Clowning_Basics_DIGITAL

CLOWNS OF AMERICA INTERNATIONAL, INC. 

CLOWNING BASICS 

MISSION STATEMENT 

The mission of Clowns of America International is to organize all members desiring to pursue the 

honorable profession or art of clowning and the dedication towards its advancement and the 

education of its members. 

VISION STATEMENT 

The purpose of this reference book is to provide a detailed eight week lesson plan. 

WORDS OF GRATITUDE 

Thank you to the Members of Cheerful Clown Alley #166 for their permission allowing COAI to 

utilize this instructional book to further improve, educate, and preserve the “Art of Clowning.” 

The members who plan, instruct, and speak for Clowns of America International, Inc. (COAI) are 

volunteers supporting COAI in its dedication to promote the art of clowning. COAI’s Board 

sincerely appreciates the talent and time generously contributed by the membership and guest 

speakers to make your first steps of clowning education a reality. 

DEDICATION 

This book is dedicated to the memory of Charles T. “Whispers” McBride, 

and Cheerful Clown Alley #166


TRADITION OF THE CLOWN 

Colorful and comical, these whimsical characters trace their origin back thousands of years to a 

time when jesters entertained royal courts. Clowns have played important roles in society, from 

beloved entertainers to social critics who challenged authority and brought about change. 

Because we can laugh at them and with them, clowns help us to accept our own shortcomings and 

faults with a light heart. 

(Revision 01/01/2015) 

Documentation compiled by Clowns of America International, Inc. 

Not to be duplicated without permission of COAI. 

© Copyright 2015 

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CREDITS 

Clowns of America International Inc. would like to thank the following people for contributing to 

the production and revision of Clowning Basics formerly Clowning 101, with the hope that it will 

inspire and attract new individuals to the art of clowning and will assist the clown family to grow. 

Charles “Whispers” McBride who made the original Clowning 101 a reality, as well as Alley 166 

for giving COAI the gift of using Clowning 101 and the permission to revise it. 

COAI members for encouraging a revision of Clowning 101 

A very special mention to all those contributing to the original “Clowning 101” 

David Barnett Peggy Leslie Betty Cash 

Mary Lostak Glenda Clare Brenda Marshall 

Ralph Dewey Lillian Martin Leo Desilets 

Mauri Norris Jan Flowers Dennis Phelps 

Jeanne Hayes Eleanor Rubert Danny Kollaja 

Kaitlyn Sharp Dan Lake Linda Williams 

Illustrator: Mike Valentine 

Junior Joey Logo: Angel Contreras 

To those who helped with previous revisions: 

Hazel Ovanin Patti Gilbert Becky Deltenre 

Pat Roeser Christina Roeser Merilyn Barrett 

Cheri Venturi 

To those who helped with this revision: 

Glenn Kohlberger Dan Langwell Julie Varholdt 

Regina Wollrabe 

Jim Dixon – Director of Education 

And finally: 

All the wonderful Clowns that inspired this book. 

Clowning is a whole other world. 

Find someone who already lives there and get directions. 

“Daisy” 




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TABLE OF CONTENTS 

CHAPTER I – CLOWNS OF AMERICA INTERNATIONAL 

ABOUT COAI & JUNIOR JOEY INFORMATION 10 

CLOWN CODE OF ETHICS 11 

MEMBERSHIP APPLICATION INFORMATION 12 

CHAPTER II – GENERAL INFORMATION 

GENERAL INFORMATION 14 

BASIC SUPPLIES 14 

OPTIONAL SUPPLIES 14 

CHAPTER III – CLOWN TYPES AND PERSONALITIES 

TYPES OF CLOWNS 

WHITEFACE 17 

AUGUSTE 18 

LITE-AUGUSTE 19 

TRAMP/HOBO 20 

CHARACTER 21 

CLOWN PERSONALITY 

WHO AM I? 23 

HEART OF A CLOWN 23 

FROM THE BEGINNING 23 

WHAT MAKES YOU LAUGH 23 

STUDY THE MIRROR 23 

CLOWN WALK 24 

CLOWN VOICE 24 

TIME TO DEVELOP 24 

EXAGGERATION 24 

PROFESSIONAL CLOWN 24 

CHAPTER IV – MAKEUP 

MAKEUP-FACIAL DESIGN 

WHERE TO BEGIN 26 

ORIGNALITY 26 

CHANGE 26 

K.I.S.S. 26 

FINDING YOUR CLOWN FACE 26 

IN THE MIRROR 27 

PUT YOUR DESIGN ON PAPER 27 




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CLOWNS WEARING EYEGLASSES 27 

DESIGNING YOUR EYES 27 

USING MIRRORS 27 

TEMPLATES 27 

WHITE PENCIL 28 

COLOR SEPARATION 28 

THE CLOWN “MUZZLE” 28 

CLOWN NOSES 28 

CLOWN EYEBROWS 28 

THE ART OF CLOWN MAKE-UP 29 

BEFORE MAKEUP APPLICATION 

HYGIENE 30 

CLEAN FACE 30 

TIE HAIR BACK 30 

UNDER THE COSTUME–WARDROBE 30 

RUB YOUR EYEBROWS 30 

CONTACT LENSES 31 

MAKEUP TIPS 

MAKEUP 31 

BASIC COLORS 31 

OPTIONAL COLORS 31 

POWDER ROUGE 31 

COLORS TO AVOID ON YOUR CLOWN FACE 32 

CLOWNS OF COLOR 

WHITE MAKEUP 32 

RED MAKEUP 32 

BLACK MAKEUP 32 

AUGUSTE MAKEUP 32 

OUTLINING 33 

IN REVIEW 33 

MAKEUP APPLICATION TIPS 

NINE STEPS OF MAKEUP APPLICATION 33 

WORK FROM LIGHT TO DARK, TOP TO BOTTOM 33 

HOW MUCH MAKEUP TO APPLY 33 

BEGINNING MAKEUP & DESIGN APPLICATION 

THE BEGINNING 34 

APPLY THE WHITE MAKEUP 34 

PATTING THE WHITE 34 

CHOOSING THE DRY OR WET METHOD OF APPLICATION 34 

PATTING THE MAKEUP 

BEFORE POWDERING 35 

PATTING THE LIPS 35 

BLACK LINES 35 

AFTER POWDERING 35 




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DRY METHOD OF APPLICATION 36 

WET METHOD OF APPLICATION 36 

LINING 

LINING OF THE FACE 36 

HOW TO LINE 37 

LINING OF THE EYELIDS 37 

UNIQUE MARKINGS 37 

RACCOON EYES 37 

POWDERING TIPS 

ALWAYS POWDER 38 

HOLD YOUR BREATH 38 

POWDER SOCK 38 

FOLDING THE POWDER SOCK 38 

POWDER PUFF 38 

POWDER LIGHTLY 39 

SET THE POWDER 39 

BRUSH OFF THE POWDER 39 

BLOT THE COLORS 39 

POWDERING YOUR EYELIDS 40 

FINAL TOUCHES 

LIVE EYE 40 

MASCARA 40 

FALSE EYELASHES 40 

ADDED DESIGN 41 

TOUCH UP & PATCHING 41 

HOW TO REMOVE THE MAKEUP 

MAKEUP REMOVERS 41 

CARE FOR YOUR SKIN 41 

CHAPTER V – CLOWN WARDROBE 

COSTUME COLORS & DESIGNS 

COLORS 43 

COSTUME DESIGN 43 

COSTUME FABRICS 43 

WHITEFACE COSTUMES 43 

AUGUSTE COSTUMES 43 

TRAMP/HOBO COSTUMES 44 

CLOWN WARDROBE 

HATS, HAIR BOWS AND MORE 44 

JUMPERS 45 

SHIRTS 45 

NECKWEAR 45 




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PANTS 45 

SKIRTS 46 

BLOOMERS 46 

SOCKS & TIGHTS 46 

SHOES 46 

GLOVES 46 

POCKETS 47 

JEWELRY 47 

EYEGLASSES 47 

CHAPTER VI – CLOWN WIGS 

CHOOSING YOUR CLOWN WIG 

SELECT A SOLID COLOR 49 

TRIM YOUR WIG 49 

SEMI-BALD WIGS 49 

UNDER THE WIG 49 

CARE FOR YOUR WIG 50 

CHAPTER VII – CLOWN SAFETY 

CLOWNING SAFETY 

SMALL CHILDREN 52 

BALLOONS 52 

HELIUM 52 

MAGIC 52 

GIVEAWAYS 53 

GAMES 53 

STAGE 53 

PYROTECHNICS 53 

WATER AND CONFETTI 53 

FACE PAINTING 54 

PROPS 54 

WORKING CROWDS 54 

HEALTH NOTES 54 

CHAPTER VIII – SKITS 

SKIT DEVELOPMENT 

WHAT IS A SKIT 56 

WHAT’S THE DIFFERENTCE, SKITS & PERFORMANCES 56 

THE RUNNING GAG 56 

WHERE DO YOU GET IDEAS FOR SKITS 56 

LENGTH OF SKITS 57 

PROPS 57 

CHARACTERS 57 

DIRECTOR 57 

BACKGROUND MUSIC 58 




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ACTION 58 

PRACTICE 58 

CHAPTER IX – PARADABILITY 

WHAT IS PARADEABILITY? 60 

PARADEABILITY PROPS 60 

THE PRESENTATION 61 

“HIT AND RUN” METHOD 61 

PARADEABILITY VS. WALK-AROUND 62 

CHAPTER X – BALLOONS 

WHY BALLOONS? 64 

CHOOSING YOUR BALLOONS 64 

TYPES OF BALLOONS MOST COMMONLY USED 64 

HOW DO YOU BLOW UP A BALLOON 65 

TAKING CARE OF YOUR BALLOONS 65 

BASIC TWISTING 65 

SCULPTING - NEED TO KNOW 66 

CREATING AND SCULPTING THE BALLOON 66 

THE TWISTS 66 

BALLOON BASICS 67 

ANIMAL BALLOONS 67 

CHAPTER XI – FACE PAINTING 

BRUSHES 73 

PAINT 73 

GLITTER 74 

DESIGNS 74 

LINING 74 

DETAILS 75 

TINY CHILDREN 75 

CHAPTER XII –ABOUT MY CLOWN 

MY FIRST CLOWN 77 

CHAPTER XIII – CLOWN QUIZ 

CLOWN QUIZ 79 

ICONS USED IN THIS BOOK 

In several chapters, we have placed icons to emphasize types of information: 

J This icon indicates a helpful hint. 

þ This icon indicates important information to remember 




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About COAI 

The purpose of COAI is to teach, educate and act as a gathering place for the serious minded 

amateur, semi-professional and professional Clown; by exchanging ideas and information we can 

better ourselves and learn about a great art form. 

Junior Joey Information 

Joey is another name used for a clown, in honor of Joseph Grimaldi widely considered the father 

of modern clowning. Junior Joey membership is open to children 8-15 years of age. Upon joining 

COAI, junior members receive an attractive certificate, membership card, and a Junior Joey patch. 

Becoming a member of COAI will be a fun way for you to get educational emails, magazines, 

videos, and learn about camps for kids and many other opportunities for kids. 

In the spring of each year, COAI holds an International Convention. The purpose of this 

convention is to provide all members, including the Junior Joeys, with educational classes and 

exposure to competitions, in a structured learning environment. The classes are specifically 

designed for the Junior Joey with an opportunity to showcase their newly acquired skills. Junior 

Joeys enjoy a reduced convention rate and are eligible, and encouraged, to apply for scholarships 

to further their clowning education. Conventions provide educational and competitive 

opportunities, demonstrations, and hands on workshops as well as the ability to purchase supplies, 

exchange information, and experience regional cultures. 

Our official publication is “The New Calliope”, published and mailed to our members six times a 

year. Junior Joeys are featured from time to time and also asked to submit an article or pictures. 

Check the COAI website at www.coai.org for more information. Here is a direct link to the Junior 

Joey front page: www.coai.org/?page=JrJoeys 




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A CLOWN’S CODE OF ETHICS* 

1.) I will strive to maintain the highest standards of makeup, costuming, props, and 

comedy through out the lifetime of my clown. 

2.) I will conduct myself as a professional while in clown makeup and/or costume, never 

interfering with other acts, events, spectators or individuals. In addition, I will 

remember that using another performer’s makeup, costume, and/or skit without their 

permission is not acceptable. 

3.) I will keep my acts, performances, and behavior in good taste, remembering that I am 

an ambassador for the art of clowning. 

4.) I will remember that clown comedy-humor does not exist at the expense or 

embarrassment of others. 

5.) I will remain in Character, while in clown makeup and /or costume, when in the public 

eye. 

6.) I will comply with the producers, designated representatives, and the rules of the event, 

providing that the directives are in compliance with the Clown Code of Ethics. 

7.) I will not smoke or indulge in recreational substances before or after being in a 

performance, or at any time that I am representing or participating in the clown 

community in clown makeup and/or costume. 

8.) I will not be involved in or tolerate sexual harassment, or discrimination on the basis of 

race, color, religion, sex, natural origin, age, disability or any protected status. 

9.) I will be committed to providing an atmosphere for clowns of all ages to share ideas and 

learn about the Art of Clowning. 

* Revised 2008 




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COAI Membership Applications can be found: 

Online at COAI.ORG 

Inside The New Calliope COAI’s official publication. 

Contact the COAI Business Office at 1-877-816-6941 

COAIoffice@aol.com 

Or 

Contact any COAI Officer or Board Member 

WOW! 

I’m a COAI 

MEMBER! 




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GENERAL INFORMATION 

1. It is suggested to conduct classes for eight (8) consecutive sessions. An additional Clown 

Makeup Workshop is advised. Other Special Workshops are optional. Graduation Ceremonies 

should be held at the conclusion of the program. 

2. To receive a Clowning Basics Diploma each student must: 

a. ATTEND a minimum of SEVEN (7) COMPLETE CLASSES. 

b. FULFILL specific REQUIRENMENTS of the Alley. 

c. ATTEND THE CLOWN MAKEUP WORKSHOP. 

d. Complete a FULL MAKEUP APPLICATION. 

e. Participate in the Clown School Graduation Ceremonies. 

f. The Schools’ criteria will cover many of the basic skills of clowning. Clowns of America 

International, Inc. encourages you to continue your education: by reading, watching 

training videos and webinars, attending clown conventions, seminars, and by joining local 

and regional clown organizations, or by forming your own Alley. 

SUPPLIES 

The instructor will provide the location, motivation and instruction. Each student will be 

responsible for his/her supplies as listed below. 

