Dramatic Context
Georgia Brown
Prosthetics Application | Silicone & Gelatine
Pro gel 10 used equal parts A and B at 15.2g, meaning always use equal amounts A and B. The softer the silicone the lower the number. Shore a is the softness of the rubber. I added a softner at 200 percent 30.4g because I was creating eyebags and an open wound. Therefore I wanted the pieces to be soft, moving naturally with the face.
Review:
There was a lot of silicone wasted in the process. However, Id rather have wasteage than too little product because the silicone would have already started curing before I could have mixed and poured more to fill the mould.
Flat Piece | Application: Silicone
Review:
I used silicone (alcohol activated paints) for the prosthetics. I applied a nose piece, cheek piece and an under eye bag. I created bruise tones with the fx palette and I was impressed with the outcome. The prosthetics initially didnt match my models skin tone because I didnt make them for him personally. When I applied the paint the prosthetics became his face and the pigment was hidden. The edges were seamless and therefore I think the application was successful. I could have added fake blood inside of the open wound on his nose for added trauma and realism.
Closed Mould | Application: Gelatine
Colouring gelatine:
Put gelatine in the microwave for 10s until the consistency resembles a syrup texture, then mix a small drop of foundation into the gelatine until you have a desired colour match. The gelatine can be coloured with any paints or make up. However, it is very pourous and must be sprayed with a fixing spray before applying glue and paint. Otherwise it will look a different colour to the rest of the face.
Application Review:
I didnt spray the gelatine with fixer before I applied the alcohol activated paints and the gelatine became highly pigmented quickly because of this mistake. I had to paint the rest of the face to match and my model looked sunburnt/ orange. The gelatine nose wasn't a good colour match and the paint enhanced this. The gelatine nose was cast on top of a generic face cast and didnt fit my models nose. Therefore, I was pleased with the edges around the sides, they blended into his nose seamlessly but the underside of the prosthetic couldnt be stuck down, it was too small.
"Creating the horns was the biggest challenge. They had to withstand a 70 day production and had to be lightweight enough to wear for hours without discomfort"
"He combined TC-879, an indestructible urethane, with TC-812, a much lighter polyurethane."
"The team held the horns in place with magnets. Called Rare Earth Magnets. Very strong... Carefully glued on to some Vac-U-Form scullcaps, made on Angelinas lifecast for a perfect fit."
MAKE-UP ARTIST. (2014). Make-Up Artist Magazine. Issue 109. U.S.: Michael Key. Pages 60 and 61.
MAKE-UP ARTIST. (2014). Make-Up Artist Magazine. Issue 108. U.S.: Michael Key. Page 70.
Transfer Scarring for Ray Winstone as Tubal Cain, Anthony Hopkins in Methuselah make-up, head made for underwater sequence, painter Richard Morin surrounded by snakes, Morot designing and applying, a facial piece