Make Up Standards

The Sector Skills Council for the Audio Visual Industries
NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

DESIGN/PREPARATION HM1 HM2 HM3 HM4 PREPARE TO CHANGE THE PERFORMERS APPEARANCE CREATE AND AGREE ORIGINAL DESIGN WITHIN HAIR AND/OR MAKE-UP5 FINALISE THE DESIGN WITHIN HAIR AND/OR MAKE-UP CONTRIBUTE TO THE DESIGN PROCESS AND ACQUIRE RESOURCES FOR HAIR AND/OR MAKE-UP WORK RESEARCH HM5 RESEARCH THE CREATIVE ASPECTS OF THE DESIGN CONCEPT CHANGE THE PERFORMERS APPEARANCE HM6 HM7 HM8 HM9 HM10 HM11 HM12 APPLY MAKE-UP TO CHANGE THE PERFORMERS APPEARANCE APPLY SPECIAL EFFECTS TO CHANGE THE PERFORMERS APPEARANCE PREPARE,APPLY, REMOVE AND CLEAN FACIAL HAIR TO CHANGE THE PERFORMERS APPEARANCE PREPARE AND APPLY WIGS AND HAIR PIECES TO CHANGE THE PERFORMERS APPEARANCE APPLY TECHNIQUES TO PERFORMERS HAIR TO CREATE DIFFERENT APPEARANCES OVERSEE FITTINGS FOR WIGS AND FACIAL HAIR APPLY AND WORK WITH HAIR EXTENSION PROSTHETICS HM13 HM14 HM15 HM16 PART CAST AND MAKE SMALL PROSTHETIC PIECES AND BALD CAPS APPLY, MAINTAIN AND REMOVE PROSTHETIC PIECES AND BALD CAPS PRODUCE ORIGINAL LIFECASTS FOR PROSTHETIC PIECES CREATE PROSTHETICS RESOURCES HM17 HM18 MAKE PURCHASES FOR HAIR AND/OR MAKE-UP ACQUIRE RESOURCES TO MEET DESIGN REQUIREMENTS CONTINUITY HM19 HM20 ASSIST WITH THE CONTINUITY OF THE PERFORMERS APPEARANCE MAINTAIN CONTINUITY OF PERFORMERS HAIR AND/OR MAKE-UP ON THE PRODUCTION CONTRACTS HM21 AGREE CONTRACTS FOR HAIR AND/OR MAKE-UP WORK 43 39 41 35 37 27 29 31 33 13 15 17 19 21 23 25 11 3 5 7 9
SKILLSET DECEMBER 2005

TRAINING F2 FACILITATE AND MANAGE TRAINEES H&S X2 X3 X4 ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY CONDUCT AN ASSESSMENT OF RISKS IN THE WORKPLACE DEVELOP PROCEDURES TO CONTROL RISKS TO HEALTH AND SAFETY FREELANCE F1 MANAGE AND MARKET YOURSELF AS A FREELANCER WORKING RELATIONSHIPS/CO-ORDINATION X1 F3 CONTRIBUTE TO GOOD WORKING RELATIONSHIPS CO-ORDINATE THE DESIGN TEAM AND PERFORMERS 56 59 53 47 49 51 45

HM1 PREPARE TO CHANGE THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit outlines the preparation methods undertaken to alter the performers appearance safely, hygienically and in accordance with the requirements of the production. It is about your ability to organise and arrange workstations, materials and equipment for easy access by all users. It also involves ensuring that workstations are hygienic and tidy and that you use materials and equipment safely. It also involves advising performers of any possible discomfort that the change of appearance may cause. You should invite and encourage such questions from performers. f) how to identify and avoid: This Unit could be applicable to all roles, but is most applicable to the role of assistant. adverse hair and/or skin reaction personal discomfort for performers g) what is the appropriate action to take in the event of: potential infection adverse hair and/or skin reaction personal discomfort for performers h) safe and hygienic methods to store, handle and dispose of: make up and/or hair equipment tools equipment hazardous substances i) how to explain hair and/or make up procedures to performers and invite their questions j) health and safety legislation applicable to make up and / or hair equipment and hazardous substances. potential infection KNOWLEDGE AND UNDERSTANDING this is what you must know a) the basic make up and/or hair work materials and equipment required for the workstation and on set kit b) how to prepare and organise work stations, materials and equipment for easy access for all users throughout the make up and/or hair process c) where and how to obtain make up and/or hair materials and equipment d) hygiene and cleaning requirements for make up and/or hair materials and equipment e) personal hygiene requirements

HM1 PREPARE TO CHANGE THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. prepare and organise work stations, materials and equipment to ensure easy access and use throughout the make up and/or hair process 2. maintain a satisfactory level of personal dress and hygiene to avoid transmitting infection to performers 3. keep workstation materials, equipment and on-set kit fully stocked, tidy and hygienic throughout the production and in all working environments 4. clean make up and/or hair materials using approved cleaning materials and methods 5. label material containers clearly with complete information necessary for safe use. 6. handle, store and dispose of the following in a safe and hygienic manner: make up and/or hair materials tools equipment hazardous substances 7. recognise infectious or contagious skin and/or hair conditions that could contaminate make up and/or hair materials and equipment 8. deal with contamination of make up and/or hair materials and equipment effectively and take the necessary steps to avoid passing on infection to other performers 10. be ready to answer questions about the make up and /or hair processes which performers will undergo 9. advise performers about: potential adverse reactions or discomfort that could be caused by make up and/or hair processes steps that will be taken to minimise the possibility of adverse reactions or discomfort

HM2 CREATE AND AGREE ORIGINAL DESIGN WITHIN HAIR AND/OR MAKE-UP
UNIT OVERVIEW This unit measures your ability to produce and finalise the design for production within the field of hair and/or make-up. d) the type and scale of the production It involves identifying the numbers of characters and their look from the script. It entails recognising when special requirements and effects are required to produce the design. It is about estimating the preparation time and resources needed and discussing ideas for the design with the director. It involves changing the design when this is necessary to accommodate the directors ideas and agreeing compromises about the design. This unit is most applicable to the designer role i) how to produce initial design ideas which are consistent with the script and sensitive to its characterisation j) how to present your design ideas to decision makers both on a one-to-one basis and at meetings k) how and when to compromise by changing your ideas to accommodate the directors concepts and the constraints of the production l) how to accurately note the agreed design ideas h) whether special make up, hair design or special effects are required e) the creative preferences and prejudices of the director f) how to interpret the look and social background of each character accurately g) the effect that story time may have upon the look of the character KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to undertake a script breakdown b) time constraints within the production schedule c) the budget at your disposal
m) how to negotiate budgets and timescales for your work and with whom n) how to clearly explain the time and budget implications of the agreed design with management

HM2 CREATE AND AGREE ORIGINAL DESIGN WITHIN HAIR AND/OR MAKE-UP
PERFORMANCE STATEMENTS this is what you must be able to do 1. accurately break down the script to identify the number of characters or performers for whom hair and/or make-up design is required 2. evaluate the directors suggestions and ideas for the design and consider the creative preferences and prejudices of the director 3. analyse scripts to identify the hair and/or make-up requirements 4. interpret the look and social background of each character accurately 5. identify whether time affects the look of the character at the beginning and as the story unfolds 6. accurately establish whether there are requirements for special hair and/or make-up design and special effects 7. produce initial design ideas which are consistent with the script and sensitive to its characterisation 8. determine the scale and type of production you are working on and its overall visual style 9. realistically estimate the amount of preparation time, budget and resources required for the type of production you are working on 10. accurately confirm the amount of preparation time and the budget available for hair and/or make-up design 11. present your design ideas to decision makers both on a one-to-one basis and at meetings 14. note accurately the design idea which you finally agree with the director 15. negotiate and agree budgets and timescales and encourage directors to agree to ideas which are within budget and are logistically feasible 12. change your ideas, when necessary, to accommodate the directors concepts and the constraints of the production 13. clearly explain the time and budget implications of the agreed design with those with overall responsibility

HM3 FINALISE THE DESIGN WITHIN HAIR AND/OR MAKE-UP
UNIT OVERVIEW This unit measures your ability to agree and complete the design within the field of hair and/or make-up. It involves explaining the design to members of the production team and finding solutions to problems identified during the research for the production. It is about making sure that the design works with the creative and technical look of the production. It involves planning and communicating your hair and/or make-up requirements, including creating production documents in conjunction with production management. Finally it involves finalising your expenditure and expenses records This unit is most applicable to the designer role. g) how to produce accurate call times for performers h) how to work effectively to a plan where the shooting schedule is inexact or non-existent i) how to agree changes and consider their implications with the hair and/or make-up team and other relevant department j) those with responsibilities to approve budgets f) how to confirm the location and availability of facilities required e) required deadlines and when extra staff, facilities and resources are needed KNOWLEDGE AND UNDERSTANDING this is what you must know a) the creative preferences and prejudices of the director and performers b) the scale and type of production you are working on and its overall visual style c) problem solving techniques for creative, logistical and technical problems d) how to communicate hair and/or make-up requirements,
k) the importance of finalising expenditure and expenses with appropriate persons

