CHAPTER 12 Three-Dimensional Makeup

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In modeling with paint, there was no attempt to make actual changes in the natural shape of the actor’s features but merely to give the impression that such changes had been made. Three-dimensional makeup involves actually building up parts of the body—usually the face, neck, or hands—with various materials, such as nose putty, derma wax, cotton, cleansing tissues, latex, gelatin, and liquid plastic. Molded latex processes will be discussed in the next chapter.

Nose Putty

Nose putty is used primarily for changing the shape of the nose (see FIGURES 12-1 and 12-2), though it does have other uses. An actor who settles for his or her own nose instead of the nose of the character is failing to take advantage of a particularly useful and relatively simple means of physical characterization.

The use of nose putty need not be restricted to fantastic noses or even to large ones. There are minor changes that can easily be made in order to give the actor a nose more suited to the character. Whether the changes are major or minor, the less putty you need to use, the easier the shaping and the blending will be.

BUILDING UP THE NOSE The first step in building up the nose—the easiest feature to change three-dimensionally—should be to make a profile sketch of the shape you want, bearing in mind that no matter what the shape or size of the addition, it must appear to be an integral, living part of the face. This means that whatever additions you make to the nose must give the impression of being supported by bone and cartilage and must be so carefully blended into the natural skin that it is impossible to tell where the real nose leaves off and the false one begins.

Once you have a clear plan firmly in mind and know exactly what you intend to do, applying and shaping the nose putty is not difficult, but it does require patience. This is the procedure:

1. Keep your sketch in front of you and use two mirrors to give you a profile view of the nose as you work.

2. Make sure the skin is free from all grease and makeup before applying the putty. Use 70% alcohol sparingly on an absorbent cotton swab to cleanse the skin.

3. Separate a small piece of putty from the mass and knead it with your fingers until it is very pliable. If the putty is too stiff and the heat of the hand does not soften it sufficiently immerse it in hot water for a few minutes or place it near a radiator or in a microwave oven for a few seconds. Although it is possible to soften putty by the addition of a small amount of cleansing cream, the method is not recommended. There is a tendency to add too much cream, resulting in a putty that loses its ability to stick, becoming too soft and mushy and quite unmanageable.

4. Stick the softened ball of putty on the part of the nose that is to be built up the most (FIGURE 12-2A), pressing it into the skin for good adhesion. If it does not seem to be securely attached, remove it, then paint the nose with spirit gum and let it dry before reapplying the putty. Or you can use both spirit gum and cotton under the putty, as described in the section on Derma Wax. To assist you in smoothing out the surface, coat your fingers lightly with K-Y Lubricating Jelly (not petroleum jelly) to keep the putty from sticking to them. If you have no lubricating jelly, you can substitute setting gel. (In case you have neither lubricating jelly nor wave set, a very light coating of cleansing cream can be used.)

5. Carefully blend the edges of the putty into the skin, shaping the nose as you work (FIGURE 12-2B). Use more lubricating jelly on your fingers if the putty sticks to them. Always confine the putty to as small an area as possible, being especially careful to keep it off areas surrounding the nose. If, in blending the edges, you tend to keep pulling the putty outward until it has spread well away from the area you want built up, blend in the opposite direction—towards the center of the nose.

6. When the blending is finished, you can make final adjustments in the shape. Using your sketch as a guide and two mirrors to check the nose from all angles, cover your fingers with more lubricating jelly and keep pressing, prodding, and massaging the putty until you have precisely the shape you want, always keeping in mind the image of flesh and skin over bone and cartilage. A final light massaging with lubricating jelly will help to eliminate unintentional cracks and bumps and give a completely smooth surface.

7. When the surface of the putty is smooth, the edges perfectly blended, and the lubricating jelly dried, stipple the putty with your black stipple sponge to give skin texture (see FIGURE 12-5K). Then, if the putty is lighter or less red than the skin, stipple it with rouge—dry rouge (applied with a damp sponge) or creme rouge (applied with either a stipple sponge or a flat red-rubber sponge). If creme rouge is used, powder it well, then brush off the excess powder. A method of giving three-dimensional texture to putty by using a small latex negative of a section of the surface of a grapefruit, orange, or lemon is explained in Chapter 13. The method uses the same principle followed in creating texture on plastic eyebrow covers, illustrated in FIGURE 11-25C and D.

8. Powder the nose, pressing gently with the puff. Remove excess powder with a powder brush.

9. Stipple the foundation color (preferably creme or grease) over the entire nose (see FIGURE 12-5I), using a natural sponge for cake makeup and a flat red-rubber sponge for creme or grease. If this does not adequately cover the putty area, powder, then stipple on more of the foundation color. If you are using dry cake makeup, it will probably dry lighter than the same makeup applied directly to the skin. For that reason, it is not the best choice of makeup to use over nose putty. However, the problem can sometimes be corrected by coating the light area with more lubricating jelly. The water-soluble jelly will mix with the makeup and dry with a slight waxy sheen. Powdering will counteract this. If the color matching is still not satisfactory, coat the problem area with rubber-mask grease, making sure to blend the edges of the grease thoroughly into the skin, then powder. If the color of the rubber-mask grease you are using does not match the foundation color you plan to use for the makeup, you can either use the rubber-mask grease for the entire makeup or cover it, after it has been powdered, with the foundation color you are using on the rest of the face.

10. For most characters, you will want to add rouge to the nares and other parts of the nose to give a more natural appearance. This can be done after the foundation coat has been applied or when the various colors of stipple or other finishing touches are being added. If it is done afterward, moist rouge can be stippled on, or dry rouge can be brushed on.

FIGURES 12-3 and 12-4 illustrate a variety of noses.

REMOVING THE PUTTY A thread can be used to remove the putty. Starting at either the base or the bridge of the nose, run the thread along the nose under the putty (FIGURE 12-2D), pulling the thread tight with both hands. This does not preserve the putty nose intact for future use—it is simply a more efficient way of removing the putty than pulling it off with the fingers. Any bits of putty remaining on the nose after the bulk of it has been detached with the thread can be removed by massaging with makeup remover until the putty is soft enough to be wiped off with tissues. Always do this gently in order to avoid irritation.

BUILDING UP THE CHIN Nose putty can also be used on other bony or cartilaginous areas, such as the chin, but it is seldom practical to do so. On this part of the face where there is a great deal of movement of the muscles, bubbles will very likely appear in the surface of the putty and ruin the effect. However, if you try this technique on the chin, follow the same steps suggested for building up the nose.

Derma Wax

Derma wax (see Appendix A) is softer than nose putty. It can be shaped and blended more easily, but it is also more easily damaged when touched than is nose putty and can loosen and fall off unless it is very firmly attached to the skin. Experiment with a variety of waxes from the different manufacturers. (Naturo Plasto Mortician’s Wax, from Alcone and Namies, has been used quite successfully.) Like nose putty, it should be confined to bony parts of the face. (See FIGURE 12-5.) For close work you may wish to blend the edges of the wax into the skin with alcohol and a soft brush.

