Burns

In this practical, we practised creating burns, using Gelatine. Gelatine can be bought in various forms, we practised with Block Gelatine from Kryolan, Gelglyk in a bottle form, and Food Gelatine by Dr.Oetker. You can decide how fresh the burn is, whether it be weeping, old, new, or shiny.

This is a burn created by my tutor on my arm. 

Kit: 

Gelatine

Microwave

Palette Knife

Supra Colours

Powder

Small Brush

Glycerine

Pus

Health and Safety - Do a heat test before applying to the client.

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

1. Heat the Gelatine. I used Block Gelatine, testing every 10 seconds.

2. Using a palette knife, spread over the area of the skin that will be burnt. It is crucial to blend it out on the outside, or you will get harsh lines. 

3. Pat the Gelatine using the palette knife. This will grab the Gelatine, and pull it up creating lumps, which is the burn effect. 

4. Dry with a hairdryer. 

5. Powder the burn,

6. Start applying the supra colour, using the depth you already have with the Gelatine. Use the supra colours to enhance this, making the burn seem deep. 

7. Fake blood, Pus and Glycerine can now be added to create a weeping blistered burn. 

I am really happy with the outcome of this practical. I need to work on the hard lines on the right side of the burn, but apart from the blending I really enjoyed this and am pleased. 

Dry and Dirty Skin, Rashes, Fever

In this practical, we focused on dry skin, as well as dirtying the skin. 

Kit:

Old Age Stipple

Duo

Blood

Barrier Cream

Supra Colours

Consultation Notes:

-Lucy - 18 - Female

Combination Skin

Pale complexion with yellow tones.

Allergy to facepaint (Snazaroo). 

Health and Safety:

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

1. Prep the skin. 

2. Apply barrier cream to the skin where the Old Age Stipple. NOTE: You only have to use barrier cream under Old Age Stipple, not Duo. You apply makeup after Stipple, but can apply under Duo. 

3. Pour the Stipple into a bowl. Using a sponge, pat onto the skin. Feather the edges so that you do not get a harsh line. Feather around the eyes especially. 

4. Cool with a hairdryer.

5. Layer if needed, as many times as you wish. NOTE: Make sure the stipple is dry before applying another layer. 

6. Rub the stipple so that the latex comes off. You can pull parts of the stipple off to produce a drastic flaking look. 

7. Mix your base to desired colour. For a really pale base, white and yellow into the base will drastically lighten it. 

8. Work into the flaking skin with the Supra Colours from Kryolan. By patting the colour into place gives a sense of realism to the look, use small amounts of black to give depth. 

NOTE: By removing the colour with a baby bud, this can also work in your favour to make the look more real and less obvious.

9. Add vaseline or 8 Hour Cream to the cuts to look as if they are weeping.

10. Talcon Powder can be used to make the skin look dry. 

I am really happy with the outcome of this look on my partner Lucy. As I am new to prosthetics, I am surprised I am enjoying it so much. I feel this look is realistic, although I could have worked into the Old Age Stipple with the Supra so that the skin looked sore. I could also dirty the skin around the flaking skin to make the skin look more neglected. 

Dirtying the Skin. 

Kit:

Kryolan Hairspray

This look is simple and easy to create dirty skin. Spray the hairspray colour from around 30cm away, and rub into the fingers and around the nails. Make sure the models hands and fingers are bent, so that the colour can be worked into the wrinkles of the knuckles. Fullers Earth can be used for a dusty effect.

Fever.

Kit: 

Vaseline, Bryllcreem, Glycerine

SupraColours

Base Foundation

1. To create a feverish look, mix a pale base using white and yellow, as well as a light foundation. 

2. Make sure the whole face is covered, right up to the edges of the eyes. 

3. For tired eyes, use blues and browns to make the skin look more translucent. 

5. Do not powder someone who is ill, you want them to look sweaty, so use a water spray, or Glycerin, Bryllcreem or Vaseline for sweat that stays. 

Rashes.

Kit:

Alcohol

Supra (red)

 1. Mix the alcohol and colour and ask model to close eyes. 

2. Rub into the skin to create a soft look with no hard edges. 

This can be used to create freckles, if the mix is flicked onto the face. 

Cuts, Scratches, Bruising and the Perfect Black Eye

In this session we focused on the perfect black eye, and cuts. 

Products you will need: 

-Cleanser, Toner and Moisturiser

-Kryolan SupraColours/Bruise Wheel

-Wax

-Liquid Latex

-Foundation Pallette

-Hairdryer

-Wound Filler

-Fake Blood

-Stipple Sponge

-Collodium

-TuPlast

Health and Safety:

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

The black eye does not need any of the prosthetics materials, just the supra colours or a bruise wheel. It is important to look at photos of bruises beforehand to decide on the age of your bruise, as the colours and shapes differ from fresh bruises to older ones. Below are two images showing the difference between a fresh and old bruise, that I had after falling off my bed!

A few hours after impact

1 week old

Consultation Notes:

Lucy - 18 - Female

Pale Complexion with Yellow Tones. 

Combination Skin, Dry on Forehead.

