Prosthetic Make-Up Artistry for Film and Television E-Book

Clare Ramsey

• Herausgeber: Crowood
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Veröffentlichungsjahr: 2019

Beschreibung

The popularity of fantasy blockbusters and sci-fi television has made the call for prosthetic artists a staple requirement in the majority of film crews. Prosthetic make-up has the ability to transform actors into unique, one-of-a-kind characters who take us into the realms of impossibility, limited only by the artist's imagination. Yet it can also be used in more subtle ways to alter physical appearance and create ageing, weight gain or illness, useful for a variety of genres and entertainment mediums. This instructional book offers a fascinating insight into the world of prosthetic make-up artistry. It illustrates two-and-three-dimensional make-up techniques and covers topics such as: life casting; sculpting techniques; gelatine prosthetics; airbrushing; hair punching; hand-laid hair techniques and novelty teeth design and manufacture. It will be of great interest to make-up and hair students working in the film and television industry, as well as practioners in theatre, cosplay and live action role play. Superbly illustrated with 424 colour photographs and 14 line artworks. Clare Ramsey has worked in all areas of make-up for many years but has a particular passion for prosthetic make-up artistry.

Leseprobe

PROSTHETIC

MAKE-UP ARTISTRY

FOR FILM AND TELEVISION

PROSTHETIC

MAKE-UP ARTISTRY

FOR FILM AND TELEVISION

CLARE RAMSEY

THE CROWOOD PRESS

First published in 2019 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2019

© Clare Ramsey 2019

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 592 3

Acknowledgements

The Monster Makers (www.monstermakers.com)

Crownbrush (https://crownbrush.com and https://crownbrush.co.uk)

RBFX Studio (rbfxstudio.com)

Models: Thomas Groholski and Philip Moffett

CONTENTS

INTRODUCTION

PART 1 GETTING STARTED

1 WHATIS PROSTHETIC MAKE-UP?

2 RESEARCH,EQUIPMENTAND SETTING UP

3 MAKING FLAT MOULDED PROSTHETICS

PART 2 GOBLIN CHARACTER:FROM LIFE CAST TO APPLICATION

4 LIFE CASTING

5 MAKINGAND USING GELATINE

6 SCULPTING, MOULDINGAND CASTINGA ONE-PIECE APPLIANCE

7 ADDING REALISTIC SKIN TONESAND HAIR WORK

8 APPLICATIONAND REMOVALOF PROSTHETIC APPLIANCES

PART 3 CENTAUR CHARACTER:USING PRE-MADE PROSTHETICS

9 AIRBRUSHINGAND DESIGN

10 PAINTINGAND APPLYING FOAM LATEX

PART 4 LION CHARACTER: ADDING EMBELLISHMENTSAND SELF-APPLICATION

11 MAKING NOVELTY CHARACTER TEETH

12 FANTASY ANIMAL HAIR WORK

CONCLUSION:BECOMINGA PROFESSIONAL MAKE-UP ARTIST

SUPPLIERS

GLOSSARY

INDEX

INTRODUCTION

The greatest achievement was at first and for a time a dream … Dreams are the seedlings of realities.

James Allen, As a Man Thinketh

NOTE FROM THE AUTHOR

I am a self-taught artist from Northern Ireland. When I first took an interest in the world of prosthetic artistry it seemed to be a rare art form. In fact I only discovered it might be a viable career when DVDs replaced old VHS tapes and we were introduced to the goings on behind the scenes of the movies we had just watched. I was captivated!

I began my professional career as a high school teacher in Ireland but I longed to work in the film industry. James Allen’s words were on the wall of my classroom and inspired me every day to keep striving towards my dream of becoming a prosthetic make-up artist.

In the beginning I worked in my own little bubble, seeking whatever information I could from books and DVDs. I set about practising techniques and working on my portfolio. I had no one to ask for advice or guidance, so books were my main source of education when it came to learning about prosthetics.

When I finally moved to London I was incredibly grateful to the artists I met and had the opportunity to work with. They were very generous with their knowledge and helped make me the artist I’ve become today.