Before using derma wax, apply a coat of spirit gum to the area of the skin to be covered in order to keep the wax from loosening. Let the spirit gum dry, then follow the same procedure as for applying nose putty.

COTTON UNDER DERMA WAX For still greater security, cotton fibers can be added to the undercoat of spirit gum before applying the derma wax, as follows:

1. Coat the nose with spirit gum. (FIGURE 12-5A.)

2. Tap the spirit gum repeatedly with your finger until it becomes very tacky. (FIGURE 12-5B.)

3. Place a layer of absorbent cotton over a slightly smaller area than that to be covered with derma wax (FIGURE 12-5C), then press the cotton firmly into the spirit gum.

4. When the spirit gum is dry, pull off all the loose cotton. (FIGURE 12-5D.)

5. Press a small amount of derma wax onto the cotton, and push it around firmly with one finger to make sure the cotton fibers are embedded in the wax. (FIGURE 12-5F.)

6. Press a ball of derma wax into the center of the wax which has just been applied (FIGURE 12-5G), and mold it with the fingers into the precise shape you want. (FIGURE 12-5H.) Be sure that the edges are well blended. Using lubricating jelly on the fingers makes the blending easier.

Makeup can be applied directly over the derma wax (FIGURE 12-5I), or the wax can be coated first with sealer (see Appendix A). If cake makeup is to be used, apply it directly to the wax with no coating of sealer. The makeup for the nose is completed in the usual way (FIGURE 12-5J through L).

DERMA WAX OVER NOSE PUTTY Derma wax can also be used over nose putty to provide a smooth surface and an imperceptible blend into the skin—not that this cannot be done with putty, but doing it with wax may be easier and in some cases can save time.

LATEX OVER DERMA WAX For greater protection than sealer will give to the surface of the derma-wax construction, latex can be used. This is the procedure:

1. Coat the wax construction with latex. This can be done with the fingers.

2. When the latex is dry, powder it.

3. Use a rubber-mask grease foundation over the latex.

4. If the wax needs texture or wrinkles, they can be added at this point by pressing the wax with the latex negative of a grapefruit skin or with the tip of a brush handle to give a skin-texture effect or with an orangewood stick or a modeling tool to form wrinkles. In doing this, be careful not to puncture or tear the latex skin that protects the wax.

5. Complete the makeup.

REMOVING DERMA WAX If the derma wax has been applied directly to the skin without any sort of adhesive, most of it can simply be removed with the fingers and the remainder wiped off with makeup remover and tissues.

If spirit gum has been used under the wax, an all-purpose makeup remover (which removes spirit gum along with the rest of the makeup) may work better. If it doesn’t, use some spirit-gum remover.

If you have used both spirit gum and cotton under the wax, you might do well, after peeling off as much of the construction as you can with your fingers, to remove the remainder with spirit-gum remover before using your regular makeup remover. If latex has been used over the derma wax, that can be peeled off first and the wax removed as usual.

Putty-Wax

A half-and-half mixture of nose putty and derma wax combines to some extent the advantages of each—the greater adhesives of the nose putty and the ease of blending of the derma wax. The mixture can be made up an ounce or so at a time by melting the two together in a double boiler or in the microwave (do not allow this mixture to boil). The mixture can then be poured into a container, cooled, and used as needed. If you are mixing only a small amount, it’s simpler to remove half the contents of a metal container of derma wax, add a piece of nose putty to the remaining half, and place the container in a shallow pan of simmering water. When the wax and the putty are both melted, they can be stirred thoroughly, then cooled.

Putty-wax (available from Mehron) is applied in the same way as nose putty. If it doesn’t adhere properly, use spirit gum or spirit gum and cotton under it. (See sections on NOSE PUTTY and DERMA WAX.)

Putty-wax has been used for the makeup in FIGURE 11-23.

REMOVING PUTTY-WAX Putty wax can be removed in the same way as derma wax. If spirit gum or spirit gum and cotton have been used under it, see the instructions for removal in the sections on Nose Putty and Derma Wax.

Silicone Putty

Developed for the film industry, this translucent putty (see FIGURE 12-6 and Appendix A) has excellent adhesive properties and easily blends into the surrounding skin. It stays flexible, holding surface texture and shape, and is not affected by heat or cold, thus avoiding the “melting” and rather sticky properties of putty and wax. It is used for buildups (noses, chins, etc.), cuts, gashes, and bullet holes. Silicone putty is manufactured in a variety of translucent colors that give a realistic skin-like appearance. Colors can be custom blended with the addition of cosmetic grade pigments (Bob Kelly), pressed powders, foundations, eyeshadows and cheek colors, flocking, and intrinsic silicone colorants (colors that are mixed into the product; see Appendix A).

Like nose putty and derma wax, silicone putty should be confined to bony parts of the face, hands, and body. Try this procedure:

1. To match skin tone, simply add small amounts of loose powder (or scrape the surface of pressed powders), fibers, or colorant to the putty, kneading between your fingers until the color is blended thoroughly.

2. Clean the skin thoroughly of all grease and makeup with absorbent cotton and 99% alcohol or an astringent or toner. Apply an appropriate amount of putty firmly to the skin, smoothing the surface and blending edges into the surrounding skin with your fingers (if needed, try applying spirit gum first for greater adhesion). There is no need to lubricate your fingers when working with this product.

3. Using a small, flat natural bristled brush, apply a small amount of silicone solvent to the edges. Brush carefully until the putty blends into the skin completely.

4. Adjust the shine of the putty with a very light application of a matte powder.

5. Adjust the color by adding light washes of extrinsic silicone pigments (colors painted onto the surface such as Factor II), Temporary Tattoo colors (Reel Creations, Inc., Temptu Body Art), or Dermacolor (Kryolan) diluted with 70% alcohol.

Silicone putty can also simulate cuts and bruises. Simply slice into or texture the surface of the putty with a palette knife, toothpick, or other appropriate object. Color as above and add blood as needed. To simulate bullet wounds, the putty can be sculpted or pressed into a plaster or vacuformed mold that has been lightly coated with a silicone mold release (see Appendix A) or petroleum jelly.

Gelatin

Powdered gelatin mixed with hot water provides an efficient means of creating such three-dimensional effects as moles, warts, wounds, scars, and welts (see FIGURE 12-20) that do not require great precision in modeling. The mixture makes a very thick liquid that solidifies as it cools. That means that you must work rapidly, for once the gelatin has congealed on the skin, it cannot be reshaped—unless, or course, you add more warm gelatin. If that does not give you the effect you want, you had better peel it off and begin again. Makeup can be applied to the congealed gelatin along with the rest of the face. The recipe, application procedure, and coloring techniques for prosthetic gelatin are discussed in Chapter 13.