Allergy to FacePaint, no other products.

1. Cleanse, Tone and Moisturise the face. The makeup will go on much better on a clean canvas.

2. Start with the lighter colours, gradually getting darker. Bruises contain yellows, greens, reds and blues, depending on their age, so it is important to decide beforehand how old your bruise will be. 

3. Beginning with a yellow/green tone, sponge the colour in and around the eye socket, closely following the natural shape of the bone structure. 

4. Blend the colour outwards to make it look as natural as possible. 

5. Begin to add the darker tones, focusing on which area would have had most impact. Stipple the colour to give a mottled effect. 

6. Black can be added to add depth to the bruise. 

7. Once you are happy with the colours, a layer of vaseline will help to give a sore skin effect. 

Cuts 

1. Using a pallette knife, get a small amount of wax out of the tub, and warm up on the back of your hand. 

2. Apply to the skin, building up in the centre but blending out on the sides. 

3. When layering the wax, add abit of cleanser so that the wax already on the 'wound' won't stick and be pulled off. Make sure the edges are perfectly blended. 

4. Wipe the wax off the pallette knife, and slit the wound. 

5. Apply liquid latex to seal to the wound, and dry with a hair dryer on a cool setting. 

6. Apply latex around the edges with a baby bud, blending out the edges. Work quickly as the latex will dry very fast. The latex will keep the wax from moving in scenes. 

7. You can now use a pin to pick at the edges of the cut, which will give a much more natural wound, as the skin will be flaking around the wound. Apply a base on the model if the skin does not match the wound.

8. Wound filler is applied first using a spatula and then a pin or a fine makeup brush. Think about the detail in your work.

9. Building up the texture of the wound, using a stipple sponge add the fake blood.

10. Blood can be used to create a sore effect around the edges of the wound. 

Evaluation:

I am really pleased with the outcome of this wound, as it was my first time I had tried this. I would now like to experiment with different shapes of wounds, such as bullet holes etc. I am also very happy with the outcome of my black eye, as I had never tried this either. I really enjoy prosthetics and would like to start practising more in my own time. 

Split Lip

1. Apply barrier cream where the collodium will be used. 

2. Tip the head back, and paint it on the area where a split lip will be. 

3. Pinch the skin to create the slit, and use a spatula to reinforce this. Dry if necessary.

4. Build up on the face if needed. 

Scratches

1. Apply a base if needed.

2. Using a black stipple sponge, and the red supra colour or blood, apply to the skin. For a grazed effect, drag the sponge across the skin. 

3. This is most effective on places on the body that are likely to have impact: Knees, elbows, knuckles etc. 

4. Dirt can be added to give the effect of being dragged across the floor. 

Scars

1. On clean skin, apply the TuPlast, by dragging the nozzle across the skin. Make sure the nib is clean before applying. 

2. Once this is dry, you can use a pin to rough the scar up (optional).

3. Make up the area as usual. 

Late Victorian Hair/Ageing the Hair

Health and Safety:

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

Kit:

Pintail Comb

Paddle Brush

Kirby Grips

Hair Grips

Hair Band

Small Curlers

1. Start by creating a clean centre parting. 

2. Section the front of the hair using a pintail comb, from just behind the ear, right over the top of the head, to the other. Pin these sections up as you will be dealing with them last.

 

3. With the back section, section a horseshoe shape from the top of the back of the head, and tie up, creating a ponytail. 

4. Curl the ponytail, and pin up around the bun, creating a bundle of curls in the shape of a bun. 

5. Curl the bottom section of the hair, pinning some strands up loosely and leaving some down.

6. With the two sections at the front of the hair, starting at the centre, curl along the parting, not downwards, to create barrel curls. Repeat until you have curled roughly 3 inches. Leave to cool to set the curl.

7. With the remaining hair, curl, then section the back half and pin it close to the bun. With the remaining hair, sweep sleekly alongside the head, and pin near the bun. 

8. Using the curls onto of the head, create a wave that moves towards the back of the head. 

I am happy with the outcome of this practical. I feel I have achieved an accurate late victorian hairstyle, which is romantic and loose. The one thing I would like to change is to make sure the hair on my Kate Doll is washed and straight to start, as I have a little bit of crimp at the front of the hair that I had missed whilst prepping her hair.

Ageing the Hair 

Kit:

Kryolan SupraColours

Kryolan AquaColours

Batiste Dry Shampoo

Kryolan HairSpray

Toothbrush

Comb

Mascara Wand

As part of the lesson today we also looked at how to age hair. You can use a range of products, including the Supra/Aqua Colours by Kryolan, or Batiste Dry Shampoo. With the Aqua/Supra Colours, create a very pale flesh colour. The reason behind the flesh colour and not using white is that because the white can be too extravagant and very unnatural. This may be good to experiment when deciding on looks for Miss Havisham. When you have your chosen colour, comb through the hair using a mascara wand, sponge or even and old toothbrush, so that all the strands are reached. Using dry shampoo is an easier alternative for the model as it is easier to get out, just by brushing. Just spritz the hair with the dry shampoo, creating a dusty-powdery effect on the hair, which I believe Miss Havisham's hair would be. Below I used dry shampoo and different distances to give a heavier and lighter effect within the hair. 

