Issue link: https://digital.copcomm.com/i/1545191
44 • THE ARTISAN SUMMER 2026 In closing, I would just like to say how amazing it was to be shooting in Los Angeles and how grateful I am to John Damiani, Jennifer Aspinall & every single artist we worked with. We had the best crew, such a talented, hardworking & generous group of people. ank you! JAKE GARBER & VINCENT VAN DYKE, PROSTHETIC MAKE-UP DESIGNERS: JG: In addition to Walton Goggins' make-up as e Ghoul, we now had a new challenge in creating Johnny Pemberton's new look as addeus. VVD: I was called upon for this design and prosthetic construction. We weren't sure what he would be turning into and what his subsequent "being" would be, but we pushed on in concept. JG: We did an initial test which was a bit much, so it was dialed back to three silicone prosthetics and some hairpieces. e three Jake Garber applying make-up to Walton Goggins as The Ghoul appliances consisted of a forehead, which went well behind his hairline and two sides of face. is make-up was a very exacting process due to the subtleness of his look, and I feel it is a much more challenging make-up than e Ghoul which is subtle, but more extreme. Any misstep in the application would become very apparent. Coloring was minimal and hand-painted with no airbrush use. e daily application was handled at different times by Vincent Van Dyke, Greg Funk, Gabriel De Cunto, and Scott Stoddard. VVD: We started this much like we did with e Ghoul, where we dive into sculpture straight away. After Johnny came into the studio for his scan, we went right into producing his master molds and castings for this sculptural exploration that myself and lead sculptor Daniele Tirinnanzi started on. ese looks consisted of a more extreme and a more subtle version—which led us down a path of the more extreme side of things. We explored this all the way through into a make-up test, which was determined to be a bit too much. Some resculpting was done and another test that myself and Greg Funk established to lock in his final look. We opted to keep his nose and around the mouth free. Everything was painted by hand and kept very subtle—matching a lot of Johnny with introducing subtle veining and discoloration. Lace brows and a lace front/ hairline created by Sasha Van Dyke finished the look off and was styled directly into Johnny's own remaining natural hair. JG: e pieces for Walton were the same as S1 with changes in the application steps to reduce his time in the chair. e nine prosthetics were applied in the following order: He first has a bald cap applied followed by a back of the head/neck/shoulder piece, then a top of the head. He has a right earpiece and then the front neck/chest pieces applied from his jawline down. A forehead/brow appliance went on next followed by a chin and upper lip piece. We would take a break at this point and finish up with the two sides of face pieces. VVD: We built those molds to last and sculpturally, there wasn't anything we wanted to change. So, we went right into production on his sets Elisa Marsh (left) applies make-up and Dennis Bailey (right) styles hair for Frances Turner as Barb Howard