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This apprenticeship standard is in development and is not yet ready to use

Why is this apprenticeship not ready for delivery?

An apprenticeship standard is only available for delivery when both the standard and assessment plan is approved and a funding band (core government contribution) has been assigned to the standard.

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Overview of the role

Uphold a high standard of hygiene and technical application for productions/performances across a range of artists, periods and cultures.

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Hair, wigs, make-up and prosthetics technician

Details of standard

Occupation summary

This occupation is found in a broad range of creative and dynamic industries for example theatre, TV, film, fashion, commercials and print media (editorial). The broad purpose of the occupation is to uphold the highest standards of hygiene and technical application to achieve the required look meeting agreed standards for productions/performances across a range of artists, periods and cultures whilst maintaining health & safety requirements. This may involve the safe application and styling of wigs, hair, make-up and prosthetic special effects to performers. Make–up and hair are key elements in the overall design of live performance, films or television productions, creating a look for the characters in relation to social class, time periods, and any other elements required to create the desired effect or illusion.

This will involve using a variety of techniques such as:
• hair work including; cutting, colouring, setting, dressing and preparing hair for wig wearing.
• wig, facial hair and postiche work including: fitting, head wraps, head block preparation, making foundation, whipping, knotting, weaving, sewing postiche together with cutting, colouring, perming, setting and dressing of wigs, postiche and hair pieces.
• make-up work including: researching and applying media make-up, character make-up and special effects using a variety of techniques.
• prosthetics work including; material research, life casting, mould making, the use of foam latexes and silicones, surface rendering and application to make and apply bald caps, body parts, wounds and blemishes. This will also include the application of stage bloods for injuries.

Hair, Wigs, Make-up and Prosthetics Technicians work with Designers and Directors to discuss the look required for each role for example, artists/performers may need to appear from a different age group or historical period; the hair, make-up and wigs may be contemporary and straightforward or require more creative approaches. They prepare and use design notes, reference sheets and photographs that will ensure the artist/performer will have the same hair or make-up every time. They support preparatory stages, rehearsals and actual performances/production and work closely with artists/performers to get them ready and undertake quick changes throughout the performance/production. For prosthetics, which are part of the physical special effects area, they will need to use reliable sources to research prosthetic effects that are authentic and appropriate, create prosthetics in line with production requirements, script/breakdown and budget, liaise and work in collaboration with relevant people to ensure that all prosthetic effects are safe at all times, monitor people using prosthetics at all times so as to ensure there are no allergic reactions, excessive changes in body temperature or effects on their ability to function with ease, and remove prosthetics in line with safety requirements.

They work within budget and time constraints to achieve project requirements.. In their daily work, an employee in this occupation interacts with other members of their team and their supervisors to meet the project objectives. They meet with designers to interpret the design requirements. They develop a good working relationship with performers/artists/clients. They work with other departments e.g. art, production, technical, costume to achieve the performance/production requirements. They may work alongside photographers, film crew and other people involved in the event.. An employee in this occupation will be responsible for working within health, safety and environmental policies, procedures and regulations to meet design specification for wigs, hair and make-up including prosthetics for special effects. They are required to choose and use the appropriate application techniques and approach to achieve the required outcomes by transforming artists/performers into the required look from their natural state.

They engage with artists/performers in a professional manner, demonstrating sensitivity in dealing with them when in their care and keep any personal information confidential and observing the set etiquette required.

Hair, Wigs, Make-up and Prosthetics Technicians work with other team members to achieve the objectives of the project, including timescales and managing resources in their control which may include their tools and equipment, budget and stock. They are trusted to work unsupervised under the brief of their supervisor. They will be required to work during evenings and weekends during performance/production periods..

Typical job titles include:

Hair stylist Make-up artist/technician Prosthetic technician/artist Special effects technician Wig-maker Wigs/hair artist/technician


Occupation duties

Duty

KSBs

Duty 1 Interpret and research the production requirements identifying the appropriate make-up/hair/wigs/facial/prosthetics to be created

K1 K2 K3

S1

Duty 2 Create and design a plan to include detailed design notes, reference sheets and photographs for individual performers for the make-up/hair/wigs/facial/prosthetics for a performance/production in line with the genre, historical period and culture to meet the design requirements.

K4 K5 K6 K7 K8 K9 K10

S2

B1

Duty 3 Assess, select and apply body and facial make-up using a variety of techniques including colour assessment and covering the correct periods, cultures and genres to meet the design and health and safety requirements

K11 K12 K13 K15 K16

S3 S4

B7

Duty 4 Safely set-up, use, clean, maintain and store tools and equipment used to undertake the application of body and facial make-up

K14

S5 S9

Duty 5 Monitor applied make-up to ensure there are no allergic reactions, removing make-up in line with health & safety requirements.

K17 K18 K19

S6 S7 S8

B2

Duty 6 Prepare hair for wig or postiche making, including assessing, matching and blending hair, pre- curling and preparing it for knotting or storage.

