CHAPTER 13 Prosthetic Makeup

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The most effective method of creating most three-dimensional additions to the face, neck, and hands is to use molded prosthetic pieces. For the stage, however, this type of makeup is not always practical since actors normally do their own makeup, and the creation of molded prosthetics may require the services of a professional makeup artist.

However, the actors and young makeup artists who want to experiment with casting prosthetic pieces can certainly do so and will no doubt find it both interesting and useful. Whether the actors learn to make their own prosthetic pieces or have them made for them, the advantages of using this type of makeup are obvious—it can provide three-dimensional additions to the face impossible to achieve with nose putty and derma wax or other direct constructions (see FIGURE 13-1); the pieces can be modeled and remodeled on a plaster head until they are perfect and can then be reproduced indefinitely; and, unlike direct additions to the face, they can (for the stage, at least) be used several times.

Casting for Prosthetics

The first step in creating a three-dimensional appliance is to reproduce the actor’s face, or some part of it, in plaster. To do this, a negative mold is made with a flexible alginate (see Appendix A), as illustrated in FIGURE 13-2A-G.

PREPARING THE SUBJECT If the entire face is being cast, it is best to have the subject sitting in an upright position, not lying down, to avoid distorting the face. A barber or dentist chair is ideal. A plastic makeup cape (FIGURE 13-2B) or a painter’s lightweight plastic drop cloth can be used to protect the clothing. It may or may not be taped to the skin at the neckline. The solidified alginate can be easily removed from the plastic later.

If the top of the head or the entire head is to be cast, a plastic or a latex cap (FIGURE 13-2B) can be used to protect the hair. In any case, it’s a good idea to mark the hairline on the cap with an indelible ink pencil (available in art stores), which will later be visible on the cast.

While the face requires no special preparation (except for a light coat of petroleum jelly on the eyebrows, eyelashes, and cap), it is essential that it be made clear to the subjects that they are in no danger. It must be explained to them that if for any reason the alginate interferes with their breathing, they need only expel their breath forcefully, open their mouths and break the mold, or remove the alginate from their noses or mouths with their hands. Most subjects, once they have confidence in the operator, find the process pleasant and relaxing.

It is important that the facial muscles be relaxed during the mold-making process. A smile or the raise of an eyebrow can ruin the mold. It is to everyone’s advantage, especially with nervous subjects, to let them watch a mold being made on someone else first, clearly explaining the entire process as it unfolds. Having the actor view a commercially produced video of the entire casting process may also help alleviate any fears. It is usually best to work in a private room that is relatively quiet with no extraneous noise or conversation and where the subject does not feel that he or she is being watched by a number of people. Classical music playing in the background sometimes helps to break the silence and may calm your subject. If others are watching (and this should be permitted only if the subject is willing), it is essential that they understand from the start that they must be quiet! Any remarks or noises that disturb the subject or tend to make the person smile must not be permitted since they may very well result in a ruined cast and the work having to be done all over again.

It is also desirable for the person or persons doing the casting to avoid casual conversation with others unrelated to the work being done. Knowing that he or she has the operator’s undivided attention helps to give the subject confidence. Although it is not absolutely necessary, giving the subject a pencil and paper as a means of communication can add to a sense of security. If this is done, it would be best for someone other than the operator to be responsible for reading what the subject has written. The subject can also be given appropriate hand signals to enable the operator to ask questions and get “yes” or “no” responses without the subject’s having to answer by writing.

If, in spite of the reassurance the subject still seems apprehensive, it may be suggested, after making it clear that there is nothing unusual about it, that the person allow someone to hold his or her hand. This can be very comforting to some subjects and therefore helpful to the operator as well. In any case, never leave the subject alone until the mask has been removed. The subject will feel more secure knowing someone is there.

NEGATIVE ALGINATE MOLD It is very important to have all the materials needed to cast the face laid out before starting the face casting procedure (FIGURE 13-2A).

The primary type of facial casting material used is an alginate impression material, a seaweed derived powder, which when mixed with water becomes a flexible material easily removed from the skin. The setting time of different types of alginates may vary depending on the temperature of the room and water. A colder room and water retard the setting time whereas a warmer room and water hasten the setting time.

It is recommended that you mix a small batch of alginate to test the setting time before casting your subject’s face. Various alginates require different mixing proportions and set-up times. For this casting process Accu-cast alginate (see Appendix A under alginate) was used. When applying alginate to the face, two people should work together, one on the left side and one on the right. Alginate impression materials set quickly, some within minutes, so it is to your advantage to apply it as rapidly as possible. Should you decide to patch a hole or add to a thin area, remember that wet alginate will only stick to wet alginate. Once it cures it will not stick to itself. This is another reason to work quickly. To avoid surface bubbles in the plaster, gently press the alginate onto the face taking special care around the eyes (keep them closed), nose, and mouth (FIGURE 13-2C and D). The final thickness should be approximately ¼ to 1/3 inch. A thick layer will add too much weight causing soft areas of the face to sag. A very thin layer may cause the alginate to tear. Both will leave distortions in the final cast. Wearing rubber gloves throughout the entire process is recommended.

When the nose is being cast, you should work very carefully around the nostrils with the fingers or a small spatula, making sure that both nostrils are clear at all times. It will give a nervous subject a greater feeling of security if you cover the nose and leave proper holes for breathing before covering the mouth. Otherwise, leave the nose until last, when the subject is likely to feel more relaxed about the whole procedure. Then you can work around the nostrils very carefully and fill in the holes after the mold has been removed. You should explain to the subject that if alginate should cover the holes accidentally, the subject need only expel his or her breath forcefully to remove it. Avoid using straws in the nose since it may distort the nostril area.

When casting the ears, push the alginate into all of the folds to avoid air pockets. An overly thick application might benefit the overall stability around the ear but may interfere with the proper removal of the mold.

When the alginate has solidified (from 4 to 8 minutes), it must be supported by a “Mother” mold. This mold is made by laying wet strips of pre-cut plaster bandages (see Appendix A) over the alginate (FIGURES 13-2E). The following sizes will facilitate the rapid application of this reinforcement step: six-inch wide, three layers thick plaster bandages; two 16-inch strips for the back sides of the face; two 8-inch strips for the forehead and the bridge of the nose area; one 1-inch strip for the center area of the nose; two 2-inch strips for each side of the nose; five 10-inch strips for the mouth area, each frontal side of the face, the chin area, and the neck area.

When the plaster hardens, it will provide a rigid form to hold the shape of the alginate (FIGURE 13-2F) after it is removed. Working carefully around the nostrils, press the bandages together under the nose to avoid covering the breathing holes. This will add greater strength. Covering only the front part of the ears with plaster bandages will make removing the mask easier.

Remove the alginate by first asking the subject to lean forward slightly, bring the hands to the face to support the mask and move all of the facial muscles (smile, frown, etc.) to aid in loosening the mold. It can then be removed easily (FIGURE 13-2G). It is best to loosen it first near the ear to let in the air. Remove it carefully and slowly, running your fingers around the edges between the skin and the alginate. The alginate does not stick to skin but may stick slightly to hair if it has not been lightly coated with petroleum jelly.

When the negative mold is finished, the positive plaster cast should be made immediately to prevent the possibility of shrinkage of the alginate as it loses its moisture.

POSITIVE PLASTER CAST Before pouring the plaster positive cast, place a small piece of wet plaster bandage on the outside of the nose area and carefully fill in the nostrils from the inside of the mold with a small batch of thick alginate (use warm water to hasten the setting time) or by using two small oval pieces of wet clay. In preparing the plaster, first measure three cups of cold water into a bowl (preferably a plastic one), then slowly sift in white hydrocal (see Appendix A) until it reaches the top of the water level. Another method is to follow the manufacturer’s recommended water-to-plaster ratio of 100 parts of Industrial White Hydrocal to 40–43 parts of water by weight (see FIGURE 13-3). One hundred ounces of plaster equaling six pounds four ounces and forty to forty-three ounces of water equaling approximately two pounds ten ounces will usually fill a medium-sized mold. Remember to add the weight of the container to the overall weight of each ingredient. Let the mixture stand without stirring until the top of the plaster level looks like a dried river bed. The white hydrocal mix may be stirred at this time with your hand (wear a rubber glove) or a kitchen spatula. After the plaster has been stirred, the bowl should be hit a few times on the bottom with the palm of the hand to force air bubbles to the surface.

Although plaster can be poured when it is thin and watery or as thick as mayonnaise, an in-between consistency (like that of heavy cream) usually works best. If it is too thin, it will be hard to manage and will take longer to harden; if it is too thick, it may not conform to the shape of the mold. It should be pointed out, however, that thin plaster results in a harder, more durable cast than does thick plaster.

The wet plaster should first be painted carefully over the inside surface of the negative alginate mold with a 1-inch disposable brush, coating the mold completely (FIGURE 13-2H). Then the rest of the plaster can be either spooned or slowly and gently poured into the mold. To avoid having too heavy and cumbersome a cast, brush the plaster away from the center and up along the sides of the mold, leaving a shell of plaster rather than a solid block. If the plaster is too thin to do this, let it sit until it begins to thicken. When filling the mold, be sure it is adequately supported so that the shape will not be distorted. Be very careful to protect the nose, which is especially vulnerable to damage. Setting the face cast in a bowl filled with old rags or towels will give enough support.

*Mfr	Parts water per 100 parts plaster needed by weight	Mfr’s name for product	Setting range, in minutes	Dry compressive strength, lb. per sq. in.
USG	64–66	Industrial Molding Plaster	25–30	2,000
USG	54–56	Pattern Shop Hydrocal	20–25	3,200
USG	40–43	Industrial White Hydrocal	20–30	5,500
USG	35–38	Ulracal 30	25–35	7,300
USG	28–32	Hydro-Stone	20–25	11,000
USG	21–23	Super X Hydro-Stone	17–20	14,000

FIGURE 13-3 Plaster comparison chart.

*USG = U.S. Gypsum Co., 125 S. Franklin, Chicago, IL 60606. (Call 1.800.621.9523 for the nearest distributor.)

 

Implant a wooden or plastic (PVC) dowel in the back of the cast while the plaster is still wet as a handle for easy removal and handling (FIGURE 13-2I). If you plan to hang the cast on a wall for storage, form a loop from a length of wire (part of a coat hanger will do) and embed the ends in the plaster before it hardens, leaving the loop outside and near the top of the cast. This can prove to be a great convenience.

