 This episode of the podcast, we catch up with some questions left on our answerphone, emails and comments.   Clay issues, alcohol colours, and a nice message from sculpting master Amelia Rowcroft. Cheers to those been in touch, and leaving messages. You can get in touch by email at stuartandtodd@gmail.com or leave a voicemail here.   I mentioned working at the BBC Visual FX department, and I was reminded that I have a book about it -   BBC Vfx: The History of the BBC Visual Effects Department 2010 by Mat Irvine (Author), Mike Tucker (Author) ISBN-10: 1845135563 ISBN-13: 978-1845135560   I mentioned 'enjoy the suck' and it was, of course, 'embrace the suck', and it's meaning is as follows:    (military, slang) To consciously accept or appreciate something that is extremely unpleasant but unavoidable.    Quite appropriate right now. Check our podcast website here: https://battleswithbitsofrubber.com/  

#56 - Q & A

Stuart Bray and Todd Debreceni talk makeup effects and prosthetics. 

If you like rubber monsters, prosthetics and gore then you can listen, learn and suggest new episode subjects. 

Todd is author of 'Special Makeup Effects For Stage And Screen', what many consider to be the modern makeup FX bible.

Stuart Bray is a working makeup FX artist with many years experienc. Credits include 'Saving Private Ryan', 'Shaun of the Dead', 'Dr Who' and more recently 'Game of Thrones' and 'Dr Strange'.

Email us at stuartandtodd@gmail.com

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 In this second and final part of our trip to Falmouth Uni, Neill Gorton joins us as we discuss making mistakes and learning the hard way in the workshop.  We also discuss how to approach workshops and folio critiques and why latex and plaster are such great materials when starting and budgets are tight.  Latex and plaster are a big theme in this episode. Be sure to check out the blog post with the show notes and the latest free workbook download, which is all about making latex pieces and plaster moulds from the UMAE 2024 makeups Stuart recently did.   This is a hefty episode, and the workbook is 26 pages full of step-by-step processes and techniques!    If you enjoy this podcast and got something out of it, would you do us a solid and tell people about it? Send them a link and help the show grow! 

#93 - Falmouth Part 2

  Our trip down to Falmouth Uni preceded The Prosthetics Event 2023. It was a great trip, and so nice to see the work being done by students there and talk shop.   As always, we have a rough idea about what we want to talk about, but it's always led by the feeling in the room at the time, questions that come up and current events within the group .   We spoke for so long in a packed room using a single recorder, so the sound is a little different from our usual close microphone stuff. It went on for nearly three hours, and fell into two distinct sections - the first half we present here. The second part we shall release soon, and was when Neill Gorton arrived after just having beaten Covid again. Present were lecturers and all-round good eggs Brad Greenwood and Duncan Cameron, plus a room crammed with the students from the Prosthetic Effects MA who we had come to see.   Thanks to Duncan Cameron for his awesome sketches which feature in the episode art of parts 1 and 2. Check his work out on Insta @brokensharkcage. Thanks for listening! Incidentally, the 'Hi, welcome to passes with bits of brother' bit comes from an automated transcript attempt in Word of the near 3 hour recording. Needless to say,I don't think we will be using that as a way to pull text from audio! More notes on the blog post found at https://battleswithbitsofrubber.com/falmouthp1 

#92 - Falmouth Uni Part 1

     Makeup artists typically like makeup. It is a tactile medium, and they enjoy products, how they feel and smell and respond to brushes and pressure.     Making prosthetics similarly has its tactile qualities, and it is hard to separate these sensations from the very nature of the joy in the work.    It is little wonder then that this same group of people may not have developed an extensive love of digital versions of the same work.    Doing a digital makeup effect in Photoshop requires the makeup artist's mindset but somehow it is not the same thing, and I think this reluctance to do digital work can put the makeup community at a disadvantage.   The digital ship has definitely sailed, but the opportunity to join the crew is always open. This is our attempt at starting a wider conversation within the makeup industry regarding digital tools in the workshop.  Check out the extensive notes available on the blog post that corresponds with this episode.    https://battleswithbitsofrubber.com/ 

#91 - Digital Tools In The Workshop

 Joel Harlow is an academy award-winning artist who started out in animation before he moved on to makeup. Gradually building multi-faceted skills, confidence and workloads, he has evolved and expanded into the makeup effects heavyweight we know today with a hefty rollcall of credits. Check out his company, https://morphologyfx.com/. It is always fascinating to go through the IMDb of an artist and see their credits creeping up the hierarchy over time. Evidence of trust earned as supervisors see a way to pass the responsibility on, and nothing breeds more work than showing up on time and doing more than the client bargained for, happily smiling through it all and happy to be doing it. This was certainly the impression Joel gave us in the chat too, and we think you’ll love it! Drop us a line @ stuartandtodd@gmail.com or leave us a voice message on https://battleswithbitsofrubber.com/ --- Stuart & Todd  

#90 - Joel Harlow

 Maddie is a talented concept artist and teacher known mostly for her ZBrush work. Coming from a practical background, her skills come from familiar ground - Fangoria, a love of monsters and sculpting for fun!   She has taught classes for Gnomon since 2006 - we recommend the ‘Introduction to ZBrush 2021’ video course. Todd and I both cite this as the breakthrough moment for both of us, making what previously had been indecipherable to us accessible and understandable. The way she comes across reminded us of Dick Smith, with a generous nature coupled with a thorough understanding of the subject.    Maddie graciously invited Stu and me into her museum-like flat in London, where we chatted for hours surrounded by an eclectic collection of curios and oddities; it is a little 'Ripley’s Believe It Or Not' and a little bit Smithsonian, with a dash of Natural History thrown carefully in. We talked about everything, concentrating on how digital sculpting has become a permanent part of the special makeup effects world. 

#56 - Q & A

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