Body Horror
Body Horror includes many different types of makeup range found within performance is vast. The definition of Body Horror is
To experiment with makeup for this category of the project, there are many potential makeups. The primary focus for the makeups completed is the concept of a parasite taking over the body and morphing a human into a new being. This is typically seen as a gruesome change that is considered body horror and for most audiences is seen as one of the most horrifying. Examples where this occurs in pre-existing films include Prometheus, District 9, Slither, Splinter and The Fly. The aim is to create a makeup that horrifys the viewer, making it seem believeable yet grotesque. Experimentation is a key part in the creation of a successful design and application. This page details the experimentation that was completed in order to create the most impressive and effective makeup for body horror.
Research is the key to finding the techniques available to create a makeup. However there may be pre-existing makeup techniques that could be improved upon in order to produce a more effective piece.
There are many examples in film and television which protray body horror on the screen. To the right are some articles from Makeup Artist Magazine detailing the makeup used for the television show American Horror Story. The plotline for the series included humans that had been scientifically experimented on and had become mutated and diseased.
The photographs included in the article display the mutated beings that were seen in the series, their faces have been dramatically altered keeping their innocent human form, yet distorting their faces enough to make them unrecogniseable. This accurately displays the concept of body horror, the known becoming so altered in a visually disturbing manner that it becomes unknown. The makeup designer for these creatures has succeeded at creating these makeups effectively as the human form remains, creating sorrow and pity for the characters, yet they have become monsters and are therefore difficult to look at. This is an important characteristic to remember when creating a body horror makeup, the original form must be recogniseable underneath the horror. If the design showed not trace of the original being there is no reminder of the ordeal that it has been through. The pieces used for the filming were made out of silicone as it creates a flesh-like finish with the texture and colouration required. Experimenting with different materials such as silicone and gelatine will be interesting to see which has the most effective and realistic result.
For the makeup the concept of boils and changing the human skin is a large part of the creation that will be experimented with. The first step is to create the design for the makeup that will hopefully be acheieved by the end of the project. From this step it is possible to come up with alternate methods for creating such an effect. It will be a matter of experimenting with materials that are new and can produce effects that have previously not been practised with. On the third page of the article there is a photograph of a mutated being with one eye completely covered. There is slight skin fragments and peeling on the surface which work really effectively, this could make an interesting texture for a makeup design. It would be interesting to play with techniques to work out how it is created. The concept of peeling skin is a horrible idea for most people therefore making it a powerful visual element of the makeup.
This is a sketch of the design that will be created for the body horror element of this project. It will be spine-like protrusions that form on the arm forcing their way through the skin. The idea of something physically altering the form of the human body opitimises the concept of body horror therefore it will be an effective design the experiment with. The idea of the flesh ripping is also a common horror that many people find disturbing that could be interesting to experiment with.
Logically the first step in creating this design will be to create the spines as these will be the core to the makeup. Finding a material that will be strong, yet light enough for the makeup on the skin to remain as if it is too heavy it will pull and distort the look. The placement of the spines will also be something to consider as the arm has a lot of movement therefore the spines will need to be placed strategically. If the arm is held with a slight bend the largest spine will protrude just below the joint in order to counteract the elbow's movement. It will also give the design a streamlined effect. To begin this makeup the first step is to create the spines themselves as these will need to be inserted into the sculpt in order to make sure that they fit perfectly for the piece that they will insert in to.
To expand on the understanding of body horror Makeup Artist Magazine had many articles displaying makeups which are considered body horror from many popular films. The examples can be seen below and to the right. The first (to the right crated bu MastersFX) is an infection makeup for the television series Fringe. The infection has spread over his body in the form of a black vein-like substance. This is a particularly powerful form of body horror as the subject has no control over the expansion of the material, yet the audience can see the horror as the infection begins to take over the body.
The use of an unknown material slowly taking over the body is particularly horrific and would be an interesting aspect to consider in the makeup. The development stages of the take over. This works so effectively as the audience can place themselves in the situation as it happens to a regular man. Experimenting with various materials to create a final look that seems as though a foreign material is taking over the body would be an interesting effect.
These articles have all provided much inspiration for the creation of an effective body horror makeup, allowing the mind to expand to many numerous graphic and violent concepts that can happen to the body. Another instance of body horror is the Elephant Man, as his body is unwilingly mutated through disease creating a distorted figure. The large tumours and swelling of the body create a graphically disturbing image that fits the theme of body horror exactly; The inability to be able to stop a disfiguring or horrifying change from happening to the human body.