The techniques shown in this book are only one way to achieve the results you see, as there are many ways to achieve similar results. I’m still learning new techniques every day and don’t think you ever really stop learning in this industry. My hope is that I can pass on some of my experience with the aspiration that it might inspire and encourage others who share this passion and who may perhaps be interested in pursuing prosthetic artistry as a hobby or career.

Before we get into the finer details of this book, let’s draw attention to one of the most important aspects: health and safety.

If you intend to tackle any of the techniques shown in this book you must possess an excellent awareness of safety in all aspects of your work.

In the world of prosthetic artistry you will encounter all sorts of weird and wonderful chemicals, glues, solvents, paints and so on, all of which have been used for years and are designed with the professional make-up artist in mind. However, you should be aware of the hazards each one carries and use it according to the manufacturer’s instructions.

DISCLAIMER

All tutorials, techniques, information and processes described in this book are provided in good faith. The health and safety of readers attempting anything described in this book are the sole responsibility of that person and/ or persons. You alone are responsible for any damage or injury you cause to an individual or property.

The author Clare Ramsey, the publishing company Crowood as well as all suppliers and sponsors of materials will not be held liable under any circumstances.

It is important that you understand and practise standard safety precautions. This is paramount when working with the materials described in this book.

Data Sheets are available on request for all materials and are available directly from the suppliers. Contact them and request Materials Safety Data Sheets. Educate yourself and follow the prescribed precautions.

You must be over 18 to use the hazardous materials depicted in this book, otherwise you will need the supervision of a responsible adult. These materials are extremely dangerous and flammable and must only be used in a well-ventilated area. Please keep them safely out of the reach of children and pets.

Your own health and safety, as well as those you will involve in the processes described here, are of the utmost importance.

HOW TO USE THIS BOOK

This book aims to provide some insight into the role of a prosthetic make-up artist within the film and television industry. It will also teach you a variety of different practical techniques that you can implement and interpret into your own personal characters.

The book has been broken down into three character designs. Through the use of photos, diagrams and explanations you will be shown a series of techniques and how each has been utilized to build a complete character at the end of each segment.

Each character uses slightly different techniques and practical applications.

You have the option to follow along with each technique and arrive at your own character, or you can dip in and out of the chapters taking each one as a standalone lesson.

THE CHARACTERS

Gelatine Goblin Character

This section will take you through the entire process of making a prosthetic character from scratch:

•Life casting half a human face

•Sculpting a new face on a life cast

•Making a one-piece mould in silicone and plaster

•Making prosthetic-grade gelatine

•Making gelatine ears

•Realistic painting

•Realistic hair work

•Punching hair

•Hand-laying facial hair

•Gelatine application

•Prosthetic removal

Foam Latex Centaur Character

This section will show you how to take a generic foam latex piece and transform it into your own character:

•Using the computer as a design tool

•Airbrushing, including the parts of an airbrush

•Painting foam latex

•Applying foam latex

Foam Latex Lion Character

This section illustrates how you can transform a generic prosthetic appliance, enhancing the design using character teeth and hair to give it a unique look:

•Making personal novelty teeth

•Casting your own teeth

•Sculpting new teeth

•Painting the teeth

•Fantasy animal hair work using faux fur

•Self application

PART 1

GETTING STARTED

1WHAT IS PROSTHETIC MAKE-UP?

Prosthetic make-up involves the application of specifically designed make-up appliances to change the appearance of an actor or performer in some way. These are made in a variety of flexible materials and are glued to a person’s face and/or body.

They are designed to move in a realistic fashion and are primarily used to help tell a story as they allow extreme changes to be made to a performer. Some examples of these extreme effects include ageing, disease, fake pregnant bellies, adding or losing weight, fantasy and horror creatures. The possibilities are limitless.

This book is mainly concerned with prosthetic make-up artistry for film and television, however the art of prosthetics isn’t limited to this medium. It reaches as far as print and editorial work, theatre, cosplay and live-action role play. It is even used to train medical practitioners by simulating casualty effects.