HM3 FINALISE THE DESIGN WITHIN HAIR AND/OR MAKE-UP
PERFORMANCE STATEMENTS this is what you must be able to do 1. ensure, in conjunction with the creative and technical production team that the hair and/or make-up design concept contributes to the production 2. take into account the scale and type of production you are working on, its overall visual style as well as the creative preferences and prejudices of the director and performers 3. develop your own documentation to create a realistic plan, when the shooting schedule is inexact or non-existent 4. agree changes and consider their implications with the hair and/or make-up team and other relevant department 5. discuss with others and use research to find solutions to supply, logistical, creative or technical problems 6. ensure solutions have been found for supply, creative, logistical and technical problems that arise during implementation of the agreed hair and/or make-up design 7. specify clearly and promptly if your assessment is that extra staff, facilities and resources are needed 8. produce accurate call times for performers to allow for finalisation of hair and/or make-up with assistance from others 9. complete your records and documentation on expenditure and expenses to hand over to the appropriate person

HM4 CONTRIBUTE TO THE DESIGN PROCESS AND ACQUIRE RESOURCES FOR HAIR AND/OR MAKE UP WORK
UNIT OVERVIEW This unit measures your ability to contribute to the design process and obtain resources for hair and/or make-up. It involves selecting materials and equipment that suits the needs of a production and personal kit for this type of work. e) methods to record and store research information It is about finding suppliers who can provide materials and equipment and negotiating with suppliers for the provision of materials and equipment. It involves making sure that you keep accurate records of the materials and equipment you obtain. This unit is most applicable to the Artist role. f) the materials and equipment that are required and criteria to take into account when evaluating suppliers including the required: quality quantity type cost time schedule health and safety regulations applicable to hair and/or make-up work g) the budget at your disposal and who is the relevant person(s) to sanction expenditure h) how to negotiate and agree terms and conditions with suppliers for the supply or hire of materials and equipment i) documentation required for the supply of materials and equipment j) methods for keeping and filing documentation for materials and equipment obtained for such work k) how to deal with problematic time scales and suppliers promptly and effectively for future reference KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) time constraints of the production schedule c) the importance of clarifying roles and responsibilities with hair designer and production colleagues d) how to source supplier details

HM4 CONTRIBUTE TO THE DESIGN PROCESS AND ACQUIRE RESOURCES FOR HAIR AND/OR MAKE UP WORK
PERFORMANCE STATEMENTS this is what you must be able to do 1. agree the requirements of the design brief with the designer and production colleagues 2. agree roles and responsibilities with the designer and production colleagues 3. make contributions to the design, and use initiative to promote the smooth running of the design process 4. research different suppliers to enable effective choice of materials and equipment 5. record and store research information for future reference 6. ensure that potential suppliers understand the purpose of materials and equipment and are able to advise appropriately 7. ensure that selected suppliers are able to supply the appropriate materials and equipment for the work to meet your requirements 8. ensure that selection and cost of materials and equipment is sanctioned by production sources where appropriate 9. negotiate and agree terms and conditions with suppliers for the supply or hire of materials and equipment 10. prepare clear and specific documentation for the supply of materials and equipment for work 11. keep and file documentation for materials and equipment obtained for hair and/or make-up work 12. deal with supply delays promptly and effectively
10

HM5 RESEARCH CREATIVE ASPECTS OF THE DESIGN CONCEPT
UNIT OVERVIEW This unit measures your ability to examine the creative elements of the design concept. It involves researching the period of the story and any special requirements, including the creative aspects of the design. It is about obtaining ideas about the characters look from performers. It entails ascertaining whether hirers, makers or retailers can supply the design concept within the budget and by the deadlines. It includes finding out whether the staff and facilities you require are available. This Unit could be applicable to several roles, but is most applicable to the Artist or Designer role f) how to interpret the information collected sensitively and consistently with the original design idea agreed with the director g) how to judge whether you have enough reliable information to make creative decisions h) the creative preferences and prejudices of the director and performers i) j) potential suppliers at your disposal how to ensure that there are sufficient staff with the necessary skills to fulfil the design concept k) whether special hair and/or make-up requirements and special effects are needed l) what action to take in the event of shortfalls in the quantity and quality of materials, staff or facilities e) the time period in which the production is set and the hair and/or make-up implications of this KNOWLEDGE AND UNDERSTANDING this is what you must know a) the original design concept b) time constraints within the production schedule c) the budget at your disposal d) the scale and type of the production
11

HM5 RESEARCH CREATIVE ASPECTS OF THE DESIGN CONCEPT
PERFORMANCE STATEMENTS this is what you must be able to do 1. access all the sources you need to research the creative aspects of the design based on the original design concept 2. ensure that sufficient information about the period of the production and hair and/or make-up requirements are collated to make creative design decisions 3. search for alternatives when initial sources do not provide enough reliable information 4. encourage performers to explain their ideas about the character and how it will be played 5. interpret the information collected sensitively and consistently with the original design idea agreed with the director 6. judge whether you have enough reliable information to make creative decisions 7. consider the creative preferences and prejudices of the director and performers 8. ensure that any changes to the original design concept are agreed with the director, when these are justified by the results of the research 9. the scale and type of production you are working on and its overall visual style 10. assess whether the facilities for hair and/or make-up are sufficient and of the quality and quantity required to fulfil the design concept 11. determine the special hair and/or make-up requirements and special effects are needed 12. find alternative sources of supply when current suppliers cannot meet your requirements 13. manage shortfalls in the quantity and quality of materials, staff or facilities in the best way feasible 14. find alternatives, or if this is not possible, modify facilities when what is provided is inadequate
12

HM6 APPLY MAKE UP TO CHANGE THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit measures your ability to alter the performers appearance using make up. It involves making sure that the performer is comfortable and fully informed about the particular make up process. It is about checking that make up is compatible with the performers skin, taking action if there is an adverse skin reaction and applying the selected make up to achieve the desired effect on camera. e) how to explain the make up process to performers f) the types of make up available for your use and their suitability g) how to test for adverse skin reactions h) what actions to take where make up: deteriorates causes adverse skin reactions i) the correct sequence and techniques for make-up application j) how to remove make up as required KNOWLEDGE AND UNDERSTANDING this is what you must know a) the design requirements as communicated to you by the relevant person(s) b) the time constraints of the production schedule c) heath and safety requirements for make-up application d) how to minimise personal discomfort to performers
13

HM6 APPLY MAKE UP TO CHANGE THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. clarify and agree the design requirements with the relevant person(s) 2. position performers in the most appropriate position to minimise personal discomfort 3. evaluate the types of make up best suited to different shooting conditions and make your selection accordingly 4. check that the selected make up is compatible with performers skin type and test for potential adverse skin reactions 5. apply selected make up using the appropriate sequence and techniques as stipulated by the design requirements and the relevant person(s) 6. take appropriate action where make up: causes adverse skin reactions deteriorates 7. ensure that the finished make up achieves the design criteria on camera 8. complete make up in accordance with the production schedule 9. ensure that performers make up is removed as required
14

HM7 APPLY SPECIAL EFFECTS TO CHANGE THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit measures your ability to apply special effects make up and bald caps to alter performers appearance. It involves carrying out the necessary tests to check for harmful skin and scalp reactions and ensuring that performers are comfortable during the application process. It is about assessing whether different skin and scalp types are well suited to the special effects make up materials and bald caps intended for use It involves taking the appropriate action when special effects make up or bald caps disintegrate under shooting conditions and considering the appropriate health and safety regulations. g) how to apply bald caps to the correct fit, texture This unit could be applicable to all roles, but is most applicable to the role of an Assistant h) the techniques of airbrushing and how to apply it to skin and manmade fabrics i) j) make up application techniques the on camera requirements of the design specification k) how to remove the special effects make up and bald caps carefully to reduce performers discomfort l) health and safety requirements applicable to the application of special effects make up and bald caps and tension cause adverse skin reactions e) appropriate methods of skin and scalp preparation f) different shooting conditions and how this can affect special effects make up and bald caps KNOWLEDGE AND UNDERSTANDING this is what you must know a) the design requirements as communicated to you by the relevant person(s) b) the time constraints of the production schedule c) how to test for adverse skin and scalp reactions d) what actions to take where special effects make-up or bald caps: deteriorate
15

HM7 APPLY SPECIAL EFFECTS TO CHANGE THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. position performers appropriately for special effects application to minimise personal discomfort 2. inform performers fully of the special effects application stages and invite their questions 3. test special effects to be applied to performers skin and scalp for adverse reactions 4. prepare the skin and scalp appropriately for the type of contact material used 5. ensure that the special effects make up and bald caps are sustained under different shooting conditions 6. take appropriate action in the eventuality that special effects: cause adverse skin or scalp reactions disintegrate under different shooting conditions 7. prepare hair and scalp for the fitting of bald caps 8. apply bald caps ensuring that the fit, tension and texture is correct as advised by the relevant person 9. airbrush skin caps to the required colour and skin tone 10. airbrush other skin areas to the required colour and skin tone 11. apply selected special effects make up in the appropriate sequence, using appropriate techniques as advised by the relevant person(s) 12. ensure that finished special effects attain the design criteria on camera 13. remove the special effects make up and bald caps carefully to reduce performers discomfort
16

