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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
535:. 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.
495:) 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:
377:'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.
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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
1004:"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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1111:"Practical Effects Masters on the Pros and Cons of CGI - Tested.com"
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1160:"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
101:. Unsourced material may be challenged and removed.
1135:"The effects behind 'Captain America's' Red Skull"
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328:Modern prosthetic makeup was revolutionized by
1029:"10 Most Influential Hollywood Makeup Artists"
934:Academy Award for Best Makeup and Hairstyling
27:Techniques to create special cosmetic effects
1217:"Truffle Forager and Food Make-Up Artist".
64:Learn how and when to remove these messages
426:or more recently, from skin-safe platinum
422:. Lifecast molds are made from prosthetic
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234:Learn how and when to remove this message
216:Learn how and when to remove this message
161:Learn how and when to remove this message
983:The American Society of Cinematographers
979:"Jack Pierce — Forgotten Make-up Genius"
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1001:
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485:(an SFX artist known for his work in
955:"Making Up Universal's Frankenstein"
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99:adding citations to reliable sources
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476:, two experienced SFX artists from
404:Prosthetics being applied to actor
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510:Captain America: The First Avenger
188:tone or style may not reflect the
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355:consisted of spirit gum, cotton,
45:This article has multiple issues.
464:CGI (Computer Generated Imagery)
198:guide to writing better articles
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1052:Pendreigh, Brian (2001-09-07).
1027:LoVerde, Vincent (2023-10-29).
86:needs additional citations for
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1002:Seibold, Witney (2024-03-10).
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880:CSI: Crime Scene Investigation
796:Star Trek: The Next Generation
664:How the Grinch Stole Christmas
646:An American Werewolf in London
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344:Academy Award for Best Makeup
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953:Munson, Luke (2020-11-12).
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550:The Hunchback of Notre Dame
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802:Star Trek: Deep Space Nine
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301:furthered pioneered early
297:The work of makeup artist
497:WILL DO EFFECTS FOR FOOD.
856:The Chronicles of Narnia
778:Pirates of the Caribbean
556:The Phantom of the Opera
529:Craniofacial prosthetics
507:'s role as Red Skull in
269:is the process of using
924:Craniofacial prosthesis
254:using prosthetic makeup
18:Special make-up effects
533:reconstructive surgery
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287:Le Voyage dans La Lune
263:special makeup effects
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252:Frankenstein's monster
1187:"Prosthetic Makeup".
890:Bram Stoker’s Dracula
814:Star Trek: Enterprise
601:original film series)
562:London After Midnight
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478:Amalgamated Dynamics
346:the following year.
95:improve this article
886:Edward Scissorhands
772:Edward Scissorhands
652:The Nutty Professor
390:37th Academy Awards
340:53rd Academy Awards
110:"Prosthetic makeup"
1220:Will Work for Food
959:Monsters of Makeup
808:Star Trek: Voyager
605:Christopher Tucker
598:Planet of the Apes
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411:Planet of the Apes
408:for the 1968 film
386:7 Faces of Dr. Lao
330:Christopher Tucker
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1195:Discovery Channel
919:Facial prosthetic
863:Matthew W. Mungle
458:Conflict with CGI
315:, his makeup for
259:Prosthetic makeup
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192:used on Knowledge
190:encyclopedic tone
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839:Gregory Nicotero
791:Michael Westmore
784:The Hunger Games
688:Dawn of the Dead
610:The Elephant Man
488:Dawn of the Dead
470:Tom Woodruff Jr.
371:The Wizard of Oz
335:The Elephant Man
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292:Georges Méliès
267:FX prosthesis,
261:also known as
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1225:Food Network
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1202:"Disguise".
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1181:Bibliography
1167:. Retrieved
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1143:. Retrieved
1141:. 2011-10-24
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1092:. 2014-12-03
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1058:The Guardian
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914:Animatronics
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868:Albert Nobbs
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859:film series)
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832:The Munsters
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718:Total Recall
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658:Men in Black
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634:The Exorcist
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586:The Wolf Man
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574:Frankenstein
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93:Please help
88:verification
85:
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47:Please help
44:
1257:Prosthetics
1164:www.cia.gov
929:Rubber mask
820:Raging Bull
754:Beetlejuice
706:The Howling
670:The Wolfman
569:Jack Pierce
474:Alec Gillis
420:lifecasting
364:Bela Lugosi
322:The Wolfman
299:Jack Pierce
1252:Stagecraft
1236:Categories
1169:2024-08-21
1145:2024-08-20
1120:2017-11-07
1096:2017-11-07
1071:2024-08-20
1038:2024-08-20
1013:2024-08-20
988:2024-08-20
964:2024-08-20
940:References
874:The Butler
701:Rob Bottin
677:Tom Savini
641:Rick Baker
617:Dick Smith
545:Lon Chaney
483:Tom Savini
448:foam latex
282:stagecraft
271:prosthetic
121:newspapers
50:improve it
1247:Cosmetics
1066:0261-3077
1008:SlashFilm
712:The Thing
694:Creepshow
580:The Mummy
493:Creepshow
396:Technique
380:In 1965,
357:collodion
303:Hollywood
56:talk page
898:See also
749:Ve Neill
736:Predator
583:(1932),
577:(1931),
428:silicone
424:alginate
766:Ed Wood
522:Moulage
452:gelatin
388:at the
350:History
275:effects
135:scholar
1115:Tested
1064:
673:(2010)
589:(1941)
137:
130:
123:
116:
108:
826:Rocky
142:JSTOR
128:books
1062:ISSN
491:and
472:and
114:news
1139:CNN
1033:CBR
625:,
319:in
309:in
294:.
265:or
97:by
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