Red ghosts, demons, the Night King and Frankenstein’s monster are among the line up in issue 3! We also visit industry trailblazers Spectral Motion, break down disguise makeup materials, learn about sculpture, prosthetic mould making, colour theory, and blocking nostrils in a life cast, plus studying some cool matrix moulding!
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COVER: Night King prosthetic makeup on actor Richard Brake (Game of Thrones, Season 4, HBO) by BGFX, applied by Barrie Gower and Tristan Versluis. The makeup consisted of 11 Plat Gel 10 appliances with dentures by Fangs FX and lenses by the Reel Eye Company
Page 6. SEEING RED: DDT Efectos Especiales’ David Martí explains the prosthetics for Crimson Peak, with makeups on Tom Hiddleston as Thomas Sharpe, including a cracked skin effect inspired by a character in The Devil’s Backbone, casualty appliances and a dummy head of actor Daniel Carrasco as Jim Beaver, gore effects, the ghost of Edith’s mother played by Doug Jones – black to refect her death from black cholrea, the bubonic plague also known as the Black Death. The red ghosts’ makeups were infulenced by the Tollund Man, a mummified corpse from the 5th century BC: Enola (Javier Botet) and her baby, Lady Beatrice Sharp (Doug Jones) aka The Bathtub Ghost, and Margaret (Javier Botet), all in crimson foam latex body suits with the larger pieces run by Roland Blancaflor’s RBFX Studio in Los Angeles
Page 22. RISING STARS Part 3: In the concluding instalment of our feature profiling three exciting new companies on three different continents, the UK’s Barrie Gower discusses his career and his role as company director of BGFX, looking at work including Game of Thrones makeups for the White Walker X on Vladimir ‘Furdo’ Furdick, the Three-eyed Raven on Max von Sydow, the Stoneman on Andy Pilgrim, Wun Wun on Ian Whyte, the Night King on Richard Brake, Sandor ‘the hound’ Clegane on Rory McCann, the wight background masks, and the Hall of Faces, as well as other work from productions such as Dark Shadows, Harry Potter and the Dealthy Hallows Part 2, Burke and Hare, The Frenkenstein Chronicles, and World’s End
Page 50. VICTOR FRANKENSTEIN: Multiple BAFTA and RTS award-winner Neill Gorton on reimaging one of the most familar fictional characters of all time, Frankenstein, to create a full face and body suit for Prometheus (Guillaume Delauney), as well as building a hybrid creature; an amalgamation of a chimpanzee, a hyena, and other nameless animal parts, using animatronic puppetry and CGI, as well as other smaller scale prosthetic effects, for this adaptation of Mary Shelley’s iconic novel starring James McAvoy and Daniel Radcliffe
Page 59. THE GENDER BALANCE: Journalist and makeup FX artist Laura Sutherland investigates the changing dynamics of the traditionally male domain of FX workshops, with input from BAFTA and RTS award-winner Shaunna Harrison; award-winning co-director of Animated Extras, Pauline Fowler; American educator Gary Christensen; and international makeup designer and London Brush Company founder Siân Richards
Page 72. AMERICAN HORROR STORY: Triple Primetime Emmy winner Mike Mekash takes us through the incredible makeup FX in the latest season of America’s ground breaking horror anthology including the disturbing Addiction Demon, horrific injury prosthetics, casualty wrist appliances for Lady Gaga as the Countess, as well as a Lady Gaga decapitated head, Alexander Ward as the Bed Man (as referred to by the crew) who emerges from a mattress, the Televangelist, and a look-alike makeup for Finn Wittrock as Rudolph Valentino
Page 88. We look around the professional home of Mike Elizalde’s globally renowned company Spectral Motion Incorporated in Glendale, California. Under Mike’s direction, the company has created mind-bending prosthetic makeup and creatre effects for movies such as X-Men: The Last Stand, Hellboy II: The Golden Army, Pacific Rim, Star Trek: Nemesis, Blade 2, A.I. Artificial Intellignece, and The Nutty Professor, to name only a few
Page 4. WORDS OF WISDOM: Mark Coulier, double Oscar, Primetime Emmy and BAFTA winner sets the scene for this issue
Page 16. BLOCKING NOSTRILS IN A LIFE CAST: Neill Gorton demonstrates how to prepare a difficult area of a facial impression for successfully producing a positive cast
Page 37. PROSTHETICS TECH SPEC: Makeup FX designer Pierre-Olivier Persin who runs POP FX in Montreuil, France, with credits including World War Z and Avengers: Infinity War, breaks down the materials and products used in the complex character and disguise work on Un illustre inconnu (Nobody from Nowhere)
Page 42. MATRIX MOULDING IN A GALAXY FAR, FAR AWAY: Frank Ippolito, part of the legendary Phil Tippett’s team who re-created the puppets for the holographic chess scene in Star Wars: The Force Awakens, talks us through the complex moulding process used for the characters
Page 64. COLOUR THEORY: Part two of transatlantic educators Stuart Bray and Todd Debreceni’s close examination of colour theory and its importance in prosthetics. In this issue: a series of practical examples of how pigment works
Page 85. PROSTHETIC MOULD MAKING: In part one of a two-part tutorial Neill Gorton covers silicone block moulds, illustrating the basic technique of creating a master mould for casting a positive core, on which to sculpt a prosthetic appliance
Page 93. SCULPTING THE EYE: Leading classical sculptor Andrew Sinclair ARBS takes us through his process for sculpting the human eye, including understanding its inherent design and accurately placing prosthetic eyes
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