Introduction

This blog will document the design, manufacture and application of a prosthetic piece. I will include research, step by step images and evaluations of my performance in tasks such as face casting, moulding, sculpting, colouring and application. 

Techniques will be demonstrated and the appropriate materials will be discussed. The final result will be a full character makeup utilising facial prosthetics, costume and props.

Hope you enjoy...

Prosthetic Research

A prosthetic piece used in the media makeup industry is a product made to change or recreate the look of the human body. This time consuming process is executed by body/ face casting, moulding, sculpting, advanced colouring and application. 

Image one

Danny DeVito as The Penguin in 'Batman Returns' (1992) 

Image one is Danny DeVito before and after the makeup for 'Batman Returns' as his role The Penguin. Stan Winston and Tim Burton collaborated to design an iconic character for the film after previously working on Edward Scissorhands together. The design process was the first step of the creation which meant drawing the actors face and adapting it to fit the character brief. Mark McCreery being the artist, experimented with various nose shapes before disputing his final design. Image two shows the design development and image three shows the final example.

Image two

McCreery, M.

Image three

McCreery, M.

Winston began to sculpt the piece after casting DeVito's face and decided that he was unhappy with creating just a pointed nose, so using influences from a production he worked on in the past called 'The Wizz' he began to make a crow beak like shape. Image four shows the final sculpt on the mold.

Image four

Winston, S. (2010)

The final Penguin look included a T-shape nose lip and brow appliance, dirty, crooked teeth, pale skin and dark circles around the eyes. John Rosengrant (2012) stated "It was such a blast to watch Danny transform into the Penguin. We could just see it happening, right before our eyes.” Images five and six show the transformation. 

Image five

Winston, S. (2010)

Image six

Winston, S. (2010)

Image seven

Jim Carey as 'The Grinch' (2000)

Image seven is Jim Carey before and after his makeup for the role of The Grinch. Universal pictures and imagine entertainment presented a Ron Howard film based on the Dr. Seuss book 'How the Grinch stole Christmas' with the help of an award winning production team. Rick Baker began his makeup designs for the film in 1998 with the actors and producers input creating 125 designs for the film. Image eight shows three prosthetic pieces used on the film which are displayed at Orlando's Universal Studios.

    Image eight

The Grinch Prosthetics (2010)

Baker and his team of over 60 makeup artists applied as many as 110 makeups a day using, by the end of the production, 8,000 facial appliances, 3,500  prosthetic ears, 300 wigs and  150 facial hair pieces. Image nine shows Baker applying the makeup to Jim Carey.

Image nine

The Grinch makeup application (2000)

The final look consisted of the sculpted mask, disfigured teeth, contact lenses and a hair body suit made from Yak hair dyed green which Baker sewed into a lycra spandex suit. Carey expressed that he could not breath through his nose and felt like he was being buried alive on a daily basis. Image ten shows the final look. Unknown (2000)

Image ten

The Grinch (2000)

Strange Beauty Influences

Image one

Yago Partal Zoo Portraits (2013)

Image two

Yago Partal Zoo Portraits (2013)

Image three

Yago Partal Zoo Portraits (2013)

Image four

Yago Partal Zoo Portraits (2013)

Image five

Yago Partal Zoo Portraits (2013)

Images one, two three four and five are taken from Yago Partals portfolio Zoo Portraits. Partal takes inspiration from the trend in which celebrities have influenced other individuals by dressing their pets in items of clothing. He takes a more exotic approach using zoo animals and dresses them in stylish outfits.

Image six

Jean Paul Gaultier Ready-to-Wear fall Winter 2008/2009

Jean Paul Gaultier displayed numerous fox heads as hats in his autumn/ winter 2008 collection which caused a huge stir with PETA. PETA is an organisation which exhibits animal rights campaigns and is against the wearing of fur and leather. Although this became an issue for Gaultier, he had started a worldwide trend of wearing animals as hats.  

   

Strange Beauty Iinfluences: Jean Paul Gaultier Ready-to-Wear Fall / Winter 2008 (part 1)

I have taken inspiration from Jean Paul Gaultier's Ready to Wear Fall/ Winter 2008 Collection as the animal heads have generated the idea of creating half human half fox. Spike413 (2008). The 'Hunter Gatherer' trend is also an element which I will be transferring into my final piece.

