Running Head: OCCUPATIONAL ANALYSIS PAPER

Occupational Analysis Paper Emily E. Matthews Touro University Nevada

OCCUPATIONAL ANALYSIS PAPER To be a makeup artist one must be creative, have good color vision and take direction well. Makeup artistry is my passion. I have been doing professional makeup for

over 10 years. I do makeup for leisure, play and work. Making others feel beautiful through makeup artistry is therapeutic and enjoyable. Throughout the paper I refer to myself as the makeup artist. This paper should help the reader have a better understanding of how makeup artistry fits into the areas of occupation, client factors, activity demands, performance skills, performance patterns and contexts and environments. Makeup artistry fits into the areas of occupation in various ways. For the activities of daily living, a makeup artist must be clean and shower or bathe. This is important because the artist must be in close proximity to clients to perform artistry. A client might be appalled if the artist has an unpleasant smell and might take business elsewhere. The makeup artist must have bowel and bladder management by retaining from using the bathroom during client sessions. The makeup artist must dress presentable to work. The makeup artist must dress in a way that is socially acceptable for the environment. The makeup artist must be able to move from one position to the next and manipulate the environment for lighting and makeup application purposes. The makeup artist must be able to lift up to 40 pounds depending on the products, tools and appliances used during makeup application. The makeup artist must have good personal hygiene and grooming. The makeup artist should wear makeup that represents the product line he/she is working for or wear makeup that is trendy. The artist must have fresh breath for talking to clients. The makeup artist must have nicely styled hair and clean nails. Instrumental activities of daily living for a makeup artist include communication management, community mobility and shopping. The makeup artist must be able to

OCCUPATIONAL ANALYSIS PAPER communicate through computers and telephone systems for schedule updates, call times, and locations for the makeup job. The makeup artist must be able to travel to different locations to meet with clients. This can include traveling to a clients home or production set. The makeup artist must be able to shop for makeup supplies and provide the proper

payment. A makeup artist must get enough sleep the night before a makeup event to ensure proper makeup applications and techniques. If the makeup artist does not get sufficient sleep, he/she runs the risk of doing unsatisfactory makeup for a client which could potentially lose business opportunities. Table 1 Education Formal Education Participation Informal personal education needs Informal personal education participation Vocational school, online classes Reading current fashion/beauty magazines, watching Youtube for makeup videos Attending and participating in makeup workshops and classes

Table 2 Work Employment interests and pursuits Employment seeking and acquisition Job Performance Volunteer participation Choosing a company with good benefits and values Going on craigslist or contacting makeup artist agency to get more clients Satisfying clients needs by receiving good tips. Completing a clients face by using proper handling and artistry techniques Volunteering at womens abuse shelters and breast cancer survivors events by providing complimentary makeovers

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Table 3 Play Play exploration Constructively play with clients or friends facial structures by adding various colors to achieve new and fun looks Play participation Maintaining trendy makeup colors, tools and equipment to achieve amazing looks.

Table 4 Leisure Leisure exploration Leisure participation Identifying fun and exciting ways to enhance ones looks Planning and participating in makeup artist functions. Obtaining and using makeup artistry supplies for appropriate leisure activities Table 5 Social Participation Community Family Peer, friend Organizing community events that promote beauty Making all the members of the household look and feel beautiful Helping a friend when her makeup is bad

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Table 6 Client factors- Values, Beliefs, and Spirituality Category Associated with participation Values: Person 1.) Honestly with others and self 2.) Working hard 3.) Commitment to family. Organization 1.) Helping the community 2.) Being fair to each client and employer. Population 1.) Freedom of creative expression 2.) Being kind to everyone 3.) Equality for all. Beliefs: Person 1.) Be kind to others even if they do not deserve it 2.) Humans are more powerful than they think 3.) The power of words can change a persons day. Organization 1.) Helping one person feels beautiful a day changes the world to a better place 2.) Profits tend to be more important than people. Population 1.) People can influence a persons life by just smiling 2.) Beauty is skin deep. Spirituality: Person/Organization/Population 1.)Guiding actions that are pleasing to a higher power 2.) To find purpose and meaning in ones life

The client factors for body functions and body structures are in the boxes below. Some client factors do not apply to makeup artistry and therefore will have N/A in the box next to it.

