Special Aging Effects - Use of Stipple Latex Ager for Neil Simon's BROADWAY BOUND

This is the show that I recently just finished for which I did an old age makeup utilizing old age stipple latex.

PRELIMINARY
First, what this series of photos show is the process I used to age this actor from his normal age of 51 almost to 80 years old. The technique is known as stipple latex aging or stretch latex aging or a variety of other names. Basically it is a simple process of stretching the skin, stippling on a modified latex solution, powdering the area and releasing the skin. What this does is to create a relatively effective wrinkling effect often indicative of older skin. This isn't always the case with older individuals. I know many people in their 70's and 80's that have smooth - almost wrinkle free skin. And they look great as a result. But for this makeup and for general aging routines utilizing this process, it helps to create that look quite well.

I had intended to do a full old age prosthetic makeup on this actor and could have IF they had called me many weeks before and given me the go-ahead to do it. As it was, they called and asked me to do it but they weren't sure because the director thought he might have someone already who was going to do it. And so I basically thought I'd not get to do it at all. To make a long story short, they called 8 days before the show opened and asked me if I was going to do the work. Well needless to say, there wasn't time to do lifecasts, snap casts or foam latex appliances like I might have been able to do had they told me weeks before. So I decided to do the stipple latex routine. These photos are a result of that project with all the particulars in case you ever want to try this on your own.

As usual, these photos aren't that great. What I fail to remember with incandescent lighting is that without tungsten film or a blue corrective filter, the finished product comes out a bit yellow or orange. And there were mirrors with 8 lights around each mirror on the table just in front of where we were. And it created quite a bit of light and gave me the needed lighting to see what it would look like on stage, but when I forgot the blue corrective filter this is what you get. And I already tried to color correct them through some graphics software I have. Doesn't always work though they are brighter and better than what they look like for real. Sorry about that!!

PREPARATION
This is the actor who played the grandfather in Neil Simon's Broadway Bound, the final play in the famous "trilogy" of plays that involve this New York Jewish family and specifically the young character Eugene Morris Jerome and his growing up. This actor is being prepped for the process to follow. As usual, I cleansed his face with Sea Breeze to help remove surface oils which might have inhibited the adhesion of the latex stipple. You can use many other cleansing solutions but I just happen to like Sea Breeze. If you can get past the smell and occasional stinging (with men who just got finished shaving) it does clean the face well. But there are other, equally good astringents that can be used. I began by graying his hair with the standard hair color spray. I always use the white spray and not the usual silver-gray everyone else uses. I have seen so many bad age makeups where people used the silver-gray spray and it looks terrible - under hot theatrical lighting like the actor has chrome hair. And I never used the silver-gray spray as a result of having seen so much of that. I always use the white, sprayed on to cover and then brushed and reapplied to fix what the brush removed. This makes the hair much more naturally grayed (or white depending upon how heavily you spray it on). This actor shaved the front and pate of the head for the bald headed look to assist in legitimizing the character's age. Not that everyone loses their hair but it certainly adds to this actor's "look". He really has a GREAT head of hair and we all laughingly wondered if it would grow back. For obvious reasons, he was looking forward to the show being over with so he could grow it back.

SPRAYING IN HAIR COLOR
This is another view of the process of spraying in the hair color. I might point out that I use the white hair spray available at most theatrical supply places. I think the brand is called Harlequin Hair Color. I don't really like this brand but I was told some years ago that my favorite white spray - Nestle's Streaks 'N' Tips was no longer being manufactured in white. That really annoyed me because the amount of pigment in that spray - specifically that brand - is so much better than anything I have ever used or been able to find since. Then I found out that the white is still made. So I will go back to using that when I can find someplace that sells it. I just happened to have half a dozen cans of this in my supply so I just decided to use it up and get rid of it. For the 12 - 14 times I did this makeup, I just barely got through one can and slightly into the second one. But then he didn't have a great deal of hair to spray down. So it lasted fairly well. And at only a couple of dollars a can, it isn't a bad product to use. You can use standard hair whitening solutions you make up yourself or buy commercially from a supply firm.

APPLYING PROS AIDE ADHESIVE
In this photo you see that the actor's hair has been grayed sufficiently for this character. I retouched it again when the makeup was done being careful to not have overspray of white hairspray on the makeup. But it looked effective for his character. What is being shown here is that I am applying a coating of Pros Aide II acrylic emulsion medical grade adhesive above the upper lip and below the lower lip and on the chin area. What we discovered during the two test runs we did of this makeup, was that with him sweating a bit and the movement of his mouth while delivering dialogue, that the stipple latex came loose around the mouth and on the chin a little bit - a common problem. So I decided to do a couple of coats of Pros Aide II adhesive. This eliminated the problem and we never had the situation arise after that. I did two layers and powdered the first layer to eliminate the tackiness but left the second layer unpowdered right before I did the stipple latex on his chin and upper lip. The adhesion was greatly increased and it stayed. I think perhaps during the test runs we did of the makeup, the weather was hot outside and generally the climate was such that he sweat a bit more and that made it loosen a bit more than it did when the weather finally cooled down. The theater was airconditioned but under hot theater lights and the general climate being hot and humid for the first couple of days, it had the tendency to loosen a little.

