Issue link: https://digital.copcomm.com/i/1546047
52 • THE ARTISAN FALL 2026 didn't want to feel the lace, so I thought it was important we punched an inch of the front hairline, as well as eyebrows. Autonomous FX, Inc. hair supervisor Anneliese Boise masterfully handled these duties with absolute finesse, as well as re-utilizing and re fronting Season 4's wig for a great transition. His application took two artists three hours to complete. For Wrenn's character, we sculpted a full cheek and neck wrap, overlapping forehead and finished off with a subtle upper and lower lip Pros-Aide transfer lip appliance and lace eyebrows. Her look took two artists three hours to apply. Complicating this look was how thin we kept the appliances for subtlety and movement purposes. Two other characters we are extremely proud of, as well for their Season 5 looks, were Kelly Baldwin (played by Cynthy Wu) and Aleida Rosales (played by Coral Peña). Cynthy started on the show playing a teenager and finished the show as a woman in her early 50s. This was accomplished utilizing eight thin Pros-Aide transfer appliances. So subtle that few knew she was wearing anything though she looked older, masterfully applied by Shelby Patton and Erin Koplow, as well as Garrett Immel throughout the season. For Aleida's look, we aged her with eight appliances, including the forehead, the elevens, eye bags, crow's feet, basal labials and a waddle appliance. All very subtle and very effective. For All Mankind has been one of the most challenging projects I've ever had. This could not be accomplished without great producers and showrunners who support and encourage us to do our best. Allowing multiple make-up tests and re-sculpts, we were given the room to do our best. Our support crew at Autonomous FX, Inc., Mike McCarty, studio supervisor, keeping us on track, Aaron Globerman on digital scanning and mold supervisor duties, Steve Haggiag on casting beautiful silicone appliances, Anthony Ortiz on casting Pros- Aide transfers, Eric Koo and Len Burge on sculptures and Madison Burger on design concepts. As we embark on our sixth and final season, I count myself lucky to have made great friends and have had such a wonderful opportunity to practice this craft! • Starting with detailed Photoshop designs of the character looks, we were able to incorporate hair and beauty make-up to give the producers a full idea of where we wanted to go each season. We then moved on to life casts for Season 3, then changed to hi-res detailed scans and printouts throughout the rest of the seasons. For Season 3, where we first introduced the aging looks, we knew we wanted it to be minimal. In addition to aging, we needed to be mindful that the seasons were in and of themselves period pieces taking place in the '80s, '90s, and so on. For the aging of the women, we needed to make sure that their hair and make-up needed to play nicely with the prosthetics, so we chose to create almost all of these season three looks with Pros-Aide transfer appliances, allowing us to keep the pieces low profile and to help with application times in the early mornings. Working with Erin, we found that a crossfade of Revlon Color Stay and Skin Illustrator airbrushing on the pieces did the trick, along with certain mineral powders (used selectively and carefully). Our goal from the outset was to make sure that the women looked to be aging naturally and gracefully by keeping up with the times and current make-up fashion. As we moved into Season 4, we progressed the looks further. We moved on to silicone prosthetics for Joel Kinnaman's character Ed Baldwin. Thinning out his hairline and moving it slightly back with a wig created by Department Head Hair Jean Webber allowed us to show more aging in his forehead. Nasal labials, a waddle and eye bag/crow's feet combo, completed the look with a hand-tied beard ventilated by the late Denise Leibee- Baer. We progressed other characters' designs further with Pros-Aide transfer appliances on Wrenn Schmidt (Margot Madison) and others as we pushed on another 10 years. For Season 5, we needed to progress two looks a lot further requiring full silicone and hand appliances on Joel Kinnaman and Wrenn Schmidt. For Joel, we broke the appliances down to a full neck and cheek wrap (eye bags and crow's feet included), overlapping forehead, chin and upper lip appliances. Silicone hand appliances utilizing the ever-lovely Steve Prouty's paper frame process helped to speed up application time! I really wanted to sell the thinning hairline and Garret Immel touching up Joel Wrenn Schmidt mid application Mid Application on Joel Kinnaman