When the plaster is thoroughly hardened in the mold, the alginate can usually be removed from the plaster cast in one piece (FIGURE 13-2J) and sometimes be used to make a second cast of the same head. But this second casting should be done immediately, before the mold begins to shrink. If the mold is set aside and allowed to shrink, it can be used to cast a shrunken head, a miniature of the original. If for any reason you should want to do that, make sure the edges are not allowed to curl up, since that will give a deformed head. Keeping the cast moist with a wet towel will help. After the castings are done, the alginate may be discarded. The surface of the plaster cast should now be scraped clean, ridding it of imperfections such as air bubbles, eyebrows, and eyelashes.

Before using the plaster cast, allow it to dry thoroughly. This may take several days. Then spray the cast with two light coatings of Krylon Crystal Clear Acrylic (see Appendix A). You now have a reproduction of the actor’s face (FIGURE 13-2K) on which you can model in clay the features you want to reproduce in latex.

(Note: Figures 6-10 in Appendix G illustrate a life cast done with a 2-part silicone compound.)

CLAY MODELS The modeling of individual features (FIGURES 13-4, 13-5, 13-17, 13-18, and 13-19) is done with artists’ modeling clay (Chavant NSP Medium, see Appendix A), which requires no special technique. You will do it largely with your fingers, though clay modeling tools (FIGURES 1-4C and 13-5) may be helpful for creating the details. Be sure the clay is perfectly smooth, completely blended at the edges, and modeled in exactly the form you want the latex piece to take. You can simulate skin texture by dotting the clay with tiny depressions to represent pores. Remember that the slightest mark on the clay will be reproduced on the finished piece.

A useful trick for making skin texture pads quickly is to make a latex negative of a grapefruit, orange, or lemon skin, as mentioned in Chapter 12. This is done by painting liquid latex onto a section of the outside of the fruit, preferably one with skin that is not too smooth. Five to ten thin coats will probably be necessary. When the latex is thoroughly dry, powder it, remove it from the fruit, and you will have a textured piece that can be pressed into the clay, transferring the pore textures. All clay models should be textured. Eyelids should only have a slight texture to them to blend with natural skin texture.

NEGATIVE PLASTER MOLD The next step is to make a negative mold of the clay feature just as you made a negative mold of the actor’s face. This casting from the clay, however, must be done with plaster or a harder stone such as dental stone or Ultracal 30 (see Appendix A) rather than alginate. First, with some extra clay, build up a wall around the modeled feature to prevent the plaster from spilling over the cast. You can make the wall entirely of clay (FIGURE 13-6A), or you can make a low foundation of clay (FIGURE 13-7A) and set a cardboard tube (FIGURE 13-7B), a can, or a plastic container with both ends open, into the clay. The cardboard cylinder shown in FIGURE 13-7B was made from a container of cat food. The metal top of the container was, of course, removed when the contents were used. The bottom was then cut off in order to get rid of the metal rim, after which the edge was appropriately shaped to fit into the clay foundation.

When the cylinder is anchored securely in the clay and the clay pressed against it to prevent leakage, as has been done in FIGURE 13-7B, grease all exposed parts of the plaster cast and the clay sculpture that will be touched by the plaster when it is poured. This can be done with petroleum jelly. In using a clay foundation with a cylinder pressed into it, it is easier to grease the cast and the sculptured clay before pressing the cylinder into the clay foundation.

When the cast and the sculptured clay have been greased and the wall is firmly in place, make up your plaster or dental stone just as before and pour it over the new feature, giving plenty of thickness so that the mold will not break when you remove it.

When the plaster is hard, pull off the clay wall (FIGURE 13-6C). If you are using a cylinder in a clay foundation rather than a wall entirely of clay, you may wish to remove accessible portions of the clay foundation first, though this is not always necessary. Then maneuver the mold around until it can be easily slipped off. Now you have a negative mold (FIGURE 13-6D) from which you can make any number of prosthetic pieces. If, by chance, air bubbles have left little holes anywhere in the mold, fill them up with plaster.

POSITIVE LATEX CAST There are two techniques for making latex prosthetic pieces from the plaster molds. One is a painting method; the other is a slush method.

For either method liquid latex is used (see Appendix A). The latex can usually be purchased in either flesh or natural white, which is almost transparent when it dries. It can also be tinted with food coloring or with special dyes. It is not necessary for the latex piece to match the base color, but if it is too different from the skin coloring, it may be more difficult to cover. The solidified latex will always be darker than the liquid latex.

The main requirement for a positive latex piece is to make the central parts of the piece thick enough to hold their shape and the edges thin enough to blend into the skin without an obvious line. In the brush technique (FIGURE 13-6E) a layer of latex is painted into the negative plaster mold, which requires no surface preparation. The type of brush used is a matter of choice. A soft bristle lets the latex flow on more easily, but it is also very difficult to clean; and unless extreme care is taken, it will probably not last very long. A stiff bristle is easier to clean but doesn’t give as smooth a coat of latex. A flat, medium-stiff bristle is perhaps the most generally practical. Inexpensive brushes should be used. Brushes in use should be kept in soapy water and washed out thoroughly with soap the moment you have finished with them. Once the latex has solidified, it can seldom be removed from the brush.

Before painting in the first coat, it would be well to estimate about where you want the edge of the piece to be and to mark that with a pencil on the plaster. Then you can be sure to keep the latex thin along that line. Subsequent coats are painted in after the preceding coat is completely dry. Each subsequent coat can begin a little farther from the edge in order to provide a gradual thinning. The number of coats needed depends on the thickness of the coats. You will probably need a minimum of five, depending on the thickness of the latex and the requirements of the particular piece.

With the slush method, some of the latex is poured into the mold and gently sloshed around to build up layers of the latex. This is done by holding the plaster mold in the hand and moving or rocking it so that the latex runs first up to and just beyond the proposed edge, as marked with a pencil. Subsequent movements should keep the latex nearer and nearer to the center and farther and farther from the edge. If you have a problem in making the latex go exactly where you want it to, you can maneuver it with a clean modeling tool or an orangewood stick. When you think you have built up enough thickness, drain off the excess latex or take it up with cleansing tissues or absorbent cotton. Absorbing it instead of pouring it avoids a build-up of latex at the point at which it is poured. You can avoid the whole problem by pouring in a little at a time. It is better to have too little than too much since more can always be added.

Before removing the latex piece, be sure it is completely dry. In deep molds, such as noses, this may sometimes take several hours. Forcing hot air into the mold with a hair dryer can speed up the drying considerably. Then dust the surface of the latex with face powder to prevent its sticking to itself. (See FIGURE 13-6F.) Once it has been dusted, it will never stick to itself or the mold again, even if you wash the powder off immediately. Then loosen the latex at a spot along the edge and carefully slide a small brush filled with powder between the latex and plaster, working towards the edges, gently lifting it away from the plaster (FIGURE 13-6G.) As you do so, dust more powder inside to keep that surface of the latex from sticking. Keeping your hands from rolling the delicate edges of the piece is of utmost importance at this stage. Sometimes the piece comes away easily, sometimes it has to be pulled, but it will come. If you do have to pull hard, however, be sure not to pull it by the tissue-thin edge, which is likely to tear. Also, avoid pulling so hard that you stretch the piece permanently out of shape. As soon as you are able to loosen a little more of the piece, grasp it farther down to pull out the remainder. Tweezers can be helpful.

After you have removed the piece, try it on the actor who is to wear it or on the cast of the actor’s face. Check all blending edges to make sure they are very thin and lie flat against the skin. If the first piece you make from the mold is imperfect, make note of the problems. If they can be corrected by adjustments in the application of the liquid latex, make another piece, correcting the errors. If the problem is with the mold, see if there are any minor corrections that can be made. If not, make another mold—or as many more as necessary. When you have one you’re satisfied with, label it with the date and the name of the actor, the character, and the play. If you then make duplicate molds, as you might want to do in order to make several pieces at once, number each one in the order in which it was made. There may be slight differences in the molds, and the identifying number could be useful. The plaster mold can be used indefinitely as long as the actual casting surface remains in good condition.

Prosthetic Pieces

NOSES There are three basic criteria for a useful, workable latex nose—it must be rigid enough to hold its shape without wrinkling or sagging, the blending edges should be tissue thin, and the blend should, if possible, take place on a solid, rather than a flexible, foundation (on the actor’s nose, that is, rather than on the cheeks or the nasolabial folds).

The first two of these criteria depend on the distribution of latex in the plaster cast and have already been discussed. The third requires careful placement of the clay used in building up the nose of the plaster cast. The actual modeling of the clay corresponds closely to the modeling of a putty nose—the accurate following of natural nose structure, the careful blending of edges, the limiting of the clay addition to as small an area as possible, and the final addition of skin texture.

The principal difference between modeling a clay nose and a putty one is that putty may, if necessary, cover the sides of the nose completely, but clay should not do so. It should, if possible, stop far enough short of the outer boundaries of the sides of the nose to allow for a blending edge of latex beyond the section that is being built up. (See FIGURE 13-7A. For the makeup using this nose in the final scene of St. Joan, see FIGURE 13-8.)

The latex piece need not cover the entire nose. On the contrary, the smaller the area it covers, the easier it will probably be to work with. A tilted tip or a small hump, for example, does not require modeling a complete nose. If the piece you make involves the nostrils (FIGURE 13-7E), they can be cut out of the piece after it has been cast in order to permit normal breathing.

Because the final latex piece can be no better than the clay nose from which it was cast, considerable care should be taken in the modeling. Once the model is perfected and cast, achieving an effective latex nose is largely a matter of careful manipulation of the liquid latex in the cast.

EYELIDS Sagging eyelids are very helpful in aging youthful eyes. FIGURE 13-4 shows a pair being modeled in clay on a plaster head. In modeling the lids, work from photographs of older people, using more than one, if you like, and combining the most useful and adaptable features of each. The latex eyelids can stop just below the natural brow, which must then be aged; or they can cover the brow, making it possible to attach aged brows to the latex piece with crepe hair and latex or to ventilate eyebrows into the latex piece (see Chapter 14). Remember that only the edges that are to be attached to the skin should be thin. The edge that falls diagonally across the eye area hangs free and should be appropriately thick.