The final article in Makeup Artist Magazine displayed the transformation of the character The Green Goblin in The Amzing Spider-Man 2. This is an interesting concept as the character has a terminal illness and he decided to try on an experimental suit which attaches itself to his flesh. It then begins to alter his human form, merging the skin with machiene while also spreading infection and disease. Once the suit is on it is unable to come off therefore the change is irreversible making it horrific. This slight changes in appearnace, from colouration of skin, thinning of the hair, protrusion of the spine and decay of the teeth add to the overall effect. This shows that it is not neccessarily the amount of vast changes that create the horrific image. A small alteration such as the loss of hair can portray the horrific element. To make a successful design it is important to play on the fears of real human beings as they will relate and feel the horror at a greater level. Looking at these designs from preexisting films allows visual aid to understand what makes the horrific. As the effect must happen uncontrollably on the body it is important to think widely as to the effect that could occur.
The article that went alongside the images of The Green Goblin detailed that the makeup artists used super baldiez sprayed into a textured mould to create the gruesome goblin texture. This is an interesting technique as to the creation of the withered and decaying skin. The effect of the shiny green colouring on the skin makes the whole effect seem vile and fresh which is a powerful visual element. The colour also links to the idea of sickness and bodily fluids which is unpleasant to think about or look at. It is crucial to play on the minds of the audience even if subconsciously.
Nazzaro. J. (2014) Spring Movies of 2014, Makeup Artist Magazine, No. 108 June/July, Pg 64
Creating the Spines
Creating the spines for the makeup design is the first step in the process, this is due to the fact that they need to be used to create the sculpt ensuring that they fit perfectly. Therefore it was necessary to explore and experiment with different techniques to create these spines.
The first experiment involved taking cocktail sticks and colouring these to create very thin, spiked spines that could be inserted. The tops of the sticks are painted using acrylic paint to give it a transition in colour from beige to black. It was difficult to make sure that the sticks were the correct length as when cut the wood splintered making it sharp and dangerous. These were an interesting design, however they were very thin and straight, their shape could not be altered to bend in order to flow more successfuly with the line of the arm. These photographs show the spines made from cocktail sticks attached to the skin with liquid latex.
Another tecnique that is worth experimenting with it the use of resin to make the spines. Resin sets very hard and is strong therefore would make realistic looking spines that could come out of the skin. It also allows for the spines to be individually sculpted to the perfect angle. These can be created by sculpting using a clay such as Monster Clay or LeBeauTouche. The sculpt should be created at the angle at which the spine will protrude from the skin. These photographs show the stages of creating the spines. It is important to add detail to the sculpt in order to make them believeable. Look at reference images from pre existing animals that have spines or horns that are similar to that of the ones being created. This will ensure that the level of realism is high.
The next step is to mould the sculpt. To do this there are many ways, the first is using Alginate, mix the alginate and water in equal parts and pour over the sculpt. Allow to set, fill the mould with plaster, a thin first layer to pick up the detail of the sculpt followed by a thicker filler layer. Take this plaster mould and create a silicone cast of the plaster using either pro gel 10 or life cast silicone. This will create a thick layer around the plaster, once set fibreglass the outside of the silicone to give it support. After this process remove the plaster from the silicone mould, the mould can now be poured with resin.
The second method cuts out the use of alginate and plaster, applying silicone mould making material directly to the sculpt. This creates the mould directly. To do so apply a thin layer to pick up the detail allow to set and apply more layers on top until thick enough. This can then be fibreglassed. Once set it is ready for the resin. (Tindall.P and Humphrey.W, 2015)
There are many types of resin available, however fast cast would be suitable, mix equally two parts and pour into the silicone, once set this will provide a resin version of the sculpt.
Stuart Bray (2013) Stuart Bray Alternative Sculpting Techniques IMATS 2013 Presentation [Online] Available From: https://www.youtube.com/watch?v=yxIUdWvBkSQ Date Accessed: 26/01/2015
On the previous page for the Cyborg makeup there is an article from Makeup Magazine concerning the Maleficent makeup used for the film in 2014. It details the techniques and processes that were used to create the horns for the design. The article mentions the need for the horns to be lightweight and durable in order that they last a '70 day shoot' without breaking.