Some classes include a charge for supplies in their registration and have them ready for the 

students at the first class. Some classes pass out a supply list and a suggestion sheet of where the 

students can purchase their own supplies. 

BASIC SUPPLIES: 

1. MIRROR – One with a stand 

2. GREASE PAINT – CLOWN WHITE, RED and BLACK, 

3. BLACK WATERPROOF MASCARA 

4. POWDER SOCK and /or POWDER PUFF 

5. BABY POWDER - TALC based, NOT CORNSTARCH 

6. BRUSHES – baby hair brush or shaving brush 

7. BOX OF COTTON SWABS 

8. BABY OIL or BABY SHAMPOO, WET WIPES AND FACIAL TISSUES 

9. HEADBAND 

10. A CONTAINER TO STORE AND CARRY SUPPLIES (baggie, pencil case) 

OPTIONAL SUPPLIES 

Your teacher will advise you of any additional supplies, and suggest available resources. 

(Such as a clown nose, that can be used to enhance your character.) 




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IMPORTANT NOTES OR DOODLES: 




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Whiteface Clowns 

The Whiteface is the show clown with the 

flashy colored, glittery costume; 

sophisticated and graceful. The Whiteface 

clown is not thought of as a real person by 

children, but something of a fantasy 

character. NO skin should be seen because 

the illusion of the character is then broken. 

Two types of Whiteface clowns exist: 

Classic European and Comedy. 

Classic European Whiteface 

The Classic European Whiteface 

(sometimes referred to as the Pierrot) is the 

most traditional and artistic of all clowns 

and is usually the clown in charge. This 

clown is elegant, colorful, bright and cheery. The classic costume is well-fitted, including a 

ruffle collar. The buttons, pompoms, piping and ruffles should be a colored material with 

colorful trim. Shoes are generally small, but simple and elegant. Everything matches. NO 

MISMATCHES WITH THIS CLOWN. 

The design of the Classic European Whiteface makeup is all white, with a minimal use of 

color. Black is best suggested for lining and red for accenting. Special clown glitter may be 

used to enhance features eyebrows, nose and mouth. All exposed skin, including the neck 

and ears, must be white. The head is covered by a skull cap with no hair showing and a hat 

(short cap, flat hat, or the typical cone shaped or “Pagliacci” hat) can be used to enhance 

the costume. 

Comedy Whiteface 

The Comedy Whiteface clown is elegant and 

usually in charge. They may instigate the 

prank, but are never caught (No pie in the 

face for this clown!). 

The base makeup design of the Comedy 

Whiteface is all white (No skin showing), 

minimal lining color(s) and/or glitter will be 

used to embellish features of the eyes, nose, 

and mouth. Varying styles and colors of 

clown wigs are used in place of a skull cap. 

The color is generally chosen to accent 

another color in the costume. Make sure that 

the back of the neck is covered. Applying makeup to the back of the neck is optional if it is 

covered with a ruffle and/or wig for everyday clowning; however for competitions stricter 




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rules apply. Clowns that fail to apply makeup to the back of the neck are known as dirtyneck 

clowns. 

The Comedy Whiteface costume fits well, but not overly tight. Materials covered in 

sequins or rhinestones may be used as well as satins or other shiny fabrics. A two piece 

suit, dress or jumper is acceptable. The costume, including the accessories, should be colorcoordinated. 

Shoes can be large or small but simple. Gloves should always be worn. 

þ All skin areas should be covered with makeup or clothing. 

Auguste 

The word Auguste is actually German 

meaning foolish. The first Auguste clown 

wore a costume in which he could play jokes 

on the other clowns. His pranks would often 

backfire on himself. 

The Auguste clown is known as the funniest 

of all clowns. They are the “trouble 

makers”. Their actions are wilder, broader 

and more clumsy and awkward. 

The Auguste clown gets away with almost 

everything! When appearing with a 

Whiteface clown, they are the brunt of the 

joke, but with the Tramp clown, they 

become the instigator in control of the situation. The Auguste clown has the most comic 

face. 

The Auguste makeup base is a flesh color (pink, reddish, tan or warm brown) instead of 

white. The features (usually red and/or black) are exaggerated in size. Other colors, in 

moderation, are acceptable. A red shadowing around the mouth is often used to accent the 

“Muzzle” area. Outlining is very important. Gradual shading of colors is often used. The 

mouth and eyes are emphasized with white. Outlining and blending are very important and 

necessary techniques that improve with practice. A prosthetic nose is usually worn but 

there are exceptions. Clown noses can be foam rubber, plastic or painted on. There are 

many variations of noses on the market to choose from. Be careful picking your nose! 

In the past, the costume consisted of striped or solid baggy pants. The typical fabric was a 

large plaid: the brighter and more gaudy the better. Each piece (pants, shirt, coat if worn, 

tie and hat) had a different design, such as horizontal stripes, polka dots, plaids, etc. The 

costume was a misfit; it was either too large or too small. In recent years the Auguste 

clown has moved closer to a coordinated costume. The Auguste clowns may wear 

mismatched colors and be totally uncoordinated, but also may be a pretty mismatched 

clown. 




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The Auguste should not wear sequins, glitter, or ruffles. This belongs to the Whiteface 

beauties. Large comedy shoes should be worn. The Auguste clown may choose to have a 

stumbling or slapstick personality. 

Lite-Auguste 

As clowning moved into smaller and more intimate venues 

(such as hospital rooms, birthday parties, or street 

performances) many clowns realized that the big, bold 

designs in makeup and costume that were perfect for the 

circus and other large venues could be overpowering and not 

the most effective. Over time, they slowly changed their 

style to reflect the need for a clown with a simpler look that 

would be more appropriate for the 

smaller settings. This new look has gradually developed as 

both Auguste and Whiteface clowns struggled to meet these 

new opportunities, eventually creating an entirely new 

category of clown altogether. 

COAI has embraced the new look and now refers to it as 

Lite-Auguste. The following is a guideline for this category 

based upon trends identified at the time of this update. The 

look is still being embraced and continues to evolve as clowns around the world experiment, 

refine and then share what is working in their entertaining experiences. 

The Lite-Auguste makeup is generally characterized by the softer overall application of the 

facial makeup, and smaller more refined elements of the design. The design incorporates an eye 

accent, mouth, eyebrow, nose (artificial or painted on) and light cheek accent. The Lite-Auguste 

should not be thought of as “the easy way out” achieving the soft, blended look of the Lite- 

Auguste may be more difficult to consistently reproduce for the inexperienced than the bold, 

solid lines of the Whiteface or Auguste. The Lite-Auguste is one category where it is not 

necessary to cover all exposed skin with either costume or makeup. For example, the use of a 

base makeup is optional since it is not necessary to cover the entire face, ears and neck areas. 

When a base is used many Lite-Auguste clowns are using shades much closer to their natural 

skin tone, some even working with a quality street foundation. A muzzle is optional, but, if 

used, should be small in size and not outlined in black. Natural hair (or lack thereof) is strongly 

encouraged. 

J If working in the sun, like with all styles, a base coat is advised to reduce sunburn 

from occurring around the areas that are not covered with makeup. Almost like 

wearing your clown face without the makeup. 

The supporting costume will be more people/human like (pedestrian). Pedestrian clothes fit well, 

don’t appear significantly over-sized and the styles used can generally be found in retail clothing 

stores. They may be worn in a smaller venue such as a hospital or a living room without 

knocking anything off shelves or carts. 

Costume design will incorporate softer secondary colors, such as pink, soft yellow, green, orange 

and violet. Use of strong primary colors should be minimized although softer shades, tones and 




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hues may be used successfully. Vests, ties, and accent pieces are recommended to enhance the 

overall appearance. But no large or overly exaggerated embellishments are needed. Gloves are 

optional but if they enhance the overall appearance of the character, they are again, encouraged. 

Costume patterns typically are plaid, checks, polka dots, solid colors and stripes emphasizing 

secondary and other pretty, but softer colors. Clown shoes are optional. Shoe design would have 

to work with and support the costume. Hats are optional. If a hat is worn, it should be more of a 

pedestrian style hat, along with the ties and collars. Socks match the theme design of the 

costume. 

Competition: Brightly colored wigs and glitter are discouraged in Lite-Auguste makeup design. 

Oversized and bright colored jackets will have points deducted in competition. Neither shiny 

satin types of fabric nor glitter should be incorporated in the costume. Sequin ties, fancy vests 

and wild hats should not be used. The use of primary colors in shoes should be confined to an 

accent. 

Tramp/Hobo 

The Tramp and Hobo clowns are on the bottom rung of the clown hierarchy. This character 

grew out of the tramps/hobos who rode the freight trains across the country looking for work. 

The main differences between the Tramp and Hobo are in the areas of attitudes and costumes. 

The Tramp is a pathetic character, who believes 

the world owes him a living. He wants (and expects) 

everybody to feel sorry for him. He does everything 

in his power to avoid work; nothing goes right for 

this clown. 

The Hobo (vagabond or happy tramp) wants to be 

a hobo. He may be down but he is certainly not out. 

He often appears 

happy. A Hobo 

usually will not ask 

for a “handout”, 

preferring to work 

for it. He will take a job but usually not for long because he 

wants to move along to someplace else. The makeup for the 

tramp and hobo are similar but not the same. 

The face and neck of a tramp’s makeup are colored to make them 

appear dirty and unshaven, usually black or gray is blended in a 

flesh color to look like a beard. The Tramp and Hobo use a base 

color of Auguste (suntan or sunburn color) makeup to give the 

appearance of many hours spent outside. White makeup is 

applied above and sometimes under the eyes and is also used for 

the “muzzle” around the clown’s mouth. Both the Tramp and Hobo can have a beard. Black 

makeup is used to apply the beard around the muzzle and is blended down onto the neck into the 




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Auguste base color. Red makeup is blended on the cheeks above the beard for a sunburned 

effect. Sometimes the beard is designed directly under the clown nose for mustache effect while 

others design it outside the white muzzle. Only the lower lip area of the Tramp/Hobo clown is 

painted. It can be black, red, or in some designs, white. The Tramps eyebrows should be small 

and worried looking. His expression is usually sad. The Hobo face is much larger with eyes 

wider, happier and more open looking than the Tramp’s. Many times the Tramps /Hobo use their 

own hair which has been moussed to look shaggy. In competition, a black, brown or gray wig 

should be worn. 

The Tramp is ragged but clean. His costume is usually two or three pieces which are extremely 

worn and ragged. The rips and tears may be left open, patched (with ragged patches – not neat 

iron-ons), or can be pinned together with safety pins. The color is usually black or other dark 

color, but may be brown, gray, or tan. The vest, if worn, may be a dark mismatch. The shirt can 

be worn, full of holes, faded, and/or scruffy. 

A worn out regular or work shirt will work just fine. The color of the shirt must be something 

other than white. The neck tie should not be flashy. It should be a regular tie that is worn out. A 

clothespin, a mousetrap, or other article might be used as a tie clasp. A rope might be used for a 

belt or suspenders. Shoes should be large and dark and scuffed up to appear older and worn. 

The Hobo costume is quite similar to the Tramp’s, but contains brighter colors in various parts. 

His vest is likely to be more colorful, as are his patches. His shoes should be the same as a 

Tramp’s, large and scuffed to appear old and worn. 

Character Clowns 

A Character clown is one 

who portrays an 

identifiable character 

and/or occupation: Such 

as a cowboy, Indian, 

princess, nurse, fireman, 

doctor, storybook 

character, policeman, 

sailor, small child, etc. 

The Character clown’s 

makeup should be 

designed to best represent 

the identity of the 

character. The wardrobe for a Character clown should relate to the character being portrayed. 

Using copyrighted characters should be avoided because may cause disqualification in 

competition. 

J It is advisable before competing to always review the rules carefully for 

the guidelines of that particular convention 




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Observe your facial features in a mirror. Then use the suggested designs below to help 

choose your clown face: 

NOSES MOUTH EYES 




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CLOWN PERSONALITY 

It is important to remain in character while in clown. Develop your clown personality 

accordingly. Even when you are in costume and makeup as a clown, most of your own 

personality is reflected in your “character.” You will probably be less shy than normal, 

since most people will not know you and you can act sillier and perform things that you 

normally would not do. Use this freedom to your advantage and let the child inside you 

come out. 

Who Am I? 

What is a clown? Not an easy question to answer. Most people think a clown is either a 

circus performer or a children’s entertainer. Clowns can be anyone, anywhere. A clown is 

someone with limited sense but limitless jest. A clown is wholesome, and always a lot of 

fun. Clowns have been a part of recorded history for thousands of years in many different 

cultures. From ancient Egypt, to modern day Hollywood, the task of making people laugh 

has fallen on the clowns. Today, the tradition continues as you begin to learn about 

clowning. 

The Heart of a Clown 

The Heart of a Clown defines your clown and is your motivation. The heart of a clown is 

the small tickle inside of you that makes you smile or share a giggle. It’s like a big rainbow 

that is best enjoyed, when shared. 

From the Beginning 

What words best describe your clown character – young or old, cheery or gloomy, 

energetic or lazy, friendly or shy, pretend or real? Think about humorous characteristics 

that you have observed in actors, cartoon characters, or even animals at the zoo! 

Write down two or three characteristics that would best describe your clown. Then 

experiment with sitting, standing and walking in ways that demonstrate these 

characteristics through your clown’s eye. 

What Makes You Laugh? 

Think about the things you find funny. What makes you feel silly? Write a list of actions (or 

reactions) that you consider funny. Can’t think of anything? Even that can be a great start. A 

completely straight faced reaction to a silly event is often funny. 

Study the Mirror 

To develop your own clown personality, spend time looking in a full length mirror. 

Practice facial expressions and movements (a walk or body movements) that could 

demonstrate to an audience some of the characteristics of your clown personality. What 

could your clown do to express surprise, sadness, joy and playfulness to an audience? Once 

you have answered these questions, try to enlarge these expressions, gestures and 

movements. A clown’s expression is always an enlargement or exaggeration EXTENSION 

of real reactions. 




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Clown Walk 

Which came first, the shoe or the walk? A clown’s walk is greatly affected by the size and 

style of the shoes. Your clown need not wear big clown shoes, but they do change a 

clown’s look more than any other part of the costume. To a group of people, the big shoes 

say “CLOWN”. Practice walking fast, slow, bumbling, and tripping. Find a stride you are 

comfortable with, does not exhaust your energy, and reflects the character you are 

portraying. 

Clown Voice 

You can also develop a different voice for your clown personality. If you choose to develop 

a special voice, use the voice every time and all the time you are in character. Keep in 

mind; you must be able to speak in that voice, all the time without strain. If the “special 

voice” causes you to strain or become hoarse – change the voice before it causes damage to 

your vocal cords. 

