Welcome to the world of special effects makeup—or SFX makeup for short. SFX makeup artists use cosmetics combined with prosthetics and sometimes even robotics to transform actors into the true embodiment of any character, from Frankenstein's monster to Barbie.
Makeup has been integral to cinematic storytelling since the earliest days of filmmaking. Jack Pierce, one of Hollywood's SFX makeup pioneers, brought iconic movie monsters like Frankenstein's to life in the 1930s with some unorthodox tools, including mortician's wax, putty, and a ghoulishly green greasepaint that appeared ghostly gray on black-and-white film.
Over the years, SFX makeup has evolved to become more sophisticated, with today's artists utilizing a variety of molds, masks, and artificial body parts to turn actors into monsters, superheroes, and even historical figures. One technique is a process called lifecasting, where artists cover an actor's head in a glutinous goo that eventually dries to become a hardened 3D replica of the actor's face. Artists then use this mold to create custom prosthetics—like cheeks, noses, and foreheads—that actors wear on-screen.
In 2017, Academy Award-nominated makeup artist Arjen Tuiten used lifecasting to dramatically alter actor Jacob Tremblay's face for the film Wonder. Tremblay was playing the part of Auggie, a boy who has a genetic disorder that impacts his facial features. Though the extensive prosthetics needed for the role were challenging to create, Tuiten told Reuters that getting Auggie's on-screen appearance right was imperative to telling a compelling story. "If this would have looked fake or mask-y," he said, "the whole movie wouldn't have worked."
Undoubtedly, the verisimilitude Tuiten values is paramount to any SFX makeup work. As artists seek to bridge the gap between the screen and the audience, there are many tools they can employ to get the job done. Stencils can be used to make tattoos as well as scales or spots, while airbrushing is opportune when establishing a specific skin tone—like Mystique's blue hue in X-Men: Days of Future Past.
Some artists go high-tech to make a character lifelike, adding robotics and animatronics that allow their custom creations to move. Imagine creating the headpiece for the mythological Medusa—an SFX makeup artist could incorporate animatronics to make the character's snaky hair writhe and hiss without needing a herpetologist on set.
Other tools of the SFX makeup trade include latex and silicone, both of which can be used to simulate skin and allow artists to add features like wounds or wrinkles. Makeup artist Glenn Hetrick created several sets of silicone-filled blisters for the movie The Hunger Games: Catching Fire. He likened the experience to solving a puzzle, as there were many different elements that had to be considered when creating the blisters, including the filming locale.
Since film production is a complex undertaking, makeup artists must be willing to balance their work with the director's vision, actors' needs, film budget, and production schedule. They must also be communicative and skilled in various visual arts such as cosmetology and painting, as well as sculpting and molding.
Most importantly, SFX makeup artists must apply their skills in a way that appears authentic to viewers, even when the most monstrous creatures are involved. As SFX makeup pioneer Jack Pierce purportedly said: "The sole reason for…character makeup is not to proclaim the skill of the artist or actor, but to help tell the story."
Think about and discuss these questions:
What facts show that SFX makeup can take a lot of time to get right?
Based on what you know, would you want to wear SFX makeup if you were an actor? Why or why not?
Credit: Achieve3000/McGraw Hill
Question 2
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Based on information in the article, which of these happened first?
Airbrushing was used to change a movie character's skin color.
Silicone allowed SFX makeup artists to create simulated skin features.
Greasepaint was used to change a movie character's appearance.
Lifecasting allowed SFX makeup artists to create custom facial features.
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Based on the timeline provided in the article, the statement that happened first is:
Greasepaint was used to change a movie character's appearance.
This is evident in the mention of Jack Pierce using "ghoulishly green greasepaint" for characters like Frankenstein in the 1930s, which predates the other techniques described, such as lifecasting and the use of silicone and airbrushing.
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