These horns created for Maleficent were a combination of 'TC-879, and indestructible urethane, with TC-812, a much lighter polyurethane. the horns were held in place by magnets called 'Rare Earth Magnets' they were carefull glued on to some vac-u-form skullcaps that were made on angelina's lifecast so that they would fit perfectly on her.' (Koseluk, 2014, Pg 58-62) This idea proves interesting, the use of lightwieght horns with in built magnets in order to create easy and quick attachment and removal. This is worth experimenting with further in future projects
Nazzaro. J. (2012) Monsters & Memories 25 Years of Masters FX, Makeup Artist Magazine, No. 98 September/October, Pg 54
Koseluk.C. (2013) Mutants on the Move, Makeup Artist Magazine, No. 100 February/March, Pg 40-42
Nazzaro.J. (2013) Makeup Artists Making Cameos, Makeup Artist Magazine, No. 100 February/March, Pg 73
Nazzaro.J. (2014) X-Men Days of Future Past, Makeup Artist Magazine, No. 109 August/September, Pg 64-67
 Spine SculptThis is the sculpt of the largest spine, midway through the process. There is some rough texturing involved and the shape of the spine had been finalised. As this project is for a makeup look to be displayed on film it is necesary that the level of detail is very high as HD cameras pick up very intimate details in the final result. Therefore the sculpt went through many stages of texture to achieve the most realistic final result. |  Spine SculptThis is the sculpt at its final stage of design. There is a large amount of texture and detail in the spine. Initially the texture began with large rough lines using a metal tool, added on to rake tool markings. A black stipple sponge to added courser details. Finally smoothing it off and creating stretch marks in the spine around the curvature of the sculpt. The final touch was to add a fracture as the spines have grown extremely quickly from the human body. |  Spine SculptsThese are the smaller spines that are going to be used in the make, they have been designed to progress in size and alter n shape as these have grown from a alien manifestation in the body, the result would not be neat, it would be gruesome. These all have fine details to create a realistic final result that would be suitable for film work. |
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 First Silicone LayerTo create the mould for the spines Pro Gel 10 was used, initially in a ratio of 1:1 for a fine detail layer to pick up the sculptural details. The second layer was combined with Cab-o-Sil to thicken the paste and create a tougher mould that would be stronger. It was tough to make sure that the tip of the sculpt had a thick layer of silicone as gravity pulled the silicone away. |  Attaching Keys to SiliconeAfter reading an article in Makeup Artist Magazine, it suggested using silicone keys to lock the mould into place within the plaster, so that it returned to the correct place after being taken out of its case. Therefore I used cut off silicone pieces and a fresh batch of Pro Gel to attach these to the mould. |  Attaching Keys to SiliconeThese keys were included on the smaller moulds aswell so that they fit back into the plaster cases perfectly. It also added extra strength to the mould creating areas that are beneficial to the spine. |
 Plaster Bandage MouldsThe final step in the mould making process was to create a plaster surround for the silicone mould, this would hold the silicone in shape so when cast it would remain perfectly the way it had been sculpted. To create the surround, plaster bandages (mod roc) were used as they are flexible and strong therefore hold the shape of the object well. |  Plaster Bandage MouldsThese are the smaller spines with their plaster moulds. They were stood up on pegs that fit through a small drilled hole in a wooden board. These were very neat and looked effective and held the silicone in place to produce an exact replica of the sculpt. |  Fast Cast ApplicationThis photograph shows the fast cast being poured into the mould, it is a two part combination that mixes and pours into any mould. It heats up and eventually turns solid, in a rock hard form. This particular make turns white when set, It is a very strong material, it was swished around to coat the inside of the mould picking up the details, leaving the centre hollow so as to not make it too heavy. |
 Fast Cast ApplicationThis is the larger spines mould with the fast cast resin poured in, creating the white outer layer that will be the main structure of the piece. The very tip of the spine had a small collection of resin, which makes it slightly heavier, hopefully this will not be too much of an issue. |  Rigid Foam ApplicationIn this photograph the rigid foam has been poured into the mould, this fills the inside of the resin with a lightweight material that is very strong. Initially this took a few attempts to work out the amount of rigid foam needed to fill the inside therefore there were a few batches to fully fill the spine. However this was not an issue as the liquid pours into the gaps of the mould. |  Spines Pre ColouringThis is the final result of the smaller spines, they are strong from the resin outer coat, with the rigid foam on the inside, the foam can be seen at the bottom. One of these spines had a small air bubble at the tip of the spine, however this can still be used as body horror is gruesome and brutal therefore a broken horn would look very effective. |
 Spines Mid ColourationTo colour the spines a layer of black acrylic paint was applied, to remove the white colouring, this created a base on which colour can be layered. The spines should be dark in order to create a great contrast with the skin and make more of a powerful effect. |  Spines, Mid ColourationThis was the base coluring for the large spine, it was a combination of red and black colouring. This will mean that when dry brushed with black paint the red will how through creating depth in the design. as this is the largest spine it will be the signiture piece of the design and most of the focus will be drawn to this piece. |  Spines, Mid ColourationThese pieces have been made from resin in order to be light and stay in the prosthetic well, it therefore means that it could be used in any medium, film, tv, theatre or fashion. It should stay in place with strong glue. The detail on the sculpt picked up through the silicone also will allow the detail to be seen on HD cameras making it effective for recorded media. |
 Sanding the Rigid FoamAs the rigid foam exceeded the sculpt it was necessary for it to be sanded off to create a smooth surface on which to glue the piece in to the prosthetic. It also allowed for the desired angle to be applied to the spine changing the direction in which the tip pointed. |