Overview of final look (Including hair and makeup research)

My final design will be a prosthetic nose and mouth piece in the shape of a fox. As this look will be fashion based I have taken inspiration from Jean Paul Gaultier's Autumn/ Winter collection 2008/2009 and Yago Partals Zoo portraits. The prosthetic piece will be painted using rubber mask grease paints to match the correct tone of a fox's nose and mouth area and will be blended to the colour of the models skin. Using the trend Hunter Gatherer as an inspiration, the outfit and accessories used will reflect this topic.

When choosing a model, it was important to look for someone with the correct hair, facial features and eye colour to suit the design. Knowing that the eye makeup would include browns and neutral colours, I chose someone with hazel coloured eyes. Image one is a colour chart showing the shadows which work well with hazel coloured eyes and image two is a colour chart which shows neutral shadows which work well with all colour eyes:

Image one

MAKEUP THE ULTIMATE GUIDE pg49 (2008)

Image two

MAKEUP THE ULTIMATE GUIDE pg50 (2008)

 It is important for this look to have bold striking eyes which is why eye contacts will be used and the makeup design will be created to have focus on the eyes. Image three shows the type of design I plan to use.  

Image three

When focussing on the hair style for the look it is crucial to capture the elements of a wolf but also look into using a high fashion style. Image four and five are two styles which have caught my attention which could suit the overall style.

Image four
Unknown. (N.D)



Image five
PR Photos. (2009)



Health and Safety

CHEMICAL:
Curing and gelling agent- Curing and gelling agent are both poisonous and may cause allergic reactions. If the product is placed near the mouth it may cause severe damage. Protective clothing such as goggles and gloves must be worn when using the product and it must be used with care. If either of the products are spilt, it must be cleared up immediately with water and wipes which then must be disposed of. 
Fumes-  Inhaling fumes may cause intense  irritation to the nose and throat. Adequate ventilation must be used to remove ammonia fumes and a respirator mask must be worn to prevent any respiratory distress. 
Toxic vapours- During the curing process toxic vapours are given off which are poisonous and may harm a persons respiratory system. To avoid this happening a household cooker must not be used as it may poison oven cooked food. Food must not be eaten while the product is curing. 
Allergies-  Anyone working around the products in this process may get an allergic reaction if they have an allergy to a product. The allergy might be unknown so it is important to complete patch tests 24 hours before using a product such as latex, IPA, Pros-aide and Pro clean. Gloves and other protective clothing should be used. 
Flammable Products: A lot of chemicals used in this process are flammable such as foam latex. These products must be handled with care and be kept away from anything which may cause the products to set alight. Products should be used sensibly. 

HYGIENE:
Cuts- an open cut or wound may cause the spreading of germs or infection. To avoid this, open cuts must be covered up and worked around. Brushes must be cleaned before and after using them. 
Cross- Contamination- Cross contamination may cause germs to spread and may lead to harmful infection. This can be prevented by keeping a work station clean as well as cleaning brushes before and after using them. 
Food and Drink- Bacteria may spread if having food near the work station. Food and drink must be kept away from the work station and hands should be washed thoroughly after consuming any food or drink. Use mints or chewing gum after eating and before working on a model. Do not put food in the oven which is used to cure the foam latex. 
Personal hygiene- Make sure when working with products that your hands are frequently washed. Before working on a model hands should be washed and teeth should be clean to avoid bad breath. If one has just ate, use mints or chewing gum. Carry deodorant at all times in case throughout the day you sweat.

SLIPS, TRIPS AND FALLS:
Spillages- If a product is spilt, this may cause someone to slip and fall. Someone may also come into contact with the product and may be allergic. To avoid this a spillage must be cleaned up immediately and people around must be warned that something has been spilt.    
Loose wires- Equipment with loose wires including and air brush compressor and a mixing machine may cause someone to trip over. Wires must always be pushed to the side when using them and people must be warned. When a product with a wire is not being used it should be cleared away. 
Equipment on the floor- Equipment on the floor such as chairs and bags may cause people to catch their feet and trip over. To avoid this, bags should be kept under the desk or in the cloak room and chairs as well as other products should be tucked away when not in use. 
Sharp products: Sharp products such as sculpting tools should be aware of at all times. If someone is to trip they could put there hand on a sharp product when trying to catch themselves. To avoid this when not in use the tools should be packed away and when in use should be handled with care. 