Prosthetic artists often work with surgeons to provide realistic body parts that they can practice delicate procedures on.

THE VARIOUS ROLES OF A PROSTHETIC MAKE-UP ARTIST

Those interested in this craft have a number of options as there are many processes involved in working with prosthetics. Usually at a professional level the process begins in a prosthetic workshop, within which there may be many hands and minds that contribute to the prosthetic appliances an actor wears.

Some artists are based in workshops and deal mostly with the design and manufacture of the appliances, while others work as application artists on TV and movie sets, applying and maintaining the prosthetics on actors and performers throughout the filming shoot. Other prosthetic artists divide their time between workshop and application jobs.

As well as manufacturing prosthetics appliances, workshops also manufacture fake bodies in the likeness of actors that can be used in situations where, for example, death or injuries need to be simulated. Workshops also make masks of actors’ likenesses to be worn by stunt performers in film and TV, as well as simple quick-change prosthetics and masks for theatre. Every job is different and the requirements are always unique.

CONCEPT TO APPLICATION

A prosthetic appliance is developed from thought to reality within the workshop infrastructure

Usually a brand new piece will be required every day an actor is working as each one is destroyed during the removal process, so the workshop will continue to turn out these appliances until the total amount is reached.

Eventually the appliances are handed over to the make-up department on a film or TV set where they are applied by skilled prosthetic make-up artists individually or as part of a duo team.

WORKING AS AN ON-SET PROSTHETIC MAKE-UP ARTIST

When you work as a prosthetic make-up artist on a film or TV set your job involves applying and maintaining prosthetics on a performer. Prosthetics can take anywhere from two to six hours (or longer) to apply. Due to these long application times you will usually be applying the pieces working as a team with another prosthetic artist. Each artist works on one side of the face, crossing over where necessary.

Having two people working together like this reduces the application time, making the process more comfortable for the performer. It oddly becomes like a strange prosthetic dance as both artists work in tandem to create the character. Thus you will need to be able to work well in a team environment.

Depending on the type of prosthetic pieces, however, you won’t always be working in pairs, so you need to be competent and efficient at applying prosthetics alone as well as part of a team.

In an on-set environment prosthetic artists fall under the umbrella of the make-up department, but they are generally separate from the regular make-up team as they often require a specific set of skills and equipment, not to mention the time they need to do their work.

It is the role of the regular make-up team to deal with all the beauty and corrective make-up on the other cast members. They will also handle any small wounds such as scars and cuts, using the two-dimensional prosthetic transfers you will learn about in Chapter 3. These are generally made by prosthetic artists and then handed over to the regular make-up team.

OUT-OF-KIT EFFECTS

Another technique regular make-up artists employ is simply to create the wounds using a method called ‘out-of-kit effects’. Loosely translated this involves applying scar material or collodian directly to the actor’s skin to simulate scars, cuts and small wounds. It is a fast and effective way to create the appearance of injuries, but due to its one-of-a-kind nature it has the disadvantage of never quite looking exactly the same if it has to be repeated. When a make-up must be repeated on a different day the make-up team relies on continuity pictures taken on the previous occasion. These photos have to be copied as closely as possible to recreate the look.

This is why the lesson on flat moulded prosthetics in Chapter 3 is such an important skill to learn, since it will save you a lot of time when it comes to repeating these small designs.

Out-of-kit techniques are also utilized by prosthetic make-up artists when a creature has minor changes, small cuts and wounds that can be applied quickly and then removed as necessary. The appearance and stages of an injury, for example, can change a lot in a day’s filming. You need to be ready to jump in with a quick solution when needed. This topic will be investigated further later in the book.

Generally prosthetic artists deal with the specialized make-ups and creature characters that can’t be done within a regular make-up department. They work closely with each other as often both elements are required on one performer. There is generally a make-up designer and a separate prosthetic designer, but this isn’t always the case and it largely depends on the requirements of the job and the available budget.

Some artists work solely as prosthetic make-up artists, while other regular make-up artists do prosthetics as well. The more skills you have, the more employable you will be.