HM8 PREPARE, APPLY, REMOVE AND CLEAN FACIAL HAIR TO CHANGE THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit measures your ability to use facial hair to change performers appearances. It involves applying, fixing and dressing the facial hair to achieve the required design and the desired effect on camera. It involves ensuring that performers are comfortable and fully informed about the application and fixing of the facial hair. It is about selecting adhesives, which are skin compatible, preparing skin and taking action if there is an adverse skin reaction. This unit could be applicable to all roles, but is most applicable to the role of assistant f) what action to take in the event of an adverse skin reaction g) the criteria to consider when selecting facial hair, material and adhesives h) the on camera requirements of the design specification i) j) how to maintain facial hair the different dressing techniques required for false and human hair k) how to block and dress facial hair to meet the design requirements l) how to remove facial hair safely KNOWLEDGE AND UNDERSTANDING this is what you must know a) the design requirements as communicated to you by the relevant person(s) b) the time constraints within the production schedule c) the health and safety requirements of facial hair application and removal d) the application and fixing process of loose and facial hair e) how to complete skin tests
m) where and how to store facial hair n) how to maintain tools and equipment
17

HM8 PREPARE, APPLY, REMOVE AND CLEAN FACIAL HAIR TO CHANGE THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. clearly and fully inform performers of the process of applying and fixing facial hair and ensure they are positioned comfortably 2. test performers skin for potential adverse reactions to : adhesives removers facial hair 3. take immediate, appropriate action if the skin adhesive causes harmful skin reactions 4. select the facial hair that you will use with regard to the: performers skin type need for durability potential effects on facial hair caused by conditions during shooting dressing techniques required effects of styling and finishing products upon facial hair look required 5. select the types of adhesives to fix facial hair whilst having regard to: potential adverse skin effects the required mobility and security of facial hair 6. block and dress facial hair to meet the design requirements and the type of facial hair used 7. apply facial and loose hair in accordance with the requirements of the design brief 8. check with the relevant person(s) that facial and loose hair produces the desired effect on camera 9. ensure that loose and facial hair is safely removed, stored and maintained in the appropriate manner 10. keep facial hair, tools and equipment in good condition by using the appropriate cleaning methods and materials
18

HM9 PREPARE AND APPLY WIGS AND HAIR PIECES TO CHANGE THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit measures your ability to implement various methods and techniques to alter performers appearances using wigs and hairpieces. It involves explaining the application and fixing of wigs and hairpieces to performers. It is about positioning wigs and hairpieces to meet the design requirement and desired effect on camera. e) the required mobility and security of wigs and It involves ensuring that the wigs and hairpieces are clean and dry, as well as using tools and equipment to cut, set and dress wigs and hairpieces to achieve the required effect. This unit could be applicable to all roles, but is most applicable to the role of an assistant. f) how to clean, dry and set wigs and hairpieces g) the different cutting techniques required for false and human hair h) how to block or position wigs to meet the design requirements i) j) where and how to store wigs and hairpieces how to maintain tools and equipment hairpieces KNOWLEDGE AND UNDERSTANDING this is what you must know a) the fixing process of wigs and hairpieces b) how to complete skin tests and what action to take in the event of an adverse skin reaction c) the criteria to consider when selecting wigs and hairpieces d) the criteria to consider when selecting hair materials and adhesives
19

HM9 PREPARE AND APPLY WIGS AND HAIR PIECES TO CHANGE THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. clearly and fully inform performers of the process to fix wigs and hairpieces. 2. place performers in a comfortable position for wig and hair piece application that minimises disruption to others 3. test performers skin for potential adverse reactions to the following: adhesives removers wig hair 4. take appropriate action if the skin compatible adhesive causes harmful skin reactions 5. select the wigs and hairpieces that you will use having regard to the following: performers skin production schedule potential effects on wigs and hairpieces caused by shooting conditions cutting techniques required the effects of styling and finishing products upon wigs and hairpieces 6. select the appropriate types of hair materials and adhesives to fix wigs and hairpieces having regard to the following: potential adverse skin effects the required mobility and security of wigs and hairpieces 7. use correct methods, tools and materials to clean, dry, cut and set wigs and hairpieces prior to dressing 8. block or position wigs and hairpieces appropriately to meet the design requirements and the type of wig and hair piece used 9. ensure that wigs and hair pieces are correctly and safely removed 10. store wigs and hairpieces in the appropriate manner 11. maintain tools and equipment used to achieve the design
20

HM10 APPLY TECHNIQUES TO PERFORMERS HAIR TO CREATE DIFFERENT APPEARANCES
UNIT OVERVIEW This unit measures your ability to undertake various cutting, temporary colouring, setting and dressing methods to produce different appearances to performers hair. It involves making sure that performers are comfortable and fully informed about the process. It is about using the right tools, products and methods to cut, temporarily colour, set and dress hair and ensuring that the hairstyle is sustained under shooting conditions. It involves taking in to account the health and safety aspects when cutting, temporarily colouring, setting and dressing hair. This unit could be applicable to all roles, but most applicable to the role of assistant f) methods for cutting, setting, temporary colouring and dressing of hair g) how to handle and use different tools and products h) different styling, finishing products and techniques available to achieve the required design i) the importance of following instructions on how to sustain the finished style throughout all shooting conditions j) methods to maintain and keep tools and products clean and safe for use e) health and safety requirements applicable to the cutting, setting, temporary colouring and dressing techniques KNOWLEDGE AND UNDERSTANDING this is what you must know a) the design requirements as communicated to you by the relevant person(s) b) the time constraints within the production schedule c) how to complete skin tests d) what action to take in the event of an adverse skin reaction
21

HM10 APPLY TECHNIQUES TO PERFORMERS HAIR TO CREATE DIFFERENT APPEARANCES
PERFORMANCE STATEMENTS this is what you must be able to do 1. agree and select the cutting, setting, temporary colouring and dressing techniques to meet the design requirements with the relevant person(s) 2. agree and select with the relevant person the tools and products that will be needed to achieve the agreed look and effect 3. position performers appropriately for re-styling hair to minimise personal discomfort 4. test performers skin for potential adverse reactions to the products intended for use. 5. take immediate and appropriate action if adverse reactions are caused. 6. use appropriate methods to prepare hair for the techniques you have selected 7. implement techniques as agreed with the relevant person(s) using safe and approved methods 8. use styling and finishing techniques to achieve the look and design you were instructed to achieve 9. ensure the required hair style is sustained throughout shooting conditions 10. maintain tools and products for safety and hygiene purposes
22

HM11 OVERSEE FITTINGS FOR WIGS AND FACIAL HAIR
UNIT OVERVIEW This unit is about overseeing the fittings for wigs and facial hair as used in the production. It involves agreeing which performers will be wearing wigs and facial hair and ensuring that the style of wigs and facial hair is in accordance with the design requirements of the production. Having selected the style of wigs and facial hair, it involves obtaining the appropriate measurements of individual performers to calculate the dimensions required for the wig and facial hair. It also require that you abide within time and budgetary constraints whilst having regard to health and safety considerations. This unit could be applicable to all roles, but is most applicable to the Artist. f) how to access information to confirm the complexion and hair colouring of performers g) how to take measurements of the appropriate head and facial area and prepare a wig template h) how to record measurements and ensure that they are easily accessible to the relevant person(s) i) how to communicate clearly the design measurements and requirements to suppliers j) the appropriate fitting and cutting techniques the face and head shape of the performers who will be wearing wigs and facial hair KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) time and budgetary constraints to be applied to hair and/or make-up fittings and preparation c) the health and safety requirements of fitting and measuring wigs and facial hair d) the importance of checking with the performer about past allergies and other sensitivities e) factors to be considered when deciding on which wigs and facial hair to use including: the design requirements of the production
k) how to obtain a pattern of the performers beard growth if required
23

HM11 OVERSEE FITTINGS FOR WIGS AND FACIAL HAIR
PERFORMANCE STATEMENTS this is what you must be able to do 1. agree the key aspects of the design brief with the relevant person that impacts on your work 2. select the wigs and facial hair that you intend to use based on key criteria 3. fully inform the performers of the fitting and measurement process for wigs and facial hair and provide opportunities for questions 4. place performers in a comfortable position and which minimises disruption to others 5. obtain and record key measurements of the head and facial area to obtain a template 6. pass on accurately all the measurements and style requirements to those supplying the items required 7. ensure arrangements are made convenient to the performer for the trial fitting of the wig and facial hair 8. determine if the items fit in accordance with your measurements of the performer and whether some additional trimming will be required 9. undertake cutting or trimming as appropriate to achieve the desired effect 10. where appropriate, obtain a beard pattern from performers and record the details accurately
24