Historical Victorian Hair

Kit:

Pintail Comb

Sectioning Clips

Kirby Grips

Curling Tongs

Hairband

Health and Safety:

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

1. Section the hair into two horizontally across the head, from just behind one ear to behind the other. 

2. With the section of hair at the back of the head, begin a plait from the centre of the back, then wrap the plait around to create a bun. 

3. With the front section, create a severe, clean middle parting using a pintail comb.

4. Curl the hair tightly at the sides of the face, so that the curls fall on the cheeks and finish at the chin.

The second Early Victorian Hairstyle that I created at home was very similar. This style consisted of a mid bun again, but the front of the hair was plaited and looped under the ear on each side. 

To create this hairstyle, follow steps 1 & 2 above, then follow below instructions. 

3. Section the front into 2, with a severe middle parting. 

4. Bring the hair down to the lowest point of the hairline, infront of the ear, and begin a simple plait, until you have reached the end of the hair. 

5. With the plait, loop it around under the ear and secure  around the bun. 

6. Repeat on the opposite side. 

I am happy with both outcomes of these practises. In the first practise, I would have liked the curls to be a lot tighter than they are, but I did not have the smaller tongs. The look is too large and bouffant, whereas the Victorians had sleeker hair and tighter curls. 

Ageing/Creeping of the Skin

Theatrical Aging is Makeup for Theatre Performances. The makeup has to be seen from the back seat of the theatre, so every part has to be exaggerated, the colour, shapes, lines etc. Unlike makeup for TV/Film, the makeup does not have to be precise and clean. Stage makeup focuses on exploiting the natural lines and shapes of the face. 

You will need: 

-Small angled brush

-Supra Colours

-Foundation brush

-Kryolan Foundation Palette

-Mascara Wand

-Tooth Enamel *Nicotine*

Consultation Notes. 

-Pale complexion, combination skin. 

-Charlotte is not allergic to any of the products being used. 

Health and Safety:

-Always ask the client if they are allergic to anything. 

-Check for skin conditions/infections. 

-Always sanitise hands before working on someone. 

-Always remove product from the palette with a spatula. 

-Brushes are to be cleaned between clients. 

1. Apply a small amount of moisturiser onto your palette. This will help the colours blend. Mix red and green to create a dark brown. 

2. Ask your model to pull faces to exaggerate the natural lines in their face. You can add black into the colours to create more depth, although be careful to not use too much black on pale skin. 

3. Work into the shape of the face with the fingers. Focus on thinning out the nose, hollowing out the cheeks and eyes. Work into the wrinkles and lines of the face.

4. Use your base to add highlights in the face, which will also add depth to the face. 

5. For the eyebrows, use a small amount of white supra colour with yellow, working into the brow to cover each strand. (Adding yellow stops the colour being seen as blue under the lighting).

6. Get your model to screw up the lips, then apply base. This gives a old, dead skin effect. 

7. Using a stipple sponge and red supra colour will give the effect of broken veins in the cheeks and nose, then blot the colour in some places to look flush. 

8. Dry the teeth with a baby bud, then apply the Tooth Enamel. This comes in a range of colours. 

The theatrical ageing was really enjoyable to complete, and I feel a lot of the aspects used here will be helpful towards creating my Miss Havisham character. 

Whilst at home, I wanted to practise on a male model. I feel this went really well, and would be very effective on the stage. Using a female and male model has helped me practise on different faces, which will benefit me throughout the course. 

Consultation Notes:

-Male

-Tanned Complexion

-Facial Hair

-Dry skin

I feel both practises of the Ageing/Creeping of the Skin were effective. I enjoyed practising at home, as on my male model I exaggerated the lines more than my first practise. I think initially in my first practise on Charlotte, I was nervous to go a bit more over the top, so my second practise was a little bit more drastic, but I think they both work. The only thing I have to be careful of, is when mixing colours, be careful not to make the colour too purpley, more brown. 

TV Ageing.

Kit:

-Kryolan Old Age Stipple

-White Sponge

-Barrier Cream

-Hairdryer

-DO A LATEX TEST BEFORE APPLYING ANY PRODUCT. LATEX ALLERGY IS COMMON.

1. Apply the Barrier Cream to the area you will apply the latex. 

2. Pour a small amount of the latex into a bowl, and using a small sponge, stretch the skin and stipple onto the area. Feather the edges, so that you don't have a harsh line, which will make the prosthetics obvious. 

3. Use a hair dryer on a cool setting, to dry the latex. Never use a fast setting, as this can ripple the latex on the skin. 

4. Make sure the latex is dry, then you can layer and repeat the cooling process. 

Here I have used this method to create an old age hand. By stretching the skin and then applying the latex, this causes the wrinkled effect when the skin falls back into place when released. I really enjoyed this, although it is much harder than it looks as the latex dries very quickly. I would like to practice this in various places on the body, such as the neck and face to see the outcome.