The Makeup Artist Handbook

by Gretchen Davis

  Figure 11.38 Step 21

  22. Mix a small batch of Sculpt Gel with the addition of part C. Use equal portions of A, B, and C (Figure 11.39).

  Figure 11.39 Step 22

  23. Carefully spatulate the product into the appliance area of the mold. Make sure the edges of the appliance are very thin and no bubbles are trapped in the appliance. Two colors of Sculpt Gel may be used to create depth in the appliance (Figures 11.40 and 11.41).

  Figure 11.40 Step 23

  Figure 11.41 Step 23

  24. Let product set for at least 30 minutes.

  25. Powder the back of the appliance using RCMA NO-Color Powder and a powder puff.

  26. Use the tip of a straight pin to peel the appliance out of the mold. There is no need to powder the piece when separating it from the mold (Figure 11.42).

  Figure 11.42 Step 26

  Silicon Prosthetic Application

  Materials

  Sculpt gel appliance

  Telesis Silicone Adhesive and Thinner

  Makeup brushes

  1" chip brush (cut down for spattering color)

  Mouldlife Sculpt Gel A, B, and C

  Plastic mixing cups

  Metal spatula

  Tissues

  W.M. Creations, Inc. Stacolor Kit (Character and Full Color)

  99% alcohol

  RCMA No Color Powder

  Powder puff (Figure 11.43)

  Figure 11.43 Materials

  Procedure:

  1. Clean the front and back of the appliance with acetone (Figure 11.44).

  Figure 11.44 Step 1

  2. Clean the model's skin with 99% alcohol.

  3. Start the application by gluing the middle of the appliance to the skin once the piece is positioned on the model's face with Telesis Silicone Adhesive. Continue to glue the appliance down from the middle of the piece outward. Sculpt Gel can also be used to apply the appliance (Figure 11.45).

  Figure 11.45 Step 3

  4. Mix a small amount of Sculpt Gel A, B, and C and spatulate onto any thick edges that need to be blended into the skin or added to. A powder puff or makeup brush may be used with a slight bit of 99% alcohol to blend out the Sculpt Gel material (Figure 11.46).

  Figure 11.46 Step 4

  5. Color the appliance with Stacolors activated with 99% alcohol. Skin Illustrator or Reel Creation colors may also be used (Figures 11.47, 11.48 and 11.49).

  Figure 11.47 Step 5

  Figure 11.48 Step 5

  Figure 11.49 Step 5

  6. Powder with No Color Powder if necessary.

  Prosthetic transfers

  By Christien Tinsley

  Some of the wonderful attributes these prosthetics offer are undetectable blended edges, translucency (so they look like flesh when a proper tone is mixed), and incredible tenacity to hold during the long day of a shoot.

  In order to set up for a prosthetic transfer application, I first like to prep my station. Materials that I like to have with me at all times when doing a transfer application follow:

  Transfer prosthetic to be applied

  Transfer paper

  Astringent to clean the skin

  Cotton pads

  Shavers (electric and razor)

  Shaving cream

  Scissors

  Adhesive (Pros-Aide)

  Latex sponges

  Tissue

  Spray bottle (water)

  No-color powder

  Powder puffs

  Q-tips

  99-percent alcohol

  Brushes

  Sealer (BenNye Final Seal)

  Hand towels

  Isopropyl myristate

  Super Solv

  Body, hand, or face lotion

  smashbox Anti-Shine

  Tattoo palettes (flesh tones and primary colors)

  Prepping the Skin

  Depending on what approach you will take for prosthetic transfer application, you will commonly prep the skin by making sure it is free of hair, oil, and dirt. Hair can be tricky if applying a prosthetic transfer because it won't allow full contact of the piece to the skin. Try to remove all hair if possible. Prep the skin by cleaning it with an astringent of your choice. This removes dirt and oil, and slightly dries the skin for better adhesion of paint or adhesive. Sometimes a layer of adhesive can be applied to the skin before the prosthetic transfer, helping in the adhesion.

  Preparation

  1. If prosthetic is powdered, gently wash prosthetic transfer with anti-grease soap and water. Note: This step is not necessary if prosthetic transfer is already clean.

  2. Stipple a light coat of Pros-Aide over surface of prosthetic transfer all the way to the edges.

  3. Let Pros-Aide dry until clear.

  Steps 4 to 8 should be done only when ready for application to actor:

  4. Place prosthetic facedown onto shiny side of transfer paper.

  5. Press firmly onto paper, paying close attention to the edges. This is the most important part of the preparation.

  6. Trim as close to the edge of the prosthetic as possible.

  7. Peel off plastic top sheet slowly. If parts of prosthetic pull away from paper, lay the whole piece back on paper and repeat step 4 until prosthetic comes off clean.

