An Afternoon with... Isabel Auernheimer

You started as a makeup artist over 20 years ago. What was the most frustrating thing about being a novice SFX makeup artist, and what advice would you give to a student about to enter the job market?

- Isabel: One of my first projects as a makeup artist was a series called "Genesis, In the Mind of the Killer." We recreated autopsies, and alcohol-based makeup was still in its early stages in Spain, so working with transfers wasn't common. We made do with A+B, mixing oil-based colors with alcohol, and often even made our own blood. Our biggest concern was that the dead bodies wouldn't look over-painted and therefore unrealistic. We didn't have much information available online, and we had help from a member of the forensic police who let us look at photos of real cases and take notes, since these were real people and their privacy is protected. We couldn't keep the images. Even so, it was a very creative and demanding period, but one I enjoyed. My advice for aspiring special effects makeup artists is to observe the professionals they work with and to be humble. You can learn from everyone. We should always be like sponges and pay attention to the details of how others work. You should also think twice before criticizing other people's work, especially if you have no experience.

What technical change or advancement in the world of SFX over the last 5 years do you consider the most revolutionary or the one that has made your work the easiest?

- Isabel: I think what has made our work easier in recent years is the democratization of transfers for makeup artists in general. Now you can tackle many jobs with a good base, minimal materials, and enjoy the application process, adding color and textures.

Speed ​​vs. Realism: In a shoot with little time, how do you decide between creating a wound with makeup or using a prefabricated prosthesis with Bondo (Flat Moulds)?

- Isabel: In my opinion, a job based on a well-designed Bondo model gives you speed. It always adds to the process, never detracts from it. You start with volumes and just have to enjoy decorating them with colors and textures (lubricant, blood, etc.) to achieve realism or the finish you're looking for.

From your experience, what is the biggest challenge in prosthesis integration and why is it crucial to have a thin, almost imperceptible edge?

- Isabel: A fine, blurred edge is essential when working in HD. If the piece blends seamlessly, you can go to the set with complete peace of mind; otherwise, you risk the light highlighting the piece and revealing the trick. I worry about the edges when we have to decorate the piece with some kind of dry, powdery finish, because often this is strategically placed, emphasizing the edges and making the piece stand out.

Realism lies in the details. How does the texture of the silicone in a mold and its size influence the final result and the ease of working in difficult areas (such as the lip, which requires precision)?

- Isabel: A highly detailed Bondo file can give you a perfect guide for the type of injury to create on the character's skin (cut, graze, scratch, incised or contused wound, etc.) and even saves you some of the research, since the special effects technician who created them has done it for you. Then, the person who applies it is responsible for bringing it to life and making it realistic. For this, we can use real-life footage or images from other films (reality is filtered through our cinematic lens). I've always thought it would be interesting to create a shared archive of images from films and TV series with a few colleagues to help each other in a pinch... hahaha.

In our Learning Center, we cover the most common mistake: Bondo prostheses breaking during demolding. What's your foolproof method for preparing the mold or prosthesis and ensuring the rim remains intact?

- Isabel: Before I say anything, let me clarify that I'm not an expert special effects makeup artist at all. I consider myself strong in beauty makeup and I work with raw skin for both film and television. But obviously, I love getting my hands dirty when I have projects that require it. The problem is that many times, especially on TV series, they ask for a simulated injury from one day to the next, and that's when I can rely on you all to help me find a solution. I prepare the molds by leaving them for a few hours with neutral petroleum jelly so they hydrate and become flexible. Then I remove the excess, and sometimes, if the piece has a lot of detail, I also use a mold release agent to make sure there are no unexpected problems. Even so, I usually use a flat brush dampened with isopropyl alcohol to help with the release.

Pros-Aide is the standard. What technique do you use to activate and apply it to ensure maximum adhesion without creating a bulge under the edge of the prosthesis?

- Isabel: I certainly tend to use Pros-Aide, but I vary how I apply it. Sometimes I mix it with water, other times I use it neat. I apply it to the skin and sometimes also to the piece using a brush or cotton swab. To blend it into the skin, I sometimes dab it with Pros-Aide and a porous sponge. But in very soft areas of the body, with movement, and for action sequences, I've even used Telesis.

You have the Bondo prosthesis glued on and the edges sealed. What's your secret to subtly applying makeup to the wound and blood, ensuring the color looks organic under different lighting conditions (natural light, studio, night)?

