Issue link: https://digital.copcomm.com/i/1542690
34 • THE ARTISAN SPRING 2026 and her team, and custom dentures. Each application is painted entirely by hand and airbrush using translucent layers of Golden Ochre, pastel yellow, teak, light and dark mauves, and a custom beard stubble mix to recreate the subtle tonal shifts of real skin. For lace application, we use Super Baldies combined with a matting agent to ensure both secure wear and seamless edges. I prefer to airbrush my final seal with a Paasche H fitted with a #5 tip, applying a 60/40 blend of Final Seal and Bluebird Matte Sealer to create a soft satin finish that replicates natural skin sheen under camera lights. Throughout the shoot, we navigated a variety of practical gags, including water effects requiring hidden bladders and tubing concealed beneath the prosthetics—all of which Kevin and I fabricated in the trailer. In Episode 3, Chad's prosthetics became waterlogged during filming, presenting additional challenges that required careful repair and reapplication on the fly. Episode 6 offered one of the most rewarding moments of the season. During a scene in which Russ is shown being "made up" by his father and Danny, Kevin and I were actually applying and blending prosthetic pieces on camera while walking the actors and crew through the real application process. The producers were deeply invested in portraying the transformation authentically—avoiding the familiar "pull-over mask" trope—and it was incredibly fulfilling to help bring that realism to life. What made Chad particularly special to work on was how much of his personality lived in the details—the way the make-up transformed him into a goofy but lovable character and quietly reshaped how Glen moved and spoke. It was a reminder that good prosthetic work doesn't just change a face; it helps an actor morph into someone entirely new. When Glen is not in Chad prosthetics, he plays Russ Holliday. We apply Russ's tattoos using Top Guard for adhesion and seal everything with HookUp Tattoos Matte Sealer for durability and a natural finish. I also handle Glen's corrective make-up, using Clé de Peau Concealer where needed and subtly darkening his brows with Anastasia Beverly Hills Brow Powder. Ally Vickers Working with Glen Powell is always a pleasure, and Chad Powers marked our second project together involving disguises and wigs. One of the things I love most about working with Glen is how open he is to trying new ideas—no matter how wild they may seem. That kind of creative trust makes the design process not only smoother, but genuinely fun. Designing Chad's hair became a fluid, evolving process. From the beginning, we wanted Chad to feel like the polar opposite of Glen's other character, Russ Holliday—who would be flashy, edgy, and styled with frosted tips. Chad needed to feel softer, more natural, and unmistakably southern. Working closely with Vincent Van Dyke and Sasha Camacho Van Dyke, we explored a range of colors and silhouettes before landing on what became Chad's signature look: a warm "ginger biscuit" shade paired with a swooping side bang and a shaggy, razor-cut finish. The longer length and layered bangs gave the hair natural movement during drills and on-field antics, while the subtle mullet peeking from beneath his helmet added just the right amount of playful flair. Sasha created multiple wigs that endured intense wear on the football field and still held beautifully by the end of each shoot day. Seeing Chad Powers and Russ Holliday side by side confirmed that we had achieved exactly what we were after— two very different characters cut from the same cloth. On Chad days, whether on the field or Hair department gets to work Antoinette Black, Crystal Broedel and Ally Vickers. LuAndra Whitehurst working with Frankie A. Rodriguez.