist to become a makeup artist

Dick Smith on standard makeup tools for television in the 1940s

Dick Smith on the tools of the makeup artist in the very early days of television

Dick Smith on creating makeup and appliances for color television

Michael Westmore on his makeup apprenticeship at Universal Studios

Michael Westmore on how prosthetics have changed over the years

Michael Westmore on fitting actors with prosthetics and difficulties if actors are claustrophobic

Michael Westmore on his style as a makeup artist

Michael Westmore on advice to aspiring makeup artists

Louie Zakarian on being self-taught as a makeup artist and how he learned about makeup from books, magazines, and testing on himself

Louie Zakarian on his creative process doing makeup for Saturday Night Live

Louie Zakarian on the challenge of bald caps, particularly on Saturday Night Live, which is so fast paced

Louie Zakarian on figuring out how to complete an extremely quick change into Cleopatra makeup for a sketch on Saturday Night Live

Louie Zakarian on advice for aspiring makeup artists