ELECTRIC:
Loose wires- Equipment with loose wires including an air brush compressor and a mixing machine may cause someone to trip over. Wires must always be pushed to the side when using them and people must be warned. When a product with a wire is not being used it should be cleared away. 
Wet surfaces-  Wet surfaces can cause an electric shock if an electrical product comes into contact. It may also cause products to be damaged. To avoid this, a wet surface must be immediately cleared up.
Heated Equipment- Electrical equipment may overheat if left on and may burn people. People in the work area should be warned that the product is on when in use and when not in use the product should be turned off. 
Pat test- Electrical equipment such as an air brush compressor, a hair tong and the mixer should all be pat tested before use. If these products are not pat tested someone may get electrocuted by a damaged product which is not suitable for use.  

Face casting

Prosthetic makeup is used today mainly to create wounds, change the shape of the body/face or to create a completely new face which is where mold making comes into action. The first procedure of mold making is casting the body part in which you wish to use prosthetic makeup. Below is a step by step providing images and instructions on how to complete a face cast: 

Image one

WHAT YOU WILL NEED:

- Bald cap/ swimming cap             - Small hammer

- Latex gloves                               - Overalls

- Scissors                                      - Rubber mallet

- Mod rock

- Bin bags/cloak

- Alginate

- Cold water

- Room temperature water

- Plastic bucket x3

- Vaseline

- Chisel

- Sandpaper

- Plaster

- Burlap

- Rasp

Step 1: Dress yourself in the overalls and put on two pairs or latex gloves per hand.

Step 2: Begin to set up the equipment, measure out 1:3 ratio of alginate to water having 500g of alginate and 1500g of cold water. These must be in separate buckets to start with. To cast the face use a three minute alginate and on a larger body part use a 9 minute alginate. This is the length of time it will take for the product to set. Also prepare yourself with a bucket of room temperature water.

  

Step 3: Cut the mod rock in to pieces size depending on the body part you are casting. For the face cut into pieces 10-20cms long and enough to layer the body part four times. Leave this on the work space for now.

Step 4: Prepare your model by covering any body part which is not being casted. Cover the hair with the bald/swimming cap (Image one) the bin bags can be used to cover the rest of the body. Add Vaseline to any body part showing hair which is getting casted for example the eyebrows.

                                                                                                                                                            

Image two

Step 5: Pour the cold water in to the bucket of alginate and mix quickly until the product is a paste like texture. (Image two)

Step 6: With assistance apply the alginate as quickly as possible to the top of the models head the alginate will then pour down the face. Scoop the alginate from the chin and continue to apply to the face filling in gaps to avoid air bubbles and clearing the nose passage way. Do this before the alginate sets within three minutes. (Image three)

Image three

Step 7: Wait for the alginate to set.

Step 8: Once the alginate has set, soak and drain the mod rock bit by bit in the room temperature water, apply to the face and spread with hands making it smooth. Layer it four times.

Step 9: When the mod rock is dry and hard begin to slowly take the cast off the model. If any part of the cast gets stuck to the skin use Pro clean to help the process along. (Image four)

Image four

Step 10: Remove the first pair of gloves from your hands and help your model get all of the mod rock and alginate off the skin before moving on with the cast.

Step 11: Mix a small amount of alginate with water and hold it in your hand. Place the nose area of the cast over the alginate to fill in the nostrils. Do not allow the alginate to flow over the nostrils as it may change the shape of the nose.

Step 12: Get the final bucket and fill it with cold water and the add plaster with a ratio of 1:2.5 water to plaster then mix this together to make a paste.

Step 13: Using your hands (with gloves on) fill the cast with the plaster slowly, a small amount at a time and spread it around the cast avoiding air bubbles.

Step 14: Add burlap into the plaster placing it on the inside of the cast avoiding any bits that may stick out. Then add the remainder of the plaster and continue spreading it until it is extremely thick.

Step 15: Leave it to set.

Step 16: Once the plaster has set and is ready to be parted from the alginate, use the rubber mallet to tap the face cast loose allowing the mod rock to break away.

