Animatronics, Academy Award-winners, and one of the industry’s great sculptors all feature in issue 5, along with sci-fi (Star Trek), superheroes (X-Men), makeup FX artists debating straight makeup, foam latex, step-by-step sculpture, making prosthetic eyes, and a really massive monster!
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COVER: Corakinus, leader of the Shadow Kin from brand new Doctor Who spinoff Class (BBC Three), sculpted by Gary Pollard
Page 8. THE ALIENS OF BEYOND Part II: Academy Award-winner Joel Harlow on the multitudinous alien characters in Star Trek Beyond including the Elephant Slug, Krall (Idirs Elba), Kirk (Chris Pine), Kalara (Lydia Wilson), Zavanko (Kim Kold), Keenser (Deep Roy), and Spock (Zachary Quinto), featuring sculptures by Joey Orosco and Don Lanning
Page 22. THE STRAIGHT DEBATE: Makeup FX artist and journalist Laura Sutherland examines the relationship between prosthetics and straight makeup with opinions from makeup FX artists Thomas Foldberg, Thomas Surprenant, and Adrian Rigby, makeup artist and art director Einat Dan, and Rebecca Butterworth, senior makeup artist at MAC Cosmetics
Page 32. UNSUNG HERO: Distinguished sculptor Gary Pollard takes us through his career from working at Jim Henson’s Creature Shop on productions such as Labyrinth, The Storyteller, and The Storyteller: Greek Myths, to sculpting a super Facehugger for Alien III, a dragon for The NeverEnding Story III, and alien races for Space Precinct, then working with Nick Dudman on The Fifth Element, The Mummy, and Star Wars: Episode I – The Phantom Menace, sculpting Neimoidians, Mangalores and Yoda, followed by the Harry Potter franchise for which he sculpted creatures such as Aragog, The Basilisk, Fawkes the phoenix, and Professor Flitwick, before moving on to work with Millennium FX on Doctor Who, sculpting monsters such as The Mummy for the episode The Rings of Akhaten, and the iconic Zygons
Page 52. DESIGNING THE X-MEN PART II: The concluding part of Joe Nazzaro’s examination of the makeup FX challenges created by a decade of the best selling comic book franchise on the big screen, starting with X-Men First Class and concluding with X-Men: Apocalypse. See an array of makeups on actors such as Nicholas Hoult as The Beast (makeup and suit by Dave and Lou Elsey and ADI respectively), Evan Jonigkeit as Toad (makeup by Adrien Morot), Ryan Reynolds as Deadpool (makeup by Bill Corso), Hugh Jackman as Wolverine (extreme burn makeup by MEG, Makeup Effects Group), and Jason Flemyng as Azazel (makeup by Conor O’Sullivan’s Creatures Inc.) with work by many other artists also shown
Page 64. ANIMATRONICS RENAISSANCE: Spectral Motion’s Mike Elizalde and Mark Setrakian on the resurgence of animatronics in the wake of the CGI tidal wave, looking at their work such as the magnificent Angel of Death (Doug Jones) for Hellboy II, Edward the Troll (Derek Mears) for Hansel and Gretel Witch Hunters, the Sammael creature suit for Hellboy, and ‘Female Figure’ a project by contemporary artist Jordan Wolfson
Page 86. A SMALL MOVIE WITH A HUGE MONSTER: Academy Award-winner David Martí of DDT Efectos Especiales on the challenges of creating the prosthetics for J. A. Bayona’s new release, A Monster Calls, that required an enormous animatronic tree creature – voiced by Liam Neeson – and makeup FX work on Felicity Jones whose character is suffering with terminal cancer
Page 6. WORDS OF WISDOM: Rob Freitas, industry master mould maker, sets the scene for this issue
Page 45. A LESSON IN LATEX, or FUN WITH FOAM: Part one of an in-depth, two-part tutorial from transatlantic educators Stuart Bray and Todd Debreceni on the stalwart prosthetic material foam latex, here looking at its history, development, preparation, and uses
Page 75. SCULPTING THE HAND: Leading classical sculptor Andrew Sinclair ARBS shares his approach to sculpting the human hand, one of the key anatomical elements for imbuing life into sculptural work
Page 95. CREATING BELIEVABLE EYES: British prosthetics artist and teacher Richard Martin (Hercules, Spectre, Victor Frankenstein, Doctor Who, Casualty) gives us an overview of the specialist skills and equipment involved in manufacturing prosthetic eyes
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