  8. Now you're ready for application.

  Application

  1. Place prosthetic transfer facedown on skin, and press firmly.

  2. Wet back of prosthetic transfer generously with a Tinsley Transfer moistener (filled with water).

  3. Continue wetting the paper for approximately 30 seconds, and slice or peel the backing off. Smooth transfer gently with water, and let dry well. Any visible edges can be blended away using 99-percent alcohol.

  4. Powder generously with no-color powder of your choice. Gently wipe any excess powder, and seal prosthetic transfer with a spray of makeup sealer (we recommend Ben Nye Final Seal).

  Prosthetic Transfer Application Steps

  1. Lay down with water (Figure 11.50).

  Figure 11.50 Lay down with water

  2. Peel (Figure 11.51).

  Figure 11.51 Peel

  3. Blend visible edges (Figure 11.52).

  Figure 11.52 Blend

  4. Powder (Figure 11.53).

  Figure 11.53 Powder

  5. Seal (Figure 11.54).

  Figure 11.54 Seal

  6. Paint (Figure 11.55).

  Figure 11.55: Paint

  On-Set

  In order to maintain prosthetic transfers on-set, be aware. As with any makeup, things can happen with prosthetics. An actor sleeps hard over lunch, or he rubs his arms on a table while eating, or the scene requires actors to wrestle or sweat or run, and so on. Always have backup transfers with you, and alcohol, in case you have to remove and apply a new one on-set. Do not remove with oils in the middle of the day because your next one won't stick. For minor repair, have a premixed color or colors to match the tones and to fill in areas that have rubbed away. If an edge has pulled up or rolled over, you can fill it in using any kind of filler of your choice (Bondo, wax, etc.). Remember, it is always best if you have time to remove and apply a new piece. Things happen—just be resourceful and prepared.

  To Remove

  Saturate prosthetic transfer with adhesive remover of your choice (Super Solv, isopropyl myristate, Detachol, etc.), and rub gently with remover and dampened powder puff.

  Application of Gelatin Prosthetics

  By Kenny Myers

  [The information contained in this section is presented in good faith. The responsibility for the use of any material in special makeup effects rests solely with the user. The author assumes no responsibility for the use, or misuse, of any material, technique, or informational content discussed within this article.]

  What Is Gelatin?

  Gelatin is a colorless protein formed by boiling the skin, bones, and connective tissue of animals. It is used in food, pharmaceutical, photographic, ballistics, and cosmetic manufacturing. The end result is a protein derived by rendering t
he remnants of the animal down to a powder that is composed of about 84 to 90 percent protein, 8 to 15 percent water, and 1 to 2 percent mineral salts, free of additives and preservatives. It also contains about 18 different amino acids joined together in a chain.

  In the film and television makeup industries, gelatin appliances are an alternative to foam latex in that gelatin is a gelatin, flexible, and translucent material that simulates human flesh in a more natural way than latex. Gelatin for prosthetic appliances has a much higher bloom, or stiffness (around 275 to 300) than the gelatin used for food consumption (around 200 to 250).

  When you purchase gelatin from a supplier for appliance construction, you shouldn't have to concern yourself with the bloom. However, it is useful to know that the gelatin's bloom is the relative strength or rigidity of the brand or grade of gelatin, as well as its water-binding capacity. The higher the bloom number, the denser it will be. Gelatin is hydrophilic, which is a fancy way of saying it likes and absorbs water, swelling to many times its weight of dry gelatin as you mix in liquids, turning the dry gelatin into a slurry. The higher the bloom, the higher the price as well. The bloom scale was created by Oscar T. Bloom. He must have played with an awful lot of gelatin in his time!

  How to Make Gelatin

  Many companies sell premade gelatin blocks that come in a variety of colors that you can use “as is.” As well, many provide a clear block that you can add your own colorants to. This would be the best place for any Makeup Artist to start until you understand the processes and the medium.

  Gelatin formulas are as unique as the artists that use the material; however, if you're determined, understand that whatever formula you find that works for you may not work for your friend across town. Why? There are many reasons. For example, you may not buy raw materials at the same place, so the gelatin may be a little different. Or the sorbitol or gelatin may be formulated differently and your method of processing the gelatin into your mold may differ. Any or all of these things may throw a wrench into your “formula,” but you'll learn this as you go.

  A general place to begin would be to have on hand some gelatin, sorbitol (which increases the tear resistance while being less affected by humidity; usually sold as a 70-percent solution), and glycerin (which replaces much of the water that would be used in food formulas), along with a good scale to measure your ingredients. These three ingredients are used in most basic formulas, and can be obtained from special-effects supply houses via the Internet or any of the brick-and-mortar special-effects supply houses across the nation. As a side note, sorbitol is sold in two forms: powder and liquid. The liquid is the sorbitol already in solution, and it's the form I like best for its ease of use. The liquid is usually sold as a 70-percent solution.