OCCUPATIONAL ANALYSIS PAPER Table 7 Body functions required: Function Judgment How It Is Used Choosing what colors, products, and application technique to use on the clients face Organization of various colors on different parts of the face to enhance clients beauty Thinking about choices of colors and products to use on clients face It is used when certain brushes are missing you have to problem solve and find other ways to apply the makeup. Having awareness of what capabilities are needed to do an individuals makeup. If you hurt your thumb, you should know that your hand might get fatigued faster in applying the makeup. Concentrating in applying the makeup in desired areas instead of undesired areas. Ignoring environmental noises, e.g. A Rihanna song, and focusing on the task. Soaking brushes while applying eye shadow on client. Remembering why you picked the angle brush None Minimally Challenged

Greatly Challenged X

Concept formation

Metacognition Cognitive flexibility

X X

Insight/awareness

Sustained attention

Selective attention

Divided attention Short-term memory

X X

OCCUPATIONAL ANALYSIS PAPER Working memory Long-term memory Discrimination of senses: Auditory Discrimination of senses: Tactile Placing a strip of lashes on the client while thinking what to do next Remembering how to make a client look beautiful Hearing another client ask for help while still working with the current client Knowing the difference between the a dry powder brush versus an wet powder brush Knowing your way around the makeup counter and knowing where certain products are located. To discriminate if makeup is expired by smelling a bad odor Proprioception in applying makeup on client See and feel clients face as you apply makeup products To remember how to open the eyelash glue and eyelid primer To establish the top of the clients forehead to the bottom of her chin To know how long it takes to do an individuals makeup To recognize when you use a blender sponge versus a beauty sponge Organize makeup according to the areas of the face they are applied. Lip Tar, lip glass, lip X X X

Discrimination of senses: Visual

Discrimination of senses: Olfactory Discrimination of senses: Vestibularproprioception Multisensory processing Sensory Memory Spatial relationships Temporal relationships Recognition Categorization

X X X X X X X X

OCCUPATIONAL ANALYSIS PAPER gloss, lip stick, lip balm are all for the lips only Doing makeup in different environments such as in a home or at the mall Aware of the task of doing makeup and the role of it Choosing appropriate things to put on a clients face such as clean sanitized materials versus un-sanitized materials Staying on track with task and thinking about clients needs. Being able to do previously learned movements such as a brush stroke technique for blending eye shadow or mixing colors to match the perfect foundation Dealing with an irate client who dislikes his/her makeup. Emotional regulation Not becoming angry when someone criticizes your makeup artistry Noticing she/he is not attractive and adds contouring to chest, arms, and legs Doing a clients makeup and perceived ability to do the clients makeup to his/her needs To have confidence in doing a clients makeup

Generalization

Awareness of reality Logical/coherent thought

X X

Appropriate thought content Execution of learned movements

X X

Coping

Behavioral regulation Body image

X X

Self-concept

Self-esteem

OCCUPATIONAL ANALYSIS PAPER Arousal Stimulated by clients facial features and doing an amazing job with the makeup artistry Must be conscious enough to fulfill clients needs Knowing you are a makeup artist doing a clients makeup Knowing where you are in relation to your physical location when doing a clients makeup Knowing if you are taking too much time on a certain area on the face. E.g.- 30 minutes to do lip color To have patience when waiting for certain tools when others are using them and having appropriate space between others To remain calm throughout scheduled work time, e.g. when you run out of mascara wands and you have 3 more clients to do Being motivated by the idea of making the client more beautiful and making he/she happy with the end result To not judge clients opinion of noncomplementary makeup choices. Remember that the client is always right. N/A X It is unprofessional to sleep on the job X

