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made as thin as possible, for the clay is a stand-in for what will eventually be the prosthetic piece. Once sculpted, the new addition of the clay sculpted prosthetic part must be molded. Since the positive has been prepared with the additional border and keys, it actually becomes part of the prosthetic mold itself. Once molded, and clay removed, new mold cleaned out, the positive is one part of the mold and the new mold is the other side which has the negative of the newly sculpted prosthetic. This gives two or more pieces of a mold - a positive of the face or body part, and one (or more for complex molds) "negative" mold pieces with prosthetic sculpted in.
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the life-cast will be given an additional border in clay or plaster in order to have an area free of detail and undercuts to add these keys. The entire life-cast with borders and keys included is then molded. This ensures a stable area with built in keys to sculpt the prosthetic over. This also provides the artist an easily duplicated copy, if needed. Multiple copies are typically used to make variations or stages of prosthetics or different prosthetics for the same actor.
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rubber. This initial mold can be relatively weak but flexible. A hard mother mold, also known as a jacket or matrix, is typically made of plaster bandage which is created over the outside of the initial flexible mold to provide support. This mold is used to cast a copy of that part of the actor, in a
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The prosthetic required will be sculpted over the life-cast of that body part to become the design intended. For example, if the desired look is a pig nosed person, then the artist would sculpt the pig nose over the actor's real nose on the life-cast or positive copy. The edges of the clay should be
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Before sculpting the clay prosthetic over the positive, The positive must be prepared by adding "keys" or mold points along the edges of it, which are often added using clay or more plaster or carved into the life-cast, to make sure that the two pieces of the mold will fit together correctly. Often
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The process of creating a makeup prosthetic appliance typically begins with concept art, created by the artist or production. Once the actor has been chosen, the effects artist will prepare the actor for the process of taking a mold of the actor's face, head or body part. This process is called
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Before sculpted prosthetic appliances became standard, special effects makeup artists would have to build up forms on the actor's face before shooting began, which often took several hours and would have to be done from scratch at the start of each day. The
Frankenstein makeup by Jack Pierce
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near L.A., share what they see as the middle ground on the subject. In an interview, they explain that most movies use (out of necessity) a combination of practical effects and CGI. They see CGI as a tool that can be utilized in a positive or negative way, just like practical effects.
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In the 2000s, CGI and practical effects began being used in tandem, with CGI often used to enhance prosthetic makeup in a way that would have been impossible to do practically such as erasing body parts or creating hollow points in the face. For
524:. They can be used for smaller applications such as ears or noses, or full face masks. These prosthetics can provide both medical benefits such as improved speech and hearing as well as psychological benefits to the wearer.
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is a process in which makeup is used to simulate different wounds and trauma in order to prepare medical, emergency, and military personnel for what they could experience in the field and lessen psychological trauma.
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Life-casts of full bodies and body parts are also used and reused as the basis for making fake body parts, severed limbs, and various "gore" type effects used in horror films or films where body parts are required.
484:) states: "They still use the make-up guys to design the creatures and that’s what they work from. I don’t think you’ll see make-up effects guys hanging out on corners with signs that say:
366:'s work on Planet of the Apes in 1968 that prosthetics transitioned from full face appliances to smaller, overlapping pieces which afforded the actors more expression and movement.
443:, silicone or other similar materials. The prosthetic is cured within the two-part mold, and then carefully removed and prepared for painting and or application to the actor.
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As the film/television industry continues to grow, so do the capabilities of the technologies behind it. Since the debut of newer technologies, many have feared that
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respectively. A rubber snout was made for Lon Chaney Jr. to wear in The
Wolfman, though application of the hair for the titular character could take up to 16 hours.
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are used in medical fields for cosmetic purposes to disguise deformations of the face, either those caused by trauma or birth defects as an alternative to
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will put practical SFX makeup out of business. CGI can be used to accomplish effects that simply aren't possible when working in practical effects.
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Rubber began to be used to make appliances in the late 30s, with Pierce making rubber head forms and broken neck appliances for Boris
Karloff and
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hard resin or plaster type material to eventually use as a base for sculpting the prosthetic. This is considered a "positive" or life-cast.
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To make the new prosthetic, material is cast into the mold cavity (where the clay used to be). The prosthetic material can be
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letters of protests argued for it to receive an honorary award – this was ignored but did lead to the creation of the
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was considered so ground breaking that when it failed to win any recognition at the
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in 1939 to create the makeup for the
Cowardly Lion and Scarecrow. It wasn't until
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prosthetic work and is best remembered for creating the iconic makeup worn by
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of theater and can be observed at the birth of science fiction cinema with
993:"Intense Make Up In The Wizard Of Oz Left One Actor With Permanent Marks"
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sculpting, molding and casting techniques to create advanced cosmetic
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1100:"Practical Effects Masters on the Pros and Cons of CGI - Tested.com"
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1149:"Robert Barron: Master of Disguise and Prosthetics - CIA"
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Foam latex was first used by makeup artist Jack Dawn for
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won an
Academy Honorary Award for his makeup work on
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Prosthetic makeup draws a straight lineage from the
90:. Unsourced material may be challenged and removed.