 Spine SculptThis is the sculpt created for the spines on the body horror makeup. This specific region of the sculpt was for the largest spine, the spine was pushed into the monster clay in order for a perfect fit. The clay was sculpted, torn so that it looks as though the spine has pushed its way through the skin. It is meant to look horrific and therefore brutal and disgusting |  Spine SculptThe sculpt was built up through many layers, using different tools to create the final surface. After seeing Wayne's sculpting tutorial I followed his direction to create a multi layers texture that reflected the area of the body on which it will be placed. It is important to note on the back of the arm, there are very few pores and the wrinkles are fine and thin, therefore the texture should be relatively smooth with only large wrinkles on the cracks. |  Spine SculptThis photograph shows the close up of the smaller spine implants in the sculpt. The skin has been raised around the edges as the spines have forced their way through the skin. This photo also displays some of the skin texture around the spines, it is relatively smooth, however there is a slight roughness to reflect the concept of a foreign disease taking over the body. There are also small cracks in the skin around the base. |
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 Spine SculptThis is the sculpt after removal of the silicone mould, therefore the outer edge has been broken and the walls are slightly damaged, however it shows roughly the shaping and neatness. The Monster Clay worked well for the mould as when cooled it is particularly rigid and hold the silicone very well. |  Spine Sculpt and Flatpiece mouldThis photo shows both the mould and the sculpt, this is after removal. The silicone mould worked very well, as the detail came out well, there were no issues with bubbles or errors, therefore it should hopefully run well when casted. Overall the sculpt looked neat and professional therefore making it successful. |
This makeup design is for the film X-Men Days of Future Past, this is a background character in a few scenes. He has spikes that grow out of his head. This is a brilliant example for comparison of the makeup designs to the spines on the arm that will be created. These spines are much smaller and greater in quantity. There is no description in Makeup Artist Magazine as to the method of creation for this piece, however one would presume that a cowl has been applied to the actor with the spikes pre attached in the individual holes. The colouration of the skin around these spikes is interesting as it is paler around the base, with flesh tones and greys around the head. However in the makeup for the spines on the arm, the conept is a progressive disfigurement, therefore the skin would likely be a range of greys, blues and purples, as the body is fighting back, however there may also be greens and browns as it is a horrific transformation. There may also be pus and fluids escaping the wounds. The skin will also likely be raw around the area where the spine has forced its way through the skin. The veins may also be a prominent feature, the infection travelling through the blood passing all around the body. This irritation and potential colour change would be visible through the translucent skin. It is worth considering using an airbrush in order to create a smooth and professional finish to the makeup.
 Birth of MonsterIn this image an alien is being removed from the belly of the character, she has given birth to the creature within the space of a day after ingesting the alien material. The colouration on the alien is an exciting effect. The pale white colour creates the idea of pus and mucus and translates to create a horrific design. This could be used on the spines, placing a wet-like substance to create bodily fluids that evoke a sense of horror. |  Transformation Body HorrorThis is the transformation of the character Fifield after an alien substance dissolves his helment and subsequently his face. His head has changed shape, becoming more bulbous at the top, this idea of changing the structural shape of the human form is a good idea. It created the idea that the being is not quite human any more. This could be an interesting idea, to alter the form of the being the horrific act is occurring on. |  Transformation Body HorrorAt ones stage the idea of burns was thought about for creating the spine makeup. The concept that the body had been covered in an alien substance that created the change in form, therefore this image is brilliant for reference, as the skin has scarred and stretched as it does in the healing processes of a burn. It also creates a gruesome image that works powerfully for visual impact on the audience. |
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 Transformation Body HorrorThis image shows the final form of the character in concept stages, it shows the tattoo that has been disfigured in the process, this idea of placing something that appears normal, disfigured creates a powerful horrific image. Similarly the burnt hair is an interesting effect, it reminds the audience of the original being, however the mutated effect creates horror. Hair work should be considered hen creating the makeup. |  Birth of AlienThere is a scene in which the iconic alien primate is born through the body of another alien. In which we see bodily fluids emerging from the being, this is repulsive creating a powerful effect, thus emploring the importance of body fluids on the effect of body horror. It should be considered when creating the makeup effect. |  Body Horror TransformationThe use of colouration of the skin creates an interesting effect, changing the skin to appear unwell and fragile is an interesting effect. Thus showing the importance of alteration of the skin colour. One needs to look ill in order for the makeup to be believable. |
 Body Horror TransformationThe vein work in this still from the film, shows the slow transformation of one of the characters. It reminds the viewer of their mortality, through a visual scene that represents human life. It is therefore important to add a representation of the fragile nature of human life in the final makeup. Represent fears that are common among most. |
This video is particularly helpful with creating various textures for different purposes. It uses strange and odd objects to create realistic looking effects. Some of these methods are effective and have been experimented with further below. It is helpful to inspire out of the box thinking in order to create an effective texture or idea.