Consciousness Orientation to self Orientation to place

X X X

Orientation to time

Orientation to others

Emotional stability

Motivation

Impulse control

Appetite Sleep

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Function

How It Is Used

None

Minimally Challenged

Detection/registration To see the various products to choose from to apply the clients makeup Visual modulation Seeing what is in your environment to put on clients face Integration of senses Seeing and placing the glitter on the outside corners of the clients eyes Awareness at Knowing that the distances makeup is on top of the counter Tolerance of ambient To concentrate on task sounds at hand despite the sound of people talking and loud music. Location and distance Hearing a foundation of sounds drop behind the counter. Moving against Walking around makeup gravity studio and standing upright Taste N/A Smell Smelling product for safety and expiration Body in space Holding a makeup brush and flexing the arm at the elbow Comfort with touch Placing your hand on clients eye lid gently. Localizing pain To feel if hit your toe on the makeup counter Thermal awareness Knowing the temperature room and making sure it is good for the client

Greatly Challenged X

X X

X X

X X X X X X X X

OCCUPATIONAL ANALYSIS PAPER Joint stability/alignment Strength Muscle Tone Muscle endurance To keep a steady hand when applying liquid eyeliner on the top eyelid. To have the strength to pick up your 40 pound makeup case Bringing Kabuki brush up to a clients face in a fluid motion. To not get tired when standing in front of client for more than 45 minutes n/a n/a n/a To be able to adjust body if client bumps into you on accident To make sure not to poke clients eye when putting on eye makeup Using both hands to hold beauty puff to blot clients face Applying various makeup colors on clients face especially for contouring Picking up the eye shadow brush and dapping it in eye shadow to be placed on client Eyes following for correct placement of liquid eye liner on eyelid Walking to makeup counter for product n/a X Slight increase when makeup is not blending correctly or problem occurs with makeup application X

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X X X

Stretch reflex ATNR STNR Righting and supporting reflex Eye-hand coordination Bilateral coordination Crossing midline

X X X X

Fine motor control

Oculomotor control Gait patterns Blood pressure Heart rate

X X X

OCCUPATIONAL ANALYSIS PAPER Respiratory rate Respiratory rhythm Respiratory depth Physical endurance, aerobic capacity Voice functions Voice rhythm and fluency Alternative vocalization Digestive system Metabolic system Endocrine system Urinary functions Genital and reproductive function Protective functions of the skin Repair functions of the skin Increase to meet demands Normal Slightly increased Standing and applying makeup to clients face Being able to ask clients how they want their makeup N/A N/A N/A N/A N/A N/A N/A Washing hands before and after each client N/A X X X X

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X X X X X X X

Table 8 Muscular analysis of movements required Muscle Shoulder flexion Shoulder extension Shoulder abduction Shoulder adduction Shoulder internal rotation Shoulder external rotation Elbow flexion Elbow extension Wrist supination Wrist pronation Not Used Minimally challenged X X Greatly challenged X X X X X X X X

OCCUPATIONAL ANALYSIS PAPER Wrist flexion Wrist extension Thumb flexion Thumb abduction Finger flexion Finger extension Trunk flexion Trunk extension Trunk rotation Lower extremities Table 9 Body structures required Category Nervous system Body Structure Frontal lobe (for cognition) Temporal lobe Parietal lobe Occipital lobe Midbrain Diencephalon Basal ganglia Cerebellum Brain stem Cranial nerves Spinal cord Spinal nerves Meninges Sympathetic nervous system Parasympathetic nervous system Eyeball: Conjunctiva, cornea, iris, retina, lens, vitreous body Structures around eye: Lachrimal gland, eyelid, eyebrow, external ocular muscles Structure of external ear Structure of middle ear: Tympanic membrane, Eustachian canal, ossicles Structures of inner ear: Cochlea, vestibular labyrinth, semicircular canals, internal auditory meatus Structures of the nose: External nose, nasal septum, nasal fossae X X X X X X X X X X

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Eyes, ears, and related structures