Step 17: Next use a small hammer and chisel to knock off any unwanted bits still attached to the cast.

Step 18: Take the rasp to file the edges and the sand paper to smooth over the rest of the cast until you are pleased with what is left. (Image five)

Image five









Face Casting Evaluation

The first practical task for this module was to cast  the face of the model  who would in time wear a prosthetic facial piece which would be sculpted to fit correctly to their face shape. This included preparing the skin, cutting pieces of mod rock, mixing alginate, and applying both to the face. It was a quick process as the alginate used was three minute alginate meaning the product set quickly. It was important to keep the nasal passage clear to avoid the individual being casted from inhaling the product. Once the mod rock had set and gone hard, the cast was removed from the model and the nostril holes were filled. Plaster was then poured into the cast to create the positive and the mod rock was broken off.

The face casting exercise had been practiced a number of times before completing it for this module, therefore I had knowledge of the process and the risks to consider. This meant that when carrying out the task on this occasion it was done fast with no complications. The mod rock was cut and alginate and water were measured prior to the casting. This showed good organisational skills. Whilst the model had the products on her face I spoke to her to assure her everything was going well and at a fast speed. This was important to do as it may be an overwhelming experience. This showed good communication skills. The cast was taken off the face within ten minutes and the rest of the task was executed demonstrating the ability to follow instructions. When the plaster had hardened, the mod rock was broken off which left the positive. This resembled the models face perfectly.

Before adding the alginate to the face, Vaseline was smeared on patches of skin with a lot of hair such as eyebrows, sideburns and eyelashes. The model had false eyelash extensions on which I added Vaseline to however there was no guarantee that they would not peel off with the cast. Unfortunately, a block of lashes from both eyes came off. This did not effect the final outcome however left the model with less eyelashes than to begin with. I offered the model some money to get her lashes redone. If I was to carry out the exercise again I would do everything the same as it went extremely well however, I would advise my model a few weeks in advance not to spend money on getting eye lash extensions as they are more than likely to get pulled off.

Moulding: Part one

When sculpting a prosthetic piece for the front of the face it is recommended to use the two part mould process. This method is used when making a facial appliance as one side of the mould will fit secularly to the models face and the opposite side is where the sculpt will be produced. When moulding most use a variety of flexible rubber products to mimic fine details and that are easy to remove from the original cast. These products include latex, silicone rubbers and gelatine and can be used more than once. Below is a moulding part one step by step with process images for the specific brief:

Image one

What you will need:

- Cast

- Clay

- Thin edge object (store card)

- Plastic bucket x3

- Tin silicone
- Burlap

- Catalyst

- Jesmonite powder

- Cold water

- Fibre glass matting

- Paint brush (which can be thrown away)

- Plaster

- Gloves (latex free)

- Overalls

- Paint scraper

Step 1: Set your equipment up on the table, put on your overalls and one pair of gloves.

Step 2: Place the cast in front of you. begin to shape an oval of clay using a thin edged object around the cast use water to soften the clay.The oval should be around 2cms high and should lie smoothly on the cast. This is made to avoid undercuts which means when silicone and jesmonite is added it will not get stuck on the cast when dried and removed. The oval is made round the edge of the cast so that it is smooth to the sculpt on. Using a small rounded object add keys in the oval clay. Keys are designed to make sure the two halves come together correctly and when the two half’s lock together they are therefore properly in line. (Image one). A wall of clay should then be added around the base. Diagram one implies where undercuts may exists 

Diagram one




















Image two

 Step 3: Take your first plastic bucket and mix catalyst 

with tin silicone with a ratio of 1:10 A layer of silicone should be 300g and catalyst should be 30g. Mixing these two products is easy and is called the GI series and is used in mould making as the chemical made will cure at room temperature over virtually any surface. Use the paint brush to apply the product to the cast starting at the highest point of the cast and allowing it to drip down make sure not to trap any air bubbles. Cover the cast before the silicone sets.

