Local 706 - The Artisan

Summer 2017

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from showing through. When applied, this would then become the underside of the piece, while maintaining the translucency of the surface of the Pros-Aide, thereby reducing the painting required on the topside. Sometimes you have some challenges to deal with like when an actor has to shave his beard off in order to be filmed clean-shaven, then we have to come back to the beard look, and there's not enough time to grow the beard back. It becomes a problem that has to be fixed. We needed to do this for Kurt Russell. Dennis Liddiard started off by tak- ing some great photos of Kurt's real beard and then I took the best measurements I could over his beard with Saran Wrap and tape. Then I patterned up the pieces with very fine nylon lace, picked out some yak hair, and got Chris and Michelle Diamantides onboard to tie up (ventilate) a false beard. I tied the moustache and Chris and Michelle tied the other four pieces that made up the finished beard. I did the initial cut and styling and then Dennis tweaked it and did the final one. The application was mainly done by Dennis, and assisted by Chris and me. Kurt wore this beard for about a quarter of his performance. Again, big thanks to all the great artists that helped make this possible. As a make-up designer, creative opportunities like this don't come along often. It was a great opportunity to demonstrate a full spectrum of prosthetic and nonpros- thetic make-up techniques within the make-up trailer. I know this was a project that I will always appreciate and cherish and I hope this shows on camera. • onto water-activated release paper. The paper was cut into 8½ by 11 inch sheets and sprayed with a couple coats of thinned-down Baldies. Then the images were printed with a laser printer, given another coat of Baldies, a coat of Pros- Aide, which we left to air dry and then covered with a sheet of acetate. They were now ready to cut out and be applied as a wet transfer tattoos. Jay Wejebe did the bulk of this work. Viola Rock was very handy with her computer skills to help out as well. If they required eyebrow covers or scars, these were done in-house with thickened Pros-Aide that was put into a sili- cone mold, and then applied directly from the mold, peel- ing the mold away and leaving the transfer perfectly applied behind. The molds were made out of PlatSil 73-15. First, I applied a thin layer of Vaseline, then airbrushed two coats of thinned baldies, followed by a layer of thickened Pros-Aide that I applied with a wooden spatula. When the Pros-Aide dried, it was ready for application. Some of the alien molds were left over from the first movie, so I made rigid urethane molds of these and then reproduced around 100 of them in the 73-15. I also sculpted and molded the rest of the scars and eye- brow covers. These were generic pieces that would enable us to add character detail to our Ravagers and civilian aliens. For the eyebrow covers, we added a step of airbrushing some alcohol-based orange make-up on the surface after the Pros-Aide had dried to neutralize the natural eyebrow

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