Latex eyelids are particularly useful in Asian makeups. In modeling them, be sure to give the clay sufficient thickness over the center of the eyeball so that the movement of the real eyelid will not be impeded. Before modeling Asian lids, study the Asian eyes in your morgue, as well as those in FIGURES 11-19, 11-20, 11-35D, and 11-36F.

EYE POUCHES These are invaluable aids to aging and are one of the simplest pieces you can make (FIGURE 13-6). Again, you should work from photographs of real people (see FIGURE 12-16). Some pouches will be fairly smooth and definitely pouch-like. Others will be somewhat flat and a mass of fine wrinkles. There are countless variations. If there is a definite line of demarcation to the pouch you wish to make, then it will not be necessary to leave a thin edge on the bottom of the piece, though there should be one at the top. As usual, remember to give it skin texture.

If molded eye pouches are needed in a hurry, they can be made in a few minutes by using gelatin instead of latex—provided, of course, you have the molds. As mentioned in Chapter 12, however, there are disadvantages to gelatin pouches—they are heavier (and therefore less comfortable) than latex pouches, they can be used only once, and there is a possibility that they might be loosened by excessive perspiration.

In making gelatin additions in plaster molds, there is usually no need to apply a separator, such as vegetable oil or petroleum jelly, to the mold, though you may prefer to do so. The gelatin should, of course, be poured into the mold before it congeals. Be sure to keep the gelatin at the level of the smooth area surrounding the negative mold so that the gelatin positive will lie flat against the skin. If, when the gelatin has congealed in the mold but has not yet been removed, the surface of the gelatin is rough, smooth it out by stroking it with cotton dipped in hot tap water. This will melt the surface of the gelatin and remove any excessive roughness that might prevent its fitting tightly against the skin.

EARS Rubber cauliflower ears can be slipped over the actor’s real ears very simply. Rubber tips can be used for such characters as Puck or the leprechaun in Finian’s Rainbow. Also, small ears can be enlarged—as they must be, for example, in a makeup for Abraham Lincoln.

The technique in making ears, partial or complete, is to make a shell that will fit over the natural ear. This requires a split mold. After you have modeled the clay ear on the plaster cast of the actor’s natural ear and built your clay fence, place the cast so that the ear is horizontal. Then pour plaster up to the middle of the rim of the ear. It’s a good idea to let the surface of the plaster be somewhat uneven. If the plaster is fairly thick, this will happen automatically, giving a bumpy or undulating surface. When the plaster is dry, grease the surface and pour in more plaster, covering the ear. When this plaster is dry, remove the clay fence, as usual, then very carefully pry the two sections of plaster apart and remove both from the clay ear.

You can then fit the sections back together. If the surface is uneven, this will be no problem, for there will be only one way they will fit. This will give you a deep mold with a crevice into which you can pour the latex and slosh it around to cover all the surfaces of the negative mold. Any excess can be poured back out. It is better to build the ear up with several coats rather than trying to do the whole thing at once, letting the layers dry completely between applications. Be sure to keep the latex thin at the edges, which will be glued to the natural ear, and thick around the rim so that the ears will hold their shape.

When you are sure the latex is dry (it’s a good idea to force-dry it with a hair dryer), powder the inside, then carefully pry the mold apart, powdering as you do so. The ear should then be trimmed around the edges. After the latex ear has been slipped over the natural ear and glued down, it should be made up to match the face.

In painting the mold with latex, you may not be quite sure how far out to bring the latex. After you have made and trimmed your first ear, however, you will be able to see where the boundaries should be. Then you can mark these boundaries on the plaster cast with a pencil to serve as guidelines for all future ears made from that mold. This will make it possible to keep the latex thin at all edges that are to be glued down.

CHIN Receding chins can be built up or straight ones made to protrude; round chins can be made more square or square chins rounded. Goatees can be pasted on latex chins as well as on real ones and will not need to be remade for each performance. Frequently a chin can be combined in the same piece with a scrawny or a fat neck. If the chin addition is to be very large, a foamed latex piece (see the latter part of this chapter) would be preferable.

WRINKLED FOREHEAD A wrinkled forehead can be modeled in clay on a plaster cast of the actor’s head and a negative plaster mold made from the clay positive. Latex positives can then be made from the negative plaster mold. Ready-made latex forehead pieces are available. (See FIGURE 13-9.)

NECK It is possible to age the neck effectively from the front with paint, but the profile is difficult to change. A latex piece will, however, produce an old neck from any angle. You can have prominent muscles and sagging flesh, transverse rolls of fat, or sagging jowls. For this type of construction, however, foamed latex, gelatin, or silicone should be used. (See the latter part of this chapter and FIGURE 13-31.)

BALD CAPS One of the best methods of creating the effect of a bald head is to cover the hair with a latex or plastic cap. The cap can be worn plain, or hair can be added (see FIGURE 13-10 and Chapter 15).

In making a latex or plastic cap, balloon latex or plastic cap material should be painted or stippled (a combination of the two is usually preferable) onto a positive plaster, ceramic, or plastic head (the plaster can be made, the other two can be purchased from Kryolan, see FIGURE 13-11) suitably shaped to an average head size. The surface of the form should be very smooth and if made of plaster should be coated with two layers of Krylon Crystal Clear Acrylic Spray and then buffed with Carnuba wax. Gradually build up the thickness of the latex or plastic cap material by applying six to seven layers of material to the form. Using a latex sponge applicator, paint the first layer over the entire head shape to approximately two inches past the hairline in front and three to four inches past the hairline in back. The second layer should end at the hairline, with each successive layer being applied at one-inch increments away from the hairline towards the crown (layer three is one inch from the hairline, layer four is two inches from the hairline, and so on). The final layer should be stippled onto the entire head shape, starting at the crown and working towards the hairline. This layer should be feathered to one-half inch past the hairline. Allow each layer to dry completely between applications. The back of the cap should be left long so that it will cover all of the neck hair and can be tucked into the collar. If this back tab is not needed, it can be cut off later.

To remove the cap from the form, begin by rolling the cap material from the edges to within a quarter inch of the hairline. Powder the entire surface with translucent face powder. Using the rolled edge to grip the cap, begin pulling it slowly away from the form, powdering the underside regularly. See FIGURE 13-12 for general instructions for applying the bald cap.

Purchasing ready-made bald caps (either latex or plastic) will, of course, save a great deal of time. The ready-made cap illustrated in FIGURE 13-12 is made of extra-thin latex, with an unusually long nape, which can be shortened if you wish. Complete instructions for applying the cap come with it. (See also Plastic Caps in Appendix A.)

HANDS Wrinkled and veined hands can be made up in the form of gloves, invaluable for quick changes. The gloves can be made by making up the hands with wax to build up knuckles, bones, and veins, then casting them, one at a time, by laying the hand, well oiled, palm down in wet plaster and pushing down until the plaster covers the lower half of the hand, including the fingers. Let the plaster set until it has solidified. Before casting the back of the hand, make sure there are no free hairs that might become embedded in the plaster. If you can’t flatten the hairs sufficiently with wax and petroleum jelly or cold cream, cut them off. If the subject objects to this, make plaster casts of the hands with alginate, then make a negative plaster mold from the positive plaster cast.

Whether you are casting directly from the hand or from a positive plaster cast of it, when the bottom half of the negative mold has solidified, remove the hand from the mold and grease the exposed area of the hardened plaster, return the hand to its original position, then pour fresh plaster over the hand. When the plaster has hardened, gently separate the two halves of the mold by moving the hand. When the two halves of the mold are thoroughly dry, they can be put back together and secured with masking tape. The mold is then ready for the latex, which can be poured in, sloshed around, then poured out. This can be repeated four or five times, each coat being allowed to dry thoroughly or force-dried with a hair dryer before the next one is added. For each drying period, place the mold with the fingers up so that latex will not accumulate in the finger tips. Extra coats may be added just to the back of the hand in order to stiffen knuckles, bones, and veins. These coats should dry with the mold flat and the palm up. Be patient and make sure that the latex is completely dry before separating the cast. Otherwise, the glove can be ruined.

Latex pieces to be pasted on the back of the hands are, of course, much simpler to make since only the back of the hand needs to be cast. (For hands aged this way using foamed latex, see FIGURE 16-6I.)

It is also possible to buy thin, snug, rubber surgical gloves and to attach the pieces to the gloves instead of to the hands.

Application of Prosthetic Pieces

ATTACHING THE PIECE Latex pieces should be attached to the skin, which must be free of grease, before any makeup has been applied. Cleaning the skin with either rubbing or 99% alcohol will make for a better adherence of the appliance. The appliance may be glued with Pros-Aide, Beta Bond, Telesis Adhesives (see Appendix A under adhesives) or spirit gum (this should be avoided if possible as the appliance may tend to loosen during a performance with spirit gum). Latex should also be avoided as a glue as it has a tendency to build up on the appliance and will loosen if the actor perspires freely.

These are the steps to be followed in attaching a latex piece (a nose for example) with spirit gum or other adhesive:

1. Place the piece exactly in position on the face, and check for a good fit (FIGURE 13-13A).

2. If the piece needs trimming, do it very carefully by tearing the latex, keeping the blending edges thin and irregular (FIGURE 13-13B). Thin, irregular edges are easier to conceal than straight ones. If you are applying a nose and the nostrils have not yet been cut out, that should also be done. Then try the piece on again and do any further trimming. Now place the piece on the face and powder over all edges with face powder a few shades lighter or darker than the natural skin.

3. Remove the piece from the face and brush adhesive along the powder line on the skin on all inside edges of the prosthetic (FIGURE 13-12C). Allow the adhesive to become tacky before applying the piece to the skin.

4. Place the piece very carefully into position (FIGURE 13-12D). Adjusting the position of the piece after the edges are in contact with the skin can result in unsightly corrugations; these are very difficult to conceal.

5. Press the edges down firmly with the fingers, with a lint-free cloth or a chamois. Pressing straight down (not at an angle) will help avoid creating wrinkles. An orangewood stick or the end of a makeup brush can be used to supplement the fingers in the areas that are less easily accessible (FIGURE 13-12E).

