|
Basics You Should Expect When Considering Makeup Artist For Funerals
The job of mortuary makeup artists requires a high level of expertise. The best in the field are the ones who are able to perform all the duties of the position. This is an individual with a great deal of artistic skill as well as a high level of integrity and ethics. We have all often heard people exclaim how the deceased looked "better than ever" or "just as they remembered". This is not a fortunate coincidence, but rather the work of a well trained artist.
It is quite amazing that a person can be made up in death to look as they did while living, especially by an individual who did not know them. How this is done is the family member will give a photo to the funeral director, and the artist will recreate what he or she sees.
Many loved ones prefer to see their departed family member on friend one last time before they are laid to rest. It is especially so when the person is young, or has died unexpectedly. Often this means they have been in a serious accident or experienced a lengthy illness. Needless to say, no one needs to be exposed to such tragedy first hand. This is where the artist comes in.
Many surprising supplies are used by makeup artists who work with the deceased. Keep in mind, the purpose of the makeup is to make the individual look as much like they did when alive as possible. This primarily is for the survivors, not the deceased. Wire, cardboard, plaster of Paris are just a few common materials that may be used. There are others as well, that are used as the situation requires.
The type of makeup women use every day can not be used on a deceased person. This requires the warmth of living skin in order to spread evenly and look natural. Instead a special blend is used that will not lump and cake up. Non-thermogenic makeup is a bit more like a paint of sorts.
What a wonderful gift mortuary beauticians give to our loved ones. It is the final care these people will receive on this earth, and their families very much appreciate it.
|
|