One of the easiest changes to make in your regular voice is a shift in your pitch. Raise your 

voice a bit and you become one clown, lower your voice and you become another. The 

voice must be catchy, but not unpleasant. Experiment with your selection by play acting, or 

reading. Talking into a recorder will also help evaluate your voice quality. 

J You will not always have a microphone to use, so make sure your 

“special voice” will carry across a crowded room. 

Time to Develop 

New clowns are often referred to as “First of Mays” which harkens back to the traditions of 

the circus. Developing your own clown personality takes time. To develop a character that 

you feel comfortable with inside, sometimes takes years. Your confidence and abilities 

will increase with time and practice. 

Exaggeration 

To aid in communication with an audience, a clown relies on exaggeration of movement 

and physical expression. The use of big, clean, and precise gestures are the tools of a good 

clown. Play to that person in the last seat of the very last row. Do not race through your 

dialogue or skit. Take your time and allow the audience to catch up. Pace yourself 

accordingly so the entire audience can enjoy and anticipate your gestures and expressions. 

Professional Clown 

A professional clown is an entertainer. Every appearance is an opportunity to excel in the 

art of clowning. The professional clown continually tries to improve his or her art and is 

constantly learning new skills to be entertaining. Like life itself, a clown develops with 

practice and time invested. Your clown will continue to grow as years pass. Learning is a 

never ending process. 




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MAKEUP - FACIAL DESIGN 

Where to Begin 

A clown’s style and personality are displayed through facial design. To begin creating your own 

unique face, you must decide which of the clown types you wish to be: Whiteface, Auguste, Lite 

Auguste, Tramp/Hobo, or Character. Your facial design should be consistent with your chosen 

clown type. A general rule of thumb is that the more exaggerated the facial features, the zanier the 

clown and the more naturally proportioned the facial features, the more intelligent and graceful the 

clown. 

Originality 

If you see a clown face design you like, add your own touch; do not copy it. You are unique, so 

each clown face design should be as original as your natural face. Clowns may have the same wig 

or same nose, but no two have the same face. Look around and study others, then develop your 

own look and style. Remember, be yourself…. AN ORIGINAL! 

Change 

Develop a design that is best for your face. Don’t be afraid to change your clown face until you are 

perfectly happy with it. Developing your own special design takes time. It is natural to grow in the 

art of clowning and growing means change. Ask around, you will find that most clowns looked 

very different than when they first began. As you become more accomplished and become more 

uniform in your appearance, people, will identify you more quickly. 

K.I.S.S. (eh, not that kind of kiss) 

“KEEP IT SIMPLE SILLY”. This is advice from an experienced clown. Your facial design need 

not be elaborate to be a great work of art. You will find that the simpler your design, the less time 

it will take to apply your clown face over and over again. Design it with K.I.S.S. 

Finding Your Clown Face 

STUDY YOUR FACE IN THE MIRROR. Your clown face is already there, hidden in the mirror, 

just waiting for a bit of makeup to bring it to life. Smile, frown, look surprised, laugh, and make 

silly faces in the mirror. A well designed, personalized clown face is one that will highlight or 

exaggerate the facial features of your natural face. Close examination of the size and shape of your 

facial features will help you to see your special clown face. Always take pictures of yourself – 

cameras do not lie. 

þ Remember, the goal in designing your clown face , is to make your clown face 

appear cheery, and smiling, except in the case of a sad Tramp. 




26


In the Mirror 

Look in the mirror and answer the following questions. Your answer should help you with the 

design of your own clown face. 

1. Is my face long or short, round or thin? 

2. What is the size and shape of my forehead, chin, eyes and nose? 

3. Where is the high-point of my cheeks when I smile? 

4. What natural lines, wrinkles, dimples, or curves stand out and could be used in the design of 

my special clown face? 

Clowns Wearing Glasses 

If you are not able to clown without glasses, then you need to learn the tricks of designing your eye 

makeup to draw attention to your entire face rather than just to your eyes. 

Put your glasses on and study the areas of your face the glasses cover. Then, remove your glasses 

and really study the movement in your eyes. Raise and lower your eyebrows, look surprised and 

then look sad. Watch how the lines in your eyebrows and corners of your eyes react to movement. 

Also study where your glasses might rest on your face, since repeated eye movements can 

eventually rub off your clown makeup (on your cheeks and nose). 

Designing Your Eyes 

Begin your thought process of designing your eye area. Keep it simple and natural. 

• Decide where to place your eyebrows so it works with your style of glass frame 

• Changing to a blue liner rather than a darker black/brown color can create a softer look 

• Eye accents (lines/shapes) placed around the eye area can also enhance your eye design 

• Our more mature clowns also have problems due to the magnification of their glass lens 

• If you are an Auguste clown, you will also need to decide whether to put the white paint only 

above the eye or both above and below the eye 

J If you wear glasses, remember: The glass magnification can cause exaggeration 

of your actual eye size, giving you a “wide eye owl look”. 

Using Mirrors 

Mirrors are very important. Consider using a magnifying makeup mirror. 

• If you typically use only a stationary table mirror you will have greater difficulty in seeing 

designs that extend past the corner of your eye. 

• For greater viewing control, consider using a handheld magnifying makeup 

mirror. This will allow you to move your head and catch the brighter lights in the room to view 

your face and eye designs easier. 

Templates 

Templates can be made to make it easier each time you apply your makeup. Simple things such as 

cardboard, plastic, coins, bottle caps, tape, pencils, etc., can be used to make templates. 




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White Pencil 

You may wish to use a white grease pencil or white eyeliner pencil to draw your clown features, or 

makeup design, on your face. This will act as a map for your color application. The white pencil 

lines will then be covered by the makeup when applied. 

J You may want to try putting your grease pencils in the freezer for a while before 

using them. It helps to keep the pencils from crumbling when sharpened and 

while you are lining. 

Color Separation 

For Whiteface and Auguste clowns, COAI suggests that no color of makeup other then white or 

flesh tone be applied to your upper lip or the area below your nose. Tramp/Hobo clowns should 

design the entire upper lip to be white, while the area below the nose may be designed to be all 

white or a small area of black makeup under the nose to resemble a mustache. This allows more 

expression of the clown face. 

The Clown “Muzzle” 

The white area around the mouth is called the “muzzle.” For Auguste clowns, the design may 

include: some of the cheek area, some area below the nose, some of the chin, and some of the 

upper lip area. For Tramp/Hobo clowns, it will be the same, except some may choose to design a 

small area of black under the nose to give the effect of a mustache. 

Clown Noses 

Clowns need a nose! Either wear one or paint one on. It’s part of being a clown! A Whiteface 

Clown may have a painted-on nose or wear a clown nose, but Auguste and Tramp/Hobo clowns 

should always wear a clown nose. 

Many different noses are available. Two popular types are the round bulbous nose (applied with a 

special adhesive) and the hollow latex style nose (applied with spirit gum) frequently found in 

Halloween stores. These noses are available in sizes from small to extra large; from petite “nose 

tips” to long Pinocchio inspired examples. Select a nose type and size that goes with your clown 

and facial design. Always carry glue with you to reapply if your nose falls off. A glittery nose is 

usually inappropriate for the Auguste, Lite-Auguste, Tramp and Hobo clowns. 

J If you choose to wear an artificial nose, paint a small red nose on your real 

nose, just in case you lose your nose during a performance. 

Clown Eyebrows 

Every clown face should include eyebrows. Clown eyebrows help to establish the character and 

expression of your clown face. For most clown types, you will want to design your brows to accent 

a cheery face. Study shapes and angles for the design of your eyebrows. A flat, horizontal line can 

give your face a worried look while a high arch can make you look surprised. Avoid a very large, 

thick design for your clown eyebrow as it will make you look scary. 




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Clown eyebrows are usually designed on the forehead, but some clowns decide to accent their own 

eyebrows. The placement of your eyebrows will depend on the style of your wig and the shape of 

your forehead. If you wear glasses, be sure that your eyebrows are not hidden by the height of the 

frames. Make sure your hair/wig does not cover your brows or all your hard work, and much of 

your expressions will be hidden. 




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BEFORE MAKEUP APPLICATION 

Hygiene 

Good personal hygiene is a must when clowning. You will want to look and smell your best. 

1. Use deodorant or antiperspirant. 

2. Brush your teeth and use mouthwash – before applying your makeup. 

3. Be sure your costume is clean. 

4. Be sure your wig has been cleaned and styled. 

J Many clowns carry candy or mints with them to help keep their breath sweet 

and fresh. 

J Some clowns sprinkle the baby powder lightly over their bodies before 

clowning to make them smell baby-fresh. Baby powder on the skin works like 

a sponge when you sweat. 

Clean Face 

Be sure you begin your makeup application with a clean face. Clear your skin of any oils, leftover 

makeup, beard stubble, etc. 

Tie Hair Back 

Before you begin applying any makeup, be sure your hair is drawn back away from the face under 

a wig cap or with a headband. Some clowns with long hair use hair pins to secure the hair up from 

the nape of the neck. Others may use a hair gel or mousse to help hold the hair in place. 

J During the hot summer months, try thoroughly wetting your hair with water 

before or after makeup is applied. The damp hair under your wig will help to 

keep you cool, especially if you will be clowning outdoors. 

Under the Costume 

It is suggested that you wear a T-shirt and shorts during makeup application. It can also be worn 

“under” your clown costume to keep you from an embarrassing moment in case of a “wardrobe 

malfunction” (costume rip or tear.) 

J Avoid wearing clothing that will have to be removed after makeup application. 

Rub Your Eyebrows 

If you have especially thick eyebrows, rub out any loose hairs with a moist wipe before you begin 

applying makeup. Removal will reduce the chance of having them create little “crescent moons” 

throughout your makeup, so rub hard! 




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Contact Lenses 

Previous students have asked about the effects of the makeup on their soft contact lenses and 

whether or not the lenses should be put on before makeup is applied. Some clowns wear soft 

contact lenses and find that it is best to put the lenses in before makeup application (mainly so they 

can see). It is recommended that you thoroughly clean your contact lenses each time after 

clowning. Only time and experience will tell you what works best for you. 

MAKEUP TIPS 

Makeup 

Take care of your makeup. Makeup is affected by the temperature and will react to heat and cold. 

If you leave your makeup in the car during the summer months, you will find that it will liquefy. It 

will be difficult to work with until it has cooled. However, if your adhesive or sprit gum freezes it 

will not come back to life, and you must replenish your supply. 

J Be sure to re-cap all makeup containers before applying powder. If you get 

powder in your makeup container, try adding a drop or two of baby oil to 

return it to a workable consistency. Be very careful not to add to much baby oil. 

J If your make up smells strange or stings when applying, it may have spoiled. 

Replace it immediately! 

Basic Colors 

The primary colors used as a base makeup for clown faces are white, pink, tan or flesh. Secondary 

colors used are red and black. Various shades of red can be used for contrast or blending. 

Optional Colors 

Whiteface clowns may use other colors, such as pastels, for accent. Whiteface clowns may also use 

glitter as an accent for a bit of sparkle on the eyebrows or cheeks. Some Whiteface clowns may 

use the new vibrant powdered eye shadows to lightly accent the eyelids. The glitter or powdered 

eye shadow is applied last, usually, after the white base color has been powdered and dusted. 

J Be sure to use only theatrical glitter. Do not use craft glitter, and use care in 

applying any glitter near the eyes (particles could cause eye irritation). 

Powder Rouge 

Theatrical red powder rouge can be used by all clown types for cheek color and blending instead 

of the red makeup, or may be used in combination with it. After all the makeup has been applied, 

powdered and dusted, the powder rouge is applied with a brush and blended as the final addition to 

your clown face. Make sure you use clown rouge, as some over the counter products have brown 

tones and will look dull when applied over the clown colors. Only the Lite-Auguste can use an 

over the counter rouge effectively. 




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Colors to Avoid on Your Clown Face 

The colors yellow and green should be avoided on your clown face as they do not show up well at 

a distance and can make you look less bright. Yellow on the face will make your clown appear 

pale or sallow. Light green will produce the same effect as yellow. Dark green will look black 

from any distance, so the use of black is better than dark green. Dark blue on your clown face will 

have the same effect as dark green and therefore, the use of black is better. The color red above or 

on the eyelids will make the eyes appear bloodshot and could cause eye irritation. 

CLOWNS OF COLOR: 

White Makeup 

Some makeup has a greater amount of white pigment, this might be better for the darker skin 

tones if your clown white doesn’t seem to be covering effectively. If you apply too much makeup, 

even with additional powdering, you may discover wet spots or cracks in your makeup. 

Red Makeup 

In Whiteface designs, all colors show up fine. For the Auguste face you will need to be more 

selective on the shades of colors you use. On the darker skinned clowns, some shades of red are so 

dark, the color actually seems to disappear on the face, while other shades of reds, clash with your 

Auguste base color. Often reds leaning towards orange appear brighter than the blue reds on 

darker skin tones. If you experience trouble finding a red that works well, you may want to 

consider mixing your red and white together to find an appropriate pink to red shade which works 

with your skin tone. 

Black Makeup 

In Whiteface designs, all colors show up well. For the Auguste faces, this is another area were 

substitutions are commonly made for those having darker skin tones. If you find black grease 

paint does not show up, you might want to substitute blue or possibly mix white and black together 

to create a gray color. 

Auguste Makeup 

There are many shades of Auguste makeup available. There are many more shades of theatrical 

greasepaint to choose from than there were just a few years ago. You may have to check with 

several dealers for additional shades or consider mixing the color yourself. You can mix Auguste 

with a very tiny bit of black, red or white makeup and dramatically change the shade of your 

Auguste. Just remember your color combinations to re-create your future clown faces. Discuss 

with your instructor about the use of your own skin tone for clown base. In the last few years the 

major manufacturers of theatrical makeup have begun offering a much larger range of colors and 

shades designed for darker skin tones. Many shops have tester boards, so even if they don’t 

normally carry that particular shade you will be able to test a few options. 




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Outlining 

Darker skinned clowns often outline their eyebrows and mouths with white to accent their designs. 

In Review 

Clowns all have various skin tone colors and there are many variables to finding the appropriate 

color of makeup that best fits your face design. Keep working with the process. Once you get the 

hang of it, it will become much easier! 