CONCEALING THE EDGES Using a small piece torn from a makeup sponge, stipple the edges of the piece with latex cream adhesive (see Appendix A) to help conceal them. The adhesive should, of course, be allowed to dry before the makeup is applied. If the edges are thicker than they should be or if they have a tendency to corrugate, the following procedure (or variations of it) may solve the problem:

1. Apply the piece as usual, using spirit gum or other adhesives (FIGURE 13-13A through E).

2. Paint all edges of the piece with matte spirit gum or other adhesive, slightly overlapping onto the skin (FIGURE 13-13F), then tap the spirit gum with the finger until it is almost dry. Press it firmly with a wet cloth or a damp sponge (FIGURE 13-13G) to set it.

3. Press face powder firmly onto the spirit gum with a puff (FIGURE 13-13H), then remove excess powder with a powder brush.

4. (Optional) Apply a coat of plastic sealer over the powdered spirit gum FIGURE 13-13I) and allow to dry. Powder the sealer.

5. Apply Duo surgical adhesive along the edge of the piece (FIGURE 13-13J), allowing it to overlap onto the skin. Allow to dry or force-dry with a hair dryer, then powder.

6. Apply rubber-mask grease as usual.

It is important to note that sealing the spirit gum protects it from the rubber-mask greasepaint. The RMGP will affect the spirit gum by turning it gummy and will lessen its adhesive strength.

APPLYING THE MAKEUP Rubber-mask grease, rather than the usual foundation paints, should be used over latex pieces and should be stippled on with a red-rubber sponge (FIGURE 13-13K). When you use rubber-mask greasepaint only for the latex piece and not for the rest of the makeup, be sure to stipple it over the edges of the piece and onto the skin immediately surrounding the piece. Then blend the edges of the rubber-mask grease into the skin with the fingers (FIGURE 13-13L) or with a brush in order to keep the edges from showing through the makeup used for the rest of the face. It can then be powdered by pressing in as much powder as it will absorb and brushing the excess off lightly with a powder brush. The rubber-mask grease needs more frequent powdering than regular creme foundations to keep it from developing a shine. This application, including powdering, can be repeated one or more times if it seems necessary to do so in order to conceal the edges.

If a fairly large area of the face is covered by a latex piece or if there are a number of pieces used, you would probably do better to apply the rubber-mask grease over the entire face rather than just on the pieces.

STIPPLING To help conceal the edges of latex pieces, the rubber-mask grease foundation should be stippled with other colors. (See Chapter 10 for suggestions on stippling.) The stippling can be done with creme makeup or greasepaint instead of rubber-mask grease if you prefer. The following procedure or variations of it can be used:

1. Using a black stipple sponge or latex sponge applicator (FIGURE 13-13O), stipple the piece with a color three or four shades darker than the base, concentrating on the edges of the piece and the adjacent areas of skin. Then powder.

2. Repeat step 1 using a color three or four shades lighter than the base. Powder.

3. Using a black stipple sponge or latex sponge applicator, add some red creme rouge if it is appropriate in that particular area of the face. (On the nose it usually is.) Powder again. If you wish to add additional red, that can be done very easily by brushing on a dry rouge of the appropriate shade.

4. Check to make sure that the edges of the latex piece are not apparent. If they are, do some detailed stippling along the edges, using a small pointed brush. Where the edge is revealed by shadows, use a light stipple to counteract the shadows; and where it is revealed by highlights, use a dark stipple. Check the effect in your mirror as you go along, continuing to stipple until the results are satisfactory. The careful application of the correct adhesive and proper placement of the appliance at the start will reduce the need to overly camouflage the appliance edge with makeup.

REMOVING A LATEX PIECE If the piece has been attached with spirit gum or other adhesive and if you expect to use the piece again, avoid pulling it off. Remove it instead by carefully loosening the edges with spirit-gum remover. This can be done by dipping a fairly firm-bristled flat brush into the remover, inserting the bristles between the edges of the latex piece and the skin, then running the bristles along under all of the edges. (FIGURE 13-13P.) The remover will dissolve the spirit gum as you go. The piece can then be lifted off easily. Pulling the piece off before the spirit gum is dissolved can stretch the edges, resulting in corrugations. After the piece has been removed, any spirit-gum residue should be cleaned off with more remover. This can be done with a wad of cotton. Makeup can be removed from the piece with alcohol or spirit-gum remover.

Foam Latex

Although the hollow, shell-like latex pieces work well on bony parts of the face, their hollowness may become apparent on softer areas where there is the possibility of considerable movement. This problem can be overcome through the use of foamed latex, with which it is possible to make three-dimensional, spongy jowls and sagging necks that look and move like natural flesh.

Working with foam latex involves the combining of three to five compounds (based on the particular manufacturer’s formulation) in various amounts in a specific order over a given amount of time. The procedure is considerably more complicated than the slush-mold process previously described. The ingredients include the following: a relatively thick, creamed natural latex base with a high concentration of solids and ammonia; a curing agent containing sulfur to vulcanize and preserve the foam and other agents that keep the foam cell structure from breaking down; a surfactant or foaming agent to aid in lowering the surface tension of the latex, enabling it to froth more easily; and a gelling agent that converts the foam from a liquid to a solid.

The shelf life for the latex base is approximately one year, although with regular attention (weekly vigorous shaking) it will last nearly twice that long. The components, however, will last quite a long time with little attention.

CLOSED MOLDS For foamed pieces it is necessary to use two molds: a positive and a negative instead of the one open mold used with liquid latex. The positive mold duplicates the actor’s own features, the negative mold duplicates the clay sculpture and corresponds to the single mold used for painted-in latex pieces. When the two molds are fitted together, the space or spaces between them will correspond precisely to the clay addition that has been built up on the plaster cast. This space is then filled with foamed latex by first pouring it into the negative mold, then fitting the positive mold into the negative mold. This will automatically squeeze out the excess, leaving the space between the two molds filled with latex foam. The foam in the closed mold is then cured (baked in an oven), after which the mold is separated and the foam, a spongy three-dimensional piece, is removed. The casting is done with Ultracal 30 or dental stone (see Appendix A), which is harder, less porous, and more durable than plaster. Instructions for making a closed mold can be seen in FIGURES 13-41, 13-42, 13-43.

FOAMING THE LATEX The companies that make latex for foaming have their own formulas for combining the various ingredients (either three, four, or five depending on the brand) in order to produce the foam. Whenever you use any foam latex for the first time, carefully follow the directions that come with it. Any experimentation should wait until after you have observed the results produced by following the maker’s instructions. When you do begin experimenting with variations in the procedure, be sure to keep a precise record of all such variations, including all materials used and exact amounts of each, temperatures (both room and oven), beating times, and volume of foam. Date each entry and comment on the results. If the results are not entirely satisfactory, you might include any suggestions that occur to you for changes to be made in the next experiment. With each new experiment, only one variation should be made.

When “running” a foam batch, it is the amount of ammonia in the foam that most affects the gelling process. Excessive amounts of ammonia will keep the foam from gelling, too little will cause it to “set up” in the bowl. When difficulties arise in the foamed latex process they are often caused by the amount and speed with which the ammonia evaporates from the foam and may be traced to such diverse sources as room temperature and humidity, the speed of the mixer, the type of beater used (improper foaming), and even the depth and rotation speed of the mixing bowl. Other sources can include too short a curing time, too low or too high an oven temperature (foam too soft or too hard with an unpleasant odor), baking time, and excess moisture in the mold (latex skin becoming detached from the foam on or after removal from the mold).

Since formulas vary from brand to brand and since you will be following the instructions for your particular brand, the information given here is intended primarily for those who are not acquainted with the process but would like to have some idea of what is involved. Specific amounts of the various ingredients will not be included.

To mix the compounds:

1. Before beginning the mixing, paint the mold release onto the positive and negative molds (foam latex kits usually include a mold releasing agent). Curing the mold by painting the surface with a 1:1 mixture of castor oil and alcohol and baking at two hundred degrees for three hours before coating it with a releasing agent will help the foam latex cure properly.

2. Weigh exact amounts of the curing agent and foaming agent into the mixing bowl.

3. Weigh and add the exact amount of latex base specified. (Use a triple beam gram scale.)

4. Add the appropriate amount of colorant (can be obtained from the manufacturer). Pigment dispersions, made specifically for coloring latex, are recommended. Universal color tints are not recommended for foam latex appliances. Polypropylene glycol contained in the colorants causes the foam cell structure to break down.

5. In an electric mixer, whip the compound at a low speed for 1 minute then increase the speed to high and whip up to approximately 3½ or 4 (occasionally even to 5) volumes. This should take approximately 2 minutes. The bowl in which you whip should be marked in advance for the desired numbers of volumes. The 3½ volumes should give a firm foam. For a softer foam, increase the volumes.

6. Reduce the speed at least half for a few minutes then to speed 1 or 2 for a few more minutes to refine the foam.

7. With the beater still running, add the pre-weighed gelling agent and beat for 30 seconds.

8. Reduce the speed, if possible, and mix for 1 to 2 minutes more.

To transfer the foam to the mold:

1. There are two ways to transfer the foam latex into your negative mold: by pouring and by injecting. The pouring method works well on small appliances (noses, eye pouches) and for those no larger than the size of a face cast. You can also use a spoon to scoop foam into the mold, being careful to avoid adding large bubbles. Filling deep cavities and wrinkles by spooning or spreading the foam with a spatula before pouring the remaining foam will help alleviate the possibility of trapped bubbles. Foam injection guns can be used to transfer foam into larger molds. The design of the mold must include at least one injection hole (large enough to accommodate the gun nozzle) and vent holes for displaced air and excess foam (see FIGURE 13-14). When using the injection method, the positive and negative molds must first be assembled and clamped together before the foam is injected. This exercise, however, utilizes the pouring method.

2. Once the foam has been added, place the positive mold into the negative allowing the weight of the positive to settle the foam (this should take only a few moments). Then press the two parts together, closing the mold. This will automatically squeeze out the excess, leaving the space between the molds filled with the foam latex. The mold can now be held together with clamps, mold banding straps, or rubber mold bands (see Burman Industries, Appendix B).

3. After giving the foam time to set (usually 8-15 minutes) place the mold into a preheated oven not to exceed 200 degrees F. The curing time will depend on the size of mold and the thickness. It will usually be a minimum of 3 hours. Another method is to set the mold in a cool oven, set the oven at 200 degrees for 11/2 hours, then let cool in the oven for 3 hours.