Latex

Natural rubber latex is the sap harvested from the rubber tree. Ammonia, the smell with which it is commonly associated, is added as a preservative to help keep it from decomposing and coagulating. There are different types of latex developed for different purposes. Natural, prevulcanized latex without any fillers is often called pure gum latex or balloon rubber. This type makes thin translucent products such as balloons, rubber gloves, and condoms. It is not recommended for brushing or slushing into molds. Other prevulcanized latexes contain a variety of thickeners and fillers designed to either build up layers inside a mold or to be painted on in heavy layers to form thick rubber molds. When purchasing latex, be sure to describe exactly what kind of product and process you are planning in order to receive the appropriate one.

Adding color to latex, whether it be bright colors or fleshtones, will assist you in applying makeup or color to the finished piece. Latex, in a color that closely matches the final skin or surface tone will require less makeup and provide a more even coverage. Sold in tubes and purchased from your local paint or hardware store, universal colorants or tinting colors are generally used to color interior and exterior house paints. They can be thinned with distilled water (regular water may upset the pH balance and cause some gellation of the rubber) and used to color the latex. Poster paints mix well without harming the latex, but a generous amount is needed to produce even the lightest of colors. The best colorants are pigment dispersions, specifically manufactured to color latex. (See Appendix A, Latex.) Latex can also be tinted with a few drops of food coloring (use mostly yellow, some red, and a tiny bit of blue). When coloring liquid latex, remember that it turns darker when it dries.

You could also choose to simply use pre-tinted latex from the manufacturer in order to provide a foundation color. When using tinted latex, remember that it turns much darker after it dries.

Liquid latex (see Appendix A) can be used for casting in plaster molds (see Chapter 13) and for painting on flat, smooth surfaces (glass, for example) in order to create pieces, such as welts and scars, that can be transferred to the skin after the latex has dried (see FIGURE 12-25); and for applying directly to the skin to create three-dimensional wrinkles and skin texture. When using latex on the skin, use only the type that is intended for that purpose. Because latex can be irritating to some skins, it is advisable to test the skin first for allergic reactions. If latex causes irritation or feels as if it is burning the skin, don’t use it, or try another brand or another technique that does not involve applying latex directly to the skin. You may also try applying a skin barrier (Barrier Spray by Mehron, Aquacream by ADM Tronics, Top Guard by Premiere Products, Inc.; see Appendix B).

One method of using latex for aging is to apply clear latex (which is white when in liquid form but dries clear) over an age makeup. If you use creme makeup or greasepaint, use as little as possible, set it with translucent powder, and spray with a sealer (Sta-Spray and Sealer by Joe Blasco, Final Seal by Ben Nye). If you use cake makeup, which is water-soluble and tends to mix with latex, again spray with a sealer to avoid smearing the makeup. Then, working on one area of the face at a time, pull the skin tight with the fingers and, using either a red-rubber or a foam latex sponge, stipple the latex over the completed makeup. When each area is dry, dust it with powder, then release the skin, which should form wrinkles. If you want deeper wrinkles, apply additional coats of latex in the same way. When the entire face has been covered, the makeup can be touched up with rubber-mask grease, greasepaint, creme makeup, or makeup pencils (provided you have suitable colors). When using makeup other than RMGP, the latex must be stippled with a light coating of castor oil to protect it from the cosmetic oils.

If you prefer, you can simply apply the latex first, then add any makeup that seems appropriate.

Latex can also be used to age the hands. But if the hands are hairy, either shave the hair first or make absolutely certain that the hairs are protected from becoming embedded in the latex, for that would almost certainly result in a good many of them being removed with the latex after the performance. To protect the hairs, coat hairy parts of the hand with spirit gum first, making sure that all of the hairs are embedded in the spirit gum, which should then be allowed to dry before the latex is applied.

Before applying the latex, stretch the skin tightly by making a fist. Then the latex can be applied, allowed to dry, and powdered. When the hand is relaxed, wrinkles will form. In FIGURE 12-7 the hand was aged first with cake makeup, sprayed with sealer, then wrinkled with clear latex. For deeper wrinkles, use several coats of latex, making sure that each coat is dry before applying the next. Drying time can be shortened by using a hair dryer.

Before applying latex to the faces of women and girls or boys of pre-shaving age, it is important to consider the fact that facial fuzz will become embedded in the latex, which will cause considerable discomfort and irritation on removal. Unfortunately, applying a barrier such as petroleum jelly or a light coating of creme make-up will cause the latex to eventually separate from the skin, defeating the purpose. If shaving is out of the question, try coating the hair with spirit gum as mentioned above.

Plastic Film

Liquid plastic film can be used in the same way as clear latex. But make sure you use the plastic film intended for application directly on the skin (see Plastic film in Appendix A). The liquid dries very quickly—a considerable advantage.

Old Age Stipple

Dick Smith has created a remarkably effective latex stipple for aging the skin. This is the formula: (1) Place 90 grams of foam latex base in an 8-ounce paper cup. (2) In another paper cup mix together 10 grams of talc U.S.P., 6 grams of pulverized cake makeup of whatever shade you want for the makeup, and 1 teaspoon of plain Knox gelatine. (3) Stir 3 tablespoons of hot water into the powders, one at a time, until they are dissolved. (4) Stir the solution slowly into the latex, then pour the mixture into glass jars. (5) Place the open jars into hot water for 10 minutes, and stir occasionally. (6) Cap the jars and keep them refrigerated until needed. (7) To prepare the mixture for use, heat a jar of the mixture in hot water until the contents become liquified. (8) To use the latex mixture, stipple it over the stretched skin, and keep the skin stretched until it is dry and has been powdered.

Old Age Stipple (Kryolan, RCMA), Wrinkle Stipple (Ben Nye), and Old Skin Plast (Kryolan) are available in a variety of skin tones. It can also be painted with sheer layers of rubber-mask greasepaint (RMGP, also called appliance makeup) and creme and cake foundations (cake and creme foundations may be mixed with castor oil or GP-20 for a smooth, sheer application of color). Apply as usual: stretch the skin; stipple latex onto the skin; dry thoroughly; powder, then release, and apply makeup. (See FIGURES 12-8 and 12-9.)

Another recipe for old age stipple combines the water-based adhesive Pros-Aide with Liquitex Matte Medium. Stretch the skin and stipple as recommended in the previous paragraphs. Adding a high grade of cosmetic talc to help bulk up the recipe will assist you in building up layers. Thinner solutions will produce finer wrinkles; slightly thicker solutions will produce larger and deeper wrinkles. This formula is nearly transparent, will dry with a slight shine, and will remain tacky to the touch. It should be lightly powdered. Because of this natural transparency, it can be applied over a powdered foundation for a natural-looking aging technique.

