Issue 15 looks at the development of silicone in the prosthetics world with pioneers Wesley Wofford and Gordon Smith, alongside an array of well-loved monsters and demons, shocking injury effects, and a trip to the Marvel Universe. Get technical with brush-up moulds and alternatives to flashing, and learn how to cover up for body art.
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COVER: Troy James as Baba Yaga in Hellboy (Lionsgate 2019). Makeup sculpted by Joel Harlow, applied by Harlow, Josh McCarron, Mike Rotella, and Chris Evitt
Page 8. CAPTAIN MARVEL: Legacy Effects’ Shane Mahan and Brian Sipe talk modular makeup techniques, tattoo transfers, dead aliens, and realistic animatronic cats on the latest Marvel movie starring Brie Larson in the titular role, featuring makeups for the Skrulls, Skrull technicians, and the mulit-horned Torfans, plus a lifelike double of Captain Marvel’s cat, Goose
Page 21. UNSUNG HERO: Part one of a two-part profile of makeup FX and fine artist Wesley Wofford, key contributor to many movie makeups and silicone prosthetics pioneer, including his work on Warrioris of Virtue, The Adventures of Galgameth, A Beautiful Mind, Hearts of the West, The Life and Death of Peter Sellers, Project: Metalbeast, Tank Girl, The Rock, The Jackal, Batman and Robin, Hush, Hannibal, Bicentennial Man, Big Momma’s House, and Vice
Page 34. THE B-SIDES: Film and TV prosthetics that didn’t make the screen with Joe Nazzaro. This issue’s subject: a marathon of alterations and alternatives for Genie and Gemini Award-winner Adrien Morot on The Revenant, such as a last-minute skinned man/bear creature, an elaborate burn makeup for young and adult versions of Hawk, photo-realtstic dummies, many horrific injury and scalping effects, and Tom Hardy’s makeup as the villainous Fitzgerald including his extensive scalp scar
Page 44. HELLBOY: The new face of the red-skinned demon, Anung Un Rama (Beast of the Apocalypse), created for actor David Harbour by Academy Award-winner Joel Harlow and his team, plus the stunning Baba Yaga makeup on Troy James, the Crusader for the prologue sequence, Gruagach played by Doug Tait in full body suit with animatronic head, scars for Daniel Day Kim as Daimio, baby Hellboy design for the film’s WWII flashback, and more
Page 63: PERFUME: Twilight Creations’ Jörn Seifert on the company’s creation of mutilation effects for Netflix’ shocking Süskin-inspired olfactory satisfaction series, featuring a hyper-realistic dummy of young Otto Bigalke as Merton Bradmann for autopsy scenes, gruesome bald cap, body makeup and armpit appliances for victims including Siri Nase as Katharina ‘K’ Läufer, and a dead dog silicone dummy
Page 82. DOCTOR WHO – A CARNIVAL OF MONSTERS, PART 2: In the second of a two-part feature, Martin Ruddock documents the creatures that have emerged from the workshop of Millennium FX since the 2005 relaunch of the BBC’s sci-fi classic, including the Sontarans, Dalek mutant, the Autons, the Judoon, Cybermen and Cyberleader, the Slitheen, Madame Vastra, Silurian Commander Restac, the Weeping Angels, and the Ood
Page 94. THE MAVERICK OF MAKEUP: Gordon Smith, veteran makeup FX artist and silicone prosthetics pioneer, reflects on his controversial career in a new two-volume autobiography, Unmasked, including his work on Oliver Stone’s Salvador, as well as Fringe, Platoon, Near Dark, Jacob’s Ladder, Alive, Truman, Legends of the Fall, X-Men, X-2, JFK, and The Curious Case of Benjamin Button
Page 6. WORDS OF WISDOM: Andrew Freeman, founder of leading silicone mask company Immortal Masks sets the scene for this issue
Page 40. ALTERNATIVES TO FLASHING: Leading independent makeup FX artist Sangeet Prabhaker (The Dark Knight Rises, Game of Thrones, Exodus: Gods and Kings, Doctor Strange) takes us through his method for creating a rigid frame for an appliance using a hot glue gun
Page 56. CREATIVE COVER-UPS: Jennie Roberts and Catriona Finlayson from Paintopia, the UK’s largest face and body painting festival, cover the delicate issue of cover-ups – the good, the bad, and the Monster Pasties…
Page 72. BRUSH-UP MOULD MAKING: Stuart Bray and Todd Debrecini show us two smart methods for creating a brush-up mould for a corrected lifecast, using one and two-piece jackets
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