Notice how it is all but separated from the excess (or 'flashing') by a cobweb-thin membrane. An appliance with an edge like this is a joy to apply once you know how. This image shows just how thin a thin edge can be. Carefully getting the appliance out of the mould (de-moulding) is also an important skill to avoid damaging the edges. No good having a great, accurate and durable mould and then not actually getting a usable appliance out of it. Cast good appliances from your good moulds.Ĭasting well from your moulds is also important.Making sure any location keys work properly and avoiding undercuts is important too. In the case of a two-part mould with a core and a mould, the two must fit together perfectly, with no warping or distortion of the two parts to fit together. Not all situations warrant a huge appliance, so this needs to be weighed up and a balance struck.Ī good mould is essential, so that you get an accurate copy of the sculpture in reverse. This technique requires more skill to handle such a large appliance but can cut down application time considerably.Įdges can finish under costume or the back of the neck and there are fewer of them. The appliance around the face could have been made from smaller overlapping pieces, but I wanted to reduce the amound of blending edges. This silicone makeup used a large wraparound face appliance with seperate forehead, nose and ear appliances. For great edges that need to get close to a camera lens, here are the things that need to happen to get great blending edges on appliances… However, most situations require for the best blend possible and that is what we are concentrating on here. If the makeup is for a theatre production for example where close scrutiny is not so likely, then less than perfect edges are not so much of an issue. Whether visible edges are important or not depends on what the makeup is for. This can be hampered by an unintentional thicker edge and a noticeable colour difference between the skin and the appliance after application. Getting a flawless blend between the ‘fake’ of the appliance and the ‘real’ of the skin is where most of the work is in prosthetic makeup. That is where 99% of all prosthetic issues occur once the thing is applied. The point at which a prosthetic appliance stops on the skin creates an unavoidable edge ( if it does not then it is not a prosthetic any more, but a mask!) and the ideal situation is to blend that edge to nothing so you can’t see it. After much deliberation, my answer to you, Howard, and anyone else who is interested in great edges on prosthetics is in this post! I love this kind of question because it is simple, direct but makes me really think about the answer. This post is inspired by a great email I had from someone who emailed asking how one gets great edges on a prosthetic. Thus, by definition ‘ good’ edges are not noticed – if you do a good job of blending them, then they are not there to be seen. It’s only when you stop washing that it attracts any attention! Nose & Scar Wax is very pliable when it's warmed, but as it cools, very thin sections may be prone to cracking if it is moved around too much by body movement.Creating good edges is kind of like personal hygiene… PRO Tip: This technique is best for creating a wound in an area that doesn't move very much, like on the décolletage or the top of your arm. Once the rolls are in place, smooth over the edges with the wooden modeling tool or flat chisel tool. Just like you did with the liquid latex, apply each roll on to your skin in the shape that you want the wound to resemble. Step 2: Use the spatula to sanitarily scoop out some Nose & Scar Wax (the amount you need will vary based on how large of a wound you're creating) and warm it up by rolling it into worm-like rolls. Step 1 : To prep the skin for application, paint on a thin layer of spirit gum to help the wax adhere to your skin. Tools Needed: spirit gum, Nose & Scar Wax, double-ended spatula, flat chisel tool, wooden modeling tool, Vaseline, paint, stipple sponge, brushes (for painting), and fake blood
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