Latex and Tissue

This technique involves the use of liquid latex and cleansing tissue (FIGURE 12-10). It is usually best to cover the whole face with tissue in order to avoid unnatural contrasts in texture between the tissue-covered wrinkles and the relatively smooth skin. This is the procedure:

1. Be sure the skin is clean and dry. Then use a non-irritating liquid latex to paint the area to be wrinkled. Avoid getting latex into the hair, eyebrows, eyelashes, or beard. If the eyebrows are to be covered, block them out first by one of the methods suggested in Chapter 11 so that there are no free hairs. Then they can be safely covered with latex. If there is fuzz on the face, either shave first or else lightly cover the skin with creme foundation, powder it, then apply the latex, but remember that this can contribute to loosening of the latex during the performance. You may wish to use a skin barrier first.

2. Tear (do not cut) a single thickness of tissue to the approximate size and shape of the area to be covered, pull the skin tight with one hand, and with the other apply the tissue to the wet latex. For the area around the mouth, a broad smile will probably stretch the skin sufficiently. For best results, work on only a small area at a time.

3. Paint another layer of latex over the tissue and let it dry or force-dry it with a hair dryer.

4. Release the skin and powder the latex. Wrinkles will form.

5. When all of the latex work is finished, color the surface by using one of the following methods: (1) stipple (do not rub) the surface with rubber-mask greasepaint; (2) paint a very thin layer of castor oil onto the surface, then stipple with regular creme foundation; (3) stipple with PAX paint (see Appendix A). If you have used a fairly dark latex, apply a lighter foundation color, catching only the tops of the wrinkles, leaving the darker latex showing through in the creases or tiny depressions. That will emphasize the texture as well as the wrinkles that have formed. Stippling with various colors of paint will produce a more natural effect.

6. Complete the makeup as usual with highlights, shadows, and powder. In order to take advantage of the texture, keep the shading subtle. Touch-ups can be done with makeup pencils if you wish.

The latex can be peeled off quite easily after the performance.

If you want to build up parts of the face when using this technique, it can be done with either derma wax, putty-wax, nose putty, or silicone putty. It is best to keep the addition small, and care should be taken to blend it smoothly into the skin. The following method can be used:

1. Apply small amounts of putty or wax directly to the skin for jowls, nasolabial folds, etc. Avoid building up the mouth area if possible, and be sure to blend the wax or putty smoothly. Use spirit gum first if you prefer. If you use putty or wax on the nose and tissue on the rest of the face, be sure to give the nose some texture by pressing the surface of the putty or the wax with a grapefruit rind or by stippling with a black plastic stipple sponge or a stiff-bristled brush to create tiny holes in the surface.

2. Follow the directions above for applying latex, tissue, and color.

In removing the makeup, peel off the latex. Most of the wax or putty will probably come off with it. Then use any good makeup remover. If you have used spirit gum first and it does not come off with your makeup remover, use spirit-gum remover or alcohol.

Should the actor perspire excessively or if there is considerable muscle movement, the latex and tissue technique may work itself loose from the skin. A solution to this problem is to use spirit gum as an adhesive.

Spirit Gum, Tissue, and Latex

1. Avoiding the eye area, coat the stretched skin with a good spirit gum, first letting the gum become tacky (or inducing tackiness by tapping the gum rapidly with the finger as described earlier and illustrated in FIGURE 12-5B). Use old age stipple around the tender eye area.

2. Stretch the skin and apply single thicknesses of tissue that has been torn, not cut. Avoid straight edges. If you want to push the tissue into deeper wrinkles than those that will form naturally, do so at this point. Let the spirit gum dry or force-dry it with a hair dryer.

3. Stretch the skin again and apply a coat of latex. Let the latex dry or force-dry it with a hair dryer before releasing the skin.

4. Powder the latex.

5. Complete your makeup as suggested above (step 5, LATEX AND TISSUE).

The makeup can be removed by brushing spirit-gum remover along the edge, then pulling the layers of tissue and latex up gradually, brushing with remover as you go in order to loosen the spirit gum.

Latex, Cotton, and Spirit Gum

In FIGURE 12-11 latex, cotton, and spirit gum have been used for the abnormal, leathery skin of the young Elephant Man, whose eyes alone reveal his youthfulness. This is the technique:

1. Paint the skin with spirit gum, working on one section of the face at a time (remember to avoid painting the eye area with spirit gum, choosing instead the Age Stipple technique). The forehead is a good place to start. (See FIGURE 12-11A.) The eyes or the mouth can be done last. If you cover the eyebrows, flatten them out first with Kryolan’s Eyebrow Plastic, Special Plastic, or derma wax so that they will not get stuck in the latex.

2. Tap the spirit gum with your finger until it is tacky, then lay on absorbent cotton (FIGURE 12-11A through E) and let the gum dry. Be sure the fibers follow in the direction you want the wrinkles to go—that is, vertically over the mouth, almost vertically down the cheeks, and horizontally on the forehead.

3. Pull off most of the cotton (FIGURE 12-11F). The less you leave on, the less pronounced the three-dimensional effect will be.

4. Cover the cotton with latex, using your finger rather than a brush. This step should be done with the skin tightly stretched. Avoid getting latex into the hair, eyebrows, eyelashes, or beard! Only one section of the face should be done at a time. The mouth can be stretched with a broad smile, which must be held until the latex is dry. The skin of the cheeks can be pulled taut with the fingers (FIGURE 12-11L). A hair dryer can be used to speed the drying. When the latex is dry, release the skin, and it will fall naturally into wrinkles (FIGURE 12-11M).

5. If the eyebrows are covered, crepe-hair or ventilated eyebrows (see Chapter 14) can be attached with latex or spirit gum.

6. When all of the latex work is finished, choose one of the following methods introduced in step 5 under LATEX AND TISSUE: (1) stipple (do not rub) the surface with rubber-mask greasepaint; or ( 2) paint a very thin layer of castor oil onto the surface, then stipple with regular creme foundation; or (3) stipple with PAX paint (see Appendix A). Stippling with various colors of paint will produce a more natural effect. Be sure to finish this dimensional makeup with subtle highlights and shadows. With a velour puff, press a generous amount of powder into the grease and creme makeup, then remove the excess with a powder brush.

Most of the makeup can be peeled off, but be-cause of the undercoat of spirit gum, it will peel less easily than latex usually does. The remainder of the gum can be cleaned from the skin with spirit gum remover or 70% alcohol. In pulling the latex off and in dissolving the spirit gum, be extremely careful around the eyes and the eyebrows. To avoid pulling hairs out of the eyebrows, pull very slowly and brush a little alcohol or spirit gum remover into them as you go.

This technique can also be effective on the hands (see FIGURE 12-12).

Cornmeal, Wheat Germ, or Bran with Latex and Spirit Gum

In order to give the skin a rough texture, with or without wrinkling, cornmeal, wheat germ, or miller’s bran (FIGURE 12-13C) can be used with the latex. This is the procedure:

1. Apply spirit gum to the skin and allow it to become tacky or induce tackiness by tapping the gum rapidly with one finger.

2. When the gum is sufficiently tacky, cover it with cornmeal, wheat germ, or bran. This can be done with the hands. Do not try to apply it with a tissue; the tissue will tend to stick to the spirit gum and tear, leaving small pieces that may be difficult to remove. If you want the skin to look wrinkled as well as rough, stretch it before applying the cornmeal, wheat germ, or bran.