MAKEUP APPLICATION TIPS 

Nine Steps of Makeup Application 

In the makeup section of this book you will learn the basic steps of good makeup application: 

1. Wash your face and hands 

2. Brush your teeth 

3. Apply the makeup 

4. Pat the wet makeup 

5. Cut out your design 

6. Powder the makeup 

7. Let the powder set 

8. Pat the powdered makeup 

9. Dust off the excess powder 

Work From Light To Dark, Top to Bottom, Weak Side to Strong 

In this section you will learn methods for applying makeup. We suggest that you begin with the 

lightest color and finish with the darkest color. TOP to BOTTOM should be done the same way. 

To avoid mistakes, always apply the makeup to the difficult side of the face first, since it is easier 

to match the easy side to the difficult one. 

How Much Makeup to Apply 

A well applied clown face consists of a smooth even layer of makeup. Achieving the proper 

amount of makeup will come with application practice. Two of the most common mistakes are as 

follows: 

1. If the makeup is applied too thick, it will require a great amount of powder to set and will also 

cause the makeup to literally crack and fall off your face. 

2. If the makeup is applied too thin, your skin will show through. 

J Learning how to pat your makeup will also help to solve these problems. 

BEGINNING MAKEUP AND DESIGN APPLICATION 

For the purpose of this school: we ask that you apply your makeup to the face only. Stop at your 

jaw line and do not apply makeup to your neck and ears. 

When performing, you should ALWAYS apply makeup to the neck and ears if they are visible. 




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The Beginning 

You have made the difficult choice as to what type of clown you want to be. You have studied 

other clown faces and studied your own face very carefully in the mirror. You should have the 

sketch you made of your facial design nearby for reference. For students using the white grease 

pencil, you will begin by drawing your sketch onto your face. It is also advisable to take a 

picture of your face after you are satisfied with your makeup application. 

Applying the White Makeup 

Whiteface Clowns 

Using the fingers or a makeup sponge, many Whiteface clowns begin the facial design by 

completely covering the face with the makeup. When clowning, the white will also be applied 

to the neck (front and back), ears and into the hairline. Clowns failing to apply makeup to the 

back of the neck are called dirty-neck clowns. Whiteface clowns are completely covered with 

makeup and clothing. If you do not wish to cover the back of your neck, use a hood or make 

sure your wig or costume cover it. 

Auguste and Tramp/Hobo Clowns 

Using the fingers or a makeup sponge, Auguste and Tramp/Hobo clowns begin the application 

of the face design by applying the white only to the areas of the facial design which will be 

white, not the entire face. In most cases, the white makeup will be applied around the eyes and 

the muzzle. 

Patting the White 

The next step in the application of your facial design is to PAT the white makeup. You should 

use the flat of your hand or a sponge to pat the white areas until there are no lines or finger 

prints. Don’t forget to pat your eyelids with one finger to make sure there are no creases. After 

patting the white, you will begin to remove the white makeup from any areas of the face where 

other colors are to be applied. Using a cotton swab or a moist wipe around a cotton swab, wipe 

along the border of the white to give a crisp edge between the white sections of your facial 

design and the areas where colors will be applied. 

J When using a cotton swab, remove a bit of the cotton to allow the swab to 

Be used in a small area. There are some very good cotton swabs that have a 

perfect point on one side and a flatter point on the other. You can find these 

in the makeup area of the drug store or beauty supply store. 

Choosing the Dry or Wet Method of Application 

After the white makeup is patted and designed on the face, you will need to choose whether to 

continue the application of your makeup using the DRY or WET Method. It is suggested that 

you use the DRY method to begin. Later on you may want to try the WET method. 

(Explained in sections described as Dry or Wet Methods) 




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PATTING THE MAKEUP 

Before Powdering 

Patting is a very important step in makeup application. It helps the wet makeup stick to the 

skin, so pat WELL! Patting also makes sure that the color is evenly distributed on your face 

taking away any stroke marks or lines. Use your fingers or a makeup sponge to pat the applied 

makeup, especially the white and/or Auguste areas. 

J If you choose to use a CLEAN sponge to pat, be sure that you apply a small 

amount of makeup to it before use. Otherwise, the sponge will remove some 

of the makeup from your face creating little spots. In patting the makeup 

with your fingers, also be sure that you have a thin layer of the color on your 

fingers or flat of the hand to avoid the same problem. 

Patting the Lips 

Because the surface of your lips is less porous than your skin, you will want to devote special 

attention to the makeup application in these areas so that the makeup firmly adheres. BE SURE 

THAT YOUR LIPS ARE COMPLETELY DRY BEFORE MAKEUP IS APPLIED. 

Upper Lip 

Use your fingertips to move the makeup back and forth across your lip to allow the makeup to 

reach into natural creases. Pat the makeup firmly with your fingertip for greater adherence and 

then lightly pat to remove any stroke marks. 

Lower Lip 

Your lower lip will become part of your clown mouth and in most cases the clown mouth will 

be applied with a lining brush. After your clown mouth has been applied, put a bit of color (for 

many clowns, this will be your red makeup) on your fingertip. Gently move the makeup back 

and forth across your lower lip to allow it to reach into natural creases. Pat the makeup on the 

lower lip for greater adherence and the lightly 

pat to remove any stroke marks. Although it is not possible to pat the entire clown mouth 

(especially near the borders of the color), lightly pat all accessible areas of your clown mouth 

to remove any stroke marks created by the brush or finger tip. Keep your mouth wide open to 

insure the colors from the upper lip and the lower lip will not smear.\ 

Black Lines 

It is not necessary or, in most cases, possible to pat the wet black used to line the face. 

After Powdering 

After powdering, you will again need to pat the makeup. Powdering is further explained in the 

next few pages. 




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DRY METHOD OF APPLICATION 

You will want to try both the Dry Method and the Wet Method of makeup application to 

decide which method works best for you. 

DRY METHOD – POWDER AFTER EACH COLOR BEFORE APPLYING THE 

NEXT COLOR (This is easier for the beginner clown as you don’t smear the colors 

together) 

1. Begin by applying the white makeup, pat and powder. 

2. Use a cotton swab to cut out or clear the design area for a sharp clean look. 

3. After powdering the white, thoroughly dust the face with your large brush to remove all 

powder from the areas to receive another color. You may want to use a moist wipe to 

gently remove the powder from large areas. 

4. The next color of makeup is then applied, patted, and powdered. Repeat theses steps until 

all colors have been individually applied. Remember, it is very hard to remove makeup 

after it has been powdered unless you are removing the entire face. 

WET METHOD OF APPLICATION 

WET METHOD – APPLY ALL COLORS COMPLETELY THEN POWDER ONCE. 

This is a more difficult application for the First of Mays as it tends to get very messy. 

The more skilled at makeup application the easier this method becomes. 

1. After applying the white, continue to apply the different colors of your face design working 

LIGHT TO DARK and from TOP TO BOTTOM until all the colors have been applied and 

patted (but not powdered). Try not to touch the makeup after it has been patted, otherwise 

you will have to re-pat to remove the marks. 

2. Use a cotton swab to cut out or clear the design area for a sharp clean look. 

3. If you must re-pat an area of color, be sure that you have a bit of the same color of makeup 

on your fingers or sponge. 

4. Powdering is a very critical step in the Wet Method. Review the Powdering Tips section 

before beginning. Try to powder the different colored areas of makeup as individually as 

possible, beginning with the white and working from light to dark. 

J As always, there is an exception to every rule. Using the Wet Method, you 

may find it helpful to apply your clown mouth (painted in the lower lip area) 

last. This will allow you to ask questions and avoid an accidental transfer of 

un-powdered color from the clown mouth to the top lip when you speak. 

LINING 

Lining of the Face 

LINING TAKES PRACTICE, PRACTICE, PRACTICE. To accent, Whiteface clowns line 

near the eyes (eye accent lines) and sometimes line around the mouth. Auguste clowns also put 

accent lines near the eyes, many line the area between the Auguste makeup and the white (the 

muzzle), and some line around a red clown mouth. Tramp/Hobo clowns usually apply only eye 

accent lines. 




36


The following can be used for lining: 

1. Black makeup and a lining brush. With practice, these will provide a finer, thinner line than 

the pencil or liquid liner. 

2. Black makeup pencil. 

3. Black waterproof liquid eyeliner. Although the liquid eyeliner is waterproof, it may not 

withstand outdoor conditions and weep into other areas of the face. Also, you may need to 

allow a few extra minutes for the eyeliner to fully dry before touching your face. 

J Some waterproof eyeliner may chemically react with makeup, test a small area. 

How to Line: 

Lining should be crisp and even, to insure a professional look. Lining that is too wide or too 

thick will make your facial design appear scary. Lining requires a steady hand. 

If you are have difficulty, try the following method: Place both elbows on the table. (Don’t 

worry, I won’t tell!) In your working hand hold the brush or pencil toward your face. Then 

grasp the working hand near the wrist with your other hand to steady it. Begin to apply the line 

by touching the brush or pencil to your face and then moving your face (not the brush or 

pencil) to make the line. 

J Always try to line the hardest side first. 

Lining of the Eyelids 

It is suggested that you line the area just above the eyelashes to make them stand out. Begin 

lining from the inside of the eye (next to your nose) to the outside edge of the lashes. Lining of 

the lower eyelid is up to you and will depend upon your chosen facial design and the distance 

from your audience. Refer to the Section regarding “Live Eye” (page 41) 

Unique Markings: 

Black accent lines near the eyes are important to help open and highlight your clown eyes. 

Accent lines might be crows’ feet (laugh lines) at the corner of the eyes, or marks such as a 

small dot or vertical line(s) within the white areas under your clown eyebrows. An accent mark 

could also be a small dot or vertical line immediately below your lower eyelashes. 

Clowns also use unique markings to accentuate or define their character; painted freckles, hearts, 

tears, laugh lines, and dimples. If you see a particular mark you like, personalize it for your 

special clown face. REMEMBER: DO NOT COPY A FACE, AS IT IS UNETHICAL. 

Raccoon Eyes: 

Auguste and Tramp/Hobo clowns may choose to apply the white of their facial design to the 

area above, and the space beneath the eyes. This is more appealing if you have very large eyes 

of a dark color. Small, light colored eyes get lost in all that white. Horizontal lining between 

this white area beneath your eyes and your cheek color will give your clown face the 

appearance of having raccoon eyes which is not appealing. 




37


POWDERING TIPS 

Always Powder 

Makeup is always powdered with a talc (talcum) based baby powder or setting powder. DO 

NOT USE PRODUCTS CONTAINING CORNSTARCH which is in some baby powders. 

Setting powder is similar to baby powder however it is of a much finer consistency and does 

not contain many of the other fillers found in baby powders. Properly powdered, the makeup 

will withstand hours of perspiration and any water or pies that may come your way. Without 

the powder, the makeup will simply slide off your face onto your costume. 

Hold Your Breath 

Try not to breathe in the cloud of powder you create during the powdering process. It is not 

good for your lungs and is not very tasty, though most clowns have probably eaten their share 

of powder throughout their careers. Also, it is not necessary to create a full-blown powder 

storm while powdering. 

J When powdering at home, some clowns prefer to go outside to avoid having 

to clean up the powder that missed their face. Others powder over a waste 

basket to make clean-up easy. Many people powder in their shower stalls to 

avoid spreading the powder throughout the house. 

Powder Sock 

Your powder sock is a cotton sock that has been filled with baby powder and tied at the end. 

Before using the powder sock, shake or jiggle the sock several times to force the powder 

through the cloth. You may then hold the powder sock above your face and lightly shake it 

allowing the powder to fall upon the makeup. Follow with light pats of the powder sock 

directly to the face. 

Folding the Powder Sock 

Use care in touching the powder sock to your wet makeup. After a light pat on the face, FOLD 

THE SOCK to allow it to absorb any makeup removed from your face. Then, unfold the 

powder sock and again lightly pat the sock to your face. Fold and unfold the sock each time. 

Be really careful in the areas of red and black. If you forget to fold the sock after powdering 

your clown mouth, you may find that you have transferred an extra smile to your face! 

Powder Puff 

If you have a problem with the traditional powder sock, you may choose a sheepskin powder 

puff. Dip the puff in the baby powder, hold it above the face and sprinkle the powder onto the 

makeup. The puff never touches the wet makeup. Follow the sprinkling with light pats of your 

hand to help set the makeup. Be sure that you have a bit of powder on the hands when patting. 




38


If you prefer to “dip” your face into the powder puff, put a LOT of powder on the puff, lean 

over the sink, and pat lightly until your face is white. The key is to keep your wet makeup from 

touching the powder puff itself – only the powder. Some clowns find this to be a neater 

method. This method helps to reduce the powder “smog” effect, thus making it easier to clean 

up and breathe. 

Powder Lightly 

Powder your face lightly and evenly. After powdering, feel gently over your face for any sticky 

spots. Re-powder those areas. Be sure that all areas of the face, neck and ears are well-powdered 

when you clown. When clowning, you will want to make sure that your throat area is well 

powdered, to help keep the color from rubbing off on your costume (although this problem 

can never be totally eliminated). 

Set the Powder 

Do not brush off the powder immediately after you put it on. LET IT SET ABOUT A MINUTE to 

allow the makeup to absorb the powder. For better absorbing, lightly pat the powder with your 

fingers making sure you first have a bit of powder on your hands or by lightly pressing in the 

powder with your powder sock. 

Brush Off the Powder 

After all the colors are powdered and patted, brush off the excess powder with your large brush. 

Begin brushing the white areas first and work from light to dark. Brush well in the areas of red and 

black to brighten them. Remember, for the white, the powder will usually help to fill in the color. 

J Some Auguste clowns find it best if they do not completely brush off the 

powder from their white muzzle. It gives the face a soft look that is very 

appealing. 

Blot the Colors (Optional) 

After brushing off the excess powder, blot the colors, especially the red and black, using damp 

cloth. Blot lightly, DO NOT RUB. Blotting not only gives you a fresh feeling, but also helps to 

remove any excess powder on the surface of the colors and brightens them. Some clowns even 

use a spray bottle of water to lightly mist their face and then use a damp cloth to gently blot the 

colors. There is also the theory that as your body temperature warms the grease paint, the 

colors will become stronger and brighter without removing any powder. By removing the 

powder, you may run the risk of removing too much causing the makeup to appear greasy. 

Whether or not you blot your makeup is up to you. Try both methods and then decide what 

works best for you. 




39


Powdering Your Eyelids 

When you are ready to powder, you may find that creases in the wet makeup developed on 

your eyelids even after you patted it down. If the creases are very noticeable, try closing one 

eye and with your finger re-pat the makeup on this eyelid. Then gently pat the eyelid with your 

powder sock and lightly press in the powder with your fingertips. Repeat the process for the 

other eyelid. Dust off any excess powder with your large brush. 

