Issue link: https://digital.copcomm.com/i/1512433
THE ARTISAN WINTER 2024 • 39 I crafted nose plugs that reshaped Bradley's nose wings for a closer resemblance to Lenny. For comfort and flexibility, I 3D-printed the nose plug molds and used clear dental silicone for the final product. I then scanned Bradley wearing the plugs and integrated that data into the head cast. Before floating off any sculptures, I made sure to scan them for wig block creation. Most of the detailed work, like snap creation and positive mold crafting, was done using 3D scans and prints. During the course of pre-production and filming, Bradley shed a significant amount of weight. This posed a challenge, especially for the facial features like the cheeks and chin. Keeping this in mind, I always had the scanner handy on set. Anytime there were changes due to his weight loss, I'd scan Bradley, then I sent the updated data to Vincent Van Dyke's workshop. Their team would then print it out, create a plaster cast for sculpting, and make positive molds which they'd ship to New York. This workflow enabled me to re-sculpt new cheek and chin pieces during evenings and weekends. After finishing, I'd send them back to Vincent for the molding process. Having the scanner on hand proved to be a game- changer in saving time and ensuring accuracy. I designed five distinct stages to depict Lenny's evolving appearance over the years. For all stages, I incorporated vacuum- formed pieces to accentuate the ear helix and lobe. Stage 1 (1943-1946): Bradley had prosthetics for the nose, upper and lower lip, and chin. I used a silicone string attached to the wig clip, which I secured onto his temple hair, giving a subtle lift to the eye corners. Initially, his longer hair concealed the lifts on his cheeks, but Bradley opted for a shorter hair style. I experimented with various medical tapes to lift his jawline without tugging at his scalp. After some trial and error with different tapes, I settled on 3M Tegaderm. It was challenging to apply but allowed for stretching and compressing the skin. I used it from the mid- jaw to just in front of the ear, then blended and textured it using thickened PPI Beta Bond. Lori McCoy-Bell, the hair stylist, then applied the wig. Stage 1 Plus (1955-1957): This stage retained the original prosthetics but without the facelift. The wig was positioned slightly higher, and after its application, I added gray shading to the temples. Stage 2 (1967-1971): This stage introduced prosthetics for the