Step 4: Wait for the silicone to set. This will take around 45 minutes. (Image two)

Step 5: Take your second plastic bucket and mix jesmonite powder with water of a ratio of 2:1, in this case one mug of water and two mugs of jesmonite powder. Use the paint brush to apply the jesmonite to the highest point of the cast avoiding air bubbles. Cover the area slowly adding pieces of fibre glass matting. This product is added to support the silicone when de-moulded. (Image three)

Image three

Step 6: Wait for the jesmonite to set. This will take around 30 minutes. (image four)

Step 7: Use the paint scraper to de- mould the silicone from the plaster. You should then have the negative.

Step 8: Take your final plastic bucket and mix cold water to plaster using a cup ratio of 1:2.5. This should make a paste like texture.

Step 9: Fill the negative with the plaster slowly using your hands. Also add burlap during this process avoiding bits that may stick out. Continue adding the plaster and spread it around the silicone until it is extremely thick. Allow this to set. (Image five)

Step 10: Using your hands, pull apart the silicone from the plaster. This will give you the positive which is what will be used to sculpt upon. The silicone piece can be saved for another mould.

Image four

                    
             





                                                                                     

Image five

Moulding Part One Evaluation

The next step in making a prosthetic facial appliance after casting the face, is the moulding part one process. This stage is done to add a wall round the edge of the positive so that the edge of the plaster is no longer jagged and sharp. By doing this step, clay when being sculpted can be blended smoothly on the outer part of the sculpt. This part of the process includes building a clay base around the cast, adding catalyst and tin silicone once mixed together, adding jesmonite, water and fibre glass matting, separating the positive from the negative, and finally pouring the plaster into the negative and separating it when dried.

During the demonstration of the moulding part one I took notes to ensure that when executed by myself it was done correctly as it can easily go wrong when each step is so specific. This showed organisation, listening and planning skills. Cutting up the fibre glass and having the correct amount of catalyst, tin silicone, jesmonite and water ready demonstrated preparation skills. As there was others in the class also carrying out this process, it was a chance to display our team work skills as we could point out to others if they had missed covering parts of their mould. By following each step correctly, the task was successful.

Once the jesmonite was dry, the positive was to be separated from the negative. This was done using a paint scrapper. The original face was then disposed of. The plaster was mixed with water and then poured into the silicone and burlap was added which was secured by the fibreglass matting and jesmonite. Once this hardened, I separated it from the negative to produce another positive, however a small area of the wall broke off. This was due to the plaster still being slightly warm. To fix this, I used Poly Filler  which secured the broken wall. This showed problem solving skills. If I was to complete this task again I would try to be more patient when waiting for tools and products to set. 

Sculpting

Sculpting is the next process after completing a cast and moulding part one. Oil based clay and water based clay are the two types which would be used when sculpting a piece for prosthetic makeup. Water based clay would be used when sculpting something small which would not take long to complete. This is because water must constantly be added to stop the clay from drying out. Oil based clay would be used for a task which will take longer and requires more detail. To create a fantastic, precise sculpture it is important to use reference images which give you a general idea of the design. By sketching an image, this may help the process as you can see on paper the idea of the final piece. Below is a step by step process of sculpting using oil based clay. This step by step fits my project brief.

Image one

What you will need:

- Mould

- Oil base clay

- A variety or sculpting tools

- Hard wire brush

- Talcum powder

- Reference images
- Wax applicator stick
- Oven
- Powder brush
















Image two

Step 1: Set up your equipment. Turn the oven on to 50 degrees. Make sure the clothes you are wearing are suitable for getting dirty and possibly ruined. 

Step 2: Place the clay in the oven. Check the clay every couple of minutes. When it is ready it should be warm and soft. This will make the clay easier to shape. 

Step 3: Put some of the clay on the nose of the mould and begin to shape the nose of the fox using your hands. (Image two)

Step 4: Begin to shape the rest of the facial appliance by adding more clay, it should stop above the top lip. The edge of the clay should follow the centre of the cheeks just below the cheek bone up to the temples of the head. It should then follow the hair line stopping about 1.5 cms from the top circling round meeting at in the middle of the forehead. There should be circles around the eyes where the clay has not been added.  

Step 5: Use your sculpting tools to constructs the nose and cheek bones.

Step 6: Take a sculpting tool with a rounded edge to scoop to nostrils in the bottom of the nose. Use your fingers to smooth them out.

Step 7: Using the hard wire brush, create strokes that resemble wolf fur. Use the reference images to see what directions the hair lies.

