Most make-up artists who "run" gelatine prosthetics, usually utilize (positive and negative) epoxical molds (Matthew Mungle), silicone or urethane (negative), or Ultracal (gypsum) molds. Because I run foam latex in Ultracal-30 molds (with Acryl 60 added), my initial experiments with gelatine appliances were conducted using Ultracal molds (positive and negative). For example, Photograph 1 illustrates an Ultracal-30 nose mold. The positive (left) is a "snap" relief from a life cast. The negative (right) is a mold of a sculpted (Roma Plastilina) nose. You will notice the "cutting edge" and "overflow" area on the negative, indicative of a mold made for foam latex work.

Although I have successfully run gelatine prosthetics without a separating agent, most sources recommend a microscopic layer of petroleum jelly on both mold surfaces. If you use vent holes in the mold, be sure to apply the petroleum jelly in these areas as well.

I heat the formula (provided above, with slight modifications) in the microwave, stirring occasionally to avoid uneven heating and literal cooking of the gelatine – if the formula gets too hot you may never be able to use it. You can also use a double-boiler to melt the formula. While I would love to give you a time for either technique, that will depend largely upon how many "batches" you are running, your components, and the power of the heat source (microwave or conventional cook top). So, I’ll leave that to your observation. When the formula liquifies, and all of the components mix together, the formula is ready for pouring into the mold. When pouring, pour close to the mold to prevent splashing and the trapping of air bubbles.

After pouring the mixture into the Ultracal-30 negative, I carefully place the positive over the negative, and apply slow, constant pressure until the positive is seated firmly into the negative. Excess gelatine will overflow from the negative, and pool in the overflow area of the negative. Set the mold aside to cool (perhaps as long as thirty minutes to a few hours – depending upon the size of the mold). To decrease the cooling time, the mold can be placed in the freezer.

Photograph 2 depicts the cooled prosthetic, ready for demolding. Be careful when prying the mold apart that you do not tear the appliance or crack your mold. In Photograph 2, you may be able to see the prosthetic "flashing," which is just as fine as that produced by a foam latex appliance. To prevent the gelatine from adhering to itself, I powder the piece with corn starch baby powder (it’s less expensive than neutral set powders). The overflow (or flash) of the piece should remain with the prosthetic until the time of application. The nice thing about gelatine is that it "forgives" – if you make a mistake during the molding process, or you don’t like what you see – just re-melt the gelatine and try again.

The process of molding a gelatine prosthetic described in this installment, produces a strong, elastic, semi-translucent appliance, which is flexible, has inherently good resistance to perspiration and heat, and retains superb definition of detail from the mold. In fact, many artists who use gelatine remark that the retention of detail is another positive factor for using gelatine. Experiment for yourself and see the results first-hand.

In the final installment of this series, I will focus on the utilization of molded gelatine prosthetics, including adhesives, blending, sealing, intrinsic and extrinsic coloration, flocking, etc., and the future of gelatine in three-dimensional make-up.

CREDIT WHERE CREDIT IS DUE:  *Smith, Dick. The Advanced Professional Make-Up Course. Connecticut: The Smith Family Trust, 1985-1996 (Including UPDATES).