A TYPICAL DAY FOR A PROSTHETIC MAKE-UP ARTIST

4 am: arriving at work.

04:00 (or earlier): Arrive at work

Prosthetic artists need a few hours to get an actor ready, time that is allocated before the rest of the film crew arrives. An average prosthetic application time is three hours, during which they will prep the actor’s skin, then apply and paint the prosthetic appliances.

The entire day will be set out on a schedule known as a call sheet. This is a detailed document that explains the plan of action for the day, indicating when the actor will arrive and what scene number they will film. It also informs the team which other members of the cast are involved in the same scene, as well as any special influences that may be needed, such as an actor having a stunt double or needing fake injuries.

07:00: Finish make-up

While the prosthetic artist is in the last stages of the make-up, the rest of the film crew will have arrived and set up for the day, ready to begin filming as soon as all the actors are ready.

Good time-management skills are essential, as it’s imperative that each prosthetic artist works to the time frame allocated, since delays could hold up filming. Delays could potentially cost a production company a lot of money as they disrupt the carefully planned day.

When the prosthetic application is complete the actor will leave the make-up chair and finish getting on the rest of their costume. This will give the prosthetic team time to clean up their work station and pack up a small kit to take to set that will be used to maintain the make-up throughout the day. There may also be an opportunity to get some food at this point (meals are usually provided on film and TV sets).

07:30: maintain the make-up

The prosthetic artist will then travel to the set with the actor, taking the maintenance kit with them. This on-set kit allows the artist to preserve the make-up during the day, making sure edges don’t become unglued and that everything, including the paint, remains fresh. It’s common to film all the wide shots first and do the close-ups later in the day. The prosthetic artist must ensure the make-up looks good throughout the day. Before each scene is filmed you will be given a brief opportunity to check the edges and general appearance of the prosthetics. The actor may not be required for every single scene, so you can take these opportunities to fix any major flaws, if necessary.

Typical call sheet

The call sheet is carefully followed as the entire filming crew work throughout the day, checking off each planned scene. Prosthetic artists need to pay close attention to the call sheet as it indicates any changes they might need to make to their character during the day: they may, for example, be bloody in one scene but need to be cleaned up for the next. Often these quick changes need to be conducted on set, so the artist must have everything needed to facilitate this. There will also be a meal break during this time.

19:30: Clean up

After a long day filming it usually takes some-where between 30 minutes to an hour to carefully remove the prosthetics from the performer. This means that the prosthetic team is often one of the last departments to leave in the evening. When this is complete they set up their station for the next working day and then go home to sleep, ready to repeat it all the following day.

WHAT IT TAKES TO WORK AS A PROFESSIONAL PROSTHETIC MAKE-UP ARTIST

Working as a prosthetic make-up artist in the film and television industry requires an infinite amount of skills. There are the obvious technical requirements, such as artistic ability, an eye for fine detail and the ability to mix and blend colours seamlessly, but there is also the important responsibility for the performer’s safety while working within a disciplined unit.

Working on a professional truck.

Correct attitude

Aside from the mandatory artistic ability you need to have the correct attitude to work in this profession, which is seldom as glamorous as folk think.

You also need to be prepared to work incredibly long hours, and perhaps only manage to get a few hours’ sleep at night. Little sleep can make people cranky and sometimes more susceptible to illness. You need to look after yourself, trying to get enough rest, eating well and staying healthy.

You might also find yourself working in trying environments, which might mean sweltering heat on one job and sub-zero temperatures on the next, or spending long hours in the wind and rain. Having the right attitude means not complaining constantly, as it makes situations worse and makes your day even longer.

It can be a challenging job at times, but it is indeed a very rewarding one that will enrich your life in many ways.

Working on location in Iceland with actor Luke Neal.

Those who choose this career are artistic, passionate and driven, and they generally have a good sense of humour. The humour is mandatory, as it will make the long days seem that little bit shorter.

Be a team player

You will work closely with many age ranges and different personalities for extended periods of time. You will need good interpersonal skills to communicate effectively.