FINAL TOUCHES 

Live Eye 

A final important touch to your clown face is Live Eye. Live Eye is the lining of the lower 

eyelid just below the lash line. This is frequently done to emphasize the eyes if a clown is 

going to be performing at a distance. Use a black cosmetic over the counter eyebrow pencil 

because it is so close to your eye. 

Mascara 

DO NOT leave your eyelashes covered in makeup and powder. Use waterproof black mascara 

to darken the lashes and help highlight your clown eyes. If you are unaccustomed to using 

mascara, hold the mascara wand underneath your eyelash. Then with an upward motion, move 

the wand up from the base of the eyelash to the tip. Also, make sure to apply mascara on the 

top side of the lashes. Otherwise, when you look down or close your eyes the top lashes will be 

white. You may need to repeat this process several times until the eyelashes are dark. (A steady 

hand is needed. If you have difficulty, use one of the methods under “How to Line” in the 

Lining Tips section of this book). There are many types of mascara on the market. Try a few to 

see which one works with your eyes. Should you become allergic to the mascara, discontinue. 

Replace the mascara at least once every other month to avoid any bacteria from growing inside 

the case. 

False Eye Lashes 

The long exaggerated false eyelashes are recommended only for Whiteface or Auguste clowns 

wishing to portray a distinctively feminine clown personality. Sometimes it is necessary to cut 

the lashes down so they do not make the eyes look overpowered or crossed. The exaggerated 

eyelashes should be applied at the center of the eyelid, NOT along the normal lash line. Ask 

your instructor to show you the proper way to apply them. Normal length eyelashes can be 

worn to emphasize your eyes and give them depth. Black is usually the color recommended. 

However, many clowns wear colored normal length lashes to match their costumes. 

Remember, at a distance light lashes are not visible. DO NOT use spirit gum to glue the lashes 

on your eyes. It is not safe to use and may cause a reaction. Go to the drug store and ask for 

lash glue. This glue is tested to use safely around the eyes. 




40


Added Design 

Items can be glued onto the face for added design. Spirit gum, latex, or medical adhesive are 

generally used as the glue. Use your imagination. One clown wears a fly on his nose, while 

Whiteface clowns may add pretty rhinestones to the cheeks or nose. A small Band-Aid on the 

face of a Tramp/Hobo might be the perfect final touch for your clown. 

TOUCH-UPS & PATCHING 

It is easier to repair makeup before it is powdered, but it is possible to make repairs to 

powdered makeup. For major repairs, it is suggested that you begin again. If the repair is minor 

and time does not allow for repairs, leave it – you will probably be the only one who notices. 

Touch-ups and patches take practice and almost always have to be demonstrated, but these tips 

may be helpful: 

1. To patch on white, use the tiniest bit of makeup and dab (with fingertip or cotton swab) 

over and over until the spot does not show. Powder lightly. 

2. To remove a bit of unwanted black or other color from your white or Auguste, take a cotton 

swab and remove most of the cotton. Dab into the white or Auguste and then gently tap 

over the spot. Be careful, too thin and the spot will show through, too thick and patch will 

show. Powder it when just right. 

3. You may also use a piece of nylon pantyhose like an eraser to remove the mistake. Wrap a 

piece of pantyhose around your finger and dab slowly and carefully at only the area you 

wish to remove. When replacing the grease paint, place a very small amount in your palm 

and smooth it around before applying to affected area. Tap on a small amount of grease 

paint and then powder. 

HOW TO REMOVE THE MAKEUP 

Makeup Removers 

Any oil, baby oil, cooking oil, shower gels, shampoo and over the counter cosmetic removers 

(cold cream) will work just fine. Baby shampoo is quite popular especially the “no tear” 

versions. It is relatively inexpensive and just a little bit is all you need. Whichever product you 

use, lightly rub all over your face until the makeup melts. Count to 20 slowly and wipe off with 

facial tissue, a warm, wet washcloth or baby wipes. If your skin is sensitive, test the product in 

a small area before using all over your face. Also be very careful around the eye area. You may 

have to purchase over the counter eye makeup remover. This process should take about 15 to 

20 minutes and your face will feel GREAT! 

Care For Your Skin 

Take care of your skin. After you have been in makeup, be sure to clean your face thoroughly. 

You may want to treat yourself to a mini-facial. Invest in a good facial mask, medicated 

cleanser, or moisturizer. Use it regularly after makeup removal. 

Don’t forget that make up in your nose and your ears. (Gross!) 




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42


COSTUME COLORS & DESIGN 

Colors 

Clown costumes are always brightly colored, except in the case of the Tramp/Hobo clowns and 

the Lite-Auguste. Primary and strong secondary colors such as red, orange, yellow, purple, 

bright green and bright blue are good colors to use when designing your costume. There are 

several award-winning clowns who have used pastels effectively. Tramp/Hobo clowns 

basically use black, gray, or brown. 

Costume Design 

Design your costume to be comfortable and workable. You should have a costume that is 

lightweight for warm weather, loose fitting enough to allow clown movement and washable. 

Auguste clowns may wear exaggerated clothing to complete the character’s look but not too 

tight or in bad taste. 

Costume Fabrics 

Avoid choosing fabrics that: 

1. Must be dry-cleaned. 

2. Will fade after several washings or in strong sunlight. 

3. Are so light-weight or thin that you can see the outline of your hand when placed under the 

fabric. A light-weight fabric can be used but must be lined properly. 

J Washing and drying your fabric before sewing will reduce shrinkage. Make 

sure to wash colors separately. 

Whiteface Costumes 

Classic Whiteface clowns usually try to keep a minimum of colors in their wardrobe. White 

can always be used. A Classic Whiteface clown may wear the traditional jumper or other 

costume design that is well-fitted (not tight) and color-coordinated. Comedy Whiteface clowns 

may wear multicolor combinations. Color choices may be from the primary colors as well as 

the pastel colors. Both Whiteface clowns may wear sequins and shiny fabrics. Depending on 

the performance stage (close up, or arenas) small fabric patterns do not work well as they can 

appear as one color depending on the distance from the stage. Clown shoes for a Whiteface 

may be any color, including white. 

Auguste Costumes 

Auguste clowns can wear a variety of primary colors with several different patterned fabrics in 

their overall costumes. Traditional Auguste clowns generally do not: 

1) Wear pastel colors. 

2) Use white as a primary wardrobe color. 

3) Wear sequins 

4) Have shiny fabric in their costume. 




43


Like the Whiteface, Auguste clowns should avoid the use of very tiny patterned fabrics in their 

material selection, as it tends to look like one color from a distance. Auguste 

costumes use primary colors, large stripes, large plaids, and large polka-dots. Wig colors for 

the traditional Auguste clown are yellow, orange, or red, although other colors can be used if 

coordinated with the Auguste makeup base. Clown shoes for the Auguste can be any color but 

usually not white. In cases where white shoes have been used, colorful shoelaces, socks, and 

pompoms carry out the costume colors. 

Tramp/Hobo Costumes 

Tramp and Hobo clowns generally wear dark colors in their costumes – primarily black, dark 

gray or dark brown. For their costumes, many Tramp clowns use an old suit, while the Hobo 

clown may use an old tuxedo. The costumes are then made to appear old and tattered by 

shredding the material. No skin should be allowed to show through any tear. To help make the 

fabric look old you can run over the costume with a car, use a sander on the fabric or cut holes 

with any object and shred the fabric around the cut (Junior Joeys need to have help from 

guardians with this project). Frayed cuffs, worn knees, and patches are added to the costumes 

for a well-worn look. Mismatched buttons, contrasting threads, and safety pins can be seen 

holding the costumes together. In designing this costume, think of funny ways to use common 

objects: a clothes pin for a tie-tack, a piece of rope for a belt. Clown shoes for the Tramp/Hobo 

are always a dark color, scuffed and battered, but never clean and new looking. 

J Tramp/Hobo gloves may be cut away and frayed at the fingers to give that 

well-worn look. They can also be dyed to look older by soaking them in tea. 

þ All of these suggestions are simply that… Suggestions! 

As for competition rules, they are often revised and may vary regionally. If you 

compete; make sure you know the current competition rules for that organization. 

CLOWN WARDROBE 

The following are guidelines and ideas for your clown wardrobe. Browse around at home and 

in the stores and let your creative mind wander. BE YOURSELF! BE ORIGINAL! Get ideas 

to make yourself unique. It is not ethical to copy someone else’s costume. 

J Make sure your costume has enough pockets to carry your props, balloons, 

and personal items such as touch up makeup, glue, money, car keys, 

medications and cell phone. 

J Be sure to set cell phone ringers to off. 

Hats, Hair Bows and More 

A clown looks complete with a hat, but it is not required. A clown’s hat is a trusted old friend, 

both a costume piece and a stage prop. In addition to topping off your head, it can become a 

dustpan, skillet, juggler’s prop, or something to drop. There are many kinds and styles to 

choose from, including tiny undersized hats or large oversized hats. A large flower, colorful 




44


ribbons, hair bows, or scrunchies might be the perfect compliment for your costume instead of 

a hat. Choose one that helps to best portray your clown’s character. 

J To avoid losing your hat during a performance, pin your hat to your wig 

using a hat pin or “T” wig pin, sew a clear elastic chin strap to the hat, or 

use a Velcro fastener. 

Jumpers 

The jumper is a one or two piece pajama style costume with a big ruffle around the neck. 

In the past, the jumper was the traditional costume of the Whiteface clown. Generally 

they are very cool and comfortable, but the one piece can be difficult to get out of if you 

are in a hurry. 

J If selecting a jumper, choose a sewing pattern that can be opened and closed 

from the front of the costume, never from the back. Make sure you are able to 

use the restroom without a wardrobe malfunction. 

Shirts 

In selecting a shirt, you should consider two things: sleeve length and height of the collar. If 

your sleeves are short or your shirt has a low neckline or low collar, you will need to cover the 

exposed skin with either makeup or costume pieces such as: leotards, skull caps, hoods, clown 

bibs, ruffles, or bow ties. Rule of thumb: no skin should be exposed except for the Auguste 

clown. 

Neck Wear 

A clown looks complete with a bowtie, necktie, scarf, bib, or ruffle at the neck. There are 

many styles and shapes available such as an exaggerated over-size necktie, a petite bowtie, a 

large scarf tied in a bow, or the traditional ruffle. Collarless shirts can be dressed up with a bib 

and it also helps to cover your neck area. They can be made similar to a baby’s bib, only with 

a larger band (or collar) at the neck. Velcro can be added to the back of the band for easy 

removal or it can be tied. Use your imagination and choose one that best compliments your 

clown. 

J You may want to add a bowtie and matching covered buttons to the front 

of the bib for a professional look. 

Pants 

Pants may be long or short but should be loose and comfortable. If you choose a short pant 

sewing pattern, be sure that the pants are at least to the knee and that you cover the remainder 

of your legs with tights and /or socks. Colorful suspenders can be added. 




45


Skirts 

Whiteface or Auguste clowns choosing to portray a distinctively female personality may 

choose to wear a skirt, perhaps with lots of petticoats to exaggerate the size. If choosing a skirt 

for your clown character, be sure to include BLOOMERS as part of your total wardrobe. 

Bloomers 

Bloomers are loose fitting pants that are gathered at the knee and worn under any dress-like 

costume in order to fully cover you from the waist down. 

DO NOT WEAR A DRESS-LIKE COSTUME WITHOUT BLOOMERS. 

Socks and Tights 

Choose brightly colored socks or perhaps opaque tights to compliment your clown. Socks can 

be purchased that have been especially made for clowning. They are brightly colored and extra 

long to cover well above the knees. Any knee socks should be able to cover all exposed skin, 

even if you bend down. Tights should be opaque so that your skin does not show through. 

A clown can wear tights with colorful anklets over the tights for a more complete look. 

Tramps/Hobos should wear long socks under their pants. No skin showing goes for this 

character also, especially if he is doing anything physical that causes his pants to ride up. 

Some Tramps have even made hairy clown legs out of flesh colored tights and black yarn 

pulled through. 

Shoes 

Clown shoes may be purchased, but they are 

an investment and usually must be ordered 

by mail or purchased at a convention or 

workshop. Beginning clowns may want to 

try slippers, ballet/dance shoes, your own 

tennis shoes or oversized shoes that you put 

your own shoe inside. Tennis shoes are great 

because they are comfortable and can be 

decorated to compliment your costume. 

Those old tennis shoes in the back of the 

closet can be dyed or painted, sparkled, and 

dressed with brightly-colored laces. Whatever shoe you choose, make sure you can walk a 

distance comfortably and safely. Use your imagination and think colorful! 

Gloves 

Gloves need to be worn even by Tramp/Hobo clowns. White (Nylon or cotton) gloves are the most 

popular. Nylon gloves come in a variety of colors. Tramp/Hobo clowns may even cut the glove 

fingertips to give that well-worn look. GLOVES SHOULD ALWAYS BE CLEAN, except for the 

Tramp! 




46


Pockets 

Although pockets are not an article of clothing, they deserve special mention in your clown 

wardrobe. It has been said that a working clown can never have too many pockets. You will 

want to incorporate several into your costume to have a place for your personal belongings 

(keys, money, mints, etc.) as well as give-a-ways, balloons and magic tricks. 

J To keep little hands out of your pockets, you may want to add Velcro to the 

pocket openings. This also helps avoid items falling out when you are 

performing a more physical routine or just plain bending over to pick 

something up. You may even want to create a pocket on the “inside” of your 

costume for personal “stuff.” 

Jewelry 

Avoid wearing personal jewelry when clowning, especially earrings. If it is necessary to wear a 

watch, be sure it is hidden under your costume or make it a funny clown watch. 

Eyeglasses 

If eyeglasses are necessary they should be decorated to enhance your character, 

or rimless, which makes them almost invisible. Contacts can also be worn with special 

attention to makeup procedures. Some optometrists will help you in obtaining unusual eyewear 

that will enhance your character. 

þ 

Remember: an intentional pratfall is funny, but a clown tripping over an object 

that they can’t see is not funny. 




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48


CHOOSING YOUR CLOWN WIG 

There are many colors and styles to choose from when searching for your perfect wig. At first 

the process of choosing one that compliments your clown may seem a daunting task. Here are 

a few pointers to help you with your decision. 

Select a solid color 

A solid color wig frames your face for the public, helping your face to stand out. Solid color 

wigs also work well with many patterns used in costumes without clashing. They also help to 

identify you as a professional and separate you from the many stereotypes and Halloween 

clowns. While a multicolor, fuzzy "Halloween" wig may seem like a bargain initially, it is 

usually cheaply made, rarely fits well and generally does not hold up well over time. 