In these pictures from the article in Makeup Artist Magaine the Green Goblin has mechanical body enhacements, particularly around the eye and the ear areas. The eye piece is very small and placed strategically at the temple of the actor, located onthe bone as a point of contact. The ear piece is also attached to the cheekbone, both have skin growth around the piece, these photographs will be used for reference when sculpting the spine flatpiece. Similarly the colouration it worth consideration, with inner red areas making the raw skin appearance, with green infection and veining around the face. The pale, malnourish tone of the skin also adds to the overall effect creating a more powerful contrast in colours. All of this should be considered when designing the colour scheme for the spines.
 Spines Final MakeupThis photograph shows the makeup in a different lighting to present the idea that the lighting affects the result of the makeup. Here I think the veining works very well, it looks realistic blending in with the skin. I have strategically placed the veins to break up the edge of the piece to make it less obvious, it works quite well. The side profile, showing the direction of the spines works really well creating a cohesive makeup. |  Spines Final MakeupHere a slight edge is visible due to wrinkling of the piece, however overall the result worked very well, The redness and sores around the base of the spines adds to the sense of horror, the idea of the fast protrusions occurring in the arm of the model. The colouration works well, using the skin illustrator palettes to create a realistic effect. As this makeup is not directly after the protrusions have happened the blood had been washed away, leaving the resulting sores. |  Spines Final MakeupClose up image of the makeup, The effect looks realistic, the skin has been spattered in order to create a real, translucent effect on the skin similarly the veins have been washed out slightly to create a more translucent effect that apparently originates under the skin. The hairs work really well in the makeup, to create a sense of horror through the excessive growth found around the area of the spines. |
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 Spines Final MakeupHere the edges are visible due to the angle at which the arm is being held, the overall makeup is powerful and the edges are not too bad, on future attempts to create the makeup, more care should be taken to remove all silicone from the edges to ensure a perfect blending edge. |  Spines Final MakeupThis photograph displays the hairs well, showing their excessive growth. They have been implemented in the direction of growth on the arm in order for a realistic result that conforms to the anatomy of the human body. Here it is also possible to see how well the spines fit into the silicone piece, creating a snug fit that makes the effect more believable. |  Spines Final MakeupHere it is possible to see the final makeup in a different, brighter lighting. The colour works well on the arm to create a sense of illness and deformity.The overall piece works really well, one of the only changes would be the location of the largest spine, however this was due to the time frame and the need for an entire arm cast to place the spine at the end of the elbow. |
 Spines Final MakeupOverall the red colour works really well around the wound as it has an aged effect to it, showing the time lapse of the makeup. A final element that could have been added would be more bodily fluids, there is vaseline around the base of the spines to represent pus and infection, however, dried blood or a seeping material from the wounds or spines may have added another dimension that would have made the effect more visually powerful. |  Spines Final MakeupThe way in which the veins line up along the arm help to create the sense of organic uniformity. It links the direction of the spines with the skin the have grown from. The black spines also work as a great contrast with the skin colour creating a powerful image. |
Final Spine Makeup
These photographs display the process of applying the body horror, spine makeup. This worked very successfully, the results looked professional and horrific, therefore filling the brief of body horror. The application went smoothly with the pieces applying neatly, with fine edges, however when photographed the arm was held at a different angle and the flatpiece wrinkled slightly. The spines stuck well into the flatpiece holding in place remaining in place for a long period of time. The resin and rigid foam pieces stuck well, even though trying to get the pieces as lightweight as possible. This look would be effective for use in any medium, particularly film and television as it has close up detailed quality that would be picked up on the hd cameras. The veining worked well as it was lightly applied with a natural finish. Similarly the slight green toneing to the piece added a sense of depth. The base colouration of a deep purple worked effectively as a contrasting colour and made the spines stand out from the 'Infected' flesh.