HM12 APPLY AND WORK WITH HAIR EXTENSIONS
UNIT OVERVIEW This unit measures your ability to implement various techniques to attach, maintain, colour and style hair extensions. It involves assessing the design requirements and considering which performers will require hair extensions. It is about evaluating performers hair and employing methods to attach hair extensions that will be safe and comfortable. It is also about maintaining the extensions for the period that they are required throughout the production and advising performers how to maintain them as appropriate. It also involves removing extensions safely and with the minimum of discomfort when they are no longer required. This Unit could be applicable to all roles, but is most applicable to the Artist. KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) time and budgetary constraints for the hair and/or make-up department c) the health and safety requirements of applying, maintaining, colouring and styling hair extensions d) the factors to bear in mind when selecting hair extensions including: if any of the performers original hair will remain visible the weight of the hair extensions the methods of attachment to employ the condition of the performers original hair and how this will affect the materials and methods that you can select e) identify potential adverse scalp reactions and action to take in the event of such a reaction f) the importance of checking with the performer about past allergies and other sensitivities g) the required mobility and security of the extensions h) the type of materials that you will be using for the extensions and how this will affect your colouring and styling products and techniques i) j) the appropriate methods for applying hair extensions how to colour and style hair extensions
k) methods of maintaining hair extensions l) how to remove extensions safely and carefully
25

HM12 APPLY AND WORK WITH HAIR EXTENSIONS
PERFORMANCE STATEMENTS this is what you must be able to do 1. discuss the contents of the design brief with the relevant person to establish the requirements for your work 2. select the hair extension materials and techniques that you will use based on key criteria 3. clearly and fully inform performers of the hair extension application process and invite their questions 4. place performers in a comfortable position that minimises disruption to others 5. prepare the performers hair and apply hair extensions securely with the minimum of discomfort to the performer 6. colour and style hair extensions to match requirements and with the minimum of discomfort to the performer 7. check that the hair extensions will be maintained for the time period for which they are required 8. advise the performer of any maintenance techniques that they will need to adhere to 9. ensure that the required look of the hair extensions is achieved throughout on camera 10. remove hair extensions safely and thoroughly with the minimum of discomfort to the performer
26

HM13 CAST AND MAKE SMALL PROSTHETIC PIECES AND BALD CAPS
UNIT OVERVIEW This unit involves creating bald caps and small prosthetic pieces such as facial parts, scars etc. As the process sometimes involves producing part casts to make such small prosthetics you will be required to show you can part cast. It is recognised that some pieces can be created without requiring a cast to be taken and you will also need to show you can make those, too. It also involves creating a pattern to fit the individual performers head shape to produce a bald cap. Finally, it also involves treating the performer with care and ensuring they are made as comfortable as possible during the process. This unit could be applicable to several roles, but is most applicable to the Artist e) the following processes for creating small prosthetic pieces: preparation techniques casting and removal procedures emergency procedures positioning of joining sections trimming and marking of the positive impression f) how to obtain replication of the performers features without defects or distortion of the cast g) the appropriate techniques, materials and methods to create sculptures and moulds h) the appropriate techniques, materials and methods to create small prosthetic pieces that do not i) require the use of casting, sculpting or moulding procedures before their application how to ensure that the sculpture and mould meets all technical requirements to enable the satisfactory production of the finished prosthetic appliance c) health and safety requirements applicable to part casting and making small prosthetic pieces and bald caps d) the importance of checking if the performer has a history of allergies and other sensitivities KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) the timescale and budget at your disposal
j)
k) how to remove the cast safely and restore the performers skin and hair to its original condition l) how to make a pattern to fit the individual head shape of the performer
m) how to transfer the pattern to a head block n) the appropriate techniques, materials and methods to create bald caps
27

HM13 CAST AND MAKE SMALL PROSTHETIC PIECES AND BALD CAPS
PERFORMANCE STATEMENTS this is what you must be able to do 1. confirm whether the performer has any medical condition that could preclude them from having a cast taken, 2. obtain medical advice and other supervision permission where necessary 3. ensure that the performers skin, hair, facial hair and clothing are suitably prepared 4. position the performer to minimise personal discomfort 5. explain the preparation, casting and removal techniques to the performer and provide opportunities for questions 6. ensure the performer is clear on what to do if an emergency arises during the process 7. obtain replication of the performers features without defects or distortion of the cast 8. remove the cast safely and restore the performers skin and hair to its original condition 9. employ the appropriate techniques, materials and methods to create sculptures and moulds 10. use the appropriate technique, materials and methods to create small prosthetic pieces that can be applied directly to the performer 11. ensure that the sculpture and mould meets all technical requirements to enable the satisfactory production of the finished prosthetic piece 12. make a pattern that fits the individual head shape of the performer 13. transfer the pattern to a head block 14. use the appropriate techniques, materials and methods to create bald caps
28

HM14 APPLY, MAINTAIN AND REMOVE PROSTHETIC PIECES AND BALD CAPS
UNIT OVERVIEW This unit measures your ability to use the appropriate techniques to work with small prosthetics pieces and which will include applying, maintaining and removing the prosthetic pieces.These pieces will include items such as facial parts and bald caps. It involves ensuring that performers are comfortable and fully informed of the procedures you are undertaking with them. It is about preparing skin and positioning prosthetics to meet the design requirement on camera. It also involves maintaining the pieces throughout the production and removing them in a manner that is safe and causes the least discomfort to the performer. f) how to prepare the skin appropriately for the type This unit could be applicable to several roles, but is most applicable to the Artist or Prosthetic Technician g) the required mobility and security of the prosthetics the templates, measurements and block size that are appropriate for the performer and the design brief h) how to remove the prosthetic carefully to minimise the performers discomfort i) j) storage methods for smaller prosthetic pieces how to clean tools and equipment of contact material used KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) budgetary and time constraints c) health and safety requirements relating to the application, maintenance and removal of small prosthetic pieces d) how to perform tests for skin compatibility, adverse skin reactions and the importance of checking performers history of allergies or other sensitivities e) what action to take in the event of an adverse skin reaction
29

HM14 APPLY, MAINTAIN AND REMOVE PROSTHETIC PIECES AND BALD CAPS
PERFORMANCE STATEMENTS this is what you must be able to do 1. agree the requirements of the design brief with the relevant person and the smaller prosthetic pieces that will be required 2. prepare the skin appropriately for the type of contact material used 3. perform skin tests and take appropriate action in the event of an adverse skin reaction 4. check the compatibility of the following with the performers skin: finishing make up adhesives 5. position performers correctly to achieve the desired effect and minimise discomfort 6. keep performers informed fully of the application stages and provide opportunities for questions 7. apply skin compatible adhesives in positions that permit the required mobility and security of the prosthetics during shooting 8. ensure templates, measurements and block size are appropriate for the performer and the design brief 9. ensure the appropriate block release agents and sealers are used 10. position prosthetics to meet the design requirement 11. use the correct type of make up on the prosthetic and ensure the finished look meets the design criteria on camera 16. use appropriate materials to clean tools and equipment 14. remove the prosthetic carefully to minimise the performers discomfort 15. store the prosthetics correctly and keep accurate records of methods, formula and process to enable future replication 12. ensure that the prosthetic is sustained under shooting conditions 13. complete the application and fixing of prosthetics to the production schedule taking into account the possible discomfort for the performer
30

HM15 PRODUCE ORIGINAL LIFECASTS OR PROSTHETIC PIECES
UNIT OVERVIEW This unit measures your ability to create original lifecasts for prosthetic pieces.The work can be carried out to demonstrate your competence in producing EITHER original large lifecasts for face, full head, sectional and body casts, OR original small lifecasts for prosthetic pieces such as for facial features. It is about informing and preparing performers for lifecasting, monitoring them through the lifecasting process, minimising their discomfort and working within health and safety laws and safer working practices. This Unit is most applicable to the role of Prosthetic Technician. e) health and safety requirements and safer working practices applicable to the production of the original lifecasts f) the importance of checking the performers history of allergies or other sensitivities g) how to obtain accurate replication of the performer without defects or distortion of the life cast h) how to remove the cast safely and restore the performers skin and hair to its original condition i) how to carry out the following processes: preparation techniques casting and removal procedures emergency procedures positioning of joining sections, seams, stop lines and keys casting techniques and materials to create the positive lifecast impression trimming, finishing and marking of the positive impression j) the materials and release agents that you will need to use and how to prepare them d) the relevant person(s) to provide advice, supervise or permit casts to be taken KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) budgetary and time constraints c) medical conditions that could prevent or hinder a lifecast being taken
31

