Special Makeup Effects

 

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special makeup effects for stage and screen todd has worked as a professional makeup artist and as a professional teacher and it really shows in this book s detailed clear concise and no-nonsense approach to the art and craft of special mak eup effects i m now insanely jealous of all the people who will learn from this book because this is the book i would have killed to have had when i was starting out it s not fair ­neill gorton bafta winner for best makeup and hair design help 2005 nominee for best makeup and hair design the catherine tate show 2007 royal television society uk winner for best makeup design help 2005 and nominee for best makeup design doctor who 2005 2006 among the most exhaustive and thorough tomes on the subject of special effects makeup there is written with a likable and easy-to-understand style that is accessible to all ages ­jordu schell creature and character designer the artistry of makeup has been a lifelong passion of mine and hope it will be to everyone who purchases this book this book will inspire future makeup artists and novices to continue the art and discover newer more innovative materials and procedures to work with the techniques and education in this book are inspiring to create believable character makeups on human faces is a challenging rewarding art form which will continue to evolve and inspire those who study this book ­matthew w mungle oscar ® winner and bafta nominee for best makeup dracula 1992 oscar ® nominee for best makeup ghosts of mississippi 1996 and oscar ® and bafta nominee for best makeup schindler s list 1993 i highly recommend todd s book as a must for everyone involved and interested in special prosthetic makeup effects crammed with cutting-edge information on materials and techniques formulas suppliers how-to s and more this is a book i wish i had when i first started every student beginner and makeup artist for film tv theater video and commercials should not hesitate to pick up a copy of this book don t leave home without it make sure it s part of your kit ­christopher tucker bafta winner for best makeup artist quest for fire [la guerre du feu 1981 bafta nominee for best special visual effects and best makeup artist the company of wolves 1984 and emmy nominee for outstanding achievement in makeup for a miniseries or a special war and remembrance 1988 i

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special makeup effects for stage and screen making and applying prosthetics

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special makeup effects for stage and screen making and applying prosthetics todd debreceni amsterdam · boston · heidelberg · london new york · oxford · paris · san diego san francisco · singapore · sydney · tokyo focal press is an imprint of elsevier

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focal press is an imprint of elsevier 30 corporate drive suite 400 burlington ma 01803 usa linacre house jordan hill oxford ox2 8dp uk copyright © 2009 elsevier inc all rights reserved no part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise without the prior written permission of the publisher permissions may be sought directly from elsevier s science technology rights department in oxford uk phone 44 1865 843830 fax 44 1865 853333 e-mail permissions@elsevier.com you may also complete your request on-line via the elsevier homepage http elsevier.com by selecting support contact then copyright and permission and then obtaining permissions recognizing the importance of preserving what has been written elsevier prints its books on acid-free paper whenever possible library of congress cataloging-in-publication data debreceni todd special make-up effects for stage screen making and applying prosthetics by todd debreceni p cm includes index isbn 978-0-240-80996-0 pbk alk paper 1 theatrical prosthetic makeup i title pn2068.d43 2009 792.02 7 dc22 2008034231 british library cataloguing-in-publication data a catalogue record for this book is available from the british library isbn 978-0-240-80996-0 for information on all focal press publications visit our website at www.elsevierdirect.com 09 10 11 12 13 5 4 3 2 1 printed in china

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contents the mouth 43 the skin 43 symmetry and proportion 47 anatomical planes 47 facial ratios and phi 48 ratios and body proportions 49 geometric analysis 51 distinctions of gender age and ancestry 54 distinctions of gender 54 distinctions of age 55 distinctions of ancestry 59 chapter 3 l making the lifecast viii introduction 65 sidebar ­ david parvin 66 safety risks 66 sidebar ­ john schoonraad 68 the materials 69 the process 71 overview 71 teeth 73 face and neck 78 bust head and shoulders 91 hands arms legs feet and ears 99 hands and arms 99 legs and feet 100 ears 100 full body 102 full body prone 103 full body standing 108 chapter 4 l sculpting the makeup introduction 111 materials 111 sidebar ­ mark alfrey 112 preparing the positive 113 tools 113 clay 114 reference photos 116

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contents teeth 116 materials 116 sculpting the face 117 blocking the sculpture 118 refining the sculpture 120 sculpting the face head and neck 124 blocking the sculpture 124 sculpting hands 126 blocking the sculpture 126 sculpting ears 128 blocking the sculpture 129 chapter 5 l breakdown of the sculpture introduction 131 sidebar ­ kevin kirkpatrick 132 tools and materials 132 release agents and sealers 133 making the negative mold 133 keys flashing and cutting edges 136 building the clay wall 137 building a different clay wall 138 stone gypsum molds 139 other types of molds 142 silicone rubber molds 143 matrix molds 145 fiberglass molds 152 fillers 155 resin molds 155 urethane molds 156 ix chapter 6 l casting the appliances introduction 159 sidebar ­ david elsey 160 silicone platinum and tin rtv 162 coloration 162 materials 163 de-airing/degassing silicone 163 gel-filled silicone appliances 164 filling the mold 165

