SPECIAL MAKE-UP FX | ANIMATRONICS | BODY & FACE ART ISSUE 10 SPRING 2018 £6.95
IN THIS ISSUE…
Todd Tucke r’s The
Cold Skin
Arturo Balseiro on bringing a legion of sea creatures to life for Xavier Gens’ sci-fi horror
The Shape of Water
Mike Hill, Shane Mahan and a team of artists create an ambitious amphibian for Guillermo del Toro
Wonder Creating Auggie Pullman
Terro of Hallow r ’s Eve
Let Slip the Orcs of War
Rogier Samuels returns to Middle-earth for Sony PlayStation’s Shadow of War
Knowledge & Know-How
Making bald caps, flat mould prosthetics, keeping adhesives fresh and YouTube’s educational offerings
Arjen Tuiten on the challenges of his triumphant makeup on nine-year old Jacob Tremblay PROSTHETICS
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R O F I PP ! Y R O T C I V
Our custom Skin Illustrator palette was essential for maintaining Winston’s look throughout the filming of Darkest Hour. With 50 shoot days ahead of us we knew this would be the perfect addition to our kit. The signature colour ‘Blenheim Blush’ was created just for this makeup and was named by Gary Oldman himself. This palette, along with Telesis 8 adhesive were an important part of every application.
— David Malinowski
Prosthetic Supervisor, Darkest Hour
www.ppipremiereproducts.com PPI Premiere Products Inc. is an FDA licensed, cruelty-free and vegan approved cosmetic manufacturer. All products are made in the USA and are cruelty-free. 2
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© 2018 Premiere Products, Inc.
SPRING 2018 Publisher Neill Gorton Editor Lisa Gorton Designer Mike Truscott Sales Katie Davies Proofreader Mary Loveday
Welcome
to issue ten of Prosthetics Magazine Technology makes things faster all the time. I remember when stores offering one-hour photo processing were a revelation. You could take pictures and have a print of them, in your hand, in one hour. It was miraculous. Now you can take a picture on your ‘phone in London and someone in São Paulo can be looking at that picture milliseconds after you pressed the button to take it!
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Cover image Mogg played by Charlie Rawes, ‘Shadow of War’ commercial (Sony PlayStation) 2017. Makeup sculpted by Rogier Samuels, applied by Rogier Samuels, Carola Brockhoff, Inga Ross and Luigi d’Andrea
Contributors Our sincere thanks to everyone who provided material for this issue and shared their knowledge so generously, in page order:
These advances are based on how fast technology can be pushed. Computers process information faster, machines move faster, chemical processes and formulations are refined to happen faster. What doesn’t get faster however is people. It takes as long to sit and do a sculpture now as it did a hundred years ago. It takes as long to paint a picture or knot a wig or make a mould. Elements of the process may get quicker; that silicone you brushed up kicks in minutes rather than hours, but the people, the people can only work as fast now as they have ever worked. But try and tell that to a producer! I saw a great social media post recently that illustrated this beautifully. An artist (look up Mo Selim Art on YouTube) draws Spider-Man in 10 minutes. He then draws Spider-Man in one minute and then again in 10 seconds, and the three pictures are compared. It’s a neat illustration of how timeframes effect the quality of the finished work. I’ll be attaching that meme to the bottom of my bids sent to producers in future…it will of course be futile. Thanks for opening up issue 10, hope you enjoy it!
Kate Walshe, Arturo Balseiro, Todd Debreceni, Stuart Bray, Arjen Tuiten, Anthony Davies, Morgan Kimber, Rogier Samuels, Scott Essman, Joe Nazzaro, Whitley O’Donnell and Mary Loveday
Content, instructional material and advertised products: The publisher is not responsible for unsolicited material, technical/artistic instruction or materials cited or promoted herein and does not endorse, guarantee, provide assurance of or recommend any products advertised or techniques described.
Neill Gorton Publisher
All contents © Prosthetics Magazine (a subsidiary of Neill Gorton Prosthetics Studio Ltd) or published under licence. No part of this publication may be reproduced in any way without prior written permission from the publisher, including for storage and transmission purposes. All rights reserved.
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Contents 06
WORDS OF WISDOM
Kate Walshe, co-director of multi-award winning Millennium FX sets the scene for this issue
08 OUT OF THE OCEAN
Arturo Balseiro, winner of Goya and Gaudí Awards, on bringing a legion of sea fiends to life for Xavier Gens’ dark sci-fi horror Cold Skin
21 BALD CAPS and BALD CAP MATERIAL
Transatlantic educators Todd Debreceni and Stuart Bray take us through how to make your own bald caps
30 WORKING WONDERS
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Arjen Tuiten discusses the challenges of his triumphant makeup on nine-year old Jacob Tremblay for Wonder with Neill Gorton
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“Having less money forces you to be more creative. You have to come up with better solutions than just throwing money at it.” Todd Tucker
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40 FLAT MOULD PROSTHETICS: Part 2
In the second of a two-part tutorial, Anthony Davies and Morgan Kimber create an entire full head makeup using only flat moulds
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LET SLIP THE ORCS OF WAR
Rogier Samuels documents his return to Middle-earth for PlayStation’s ‘Shadow of War’
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PUT A LID ON IT!