Nazzaro. J. (2012) Using Undercuts to Your Advantage, Makeup Artist Magazine, No. 104 October/November, Pg 78-79
This article proved very interesting and helpful to read. It suggested the use of an ice cube tray to create silicone pieces that can be inserted into a lifecast of a person in order to create keys with the plaster mould created around it. This makes a lot of sense for creating any kind of mould that needs to slot back into the plaster easily, especially if it is a large piece. I will experiment with this technique on the silicone moulds that have been created for the spines, to try and fit these into the fibreglass and plaster moulds. Unfortunately the face cast had been completed before finding this article, therefore was not used for the mould, however it would have been very successful if used. In general these articles in Makeup Artist Magazine that explain methodologies for creating various effects and techniques are extremely helpful as they broaden one's horizons to the potential effect or result that can be produced.
Creating the Spines
 Alginate Spine AttachmentAfter reading this article in Makeup Artist Magazine by Tate Steibion I decided to create a spine attachment using this concept as it would also create a horrifying skin texture that would work well with the spine protruding from the skin. The first step was to apply a layer of prosaide to help keep the alginate attached more successfully. |  Alginate Spine AttachmentFirst a layer of alginate was applied to the skin, the spine with a little prosaide was inserted into the mix while drying, this ensured that it stayed attached. The surface of the alginate did not matter too much as the final result would be very cracked and rough. |  Alginate Spine AttachmentThis shows the alginate mid drying process, the alginate dries pulling the skin very taught changing to a paler version of the green colour. This allowed me to see which areas had fully dried and could be cracked. After a long period of time the centre of the alginate was still not dried, however the process needed to continued which therefore caused the larger area that did not crack seen in further photographs. |
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 Alginate Spine AttachmentThis is the first step in the colouration of the alginate. A layer of charcoal powder was applied with w a brush to fill in the cracks between the dried alginate. This also remained attached to the prosaide on the skin beneath. Any excess was then brushed off after. |  Alginate Spine AttachmentThis photograph shows the final result, with the makeup taken with the flash of the camera turned on. The result was quite horrifc, with pale skin and dark crevices to create contrast. The splintered shaping of the cracks created a more organic effect that looked realistic. |  Alginate Spine AttachmentThe addition of the green colour from the alginate created an interesting effect through the paint scheme, it added a sense of depth through layering to produce a powerful effect. The flash brings out the paler colours of the makeup creating a more horrific result. |
 Alginate Spine AttachmentThis photograph was taken in the natural lighting of the room. The colouring is much more earth like. This result is quite powerful producing ideas of a creature created from an animalistic disease. The only alteration to make would be the colouring of the blood around the base of the spine, it is too purple based. Similarly the cracks could reach the centre better in order to create the idea that the spine has produced this effect on the skin. |  Alginate Spine AttachmentThis view shows the makeup from above. Overall this makeup effect worked successfully, producing a makeup that clearly reflect body horror, however the durability of the makeup could be questioned. Although the makeup was attached with prosaide small areas are bound to crack off after time. It also created a continuity issue, it would not be possible to create the exact cracks in the skin. A more stable methodology must be found for this makeup effect. |
 Latex Spine AttachmentTo create this makeup look, an initial layer of liquid latex was applied to the skin in order to attach the spine. Subsequent layers were then applied to hold the spine in place and create a thicker layer of latex. This worked very well at holding the spine in place. The edges were then run over with a finger to create a rough, flakey skin texture. On reflection the inner areas of latex did not flake, this make be due to, too much latex creating a stronger bond. |  Latex Spine AttachmentThis is the makeup photographed with the flash on, The colours do not work particularly well in this lighting. However the overall concept was successful. A corpse kryolan greaspaint wheel was used for the colouring, as it contained lots of grey. yellow and green tones that would work well with this piece. |  Latex Spine AttachmentThis is the result in different lighting, the red, raw areas could have been blended smoother to create a more seamless effect and the latex coloured to match the skin more successfully. However the technique of attaching the spine worked well, although effective, it may not work on the larger spine and would pull on the skin too much. Therefore a more advanced technique must be created. |
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Final Body Horror Makeup
This is the result of all of the experimentation. The final spine, body horror makeup. It workes effectively creating a powerful visual image. Many people upon sight flinched, which I took as a success of the makeup. The flatpiece worked brilliantly at holding the spines in place, this photograph was taken after application of 5 hours involving a cycle ride in the rain home. The veining involved in the paint job of the piece worked really well, with a natural, yet enhanced look. The anatomy of the spines could have been improved upon, by placing the largest spine at the end of the elbow to elongate the structure of the arm, however this was not possible using a flatpiece and would involve creating an arm cast and runnning it in resin with a fibreglass two part mould. This could be experimented further in a future project. All of the research conduceted in this project would allow for the creation of this with ease. The final touch of punching hair adds the extra element that makes it stand out as a makeup. Overall I am very pleased with the result of this makeup. The animalistic qualities work very well to produce a sense of horror fulfilling the body horror requirements.