3. Apply latex with the skin stretched or not stretched, as you prefer, and let it dry or force-dry it with a hair dryer. It is also possible, when using cornmeal, to mix it with the latex before applying it to the skin.

4. Complete the makeup as in step 5 under LATEX AND TISSUE (FIGURE 12-13C).

Bran and latex, appropriately made up, can also be used to simulate wounds, growths, or diseased conditions of the skin.

When applying makeup to the hands be sure to carry the makeup far enough up the arm to be covered by the sleeve of the costume.

Special Constructions

The constructions that follow can all be made by direct methods. Some of them might also be done with the molded latex technique discussed in the next chapter.

BLACK EYE A black eye involving only swelling and bruising can be simulated with paint. It may involve only the orbital area or the cheekbone as well. In either case, it changes color as it ages. There is more red at first, but then the inflammation subsides, leaving a deep purple color (giving the “black” effect), medium or dark gray, and the greenish yellow color typical of bruises which are no longer inflamed.

The various stages of a black eye can be simulated by mixtures of red, purple, black, white, and greenish or lemon yellow (try Ben Nye bruise wheels and Kryolan 24-color Dermacolor palette). The purple can be deepened with black, and if the mixture is not red enough, red can be added. Or it can be stippled with black and red. Black and white can be mixed for the gray. For the yellowish tinge, lemon yellow can be mixed with just a little light gray (white with a touch of black) or stippled with light gray. All of the color can be applied with a brush or with a small black stipple sponge.

If the cheekbone is to be involved, you can highlight it just below the corner of the eye. The area immediately below the eye (including the lower lid) and the superciliary bone above the outer corner of the eye can also be highlighted. For light-skinned characters, white can be used for these highlights and stippled down later. For dark-skinned characters, it would be better to use a color a few shades lighter than the base. Gray shadow can then be stippled below all of the highlights and in the eye socket. Purple and black stipple can be added when appropriate. The shape of the darkened area will usually be a somewhat irregular oval. All edges of both highlights and shadows should be kept soft.

To begin, choose a bony area of the face above or below the eye as the impact point. This point can easily be highlighted creating the illusion of swollen skin (remember, light colors protrude while dark colors recede). Then, take your stipple sponge and cut it into several different shapes, some pointed, some rounded off. Take the pointed stipple sponge and apply a small amount of red to the bruised area. Do not make it a solid color! Using another sponge, stipple purple in a smaller area around the point of impact, overlapping the red in some areas (a fresh bruise is more red and pink in color so use the purple judiciously). Now, take a clean latex sponge and lightly blend the colors out in feather-like strokes creating streaks and swirls giving the appearance of interesting patterns of broken blood vessels. Blend the two colors together in some areas, leaving them separate in others. You can, at this point, repeat the previous steps to intensify the colors. When you are finished, powder the bruise with translucent powder and brush away any excess. Then mist over the entire area with water (i.e., Evian aerosol spray) to reduce the powdery look and bring out the natural-looking colors.

Fresh bruises are mostly pink and reddish in color, turning purple and red, then purple and blue as they get older. The next stage is slightly greenish, then it turns yellow and finally disappears as the blood pigments are absorbed gradually into the bloodstream. To make the older bruise, simply follow the same steps using more purple and blue, adding green and yellow around the edges.

BLINDNESS The actor can usually suggest blindness by keeping the eyes nearly closed (see the photograph of Helen Keller, FIGURE 12-14K). For blindness involving disfigurement of the orbital area, you might cast a blind eye and make a molded latex, gelatin, or silicone piece from it (see Chapter 13 for casting methods); or if you have a plaster cast of the actor’s head but don’t have time to cast the blind eye, you could model a blind eye on the cast in clay, then paint latex over the clay. Although that would not have the texture or the detail of a cast piece, it would give you a molded piece that would fit the actor.

Whatever kind of piece you use, it should, of course, be appropriately painted or made up. For an open, staring eye, for example, or even a partially opened one, you might paint the eye on with either makeup or acrylic paint or for a more “real” look, order a glass eye from a special effects makeup supplier (Alcone, Burman’s, Factor II) or from your local taxidermist. You might even glue on false eyelashes. To enable the actor to see through the eye, a hole could be cut into the piece and gauze glued to the back, then painted to conceal it.

BRUISES Even when accompanied by swelling, a bruise can usually be simulated with paint. (See FIGURES G-22, G-23, and G-24 in the color section.) For light-skinned characters, red, gray, purple, greenish yellow, and light cream or ivory can be used. The fresher the bruise, the more red; the older it is, the more yellow. For darker-skinned characters, the colors should be adjusted to the color of the skin. The color being used can be either dabbed on the bruised area and then blended together with a brush, or stippled on. In either case, make sure that all edges are soft. If the bruised area is to be very swollen, you may want to build it up first with derma wax, silicone putty, or gelatin (gelatin kits are available from Kryolan, Ben Nye, Paramount; for gelatin recipe, see Chapter 12, Welts.)

BURNS Minor burns can be simulated by stippling the skin with red makeup applied with a red-rubber sponge. For deeper burns, coat the skin with latex, which can be pulled loose and allowed to hang if you want it to. A single layer of cleansing tissue placed over the latex and then covered with another layer of latex will give more body to the hanging skin. Cotton can be used with the latex for burnt flesh. Makeup can then be applied over the latex. For close work try some of the following commercially available products: RCMA, Blister and Scar making material; Kryolan’s, Tuplast; Art Anthony’s, Flesh Putty; and any of the gelatin products mentioned under bruises.

CUTS Superficial cuts can be painted on, with or without the use of artificial blood. Deeper cuts usually require building up the area with wax or putty, then cutting into it with a dull instrument, such as a palette knife (FIGURE G-23). Plastic sealer can be painted over the construction at this point if you wish.

The inside of the cut can be painted red with greasepaint. For a cut that is still bleeding, a few drops or even a stream of artificial blood can be added to the cut with an eye dropper and allowed to run out onto the skin.

In some areas, such as the neck, where building up with putty or wax may not be practicable, latex can be painted directly onto the skin and allowed to dry thoroughly. The skin can then be pushed together into a crease in the middle of the strip of latex. The latex will stick to itself, forming a deep crease (FIGURE G-22) that can be made to look like a cut with the addition of red makeup. Blood may or may not be running from the cut.

For a horizontal cut in the throat, be sure to use a natural crease in the skin if there is one. Pinching of the skin is not recommended but is sometimes done.

EARS If you are making up such characters as sprites, leprechauns, devils, or aliens it may be necessary to make pointed ears. Although molded latex pieces (see Chapter 13) should be used for close work, the following simple, direct construction can be used in an emergency:

1. Sculpt a pair of ear tips using Roma Plastilina. Check for correct scale, shape, and proper fit by periodically setting them on the actor’s own ear.