EYELIDS STIPPLED
This shows the upper eyelids having been stippled and powdered. I do the upper eyelids first by stretching with a couple fingers on the eyebrows and pulling up while the actor has his eyes closed raising his eyebrows to help. I used sponges cut from upholstery foam sheeting available from fabric stores. This is just coarse enough in texture that it holds the latex stipple and creates decent fine texturing as the latex is stippled on. Plus you can cut it to whatever sizes you need. For the eyelids I used sponges of about 1/2" thickness cut into 3/4" X 1 1/4" pieces. These are just small and controllable enough to be able to do small, tight areas like the eyelids. You have to be as careful as possible not to get any into the eyebrows - which ideally should be covered with plastic eyebrow covers or foam appliances with hand knotted eyebrows applied after the stippling is done. Anyway, I didn't do all that but just was careful not to get it into the hair of the eyebrows. You WILL get some hairs in the latex but with the remover I used it isn't hard to loosen them upon removal. I did two layers on both the upper and lower eyelids using AGER I (formulas on another page). Ager I is a lighter formulation than AGER II and is easier to remove but doesn't have the adhesion of AGER II. Though it IS enough to hold around the eyes. You should try to get as close to the eyelash area as possible without getting the lashes stuck. I usually came to within about 1/8" or less and it worked fine like that. The smaller sponges really help in that regard. The lower lid is stretched down and I even sort of push the nose to the opposite side a little from where I am applying the stipple. REMEMBER always stipple holding the skin, dry with a low heat and low powered hair dryer, powder and then release the skin. Notice how the wrinkling effect is beginning to happen in this photo. By the way, I recently came across a small hairdryer that a good friend, makeup artist David Schlatter (the lifecasting page) showed me. It is just about no longer than 4" - 5" and about as big around as making a circle touching the index finger to the thumb - small enough to stick in your pocket. They are available at CVS Drugstores so I'm told and are plenty powerful. They run about $10.00 or so he says. I can't get them where I live so he is picking up a couple for me. Never hurts to have one in reserve when doing a job like this. If one burns out you have backup.

EYELIDS CONTINUED
This is another view of the same showing both the upper and lower eyelids having been stippled and powdered. I cross the bridge of the nose here also to tie it in and sometimes do the creases (the frown area) between the eyes. When stippling ANY area you should "feather out" the stippling as you dab it on with the sponge. This makes the edges easier to cross over into the adjacent areas without lines of demarcation. With the foam sponges I was using this was easier to do because of the texturing they helped create. Even with two coats of stipple, you can get the edges of each area thinner by applying a softer touch so it isn't so built up and then feathering it off helps the overlapping of areas.

NOSE STIPPLED
I always stippled the nose even though you can't stretch that skin anyway. I just did it so it would "tie in" with all other areas that were stippled but you do no stretching there.

SIDES OF FACE
This shot shows the left side of the face having stipple applied to it. Notice the stretch I am doing as well as having the actor twist his face to assist. IF you have an assistant it really isn't too necessary to have the actor do anything at all. But working alone I asked him to push the face to the opposing side for added stretch. Again two layers of stipple - now AGER II - which gives greater adhesion and will cover the majority of the area to be covered. For the rest of the face except the ears I used sponges cut from 1" thick foam sponge sheeting cut into about 1" X 1 3/4" pieces. Size doesn't matter as long as you can work well with them.

SIDES OF FACE - 2
This shows the right side having been stippled and powdered. I know it's a little out of sync with the previous photo because I usually started with the right side of the face. But I wanted to show the stretching and stippling before you saw the finished side. Notice the wrinkling effect. This stuff really is too cool for what it is and what it does.

NECK
I was able to stipple most of the front and part way back on the neck with one routine of doing this area. Normally you do the front of the neck, then the sides of the neck and finally the back of the neck. I was able to get it done in three swipes doing the front and part of the sides of the neck, then each side and all the way to the middle of the back of the neck. This shows me drying the first layer before applying the second layer. Be sure to decide how far down to go, taking into account the costume they are wearing and what will show. Perhaps shaving some chest hair would be in order here as well except on women. Well..... you never know!! :o)

HOW IT LOOKS SO FAR
Here is what the stippling has accomplished so far. Notice the effective wrinkling of the skin. The neck is an area that when you do it that puts the age on the character quite fast. Notice how far back I went on stippling the neck, just slightly behind the ears - which I do as one of the last things. Quite a change from what the actor really looks like. Scary part is, that everyone who has this done usually says, "is that what I'm going to look like when I get old"? Who ever knows?

