The process of creating prosthetic makeup effects requires a number of skill sets, including lifecasting, sculpture, mold making, and appliance casting techniques. In Hollywood, these skill sets are usually practiced individually, as each requires a good deal of concentrated expertise; however, it is not uncommon to find individuals who are adept at wearing the many hats necessary to take a makeup effects project from concept to completion by themselves.
Multi-piece, overlapping prosthetic makeup was revolutionized by Academy Award winner Dick Smith in such films as Little Big Man, Amadeus and The Exorcist. It was later adopted by such industry leaders as Christopher Tucker (The Elephant Man, Quest for Fire), Rick Baker (An American Werewolf in London, Men In Black), Matthew Mungle (Dracula, Schindler’s List), Tom Savini (Friday the 13th, Creepshow), Greg Cannom (Mrs. Doubtfire, Hook) and Stan Winston (Jurassic Park, Edward Scissorhands).
However the demands of restrictive television production schedules continue to foster innovation and development of newer, faster methods. For example, makeup artist extraordinaire Neill Gorton has perfected a full-head silicone prosthetic process utilizing a one-piece silicone makeup appliance that can be applied flawlessly in under 2 hours!
Oscar nominee Conor O’Sullivan has perfected a system of silicone prosthetics that are applied directly to a performer while still in the mold.Edges no longer have to be hidden in shadowed areas, allowing pieces to be placed anywhere in far less time than large, multi-piece makeups. And, Oscar winner Christien Tinsley won a 2007 Technical Achievement Academy Award for perfecting a 3D prosthetic transfer system similar to temporary tattoos; the results can be astonishing, and there are absolutely no edges.
One of the most important and essential techniques of prosthetic makeup effects is called lifecasting - it is the process of taking a mold of a body part (usually the face) to use as a base for the sculpting of a prosthetic appliance. The material most commonly used is alginate, a substance derived from seaweed. A hard shell to support the alginate goes on top of the alginate mold, typically made by using plaster bandages, but now is often made with fiberglass or other resin or gypsum materials.
Once a negative mold/lifecast has been created, it is immediately filled (usually) with a gypsum stone material - often Ultracal 30 - to make a positive from the alginate negative. It is similar to plaster, but much harder when fully cured. The form of the prosthetic is sculpted in clay on top of the newly cast positive – now called the model. It is very important that the edges of the clay be made as thin as possible to create an invisible edge; the clay is a stand-in for what will eventually be the foam latex (also silicone, urethane or foamed gelatin) appliance, and only thin edges will blend seamlessly into the face or body. If the prosthetic is going to be cast in silicone, it is critical that the sculpting clay is sulphur-free, or the silicone will not cure (latex will also inhibit or prevent the cure of most silicones.
Once the new model is complete – the makeup sculpt – a new negative mold must be made. Along the edges of the model, keys or mold points must be sculpted or drilled/routed to make sure that eventually the pieces of the mold will fit together correctly. Some molds can be complex, and in several pieces. Once the second sculpt of the new prosthetic is completed on the model (positive) - a second mold must be made (negative). At its most basic, this results in two pieces of a mold - a positive of the original lifecast, and a negative of the lifecast with the prosthetic sculpted in. Once the sculpted clay is completely removed and the two halves of the mold are thoroughly cleaned, the prosthetic material - foamed latex, foamed urethane, foamed gelatin, or silicone - is added – poured or injected - into the two part mold; the mold is then clamped tightly shut and the material cures - creating the beginning of a prosthetic appliance for a special makeup effect.
After the appliance is removed from the mold, trimmed, gently washed and dried (if necessary for the appliance), it is ready to be pre-painted and applied.
This particular mask - a mask; not really a prosthetic makeup appliance in the true sense - for a stage production of Beauty and the Beast needs no adhesive or body double actor for the Act II transformation.