Neill Gorton explains his trick for using up left over moulding silicone to keep adhesives fresh for longer in shot glasses
64 THE TERROR OF HALLOW’S EVE
Illusion Industries’ president Todd Tucker and key makeup FX artist Martin Astles tell Scott Essman about Tucker’s latest innovative filmmaking project
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08 72 THE B-SIDES
Film and TV prosthetics that didn’t make the screen. This issue’s subject: Kevin Yagher’s pitch for The Cat in the Hat that went to Steve Johnson and Edge FX
78 THE SHAPE OF WATER
Whitley O’Donnell finds out how Mike Hill, Shane Mahan and a team of exceptional artists navigated the creation of an ambitious amphibian for Guillermo del Toro’s fantasy drama
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THE PROSTHETICS EVENT
Neill Gorton explains the reasons behind the success of the UK’s annual, specialist show
93 THE YOUTUBE GENERATION
Mary Loveday investigates what the Internet’s biggest video-sharing community offers students of makeup FX
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FOReWORD
Words of Wisdom An industry leader sets the scene for the issue
Kate Walshe, co-director of multi-award winning Millennium FX on battling internal monologue, supporting fellow females and why women must make waves BE BRAVE. BE KIND. With #metoo and issues of gender inequality, both in pay and opportunity, constantly in the news, it felt a good time to give some words of wisdom on how to cope in this male-dominated industry.
BE BRAVE. Women suffer more from self-doubt, selfcriticism and a lack of self-confidence than men. Systemic discrimination throughout our lives has a big impact on our internal monologue. When that little voice says you’re not good enough - deep breath - be brave and battle it. Experience will chip away at it so while you’re getting started in your career try to ignore that inner asshole long enough to get shit done. Sadly it may never fully go away, you’ll just have to keep turning the volume down, keep being brave. It’s a hugely competitive industry so don’t hold back, BE SEEN. From a young age, girls are taught not to make waves. This sort of programming needs to be unwritten so FUCK IT – MAKE WAVES. Being visible means producing work that people like me (someone who is dying to hire great women) will see and take notice of. Turn that self-doubt down and create your own work. Take on personal
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projects, do demos at tradeshows, take risks and get yourself out there. Learn how to photograph and film your work. Don’t just do makeup on yourself but seek out willing models. Research what else is out there and make sure you’re not lost in a sea of copycat work. Learn how to market YOU. Social media is a powerful weapon in the fight to be seen but be sure to use these weapons well, learn to edit and show your best self. Be self-aware and don’t be afraid of criticism. Seek it out with an open mind. You can’t excel in a bubble so take a risk, find someone you respect and show them your work. Ask for the brutal truth - take a beating, cherish those bruises and take those comments on board. The gender gap is, slowly, closing but equality is something to keep fighting for. If you see something unjust then it’s worth calling it out. Make sure you’re armed with hard facts and use these as a torch to shine a light on systemic failures – why is a male employee getting X opportunity above a female employee for example; the employer may not even realise what they are doing.
BE KIND. I read somewhere that women should strive to be respected instead of liked. Unfortunately, in our industry women must strive for both. People get hired for their skills but also for their personalities. Putting
the time into developing yourself as an artist will get you respected and will get you noticed; being liked will get you hired again and again. Support each other. There’s plenty of room for many great artists. Work together with other women; pushing ahead shouldn’t mean crushing others underfoot. Take time to shout out for your fellow female artists when you can. There is an imbalance of male/female role models in the industry. It’s up to all of us to strive to become role models for the next generation of female artists. If you’ve gotten to a great point in your career and have gained experience you could share, don’t hold back - give a helping hand to young female artists - be a mentor if you can. If you don’t have time for mentoring then make sure you keep showing off, be a known entity, someone for young women to look up to. Finally - be kind to yourself, develop your talents, learn more, cultivate relationships with female peers to decompress and shoot the shit with. And don’t be afraid to take time off, to explore other aspects of yourself. We are only on this planet for a tiny blip of time so have fun too. Re-reading all of the above, I feel I need to heed this advice more closely myself. That and I need to swear less. Kate Walshe Company Director, Millennium FX
Photographer: Jayesh Pankhania.
silicone adhesive neo strong bond High performance skin adhesive for heavy duty special effect purposes Art. 02055
The first silicone mask design sculpted and painted by Arturo Balseiro
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