  To reiterate: Ingredients are not necessarily the same from vendor to vendor. The supply of gelatin, the mix of sorbitol, and the gelatin itself can vary. I cannot encourage you enough to make a chart of your ingredients and procedures, and to write down everything—including proportions of ingredients, time of day, time of year, weather conditions, and type and wattage of microwave. All these things can have an effect on the end result. The object of all this work is to create a batch size that works for the appliance you're making—say, a prosthetic nose.

  Gelatin, like a lot of makeup processes, came from many artists and many years of contribution and sharing their knowledge with each other. Much of what is outlined here is from the contributions of Dick Smith and Kevin Haney, who did a great deal of experimentation early on, with many successes and failures that many people today take for granted. It's not an exact science, and as an artist you can be surprised by all kinds of problems, usually at the wrong time. There is no shortcut to experimentation and experience. Keep a record of each formula, and network as much as possible.

  Here is a starter formula: to 20 grams of gelatin, add 40 grams of sorbitol (70-percent solution) and 40 grams of gelatin. Other ingredients to consider by testing their effect on the finished appliance include water, zinc oxide, face powders, flocking, and pigments.

  Caution: Pigments should be Food and Drug Administration approved for use in cosmetics. Pigments from an art-supply house may not be suitable for cosmetic use—so don't use them! Safety is your responsibility.

  Heating the Gelatin

  Melting the gelatin into a liquid is necessary to both homogenize the mixture and break down the powdered gelatin so that it can be poured and molded. Usually this is done in a microwave for both convenience and speed. Caution: Hot melted gelatin is dangerous, and can blister and severely burn your skin. So be extremely cautious, and protect yourself with both gloves and goggles.

  Microwaves come in different wattages, so a setting of #4 for 15 seconds on one machine is not the same as #4 on another machine. Read the ratings, usually written on the back of the appliance, and write this information down.

  A double boiler can also be used, but will take a bit more time. Remember to put your gelatin into a metal bowl or container, and place it into the water of the lower boiler. Do not use bare hands—it will burn you. Instead, use gloves for hot work, or a long gripping tool (pliers) to place and remove your container of melted gelatin. If you allow gelatin to boil with either method, the gelatin will break down, making it useless. So don't burn it. Allow your gelatin appliance to cool in the mold. Most artists will put the mold in a refrigerator (not the freezer) to speed up the process.

  Molding Gelatin

  UltraCal 30 molds are the best place to begin because they are economical, and many people are still using them today. For the advanced user, Epoxical gives a better release and won't break down as easily. But it is more expensive, and needs more time and skill to make. Silicone molds are also used, so there are a variety of techniques to choose from. All have advantages and disadvantages, as with any material—you just have to find what fits your situation, pocketbook, and skill level.

  Keep in mind that your molds should be kept warm. A cold mold will solidify your gelatin before it can flow into all the areas you require. It's also best to fill your molds with the negative side down, placing your positive side into it. You will probably have to vent your mold to eliminate voids, air traps, or to prevent hydraulic back pressure from squashing its halves together. Many Makeup Artists use a sealing coat on their UltraCal molds, but some do not. Some use a thin film of Vaseline for a mold release. Others may use PAM cooking spray or Epoxy Parfilm.

  Assuming that you've flashed your mold as you would for a foam latex appliance, powder the gelatin as you remove it from the mold. Use no-color powder, talc, or cornstarch. Leave any flashing on the piece after removing it from the mold. This will be a great help in maneuvering the gelatin and handling the piece for application. Gelatin appliances should be kept on a form to keep them from losing their shape, so have either a vacuform copy of the positive or just a plaster copy. Remember to clean the finished pieces thoroughly with alcohol or acetone before application.

  What your makeup kit should contain for gelatin applications:

  Acetone

  Brushes

  Sponges

  Green Marble Sealer

  Pros-Aide

  Witch hazel

  No-color powder

  Skin Illustrator

  Prepping the Appliance

  1. Flip over the wound so the bottom side is up.

  2. Clean the gelatin piece with acetone using a brush or sponge.

  3. Let dry thoroughly.

  4. Lay flat on underside, and then apply two to three layers of Green Marble, drying each layer.

  Applying the Gelatin Piece

  1. Cleanse (using toner) the area of the face or body that the gelatin piece is being applied to.

  2. Fit the gelatin appliance to its intended position; in this case around the jawline (Figure 11.56).