Ultimately you need to be an excellent team player. Remember you are a small cog in a giant wheel and cogs are easily replaced, so be professional and invaluable to the rest of your team and you’ll continue to get work.

With a positive attitude you will do well in this industry. Don’t engage in gossip or negative dialogue. Respect the people you work with, no matter their rank.

Be prepared to make sacrifices

The career of a film and television prosthetic artist can be varied and rewarding as no two jobs are alike. You will meet interesting people and perhaps you will be given the opportunity to travel to exciting places.

Choosing a career as a make-up artist, however, isn’t without sacrifices. You may often work weekends and even have to leave your friends and family for months at a time, missing important family occasions, when the job requires you to work in another country. As a career it has pluses and minuses, but it is more often than not aptly described as a vocation.

Working as a freelancer

As a self-employed freelance you will find yourself worrying when and where your next job will come from. You will need to be proactive about seeking out employment, as not only will you need to learn the practical skills required, you will also need to network with other artists to find out about upcoming work. You should keep your financial affairs in order as work can be sporadic and you may have to budget your earnings effectively for less busy times. Remember to keep all your receipts and learn how to manage taxes, invoices and paperwork.

You will need to keep up to date with current techniques and add new skills to your repertoire. As your skills develop you will make yourself even more employable.

In conclusion, if you are truly passionate about this craft you will find that this feeling far outweighs any negatives. Those who choose to be a prosthetic make-up artist do it simply because they love it and couldn’t imagine doing anything else. There is definitely a sense of pride and achievement when you see your work in a movie theatre or on a TV screen, which is acknowledged as your name rolls up in the end credits.

2RESEARCH, EQUIPMENT AND SETTING UP

In Chapter 1 we looked at the attributes of a prosthetic artist. This chapter considers practical skills and how to go about research, as well as the equipment needed and how to set up your work area.

TOOLS FOR RESEARCH

Prosthetic characters take their influences from all kinds of sources. When you are given the task of designing a prosthetic character there are a few sources you can call upon.

Nature: Look around you! There is a multitude of textures that you can see and touch. Trees, rocks, plant life, animals, fish and birds have some of the richest sources of inspiration that you can draw on as an artist. Look at the colour combinations of plants, fish and reptiles or the direction the fur lies on a dog’s face and the structure of its teeth. Nature is bursting with inspiration.

Man-made artefacts: Again there is an infinite range of textures that you can draw upon, such as smooth and shiny metal, electrical circuitry, and the multifarious colours and textures selected for plastics. Take a moment to look around the environment in which you are sitting and see if any influence there could be translated into a prosthetic creature.

Anatomy: Study it. If you can grasp the basis of a human skull and the underlying muscle you will be a better sculptor, your prosthetics will look more realistic and they will move more naturally. If you know about human anatomy you can exaggerate and translate that knowledge into a creature, pushing the boundaries of a character to the extreme. Look at photos of pumped-up body-builders for how their muscle tone stands out or, at the other extreme, how the skin stretches over the bones of those who are seriously under-weight. Learn about symmetry and asymmetry. No face is 100 per cent symmetrical, so study your own face and jawline, and then look closely at other faces.

People: Study ethnic characteristics, how people age and how their skin folds and creases. Look at skin tones, pores, freckles, tattoos, age spots, pimples and scars. Reproducing these elements can help you bring realism to your sculpture and paint job. Gather pictures of people from photos and books. Look at the wealth of information about fashions through history.

Medical books: Seek out photos of wounds, scars, skin afflictions and various injuries that appear in medical books and online sources as they can help bring realism to your work.

Art books: Draw inspiration from studying all forms of art, including the old masters, modern art, comic book art and sculpture.

Work by other prosthetic artists: Observe other artists’ work in film and TV, as well as their own personal work. It’s often difficult to come up with a new and interesting design as it all seems to have been done before, but you will gain much inspiration from looking at other people’s work, both professionals and amateurs alike. Don’t plagiarize it, just appreciate and get inspired to creature your own design.

