Backstage

Here are step by step illustrated instructions on how I made the noses for a few characters of the Palio of Pomarance.

Since this is a play which did not require the likely make-up make-up film, and being the nose part of the face little flexible and deformable, I thought it was not necessary to use latex foam to achieve this type of prosthesis, but could also work well on liquid latex precured.

The first step in the realization of the prosthesis was then the study design (the whole show was created and developed around a comic) and the creation of the model.

Even with the positive provision of a nose (my! 🙂 ) plaster work on, and that I used as reference for the size, for convenience I made a table of all PVC (my kitchen cutting board).

After the modeling phase of the clay (Here I used the very common Pongo) and recreated a thin orange peel to simulate the effect of the skin, I used the cutout of the base of a bottle to surround the model and create a containment for the casting, as well suited in size, and then I poured the plaster to get the impression.

At this stage it is important to ensure that small air bubbles inevitably present in the water / gypsum leave, thus avoiding that create imperfections to the mold. To do this, fully paid after the plaster into the mold, just beat vigorously on the basis of which it supported the model, creating vibrations.

Obtained the mold and removing the model pose, which will leave the imprint 'clean', you can proceed to the first molding.

To do this you must pay a minimum amount of liquid latex mold inside, and then moving the same to make the latex go to cover only the areas concerned, preventing or oozing from the mold is at the bottom.

The mold should be left to air dry (if you want you can speed up the processs with a hair dryer) and at the end all be exposed to the latex powdered with talcum powder or neutral boron-. This will prevent the latex from sticking to itself during the extraction.
Generally a single layer of latex is very thin and is not sufficient to ensure that the prosthesis has achieved the required consistency, to make it more rigid, you can create other levels following the first, but left margins after 'climbing’ the distance 1/2 mm from the edge of the previously created, to ensure that the edges, remaining thinner, risultimo invisible once pasted.

Once you reach the desired thickness, powder for remembering everything well, you can proceed, by lifting a corner of the latex and shoved under a brush full of talcum powder, to pull the nose of the mold.
What should be done by becoming aware that the objectivity achieved not fold on itself, sticking beyond repair.
Below is presented as a separate noses from the plaster, ready to be applied and colored.

Here are some shots for a photo shoot with Daniel Mora.

The photo shoot was carried out in all external, Parco Ducale in Parma, daylight to a late summer day.
For makeup Eilidh, wanting to obtain a quite natural, I made a clear basis on the face, shaded pink cheeks and cheekbones with a natural and edged black eye, pencil (eyeliner) el'eyeliner lower eyelid removal on the upper eyelid, just above the root of the eyelashes.
I used a purple in poor enough to give off a color tone to the eyes, delicatamanete brushing the upper eyelid, starting from the eye closest to the nose and blend it with a white eye shadow outside corner of the eye, near the end of the arch eyebrows.
The same eyebrows were re-redefined the use of a dark brown pencil, also to make the transition to a nicer hair wig blacks used shortly after, very good in giving a stronger tone to the character and remove it so decided by the fund, Very colorful and bright.
For the second series of shots instead, made towards the sunset, we went back to the classic style, Eilidh for removing the wig to regain its natural brown color, tune with the background color of the trees, and focusing instead on the lips, on with a bright red.