4. Once the mold is cured, turn off the oven, open the door slightly, and allow it to cool down gradually. When removing the mold from the oven, use gloves, oven mitts, or an old towel. The mold may still be quite hot. Set the mold on a table with the vent hole up and pull gently on the piece of rubber sticking out of the hole. This will begin to loosen the appliance from the plaster. Do not tear it (this may cause damage to the piece); simply cut it off. Then set the mold on end and slowly separate the two halves. Pulling the mold apart too quickly may cause damage to the foam. The foam piece will usually stick to one side or the other, but should it stick to both sides, gently pry it loose with a flat, round-ended tool until both pieces are separated. To preserve the delicate edges, powder the foam generously and start working the foam loose from the center rather than from the edges of the piece. Avoid excessive handling of the edges before they are powdered. Pull off any ragged edges of the piece (never cut edges), but not too closely or too evenly. They should be very thin and somewhat irregular. When the foam is completely separated from the mold and the flashing, set the appliance in a safe place. Now wrap the mold in old towels or place it back in the oven to avoid damage caused by rapid cooling.

Check the foam appliance for holes, tears, or surface imperfections. These are the biggest problems for anyone running foam latex. For serious or continuous problems seek professional assistance (see Foam Latex, Appendix A). The best material with which to make repairs is more foam latex. Mix a small batch and spatula it onto tears, seams, holes, or other imperfections, allowing it to gel and set it back in the oven to cure. Check the piece every thirty minutes until the foam bounces back when touched. To protect your foam appliance, include an extra mound of foam to check for doneness. Another product that can be successfully used for patching small imperfections is Pros-Aide (see Adhesives, Appendix A). Allowed to thicken naturally (simply leave the lid off a small bottle) or thickened with Cab-O-Sil (fumed silicone dioxide used as a thixotropic agent), Pros-Aide can be applied with a small metal spatula, dried with a hair dryer, and then powdered.

It is possible but not necessary to clean foam appliances by washing them in soap and water to remove the separating agent and any chemicals remaining in the foam. These chemicals may cause irritation on highly sensitive skin. The process may damage the delicate edges, so care must be taken. Add two to three drops of Ivory Liquid detergent per gallon of water and squeeze the foam with your fingers for a few minutes. Rinse well under fresh water until the water runs clear. To remove excess water press the foam between paper towels and return it to the plaster positive until completely dry. Should the edges begin to curl and fold over onto themselves, generously add powder and carefully unfold the edges. (Note: If for any reason you should want to change the color of your foam latex appliance, simply dip it in fabric dye intended for natural fibers).

Making and applying a foamed latex appliance. The photographs on the following pages illustrate the creation of the makeup for Dustin Hoffman as the 120-year-old man in the film Little Big Man. Makeup created by Dick Smith, S.M.A.

APPLICATION Foamed latex pieces can be attached with Pros-Aide, Pros-Aide II, silicone adhesives, prosthetic adhesive, or Premiere Products Telesis 5 Adhesive. Spirit gum is not recommended because of its tendency to react to salt in perspiration compromising the adhesive bond.

Unlike a “shell” latex appliance, foam latex pieces must be attached to the entire surface area of skin covered by the piece. Because most of the pressure sensitive adhesives have similar working properties, Pros-Aide will be used for this application method:

1. Clean the face of all makeup, dirt, and skin oils with 99% alcohol on a cotton swab.

2. Hold the foam latex appliance against the face to check for proper placement. Starting at the center of the face and working towards the edges, brush on Pros-Aide to just outside the edges of the appliance. Let the Pros-Aide dry slightly, then press the piece into the adhesive (having two people working will expedite the process). The various drying times of the different adhesives will determine how large an area can be covered at one time. For an even stronger bond paint adhesive to both the face and the inside of the appliance and allow it to dry before application. It is important to attach the appliance symmetrically.

3. Attach the delicate edges last by wetting them lightly with a little 70% alcohol. The alcohol reactivates the glue which in turn is absorbed into the foam. (To more easily apply adhesive behind your appliance, bend the ferrule of your brush at about three quarters of an inch above the bristles to an angle of approximately forty-five degrees).

4. Once the appliances are glued, seal the edges by stippling them with Pros-Aide using a piece torn from your red stipple sponge. Allow it to dry, then powder with a translucent setting powder.

Painting Foam Latex

Two products commonly used for coloration on foam latex are rubber-mask greasepaint (a castor oil based appliance makeup) and PAX paint (a mixture of Pros-Aide and Liquitex artist acrylic paint). These two products can be used separately or in combination.

RUBBER-MASK GREASEPAINT Rubber-mask grease can be applied to the pieces with a sponge or with brushes. The degree of coverage that can be achieved ranges from highly opaque to extremely transparent. It can be used straight from the container or thinned with castor oil or the cosmetic fluid GP-20 (diluted with water) for transparent glazes. This glazing technique provides the makeup artist with the ability to create layers of natural looking skin coloration for intimate theater settings and for television and film (see FIGURES 13-36, G-28, and G-29). After the foundation colors are applied you may then want to adjust the color generally or locally (as with rouge, for example) by stippling on additional color with a coarse sponge (make a customshaped sponge from a 1-inch by 2-inch block of polyurethane foam. Along one long side draw eight to ten irregular shapes in a variety of sizes and cut or tear away the background or negative space leaving the shapes on the surface). This helps to add texture and skin discoloration while relieving the flatness of the rubber-mask grease foundation. To finish, press powder into the makeup to set it and remove the shine. If variations in surface sheen are required this can be accomplished by adding more or less powder in certain areas. Glazes can now be added to the powdered makeup for further tex-turing. To suggest broken blood vessels, lightly cover the area with a mixture of red silk or rayon flocking and K-Y Jelly. Further texturing can be accomplished by using a coarse sponge or a brush to stipple additional colors over the powdered makeup—red-brown, grayed purple, dull brick red, rose, gray, lavender, creamy yellow, or whatever colors seem appropriate. RMGP glazes can also be used over PAX to create similar effects as mentioned above.

PAX PAINT PAX, developed by the Academy Award winning makeup artist, Dick Smith, is made by mixing one part Pros-Aide to one part Liquitex. This creates an opaque flexible paint that moves equally well on the skin as it does on appliances, better in many ways than RMGP. Mixed with non-toxic Liquitex earth-tone colors (burnt sienna, raw umber, burnt umber, raw sienna, red oxide, yellow ochre, titanium white, and black) it is relatively safe to use on healthy skin. (It is the responsibility of the artist to collect all scientific data relating to any product with which the artist or the subject might come in contact and to use good judgment in determining how and/or whether to use the product.) It is extremely durable, an excellent cover for appliance edges, it photographs well, and does not rub off on costumes! As with RMGP, apply and blend PAX with a patting motion using a firm polyurethane foam applicator. Any makeup or adhesive can be used on PAX.

What makes this product appealing is also its biggest disadvantage. The strength of its adhesive properties causes some difficulty in removing it from the skin. It is, therefore, not recommended for application near the eye area. Gentle, yet strong prosthetic adhesive removers specifically formulated to remove PAX are available and work quite well (see Adhesives & Solvents, Appendix A).

PAX can be modified in a variety of ways. The following are some suggestions for using PAX:

1. Mix Pros-Aide with Liquitex Matte Medium to form PAX Medium, a colorless material that when added to PAX can produce a paint with varying levels of transparency. Adding various levels of transparent coloration to the appliance will help you create a more realistic looking skin. It will also assist you in blending the paint off into the skin around the eyes, the edges of the face, and off the edges of the appliance should you choose to use makeup on the skin.

2. Add water (or PAX Extender, see PAX, Appendix A) to PAX paint to produce a thinner, even more transparent product. It can be thinned as much as 24 parts of water to 1 part PAX and used as a wash to tint areas of the face (i.e., sunburns). Thinned PAX Medium can be used as a sealer over makeup on pre-painted bald caps to protect them during the application process.

3. Add more Pros-Aide to your original recipe to create a stronger adhesive bond. Adding less will make a paint that is easier to remove.

4. Any product, except acetone, can be applied over PAX.

5. Since PAX products dry with a slight shine and the surface remains a bit sticky, it is important to powder with a slightly translucent setting powder (choose a slightly warm tone).

6. Avoid applying layers of thick PAX over soft foam. This will cause unnatural folds and wrinkles and the surface will appear thick skinned and heavily made up.

Before working with foamed latex, study the series of photographs of the television makeup for Hal Holbrook’s Mark Twain in FIGURE 16-6 and of the movie makeup for Dustin Hoffman in Little Big Man, FIGURES 13-15 to 13-36.

Cold-Foam Process

POLYURETHANE FOAM A quick and relatively simple method for making foamed pieces in a closed mold, this process involves the use of a polyurethane foam with a latex skin. Carefully follow the instructions that come with the foam you’re using. In general, however, this is the procedure:

1. Cover surfaces of both the positive and the negative mold with a release agent, such as castor oil or petroleum jelly (FIGURE 13-37A). Wipe off any excess before proceeding. (Using rubber-mask grease adds color to the latex skin.)

2. Coat the inside of the negative mold with latex (FIGURE 13-37B), keeping it thin at the edges, then let it dry.

3. Add the catalyst to the foaming compound (FIGURE 13-37C) and stir well (FIGURE 13-37D), making sure the two are thoroughly mixed. Continue to stir until the moment the mixture begins to foam. Do not lean over the mixture at this point to observe the foaming since the foaming process releases toxic fumes.

4. Pour the mixture immediately into the negative mold (FIGURE 13-37E).

5. Press the positive mold tightly into the negative mold (FIGURE 13-37F), and let stand for the time specified in the instructions.

6. Carefully separate the two molds and remove the piece. If the latex skin separates from the foam, reattach it with spirit gum.

Silicone Foam

This is a soft foam that does not require a latex skin. The brand you are using may already be flesh colored. If you want to deepen the color, add colorants before adding the catalyst. The foam is simple to mix and can be removed from the mold in 7 to 10 minutes. It is fully cured in 24 hours. Follow the manufacturer’s directions.

Foam Gelatin

This two-component, self-foaming gelatin behaves in a similar manner to polyurethane foam (known as a/b or cold foam). When the foaming agent is added to the melted gelatin it produces a lightweight, flexible appliance. It is safe, nontoxic, produces no hazardous fumes or chemicals, and is reusable. Foaming gelatin can produce appliances in minutes, even using your current latex molds. Mix the foaming agent with the melted gelatin and pour or spoon into a chilled mold. Use a light coating of petroleum jelly as a mold release. Seal all surfaces with Silicolor, apply to the skin with spirit gum, and blend edges with witch hazel on a cotton-tipped applicator. Foam gelatin appliances can be colored with rubber-mask greasepaint or airbrush cosmetics. (See Appendix A.)