- Isabel: I usually use skin palettes from Illustrator or Ripper. I normally start by watercoloring the base tones (the predominant ones, very diluted) and then I add details and highlight areas that I think help the composition, so the viewer has information about what's happening to the character. I think we shouldn't forget this. Our art isn't for ourselves; it should convey information and feelings to the viewer. If it's not understood, we haven't done something right. To finish, I usually do it with stippling, and if I use blood, I start with the thickest and finish by splattering with the thinnest (what I call the Jackson Pollock technique... haha... after the painter).

Professional Cleaning: We've developed a solvent guide. What's the most common mistake you see when using removers, and what's your go-to skin-friendly remover for strong adhesives (Telesis/Pros-Aide)?

- Isabel: I usually use isopropyl myristate because it doesn't contain fragrances or ingredients that have occasionally caused skin reactions. I also use flat, stiff brushes and gauze pads, which provide a different kind of cleansing action than a simple cotton pad. Once the skin is clean, I usually finish with some kind of soothing cosmetic on the area where the jewelry was removed. I use FOREO Overdose, Coconut, or Green Tea, or a cannabis oil.

Light is the Judge: How do you adjust the color and texture of a wound SFX knowing that the set lighting can "kill" the realism if not compensated for?

- Isabel: It's definitely awful until you see your work in front of the camera. Many people, even our lighting colleagues, aren't aware of how much our work can be affected by the lighting designed by the Director of Photography. Something that clearly works in your room can look strange or not work at all depending on the type of lens and lights used at that moment. The lighting can really let us down.

What has been the most unexpected challenge you've had to overcome with a prosthetic on set (sweat, water, wardrobe changes) and how did you solve it on the spot?

- Isabel: I remember once we filmed a character with several stab wounds to the chest. The coroner's character arrived and lifted the shirt to inspect and determine the cause of death. At that moment, we saw that the shirt she was wearing was a kind of purely acrylic fleece that stuck to the blood like glue and, as a result, pulled at the pieces. We had to ask permission from wardrobe and lubricate the inside of the shirt with neutral petroleum jelly and lubricant. We also had to retouch the pieces after the first take because they suffered from the tension exerted by the shirt. And we still had to film with them all day! When we're going to have close-up shots for this type of work, it's helpful to ask them to shoot from close-ups to wide shots. But directors and cinematographers aren't always receptive. Even so, I think we should always try and value our work so that it's respected. In this type of filming, we are greatly affected by heat, cold, sweat, the clothing that covers the character... and it is a fact that must be taken into account during the day.

Essential Equipment: If you could only take 5 items to a set for SFX retouching, apart from your color case, what would they be?

- Isabel: I think it would be... different types of blood and a spatula, a fan, a pros-aide, and lubricant.

Are there any emerging techniques or materials in SFX that you think we'll see more of in the coming years?

Isabel: My wish is that more and more special effects (SFX) products take into account that we must respect and pamper actors' skin. Makeup artists are increasingly faced with unbalanced, stressed, and unpredictable skin... and it would help if those who design adhesives and SFX products considered this. It might be a wish that will never be granted, but dreaming is free! Look, barriers already exist to protect the application areas. So, I hope that products become more and more respectful of the skin.

How important is it for a MUA to have artisanal and niche tools (like Flat Moulds) instead of relying solely on mass-produced prefabricated prosthetics?

- Isabel: For me, your work allows me to enjoy the creativity of an artist who knows this craft inside and out and racks her brain to create designs that truly work on camera. And, in those moments when a new script for your series comes out, and an injury or wound appears that you have to film in two days, you know you can turn to you. Each piece is very thoughtfully designed and crafted with care. You've often come to my rescue, and I've used several of the pieces in different ways, since you can alter them a lot depending on the application, decoration, and colors you use.

A message to the new generation of makeup artists aspiring to work in film and television:

- Isabel: I just finished a course at ECAM training future assistants, and I constantly tell them: you can make a living doing this, but you have to put in a lot of work to reap the rewards. It's essential to be disciplined and stay focused. In situations of work overload and stress, remember that you're making a living from creative work that you love and that you've chosen. I don't understand people who start projects with a lot of energy and then, after two months, start to fade, lose their drive, and just give up. No matter how tired we are, we're filming every day, and those images are saved forever. That's a responsibility, and we must remember it.

Thank you so much for your time and all the advice you gave us during the interview. We believe that your experience with profiles like yours can help clear up any doubts that any student or novice makeup artist might have. Thank you!

We invite you to explore Isabel Auernheimer's work through her social media: Instagram and IMDb . And check out her Makeup Assistant course at ECAM.