K20 K21 K22

S10 S11 S12

Duty 7 Make, alter and repair wigs, hair pieces, switches, weft, facial hair including taking head/face wraps, head block preparation, foundation making, whipping, knotting, weaving, sewing using a variety of techniques to meet design requirements covering all periods and cultures

K23 K24 K25 K26

S13 S14 S15 S16

Duty 8 Safely cut, colour, style, set, dress-out hair, wigs, hair pieces and facial hair using a variety of techniques, covering all periods, cultures and genres to meet design requirements

K27

S17

B5

Duty 9 Create prosthetics including bald caps, body parts, wounds and blemishes, using of a variety of materials to meet design requirements. Creation involves material research, life casting, mould making, the use of foam latexes and silicones and surface rendering.

K28 K29

S18

Duty 10 Safely apply prosthetics and monitor their usage to ensure there are no allergic reactions, excessive changes in body temperature or effects on their ability to function. Remove prosthetics in line with health and safety requirements.

K30 K31 K32

S19 S20 S21

B4

Duty 11 Safely apply stage bloods and use a variety of modelling products to create and fit injuries to meet design requirements.

K33 K34 K35 K36

S22 S23

Duty 12 Manage resources to support the execution of design requirements e.g. stock, budget, tools and equipment

K37

S24

Duty 13 Manage personal workload to meet deadlines in line with the production schedules.

K38

S25

B3 B6


KSBs

Knowledge

K1: History of hairstyles and make-up. The typical characteristics of period styles through the centuries to allow further detailed research to be undertaken. Back to Duty

K2: Research methods to ensure that make-up, hair, wigs, facial and prosthetics meet Supervisor/Designer /Director requirements for example, historical period Back to Duty

K3: Understand the overall look required for each role for example different age groups using drawings, photographs or models to identify the Supervisor/Designer/Director design requirements Back to Duty

K4: The design process including the development of a detailed plan which must contain details of the performer, their role, design references including costumes, how many looks, if using own hair, a wig or hair pieces, switches and weft pieces, own facial or is facial required, any known allergies or sensitivities, colour palette for hair/wig and make up; sfx prosthetics required; timescales for making, fittings and application Back to Duty

K5: The range of tools and materials required for hair, wigs, make-up and prosthetics activities including those for wig, hair piece, facial making; hair, wig, hair piece, switches and weft pieces, facial cutting, styling and application; make-up application; sfx making and application Back to Duty

K6: Health and Safety Legislation, Regulations, policies and procedures including hygiene standards, data protection, COSHH, Manual Handling and producing Risk Assessments. Back to Duty

K7: Environmental Legislation including storage and disposal of chemicals, disposal of rubbish; recycling, as it applies to the role. Back to Duty

K8: Impact on and requirements of other departments to complete hair, wigs, make-up and prosthetics activities Back to Duty

K9: How to prepare and store detailed design notes, reference sheets and photographs for individual performers to ensure consistency and continuity throughout the performance/production Back to Duty

K10: The requirements of the preparatory stages, rehearsals and actual performance/production Back to Duty

K11: How to assess individual performer’s make-up requirements in accordance with the plan and identify workspace, environment, allergies/sensitivities, skin type, colour, skincare and timings Back to Duty

K12: The range of make-up assessment techniques to ensure the required look Back to Duty

K13: A variety of make-up application techniques for body and face for example brushes, sponges, stippling, painting, airbrushing, stencils, embellishment Back to Duty

K14: Equipment set up, maintenance, cleaning and storage Back to Duty

K15: Colour assessment techniques including colour mixing; colour washes; highlights and shades Back to Duty

K16: Airbrushing techniques including spray techniques (lines, areas, shades, highlighting and shading; concealing; even colour washing); using stencils, templates, masking; temporary tattoos, body painting, tanning Back to Duty

K17: Monitor and touch-up make-up processes to ensure continuity for the duration of the performance/production Back to Duty

K18: Typical make-up allergic reactions and action required Back to Duty

K19: Make-up removal process including hygiene and material disposal requirements Back to Duty

K20: Hair preparation techniques for wig, hair piece, switch, weft or facial making including assessing/selecting according to texture, type, length, colour/shade, pre-blend/mix as drawn as required, colouring or root shading as required Back to Duty

K21: Pressure boiling and perming for pre-curling Back to Duty

K22: Storage requirements for hair/wig/hair piece/switch/weft/facial hair including tying hair bundles, washing wigs and hair pieces Back to Duty

K23: Fitting techniques for head wraps and measurements, face wraps, preparation of the head/face block and foundation making using whipping or sewing techniques Back to Duty

K24: Prepare for and knot facial hair, wigs and hair pieces using a variety of knotting techniques and knotting direction template/instructions to meet design requirements Back to Duty

K25: Weft making, using weaving technique, to required density and colour, to stitch into wigs or incorporate into artists own hair Back to Duty

K26: Switch making from weft pieces, using a twisting machine, to incorporate into a wig or artists own hair Back to Duty

