Curing
Once the foam has gelled, in a few minutes the mold can be placed into the oven for curing. During this process, vulcanization occurs. The latex molecules chemically cross-link, and give the foam piece a memory. Once demolded, the foam will spring back into shape after being pressed.
Demolding
Specific instruction and product knowledge can be acquired by contacting GM Foam, Inc., directly: (818) 908-1087.
by Gil Mosko
The gluing of a foam appliance is more or less a mechanical process. There are many different adhesives, but an appliance is built to sit on the face or body in one specific way, and is never stretched. Let us assume that your appliance is glued to the face, and it is time to paint. The goal of course, is to make the paint job not only look like the surrounding skin, but to also make an opaque medium appear translucent. This is achieved by building up layers of thin wash of color, so you can see through the layers and see depth.
We all learn by watching other artists. In my case, the truth is that the very gifted artist Greg Cannom had me visit his lab, along with my model, and literally showed me how he painted a bald cap. This was during the period in the ’80s when I was studying for my union exam. I applied a bald cap to my model, and Greg painted it. That simple act of generosity has, since that day, changed the way I look at painting.
Everyone has their own style. Todd McIntosh begins with a base coat of reddish color, and paints everything over the red. This lets the painting have the feel that there is blood under the skin, and you can barely see it, once again creating depth. I like to use a base coat of paint that closely resembles the actor’s or actress’ skin. I use full-strength Pax Paint (a term coined by our dean of makeup, Dick Smith). I might
add that GM Foam, Inc., has a complete line of Pax Paints in two palettes: Dark flesh tones, and Light flesh tones. Each palette also has a red appropriate to the other colors. Once the piece is painted, I gently feather a very thin layer of the base coat onto the skin, using a white makeup sponge. From this point on, I use what artists call “scumble sponges.” Take a white makeup sponge, hold it in both hands, and pull until it breaks into two pieces. This edge is then picked at with your fingernails, until little holes have been picked away.
The sponge is now a stamp of sorts, and can be used to create a mottled surface.
1. After the full-strength base coat, I never again use full-strength Pax Paints. I thin them with water until they are mere washes of color.
2. After the base color, I paint a thin coat of red by dabbing the scumble sponge, constantly turning it as I dab, so the pattern of the sponge cannot be seen repeating itself. I dry each coat after it is applied.
3. After the red, use a shade one or two shades lighter than the base.
4. Next, use a color that is two shades
darker than the base. |
5. Then I use greens and blues. 4
6. Finally, a last coat of the original base as a wash over everything.
7. Once all the Pax colors are dry, I like to use a thin layer of RCMA Appliance Foundation that matches my base color. Incidentally, my Pax colors are keyed into the RCMA color scheme, with such
colors as Olive 1, Shinto 2, and so on, so when you are ready to harmonize all of your Pax layers, you just smudge a little RCMA over the Pax Paints, in the same shade as your base coat. If you use a thin enough layer, it will not hide all of your hard work, and also it will actually bite into the Pax Paint, making the use of powder unnecessary.
8. If there is more shine than you desire, you can use Origins, Zero Oil. Use this product in a sweeping motion. Do not use a stipple technique, or it will dry in little white spots.
9. Finally, if you have the time, you can paint freckles and blemishes, either with greasepaints, or aqua colors.
I can tell you in all candor that there is a point, if you are lucky, when the paint job ceases to be layers of paint, and suddenly becomes skin. For a Makeup Artist, I can think of no greater thrill than to have an appliance painted so accurately and artistically that one cannot distinguish it from the surrounding skin. And believe me, the Director and the Cinematographer will notice.
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PRO TIP |
As with anything else, this technique requires practice. What I wish for the readers is that you have a good time learning these techniques, and someday do a makeup that is so flawless that you earn the respect of your peers.
—Gil Mosko