Foam Latex Prosthetic Application: The Dweller

Foam latex prosthetic appliances are an exciting and dramatic tool to construct monstrous creatures, fantastic aliens and professional character make-up effects.

In the book Character Make-up, 2nd Edition several types of prosthetic appliances are explained and discussed. In our classrooms we use this textbook as a reference and the photos as a visual guide to discuss the intricacies of prosthetic character application.

In Part One of this tutorial, I am going to demonstrate how to fit, glue and blend a foam latex prosthetic to my model’s face.

In Part Two of the tutorial, I am going to show you how I work with PAX paint and alcohol based make-up. On my model Sean, I wanted to produce an eerie and transformative creature for the prosthetic character that I have named the Dweller.

Some foam latex prosthetic appliances will have an amount of excess material in the eye or mouth area or around the perimeter of the prosthetic. This excess material is referred to as flashing and is a result of the manufacturing process. Flashing is removed by gently tearing away in small sections at the perimeter where the prosthetic is thin and the most fragile. Once removed, the delicate edge that remains is referred to as the blending edge.

At this point, all other prosthetic make-ups generally begin the same way. I start by test fitting an appliance and cleaning the model’s skin. Test fitting the prosthetic appliance allows an artist to see if the prosthetic fits the face of the model. Here are a few things that I consider as I fit any appliance.

How do the nostrils line up? Are they functional and breathable? How does it fit around the eyes? Will it limit or obscure their vision? Does it avoid or cover the tear duct and outer corner of the eyes? Does it fit within the hairline? If not, do I have a wig and wig cap prepared or do I use a bald cap?

After I test fit a prosthetic appliance I clean the entire surface of the skin with an astringent or toner. On my model Sean, I use a liquid astringent of distilled witch hazel.

There are several brands of prosthetic adhesive available to the make-up artist. For this application I use ADM Tronics Pros-Aide adhesive. Pros-Aide is a durable, water-based contact adhesive that is free from manufactured solvents. I have had great success using this type of adhesive with foam latex prosthetics.

To begin gluing, I re-fit the prosthetic appliance on the face. If the prosthetic is designed to fit the full face, I will use the nose area to glue as an anchor point. An anchor point is the first area that will be glued and is used to secure the prosthetic to the model. The anchor point also helps to keep the prosthetic centered on the face. Holding the prosthetic in place, fold the appliance away to locate the anchor point. Using a cotton-tipped applicator, I spread out a uniform layer of Pros-Aide over the entire nose and nostril area. Next, realign the prosthetic with the anchor point and press the prosthetic into the adhesive.

Apply adhesive to the inside corner of the eyes and upwards on the brow. For this application I am avoiding and working adhesive around the model’s eyebrows. This adhesive will dry clear. As the adhesive begins to dry, I align the prosthetic to the shape of the face and set it into the adhesive. For this application I will continue to apply using a technique referred to as the hinge method. Using this technique, adhesive is applied in a thin strip from the anchor point along the center of the face and upward toward the hairline. Next I apply adhesive from the anchor point along the center of the face and downward, completely securing the entire upper lip. I continue to secure the center of the appliance working downward at the lower lip and chin. Now that the center has been secured, the hinge method requires the appliance to be lifted or hinged open, working from left to right. This technique will help keep a facial appliance positioned correctly and not unintentionally crooked. I continue securing the appliance into the adhesive gluing sections about one to two inches wide and down each side of the face.

The areas around the eyelids, lips or mouth may have dry areas of adhesive that will remain sticky. Use a Powder Puff to press a generous amount of Zero Powder into the adhesive in those areas. Some areas around the eyes will be difficult to powder using a powder puff. In areas like the inside corners of the eyes, I use a #320 Shadow Brush to press powder into the dry adhesive.

When securing the blending edge of a foam latex appliance it is not uncommon for the delicate edge to roll or wrinkle as it sits against the skin. In these areas I use a #400 Narrow Flat Brush dampened with 99% alcohol to brush atop and under the blending edge. As the alcohol saturates the adhesive area I can use the flat brush to lift and unfold the blending edge so that it lays smooth atop the skin. After all folds have been worked from the blending edges I will use a powder puff and press Zero Powder around the entire perimeter to remove the tack of any dried adhesive that remains.