Teeth

For enlarged, crooked (FIGURE 13-38), or fanged veneer teeth, acrylic caps can be made to fit over the natural teeth. The following materials, most of which are available from dental supply or special makeup supply houses, will be required (FIGURES 13-39 and 13-40A).

To make teeth, follow this procedure:

1. Mix the alginate (instructions included with dental alginate). Dental alginate is different from face casting alginate and has a faster setting time. Fill a disposable mouth tray (upper or lower) with alginate, which gels in 1 to 3 minutes, and immediately place it in the actor’s mouth (FIGURE 13-40B). Either upper, lower, or both may be used. Be sure to get the right size for the actor’s mouth, or get several sizes and keep the extras for possible future use. The mouth trays, though called “disposable,” can be cleaned, disinfected, and reused. Make sure to get the alginate up into the gum area. If necessary ask the actor to pull his or her lip out to facilitate the alginate getting into the gum area. After 2 to 3 minutes, to test for dryness, feel the overflow that has been forced through the holes in the tray. If it feels dry, wait another 30 seconds to make sure that all the alginate has gelled before removing the tray.

2. Have the subject close his or her mouth around the tray and blow several times, puffing the cheeks out. This will loosen the vacuum between the teeth, gums, and alginate. Remove the tray from the mouth, mix the dental stone (see Mixing Chart, FIGURE 13-3) in a small bowl, and immediately brush it into the negative mold of the teeth and gum before the alginate starts to shrink. The purpose of brushing rather than pouring the stone is to make sure that all the crevices are filled and that there are no air holes. You may also tap the cast on the table while the stone is still liquid to release any trapped bubbles.

3. When the dental stone has hardened, separate it from the negative impression, which can then be discarded. The disposable tray can be either discarded or washed, sterilized, and kept for future castings.

4. Fill the rubber form (FIGURE 13-40C) with dental stone, and immediately set the positive cast of the teeth into it. Take care not to immerse too much of the gum area into the stone as you will need this to register your teeth veneers). Let the stone dry until it has hardened completely.

5. Remove the rubber form from the stone cast and clean any excess stone off the cast. Be careful not to damage the teeth cast as registration is very important (FIGURE 13-40D).

6. When the teeth are thoroughly dry, spray them with a light coat of Krylon Crystal Clear Spray. It may be advisable at this time to make a duplicate mold of the original teeth cast with silicone impression material. This assures that you will have a negative mold of the teeth in case anything happens to the original cast. Check step 10 for instructions on making this mold.

7. Using a nonsulfur based, light-colored modeling clay, carefully sculpt the false teeth desired on the cast of the actor’s own teeth (FIGURE 13-40E). The sculpture of the teeth should slightly wrap around the back of the teeth for better hold with the finished product.

8. Sculpt a clay casing around the teeth, staying at least ⅛ inch away from the sculpted teeth in front and back (FIGURE 13-40F and Negative Mold Making, step 2).

9. Spray the whole teeth cast with 3 very light coats of Krylon Crystal Clear Spray.

10. Mix the silicone impression material. As with any two-part silicone product, first mix part A with part B together in one container, then transfer this mixture into a second container. Continue mixing. This step insures that all materials are mixed completely. Quickly and carefully build up a generous coat on the whole teeth cast (FIGURE 13-40G). Let it cure. If a second coat is needed it may be added at any time and will stick to the first.

11. Apply a plaster bandage mother mold to the outside of the silicone cast. Let harden (FIGURE 13-40H).

12. Remove plaster bandage mother mold and silicone mold from teeth cast, placing the silicone back into the mother mold. Clean all the clay off the teeth cast with 99% alcohol or acetone (FIGURE 13-40I).

13. Coat teeth cast with 2 light coats of Alcote PVA separating agent. Let each coat dry. Then, coat the teeth cast with a light coat of petroleum jelly.

14. Pour ¼ oz. acrylic powder into a mixing cup and add ¼ oz. acrylic liquid. Stir the mixture until it makes a soupy liquid. Pour the mixture into the negative cast of the sculpted teeth (FIGURE 13-40J).

15. Quickly push the positive stone cast of the teeth into the negative silicone mold containing the acrylic mixture. Let the acrylic cure (it cures fairly fast).

16. Remove the plaster bandage mother mold and the silicone negative from the teeth cast. This will leave the acrylic teeth attached to the teeth cast (FIGURE 13-40K). Carefully remove the acrylic teeth from the cast and trim the excess acrylic from the teeth with scissors and a finger nail file.

17. Gums may be added at this time if desired. Remove the teeth from the cast and apply petroleum jelly to the stone cast. Mix a gum colored acrylic and spatula it onto the gum area of the stone teeth cast. Quickly press the acrylic teeth onto the cast making sure the teeth contact the gum acrylic (FIGURE 13-40L). The gum acrylic area can be modeled before it sets. Before trying the teeth on the actor, make sure all edges are smooth.

18. Color the acrylic teeth appropriately using a dental coloring kit or tooth color (liquid or wax) from the manufacturer or cosmetic company. For a high gloss shine, paint the teeth with a clear gloss paint from a dental coloring kit (available at dental stores).

The false teeth can be kept on the stone cast of the teeth, kept in a plastic box or in container of mouthwash when not in use.

FIGURE 13-40M shows a finished set of teeth being worn by an actor.

Advanced Mold Making

Occasionally it will be necessary to make molds for aging or changing the features of an actor’s face. In this case a mold must be made without any undercuts to make what is called a wrap-around prosthetic appliance. The following materials are needed for mold making and sculpting: alginate (40 oz.); water (60 oz.); water for plaster bandages; plaster bandages; Ultracal 30 (UC) Krylon Crystal Clear Acrylic Spray; burlap (see Appendix A, pre-cut into 4-inch squares); metal or kitchen spatulas; disposable rubber gloves; wood rasp; Chavant NSP Medium clay sculpting tools; brushes; 99% alcohol; drill; router key bit; ¼- and ⅜-inch drill bits.

1. Starting with a full face cast mounted on a formica board or on the top of a counter (FIGURE 13-41A), sculpt out all the undercuts around the jaw line and neck area with water clay (see Appendix A). An undercut (FIGURE 13-41B) is an area of hard plaster that curves under the cast and therefore would make a negative mold impossible to remove from a positive mold without breaking a delicate edge. With water-based clay, sculpt all of the undercuts out of the face cast. Undercuts may appear in back of the jaw line, around the neck area, and between the cheekbones and the ear area. The next step is to take an impression of this form with alginate and reproduce it in a harder plaster, Ultracal 30 (UC) (see Appendix A). In order to mold the flared-out face cast you will need to spray the whole form with two or three light coats of an acrylic spray such as Krylon Crystal Clear Acrylic Spray (see Appendix A) and paint the plaster with a light coat of petroleum jelly to keep the alginate from sticking to it.

2. Mix 40 ounces of Alginate into 60 ounces of water and coat the cast with an even coat (¼- to ⅓-inch thickness (FIGURE 13-41C).

3. After the alginate has set, gently remove it from the face cast and place it back. This will assure that the alginate and plaster bandage mother mold will come off in one piece (FIGURE 13-41E).

4. Cover the set alginate in plaster bandage as you would with a face cast (refer back to face casting) to create a mother mold, supporting the shape of the alginate (FIGURE 13-41D).

5. Once the plaster bandage has set, carefully remove the alginate/plaster bandage mold together (FIGURE 13-41E).

6. Measure 1 cup tepid water into a plastic mixing bowl and sift in 2 cups UC. Let set for 1 minute. Mix thoroughly by hand, using rubber gloves. Tap the bottom of the bowl with your hand to release any excess bubbles that may have accumulated in the UC. Paint the UC mix into the alginate negative with a 1-inch disposable brush and follow by building up the thickness as the material starts to thicken (FIGURE 13-41F). This layer should be at least ¼-inch thick. Let set, usually about 5 to 10 minutes.

7. Mix 2 cups tepid water with 4 cups UC and let set 1 minute. Mix and paint one light coat onto the set UC. Dip two layers of burlap squares into the UC mix and gently press into the negative alginate mold. Continue this procedure, overlapping burlap squares, until the whole mold is covered. Roll two layers of burlap saturated with UC and reinforce the edges of the mold (FIGURE 13-41G). Place a metal pipe into the back of mold and reinforce with burlap. An additional small batch of UC may be mixed and painted onto the surface as a finishing coat.

8. After the mold has set for at least three hours it can be pulled and cleaned (FIGURE 13-41H). Let this mold set overnight. The mold is now ready to sculpt on.

SCULPTING To sculpt an old age or character face, begin by building up high and low areas, cheekbones, nasolabial folds, jowls, and neck waddles (FIGURE 13-42A) in Chavant NSP medium-density clay (see Appendix A). The thickest area of your sculpture could be up to 1 inch, the thinnest area should be no thinner than 1/32 inch. It is important to look at the sculpture in different lighting situations (i.e., full frontal, side lighting, etc.) to estimate the curves of folds and wrinkles. It is very important that the edges of the sculpture be blended out creating a smooth transition between clay and plaster. Edges can be cleaned with a brush or cotton-tipped applicator and acetone. A brush and 99% alcohol may be used to smooth out any rough areas of clay.

Various sculpting tools may be utilized to achieve different wrinkles and folds (FIGURE 13-42B). Textures may be added with rubber stipple sponges, sculpting tools, or from rubber latex skin texture pads (FIGURE 13-42C) described in the Clay Models section of this chapter. Slight over-texturing of pores into the clay will assist the plaster or stone in duplicating details in the negative.

NEGATIVE MOLD MAKING After you are satisfied with your sculpture you will need to make a negative mold of it to capture all the details of the clay:

1. Drill indented keys into the mold with a rounded router bit and drill. These indented keys will stabilize the negative mold, make the positive a tighter fit, and keep it from shifting around when placed in the negative mold (FIGURE 13-43A). Surface keys, where stone meets stone, can also be utilized to stabilize the positive into the negative mold. It may be necessary to shave off any undercut areas around the nose and eyes in order for the negative to be removed without chipping.