HM15 PRODUCE ORIGINAL LIFECASTS OR PROSTHETIC PIECES
PERFORMANCE STATEMENTS this is what you must be able to do 1. confirm the requirements of the design brief 2. confirm whether the performer has any medical condition that could preclude or hinder them form having a life cast taken 3. ensure that performers skin, hair, facial hair and clothing are suitably prepared and protected before casting 4. position performers to minimise personal discomfort and optimise working ability 5. explain the preparation, casting and removal techniques to the performer and provide opportunities for questions 6. ensure the performer is clear on what to do if an emergency arises during the lifecasting process 7. following health and safety requirements and safe working practices, ensure that the following items are appropriate for their purpose and are utilised in an appropriate manner: the working area materials tools and equipment 8. determine the position of separate or joining sections, seams, stop lines and keys 9. ensure that materials and release agents are of the appropriate type and quantity for casting, and are prepared, compounded and applied safely using approved methods 13. ensure that the lifecast produced in joining sections meets the appropriate technical requirements 14. produce a positive impression of the lifecast to the design brief ensuring surface detail. 15. trim and mark the completed positive impression accurately and store it preventing any deterioration, distortion or damage 10. obtain accurate replication of the performer without defects or distortion of the life cast 11. maintain the safety and well being of the performer during the casting process 12. remove the lifecast safely and restore the performers skin and hair to its original condition
32

HM16 CREATE PROSTHETICS
UNIT OVERVIEW This unit measures your ability to create prosthetics.The work can be carried out to demonstrate your competence in creating EITHER large/extensive prosthetics such as larger facial pieces, multiple or overlapping appliances and larger body pieces OR small prosthetic pieces such as small facial parts. d) the different techniques, materials, and methods It is about ensuring that the design requirements are complied with and that the production methods and materials used create realistic prosthetics that achieve the make up design. It entails ensuring that the relevant health and safety legislation and safer working practices are maintained throughout the process. It involves ensuring that sculptures, moulds and prosthetics are technically precise and artistically appropriate to the design requirements of the production. It involves preventing deterioration or distortion to the sculptures, moulds and resultant prosthetic appliances This unit is most applicable to the role of Prosthetic Technician. h) the appropriate sealers and release agents on prosthetic sculptures and mould surfaces for prosthetics i) how to prevent deformation and impairment when separating the mould and rejoining sectional moulds j) how to use appropriate methods to finish, store and remove sculptures, moulds and prosthetics to avoid deterioration, distortion and damage k) how to safely handle, store and dispose of materials and equipment used in the creation of prosthetics l) how to keep accurate records of methods, formulations, timing and processes for the production of the prosthetic appliance g) how to make certain any replication or transfer of whole or sectional sculpture meets the design brief and is undertaken avoiding any distortion or damage f) the manufacturers instructions, safety data sheets and approved methods for sculpting, moulding and casting prosthetics e) how to make sure the sculpture/mould meets all technical and artistic requirements to enable the satisfactory production of the finished prosthetic appliance employed to create appropriate sculptures, accurate moulds and precise prosthetics a) the requirements of the design brief b) budgetary and time constraints c) health and safety criteria relevant to sculpting, moulding and casting prosthetics KNOWLEDGE AND UNDERSTANDING this is what you must know
33

HM16 CREATE PROSTHETICS
PERFORMANCE STATEMENTS this is what you must be able to do 1. ensure that the working area, materials, tools and equipment are ready and available for use 2. communicate the design requirements to the relevant person(s), advising where necessary of the different techniques, materials, and methods that should be used 3. ensure that sculptures and/or moulds meet all technical and creative requirements to enable the satisfactory production of the finished prosthetic appliance 4. decide upon the appropriate placement of appliance overlaps or blending edges in relation to the performer and the design brief 5. ensure all materials are compounded, handled, stored and disposed of in accordance with the manufacturers instructions, safety data sheets, approved working practices and health and safety legislation 6. ensure that you prevent deformation and impairment when separating the mould and rejoining sectional moulds 7. ensure that you employ appropriate colouring and finishing techniques for the prosthetics 8. finish, store and remove sculptures and resultant moulds to avoid deterioration, distortion and damage 9. keep accurate records of methods, formulations, timing and processes for the production of the prosthetic appliance
34

HM17 MAKE PURCHASES FOR HAIR AND/OR MAKE UP
UNIT OVERVIEW This unit is about monitoring stocks of hair and/or make-up products and recognising when it is necessary to replenish supplies. It also covers the need to handle cash and make purchases. It involves ensuring the correct products are purchased and informing a suitable colleague if certain items are unavailable. This unit is most applicable to the role of an Assistant. d) the correct quantity of products required e) the importance of checking products to ensure they are not damaged and are correct f) how to monitor supplies and keep appropriate stock records g) how to handle products to avoid damage or spillages h) the need to keep receipts and/or record of purchases i) how to fill out a purchase/order form and get the appropriate signature. j) where and how resources should be, labelled, stored and arranged KNOWLEDGE AND UNDERSTANDING this is what you must know a) it is necessary to replenish stock and who to inform b) where to obtain specific hair and/or make-up items c) how to keep purchases within budget
35

HM17 MAKE PURCHASES FOR HAIR AND/OR MAKE UP
PERFORMANCE STATEMENTS this is what you must be able to do 1. monitor supplies of hair products and resources 2. monitor supplies of make-up and associated resources/equipment 3. identify when stock needs to be replenished 4. promptly inform appropriate colleague of need to replenish stock 5. identify any other miscellaneous resources that may be required by colleagues 6. ensure you are given sufficient funds to make purchases 7. make accurate records of resources to be purchased 8. handle cash responsibly 9. purchase only those items as needed/instructed 10. inform appropriate colleague promptly of unavailable items and/or available alternatives 11. note price changes of products and inform appropriate colleague if necessary 12. select products carefully to ensure they are correct and are not damaged 13. select the appropriate quantity of products 14. handle purchases carefully to avoid damage/spillages 15. ensure you are given the correct change and obtain a valid receipt 16. fill out a petty cash form and attached receipts and get the appropriate signature 17. store, label, products and arrange as instructed 18. update stock records as appropriate
36

HM18 ACQUIRE RESOURCES TO MEET DESIGN REQUIREMENTS
UNIT OVERVIEW This unit measures your ability to obtain resources to meet design requirements using your allocated budget within the field of hair and/or make-up. It involves deciding what services to use and arranging fittings or appointments with service providers. Examples of suppliers could be providers of wigs, prosthetics, special effects, a hairdresser specially requested by the performer. e) how to arrange fittings and appointments within It also involves discussing designs with them and confirming that their work is satisfactory. It is about making sure that performers are happy with the work of the service providers. It entails selecting the providers of materials and equipment and choosing the amount and quality of products to meet creative and budgetary requirements. It includes dealing with the special requirements that may arise as a result of a performers appearance needs and maintaining that the money spent is within the budget limits. This unit could be applicable to several roles, but is most applicable to the Designer role. j) how to agree the terms and conditions for supplying materials and equipment with suppliers k) how to keep accurate records of what you have ordered and what has been supplied l) how to resolve any problems with the availability, quantity or quality of materials and equipment, when these arise during the design process m) how to keep accurate records of your expenditure and associated documents n) how to monitor expenditure and anticipate budget over-spending and agree suitable solutions i) g) how to ensure that performers and director are satisfied with providers working methods and results h) how to obtain special materials or equipment required because of performers physical needs or artistic preferences the correct quantity and types of materials required f) how to monitor the nature and quality of providers work production deadlines, which are convenient to performers, yourself and service providers KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to identify the creative and technical requirements of the design work to be done b) time constraints of the production schedule c) the budget at your disposal d) how to select and communicate effectively with service providers
37

HM18 ACQUIRE RESOURCES TO MEET DESIGN REQUIREMENTS
PERFORMANCE STATEMENTS this is what you must be able to do 13. resolve any problems with the availability, quantity 1. identify the creative and technical requirements of the design work to be done 2. establish what your budget is and what it covers 3. select service providers who are able to meet the creative, budgetary and logistical requirements of the production 4. explain the design requirement to service providers including any special requirements 5. acknowledge providers suggestions and indicate whether you accept them 6. arrange fittings and appointments within production deadlines, and are convenient to performers, yourself and service providers 7. monitor the nature and quality of providers work 8. ensure that performers and director are satisfied with providers working methods and results and conduct relationships with providers in a way that promotes the best design results 9. choose suppliers of materials and equipment who can meet the requirements of the design schedule within your budget 10. obtain special materials or equipment required because of performers physical needs or artistic preferences 11. select the correct quantity and types of materials required, taking into account the design and production schedules and deadlines or quality of materials and equipment, when these arise during the design process 14. keep accurate records to monitor your expenditure and budget usage 15. provide the accounts department with accurate information about expenditure 16. recognise budget overspends, identify the reasons for it and agree action to deal with it 12. agree the terms and conditions for supplying materials and equipment with suppliers and keep accurate records of what you have ordered and what has been supplied
38