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contents injection filling 165 hand filling 167 removing the appliance 167 foam latex 168 materials 168 quirks 168 running foam latex 171 prepping the mold 173 filling the mold 173 heat-curing foam 174 removing the appliance 175 cold foam urethane 176 materials 176 quirks 177 prepping the mold 177 filling the mold 178 removing the appliance 179 gelatin and foamed gelatin 179 materials 180 quirks 181 filling the mold 182 removing the appliance 184 dental acrylic 186 materials 186 filling the mold and removing the appliance 187 seaming and painting silicone appliances 190 seaming and patching 190 painting the appliance 192 sidebar ­ mark garbarino 195 painting teeth 201 x chapter 7 l applying the makeup appliance introduction 205 sidebar ­ christopher tucker 206 skin types 208 adhesives 209 application techniques 210 attaching the appliance 210 blending the edges 215

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contents applying the makeup 217 foam latex 217 gelatin 218 cold foam 218 silicone 219 removing the appliance 219 materials 219 removers 219 technique 220 skin care 220 cleaning and storing the appliance 221 chapter 8 l hair and wigs introduction 223 types and varieties of hair 224 tools and materials for postiche 224 wigs 225 weft wigs 225 knotted wigs 226 hair attachment 227 preparation for a wig 227 how to put on a wig 228 how to put on a lace wig 229 beards moustaches and eyebrows 229 laid-on facial hair 230 crepe wool hair 230 ventilating hair 236 preparation 237 technique 238 punching hair 240 technique 241 xi chapter 9 l other makeup effects introduction 246 bondo 246 cap material 246 bald caps 247 making a bald cap 247

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contents applying a bald cap 250 building up ears and nose 253 tuplast 254 nose and scar wax 254 materials 255 rigid collodion 255 stencils 256 tattoos and character/creature textures 256 sponge 256 airbrush 256 spatter and stipple 257 3d prosthetic transfers 257 making 3d transfers 258 materials 258 electrostatic flocking 261 wrinkle age stipple 262 trauma wounds and bruises 265 bruises 265 nosebleed on demand 266 burns 267 skin conditions 267 skin-safe silicone and gelatin 267 xii appendix a 269 appendix b 273 appendix c 283 appendix d 299 appendix e 303 glossary 305 index 319

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foreword but the perfectionist is often simply too consumed by his or her own interests to give a fig sadly it s always for naught anyway since nothing can ever be perfect and they spend a career chasing their tails the lazy ones these people are easy to spot their kit is often dirty old and made up of the cheaper products their attitude is slap it on whip it off and cash the check as soon as possible they gossip too much on set don t do enough checks on the makeup and their real interest tends to lie in finding out how much everyone else is getting paid the lazy ones usually get into makeup because it looked interesting and a bit glamorous and frankly they couldn t think of anything else to do with their lives i could even name names right here safe in the knowledge that they would never be read by those lazy individuals simply because they re never likely to read a new book on makeup never mind buy one because frankly they re not that interested the passionate ones the passionate ones do it because they love it pure and simple the financial rewards if any aren t that important to them because they just love what they do they re often not the most talented to begin with but their passion and dedication to learn their craft drive them to improve with everything they do given the choice of hiring someone with great talent and an indifferent attitude or someone with mediocre talent and a burning passion i d hire the latter there s no substitute for passion the passionate artist will listen and learn and strive to improve everything he or she does the passionate artist will pore over every page of this book learning new techniques and sucking up the information but that passion can easily transform into one of the above and it only takes passion to fizzle out a little for the passionate to become lazy equally with just a nudge passion can go the other way and become perfectionism you can probably tell that i d consider myself passionate about makeup my particular niche is prosthetics and i ve had the pleasure of a 20-year career in my chosen field sometimes the passion for it wanes usually around 3:00 a.m on a night shoot it s cold and raining and i ve forgotten to bring waterproofs but mostly i maintain my passion more recently i ve found a way to keep that passion for makeup alive through teaching having a passion is great but having the opportunity of sharing it is wonderful and seeing other passionate people develop and improve through that sharing is frankly magical maybe one day one of my former students will have the honor after their own 20-year career to be writing the foreword to another book on makeup written by another passionate man neill gorton 2008 xiv

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