2. Using Chavant NSP medium clay, roll 12-inch long, ¼-inch wide snakes. These will be used to make the casing around the sculpture (FIGURE 13-43B). Clay should also encircle the indented or surface keys. Water clay can be used for larger areas. Stay at least one-eighth of an inch away from the edge of the sculpture with the clay casing.

3. Once the casing is completed, clean the stone area between the clay sculpture and the clay casing area with acetone on a cotton-tipped applicator. This will insure that your edges of the final prosthetic appliance will be as thin as tissue. Then spray the sculpture with three light coats of Krylon Crystal Clear Spray. A light coat of petroleum jelly should be painted into all indented and surface keys only after they have been cleaned off with acetone.

4. Mix 1½ cups water to 3 cups UC. Tap the bottom of the bowl to release any bubbles from the mixture. Gently paint the surface of the sculpture with the UC and a disposable brush (FIGURE 13-43C), being careful not to trap any air pockets between the clay and the UC mix. You may want to blow a little air on the surface to relieve any bubbles. Continue patting the UC mixture on until it starts to thicken. This coat should be approximately ¼-to ⅓-inch thick.

5. After this first splash coat has set, mix 2 cups water with 4 cups UC and paint a thin layer onto the previous coat. Dip two layers of 4-inch burlap squares into the UC mix and gently apply this to the mold. Continue this process until the whole mold has been covered. Make small rolls of burlap dipped into UC and apply these to the outer edges of the mold for reinforcement. (FIGURE 13-43D). With two rolls of burlap dipped into UC, make a bird’s nest on top of the mold. Fill it with UC to create a flat surface. This will act as a pedestal when the mold is turned over.

6. Let this mold set overnight, then clean off the sharp edges with a wood rasp.

7. Open the mold by pulling or using a furniture clamp or C clamp and three blocks of wood (FIGURE 13-43E).

8. Remove all clay from both molds. Clean the clay residue off with 99% alcohol or acetone. Be sure to use a respirator when using chemical solvents. Use only wooden tools on the surface of the sculpted area to avoid damaging the stone.

9. Drill vent holes through the positive mold into areas where the casings were placed next to the sculpture (¼-inch and ⅜-inch drill bits are recommended). This will allow for the excess gelatin to run out of the mold creating a thinner edge on the prosthetic appliance (FIGURE 13-43F).

10. This same process is used to make a nose appliance mold (FIGURE 13-43G).

Making a Gelatin
Wrap-around Appliance

MIXING GELATIN

Supplies Needed

Sorbitol

Glycerin

Distilled water

Gelatin (300 Bloom)

Zinc oxide

Joe Blasco Ruddy Light Skin Powder or any colored powder

Red flocking

Large tongue depressor or stirring utensil

Small strainer

Large microwavable bowl

Cups

Measuring spoons

Measuring cup

Basic Gelatin Formula

2 oz. sorbitol

3 oz. glycerin

1 tbsp. distilled water

3 tbsp. Gelatin granules

⅛ tsp. zinc oxide

½ tsp. Joe Blasco Ruddy Light Skin Powder

¼ tsp. Red Flocking

Note: This formula may be multiplied to create larger batches of gelatin. The amount of gelatin used may be raised or lowered to create a firmer or softer gelatin formula.

Procedure

1. Measure the sorbitol, glycerin, and distilled water into a large microwavable bowl and mix.

2. Measure the gelatin, zinc oxide, loose face powder, and red flocking into a separate container and mix.

3. Sift the powders through a small strainer into liquids and mix thoroughly.

4. Let this mixture set for twelve hours or overnight, allowing the gelatin granules to absorb the moisture of the liquid.

5. Microwave the gelatin mixture in the bowl for 30-second increments until the gelatin granules are thoroughly melted. Do not let the mixture boil. This procedure may have to be repeated several times. After the granules have been melted, the mixture may be left in the bowl and stored or it may be poured into a plastic zip lock bag and stored flat.

Remember, this mixture will be extremely hot. DO NOT let it touch the skin.

POURING GELATIN APPLIANCES Once the positive and negative molds are made, either a foam latex appliance or a gelatin appliance may be produced. The advantage of a gelatin appliance is that it requires a lighter makeup application, provided the gelatin color is a close match to the actor’s skin color. It moves more like real skin, the materials are less expensive, and the appliance is less time consuming to produce. The only disadvantage is that the gelatin can melt on the face if the actor tends to perspire freely. There are steps, however, that can be taken to prevent this from happening (see the Applying Gelatin Appliances section):

1. To pour and remove a gelatin appliance from a stone mold, you will have to coat the mold with a releasing agent. Spray vegetable oil, which is available in grocery stores, is the most economical choice. However, a more effective releasing agent is Epoxy Parfilm (see Appendix A) or the combination of the two. Spray the positive and negative molds with a heavy coating of the release agent and let it set for at least 30 minutes. The release agent will soak into the plaster and pickle the mold (FIGURE 13-44A). After 30 minutes, spray a lighter coat onto both molds making them ready to accept the hot gelatin mixture.

2. Heat the pre-mixed gelatin formula and carefully pour it into the negative mold (FIGURE 13-44B). Pick up the mold and roll the gelatin around onto all the sculpted areas.

3. Quickly press the positive into the negative (FIGURE 13-44C) and place barbell weights or any heavy object onto the positive mold only (FIGURE 13-44D). Let set for at least 45 minutes. Time will vary depending on the thickness of your mold.

4. Remove the weights and open the mold. Carefully pull the gelatin away from the molds and powder with baby powder (FIGURE 13-44E). To keep the gelatin appliances from wrinkling or the edges from being folded under, place the appliances on a vacu-form face cast or on a face cast covered with plastic. The appliances must be kept in a sealed plastic bag away from heat and humidity until ready for use (FIGURE 13-44F).

Applying Gelatin Appliances

(See FIGURE 13-45 for a list of supplies.)

1. Clean the skin with a tissue dampened with 99% alcohol. Be careful not to get alcohol near the eyes (FIGURE 13-46A—model before makeup application). Clean the front and back of the gelatin appliances with a tissue dampened with acetone.

2. Apply a pre-made rubber bald cap or bald pate with Beta Bond adhesive (see Appendix A). Add “stretch and stipple” old age (Old Age Stipple) on the forehead and around the eyes (FIGURE 13-46B).

3. Start the application of the wrap around the gelatin appliance by applying adhesive to the skin and back of the appliance. Pros-Aide and Beta Bond are two types of adhesives that work well with gelatin appliances (see Appendix A). The adhesives are contact glues (pressure sensitive) and work best when both sides are allowed to dry, then are pressed together. If re-gluing or re-setting the piece is necessary, 99% alcohol may be used as a solvent to lift the appliance off the face. No extra glue will be necessary to tack that area back down. Begin at the chin and work up to the cheeks and eyes of both sides of the face (FIGURE 13-46B). Finish the application by gluing the neck down. Gluing is best achieved in small sections to insure the whole appliance has been glued down. Press any bubbles out between the appliance and the skin. If the actor perspires freely, it is advisable to coat his or her skin with five coats of plastic sealer such as Sealer A from W.M. Creations, Inc. (see Appendix A) to prevent the perspiration from attacking the gelatin and melting it. The back of the appliance may also be coated with plastic sealer.

4. Make sure all the appliance edges are glued with adhesive.

5. With a cotton-tipped applicator and witch hazel, blend or melt the edges of the appliance into the surrounding skin (FIGURE 13-46C).

6. Apply any additional pieces. For this makeup ex ample, a nose tip and ear lobes were also applied (FIGURE 13-46D).

7. After application and blending of all appliances are complete, apply a light coat of Pros-Aide or Beta Bond adhesive to all the edges with a cotton-tipped applicator. Let the adhesive dry, and stipple a light application of Sealer A with a small torn white foam sponge or red stipple sponge over the edges only. To protect the gelatin appliance, the whole appliance may be coated with sealer.

8. Apply a light, translucent application of Stacolor Pink-6205 (see Appendix A), thinned with a very small amount of 99% alcohol with a torn red or orange stipple sponge (FIGURE 13-46E). Because the skin contains enough red pigmentation, Stacolor is applied only to the gelatin. Stacolor is used for this step because it does not rub off when you begin to apply the skin-tone foundations. When skin-toned Stacolors are used instead of makeup, the appliance becomes smudge-proof, waterproof, and grease (oil) free. Reel Creations and Temptu tattoo colors may be substituted for this step.

9. Apply rubber-mask greasepaints with a torn white foam sponge to create skin depth. It will be necessary to apply at least three to four different shades of makeup bases to accomplish the look of skin discoloration and old age spots. Reduce or thin the bases with either castor oil or GP-20, using very light applications to achieve a more realistic skin tone effect. Heavier application of makeup as needed on foam latex appliances is not necessary. Applying the skin tone bases very thinly will allow the translucency of the gelatin to show through (FIGURES 13-46F).

10. Finish the makeup with additional shading and wrinkle lines. Extra reds may be added to give more life to the prosthetic appliances (FIGURE 13-46G). Eyebrows and eyelashes are also grayed with hair white or a light makeup base.

11. Apply a properly styled and cut lace wig and glue it down with spirit gum to finish the prosthetic makeup (FIGURE 13-46H). Other designs using gelatin appliances can be seen in FIGURES G-26 and G-30.

12. Remove the gelatin appliances by first using the proper remover suggested for Beta Bond or Pros-Aide. Pros-Aide may also be removed with 70% alcohol and a flat brush. Once the appliance is removed, the remaining residue can be removed by soaking a puff in Isopropyl Myristate and gently rubbing the area until it disappears. The Isopropyl Myristate leaves an oily film and is milder for the skin than products such as Detachol, which tends to leave the skin red and dry. Aging latex “stretch and stipples” are best removed by first coating the area with liquid hand soap, letting it set for a few minutes, then applying a warm wet towel to the area and repeating the process one or two more times. Adhesive residue may be removed in the same manner with adhesive removers. The skin can then be cleaned with a mild medicated cleanser (Noxema, for example), and treated with a 100% pure aloe vera gel and Vitamin E cream.

Silicones

The translucent appearance of the human skin has been a challenge for makeup artists for many years. With the introduction of silicones, it is now possible to create the color of skin in a more lifelike appearance without the use of lights and makeup. Designing a prosthetic piece in silicone can be a very simple procedure. A basic understanding of the material, however, is foremost in completing any silicone project.