2. Paint four to six layers of liquid latex onto the surface (this depends upon the quality and type), allowing each layer to dry completely. The final two layers should be stippled on with a piece of red sponge to simulate skin texture. Edges should be feathered to allow for a smooth transition between the latex ear tip and the actor’s ear. A thick, straight edge would be very difficult to disguise.

3. Attach the tip with appliance adhesive, or water-soluble spirit gum (this type of spirit gum is easily removed).

4. Paint with RMGP (rubber-mask greasepaint) and powder.

EYELID, ASIAN (For real Asian eyelids see FIGURES 11-17U, 11-19, 11-20.) If the eye is so deepset as to make it difficult or impossible to create the effect of an Asian eye with paint, and if a latex eyelid (Chapter 13) is not practicable, a satisfactory effect can usually be achieved with adhesive tape. The choice to include as highly a stylized makeup as Asian eyelids in the overall production concept must be made with the consideration of the entire company. This is one method:

1. Tear or cut slightly over 2 inches of tape from a roll at least 1-inch wide. This tape is represented by the broken line (A) in FIGURE 12-17.

2. Mark and cut as shown by the heavy lines (FIGURE 12-17B). This forms the eye opening and rounds off the upper edges so that the tape will be easier to conceal. (It is best to make a paper pattern first, then mark the tape.)

3. Cover the area indicated by C with makeup on the back of the tape. This gives a nonsticky area over the actor’s own eyelid.

4. Attach the tape (usually slightly on the diagonal) so that the top falls just below the natural brow and covers the downward sweep of the outer end (FIGURE 12-18A). In order to prevent the eyebrow appearing to be cut off too abruptly, lift a few hairs from under the tape and let them fall on the outside. Stipple the edges of the tape with latex cream adhesive to help conceal them.

5. When the latex is dry, cover the tape and the skin with foundation color (FIGURE 12-18B), and finish the makeup. If you are using cake makeup, cover the tape and a little of the skin around it with grease or creme makeup first; powder; then apply the cake makeup. In order to counteract the flatness of the tape, shadow the lower edge and highlight the center to give a puffy effect (FIGURE 12-18C).

The cutting of the tape can be greatly simplified by cutting 4 inches instead of 2, folding it double, sticky sides together, marking and cutting either side, then separating the two pieces. This will ensure that both eyes are exactly alike. If you place a piece of waxed paper between the two sticky sides, you will have no trouble getting them apart. Be sure the tape is not uncomfortable, that it does not interfere with the normal action of the eyelid, and that the actor can see without difficulty.

It is also possible to make Asian eyelids with liquid plastic, using the technique described in the following section for making sagging eyelids. The main point of difference, aside from the change in shape, is that when the tab at the bottom (corresponding to A’ in FIGURE 12-19A) is folded up to create the almond-shaped opening for the lid, it will have to be clipped in several places in order to give a smooth curve.

A simpler tape construction can be used with equal effectiveness on certain eyes. This consists of a crescent-shaped piece of adhesive tape, the outer edge of which is attached to the side of the nose and under the inner end of the eyebrow. The inner edge of the crescent (which should be very nearly a half moon) hangs free. The purpose of the piece is to conceal the deep depressions (plane A, FIGURE 11-14) that are normal to the Caucasian eye.

EYELID, SAGGING A sagging eyelid (FIGURE 12-19) can be constructed in much the same way as an Asian eyelid, except that the tape should slant down from the inner end of the eyebrow to the outer corner of the eye. The upper edge of the tape can correspond exactly to the bottom of the natural brow; or the tape can be used to block out part of the brow, and a new brow can be glued onto the tape or attached to the skin above the tape. The projection (A’) is folded under, along the dotted line, before the tape is attached to the skin. This gives the appearance of a fold of flesh.

Plastic film (see Appendix A) can be used instead of the tape in constructing the eyelid and is much preferred since it has greater flexibility, is less bulky, and has thinner edges. The piece shown in FIGURE 12-19C can be cut from a sheet of plastic film or formed by painting liquid plastic (see Appendix A) onto glass to conform to a pattern of the piece placed under the glass (FIGURE 12-19B).

The advantage of this method is that edges can be kept very thin, whereas the center portion can be given more firmness with additional coats of plastic. Since many coats of plastic may be needed to give the desired thickness, dropping the liquid plastic onto the area to be built up instead of brushing it on will speed up the process.

When the plastic piece is dry, it should be powdered, then removed from the glass (see discussion under SCARS and WELTS.) The tab (A’) should be folded under and glued down or secured with translucent plastic tape (see Adhesive Tape in Appendix A). The piece can then be applied with spirit gum. Before pressing it down into place, make sure that it is exactly where you want it. If you want to experiment first with various placements, coat the edges of the plastic with stubble adhesive (see Appendix A). The piece will then adhere temporarily to the skin. This experimentation should be done before any makeup is applied to the area.

In experimenting with the placement, try it with various expressions, such as a frown or raised eyebrows.

If any reshaping of the piece is necessary as a result of this experimentation, it can be done before the spirit gum is applied. Should this trimming result in any thickened edges, they can be thinned by placing the piece on the glass and brushing the edges with acetone until they are thinned down.

Makeup can then be applied as usual. As with any prosthetic piece, never use this eyelid for a performance unless it has first been worn for at least one entire rehearsal—preferably more.

Clear latex can be used in essentially the same way and builds up more quickly, though it may take longer to dry. If you plan to use the eyelids for a number of performances, making molded latex eyelids (see Chapter 13) is much more efficient.

FINGERNAILS Long fingernails can be cut out of used photographic film or sheets of acetate and glued onto the natural nails with spirit gum. They can be colored with nail polish or paint. Ready-made false fingernails, if they are long enough, provide a simpler solution to the problem.

MOLES (FIGURES 12-20 and 12-21.) These raised and sometimes hairy spots on the skin can be created with such materials or combinations of materials as derma wax, gelatin, cotton and spirit gum, gelatin and alfalfa or chia seeds, latex, and wheat germ. They can be formed directly on the skin before any makeup is applied or they can be made on any convenient smooth surface and attached with spirit gum after they have solidified. They can be appropriately colored when the rest of the makeup is applied. If a mole is to be hairy, the hairs can be embedded in the material as the mole is being made. If the mole is to be small and smooth, a few drops of latex can be transferred to any flat glass or other smooth, nonabsorbent surface with an orangewood stick, a small glass rod, or a brush handle and then allowed to dry. The latex must be thick enough so that it will not spread out when it touches the surface. And it must dry completely before it can be used.

Since gelatin has a natural, flesh-like appearance, it is likely to require less makeup than other materials and may sometimes require none at all. When color is needed, powdered rouge or scrapings from cake rouge, cake eyeshadow, or cake makeup foundation can be added to the powdered gelatin before the hot water is added, or the gelatin mole can be touched up with cake eyeshadow, creme shading colors, or light, medium, or dark brown eyebrow pencils.