NECK FINISHED
Here I have just finished off stippling the entire neck. Notice the leathery look to the back of the neck. While much of his neck didn't show in the costume he wore - since he didn't turn his back to the audience that much - you still do it all the way around just in case. As usual two layers of AGER II is plenty. Notice how the sagging wattle of flesh under the chin almost looks like a prosthetic appliance though he does have loose flesh there anyway - adding the stipple just enhances it.

FOREHEAD
It is difficult to do much about stretching the forehead. The skin is tight there usually and about all you can do is stretch it up as much as possible while the actor frowns to pull down, then stipple that way. Powder and release and it looks good.

FINISHING FOREHEAD
This just shows me stippling the "chrome dome" as he so frequently put it all the way up to and slightly into the hair line (just stubble up there). Normally you wouldn't go into the hair with latex stipple but get as close to the hairline as possible. I did on occasion get some in the hair. It wasn't a problem to get out but just took a little more time to remove than the rest.

CHIN AND UPPER MOUTH AREAS
Showing are the chin and upper mouth areas having been stippled and powdered with the standard two coats of AGER II. The reason for using two coats is that it is easier (MUCH) to get off than one layer unless you have lots of time and patience which neither of us had - him being in it for about 6 hours and me having to apply it and sit around till the show was over to remove it. These are easy areas to stretch. He did most of the work by pulling his lower lip up over his teeth a bit as I stretched the skin laterally. Same idea with the upper lip area. Notice I overlap all areas of stippling to cover completely, feathering it out over the adjacent areas to hide hard edges that might otherwise be created. I finished with doing the ears as well to complete the stipple process.

APPLYING COSMETIC FLUID
One of the things with latex stipple - especially two coats - is that when powdered it looks quite flat and dead with NO translucency. One coat does allow some translucency but two doesn't. Therefore I am applying a liberal coating of cosmetic fluid which adds sheen and takes away the powdered look and puts a little translucency back into the stipple. I used GP-20 cosmetic fluid by Bob Kelley Makeup Company. But the brand you use really doesn't matter. Any cosmetic fluid you might use should not break down the latex rubber. This didn't and therefore helped to restore some real look to the skin.

ADDING COLOR
It doesn't show that well in this photo but I have added some varied coloration (RMGP) by stippling with irregularly cut foam sponges. By adding color in numerous layers it makes the skin look more translucent with some depth. I used red, ochre, yellow, sienna, a slight amount of green, white, and combinations of color with white to lighten. Whatever looked real.

FINISHED MAKEUP WITH COSTUME
This photo shows the finished makeup with the actor in costume for the beginning of the show. By this point I deepened some lines with RMGP, and added liver spots and freckles, etc. to break up smooth areas. I added white to the eyebrows to give the old eyebrows and have double stippled the hands and fingers to age the hands as well adding in color and liver spots there as well.

CLOSEUP ONE
Here is a closeup of the finished makeup. Again the lighting is hard to deal with because of the incandescent lighting and my forgetting to bring the blue filter or have better film to shoot in this light.

CLOSEUP TWO
Just another view of the same with him turning his head to show the neck stretch and the aging there.

REMOVAL IN PROGRESS
The beginning of the removal process. He looks like he's molting. They all joked that he ought to go into a convenience store looking like this and ask them if they had any salve for burns because his face was peeling. The rest of the cast had as much fun with this as the actor who wore it did. By the way, you will notice that having had the stipple on for about six hours the tendency is that the skin stays wrinkled, as it was with the stipple on, for a while after the stuff has been removed. That's due to the fact that your skin has been held in place by the stipple (wrinkled) and till your skin has had time to "relax" back to it's normal suppleness, it will be like that for a short while. Don't worry - your skin has "memory" and will go back into place in a little while.

REMOVAL COMPLETE
Back to normal - or as normal as this guy gets. He enjoyed the makeup but was glad to get out of it every night.

VIEW ADDITIONAL PHOTOS.

FINAL THOUGHTS
This process was an interesting one and one I enjoyed doing - not as much as a full prosthetic application but a good one in a pinch where old age is needed on a reasonably low budget. This routine works better on people with a little age rather than young folks with smooth, tight skin. You just can't get the stretch as much on younger faces. The application for this makeup took anywhere from 2 1/2 hours to 3 hours (some nights). I was able to keep it down to about 2 1/2 hours for many of the performances. The removal we got down to about 20 minutes right from the start. It helped to have two layers of the stipple because one layer is too thin and too hard to get a hold of to remove. But all in all this was a good experience and the actor who endured this every night was a blast to work with (he's an old friend anyway). He has such a great face as an actor and this just helped him to create this nearly 80 year old character. I am putting a link to another document that details the formulas I used and the process to make the AGER I and AGER II and what items I accumulated to accomplish this makeup so please check that out if you are interested in trying this yourself. If you need help with it let me know and I will be glad to discuss the routine to do it or the formulas to create the stipple latex.

At least you can get an idea of what these kinds of makeups look like when they are used. They ARE VERY effective and look quite real up close. These are not great photos either but they will give you an idea of what it takes to do this process to some degree.

View stipple formulas.

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