Required? Check If Yes X X X X X X X X X X X X X X X X X X X X X

Voice and speech structures

OCCUPATIONAL ANALYSIS PAPER Structure of the mouth: Teeth, gums, hard palate, soft palate, tongue, lips Structure of pharynx: Nasal pharynx and oral pharynx Structure of larynx: Vocal folds Heart: Atria, ventricles Arteries Veins Capillaries Lymphatic vessels Lymphatic nodes Thymus Spleen Bone marrow Trachea Lungs: Bronchial tree, alveoli Thoracic cage Muscles of respiration: Intercostal muscles, diaphragm Salivary glands Esophagus Stomach Intestines: Small and large Pancreas Liver Gall bladder and ducts Endocrine glands: Pituitary, thyroid, parathyroid, adrenal Urinary system: Kidneys, ureters, bladder, urethra Structure of pelvic floor Structure of reproductive system Ovaries, uterus, breast and nipple, vagina and external genitalia, testes, penis, prostate Bones of cranium Bones of face Bones of neck region X X X X X X X X X

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Cardiovascular system

Immune system

Respiratory system Respiratory system (continued) Digestive, metabolic, and endocrine systems

X X

Genitourinary and reproductive systems

Structures related to movement

X X X

OCCUPATIONAL ANALYSIS PAPER Joints of head and neck Bones of shoulder region Joints of shoulder region Muscles of shoulder region Bones of upper arm Ligaments and fascia of upper arm Bones of forearm Wrist joint Muscles of forearm Ligaments and fascia of forearm Bones of hand Joints of hand and fingers Muscles of hand Ligaments and fascia of hand Bones of pelvis region Joints of pelvic region Muscles of pelvic region Ligaments and fascia of pelvic region Bones of thigh Hip joint Muscles of thigh Ligaments and fascia of thigh Bones of lower leg Knee joint Muscles of lower leg Ligaments and fascia of lower leg Bones of ankle and foot Ankle, foot, and toe joints Muscle of ankle and foot Ligaments of fascia of ankle and foot Cervical vertebral column Lumbar vertebral column Sacral vertebral column Coccyx Muscles of trunk Ligaments and fascia of trunk Areas of skin: Head, neck, shoulder, upper extremity, pelvic region, lower extremities, trunk, and back Structure of skin glands: Sweat and sebaceous Structure of nails: Fingernails and toenails Structure of hair X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

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Structures related to movement (continued)

Skin and related structures

OCCUPATIONAL ANALYSIS PAPER Note: Tables 7-9 adapted from Occupation- Based Activity Analysis, p.g 185-187 by H. Thomas, 2012: Thorafare: Slack The activity demands of a makeup artist include objects and their properties, space, social demands, sequencing and timing, required actions and skills, required body functions and body structures needed to carry out the activity. Objects and Properties Tools- blender brush, angle brush, eyeliner brush, bronzing brush, eye shadow brush, blender sponge, scissors, lip brush and powder brush.

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Materials- eye makeup in many shades and textures (matte or shinny), smooth eye liner, foundation, blush, false lashes, cleaning wipes, translucent power, disposable mascara wand, black mascara, bronzer, moisturizer, lip balm, lip sticks in many shades, clear gloss, and eye lash glue Equipment- Makeup chair, lights, makeup counter, mirror and makeup case.

Space Demands (relates to physical context) A small open space with a lot of natural or artificial lighting is needed for proper makeup application. The area must have large counter space for placement of makeup products and flat floors for easy accessibility. The temperature comfortable, yet cool in room so client does not sweat off makeup. Environmental noises should be harmonious and pleasing to the ear for optimal concentration and creativity. Good ventilation is preferred but not needed.

OCCUPATIONAL ANALYSIS PAPER Social Demands (relates to social environment and cultural contexts) A makeup artist should not leave client for a long period of time. Also a

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makeup artist should respect his/her coworkers and clients. Cultural considerations should be taken in account when helping clients from different cultures, getting product from other artist, and communicating with clients.

Sequencing and timing Steps for applying a basic beauty makeup look: 1.) Walk up to client and introduce yourself as the makeup artist. 2.) Ask client what kind of makeup look he/she wants. 3.) Tell client realistic goals for makeup look. 4.) Think about what colors to use on clients face. 5.) Approach makeup counter and pick three eye shadow colors and an eye primer. This should take 2 minutes. 6.) Use facial wipes to clean off clients face. This should take one minute. 7.) Use a dime sized amount of moisturizer and place it all over clients face and neck. This should take 3 minute or less. Make sure the moisturizer is all blended in skin. 8.) Use eye shadow brush #1 to place eye primer on entire eye lid. 9.) Repeat on other eyelid. 10.) Use eye shadow brush #2 and apply the brightest eye shadow color on entire

eyelid. 11.) Repeat on other eye.