Trim Your Wig 

Many clowns forget this important step with their wig. While clothes come in a variety of 

sizes and shapes, wigs come as a one size fits most. What that means is, that if you want to get 

the most out of your wig it will need a little TLC, a little customization. Most wigs will 

therefore need to be trimmed to fit your face. 

With synthetic wigs the style is built into the wig when it is made so trying to change the style 

with rollers, curlers and such is nearly useless, and you do NOT want to use a curling iron or 

hair dryer as the heat could melt the fibers and ruin your new wig. 

You want to be sure your clown eyebrows show and are not hidden by the wig so that when 

your audience looks at you from the side, your wig does not cover your features. An important 

thing to remember when having your wig trimmed is that the shape of your head is different 

than someone else's so the wig will fit you differently than someone else. This means that 

instead of just having the wig on a wig head when it is being trimmed, it is very important that 

you are wearing your wig so that it is trimmed properly. Also, have your wigs trimmed about a 

half inch longer than you think it should be. This gives you a little wiggle room when wearing 

the wig as it may not also stay in the same position, and unfortunately or not, once cut your wig 

will not grow back. 

Semi-Bald Wigs 

If you wish to wear a semi-bald wig, you will find that the bald area is white on most wigs. 

You will need to change the white color to match the base color of you clown makeup. Make a 

paste of your base color makeup with a few drops of baby oil. It should look like cream cheese. 

Next take a sponge makeup applicator (can be found in the makeup area in any drug store) and 

apply the color to the white bald top of the wig. Try to use as little as possible to prevent 

cracking after powdering. Powder just as you would you clown face. This may have to be 

repeated again after washing but should stay very well for many months. 

Under Your Wig 

You will want to make sure that none of your hair peeks through from under your wig. Many 

children are very conscious of this and will sometimes tell you that you cannot be a “real 

clown” because they see your real hair. Some clowns with very long hair, pin it up with hair 




49


pins and cover it with a skull cap. It is suggested that the skull cap be made of cotton or cotton 

blend as nylon will hold in the heat. A skull cap covers just the top of the head and ears. A 

hood covers the neck as well as the top of the head. Skull caps can be made from a sleeve of a 

t-shirt. Other clowns wear a terry cloth headband under the wig (usually the same color as the 

wig) to help hold the hair in place and to keep the wig from shifting. The wig is then pinned to 

the cap or headband with pins. Try to make sure the hairpins or safety pins securing your wig 

do not show. ALWAYS SECURE YOUR WIG. 

Care For Your Wig 

Never apply heat to a synthetic wig, it will melt. Avoid curling irons, hairdryers and 

clothes dryers. Also do not leave you wig in a hot car or storage area. 

The following instructions should help you care for your wig: 

1. Fill the sink or basin with lukewarm water and a small amount of your own shampoo. 

2. Place the wig in the bath to soak for about 10-15 minutes. Rub gently on the places where 

the grease paint has come in contact with the cap or the fibers. If the grease paint is quite 

heavy, you may use a small among of dish detergent on the spots, but only a very small 

amount (dish detergent is a grease cutter). 

3. Squeeze the soap through the wig several times and remove the wig from the soapy water. 

4. Drain the soapy water and refill the basin with clear lukewarm water. Place the wig back 

in the clean water and swish gently. 

DO NOT RUN UNDER FAUCET AS IT TANGLES THE FIBER. 

5. Repeat #4 as many times as necessary to remove all the soap. You may use conditioner on 

straight wigs, not curly ones as it relaxes the curl too much. 

6. Squeeze the excess water out of the wig (DO NOT WRING). 

7. Lay the wig out on a towel. Roll the wig up in the towel. Squeeze the towel to remove the 

extra water. 

8. Shake the wig out and place it on a wig head to dry. If you do not own a wig head, then 

place the wig over a bowl or bottle to dry and place it on a table so the curls are resting on 

the table top. Do not hang curly wigs from a clothes line or shower head as the weight of 

the water will stretch the curls out. 

• DO NOT COMB WHILE WET AS IT WILL PULL THE FIBERS OUT 

• LEAVE ENOUGH DRYING TIME .You may want to put some styling gel on the 

curly wigs at this point. 

• If your wig is tangled use a product such as Children’s Detangler”. 

9. After the wig has thoroughly dried: 

Curly wigs: Shake them out. Do not use a comb on a curly wig as it will cause them 

to become frizzy. You may use a pick on them only to loosen the fibers 

close to the cap. 

Straight wigs: You may use a wide tooth comb or brush to comb through the fibers. 

J Hair spray: Use a low lacquer hair spray, the more expensive the hairspray the 

less lacquer. Too much lacquer will cause the fibers to become gummy. 

J Carry a dryer sheet in your pocket and rub over your wig, if your wig has a great 

deal of static cling. It will cut the static and make it smell good at the same time. 




50





51


Small Children 

Children under the age of three are sometimes frightened of a clown. 

1. Watch the children’s faces and their expressions. 

2. Stay a distance away until you can tell if the child is frightened. 

3. Try to concentrate on the older children and allow the younger ones to join in when they 

are ready. 

4. Always back away slowly if a child or adult is frightened. 

5. Suggested response would be: 

“That’s OK, you can stay right there with your Mommy or Daddy.” 

Smile and say goodbye. 

Balloons 

1. Protect your eyes when blowing up a balloon. 

2. Keep children at a safe distance in case balloon pops. 

3. Never give a balloon to children under three (3) years old Give the balloon to the adult in 

charge and allow them to give it to the child if they wish. 

4. Explain to parent that a child under the age of 3 may put the balloon in their mouth. Should 

the balloon pop and the child inhale a balloon piece, it could block the air passage. 

KEEP YOUR BALLOONS IN A COOL AND DARK PLACE. HEAT CAUSES 

BALLOONS TO POP QUICKLY AND LOSE AIR. 

Helium 

1. NEVER INHALE HELIUM. Helium replaces air in your lungs and it could cause you to 

stop breathing. 

2. NEVER OPERATE A HELIUM TANK WITHOUT ADULT SUPERVISION. 

3. Make sure the adult has checked all the safety rules of working with helium. 

4. NEVER GIVE AN UNTIED HELIUM BALLOON TO ANYONE. 

5. Always pick up used balloons. 

6. To save our environment: DO NOT use Mylar balloons. 

Magic 

1. Never use magic that could cause injury to you or your audience. 

2. Use animals in your magic with the supervision of an adult. Make sure the animal is “Kid 

Friendly.” 

þ REMEMBER: Children try to imitate your magic tricks, so be careful on the 

choice of magic that you use in your show. 




52


Giveaways 

1. Avoid giveaways that are sharp or have small pieces. Anything that can fit in the mouth 

completely should not be used. 

2. Never give anything to a three year old or younger that is smaller than a quarter. 

J Form a line to receive giveaways. (This prevents pushing and shoving, and 

allows an orderly process for distributing prizes). 

J Stickers may be given in addition to a prize or by themselves. Stickers also 

help to identify the children who have already taken their turn. 

Games 

1. Try not to mix the younger kids with the older ones. 

2. Choose games that are good for the age of the children. 

Stage 

Stages should be well constructed and safe. Do not perform on a stage that you do not think is 

safe. Move your show to the floor. 

1. Never stand on a table or stool to perform. 

2. Watch for microphone wires, lighting, and props to avoid tripping. 

3. All wires should be taped down before the performance (Have duct tape will travel). 

4. Volunteers should be assisted when entering and exiting the stage. 

5. Everyone should stay away from the edge when performing or volunteering. 

6. In areas where there is no stage available, place a rope where the stage would be and tell 

the children to stay behind the line. 

Pyrotechnics 

This includes any and all tricks that include fire or explosive devices. 

þ REMEMBER: Pyrotechnics are for experts only. They are also illegal in 

many areas. DO NOT USE THEM! 

Water and Confetti 

DO NOT THROW ANYTHING INTO THE AUDIENCE! 

Think before you throw anything into the audience. Although it may be funny to some, it is not 

necessarily funny to everyone. 

1. Small children may become frightened at large sounds or something popping out at them. 

(example: snakes out of a can) 

2. A child or adult that is frightened does not make a good audience. 

3. Children can become injured when trying to get out of the way, or scramble for prizes. 




53


Face Painting: 

1. Use only paints that are made for use on the skin, no acrylics, tempera, or markers. 

2. Avoid the use of glitter if it is NOT a makeup glitter! Do not use an Aluminum or Glass 

glitter. If there is any doubt, go without. 

Props: 

1. Props should be checked before the show to make sure they are in good working condition 

and returned to their place after the show. 

2. Do not touch props that belong to other clowns. 

3. Do not leave your props behind. Always check to see that you have packed all your props 

before you leave a show. You may want to carry a check list. 

Working Crowds: Malls, Festivals and Parades 

1. Concentrate on the kids but keep all ages entertained. 

2. Do not go into a crowd alone. Juniors should be accompanied by an adult. Adults should 

try to partner up. 

3. Stay close to your group. 

4. Know where security and event personnel are located. 

Health Notes: 

1. Should you need to take medication do so before your event. 

2. Should you have to carry medication, make sure another person knows where it is and what 

the dosage should be. If you are a Jr. Joey, make sure your leader knows what medication 

you are on and where it is located. 

3. Keep all medication out of sight and in a safe place. 

4. When working in the heat, drink water frequently, even if you don’t feel thirsty. It is very 

easy to dehydrate. 

5. Carry your own beverages. Jr. Joeys only accept beverages from your supervisor or 

guardian. 

J In case of an emergency, you should carry a cell phone 




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55


SKIT DEVELOPMENT 

There is more to clowning than just dressing up in a funny costume and applying clown 

makeup. Developing your acting and performance skills are a very large part of clowning. 

Knowledge of a verity of skits should be in every clown’s repertoire. Skits are not just used in 

competitions. They are used in alley shows, clown ministry, school programs, hospital visits 

and nursing homes. It is important to learn some classic skits and understand their parts before 

you begin the process of writing your own. 

What is a skit? 

A skit is an entertaining series of actions that consists of three basic parts: a beginning, middle, 

and an unexpected ending. These actions fit together to make up the foundation of your skit. 

When putting together any skit, remember to always include all three parts.. 

Beginning: The beginning sets up the idea, situation or mood 

Middle: The action builds to a conflict. 

Ending: This should be an UNEXPECTED ENDING, called the BLOW OFF. 

The conflict gets resolved in some funny way. 

The blow off also gives you the opportunity to leave the stage 

What is the difference between a skit and a performance? 

A PERFORMANCE is an entertaining series of actions or skills. (Example: Juggling, Magic 

Tricks, Singing, Puppetry, Unicycling, Dancing, to name a few.) BUT a performance does not 

need an unexpected ending to be a performance. A SKIT, on the other hand, NEEDS TO 

HAVE AN UNEXPECTED ENDING to be a skit. . 

J An Unexpected Ending can be the difference between a skit and a performance 

The Running Gag 

A running gag is a popular hallmark of comedy and works well with skits. A running gag is an 

situation or line that reappears throughout a performance and usually in the sequence of three. 

When the humorous line or event is repeated, the joke breeds familiarity, but by the third time 

it is presented, there is something added to the gag that gives it the unexpected ending. 

Where do you get ideas for skits? 

1. Funny paper, TV, cartoons, comedy shows YouTube, the Internet 

2. Current fads or advertisements can give you funny lines to work with 

3. Personal experiences. 

4. People watching. 

5. Brainstorming with friends. 

J If you are using a skit that someone else has written, be sure to ask for permission 

to use their material. But don’t just copy it, change it up to make the skit, your own. 




56


J Sometimes a groan can be as good as a belly laugh it’s all in the presentation. 

. 

Length of skit 

In competition: A group skit can be five minutes long, (Single skit- 3 minutes) but it doesn’t 

have to be that long. The best advice is: 

Get on! 

Get your laughs! . 

Get off! 

It is best to keep your skit simple; a longer skit does not always mean …more laughs. 

J When you are in competition, try to keep the skit shorter than the time allotted 

because sometimes your skit can run a little longer than planned and if your skit goes over the 

maximum time limit points are deducted from your score or you could be disqualified. Read 

your competition rules carefully different conventions have different rules. 

Props 

The best props are the ones that are EXAGGERATED in size. Props are funny when they are 

either: too small; (Ex: A tiny umbrella), or too large; (Ex: A two foot pencil), or Just 

inappropriate; (Ex: using a toilet brush for a tooth brush). 

All props should still be visible from the back of the audience so everyone gets the joke. . 

Characters 

All characters on the stage should have a purpose. No one should be just standing around. Each 

one should add something to the skit in either actions or words. 

1. Don’t be too wordy, (Be direct and to the point) 

2. When you are not speaking, don’t become a statue on the stage, Gently react to what is 

being said by others in quiet motions, .(Ex. Nodding, smiling etc) 

3. Your actions should add to the performance not compete with each other, Be a team! 

4. Plan your movements so the audience focus is on the correct character. 

Director 

A director is an important tool. The Director will watch the action from the audience, during 

rehearsals to help improve your motions and suggest where each character should stand. Your 

director helps you “Block out” (plan the action) during rehearsals. The director will also help 

you keep important actions in center stage. 

Making a recording of your skit is also a great way to see good stage presence dead spots or 

missed cues during the skit. The added bonus is the actors themselves get to see the skit 

through the eyes of the audience. 




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J It is important to be open to all suggestions to help improve your skit. 

Background Music 

1. Some skits have only actions – no words. If you plan a skit with no words, use appropriate 

music in the background 

2. Use a background music that ADDS to the skit and does not DISTRACT from it. 

Actions 

When sharing a scene: 

1. Do not stand face to face. Make sure that your expressions can be seen and your voice 

heard. 

2. Do not talk face to face but position yourself so you can see the audience and your 

conversation is more towards the audience than the one you are talking to. 

3. Try to keep your body at a 45% angle to the front of the stage when speaking so the 

audience can hear you and see your actions. Never turn completely sideways when 

speaking to someone. 

4. Gestures should always be done with the hand that is farthest away from the audience, so 

you do not block their ability to see what you are doing 

5. When walking off stage, lead with the foot that is the farthest away from the audience. This 

is called the upstage. 

6. Don’t turn your back to the audience unless it is part of the skit. 

7. Your motions and reactions should be exaggerated but should not distract from the scene 

Practice 

In order to give you the best results and a successful skit practice running through your skit in 

the following order: 

1. Without your costume or music. 

2. Add your music. 

3. Then with your costume, shoes and wig. 

4. Then In front of your friends and family. 

5. Finally In front of other clowns. 

J It is important to practice until everyone is comfortable with their part. 