Spine Attachement Experimentation
Spine Sculpt
For the spines to be implemented on the skin, it was necessary to create a sculpt for which they can be attached and applied to the skin. These photographs below show the sculpt that was created, it used Monster Clay which is a tougher clay than LeBeauxTouche, it has to be heated slightly in order for it to be sculpted with. However when it sets it is still sculptable, it creates an interesting texture that works very well with this project. The clay works well at holding the shape of the spines. Although LeBauxTouche would be easier to sculpt with, the challenge and experimentation proved successful, the sculpt worked well, although is not perfect, there are still some obvious realism errors, however this is due to the sculpting abilities.
Spine Arm Designs
This design is more developed since the original was created, as shown earlier on the page. The concept is the same, however this design has more detail as to the products used and the colouration of the piece. It displays the specifics of the spine makeup. This was created after creating the pieces, in order to understand the colour scheme and layout to create for the application. The colouration has not been picked up wel in the photograph, There is still a little skin tone showing through on the flesh areas around the spines, however the general base tone is a purple/grey colour to create the colour of illness and a corpse representing Freud's Uncanny through the fear of the familiar - the body and the unfamiliar a dead body. This would subconciously register in the viewers mind when looking at the makeup.
 The Amazing Spider Man |  Black SwanBlack Swan (2010) [Online Image] Available From: http://www.foxnews.com/science/2013/02/07/and-science-oscar-goes-to/ Date Accessed: 18/01/2015 |  SlitherSlither (2006) [Online Image] Available From: http://kaiju.wikidot.com/wiki:grant-grant Date Accessed: 18/01/2015 |
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 An American Werewolf in LondonAn American Werewolf in London (1983) [Online Image] Available From: https://www.google.co.uk/search?q=an+american+werewolf+in+london&rlz=1C1KMZB_enGB575GB577&espv=2&biw=1600&bih=756&source=lnms&tbm=isch&sa=X&ei=dBO8VIbRENPrav6fgrAE&ved=0CAcQ_AUoAg#imgdii=_&imgrc=U5iQMiXM89IUtM%253A%3BvnRbOxyP3LMkcM%3Bhttp%253A%252F%252Fsocialpsychol.files.wordpress.com%252F2011%252F08%252Fan-american-werewolf-in-london-banner-poster.jpg%3Bhttp%253A%252F%252Fmoviesfilmsandflix.com%252F20Date Accessed: 18/01/2015 |  The ExorcistThe Exorcist (1973) [Online Image] Available From: http://www.funnyjunk.com/Exorcist+before+and+after/funny-pictures/5278427/ Date Accessed: 18/01/2015 |  Pirates of the Carribean; Dead Man's ChestPirates of the Carribean; Dead Man's Chest (2006) [Online Image] Available From: http://pirates.wikia.com/wiki/Crew_of_the_Flying_Dutchman Date Accessed: 18/01/2015 |
 AlienAlien (2011) [Online Image] Available From: http://www.bbook.com/an-impressively-accurate-shot-for-shot-remake-of-the-alien-chest-burster/ Date Accessed: 18/01/2015 |  The ShiningThe Shining (2011) [Online Image] Available From: http://www.ew.com/ew/gallery/0,,20351637_20738270,00.html Date Accessed: 18/01/2015 |  LooperKantus Thiss's Channel (2012) Looper - Seth's Death [Online] Available From: https://www.youtube.com/watch?v=fxqe8Xq6LBQ Date Accessed: 18/01/2015 |
 Ginger SnapsGinger Snaps (2000) [Online Image] Available From: http://horror101withdrac.blogspot.co.uk/2014/07/ginger-snaps-2000-blu-ray-review.html Date Accessed: 18/01/2015 |  The ThingThe Thing (1982) [Online Image] Available From: http://img.phombo.com/img1/photocombo/120408/horror_film_walls-101.jpg_16470-the-thing-movie-monster-violent.jpg Date Accessed: 18/01/2015 |  District 9District 9 (2009) [Online Image] Available From: http://gazosoko.exblog.jp/14891421/ Date Accessed: 18/01/2015 |
 SplintersSplinters (2011) [Online Image] Available From: http://anythinghorror.com/2012/03/15/splinter-2009/ Date Accessed: 18/01/2015 |  TuskTusk (2014) [Online Image] Available From: http://horrorsandscaryshits.blox.pl/html Date Accessed: 18/01/2015 |  X-Men First Class |
Body Horror Examples
These photographs below display some examples of body horror found within films and television, these all have powerful striking images, they play on the fears of the audience. All have very graphic disfigurement and distortion through the horrific transformation that occurs on the body. Some of the examples are excellent, such as District 9, Slither and Alien, whereas others are very graphic, however may seem dated through the ageing of the film and a low budget for creating the effects. Overall every single image displays a horrific act that has occured to the body, they are very graphic with repulsive elements in each concept.