HM19 ASSIST WITH THE CONTINUITY OF THE PERFORMERS APPEARANCE
UNIT OVERVIEW This unit measures your ability to assist in the maintenance of continuity of the performers appearance. It involves ensuring that performers hair and/or make up match the design specification at the start of shooting and where appropriate, at the end of the previous sequential take. It is about deciphering the developing effects presented in the script. It also involves keeping complete and accurate continuity records and making sure that your presence on the set is not intrusive or disruptive. This unit is most applicable to the role of an assistant. KNOWLEDGE AND UNDERSTANDING this is what you must know a) the design requirements as communicated to you by the relevant person(s) b) materials and equipment for recording information that will be required for the production c) how to maintain continuity of performers appearance throughout the production d) who is the relevant person to agree that performers make up and/or hair meets the design specification for the production e) how to check the implications of developing effects suggested within the script with the relevant person f) how to minimise disruption of the production when making continuity make up and/or hair changes g) what to avoid when choosing ones own location or position on set h) the sources of continuity detail that are available i) how to maintain accurate records of hair and skin continuity detail j) how to check the camera is functioning properly and the importance of checking straightaway that the resulting photographs recorded the effects created accurately
39

HM19 ASSIST WITH THE CONTINUITY OF THE PERFORMERS APPEARANCE
PERFORMANCE STATEMENTS this is what you must be able to do 1. confirm the design specification requirements with the relevant person(s) 2. make sure that sufficient materials and equipment for recording information are available and in good working order, prior to the start of the shoot 3. maintain continuity of the performers appearance throughout the production as requested by the relevant person(s) 4. check and agree with the relevant person that performers make up and/or hair meets the design specification for the production 5. check the hair and/or make-up implications of developing effects suggested within the script with the relevant person 6. minimise disruption of the production when making continuity make up and/or hair changes 7. agree changes with the relevant person(s) 8. compile the sources of continuity detail that are available 9. take appropriate continuity photographs and notes, to be placed in the hair and/or make up continuity file and ensure that such records are: accurate easily accessible to the relevant person(s) who require them
40

HM20 MAINTAIN CONTINUITY OF PERFORMERS HAIR AND/OR MAKE-UP ON THE PRODUCTION
UNIT OVERVIEW This unit measures your ability to maintain all continuity in the field of hair and/or make-up. It involves confirming that all performers hair and/or make up at the start of shooting meets the specification and where appropriate, reproduces the appearance at the end of the previous sequential take. e) how to confirm, where appropriate, that performers It also involves taking remedial action when scripted or unscripted events occur and agreeing this action with the decision makers. It is about making sure the materials and equipment for keeping complete and accurate continuity records are adequate and available to all artistes or performers. g) how to recognise possible scripted and unscripted This unit is most applicable to the Artist. occurrences which might impact on performers hair and/or make up and take appropriate action h) how to establish what recording materials and equipment to use for best effect i) how to position yourself on set for continuity monitoring and recording j) how to gather information for continuity record purposes promptly and without intrusion k) how to obtain continuity details from reliable sources, where it is not possible to be present at the take l) how to keep complete, accessible and accurate records of hair and/or make-up continuity details for all artistes or performers hair and/or make up at the commencement of a take accurately reproduces the appearance at the end of the previous sequential take f) the decision makers who will confirm when alterations to hair and/or make up are required KNOWLEDGE AND UNDERSTANDING this is what you must know a) the requirements of the design brief b) time constraints of the production schedule c) the specifications of the hair and/or make up continuity breakdown d) the specification for the design requirements, special effects and performers action
41

HM20 MAINTAIN CONTINUITY OF PERFORMERS HAIR AND/OR MAKE-UP ON THE PRODUCTION
PERFORMANCE STATEMENTS this is what you must be able to do 1. check performers hair and/or make up against specifications of the hair and/or make-up continuity breakdown 2. verify that performers hair and/or make up at commencement of shooting meets the specification for the design requirements, special effects and performers action 3. confirm, where appropriate, that performers hair and/or make up at the commencement of a take accurately reproduces the appearance at the end of the previous sequential take 4. obtain the agreement of the decision makers to confirm when alterations to hair and/or make up are required as a result of unscripted events during shooting and that the changes are in accordance with the script 5. recognise possible scripted and unscripted occurrences which might impact on performers hair and/or make up and take appropriate action 6. establish what recording materials and equipment to use 7. position yourself on set for continuity monitoring and recording to make minimum disruption to others 8. gather information for continuity record purposes promptly and without intrusion 9. obtain continuity details from reliable sources, where it is not possible to be present at the take 10. keep complete and accurate records of hair and/or make-up continuity details for all artistes or performers 11. determine who is likely to require access to the continuity records 12. ensure that continuity records are available and accessible to those who require them
42

HM21 AGREE CONTRACTS FOR HAIR AND/OR MAKE-UP WORK
UNIT OVERVIEW This unit measures your ability to agree contracts for make up and/or hair work. It involves assessing the skills, ability and experience needed for make up and/or hair work and your aptitude to work effectively with the make up and/or hair design team. It is about ensuring that you understand the nature of the contract to enable you to make a qualified decision whether to accept or refuse it. It involves the process you have to go through to agree the terms of the contract including the level of your responsibilities, the amount of time you will spend on the production and the payment you receive. f) how to assess whether to accept the work or not This unit could be applicable to several roles such as the Artist, Prosthetic Technician or Designer. g) how to negotiate contracts for your services h) how to explain your unavailability or unwillingness to work on a production clearly, and in a way that retains the goodwill of decision makers towards you i) how to analyse, assess and confirm the terms and conditions offered to you j) how to confirm the type and duration of the productions covered by the contract k) how to establish your legal rights and responsibilities and those of your employer under contracts for services l) how to establish the level and method of payment for your services m) how to confirm your acceptance of the contract in writing n) the importance of storing contracts and agreements securely KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to outline clearly the skills required for make up and/or hair work on a production clearly b) how to assess whether you have the experience and skills needed to meet the overall make-up and/or hair work for a production c) how to determine whether you can work successfully with the designer and members of the team d) the different types of production and their implications for make up and/or hair work e) the importance of considering the extent and limits of your own skills and experience
43

HM21 AGREE CONTRACTS FOR HAIR AND/OR MAKE-UP WORK
PERFORMANCE STATEMENTS this is what you must be able to do 1. outline clearly the skills required for make-up and/or hair work on a production 2. assess whether you have the experience and skills needed to meet the overall make up and hair work for a production 3. determine whether you can work successfully with the make up and/or hair designer and members of the make up and hair team 4. consider the different types of production and their implications for make up and/or hair work 5. take into account the extent and limits of your own skills and experience 6. decide whether to accept the work or not, recording your reasons for accepting or turning the work down for future reference 7. explain your unavailability or unwillingness to work on a production clearly, and in a way that retains the goodwill of decision makers towards you 8. negotiate contracts for your services in a polite and calm manner 9. analyse, assess and confirm the terms and conditions offered to you 10. confirm the type and duration of the productions covered by the contract 11. establish your legal rights and responsibilities and those of your employer under contracts for services 12. establish the level and method of payment for your services 13. confirm your acceptance of the contract in writing and ensure you store contracts and agreements securely
44

F2 FACILITATE AND MANAGE TRAINEES
UNIT OVERVIEW This unit involves facilitating and managing the work of trainees within your own field of work and within the context of the design brief and the schedule that is being followed. It is about advising trainees on the appropriate use of multi-media industry standard procedures, equipment and materials. It involves monitoring the work of trainees to ensure that they are following your instructions and the production schedule. This unit could be applicable to several roles, but is most applicable to the Artist or Designer. KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to manage trainees in accordance with the requirements of the production b) legislation, regulations and codes of practice that are applicable to managing other people and to the work being undertaken c) the relevant person(s) with whom to agree: your work plan for the trainees that accords with but does not adversely affect the production schedule to whom you should report any problems concerning the management of trainees who will provide feedback on your own performance d) methods to monitor trainees that are effective, unobtrusive and objective e) how to find workable solutions in accordance with legislation and the requirements of the production f) how to provide constructive feedback to trainees g) how to objectively evaluate feedback regarding your own performance
45

F2 FACILITATE AND MANAGE TRAINEES
PERFORMANCE STATEMENTS this is what you must be able to do 1. develop a work plan for the trainees that takes in to account : the requirements and scope of your own job role the extent of your authority the relevant person(s) to whom you should report resources at your disposal time limits applicable to work that you or your trainees are undertaking 2. inform trainees of their job roles and responsibilities in a way which promotes good working relationships 3. communicate the following information to trainees: your work plan for them the requirements of the design brief and the production schedule procedures, equipment and materials that can be employed to achieve the design effect 4. encourage trainees to ask questions regarding aspects of the design brief and procedures, equipment and materials that to be used 5. provide trainees with the opportunity to contribute and try out the work for themselves 6. monitor the work of trainees and demonstrate how they could address potential problems involving the work 9. provide individual feedback to trainees on their work and encourage their feedback to improve future performance 10. evaluate your own performance in the management of trainees and consult the relevant person(s) for feedback 8. ensure that trainees adhere to applicable health and safety requirements at all times 7. find workable solutions promptly for any problems which could adversely impact upon the production schedule
46

