Issue link: https://digital.copcomm.com/i/1486000
84 • THE ARTISAN WINTER 2023 Black Dahlia lip color. Francine at MUD hunted down the last bottle of MUD's airbrush in mustard so we could finish the sea- son using andiwe's favorite base, and Stila Poppy was used for cheek pop. Maeve was not the only character to have a new look this season. For the first time, we made significant changes in Dolores's make- up. Dolores is now Christina with auburn hair and living in the real world. e audience is meant to wonder whether she is Dolores, a new host, or maybe human. In previous seasons, Estée Lauder Double Wear was used to create a relatively flat doll-like make-up for Evan. I used Lancôme Skin Feels Good skin tint and FACE ate- lier this season for a much more translucent glowing foundation. In addition, I had a cocktail of Stila convertible color on the cheeks and Dior eye shadow & mascara. VISUAL EFFECTS MAKE-UP B Y J E N N I F E R A S P I N A L L A N D J A S O N C O L L I N S Being asked to come back to Westworld for Season 4 was a gi. Being invited to department head the Make-up Effects Department and collaborate with one of my favorite and most talented friends, Jason Collins, as make-up effects designer, was a dream come true. Westworld is one of those unique projects where chaos and creativity rule. Before you know it, you find yourself in a whirlwind of excep- tionally talented artists, creating at an insane pace and of a quality unparalleled on television. Together, Jason and I took the creative plunge into Westworld Season 4. Season 4 tasked us with various make-up effect illusions and char- acter work. ese included wounds, blood gags, lifelike dummies of our main cast, recurring character prosthetics, tattoos, and a chance to design and create a new breed of hosts called the 'Evolved Drone.' Creating Dummies For one scene, we needed to have "host" Man in Black (MIB) speak to the human Man in Black/William while he was locked into a beautiful cryo-chamber, designed by our fantastic produc- tion designer, Jon Carlos. e cryo-chamber released air/steam when opening and closing. It was decided we needed an extremely detailed MIB dummy to protect the actor and allow us to shoot tight over the shoulder shots. Creating a copy of actor Ed Harris was no small feat. Mr. Harris is a busy man, and we had no time to do a proper life cast or scan. Instead, Jason and his fantastic team at Autonomous FX, Inc. had to work from a less-than-ideal head scan that the visual effects department provided from a previous season. Detailed measurements and photos were taken at a costume fitting which would help Autonomous FX create a body in the exacting size of Mr. Harris. e head scan needed to be rebuilt in Zbrush based on measurements, including spacing between the eyes taken at the fitting. is file was then printed and re-molded for a re-sculpt for additional details and re-molded and cast in silicone. Aerward, an elaborate paint job was added to match the make-up Elisa Marsh had created for Mr. Harris as a human MIB. With hair and facial hair meticulously punched to recreate Ed's hair, brows, and stubble, our copy of MIB was ready for his body. To our surprise, he was actually used for a close-up, and no one is the wiser. We also created a detailed silicone head of Maeave (andiwe Newton), designed as a distressed husk of a buried host. e char- acter of Caleb (Aaron Paul) required dummies as well. One was a "reprinted" silicone-like copy to rise from our white "creation" fluid and one was a burnt version of his previous self. ese were created from past life casts, re-sculpts for positioning, and 3D prints, as the actors' busy schedule would not allow time for sitting for a new casting. Creating Character Bits Two of our main characters had recurring character prosthetic