PRACTICE! 

PRACTICE! . 

PRACTICE! 




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What is Paradeability? 

Paradeability is a style of entertaining others in a skillful or creative way as you proceed down 

a street lined with spectators. Think of it basically as a moving Micro-Skit. 

Beginning – The beginning is when you are first seen by the spectators 

Middle - The middle is the set up of your bit 

Unexpected Ending – The unexpected ending is your Blow Off 

But the most unique aspect of Paradeability is that it all occurs in a brief glance (10-20 

seconds) and must be able to reset, repeatedly, while moving down the street of the parade. 

Paradeability Props 

A Paradeability prop is just a tool; it needs YOU to make it work. All Paradeability props 

should be LARGE, LIGHT, & LOGICAL 

LARGE- It must be seen by all. (Sometimes ten rows deep at curbside.) Remember: The 

larger the parade, the larger the crowd, so you will need ‘larger than life’ props. 

LIGHT- Although your prop must be large enough to be seen it must also be light enough to 

be carried throughout the parade. (The use of Foam props for example gives you the size 

without excess weight.) 

LOGICAL- When you are presenting your bit always make sure the logic behind your prop 

fits the logic of your clown. In other words you wouldn’t dress like a pirate if you were doing 

a fireman bit. You always want to present yourself and your bit as an entire package. 

Types of Paradeability Props: 

There are many Types of props to assist you in getting a laugh from 

your blow-off. 

THE SIGHT GAG - The Sight Gag is the exception to the rule. 

Where the entire gag is understood or gets a laugh at just one 

glance. Sight gags are often used in circuses. They work well in 

circuses and parades because nothing has to be said and many 

times in parades you are in front of a band or a fire engine and you 

cannot hear the spoken word. 

THE BRIEFCASE PROP- This type of prop is simple to use, but 

very effective. It is simply a briefcase or suitcase that has writing on the outside (The set up) 

and inside is your Blow-Off. You simply open the case to reveal it. (Example: written on the 

outside: MY BEE COLLECTION and when you open the briefcase you see a bunch of letter 

B‘s) A briefcase prop will also help you understand the three parts of a typical Paradeability 

Micro-Skit. 

1. As you catch the eye of the spectators at the parade (This would be your beginning) 

2. You lift up your briefcase and point to the wording on the outside of it. (This is the Middle) 

3. You open the briefcase to reveal the insides (this is your Blow-Off or Unexpected ending.) 




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The best part is simply by closing the case you automatically reset it. This is the reason it has 

been such a valuable tool used by clowns in parades and circuses all these years. 

THE FLIP SIGN PROP- A Flip-Sign is a different version of the Briefcase prop. One side of 

the sign is presented (Like the outside of the briefcase) and when you flip it over you reveal 

your Blow-Off. 

The flip-sign could be made out of foam core or corrugated plastic or any light material. You 

can use stick-on or hand written letters, but be sure they are large enough to be easily read from 

a good distance. (Example: “I HAVE YOUR NAME ON THE OTHER SIDE OF THIS 

CARD”. When you flip the sign over it simply says “YOUR NAME”.) 

The Presentation 

Paradeability is more than just having a good idea or making a really nice prop and walking 

down the street with it. The last piece of the puzzle is the presentation. How do you plan to use 

your prop and present your idea? Your presentation can make or break a really good 

Paradeability idea. How you present it can be the difference of getting the joke or not. Try to 

think of your presentation as a complete picture. 

Your clown’s costume should always match the bit. (If your bit and prop are all about 

cooking, dress your clown up like a chef to help sell the idea and make it a complete picture) 

Remember if you are speaking, be direct, project your voice, or point to what you have it 

written on the sign or case as you say it which helps guarantee they will understand what you 

are saying and always be enthusiastic when you disclose your Blow-Off. 

The ‘Hit and Run’ Method 

You would never catch a good professional 

clown walking down the middle of the 

street doing a Paradeability bit. It would 

be difficult for the spectators to see and 

hear what was being done.. Instead, we 

recommended that you use the ’Hit and 

Run’ method. This is where you zigzag 

back and forth across the street doing your 

bit on one side then back to the other side 

and do it again. This method allows you to 

focus the attention of a section of the 

spectators on your bit. This makes it easier 

for them to understand what you are doing 

and hear what you are saying. Once you 

hit them with your Blow-off, close your 

case, and turn to the other side of the street. 

This gives you a clean exit and leaves 

them, laughing as you go. You now focus 

the attention of the spectators on the other side of the street and start your bit over again. You 




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weave your way down the street creating special moments as you go because everyone in the 

audience feels you are performing just for them. Plus the parade keeps moving behind you. 

Paradeability vs Walk-Around 

There are many similarities between a walk-around bit and one for Paradeability. Both are like 

moving Micro- skits with a beginning middle and an unexpected ending. Both need to reset on 

the fly and both could use similar bits to entertain your audience. 

One very important difference thou is in the size of your props. In a parade, your props need to 

be ‘Larger than life’. A parade prop must be able to be seen ten people deep from the 

sidewalk, while you are walking down the street in the parade. A parade prop must be seen by 

everyone so that everyone gets the joke. 

A Walk-Around bit on the other hand is geared to a much smaller group (like going table to 

table in a restaurant or moving between hospital room with of two or three people, or just a 

small crowd of a few at a time at a festival) This type of venue does not call for a very large 

prop so smaller ones are used. (Example: Puppets, pocket tricks, or regular sized objects) 

Many people have used Paradeability ideas in walk around venues they simply make them 

much smaller. You can easily carry multiple walk-around props in your pockets, But a walkaround 

prop should never be used in a parade. 

J Think of your Paradeability presentation as a complete picture. 

J When competing in Paradeability, make sure you read & understand all the rules 

because different competitons have different rules 




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Why Balloons? 

Clowns use non-round balloons to make crazy hats, animals and other sculptures. Balloons are 

fun and bring delight to children of all ages (over 3 years old). Balloon sculpting is an artistic 

expression – limited only by your imagination, time and money. 

Choosing Your Balloons 

Several brands of balloons are available on the market. You may want to try several brands to 

find the one that works best for you, or incorporate a variety from multiple brands. If you are 

creating animals or other objects, using a single balloon, you will want to start with 260s or 

perhaps 160s is you have small hands. There are many other shapes and sizes that can be used 

in multiple balloon sculptures. 

Types of Balloons Most Commonly Used 

The following dimensions are based on fully inflated balloons: 

160 1 inch in diameter 60 inches long 

260 2 inches in diameter 60 inches long 






(Also called a Bee Body) 

Hearts 

Geo Donuts 

Geo Blossoms 

Rounds 

6 inch heart shaped 

Donut shaped 

Donut shaped with scalloped edges (Generally 6inch in size) 

Round balloons available in a variety of sizes & colors. 

Unlocking the Balloon Code number, (Example: 260X). 

This code tells you the following: 

• The first number is the diameter 

• The last two numbers refers to the length of the balloon when it is inflated 

• “X” or the letter at the end, is for the name of the manufacturer 

In summary: a 260X would be about 2 inches in diameter, 60 inches long and made by 

company “X”. 

Here are a few points to be aware of: 

• 260s are the most commonly used balloons, as it is small enough for most 

people to grasp and twist and large enough to be seen. 

• 160s are better for small hands but the final sculpture will be smaller. 




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• Most experienced twisters use a variety of sizes and shapes. 

• Metallic, pearls, and neon colors are more difficult to twist for beginners. 

How Do You Blow Up A Balloon? 

This may be the most challenging part of all ballooning. The easiest way is to use a pump. 

There are many types of pumps available: hand pumps, floor pumps, and a variety of electric 

pumps. 

1. The preferred hand pump is a dual-action pump, meaning it blows air into the balloon both 

when the handle is extended and retracted. The hand held pump often referred to as the 

“neon green pump” is affordable and available in many stores and over the internet. 

2. A larger pump sits on the floor. It is able to fill a 260 in one or two pumps. 

3. Electric pumps come in many sizes and shapes. It is powered by a re-chargeable battery 

and is fitted into a pack that a person can strap around their waist. They are available 

online. 

Some people prefer to blow up the balloon by mouth and turn blue in the face. 

1. Place the balloon tip in your mouth and force the air from the cheek area first. 

2. This will begin the bubble. 

3. Take a big breath and blow from the chest/diaphragm area. 

J Should you feel faint or experience other difficulties, immediately sit down, 

and put your head between your knees. When you feel better, consider 

purchasing a pump. 

Taking Care of your Balloons 

There are hundreds of different ways to carry balloons: aprons, special bags, boxes and 

suitcases are only some of the options. Select what works best for you. 

Balloons are made from natural latex. They do not like extreme heat or direct sunlight for 

extended periods of time. If you allow the balloons to be exposed to heat and sunlight, be 

prepared for a lot of popping when you try to inflate them. Or better yet, you will probably get 

to your last twist and then the balloon will pop. Start again. 

Store your balloons in the basement or cool room in the house, always away from sunlight. In 

parts of the world where extreme heat is a problem you may consider storing your balloons in 

the crisper of the refrigerator, in a cooler, or in a cool closet. 

J If your clown job is going to be long and it is getting warm, carry a cooler. Place 

a couple of ice packs in the bottom, cover them with a towel and then place the 

balloons on top. 

Basic Twisting 

The end of the balloon that has the rolled lip and the opening is generally called the “nozzle”. 

The other end of the balloon is called the tail. When inflating a balloon you need to think about 

the number of twists you will be making. Leave enough un-inflated balloon so the air has a 




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place to go. For starters leave about ¼” to ½” of balloon uninflated for each twist. You will 

fine tune this as you gain more experience. You can tell when you have over filled the balloon, 

if the balloon keeps getting tighter and tighter with each twist. The next sound you will hear is: 

POP! Start over again and leave a bit more balloon un-inflated. 

Sculpting - Need to Know 

ALWAYS pick up all balloon litter and dispose of it properly, as broken balloons can be 

harmful to children and the environment. 

NEVER give a balloon to a child three (3) years or younger, even if the parents insist. Balloon 

fragments have caused serious injury and even death in some cases, if the balloon should pop 

in the child’s mouth, pieces are inhaled and lodge in the throat. 

DO NOT USE HELIUM WITHOUT ADULT SUPERVISION. Helium can also cause 

death if inhaled. 

Creating and sculpting the Balloon 

As you know, you can create from your own imagination. However, we have included some 

ideas and designs to give you a start. 

The Twists 

1. The Tulip Twist is used to tuck in the end of a balloon into a sculpture. 

2. The Ear Twist is a very small loop twist where the is only an inch or two long. The two 

ends of the bubble when twisted together pinch the loop in such a way that it resembles an 

animal ear. Useful for monkeys, bears and other animals. 

3. The Loop Twist is used to make leaves, petals for flowers, tires, hat bands and a host of 

other details. 

4. A Straight Twist is used for making portions of the body of the sculptured item in varying 

sizes. 




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Tulip Twist 

Animal Balloon: 

Nearly all animal balloons have these parts: head, ears, neck, two front feet, two hind feet 

and a tail. Think in these terms to prepare for measurement and proportions, and then decide 

on the animal you wish to create. 




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Let’s do the DOG… the most popular by demand. 

Use a 260, or if you have smaller hands a 160. Inflate but leave yourself a tail of 

approximately 5 inches at the end. If using a 160 leave 7 to 8 inches uninflated. 

Make a bubble for the head (1). You will have to hold this first bubble until you can “lock” it 

by twisting another bubble with it. ALWAYS twist in the same direction. 

Now make two bubbles for the ears (2) and (3). Bring the joint between (3) and the 

rest of the balloon down and twist with joints (A) and (B). Twist the bubbles about three 

rotations. 

Now make a bubble for the neck (4) and two bubbles for the front feet (5) and (6). Bring 

together and twist at the joints (C) and (D). 

Now do a bubble for the body (7) and two bubbles for the hind feet (8) and (9). 

Bring together and twist joints (E) and (F), leaving enough balloon at the end 

for the tail (10). 




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A GIRAFFE is made the same way except with a slightly larger head, smaller ears and a 

much longer neck. 

A REINDEER is made in a similar fashion with seven more bubbles added for the antlers. 

The UNICORN uses two more different twists, the nose and ear twists, plus adding the bee 

body between the ears. 




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To make a SWAN, inflate a 260 balloon leaving a two-inch tail at the end. 

Make a small bubble (1) and a very long one (2) leaving about seven inches. Twist connect 

points (A) and (B). 

Divide the loop that was formed in half. Twist connect it at points (A) and (B). 

Push one loop into the other. Form a bird’s beak on the nipple end. Curve the swans head and 

draw eyes. Tuck the small bubble inside the swan’s body and the SWAN is complete. 




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To make a FLOWER: 

þ 

REMINDER: Be sure to pick up all balloon litter and dispose of properly. 

Balloon fragments have caused serious injuries including deaths in many 

children. Never give a balloon to a child aged 3 or younger. 




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FACE PAINTING 

Face painting can be as artistic and as easy as balloon sculpture. With either art, you should 

begin with the basics. As you practice and perfect the easy designs, you will become 

comfortable and able to expand to more creative designs. The most important step in trying to 

paint faces is to BEGIN. 

Start with a few designs. As you work with these, you will learn how your brush moves and 

you will discover your own style. You just have to let it out. The best way to let out your own 

style is by saying, “I’ll try!” 

Materials needed to start: 

Brushes 

You will need a couple of good brushes. Don’t buy cheap brushes but do not spend a fortune 

either. There are many medium priced synthetic brushes on the market. You do not need 

natural hair brushes. They are expensive and work the same as the synthetic brush. Be 

conservative when you start something new. If you work with cheap brushes, they will not give 

you the desired effect, they will make painting more difficult, and they will leave bristles in 

you work. 

Three brushes are actually a good number to start with. Basically, brushes come as round or 

flat brushes. A round # 3 and a round # 6 are excellent for drawing the designs. Flat brushes 

are used for filling in after you have painted your outline design with your round brush, but are 

not necessary. A round #5 is suggested when starting. Before you buy one, play with it, feel 

the handle and bristles, stroke it on your hand to see if it will flow, as well as being soft enough 

to use on faces. 

Paint 

There are many types of paints on the market specifically for face painting. Please be 

absolutely sure that your face paints are laboratory approved SAFE TO BE PUT ON SKIN. 