1124:"The effects behind 'Captain America's' Red Skull"
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317:Modern prosthetic makeup was revolutionized by
1018:"10 Most Influential Hollywood Makeup Artists"
923:Academy Award for Best Makeup and Hairstyling
16:Techniques to create special cosmetic effects
1206:"Truffle Forager and Food Make-Up Artist".
53:Learn how and when to remove these messages
415:or more recently, from skin-safe platinum
411:. Lifecast molds are made from prosthetic
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223:Learn how and when to remove this message
205:Learn how and when to remove this message
150:Learn how and when to remove this message
972:The American Society of Cinematographers
968:"Jack Pierce — Forgotten Make-up Genius"
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474:(an SFX artist known for his work in
944:"Making Up Universal's Frankenstein"
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88:adding citations to reliable sources
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465:, two experienced SFX artists from
393:Prosthetics being applied to actor
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499:Captain America: The First Avenger
177:tone or style may not reflect the
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344:consisted of spirit gum, cotton,
34:This article has multiple issues.
453:CGI (Computer Generated Imagery)
187:guide to writing better articles
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1041:Pendreigh, Brian (2001-09-07).
1016:LoVerde, Vincent (2023-10-29).
75:needs additional citations for
42:or discuss these issues on the
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991:Seibold, Witney (2024-03-10).
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869:CSI: Crime Scene Investigation
785:Star Trek: The Next Generation
653:How the Grinch Stole Christmas
635:An American Werewolf in London
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333:Academy Award for Best Makeup
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942:Munson, Luke (2020-11-12).
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539:The Hunchback of Notre Dame
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791:Star Trek: Deep Space Nine
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290:furthered pioneered early
286:The work of makeup artist
486:WILL DO EFFECTS FOR FOOD.
845:The Chronicles of Narnia
767:Pirates of the Caribbean
545:The Phantom of the Opera
518:Craniofacial prosthetics
496:'s role as Red Skull in
258:is the process of using
913:Craniofacial prosthesis
243:using prosthetic makeup
522:reconstructive surgery
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276:Le Voyage dans La Lune
252:special makeup effects
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241:Frankenstein's monster
1176:"Prosthetic Makeup".
879:Bram Stoker’s Dracula
803:Star Trek: Enterprise
590:original film series)
551:London After Midnight
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467:Amalgamated Dynamics
335:the following year.
84:improve this article
875:Edward Scissorhands
761:Edward Scissorhands
641:The Nutty Professor
379:37th Academy Awards
329:53rd Academy Awards
99:"Prosthetic makeup"
1209:Will Work for Food
948:Monsters of Makeup
797:Star Trek: Voyager
594:Christopher Tucker
587:Planet of the Apes
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400:Planet of the Apes
397:for the 1968 film
375:7 Faces of Dr. Lao
319:Christopher Tucker
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1184:Discovery Channel
908:Facial prosthetic
852:Matthew W. Mungle
447:Conflict with CGI
304:, his makeup for
248:Prosthetic makeup
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181:used on Knowledge
179:encyclopedic tone
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828:Gregory Nicotero
780:Michael Westmore
773:The Hunger Games
677:Dawn of the Dead
599:The Elephant Man
477:Dawn of the Dead
459:Tom Woodruff Jr.
360:The Wizard of Oz
324:The Elephant Man
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281:Georges Méliès
256:FX prosthesis,
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1214:Food Network
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1191:"Disguise".
1177:
1170:Bibliography
1156:. Retrieved
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1143:
1132:. Retrieved
1130:. 2011-10-24
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1107:. Retrieved
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1081:. 2014-12-03
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1047:The Guardian
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903:Animatronics
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857:Albert Nobbs
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848:film series)
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821:The Munsters
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707:Total Recall
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647:Men in Black
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623:The Exorcist
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563:Frankenstein
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82:Please help
77:verification
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36:Please help
33:
1246:Prosthetics
1153:www.cia.gov
918:Rubber mask
809:Raging Bull
743:Beetlejuice
695:The Howling
659:The Wolfman
558:Jack Pierce
463:Alec Gillis
409:lifecasting
353:Bela Lugosi
311:The Wolfman
288:Jack Pierce
1241:Stagecraft
1225:Categories
1158:2024-08-21
1134:2024-08-20
1109:2017-11-07
1085:2017-11-07
1060:2024-08-20
1027:2024-08-20
1002:2024-08-20
977:2024-08-20
953:2024-08-20
929:References
863:The Butler
690:Rob Bottin
666:Tom Savini
630:Rick Baker
606:Dick Smith
534:Lon Chaney
472:Tom Savini
437:foam latex
271:stagecraft
260:prosthetic
110:newspapers
39:improve it
1236:Cosmetics
1055:0261-3077
997:SlashFilm
701:The Thing
683:Creepshow
569:The Mummy
482:Creepshow
385:Technique
369:In 1965,
346:collodion
292:Hollywood
45:talk page
887:See also
738:Ve Neill
725:Predator
572:(1932),
566:(1931),
417:silicone
413:alginate
755:Ed Wood
511:Moulage
441:gelatin
377:at the
339:History
264:effects
124:scholar
1104:Tested
1053:
662:(2010)
578:(1941)
126:
119:
112:
105:
97:
815:Rocky
131:JSTOR
117:books
1051:ISSN
480:and
461:and
103:news
1128:CNN
1022:CBR
614:,
308:in
298:in
283:.
254:or
86:by
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