There are four different grades of silicone elastomers defined by their usage: industrial, food, medical, and implant grade. Industrial grade includes the varieties of one-part RTV (room temperature vulcanizing) silicones found at local building supply or hardware stores. Squeezed from a tube or sprayed from a can, these silicones are used as caulking compounds and aerosol lubricants and coatings.

Tested for their ability to remain in contact with the skin surface or pierced through the skin’s surface, products made from medical grade silicones range from prosthetic reconstructions to catheter implants and blood carrying systems to silicone-coated syringe needles. Silicone products tested for their ability to safely remain inside the body are considered implant grade silicones. Other products, such as baby bottle nipples and three-dimensional prosthetic devices used to enhance age and character makeups, are made with food grade silicone. It is this latter group that is of interest for this discussion.

Two basic types of RTV silicone elastomer systems fall under the heading of food grade silicone: tin condensation cure and platinum addition cure silicones. They are differentiated from one another by the type of chemical reactions used for their curing process. Tin cure systems employ a silanol polymer and use tin as a catalyst, while the platinum system utilizes vinyl polymers and platinum catalysts. Both polymers react with their curing reagent and are accelerated by the catalyst producing a silicone elastomer. The chemical reaction inherent within the tin system produces ethyl alcohol as a by-product that quickly evaporates. Inevitably, this small loss of material results in some slight shrinkage as curing occurs and the alcohol evaporates. This is why tin silicones exhibit more shrinkage than platinum cure systems. This chemical reaction in which the molecules combine with the evolution of a by-product is usually called a condensation process, hence the name for the product line.

All of the platinum silicones rely on the addition reaction between the vinyl polymers and hydride curing reagent to create a silicone elastomer. This entire process is aided and accelerated by the platinum catalyst. Heat may also be utilized to greatly accelerate the platinum curing process without compromising the physical properties of the material. One advantage to this reaction is that there is no by-product formed in this chemical reaction making it virtually odorless. The final result is a translucent, flexible, skin-like product that, when filled with the appropriate pigments and then applied, becomes indistinguishable from the actor’s own skin.

Tin condensation cure silicones generally cure at lower temperature than platinum; therefore, they cannot be accelerated by the addition of heat! The benefit to a tin system is it will cure practically anywhere, against virtually any mold surface, using any mold release. It is by far the simplest silicone elastomer to use. Tin silicones will actually cure in a mold that has been contaminated by latex, if a little care is taken to clean the mold. One negative side to tin silicones is they are generally not recommended for extended contact with skin tissue. This problem is easily solved by the addition of a layer of medical-grade brushable silicone to the inside of the prosthetic (between the appliance and the skin).

Platinum silicones in general exhibit superior physical properties such as tear strength and elasticity. This is the reason they are generally the material of choice for any prosthetic appliance that is to come into contact with skin. The negative side to platinum silicones is that they are very susceptible to contamination. They will not cure with any exposure to various organic products, especially foam latex, latex gloves, and Roma Plastilina. This type of silicone is highly sensitive to the sulfur contained in these products. If you choose a platinum silicone, you must create a new sculpt using the proper sculpting medium (sulfur-free Chavant clay), fabricate a new mold using all of the proper casting compounds (white hydrocal over the gray Ultracal-30), pigments, mold releases (from the manufacturer), and mixing equipment (glass, stainless steel, clear polypropylene—avoid polystyrene). When every detail has been properly monitored, place the closed mold into a conventional dry heat oven to accelerate the cure. Do not use an oven that has had foam latex molds placed into it on a previous occasion as this can contaminate the entire piece.

The following exercise will demonstrate the technique for utilizing silicone in developing age prosthetics using a tin condensation cure silicone, Rhodia (VI-SIL) V-1082. The properties of the tin cure system allow it to be used in any pre-existing mold, even those that contain residue from previous foam latex appliances. This is especially useful for artists who wish to experiment with silicone without having to repeat the lengthy process of making new molds. This is the procedure:

Cleaning the Pre-existing Mold

1. The first step in casting these appliances is to clean the mold thoroughly. Scrub the molds with acetone and a soft bristle brush. This will eliminate any physical debris and remove some residual latex contamination. (The molds pictured in FIGURE 13-51 are epoxy surface faced, hydrocal positives, and epoxy negatives.)

2. After the acetone has had a few minutes to evap orate, rinse the molds thoroughly with IPA (isopropyl alcohol) and allow to dry.

Mold Release

3. Apply mold release. Silicone, in general, should not need a mold release. However, it has been found that the minimal use of a proper mold release does make release a bit easier. (See FIGURE 13-47 for choosing the proper mold release for a variety of mold making compounds). Test your products before casting a complete appliance. Ivory liquid and petroleum jelly are more effective release agents when painted into a warm mold.

4. Before introducing the tin cure silicone into the mold, paint medical grade silicone onto the plaster positive (this step is not necessary when using platinum systems). Two coats of 891 Med A Silicone should be applied directly to the surface of the positive mold with an artist’s brush to an overall even thickness (see FIGURE 13-48A and B). The first coat can be thinned by first dipping the brush into E.T.F. (Extrinsic Tri Fluid) or 1:1:1 Trichloroethane, then completely covering the mold with Med A just beyond the margins of the appliance to create a smooth even surface. Wait twenty to thirty minutes for this first coat to dry, or accelerate this process with the use of a heat gun. A second coat can then be applied but should not extend to the outer margins of the appliance. This will enable you to produce clear thin margins at the edge of the prosthetic device.

Adding Color to Silicone

5. The silicone should be intrinsically pigmented with a silicone liquid pigment coloring system. To replicate the coloration and the mass of the prosthetic appliance in FIGURE 13-53, combine 30 grams of FX-1082 base with 3 grams of catalyst, 3 drops of red I204, 3 drops of white I-200, and 4 drops of suntan I-227 (see Appendix B, Factor II).

      The pigments are added to the silicone drop by drop and recorded. To determine the opacity of the silicone it is necessary to add the white pigment first. Usually 4 drops of white pigment per 10 grams of silicone will produce an initial opacity. It is important not to forget that the other pigments will also produce a certain degree of opacity. Using white and the primary colors (red, yellow, and blue) it is possible to achieve a good basic skin color. The numbers of drops are recorded on a color sheet for future reference. When the base color is finished so that it matches an overall color on the actor, the silicone is vacuumed to remove all air in the material.

Mold	Silicone	Mold Releases
Gypsum	Condensation Cure	Petroleum Jelly
		Liquid Soap
		F-901 Tin Foil Substitute
		A-801 PVA
		A-301 Petroleum Spray
Epoxy Surface Coat	Condensation Cure	1 coat A-301 and
		1 coat A-801 PVA
Epoxy	Condensation Cure	Epoxy Parfilm
		A-505 Ease release

FIGURE 13-47 Mold release chart for Tin Condensation Cure Silicones

Vacuum De-aeration

6. The act of mixing silicone incorporates air into the mixture. There are several ways to remove the air before you place the material into a mold. One way is to pour the mixture into a glass baking dish and set it in the refrigerator or freezer, allowing the bubbles to rise while slowing down the reaction. The standard way is to place the material into a vacuum chamber (see FIGURE 13-49) in a container at least four times the volume of the mixed material. This allows room for the material to expand during the process (see manufacturer’s specifications). During the process, the material needs to rise to the top of the container in a violent form and fall back to the bottom of the container without going over the top. This is absolute proof you have successfully pulled vacuum on the material. Continue to hold the vacuum for a couple of additional minutes.

Painting the Silicone

7. After breaking the vacuum and removing the material from the container and before filling the mold, try laying in small amounts of more intensely pigmented silicone into the surface of the negative mold (called intrinsic painting). This will produce an appliance that will appear more lifelike. This may take some time and experience. For the inexperienced, it is advisable to fill the mold with the base color and then extrinsically paint the appliance after it has cured. Now transfer the silicone into the mold by painting in small amounts at a time or carefully pouring from an edge. Once the pigmented silicone is placed into the mold, be careful not to entrap any air bubbles, and close and clamp the molds (see FIGURE 13-50). FX-1082 will cure overnight at room temperature. When the appliance is removed from the mold, it must be trimmed and cleaned with soap and water, then wiped with alcohol (FIGURE 13-51).

8. Before adding painted details to the surface of the appliance, clean it with acetone. Avoid touching the surface of the appliance; handling the appliance at this point will prevent a good integral bond of the extrinsic pigments. So if you touch it, you must completely re-prepare the surface of the appliance with acetone.

9. The next step is to add coloration to the surface of the appliance (called extrinsic painting) to create the desired overall effect (see FIGURE 13-52). Thin the colors with Extrinsic Tri-Fluid, 1:1:1 Trichloroethane, to a thin wash and paint them onto the appliance using a very fine artist’s sable brush. The vehicle E.T.F. (Extrinsic Tri-Fluid) causes the surface of the silicone appliance to swell, opening the pores of the silicone, and allows the pigment to enter the spaces and internally become part of the appliance. When the E.T.F fluid evaporates, the pores will close, and the surface of the appliance will return to its original form. It is not possible to change the base color of the appliance by using extrinsic coloration techniques. The reason for getting the intrinsic color to match as closely as possible is to minimize the amount of extrinsic pigmenting required. This is a fine and delicate art form. Considerable time and attention to detail is essential. When the coloring is to everyone’s satisfaction (FIGURES 13-53 and G-29), seal the appliance. Apply three layers of the same, but uncolored, silicone. Each application must be cured individually and returned to room temperature before putting a new layer down.

Applying the Silicone Appliance

10. Apply a silicone appliance in a similar manner as foam latex and gelatin appliances. The exception here is to avoid adding adhesive to the edge of the silicone. Using a silicone adhesive (Secure or Telesis) or a water-based adhesive (Pros-Aide), paint the entire inside of the appliance, stopping at an eighth to a quarter inch from the edge. Allow the adhesive to dry and become tacky (the silicone adhesives dry quickly so working in small areas is suggested). Press the appliance onto the skin, then wet the edges with water and they will disappear. No edge stippling is required.

Removing the Silicone Appliance

11. Remove the appliance with an alcohol-based remover such as Detachol or Bond Off (Ben Nye). Clean the adhesive residue from the appliance with 70% alcohol.