K27: A range of typical techniques covering, periods, cultures and genres to cut, colour, set and dress and style hair, set and dress-out wigs or hair pieces and cut and dress-out facial hair to meet design requirements Back to Duty

K28: Processes for life casting, mould making, use of foam latexes and silicones and surface rendering Back to Duty

K29: Prosthetics creation including bald caps, body parts, wounds and blemishes Back to Duty

K30: Prosthetics application process including fitting and comfort, blending edges and colouring Back to Duty

K31: Typical prosthetics allergic reactions and the actions to take if they occur Back to Duty

K32: Prosthetics removal process including health and safety impact Back to Duty

K33: A range of modelling products to create injuries Back to Duty

K34: A range of stage bloods products for different effects Back to Duty

K35: Injury fitting techniques Back to Duty

K36: Stage blood application process Back to Duty

K37: The range of resources required to support hair, wigs, make-up and prosthetics activities for example stock, budget, tools and equipment Back to Duty

K38: The production schedules and their impact on personal workload Back to Duty

Skills

S1: Use research to establish exact make-up, hair, wigs, facial and prosthetics requirements of the Supervisor/ Designer/Director to meet requirements Back to Duty

S2: Produce a detailed plan for the make-up/hair/wigs/facial/prosthetics to meet the Supervisor/Designer/Director requirements to include:Tools and materials, Health and Safety Legislation, Regulations, policies and procedures including Risk Assessments, hygiene standards, data protection, Environmental Legislation impact, Impact on and requirements of other departments, design notes, reference sheets and photographs to ensure consistency and continuity, the requirements of the preparatory stages, rehearsals and actual performance/production, timescales Back to Duty

S3: Choose and apply make-up to meet the design requirements Back to Duty

S4: Undertake colour assessment in order to apply body and facial make-up Back to Duty

S5: Prepare and maintain equipment including cleaning and storage after use Back to Duty

S6: Monitor and touch-up make-up to ensure continuity for the duration of the performance/production Back to Duty

S7: Explain what to do if an allergic reaction to make-up occurs Back to Duty

S8: Remove make-up in accordance with hygiene requirements, dispose of materials in accordance with process requirements Back to Duty

S9: Store make-up removal products, tools and equipment in accordance with process requirements Back to Duty

S10: Prepare hair for wig, hair piece, switch, weft, facial making including assessing/selecting according to texture, type, length, colour/shade, pre-blend/mix as drawn, colouring or root shading as required Back to Duty

S11: Pre-curl hair as required Back to Duty

S12: Store hair, wigs, hair pieces, switches, weft, facial hair in accordance with requirements Back to Duty

S13: Take head wraps including measurements, face wraps, creating head/face blocks and making foundations to meet design requirements Back to Duty

S14: Knot facial hair, wigs and hair pieces using a knotting direction template/instructions to meet design requirements Back to Duty

S15: Make weft pieces and switches to meet design requirements Back to Duty

S16: Make alterations and repairs to wigs Back to Duty

S17: Cut, colour, set, dress-out and style hair: set and dress-out wigs or hair pieces and cut and dress-out facial hair to meet design requirements Back to Duty

S18: Create prosthetics including bald caps, body parts, wounds and blemishes Back to Duty

S19: Apply prosthetics ensuring fit and comfort, blending edges and colouring Back to Duty

S20: Explain what to do if an allergic reaction to prosthetics occurs Back to Duty

S21: Remove prosthetics in accordance with health and safety requirements Back to Duty

S22: Create and fit injuries to meet design requirements Back to Duty

S23: Apply stage bloods to meet design requirements Back to Duty

S24: Monitor spend/use of resources and highlight under/overspend/use in accordance with agreed process Back to Duty

S25: Develop a personal work plan to identify potential periods of peak workloads Back to Duty

Behaviours

B1: Is respectful of others views and beliefs – equality, diversity and inclusion Back to Duty

B2: Works effectively with others Back to Duty

B3: Continuously develops their knowledge and skills Back to Duty

B4: Pays attention to achieve the detail required Back to Duty

B5: Balances many differing elements of work Back to Duty

B6: Takes ownership of work Back to Duty

B7: Plans work and manages time Back to Duty


Qualifications

English & Maths

Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.


Additional details

Occupational Level:

3

Duration (months):

24

Review

This apprenticeship standard will be reviewed after three years

Status: In development
Proposal approved Standard approved Assessment plan approved
Level: 3
Reference: ST0918
Route: Creative and design
Typical duration to gateway: 24 months (this does not include EPA period)
Trailblazer contact (for apprenticeship standard content and trailblazer membership queries only): Lynne.LADA@gmail.com
Employers involved in creating the standard: Royal Shakespeare Company, LADA/CC Skills, Royal Exchange, Shakespeare's Globe, National Theatre, Royal Opera House, English National Opera and Coliseum, Amanda Gaffey (freelance practitioner), Jean Carlos de Blas (freelance practitioner)
EQA Provider: Ofqual

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