Moles can also be made by mixing liquid latex with alfalfa or chia seeds (and with scrapings from the top of an appropriate shade of brownish cake makeup if you want the mole to be colored), then pouring or spooning enough for one mole onto glass (or other smooth surface) and letting it dry. When it is dry, the top of the mole should be powdered, but the bottom must not be. If you want to attach the mole directly to the skin before applying any makeup, brush a spot of clear latex onto the skin and let it dry. Then carefully lift the mole off the glass with tweezers and press it onto the spot of dried latex on the skin.

PERSPIRATION AND TEARS The effect of perspiration can be created by applying glycerin, Kryolan’s Sweat, or Paramount’s Glycerian over the finished makeup. These products can be applied with the fingers, with a stipple sponge, or with a manual spray bottle.

Tears, if unable to be produced by the actor, can be induced by either rubbing menthol under the eyes or by blowing the vapors into the eyes through a tube using menthol crystals (available at Namies or your local pharmacy).

PIMPLES Although pimples can be created three-dimensionally with latex, derma wax, sesame seeds, etc., they can also be painted on with tiny highlights, shadows, and creme rouge.

If there are to be a lot of them, and the whole area that they cover is to be reddened, the reddening can be done first by stippling, to whatever degree is appropriate, with a somewhat muted creme rouge. In order to determine the appropriate shade, observe the color of real pimples. The pimples, varying in size and irregularly placed, can then be modeled with highlights and shadows, using a very small brush. If, after the makeup is powdered, the pimples need toning down, that can be done with additional stippling, either with the creme rouge or with the foundation color, whichever is more appropriate.

For a single pimple or a few fairly large pimples, begin with a round, reddish spot a bit larger than the raised portion of the pimple in order to create the effect of an inflamed area around the pimple. To create the raised portion of the pimple, place a small, round highlight in the center of the reddish spot. Then, with a tiny brush, shadow around the bottom of the highlight as if you were modeling a sphere. The edges of all three colors in the pimple must be soft. Unless you are using cake makeup, the pimple or the pimpled area should, of course, be powdered.

SCABS Scabs can be made directly on the skin with derma wax, spirit gum and cotton, or gelatin. When gelatin or spirit gum and cotton are used, the scab can be made on any smooth surface (glass, marble, formica) and, when it has dried, attached to the skin with spirit gum. Or it can be made directly on the skin. It can be appropriately colored either before or after it has been applied. Scabs can also be cast in latex and attached with spirit gum. (See Chapter 13.)

When gelatin is used to make the scab, the gelatin can be colored by adding various shades of dry rouge and cake makeup (especially browns and deep reds) before it is applied to the skin. Additional coloring can be added, if necessary, after the gelatin has solidified. When derma wax is used, spirit gum and cotton should be applied to the skin first—unless the skin is hairy, in which case the cotton may not be necessary. Or spirit gum and cotton can be used without the derma wax. In either case, coloring is added after construction of the scab has been completed.

Scabs can also be made by first painting the area of the scab with latex, then immediately placing a pinch or two of Red Zinger tea on the wet latex and letting the latex dry. Use a soft brush to remove any of the tea that is not anchored in the latex. For a thick scab, use more latex so that more of the tea will adhere to it. Or if you find, when the latex has dried, that the scab is too flat, simply paint on another coat of latex and add more tea. If the scab isn’t exactly the color you want, touch it up with creme makeup colors and powder it.

With all of these direct methods, any hairs on the skin will become embedded in the artificial scab, as they do with real scabs, and will help to hold it in place.

Fresh scabs will often begin as areas of coagulated dried blood. They are nearly black in color at the center and appear more red at the edges. Choose a dark red blood product that dries with a slight sheen (try Fabulous sun burn gel at Cinema Secrets, K.D. 151 Blood, see Appendix B). Build up several layers at the center, blend the edges slightly to reveal the red coloration and let dry completely. Finish with a spray sealer or spray bandage.

SCARS The traditional method of creating scars of the type illustrated in FIGURE 12-21D, F, and I is to paint the area to be scarred with nonflexible collodion before any makeup is applied. As the collodion dries, it will wrinkle and draw the skin. If the scar is not deep enough, successive coats can be applied. Each coat should be allowed to dry completely before another is added. The makeup is then applied as usual.

A better method is to use cake makeup as a foundation and apply the collodion over it. Makeup may or may not be needed over the collodion, depending on the effect you want. For additional protection to the skin, apply cleansing cream, moisture cream, or any good skin cream to the skin first, then wipe off the excess before applying the cake makeup. Avoid using collodion close to the eye.

For recent scars that still retain a bit of red or pinkish color use pigmented collodion (Collodacolor by Michael Davy, see Appendix B).

Collodion scars can be peeled off or removed with acetone. Because dermatologists consider this prolonged creasing of the skin undesirable, this method of making scars cannot be recommended. In addition, collodion may irritate the skin, though applying the collodion over the makeup rather than directly to the skin should cause less irritation. However, if there is any irritation at all, this method should not be used. Latex scars, which can be painted directly on the skin or attached with medical adhesive (FIGURE 23B and C), can be used instead.

One simple but effective method is to use cleansing tissue or absorbent cotton with latex and spirit gum. The spirit gum is applied first, then a very thin piece of cotton or tissue, then latex. The scarred area can be roughened as much as you like by pulling up bits of cotton or by wrinkling the tissue. Derma wax and other materials can also be used. (See FIGURE 12-23A.) Special coloring for the scar may or may not be necessary.

If latex has not been used in making the scar (or sometimes even if it has), it’s a good idea to coat the scar with sealer after the makeup has been completed. That will not only protect the scar but also give it a slight natural sheen.

Another method is to pour or brush latex onto glass and, with a palette knife or an orangewood stick, swirl it and shape it into the size and kind of scar you want. Then allow it to dry, or force-dry it with a hair dryer, peel it off the glass, and apply it to the skin with spirit gum. When you complete the makeup, color the scar appropriately. This is a variation of the molded latex scars or welts described in Chapter 13. It is a particularly good technique for arena staging. For greater projection, combine the latex with cotton or tissue.

Three-dimensional latex scars as seen in FIGURE 12-23C can be colored intrinsically using cosmetic grade pigments. Form the raised scars by pouring pigmented latex into a plaster negative mold (#1 industrial molding plaster), allow to dry, powder, remove from the mold, and trim the edges. First, apply a skin barrier (Top Guard by Premiere Products, Inc.) to the actor’s body where the scars are intended to be attached, then coat the scars and the skin with a pressure sensitive, silicone-based adhesive (Telesis V by Premiere Products, Inc.) and allow both to dry for five minutes. Firmly press the scar onto the actor’s skin. Apply makeup to the scar and blend to match the actor’s skin color, then powder. Use a strong, gentle solvent to remove the appliance (Super Solv by Premiere Products, Inc., see Appendix A).