X2 ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY
UNIT OVERVIEW Fundamental to this unit is an understanding of the terms hazards and risks. A person competent in this unit is not required to undertake a full risk assessment, but needs to have an appreciation of significant risks in the workplace and knowing how to deal with them. Unit imported from Employment NTO d) responsibilities for health and safety in your job description e) the responsible persons to whom to report health and safety matters f) the specific organisational health and safety policies covering your job role g) suppliers' and manufacturers' instructions for the safe use of equipment, materials and products h) safe working practices for your own job role i) the importance of personal presentation in maintaining health and safety in the workplace the importance of personal conduct in maintaining the health and safety of yourself and others c) agreed workplace health and safety procedures relating to controlling risks to health and safety KNOWLEDGE AND UNDERSTANDING this is what you must know a) your legal duties for health and safety in the workplace as defined by the Health and Safety at Work Act 1974 b) your duties for health and safety as defined by any specific legislation covering your job role
j)
k) your scope and responsibility for rectifying risks l) workplace arrangements for handling risks which you are unable to deal with
m) what hazards exist in your workplace and the importance of remaining alert to and dealing with or promptly reporting risks n) the particular health and safety risks which may be present in your own job role and the precautions you must take o) the particular health and safety risks which may be present in your own job role and the precautions you must take
47

X2 ENSURE YOUR OWN ACTIONS REDUCE RISKS TO HEALTH AND SAFETY
PERFORMANCE STATEMENTS this is what you must be able to do you must be able to identify the hazards and evaluate the risks in your workplace, so 1. you correctly name and locate the persons responsible for health and safety in the workplace 13. you follow the workplace procedures and 2. you identify which workplace health and safety procedures are relevant to your working practices 3. you identify those working practices in any part of your job role which could harm yourself or other persons 4. you identify those aspects of the workplace which could harm yourself or other persons 5. you evaluate which of the potentially harmful working practices and the potentially harmful aspects of the workplace present the highest risk to you or to others 6. you report those hazards with a high risk to the persons responsible for health and safety in the workplace 7. you deal with hazards with low risks in accordance with workplace health and safety procedures and legal requirements you must be able to reduce the risks to health and safety in your workplace, so 8. you carry out your working practices in accordance with legal requirements 9. you follow the most recent workplace health and safety policies for your job role suppliers or manufacturers instructions for the safe use of equipment, materials and products 14. you report any differences between workplace procedures and suppliers or manufacturers instructions as appropriate 15. your personal presentation at work: ensures the health and safety of yourself and others, meets any legal duties, and is in accordance with workplace health and safety policies 12. your personal conduct around the workplace does not endanger the health and safety of yourself or other persons 10. you rectify those health and safety risks within your capability and the scope of your job responsibilities 11. you pass on any suggestions for reducing risks to health and safety in the workplace to the persons responsible for health and safety
48

X3 CONDUCT AN ASSESSMENT OF RISKS IN THE WORKPLACE
UNIT OVERVIEW Fundamental to this unit is an understanding of the process of carrying out a risk assessment. A person competent in this unit should be able to carry out risk assessments according to regulatory requirements. It requires that you identify hazards in the production environment, assess the level of risk, recommend action and carry out a review of the assessment. Unit imported from Employment NTO b) your duties for health and safety as defined by any specific legislation covering your job role c) hazards that are most likely to cause harm to health and safety d) the particular health and safety risks which may be present in your own job role and the precautions to take e) the importance of remaining alert to the presence of hazards in the whole workplace f) the importance of dealing with or promptly reporting risks g) methods of identifying hazards including direct observation, examining records, or interviews h) the work areas and people for whom you are carrying out the assessment i) work activities of the people in the workplace where you are carrying out the risk assessment resources required for a risk assessment to take place KNOWLEDGE AND UNDERSTANDING this is what you must know a) the responsibilities for risk assessment and your legal duties with regard to health and safety as required by the latest health and safety regulations
j)
k) information sources for risk assessments (e.g. HSE publications) l) where to find expert advice and guidance, your own limitations, job responsibilities and capabilities
m) effective communication methods n) effective procedures for carrying out risk assessments o) the purpose, legal implications and importance of carrying out risk assessments p) what to do with the results of the risk assessment
49

X3 CONDUCT AN ASSESSMENT OF RISKS IN THE WORKPLACE
PERFORMANCE STATEMENTS this is what you must be able to do in order to identify hazards in the workplace you must be able to: 1. define, clearly, why and where the risk assessment will be carried out 2. confirm that all the information available to you on statutory health and safety regulations is up-to-date and from recognised and reliable information sources 3. recognise your own limitations and seek expert advice and guidance on risk assessment when appropriate 4. select a method of identifying hazards appropriate to the workplace being assessed 5. identify those areas in the workplace where hazards with a potential for serious harm to health and safety are most likely to occur 6. identify hazards which could result in serious harm to people at work or other persons 7. record those hazards in a way which meets legal, good practice and workplace requirements 8. report the results of the process to the responsible persons in an agreed format and timescale in order to assess the level of risk and recommend action you must be able to: 9. review all legal requirements that are appropriate to your workplace and working practices to ensure effective control measures are in place
Unit Imported From Employment NTO
11. identify hazards that should be eliminated 12. ensure that for hazards that cannot be eliminated, you start your risk assessment with those that are most likely to cause serious harm to people at work or other people 13. assess the level of risk and consider how the risks can be controlled to minimise harm 14. list unacceptable risks in priority order including all breaches of relevant health and safety legislation and workplace procedures 15. prepare a risk assessment report containing recommendations for minimising risks 16. present the results of the risk assessment to responsible persons in the agreed format and timescale in order to review your workplace assessment of risk you must be able to: 17. compare the latest risk assessment to current workplace and working practices 18. identify, accurately, any significant differences between previous and new working practices 19. investigate the action taken as a result of your recommendations specified in the latest risk assessment 20. identify, accurately, new hazards arising from changes in the workplace or working practices 21. make changes to your risk assessment in line with the review 22. inform, promptly, everyone affected by the changes
10. confirm that industry standards and all other reasonable precautions are in place
50

X4 DEVELOP PROCEDURES TO CONTROL RISKS TO HEALTH AND SAFETY
UNIT OVERVIEW Fundamental to this Unit is an understanding of the processes involved in creating clear workplace health and safety procedures for people to follow. This unit is for people who are not specialists in health and safety but who are nevertheless required to prepare health and safety procedures for the workplace. It requires that you identify hazards, assess the risks and develop procedures to control the risks.You will also need to review these procedures and check whether they are effective in the workplace. Unit imported from Employment NTO e) what would constitute a breach of legal health and safety requirements f) what hazards exist in your workplace g) the particular health and safety risks which may be present in your own job role and the precautions to be taken h) the importance of remaining alert to the presence of hazards in the whole workplace i) the importance of dealing with or promptly reporting risks appropriate measures for checking different types of health and safety procedures b) your responsibilities for health and safety as defined by any specific legislation covering your job role c) how to prepare and write effective policies and procedures d) the different types of working practices present in the workplace KNOWLEDGE AND UNDERSTANDING this is what you must know a) employers' and employees' legal duties for health and safety in the workplace as required by the Health and Safety at Work Act 1974
j)
k) the work areas and people for whom you are responsible and covered by the health and safety procedures l) the commonly used working practices
m) the information that may be required about health and safety within the workplace n) job roles of the people for whom you are responsible o) what information may be available on health and safety within the workplace p) appropriate channels of communication within the workplace q) ways of conducting an effective health and safety review
51

X4 DEVELOP PROCEDURES TO CONTROL RISKS TO HEALTH AND SAFETY
PERFORMANCE STATEMENTS this is what you must be able to do in order to develop procedures for maintaining a healthy and safe workplace you must be able to: 1. set realistic objectives to ensure a healthy and safe workplace for all people in the workplace 2. develop health and safety procedures which meet legal requirements and are appropriate to: the type of work carried out, and the workplace the plans to improve current health and 3. identify individuals to whom people must: report accidents, report health and safety risks, and obtain first aid 4. state clear measures to check the effectiveness of the workplace health and safety procedures 5. specify the arrangements for recording health and safety data to meet legal requirements 6. develop plans for health and safety training which are relevant to the needs of the workplace, the people in the workplace and meet legal requirements 7. communicate the health and safety procedures to all people in the workplace in a professional and considerate manner in order to review the effectiveness of health and safety procedures in your workplace you must be able to: 8. identify any changes to legal regulations or guidance affecting current working practices safety procedures 14. alert all people in the workplace, promptly, to the revised health and safety procedures 15. set effective measures in place for monitoring the revised health and safety procedure 13. record, accurately: the details of any review carried out, and 12. identify and obtain further information and advice from reliable and recognised sources of expertise 9. identify changes in the workplace affecting current workplace health and safety Procedures 10. provide responsible persons with opportunities to give feedback about the implementation of health and safety procedures 11. review all relevant health and safety reports and data for opportunities to improve the workplace health and safety procedures
52

