FALLEN ANGEL

MAKEUP PROCESS

For this photoshoot we went for the makeup look to resemble cuts, as if a fallen angel had cut their wings off. We had out makeup artist create large wounds on the back of the model in place of where a pair of wings would sit. The makeup artist added blood to the wounds to have them appear fresh as if the angel had recently only just had their wings cut from their back. For this photoshoot to appear as real we had the model act as if they were in pain from the wounds A fresh open wound on the back would create an immense accoutns of pain for the body, we wanted that to show through the photography.

CHAD ATKINSON

Who you are? Name, job title and the studio you own? How long have they been working in the industry? I’m Chad Atkinson from Stingray Sushi Studios. I’m a veteran special effects artist with 25 years of experience. Originally from Los Angeles, California.

The biggest project you have worked on? One of the biggest film productions I ever worked on was HBO THE PACIFIC the World War two series.

What got you to start in the industry, person, movie or…? I’ve been a fan of genre films since being a kid from watching Godzilla movies, Planet of the apes, An American Werewolf on London and Star Wars but what finally pushed me over the top was Jurassic Park. I was blown away by the Stan Winston dinosaur puppets and I wanted that to be my career. What are the differences you found between working in LA to working here in Australia? The job opportunities? The types of projects considering the movies filmed in LA to Australia? The difference between working in Los Angeles, when I did, to working in Australia on film isn’t too dissimilar. Australia is loaded with some of the most talented film crews in the world. In LA , it can be difficult to work in film as most jobs are union jobs. Difficult to get in on any level, whereas you can work more Independent films all the way to major studio films in Australia without the blocking by union.

What brought you to Australia? I came to Australia from the US for the production of THE PACIFIC. We started up in Port Douglas Queensland and finished the show in Melbourne. That was a year’s worth of work on that series.

What is it like to work in the makeup industry? Working in the special makeup industry was always a dream and passion. It’s a very challenging industry with a work schedule taking most of your time away. It can be at times very rewarding.

How do you come across the opportunities to work on these major film productions? In order to get into any field of work a bit of talent and who you know helps. If you know someone in films, perhaps ask to be an apprentice. Practice at the craft you’re interested in. Have industry knowledge on materials or techniques. Ask questions in social media groups to professionals. Immerse yourself in the world.

Tips for beginner makeup artist? Message/advice to makeup artists who are starting out in the industry. My advice for beginners is to practice, practice and practice. Take workshops, buy books, ask

questions and learn everything you can and practice more. If you want to be the best you have to put in the work. Everyone who is successful in their field works hard, all the time. It’s also good to be well rounded at different things and not pigeonholing yourself. But most importantly is someone who gets along well and is happy to be there. Nothing worse than working next to miserable people.

When judging a student’s work what makes an art piece stand out over the other projects? I don’t judge unless it’s a competition but what I look for in character prosthetics or creatures is anatomy. “Is it naturally believable?” Tighter techniques and eye for detail.

DAYNA O’SHEA

Many movies in today’s industry of film are using special effects makeup artists to create live creatures. Dayna O’Shea, one of the featured makeup artists in this magazine, was inspired by these films and found it so emaculite how the characters were designed.

After doing research Dayna’s hobbie of SFX makeup then took a step forward and started her career in the industry. Straight out of high school the artist wanted to begin her career.

Studying a diploma of Screen and Media at Australian Institute of Creative Design back in 2018. She gained many opportunities there and had the chance to have one-on-one learning with her trainer at a few hands on jobs.

Furthering her skills dayna continued her path and enrolled in a workshop hosted by Chad Atkinson, which opened her career to the chance of working on an indie film shot in Brisbane. Dayna has previously competed in a competition which led her to meet Chad and learn of his advanced prosthetics workshop.

In this workshop we had the chance to photograph their process of creating a character. This artist developed a look that was first inspired by a dragon but the process led their design towards a moodboard full of different devil looks.

In the meantime this artist is the head makeup artist working alongside us, the creators of this magazine and bring the inspiration of all characters to real time so they can be photographed and featured in our magazine.

The artist was asked as a final question, “Where they see SFX makeup taking them in the future.” They ended with a statement that they hope they can become more successful and be able to work on bigger films.

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RAbbits make great pets ”

WEREWOLF

Werewolves are one of the oldest legends out there, it is said that it is unclear but there is a speculation that it was first in the Epic of Gilgamesh, Mesopotamian poem, they also can be seen in Greek mythology in the legend of Lycaon. In a short Lycanon got punished for serving Zeus food made from the remains of the boys who had been sacrificed. They can also be found in Nordic Folklore, the saga of Volsungs. Most depictions include a human/ wolf hybrid of some sort and can look like one or the other more, in traditional art though it is depicted more to look like a wolf on 2 legs rather than a modern interpretation which could look more human like.

MAKEUP PROCESS - FRONT COVER LOOK

For this makeup look we want to focus on the look being mininalistic. We had our makeup artist paint the model with white body paint to create white space for the cover. As this is a SFX magazine we had the makeup artist be creative and create a wound on the face. For the SFX makeup we wanted the wound to appear as if it was rotting on the face. Exposing the teeth was to give the look as though the rot has spread over the face.

First our makeup artist created teeth like sulptures. She attached them to the face with glue that is safe on the skin. After that she had to start creating the wound. Using tissue paper to make the wound appear as if it is the skin of the model. The tissue paper acts as swollen skin that the SFX is applied too.

Once the wound is created on the skin it is time for the colour to be added. The model was than painted from the shoulders up in white paint. The hair for the model was gelled back creating that mininalistic look by not having the hair visable over the face. The hair was also sprayed white to contiune that white paint back into the hair line.

After painting the body, colour was added to the wound. For this look the design was as if the wound was rotting on the face. We wanted the wound to appear rotting as the magazinw is called rotten to the core, so it was a play with words. For the SFX makeup to stand out the makeup artist decided to added blood into the look for the wound to be the only focus of the look. As the wound is red surrounded by the white skin of the model.