REFERENCE SOURCES

The Internet is by far one of the most valuable tools you have at your disposal. You will find endless sources of inspiration. It can provide you with pictures, videos and historical data as well as instructional text and demonstrations. You can store images of your work in the form of websites and photo storage accounts.

Social media has made the world a little bit smaller and also more accessible. You can easily look up the work of other effects artists on sites using various search engines. You can follow their work and they in turn can follow you. There are many personal art and photo storage display sites that provide access to a vast range of inspiration, allowing you to build banks of pictures that you can refer back to at will.

Libraries provide you with books on most topics ranging from old to new. Art reference libraries are particularly useful. Libraries aren’t just for books, however, as they also hold archives of old newspapers, magazines, photographs and DVDs. The librarians who work there can point you in the right direction quickly and effectively.

There are a few magazines aimed specifically at film make-up and prosthetic artists. You will find these are both educational and inspirational.

From fantasy to documentary, historical to horror, film and television will continue to inspire prosthetic artists. It is the medium for which the craft was intended. It contains the creatures we love and loathe and remains the motivation for many artists.

COLOUR THEORY

This knowledge is one of the most important tools you can possess. In order to be a successful prosthetic make-up artist you will need to have a good eye for colour and be able to effectively blend prosthetic appliances into a performer’s skin or match the colours of a pre-painted prosthetic. You will also have to mix gelatine or silicone to match as closely as possible a performer’s skin tone, or perhaps you will be required to paint a fantasy creature and will need to know about complementary or neutral colours. Whatever the application, it’s mandatory to have a good understanding of colour theory and how to mix colours successfully.

Colour theory is a vast topic so this chapter will break it down into simpler terms covering the fundamentals. There are lots of helpful resources available in art books and online that will help you understand the concept further.

Primary colours.

Mixing primary colours to create secondary colours.

Mixing secondary and primary colours to create tertiary colours.

The colour wheel illustrates the process of mixing colours.

Primary colours: All colours that exist are derived from the three primary colours: red, blue and yellow. These are pure pigments and cannot be made from any other colour.

Secondary colours: By mixing two primary colours in equal amounts you will make new secondary colours.

Tertiary colours: By adding equal amounts of the new secondary colour with an equal amount of the original primary colour you will achieve a tertiary colour.

Colour wheel: The process of mixing colours, known as colour theory, is best displayed in the form of a colour wheel.

An understanding of shade and tone and how to achieve a seamless transition from light to dark is a useful skill to have.

Shading

The addition of black or white to the chosen colour results in what are known as tones and tints, respectively. This alters the tonal quality of the colours, making them into darker or lighter shades.

Tonal shading can be applied to other colours and is an essential skill when it comes to painting. The ability to shade from light to dark and vice versa is something that will repay careful practice.

It’s also worth noting that colours can be further altered by diluting them. Depending on the medium used, you can alter the translucency and opacity of the colours by using water or a solvent. This is helpful when it comes to painting prosthetics as diluted washes of colour are often utilized to give a more translucent effect.

Certain colours can be neutralized by following these rules.

Neutralizing colours

Some colours can be used to neutralize the effect of others. This is particularly useful if you need to cover tattoos, for example. You first need to use an orange colour to neutralize the blue/ black lines of the tattoo before applying another layer of colour that matches the person’s skin tone. The diagram given here demonstrates which shades of colour work best to neutralize the other colours shown.

You will only become more competent and confident by practising and playing with colours. You may find it helpful to make your own colour wheel. It can also be a useful exercise to make a skin chart that you can photograph up against an actor to provide a more accurate colour reference for their skin tone. Some artists have excellent colour memory and can mix colours that match exactly, while others like to measure out their colours accurately to ensure an exact match every time. Keep a notebook handy when you have to mix colours, particularly for large batches of colour, as this will make life a little easier. Familiarize yourself with different colour mediums and the array of paints and pigments available to prosthetic artists. If you are starting out and are on a budget, simple cheap acrylic paints will help you learn the theory of colour before you move on to more expensive paints or inks.