OCCUPATIONAL ANALYSIS PAPER 12.) Use a blender brush to blend the darkest eye shadow color in the crease of

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eyelid. Make sure there are not any hard corners. This should take 5 minutes. 13.) 14.) Repeat on other eye. Get the lightest of all the 3 eye shadows colors and use eye shadow brush # 3

to apply makeup below the eyebrow and blend. This should take 4 minutes. 15.) 16.) Repeat on other eye. Use liquid eyeliner and draw a thin line on the upper eyelashes. This should

take 2 minutes. 17.) 18.) 19.) 20.) 21.) Repeat on other eye Get makeup strips out of package. Cut makeup strips to desired length. Place glue on the strip of a lash. Wait 10 seconds for glue to tack up. Place eyelash strip against clients natural lash line and make adjustments as

needed. 22.) 23.) 24.) 25.) Repeat step 20-21 on other eye. Use disposable wand to put mascara on both eye lashes. Use blender sponge and place a quarter sized amount of foundation on it. Blend sponge with foundation all over clients face and neck. This should take

3 minutes. 26.) Use a bronzing brush and apply bronzer on the temples of the forehead, chin,

and cheeks. 27.) Use the blush brush and apply the blush to only the cheeks in a circular

motion.

OCCUPATIONAL ANALYSIS PAPER 28.) 29.)

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Pick a lip balm and apply it on clients lip with a lip brush and wait 3 minutes. Pick a lip stick color and apply it to clients lips using the lip brush. This

should take 3 minutes. 30.) 31.) Pick a lip gloss and apply it to clients lips. This should take one minute. Use a powder brush to place translucent power on clients entire face to set

the makeup. This should 2 minutes. 32.) Tell client you are done and hand him/her the mirror to check out their new

look.

Required Actions and performance skills gripping and holding brushes at different angles; feeling clients face for smooth or rough spots; choosing appropriate brushes for different makeup products and for different areas of the face; answering questions from the client and teaching client how to apply makeup in various places; determining how to move fingers and hand to control brush strokes; adjusting tone of voice based on environmental noises or for clients needs;

Required Body Functions mobility of joints especially in fingers, hand and elbow joints; high level of consciousness; soft yet firm touch;

OCCUPATIONAL ANALYSIS PAPER Required Body structures 2 eyes; 1 hand, but 2 hands are optimal; 2 legs; fingers; feet; see table 9 for other required body structures;

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Makeup artistry is an occupation that requires motor and praxis skills, sensory perceptual skills, emotional regulation, cognitive skills and communication and social skills. There are several motor and praxis skills that are needed to do makeup artistry. One must be able to stand for long periods of time in front of clients with good balance and posture. Bending towards the client at certain angles is necessary to allow light to shine on the clients face for accurate makeup application. If light is obstructed from anywhere on clients face, the artist must adjust his/her body position or move client in a way that light illuminates his/her face completely. Fine motor skills are needed to manipulate brush strokes against clients face in a gentle yet firm manner. Circular, up and down, or straight strokes are needed for different parts of the face. Fine motor skills are needed to reload brushes with product especially those products with loose fine powders. Fine motor skills are also needed to open and close makeup products. Sequencing is needed to perform movements from the makeup counter to reload desired brushes with product to the makeup application on client. The artist must maneuver from makeup counter to clients face until the entire look is complete. This can

