Meet Somica Spratley, make-up artist:
What inspired you to become a makeup artist, and how did you break into the film industry?
Inspiration came much later, but I believe I was drawn to it because I saw Making Michael Jackson’s Thriller at a young age. I guess you could say I was transfixed seeing how that music video was made, seeing the various artists and technicians bring it to life. I knew then that I wanted to do something creative with my life.
I would not say that I broke into the film industry as it was more a progression or transition. I started my career working in beauty retail and always knew that I wanted to eventually work on movies. After completing a makeup effects program in 2008, I then studied filmmaking. That led to working on local shorts and features while also doing photoshoots and being a MAC artist. It was not until 2017 when I was accepted into IATSE 798 that I pursued film more. Today, I still freelance independently and teach periodically in between production work
What’s your creative process when approaching makeup for different projects?
My creative process varies from project to project and my position in it also plays a role. Generally speaking, whether it’s film or fashion work, it starts with research. I prefer to gather as much information as I can. More specifically to film, it does require more because of other factors.
Firstly, I break down the characters according to the script. My job is to create looks based on the director and/or writer’s vision. So, I reference the time period, actions/behaviors, special features (birthmark, mole, tattoos), etc. All of these elements “make up” the character.
From there, I create a lookbook and present it to the director. We then discuss and revise as needed. Changes often occur, but this provides a blueprint for continuity.
Next, I do makeup consultations and tests with talent. We cover skincare, application, and other concerns or questions they may have.
It can be very collaborative across different departments, again depending on what is needed. On Third Saturday In October Part 1, the character Harding dies by electrocution, returns reanimated for vengeance, and progressively decays throughout the story. That involved multiple color palettes and prosthetic designs for him alone as well as having to coordinate with the art and costumes department for matching details like the bloods and dirts to be used. On that production, we had split crews. I provided the original molds and pre-paint prosthetics for the next makeup team with specific instructions. This is why maintaining continuity is so important. The creative process is more than just applying makeup. It is also about preparation and learning to pivot.
What other MUAs inspire you?
I am inspired by makeup artists, both old and new.
In special effects- Dick Smith, Rick Baker, Jack Pierce, KNB EFX (Kutzman, Nicotero, Berger), Carey Jones, KC Mussman, Akihito, Tomo, Daniel Takahashi, Rebecca Butterworth, Namaisa Lemstra and Paige Cole.
In beauty/editorial- Reggie Wells, Pat McGarth, Lan Nguyen, Ophelia Liu, Danessa Myricks, Sir John, Isamaya Ffrench, Jackie Aina, Rae Morris, and Alex Box.
And an honorable mention to the late Bernadine Anderson. Her credits include Coming to America and Vampire in Brooklyn. Because of her class act civil dispute in the late 1960s, myself and other Black makeup artists are able to work in the film industry and join unions.
What has been your favorite project this far?
I don’t have a favorite project rather I have experiences that I value. I appreciate the projects that have pushed me both creatively and professionally because I learn something, either about myself or about my abilities.
What is your experience with makeup in the horror genre?
My experience with makeup in the horror genre also ranges. From slashers & thrillers films to freelancing for themed events and shows as well as photo shoots. I also teach special effects makeup for local programs and schools.
Do you have any upcoming projects?
Currently, I am working on my personal art, including expanding my prosthetic line, Somnial FX and pre-production for my latest script.
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