Any blending edges that are still visible will require a ridge filler. I use Pros-Aide Cream Adhesive as a ridge filler to smooth and transition a visible edge into the skin. Using a steel palette knife I apply a small amount of ridge filler in a sweeping motion. I work along side of the blending edge and sweep upward or downward to smooth out the material onto the skin. After the cream adhesive has dried, I tear a Make-up Sponge to create an irregular surface. Using a torn sponge, I stipple adhesive over the entire prosthetic. As the Pros-Aide dries it will create a film of adhesive that will seal the surface of the prosthetic. Sealing the prosthetic prevents make-up and paints from bleeding into the spongy and porous surface.

Next I stipple lightly over the surrounding areas of skin. As I work onto the skin and away from the edge I allow only the tips of the textured sponge to contact the surface of the skin. This places small dots of texture that will help to transition this appliance onto the skin.

When I color most foam latex appliances I use PAX Paint. This particular product is an adhesive-based paint, made from Pros-Aide adhesive and blended with cosmetic grade pigments to use safely on the skin. I start this color application with an undertone of a warm brackish red tone. It is typical to use multiple layers of the PAX aint to achieve full coverage on a foam prosthetic. I stipple the surface of the prosthetic completely for coverage and lightly in the naturally shadowed features of the model’s neck, collar and chest. Some areas around the eyes will be difficult to color completely using a make-up sponge. In areas like the inside corners of the eyes, around the nostrils or the deep overhang of a brow, I use a #210 Angle Liner Brush to brush and stipple PAX onto the prosthetic and skin. Use the brush to achieve full coverage in deep wrinkles or textures of the prosthetic.

Next I apply a sequence of flesh toned PAX paints. The two selected colors are close in value and when stippled together create a believable and lifelike skin tone. As I stipple on the flesh tones I allow these colors to pick up on the high points and dominant features of the characters face and neck. I use these colors to give shape to the forms of the jaw line, collarbone and the muscular structures of the neck. As the PAX paint dries the surface may remain slightly sticky.

Use a powder puff to lightly press a small amount of Zero Powder onto the surfaces that are likely to stick together as the model moves about. These areas might include the eyes and eyelids, the mouth, and the neck.

Next I begin to apply PAX colors diluted with water in the forms of translucent washes. I use this technique to texture and mottle the surface imperfections of the creature and accentuate the characters recessed and shadowed areas of the head and neck. I select an earthy shadow tone and using the #310 Lip Brush I stipple, brush and tap the shadow wash to give depth to the wrinkles and folds. I allow the brush to guide the shadow washes to settle naturally into deep areas and textures of the prosthetic appliance.

The next technique uses a disposable paint brush to fleck a translucent color onto the make-up. Using scissors the bristles of the brush are cut down to about one inch. Using a small amount of 99% alcohol I dilute a dark brown alcohol make-up on a MUD disposable paper palette. Stir the paint brush into the diluted dark brown color mixture. With a thumb or forefinger using a short stroking motion over the bristles, fleck the color onto the characters face and neck. Using different concentrations and dilutions of alcohol and make-up, varying textures and tones can be achieved.

Next using a torn make-up sponge, I introduce a light toned PAX wash to function as a highlight over the most significant and dominant features of the design. In the eye area, I use this color to give more shape and definition to the under eye. I continue to adjust the intensity of highlight and shadow toned washes to create a balance of contrast and depth in central points of focus like the eyes, nose and mouth areas.

I finish the coloring using alcohol based make-up in warm reds and cool violet tones around the mouth, nose, eyes and deep or compressed folds of the skin. I use 99% alcohol to dilute the color around the mouth and nose areas. When I am working around the eyes I try to reduce the amount of alcohol to avoid fumes that can irritate the model. I place a thin amount of castor oil to add a soft shine to areas like under the eye, mouth and nostrils. The castor oil can keep painted areas more flexible and add a wetness that can appear more horrific or menacing in some areas.

Our model Sean can now be fitted with teeth or lenses, wardrobe and wig to complete the look of the Dweller.