- Hi.
I'm Lindsay of Lindsay Jane Design.
Hi.
My name is Keaghlan Ashley of Red Till Dead Design,
and this is how I made the Talos makeup for "Marvel Becoming."
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As a character designer and as a sculptor
and a mold maker and a makeup artist,
I'm always looking for the next character that I can tackle.
And with my workshop, I can make this character come to life.
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It's always really fun to me to work with a new cosplayer who
may have worn some prosthetics before,
but maybe necessarily haven't had custom stuff made for them.
I met Dade doing another makeup for him.
When we needed a cosplayer for this,
he was one of the first people to come to my mind.
I knew he had done a lot of Marvel cosplay to begin with,
so he had an excitement for the subject matter.
It was a very exciting opportunity
to be able to do a full face prosthetic,
be able to be a villain, be able to be something
that I normally wouldn't just pick out of a lineup
and be like, I'm going to do that,
and that seems really cool.
It's just going to be fantastic.
Everybody is going to not really know who I am
or who's underneath.
And it's going to be really cool because that's [INAUDIBLE]..
You don't know who they're going to be next.
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When I was called to do Talos, I
pretty much broke down the reality
of how to make the character.
And so it's a bit of reverse engineering figuring out,
OK, so I know I'm going to need do a set of ears.
I know I'm going to need to do his very pronounced face.
He's a bald character, so there is some kind of bald cap,
maybe some kind of sculpted piece for his head.
And then he's got some detailing in his neck.
He's got his hands and fingernails.
So he's basically figuring out all
of the pieces that would go into making
the puzzle that is Talos.
From there, we need to do a life cast
to be able to sculpt each piece so it
reflects exactly the face shape of our actor or our cosplayer.
I chose to do a silicone life cast so that way
I could, if need be, replicate his head multiple times.
And so from there, I was able to put stone
Hydrocal into the life cast and create
a 3D version of his head.
So now that the life cast is done, I go ahead and sculpt.
Sculpting is taking clay and basically
roughing out the shapes and creating
a three-dimensional version of a finished makeup.
It took me about a week to get everything sculpted.
So a mold is a 3D negative version of our sculpture.
And so once I had my sculpted pieces,
I floated them, put them on their head forms,
and then molded them.
From the mold, I was able to cast them in silicone.
I would say the most challenging part of the costume
for me was actually doing the encapsulated silicone
prosthetics.
Like any new material, it does require
a little bit of learning.
So even though it was challenging,
it was something that I was really, really personally
insistent that we do.
From the silicone prosthetics, I will
apply them on to our actor.
We'll take all of our custom-made prosthetics
and apply them to Dade, our cosplayer.
We're going to go ahead and put a bald cap onto him.
So a bald cap is very close to a swimmer's cap.
It basically smooths down the hair.
In this case, it's a latex, almost like balloon rubber.
And it basically creates a smooth head.
We're going to apply the ears first so that way he can still
hang out in the bald cap and ears,
make that comfortable for him.
And then from there, we'll have the neck piece applied,
and then we blend any kind of irregularities.
We've got encapsulated prosthetics for his hands
as well.
And then we'll give him his signature claws.
Most cosplayers, actors, whoever, they tend
to tear up with contact lenses.
They are square lenses, so they're a little bit more
of the full eye.
So they can be a little uncomfortable at first.
It's better to put them in before we get all the makeup
done because we want to keep the makeup intact
and not have to do any unnecessary touchups.
From there, we'll go ahead and apply the prosthetic.
And we basically-- with adhesive,
we glue it to his face.
We want to make sure that the prosthetic blends
as seamlessly into each other and as well as his skin
as possible.
We want this to look like his skin,
basically make it so that we're ready for paint.
With our paint job, we go ahead and seal our bald cap in.
And then using alcohol-activated paints, we can airbrush
and color match him to look exactly like Talos.
And then he'll be ready to suit up.
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It was a very cool thing to, A, have Marvel
contact me in general, because I will always be a Marvel girl.
But seeing the initial photos of the costume
that I was going to create was pretty daunting because it
is a very intricate piece.
So the costume is consisted of our main piece,
which is the jacket.
It has a detachable standing collar.
It's going to make it really easy for makeup application.
It consists of gloves, pants, and his tall boots.
My first step when I see pictures that are sent to me
of the references is I take out my tablet,
and I start sketching every section of the garment.
I have to know exactly what fabrics go where,
what pattern is getting painted on them, what
colors I'm going to be using.
And I'll write down every single detail as to what's going
to get placed in what order.
Next up after doing the sketching
is always fabric selection.
The reality is that most of these costumes
that we see in the MCU are custom-made fabrics.
They're custom printed, they're custom painted,
and definitely hard for a cosplayer who's
working at home to replicate.
Then I start making a list of all the alternative ways
I can make that same effect.
Measurements are always a big thing.
I have to get a feel for who the person
is, what their body type is.
Because you can have flat measurements,
and you're still going to go through the steps
of having to fit it still.
So getting his measurements, feeling
out what he's comfortable in is a huge part of the process.
After that, it's sitting down, making that jigsaw
puzzle, the pattern.
I actually painted everything before I sewed it,
so each panel was completely hand painted
before the construction.
And then it's just piecing it together from there.
I think that it's important to realize that within not
only cosplay, but how we do things in the film
and television industry, is that a lot of things
are bought already and modified to fit our needs.
So the boots for this costume I did purchase and modify.
I altered them a little bit to make sure we had a really
nice, sleek touch to them.
I think the most challenging part of this costume
overall was probably the collar.
He has this standing, sloped collar.
And it's a very cool design element.
I'm not very experienced with armor-making or anything
like that.
I actually had a really good time constructing that part.
I'm really happy with the result.
But it was definitely the hardest part of it.
Comfort is a huge part of cosplay.
Being comfortable in your costume
is a huge part of being able to wear it
for an extended period of time.
So playing into your strengths of what you know you can handle
when you wear it for an extended period of time
is definitely something you need to consider.
I would say that this project overall has taken me
five to six total 12-hour days.
It's a really good feeling when you start
getting all of those pieces start to come together,
because I drafted a pattern.
I know it's going to be a jacket.
I know it's going to be pants.
It still just looks like flat pieces.
Once it starts getting sewn down and then
sewn together is when you really start seeing that progress.
Integration is one of the biggest parts of costuming.
Making the costume, but not seeing any of the makeup
or some of the other elements, is a trust thing.
I put my trust in the other person
that they're going to complete a product that is
going to look just as amazing.
But it's also kind of a nice surprise at the end.
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