Similar techniques can be used to make scars with plastic scar material (Tuplast by Kryolan), plastic sealer, or liquid plastic film. The plastic, as in the latex process, can be poured or painted into a negative plaster mold. The mold must first be sealed with two light coats of white shellac, allowed to dry thoroughly between coats, and then coated with a thin layer of petroleum jelly. Once it is cured, the plastic can be removed and attached to the skin with one of the pressure-sensitive adhesives. Another technique is to pour or smear the plastic onto glass, then swirl with an orangewood stick to make bumps or ridges (FIGURE 12-24). This will give a semitransparent scar that can be applied to the skin with spirit gum (if flexibility and strength of the bond are a concern, spirit gum may not be the best choice; use one of the adhesives mentioned above). The scar can be colored and given more body by adding tinted face powder as the plastic is being swirled with the orangewood stick. For stronger coloring, powdered rouge can be used. If you don’t have powdered rouge, simply scrape the top of a cake of dry rouge to produce a powder. FIGURE 12-24B shows scars with and without powder and rouge.

When the plastic scars are pulled off the glass, both sides should be powdered, as with latex pieces. When the scars are applied to the skin with spirit gum, the edges of the plastic can be dissolved and blended into the skin by brushing them with acetone. The makeup can then be applied. The plastic scar can be left without makeup or can be partially or completely made up with appropriate colors. As with latex, materials such as cotton or string can be used in the plastic scar. FIGURE 12-24C shows a plastic piece on the face before the edges have been blended.

Gelatin can also be used for making scars. A surgical scar, for example, could be easily and quickly duplicated directly on the skin with gelatin (FIGURE 12-22). Or it could be made on glass or formica first, then attached with Pros-Aide.

Another method of making a raised scar is illustrated in FIGURE 12-25. Although it involves a number of steps, it is really quite simple and requires only following the illustrations and the captions. Having done that, you may wish to experiment with your own variations. The technique was devised for the 1986 Broadway revival of Eugene O’Neill’s The Iceman Cometh. For ready-made Vacu-form positives or scars and wounds, see Scars and Wounds in Appendix A.

WARTS Warts can be made with nose putty derma wax, gelatin, molded latex, silicone, polyurethane, or latex foam. Nose putty, derma wax, and gelatin warts can be built up directly on the skin, whereas molded latex or foam warts must, of course, be molded first, then attached with spirit gum. Makeup can be applied to the wart with a small, flat shading brush. It can then be powdered along with the rest of the makeup.

Nonmolded latex warts, however, can be constructed directly on the skin by the following method:

1. Dip an orangewood stick, a glass rod, or the handle of a plastic rat-tail comb into a bottle of latex, then remove it and let it dry.

2. Starting at the top of the latex coating, which should not be powdered, remove the latex from the stick, rod, or comb handle by rolling it down from top to bottom, using the thumb and the forefinger.

3. When the latex is all off, squeeze it together into a lump. If you want to reshape it further—to make it flatter on the bottom, for example—you can cut it with scissors.

4. Dab a spot of spirit gum (no smaller than the bottom of the wart) onto the skin (which must be free of makeup or grease) at the spot where the wart is to be placed, then tap the gum lightly with one finger until it becomes very tacky.

5. Press the bottom of the wart firmly into the spirit gum.

6. When the spirit gum is dry and the wart is securely attached to the skin, you can smooth out the surface of the wart with derma wax, blending it carefully into the skin, using a small, flat shading brush.

7. Powder the wart carefully and brush off excess powder with a powder brush. The wart is now ready to be made up.

The advantage of making a wart by this method is that if properly attached, it is unlikely to fall off or to be knocked out of shape if accidentally touched.

For stronger bonds use a pressure-sensitive adhesive such as Appliance Adhesive by Ben Nye, Pros-Aide by ADM Tronics Inc., or one of the Telesis adhesives by Premiere Products, Inc.

WELTS Welts, like warts, can be made with nose putty, derma wax (FIGURE 12-23A), gelatin, molded latex, silicone, polyurethane, or latex foam. As with warts, welts of nose putty and gelatin can be built up directly on the skin, whereas molded latex or foam welts must be molded first, then attached with spirit gum. The method chosen may depend on the length of the welt and where it is to be used. A welt across the cheek, for example, could probably be made by whichever method was more convenient. But a long welt or a welt that is to be used under clothing and then revealed during the course of the play might better be made up in advance and attached with spirit gum.

WENS Similar to a wart in appearance but larger and more rounded, wens are usually flesh-colored and are most often found on the top of the head, the forehead, or the back of the neck. They can be made in the same way as warts; but because of their size, they should usually be made of foam latex or by the direct latex-and-wax method described for warts. They can also be made with gelatin (preferably molded), in which case they have to be made immediately before the performance and cannot be reused.

WOUNDS, OPEN Various materials, such as derma wax, putty wax, silicone puttys, gelatins, scar plastics, and tissue and latex, can be used to create open wounds. And various nonmakeup items can be combined with those materials to produce interesting effects.

The first step is to apply spirit gum to the area. The spirit gum is then tapped with one finger to make it tacky. Tea leaves are pressed into the spirit gum, and the entire area of the wound is painted with latex. When the latex is dry, make it up to match the rest of the skin, and color the central area with two shades of creme rouge. The latex at the center of the wound should then be cut open with scissors. (This must be done with extreme care in order to avoid creating a real wound!) The opening should be filled with stage blood, which can be allowed to flow out, then smeared over the wound and onto the skin surrounding it.

There are many qualities and colors of stage blood manufactured for a variety of effects: Arterial, veinal, wet, dried, pooling, squirting, running, shiny, sticky, thick, thin, dark, red, blue, brown, transparent, opaque, staining, nonstaining, and edible. It must perform in a manner that is visually appropriate for the intended effect. Should you choose to develop your own recipe, here are a few suggestions:

1. Avoid liquid detergents and soaps with the hopes of creating a washable blood. Mixing colorants into soaps has the reverse effect. Acting as a surfactant, the soap breaks down the surface tension of the fibers allowing the colorant to penetrate deeper into the garment. It may also cause the blood product to foam.

2. Create a blood product that remains flexible and shiny and peels off the skin or other smooth surfaces by mixing your colorant into Phlex-glu.

3. Karo syrup and food coloring are a simple and effective product. The syrup will suspend the dye and keep it from staining fabrics (it is important to test blood products on fabric samples before using them on finished costumes.) This is also safe as mouth blood.

4. Produce a no-drip blood by mixing one tablespoon peanut butter with one quarter teaspoon of vegetable oil, add two drops of water and red and blue food coloring as needed. Safe as mouth blood.

5. Use Hershey chocolate under blue gels or dark stage lighting. Safe as mouth blood.

6. If blood comes into contact with the costume, be sure to choose fabrics that are washable. Dry cleaning will often lock in the stain. Always test the fabrics before using any blood product. To remove blood products from costumes, immerse them in warm soapy water as soon as they come off stage. It is always a good idea to have a costume double or back-up costume when they are repeatedly exposed to blood products.