Step 8: Take a sculpting tool with a sharp edge to create the pores in the end of the nose.

Step 9: Using the same tool, straighten the edge of the clay including the edges around the eyes. Then take the wax applicator stick to smooth the clay down. This is so that when the prosthetic is on the face it will blend well with the skin. (Image three)


Image three

Step 10: When you feel the sculpt has the correct shape and features, cover it in talcum powder with a powder brush (Image one)

Sculpting Evaluation

Sculpting a facial prosthetic piece is the next step after face casting and moulding part one. For this occasion, oil base clay was used as it is the preferred clay when sculpting for a large area with a lot of detail. Strange beauty being the topic for my sculpt I decided to keep it fashion based and relate it to Jean Paul Gaultier 2008 Winter collection where the models wear animal heads as hats. My sculpt is the shape of a foxes nose and cheeks and blends out on the forehead.

For this section of the module I provided reference images to assisted me when building the correct shape I was hoping to achieve. A friend drew up the design which was described to him which helped me stick to the structure of the animal feature. Sculpting tools were bought prior to the task. This showed  good preparation skills. Research was completed before the task so there was a clear understanding of what the final product would look like. This demonstrated research skills. I set myself a target to have the sculpt complete by a certain date to improve time management skills. When the product was finished, it look precise and similar to a fox which showed creative skills.

At first it was difficult to construct the correct shape of the nose with out it looking like the nose of a mouse of chipmunk. A humans face compared to a foxes face is flat which means that the exact same shape of a foxes nose on a human face would look odd and not correct. I had to work around this problem and keep moulding the nose until I had produced a satisfying shape. This demonstrated problem solving skills and although at some point I got impatient it showed I have the ability to persist. If I was to complete the task again I would try to have more patience and spend more time on the sculpt as although the final result is satisfying, I feel it could look better.   

Moulding Part Two

After sculpting an oil based clay design, the product then needs to be moulded so that casting the appliance can be done a number of times to maintain more than one prosthetic piece. This is done using a two part moulding process to create the positive mould, which in this case will be the shape of the models face, and the negative which will be what has been sculpted. Below is a step by step for moulding part two with process images for the specified brief:

Image one

 What you will need: 

- Cloak

- Clay
- Oven

- Mod rock

- Cold water

- Plaster

- Gloves (latex free)

- Burlap
- IPA
- Scissors  

- Screw driver
- Sculpting tools
- Large paint brush
- Mould release spray

Step 1: Set up equipment and put on cloak. Turn the oven on to 50 degrees. 

Step 2: Heat the clay in the oven until it is soft then add a thin layer to the cast which has not been sculpted on. Smooth the clay down. This is called an overflow and is made to catch excess latex when squeezing the positive and negative mould together.

Step 3: Use a sculpting tool to create a thin line between the sculpt and the rest of the clay. This line should allow you to see the cast and is called a cutting edge. The clay around the cutting edge should be extremely thin as this will be the edge of the prosthetic piece and will need to blend well onto the skin. Then build a clay wall an inch high around the mould using water based clay. (Image two). Spray the mould with mould release spray which will help the two moulds release when pulled apart.  

Image two

Step 4: Using cold water, soak and drain pieces of mod rock and add this around the outside of the clay wall. This is to secure the wall.

Step 5: Using scissors, cut squares of burlap to fit over and around the sculpt in preparation of using it. 

Step 6: Mix plaster to cold water at a ration of  2.5:1 creating a paste like substance. Use a large paint brush to add the plaster to the sculpt slowly building it up. Also add the burlap during this process (Image three). This is done so that when the plaster is dry and the negative is pulled from the positive, the negative stays firm and does not crack. 

Step 7: Once all the plaster has been added and begins to thicken, leave the product around 20 minutes to cool down before separating the negative and the positive. 

Step 8: When the plaster has cooled, use a screw driver to release the negative away from the positive. This must not be rushed and must be done with care other wise there may be a chance of the plaster cracking. (Image four).

Image three

Step 9: Once the two parts have separated, the negative mould should resemble the sculpture. (Image one). Remove the clay from the negative mould to be left with a mould of the models face. 

Step 10: Clean the two moulds using cold water and IPA. This is done to remove all the clay. You should then be left with a two part mould ready to cast the appliance.   

Image four