Do not use craft acrylics! All your major makeup companies carry face paints as well as other 

companies that just specialize in paints for the skin. Each type of paint will feel different in 

application. Practice with the different brands to see which brand you like working with. There 

are starter kits on the market that you can try before you make a large investment in supplies. 

Keep your paints clean and covered when not in use. 

J Paints should be FDA approved for use 

on 

skin. Non-Toxic generally means they will 

not harm you if eaten, but may not apply 

to the use on skin. 




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Glitter 

BE CAREFUL! DO NOT USE CRAFT, SCHOOL OR GLASS GLITTER These glitters 

are made with very sharp edges which can injure an eye. Use only theatrical glitter intended for 

use on the face. 

J If you have a question on whether to use it or not, DON’T. 

J In conclusion, Face painters should: 

1. Not be in a hurry to buy the first product they see. 

2. Use caution when painting near the eye area. 

3. Use only skin safe paints. 

4. Use only theatrical glitter. 

Designs 

Now that you have all the materials, it is time to begin. Pick some easy shapes – how about a 

balloon or a heart. Kids love them! The basic shapes of the balloon and heart are great for the 

beginner. 

Try to let your brush do the work. You will find that, by varying the pressure ever so slightly, 

you can change your shapes. Variation in pressure combined with slight changes of angle will 

create the shapes you want. Letting the brush do the work is easier and will give a cleaner edge 

than letting your hand do the work. Let the brush flow; don’t push it like a pencil. A brush will 

sweep around making nice circles and clean lines with very little pressure. You may want to 

experiment with how much water to put on your brush. This will also affect the results of your 

finished product. Too much water will leave the paint dripping on the face. Too little water will 

not let the paint flow and move, it will feel gummy. 

You may want to make a chart of your best designs, so the children can chose which design 

they would like. This also helps you, as you can only offer the designs you are comfortable 

painting. If the child keeps asking for something that is not on the chart, you can always tell 

them, you have not learned that yet at Clown School. They are always surprised to hear that 

clowns go to school. 

Just as with skits, balloons and makeup: practice – practice – practice! Children love to be 

painted, so go into your neighborhood and find someone who would love to have their face, 

hand and/or legs painted. Your family and friends can also help when you are practicing. Have 

fun. 

Lining 

It is not necessary at first, but it will make your artwork pop out and have a more professional 

look later. 




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Details 

Detailing is adding more to your original design to make it look more professional and life like. 

It is truly fun to do. 

Example: If you paint a car – don’t forget to include the smoke from a tailpipe 

If you paint a dragon – don’t forget the fire out of its mouth. 

Comma strokes are small crescent shapes usually done in an accent color. They give life like 

appearance to an object. Example: after you have painted a balloon, give it dimension by 

adding a comma stroke to the upper edge. Make sure you have a good amount of paint on your 

brush and you make the stroke in a quick and easy motion from top to bottom. 

Tiny Children 

Younger children sometimes are afraid to have their faces painted, but Mom or Dad will want 

the design on their face. Offer to paint the child’s hand or knee instead. This is not nearly as 

scary and will usually satisfy both the parent and the child. Always ask the child if they would 

like to put their hand in yours. Remember, you are a stranger to this child and you are a 

CLOWN. Speak softly and calmly. If the child does not want you that close to him or her, offer 

to paint the parent. Most kids love this and often will allow you to paint them next. If all else 

fails, give them a sticker and assure them that they can come and see you another time. 




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This is a great way to review. Some clown schools require it to graduate. 

There are 35 Multiple Choice and 10 True or False questions in the quiz. Each one is worth (2) points. 

Plus a 10 point bonus question. A First of May should score at least 70 points to pass. 

Total score 100 points 

Turn the page to begin 

Good Luck!!! 




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Clown Quiz 

Name: _______________________________________ Score____________________ 

________ 1. WHILE IN COSTUME & MAKEUP, A GOOD CLOWN SHOULD NEVER: 

A. Interfere with other acts and events. 

B. Squirt water or throw pies at anyone in the audience. 

C. Smoke or drink alcoholic beverages while in costume 

D. All of the above. 

________ 2. A GOOD CLOWN ENTERTAINS OTHERS: 

A. By making fun of themselves. 

B. At the expense or embarrassment of the public. 

C. By hitting people over the head with their clown props. 

D. None of the above. 

________ 3. A CLASSIC WHITEFACE COSTUME CAN BE DESCRIBED AS: 

A. Ill-fitted and really ugly. 

B. Well fitted. 

C. Color coordinated using nine basic primary colors. 

D. None of the above 

________ 4. (T- True F- False) 

THE TRADITIONAL AUGUSTE’S COSTUME IS VERY FLASHY HAVING 

GLITTER, SPARKLES AND BARE SKIN SHOWING. 

________ 5. WHAT CHARACTERISTIC(S) COULD DESCRIBE THE AUGUSTE CLOWN 

A. Prankster or trouble maker 

B. Shrewd and sophisticated. 

C. The bottom rung of the clown hierarchy. 


________6. IF AN AUGUSTE AND WHIEFACE CLOWN TEAM UP FOR A SKIT, 

WHAT TYPE OF ROLE SHOULD THE WHIEFACE CLOWN PLAY? 

A. The trouble maker. 

B. The clown in charge. 

C. The clown to get the water or pie put in their face. 


________7. THE COSTUME OF THE AUGUSTE CLOWN CAN CONSIST OF: 

A. A mismatched combination of colors and materials. . 

B. A variety of patterned fabrics. 

C. Over or under –sized clothes. 





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________ 8. A DISTINCTION IS MADE BETWEEN THE TRAMP AND THE HOBO 

CLOWN BECAUSE THE HOBO TRIES TO: 

A. Look more pathetic than the Tramp clown. 

B. Look neat and tries to maintain his wardrobe. 

C. Look grumpy and sad. 


________ 9. A CHARACTER CLOWN’S MAKEUP MAY BE: 

A. Whiteface. 

B. Auguste / Lite Auguste. 

C. Tramp / Hobo. 


________10. A CLOWN’S EXPRESSIONS ARE ALWAYS: 

A. An enlargement of real life reactions. 

B. Exaggerated. 

C. Big, clean and precise gestures. 


________11. A “FIRST OF MAY” CLOWN IS: 

A. An experienced clown with the circus. 

B. A beginner clown in his/her first year of clowning. 

C. A clown whose costume is designed with spring flowers. 


________12. TO COMMUNICATE TO AN AUDIENCE, A CLOWN RELIES ON: 

A. A translator who speaks clown 

B. Subtitles and subliminal messages hidden in the music. 

C. Exaggerated gesture, movement and physical expression. 


________13. A PROFESSIONAL CLOWN CONTINUALLY TRIES TO: 

A. Excel in the art of clowning. 

B. Improve his/her art. 

C. Continue to learn new skills. 


________14. (T- True F- False) 

GENERALLY SPEAKING, THE MORE EXAGGERATED THE FACIAL 

FEATURES, THE MORE INTELLIGENT AND GRACEFUL THE CLOWN. 

________15. YOUR CLOWN FACE DESIGN SHOULD: 

A. Be personalized. 

B. Be as original as your own face. 

C. Not be a copy of another clown’s face. 

D. All the above. 




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_______ 16. (T- True F- False) 

A WELL DESIGNED PERSONALIZED CLOWN FACE IS ONE THAT 

HIGHLIGHTS OR EXAGGERATES THE CHARACTERISTICS OF 

YOUR NATURAL FACE. 

________17. BEFORE CLOWNING, BE SURE YOUR COSTUME IS: 

A. Rumpled and really dirty. 

B. Always clean and ironed. 

C. Ironed, but not necessarily clean. 


________18. BEFORE MAKEUP APPLICATION, BE SURE YOU: 

A. Begin with a clean face. 

B. Tie your hair back away from your face. 

C. Rub-out any loose eyebrows. 


________19. CLOWNS FAILING TO APPLY MAKEUP TO THE BACK OF THE NECK 

ARE KNOWN AS: 

A. Dirty neck clowns. 

B. No-neck clowns. 

C. Chicken neck clowns. 


________20. IN THE APPLICATION OF YOUR CLOWN MAKEUP, IT IS BEST TO: 

A. Apply the makeup; working from the lightest to the darkest color. 

B. Apply the makeup, working from the top of your face to the bottom. 

C. Apply the makeup to your ears, entire neck area and into the hairline. 


________21. YOUR CLOWN MOUTH IS ONLY APPLIED TO THE AREA ON YOUR 

LOWER LIP AND NOT APPLIED TO YOUR UPPER LIP BECAUSE: 

A. A clown’s nose should completely cover the upper lip. 

B. The upper lip should be completely covered with talc to stay stiff. 

C. Most of the expression of the mouth is from your lower lip. The 

color separation helps magnify your expressions even more. 


________22. AFTER APPLYING YOUR BASE MAKEUP, PATTING THE MAKEUP 

BEFORE POWDERING HELPS TO: 

A. Wake you up and increase your alertness. 

B. Eliminate stroke marks. 

C. Relieve stress. 





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________23. THE DRY METHOD OF MAKE UP IS: 

A. Applying all makeup colors to the face before powdering 

B. Patting the face after it is completely powdered. 

C. Powdering after each color application. 


________ 24. LINING ON THE CLOWN FACE TAKES: 

A. Practice, practice, practice. 

B. A steady hand. 

C. Patience. 


________25. THE POWDER SOCK’S PRIMARY FUNCTION IS TO: 

A. Create a full blown powder storm during your show. 

B. Set the makeup 

C. Dry out your eyes so tears will not make your make up colors run. 


________26. AFTER POWDERING, YOU SHOULD: 

A. Let the powder set, pressing it in lightly with the powder sock. 

B. Feel gently over your face for any “sticky” spots. 

C. Brush off the excess powder with a large brush. 

D. Continue to hold your breath. 

E. All the above. 

________27. TO ENHANCE YOUR CLOWN EYES, YOU MIGHT APPLY: 

A. Black eyeliner. 

B. ‘Live eye’ 

C. Black mascara. 


E. None of the above 

________28. CLOWN MAKEUP CAN BE REMOVED BY: 

A. Baby oil and cooking oil. 

B. Baby shampoo. 

C. Motor oil (10W-40). 

D. All the above 

E. None of the above. 

________29. BLOOMERS (WIDE LOOSE PANTS GATHERED BELOW THE KNEE) 

ARE ALWAYS WORN IN ADDITION TO TIGHTS AND /OR SOCKS, 

WITH ANY DRESS LIKE COSTUMES BECAUSE: 

A. A clown must be fully covered. 

B. It’s too drafty otherwise. 

C. You read it in an article on the Internet. 





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_______ 30. (T- True F- False) 

NO MATTER WHICH CLOWN TYPE YOU ARE, IF YOU WEAR CLOWN 

GLOVES, THEY SHOULD ALWAYS BE CLEAN. 

________31. MOST NEW SYNTHETIC WIGS WILL NEED TO BE: 

A. Curled with a curling iron. 

B. Cut or trimmed to fit your face. 

C. Kept in the refrigerator when not in use 

D. All of the above 

________32. A GOOD CLOWN SAFETY RULE IS, NEVER: 

A. Give an animal balloon to a child under the age of three. 

B. Give an untied helium balloon to anyone, child or adult. 

C. Give novelties under 2” in diameter to a child under the age of three. 


_______ 33.. A PARADEABILITY PROP MUST ALWAYS BE: 

A. A puppet that can fit in your pocket after the parade. 

B. Hidden at all times during a parade 

C. Large enough to be seen easily by those watching the parade 

D. Large enough to be seen six blocks away from the parade 

E. All of the above 

_______34. THE THREE L’S OF A PARADEABILTY PROP STAND FOR 

A. Liberal, Loony, Lavish 

B. Large, Light, Logical 

C. Luxurious, Long, Liquid 

D. Lanky, Lucky, Lumbering 


______ 35. A SUITCASE IS A GREAT PARADEABILITY PROPE BECAUSE… 

A. It is easy to put everything into when the parade is over 

B. You can hold it over your head if it rains and not get that wet. 

C. It resets the blow-off just by closing the case. 

D. It has a handle to make it easier to carry 


_______36. THE BEST WAY TO WALK WITH A PARADEABILITY PROP IS 

A. Down the middle of the road so everyone can see you walking 

B. Down one side of the street first and then back up the other side 

C. Skipping so you keep up with the parade 

D. Zig-Zag back and forth across the road 

E. On a float so you don’t get tired 

_______ 37. (T- True F- False) 

A SKIT HAS THREE PARTS - A BEGINNING, MIDDLE AND AN END 




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_______ 38. 

THE DIFFERENCE BETWEEN A SKIT AND A PERFORMANCE IS 

A. There is no difference 

B. Music, a skit NEVER has music 

C. The unexpected ending, a skit MUST always have a blow off 

D. The time of day, A performance ALWAYS happens at night 


________39. A CHARACTER IN A SKIT SHOULD 

A. Be direct and to the point when speaking 

B. Not become a statue on the stage 

C. Make sure his/her actions do not compete with others 

D. Gently react in quiet motions when not speaking 

E. All of the above 

F. None of the above. 

________40.. FACE PAINTERS SHOULD 

A. Only use skin safe Non Toxic face painting products 

B. Only use theatrical glitter 

C. Use caution when painting near the eye area 


E. All of the above. 

______ 41. (T- True F- False) 

YOU SHOULD DRINK WATER FREQUENTLY, EVEN WHEN NOT 

THIRSTY, TO AVOID HEAT EXHAUSTION ON HOT DAYS. 

________ 42. (T- True F- False) 

MAKE UP FOR AN AUGUSTE & LITE AUGUSTE IS EXACTLY THE SAME 

________ 43. (T- True F- False) 

BALLOON SCULPTING IS AN ARTISTIC EXPRESSION, ONLY LIMITED 

BY YOUR IMAGINATION, MONEY AND TIME. 

________ 44. (T- True F- False) 

A 260 IS THE MOST COMMONLY USED SIZE BALLOON FOR TWISTING. 

________ 45. (T- True F- False) 

IT IS OK TO GIVE A BALLOON TO A CHILD UNDER THREE. 

________ 46. (TEN POINT BONUS QUESTION) 

WHAT DO YOU THINK IS THE MOST IMPORTANT THING THAT A 

CLOWN NEEDS TO HAVE IN ORDER TO BE A REAL, TRUE, CLOWN? 

A. A professionally made pair of clown shoes 

B. A professionally made clown costume 

C. A real yak wig that compliments both your sox and gloves 

D. A heart of a clown 

E. A professionally made prosthetic nose that blends with your make up. 




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Clowning_Basics_DIGITAL

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