![]() ![]() ![]() I once had a makeup artist complain that the edges were too thin and she could not actually apply them. If the super fine edges necessary for a natural blend should roll under themselves or get stuck badly then it will need to be fixed so the edges are not obvious.įine edges by their nature are beautifully thin but also difficult to handle and are easily damaged. Good application is essential as you can obviously make a bad job of applying a great prosthetic. This will reduce damage to the ‘live’ edge ( the actual edge that will finally be applied to the skin and blended) before the piece is needed. Preserving this edge until the last possible moment before application will enable you to handle the piece for painting or even application. Often, an edge known as flashing will still be attached by a thin membrane ( see image above – also note how the skin texture and bumps etc go right up to the edge as mentioned above). Notice how it is all but separated from the excess (or 'flashing') by a cobweb-thin membrane. An appliance with an edge like this is a joy to apply once you know how. This image shows just how thin a thin edge can be. Carefully getting the appliance out of the mould (de-moulding) is also an important skill to avoid damaging the edges. No good having a great, accurate and durable mould and then not actually getting a usable appliance out of it. Cast good appliances from your good moulds.Ĭasting well from your moulds is also important.Making sure any location keys work properly and avoiding undercuts is important too. In the case of a two-part mould with a core and a mould, the two must fit together perfectly, with no warping or distortion of the two parts to fit together. Not all situations warrant a huge appliance, so this needs to be weighed up and a balance struck.Ī good mould is essential, so that you get an accurate copy of the sculpture in reverse. This technique requires more skill to handle such a large appliance but can cut down application time considerably.Įdges can finish under costume or the back of the neck and there are fewer of them. The appliance around the face could have been made from smaller overlapping pieces, but I wanted to reduce the amound of blending edges. This silicone makeup used a large wraparound face appliance with seperate forehead, nose and ear appliances. For great edges that need to get close to a camera lens, here are the things that need to happen to get great blending edges on appliances… ![]() ![]() However, most situations require for the best blend possible and that is what we are concentrating on here. If the makeup is for a theatre production for example where close scrutiny is not so likely, then less than perfect edges are not so much of an issue. Whether visible edges are important or not depends on what the makeup is for. This can be hampered by an unintentional thicker edge and a noticeable colour difference between the skin and the appliance after application. Getting a flawless blend between the ‘fake’ of the appliance and the ‘real’ of the skin is where most of the work is in prosthetic makeup. That is where 99% of all prosthetic issues occur once the thing is applied. The point at which a prosthetic appliance stops on the skin creates an unavoidable edge ( if it does not then it is not a prosthetic any more, but a mask!) and the ideal situation is to blend that edge to nothing so you can’t see it. After much deliberation, my answer to you, Howard, and anyone else who is interested in great edges on prosthetics is in this post! I love this kind of question because it is simple, direct but makes me really think about the answer. This post is inspired by a great email I had from someone who emailed asking how one gets great edges on a prosthetic. Thus, by definition ‘ good’ edges are not noticed – if you do a good job of blending them, then they are not there to be seen. It’s only when you stop washing that it attracts any attention! Creating good edges is kind of like personal hygiene… ![]()
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