BUILDING A KIT

At the beginning of each tutorial there will be a detailed list of materials and tools that will be required, but the following list of items can be used for most prosthetic applications. They will provide a good starting point if you are trying to build a kit to work as a prosthetic make-up artist.

Empty bottles and containers are useful for decanting smaller quantities of liquids like IPA. A funnel will help prevent spillages and a spritzer bottle is a must when working with alcohol-activated ink palettes.

Empty bottles and containers are useful to decant products.

A basic hair kit is helpful when applying bald caps and styling hair.

A basic hair kit is essential when putting hair under a bald cap, or for styling character hair.

You will require an array of sponges in different textures.

Sponges are used to blend in the edges of prosthetics and also to paint them. It can help to have a number of different textures.

Powder puffs, colourless translucent powder, a bowl and brush will help you eliminate sticky edges.

Powder puffs are essential to remove the tack of certain glues and paints. Use them with translucent powder to eliminate shine.

Some of the most useful application tools.

Among the most useful tools to have for application are long tweezers, which are great for pulling out edges that are difficult to get to with your fingers, for example around the eyes. Tweezer scissors and safety scissors are a must for tasks like trimming edges. Spatulas will help you fill in the edges with filler. You will find that all of these tools will make life much easier.

You will need a selection of glues and fillers in your kit in various consistencies.

Glue holders are useful as the glue is expensive. This tool will allow you to decant the product into smaller cups and will help avoid spillages.

There are many glues to choose from. The ones illustrated are among the most popular. They can be expensive, but if you are starting out and on a budget you may find smaller sample sizes of each one.

Skin preparation items help you cleanse and protect the actor’s skin when applying adhesive and appliances.

Since the glues for prosthetics are expensive it’s best not to use it directly out of the pot in case it spills. More importantly for hygiene purposes, decant it into a smaller cup and place this in a holder to prevent the cup toppling over.

You will need a small battery shaver and medical cleaning spray for when you need to remove face and body hair prior to application.

You will need to look after a performer’s skin by cleaning it with astringent and protecting it with barrier foam. Vaseline is carefully applied only to the eyelashes as it prevents them sticking together.

An electric face razor and beard trimmer, as well as medical grade cleaning equipment, are also useful to have in your kit as they will give a closer shave.

A selection of shaving skin care products will help care for the actor’s skin.

You may need to remove facial or body hair prior to applying prosthetics. The tools shown above include medical clipper hygiene spray. You should always be clean and considerate, and let the performer see that you are using it. You should always strive to keep your equipment in impeccable condition, especially these items. Shave powders can help eliminate redness and razor rash.

Hygiene sprays are available to help keep your kit sanitary. Hand sanitizer is also useful to have, especially on set.

Hand and make-up sanitizers are essen tial items to have in your kit to keep everything sanitary.

You will go through a lot of disposable items. Individual eye drops are also important to have in your kit, making sure that they are safe to use with contact lenses.

Artist’s palettes provide a good means of mixing colours. Both disposable ones and the traditional style can be used.

Fans are useful to have during application and also on set to keep the actor cool. They also help to eliminate fumes from paint, glues and other substances.

You will find that you go through hundreds of disposable wipes. Make sure you have a supply for your workplace as well as on set.

As well as regular artist’s palettes, disposable palettes are useful when mixing colours.

A hand-held fan and a battery or USB powered one are great for helping the actor to stay cool. They are also useful in warding off fumes.

You will need a number of paint palettes, including a selection of alcohol-based inks as this is the medium most commonly used to paint prosthetics.

You can start building up some colour palettes in your kit. Alcohol inks are a staple and another must is a good matt eyeshadow palette.

Vinyl gloves (not latex), respirators and dust masks should always be in your kit to keep you safe.

Take safety seriously. A good respirator mask will be needed that can deal with heavy paint fumes. You will also need some dust masks and vinyl gloves.

A small hair punching kit will allow you to create realistic hair.

Brushes made with synthetic hair are best for applying glue.