F1 MANAGE AND MARKET YOURSELF AS A FREELANCER
UNIT OVERVIEW This unit is for you if you operate in the multi-media business as a freelancer. In order to be successful you will benefit from having deeper knowledge and understanding about how to promote your achievements, how to sell yourself and keep your reputation and knowledge up-to-date. Furthermore you need to have the required skills to seek and find work, negotiate your own contract (unless you have an agent) and ensure that the terms and conditions are fair and just. d) what are the best and most effective self-promoting There is also a whole range of business skills which you need to be able to employ in order to survive. Such skills and knowledge extend from self-promotion, knowledge of IT, through budgeting and legal requirements to the need to identify training and developments needs. e) whether an agent would be able to help you to find work f) how to access work opportunities with production and distribution companies g) how to estimate going rates including those for: schedules fee rates resources such as accommodation, expenses, etc h) how to negotiate terms and conditions in line with legal and production industry requirements i) how to maintain contacts and conduct negotiations with potential clients in the production business j) how to negotiate and agree contracts with reference to: relevant employment legislation expected income time available clearly established outcomes tools to use KNOWLEDGE AND UNDERSTANDING this is what you must know a) who are the major commissioning organisations in your field of expertise and how best to make contact b) how to maintain your professional ethics and practices, and keep abreast of new developments within the multi-media industry c) how to market yourself and your services including making, following up and maintaining contact with potential clients
53

KNOWLEDGE AND UNDERSTANDING this is what you must know (Continued) k) the relevant sources of advice on employment, insurance, tax regulations and other small business legislation l) how to keep simple accounts (Income, expenditure and cash flow) and how to invoice and chase late payments m) how to set and manage personal and business budgets n) how to recognise the difference between creative and business decisions o) how to carry out contingency planning, scheduling and future planning so as to maintain a viable work and cash flow
54

PERFORMANCE STATEMENTS this is what you must be able to do 1. establish, follow-up and regularly maintain business contacts within the industry 2. participate within relevant networks and expert organisations to support your freelance activity 3. identify and follow appropriate strategies to enhance your professional reputation and promote yourself to potential clients 4. ensure that you have systems in place that help identify work opportunities at an early stage 5. maximise your reputation by ensuring the circulation of current and succinct information about your experience, past work, achievements and availability production industry regulations 6. investigate potential agents or other representatives available in your area 7. make use of others as models of competence thereby enabling the identification of development and training needs 8. seek constructive feedback from relevant people about your performance and evaluate feedback so as to identify development needs 9. regularly revisit, review and set realistic objectives in terms of: training needs performance and progress business targets the use of time and other resources in achieving objectives 18. establish clear performance outcomes 19. ensure the contract contains details regarding payment terms and time limit to payment and the obligations of all parties clearly communicated 20. ensure that the details of the contract match agreements and securely store a written copy of the final signed contract 17. estimate and agree realistic fee rates, schedule and other expenses 10. prepare and keep simple but accurate and up-to-date accounts and records 11. ensure that record keeping is kept up-to-date, is accurate and relevant 12. set up and use effective systems for managing budgets, finance and paperwork 13. establish and maintain effective support services 14. plan ahead to organise and maintain a viable work and cash flow 15. ensure you are flexible and prepare to adapt to the demands of others whilst maintaining your personal work ethic and reputation 16. negotiate terms and conditions that meet legal requirements in terms of: equal opportunities employment law
55

X1 CONTRIBUTE TO GOOD WORKING RELATIONSHIPS
UNIT OVERVIEW This unit measures your ability to contribute to good working relationships. It is involves working effectively with others during the production process. It is about clarifying and agreeing the roles to be undertaken by your team and what your working arrangements are in a manner that promotes positive working relationships with colleagues, management and (if applicable) performers. It entails getting the right balance between working efficiently and meeting the needs of colleagues as well as the creative needs of the production. It is about collaborating with colleagues and seeking their help when required, including providing assistance whenever possible. It requires having the communication skills to explain and discuss what you have to do and what you expect of others, the quality and output requirements of the production, and health and safety requirements. f) importance of acknowledging what the work arrangements, quality and safety requirements are g) how to balance the need for personal efficiency with the needs of others and the requirements of the production h) the importance of sharing information about quality standards, deadlines, timescales and the results of your work with others who require the information i) how to treat others courteously and in ways which acknowledge their contribution to the production j) how to tactfully request others to modify or change working arrangements in order to improve your own productivity k) how to explain your reasons and alternatives solutions clearly and constructively, when it is impractical to agree to others requests to change working arrangements KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to clarify what you have to do, and who you report to b) how to discuss and agree your tasks and responsibilities in a way which promotes good working relationships c) how to confirm the deadlines and standards you are expected to meet d) the types of roles and responsibilities which you may be asked to undertake e) how to ascertain and verify any changes in your tasks in the production
56

KNOWLEDGE AND UNDERSTANDING this is what you must know (Continued) l) how to take into account particular sensitivities people working on the production may have, and what protocols to use in dealing with them m) how to maintain good relationships, even when disagreeing with others n) how to find workable solutions for any conflicts and dissatisfaction which reduce personal and team productivity o) the importance of collaboration to the effectiveness and productivity of work in the industry
57

PERFORMANCE STATEMENTS this is what you must be able to do 1. clarify what you have to do, and to whom you would report 2. discuss and agree your tasks and responsibilities in a way which promotes good working relationships 15. consider the importance of collaboration to the 3. confirm the deadlines and standards you are expected to meet 4. consider the types of roles and responsibilities which you may be asked to undertake 5. ascertain and verify any changes in your tasks in the production 6. acknowledge what the work arrangements, quality and safety requirements are 7. balance the need for personal efficiency with the needs of others and the requirements of the production 8. share information about quality standards, deadlines, timescales and the results of your work with others who require the information 9. treat others courteously and in ways which acknowledge their contribution to the production 10. tactfully request others to modify or change working arrangements in order to improve your own productivity 11. explain your reasons and alternatives solutions clearly and constructively, when it is impractical to agree to others requests to change working arrangements effectiveness and productivity of work in the industry 14. find workable solutions for any conflicts and dissatisfaction which reduce personal and team productivity 13. maintain good relationships, even when disagreeing with others 12. take into account particular sensitivities people working on the production may have, and what protocols to use in dealing with them
58

F3 CO-ORDINATE THE DESIGN TEAM AND PERFORMERS
UNIT OVERVIEW This unit measures your ability to coordinate and organise the design team and performers. It involves you achieving the required performance from your team and the confidence from performers, which you need in order to achieve the planned design. d) how to provide positive and constructive feedback It involves working effectively in managing the design team and building the confidence and trust of performers in your teams work. It is about briefing the design team on the look of the production and going through the characters, each member of the team is dealing with. It requires providing any relevant visual or documented research and listening to questions and suggestions which team members may have. It entails monitoring how members of the team interrelate and act quickly to deal with any inter-personal difficulties or problems, which may arise. It is also about making sure that performers are satisfied with progress and the outcomes. This unit is most applicable to the Designer. f) the characteristics and temperament of performers and members of your team and how to pre-empt problems that may arise g) how to interact with performers in ways and at times which are most likely to develop their confidence in the design team and the design process h) how to treat performers to obtain their co-operation and ensure their satisfaction with progress and the outcomes e) how to accept and evaluate feedback received from members of your team to members of your team KNOWLEDGE AND UNDERSTANDING this is what you must know a) how to communicate clearly to the design team b) the design requirements for different characters within the production c) special needs and preferences of performers
59

F3 CO-ORDINATE THE DESIGN TEAM AND PERFORMERS
PERFORMANCE STATEMENTS this is what you must be able to do 1. brief the team to clearly explain the look required in the production 2. clarify the specific requirements for the characters which each team member will be dealing with 3. explain clearly, any special needs and preferences performers may have 4. communicate and clarify the roles of all team members 5. provide team members with sufficient creative and production information, and feedback on their performance, to obtain their commitment to producing design work which meets the production requirement 6. acknowledge team members suggestions and indicate whether they are acceptable 7. monitor the work of team members and their relationship with performers enough to anticipate and pre-empt problems and difficulties 8. deal with inter-personal problems that may arise between team members and performers 9. act quickly to resolve problems which team members may have in carrying out their roles 10. deal with different moods and temperaments in a sensitive manner and consider the particular skills and temperament of different members of the team 11. interact with performers in ways and at times which are most likely to develop their confidence in the design team and the process 12. where problems have arisen, deal with them promptly to prevent further escalation 13. encourage team members to treat performers confidently, sensitively and tactfully 14. check that performers are fully satisfied with progress and the outcomes of the team
60

Make Up Standards

Uploaded by

Copyright:

Available Formats

Make Up Standards

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Make Up Standards

Uploaded by

Copyright:

Available Formats

The Sector Skills Council for the Audio Visual Industries

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

k) the importance of finalising expenditure and expenses with appropriate persons

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

k) how to obtain a pattern of the performers beard growth if required

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005

NATIONAL OCCUPATIONAL STANDARDS HAIR AND MAKE-UP DECEMBER 2005

SKILLSET DECEMBER 2005