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take up to 1 hour. The artist must have good vision to accurately place colors and products in certain areas that enhances the clients beauty. The sensory and perceptual skills for the makeup artist are listening to the clients beauty goals, timing, sense of smell, color matching, locating desired beauty products and visually determining how much product to use. Auditory senses are needed to hear clients request. Timing is needed so the makeup artist can complete the makeup application in the desired time allotted especially if the artist is on a tight schedule. Olfactory senses are used to make sure products are not expired or old. Tactile senses are used to find makeup products in a large makeup bag or to put products on clients face. Color matching is used enhance clients facial features. A makeup artist must have emotional regulation skills. Makeup artists deal with a lot of people especially women. Women use makeup artistry services to feel beautiful. Many of these women have suffered from abusive relationships, losing a spouse or just want to feel beautiful. The artist must be supportive of the client and comfort them during the makeup session. At times the artist might be belittled or yelled at for not making the client happy. The makeup artist must stay professional and not lash out at the client for insulting remarks. The makeup artist must not show anger despite disappointment and adjust the makeup application per the clients request. The artist must show patience and constraint when getting frustrated with makeup artistry outcomes. Cognitive skills are needed to plan the look on the client. The makeup artist must judge what products to use. The artist must select the appropriate tools for different parts of the face. For example, a blush brush will not be used on the eyelid area and vice versa. The artist must sequence task in different areas of the makeup studio. The artist must organize what products to put on first and the time to complete each area of the face. The

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artist must prioritize what steps to within time allotted to allow proper drying and setting of the makeup. The artist must be creative and must know how to pull together a look even if supplies are missing or not available. The artist must be able to multitask between clients if staff is short or if the artist is highly requested. The artist must be able to communicate well. He/she must tell client realistic goals about their artistry, what he/she can or cannot do, and the artist must initiate and answer questions a client might have. The artist must maintain acceptable physical space when talking to the client and the makeup artist must acknowledge the clients perspective during a conversation.

Table 10 Performance Patterns-Person Habits Roles Automatically tries new looks with clients Repeatedly asks client if he/she is feeling okay Bites lip when nervous Talks fast when excited Offers client water or mint Follows the sequence of steps involved with proper makeup application Cleans brushes after every client Says prayers before helping each client Consistently organizing makeup according to type and color Thanks client for business opportunity A friend who makes her friends glamorous on Friday nights A daughter who helps her mom feel and look beautiful

Routines

Rituals

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Table 11 Performance Patterns- Organization Routines Attends scheduled meetings Turns in documentation every week Follows safety and security routines (e.g. using sanitized tools and signing in/out) Maintains dress code (e.g. wearing all black trendy attire) Meets performance and expectation standards (e.g. selling products to clients) Attends educational trainings Gives out free product to artist for enjoyment. Products are never tested on animals Sends monthly updates on new products and sales A company that wants women around the world to feel beautiful

Rituals

Roles

Table 12 Performance Patterns - Population Routines Follows social/cultural customs for greeting Follows health practices (e.g. cleaning materials and supplies after every client Educates customer on products and makeup application Gives out free product to clients who spend a certain amount of money Has monthly sales and promotions Making the world a more beautiful place

Rituals Roles

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Table 13 Context and Environment Cultural Person: Smiling when greeting client Organization: Employees wearing red on Valentines Day Population: Celebrating Valentines Day 29 year old female who loves makeup Person: Special occasions, weekends, and evenings Organization: Holidays Population: West Coast women who need their makeup done. Person: Checking text message from boss Organization: Companys You tube videos on applying makeup Population: Virtual community of beauty You- tubers Person: Individuals living space (e.g. condo or house) and makeup station Organization: Makeup studio Population: Transportation system Person: Colleagues, associates, friends Organization: Shareholders of company Population: Womens advocacy group

Personal Temporal

Virtual

Physical

Social

Makeup artistry is a meaningful occupation. It gives the makeup artist a purpose and sense of self. Many skills related to makeup artistry deal with cognition and body mechanics. Areas of occupation, client factors, activity demands, performance skills, performance patterns and contexts and environments all have great influence on the makeup artists skill and passion.

OCCUPATIONAL ANALYSIS PAPER References OBrien, Jane Clifford and Hussey, Susan M. (2012). Introduction to Occupational Therapy (4th ed). St. Louis: Mosby, Elsevier Inc.

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American Occupational Therapy Association. (2008). Occupational therapy practice framework: Domain and process (2nd ed.). American Journal of Occupational Therapy, 62, 625-683.
Thomas, H. (2012). Occupation-based activity analysis. Thorofare, NJ: Slack Inc.