Carl Hill (2008) Casting Resin [Online] Available From: https://www.youtube.com/watch?v=Wcq0j-QPQ6s&feature=youtu.be Date Accessed: 26/01/2015
Prometheus
The film Prometheus (2012) displays excellent examples of body horror. There are multiple circumstances within the film that display brutal acts that occur on the body. This film has proved an excellent place to begin to understand the concept of body horror, It is also a great place to look when trying to create a makeup that reflects a horrifying act on the body. Although the makeups created in this film are full and it will not be possible to create something of this scale for the project it is helpful for inspiration.
 DremmelThis is the dremmel that is used to sand the needle in order to create a hair punching needle. It is a small rocklike head that rotates very quickly therefore sanding down the material it is uesd on. |  Needle and Knife HolderFor a handle I bought a knife blade and handle, removed the blade and place a needle in the centre. I made sure to buy needles that had long heads, this would allow me to pick up the hairs more efficiently. |  Sanding the NeedleThis drawing represents the motion that is carried out when the dremmel removed the part of the needle head. |
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 Sanding the needleThis photograph shows the dremmel in action removing the edge of the needle. This works very effectively, however if the dremmel is rotating the opposite way to the way in which the needle is pointing it bent the longer side back when it got hit, therefore it is important to ensure that this does not happen. |  Hair Punching ReferenceWayne allowed me to look at his troll sculture fore reference as to the direction and placement of the hairs that need to be added to the silicone prosthetic. |  Hair Punching ReferenceIt is important to consider the angle of the hair at which it is inserted. If the angle is too steep it will not lay correctly and look unnatural. Therefore the direction the needle is pointing when being inserted in the piece is very important. |
 Hair Punching ReferenceThis photograph allowed me to see the hairs that have been punched around the ears of the troll, there is a large quantity that have been applied and therefore the hairs must all be placed perfectly to create the desired effect. |  Hair Punching Silicone FlatpieceThis is the hair punching that was created for the body horror silicone prosthetic piece. It had slight hairs to create the sense of horror, however not too many to overcrowd the piece. The main focal area was around the largest spine cut out as this is where the biggest growth of the infection has occurred. The overall effect worked really well. |  Underneath FlatpieceThis view of the flatpiece shows the design from below, it is possible to see the barbs that have been created in the piece to understand how they are held in place. These have come very close to the surface and therefore may have needed gluing from underneath, but as they did not come fully through it doesnt matter. |
Hair Punching
Brick in the Yard Mold Supplies (2013) Special Effects Tutorial: Hair Punching Tips [Online] Available From: https://www.youtube.com/watch?v=-hHcpEavXsA Date Accessed: 12/02/2015
Lars Carlsson (2013) An introduction to hair punching by Lars Carlsson from Makeup-FX.com [Online] Available From: https://www.youtube.com/watch?v=65f6TaGDyT4&list=PLNHsRJG2rYIq7rtgcp7f5YdsY1AHTY1vT&index=1&feature=iv&src_vid=6LpzIOP6qRI&annotation_id=annotation_2211591393 Date Accessed: 12/02/2015
These videos have provided a great insight into the creation of hair punching on silicone prosthetics. The first video was created for a background stunt, it is not going to be seen in cloes up detail, whereas the second video shows a much more realistc result of creating a hyper realistic bust. These videos detail the tools that can be used, how to create these various tools and the materials that are needed to complete the hari punching process successfully. The second video details various types of hairs that can be used to create the overall result. Thes videos provide inspiration for creating a realistic result on the silicone flatpiece for the body horror makeup.
Flocking
Flocking is an interesting technque for applying hair to a face or prosthetic. It can create realistic effects that are very powerful to look at. Flocking is used a lot for the creation of animal maquettes and prosthetics, however it can be used, like in this video for creating beards. This could be potentially used for the body horror makeup, however it might make a more fur like result . After watching this video I have decided that it wont be the appropriate technique for giving the silicone piece colour. However it is a very interesting technique to learn and understand as it can open up a wide potential variety of designs that can be created.
Dmitriy Malopof (2013) FX Series- Fake Beard using a Flocking gun or Turning Melissa into a Man [Online] Available From: https://www.youtube.com/watch?v=vIAiZmBH1uQ&feature=youtu.be Date Accessed: 12/02/2015