Tutorial Reviews — Stan Winston School of Character Arts Forums

J’aimerais avoir un tutorat sur la conception d’un monstre marin qui sera en mer ?

Pierre LeBlanc — Sun, 21 Jun 2026 00:59:07 +0000

Saisissez votre message

Deborah Galvez, Connie Criswell and the cougar

Darrell Green — Sun, 30 Nov 2025 08:53:42 +0000

I just finished the course on Electrostatic flocking and fur transfer. Throughout the course, I was just locked in on all the techniques because it was all so foreign and new to me. Obviously, a lot of techniques that Deborah and her colleagues have simply invented from scratch in order to make lifelike creatures.

I wanted to share a quick post on the moment it all became real. Very near the end of the lesson, Deborah began to punch in the whiskers. At the moment she reached inside the lip of the cougar and pierced a hole, my thought was, "ouch, that looks painful" and quickly realized I had transitioned to thinking of it as a cougar and she was stabbing it with a really fat needle. Bravo. No better reaction could be expected but the cringing empathy of how much that would hurt when it was really just foam. Brilliant work.

3d modeling question for "modern minature effects 1: project planning & aquiring 3d models"

epitaphs3dmo — Thu, 25 Jul 2024 15:49:25 +0000

I was watching "modern minature effects 1: project planning & aquiring 3d models" course , but was mainly intersted in chapter 11 of the course where they explain how to hollow a 3d model using maya and fitting the animatronic component inside it using maya , so there is no issue when 3d printing it all. But they just explained the finished result of what the process looked like at then edn of the whole process, I am wondering if anyone could give a tutorial on how to make a 3d object hollow and fit objects like animatronic precisely inside it and the best way to go about it as I am trying to figure that out myself and have not been succesful in finding tutorials on youtube or any other platform. help would be appreciated !

How can I buy full tutorial making natural silicon mask?

Lili12 — Mon, 23 Sep 2024 14:30:41 +0000

How can I make natural human face silicon mask
With full tutorial?
Means
Add hair and paint natural coloring face and others
How can I receive or buy it?
Thanks

How can I make famous face silicon mask when I haven't live model?

Lili12 — Mon, 23 Sep 2024 14:27:54 +0000

Hello
I haven't live model for make natural face silicon mask so
How can I make natural human face silicon mask?

Means I seen on YouTube ,there is Michael Jackson face silicon mask so how made it? I want full tutorial for this on stream or online ,how can I receive this?
Thanks

Does anyone have an idea on how to replace or where I can buy acetate film for Pros-Aide Prosthetics

Maks K — Fri, 02 Aug 2024 19:31:19 +0000

Recently, I was inspired by a course on creating Pros-Aide prosthetics, but I ran out of acetate film, which I took from a set with transfer paper… Now I am puzzled by the question of how can I replace the acetate film or where can I buy it? If you have had a similar experience, please share it

How to Make an Eye Mechanism - Design, 3D Printing & Assembly

Ben Gojer — Sun, 26 Jun 2016 17:18:15 +0000

Hi guys,

I am working through the awesome Covarrubias tutorial on eye mechanisms, and I have two questions concerning the newer Autodesk 123d Design software. I thought maybe a more versed user could help.

1) Using the newer version of the software, has anybody been able to sketch on the face of the eyeball or the swashplate? I have figured out how to sketch on the faces of primitive objects, but I am unable to select the flat, straight surfaces of the swashplate and eyeball. These items come up in chapters 4 and 5 of the tutorial. I have a feeling it will continue to come up, and finding an alternative to sketching on these flat surfaces is proving challenging.

2) I don't know how to turn on/off components (the separate pieces, the swashplate, the eyeball, the eyelids, etc) like David does on the older software. So I "hid" my eyeball while I built my swashplate. When I was done with the swashplate I "showed" the eyball again, only to find that now it has a chunk taken out of the side of it. I think it must have happened when I made an extrusion on the swashplate at some point, because I "hid" the eyeball but left it in the same area as the swashplate. Anyway now I learned to move hidden objects outside the grid area so I don't mess them up while theyr'e invisible. But can anyone suggest an easy way to 'patch' the chunk I took out of my eyeball, so I don't have to rebuild it? Does anyone bychance know a good video that shows you how to do this? I attached a screenshot - the eyeball is the solid on the left, with a chunk missing in the side that looks kind of like a letter "c".

Thanks for any thoughts!

Costume & Mask Fabrication Part 2: Secondary Forms & Foam Antlers/Horns

Darrell Green — Mon, 10 Apr 2023 17:25:44 +0000

I am so very impressed with how Fred can visualize fluid and elastic sculpting. This is hard to describe what I mean. Some people think in pictures. They can see in their mind what the sculpture should look like and they use additive or subtractive sculpture to get to a match in the real world. This is a common trait among artists. However, Fred is thinking far past this level because he is also visualizing his medium and how it expands and contracts to form to his vision. No one has to visualize what clay will do when you pinch it or carve it as it allways stays one density. Clay only changes shape but in expected ways. When clay is shaped, it is no longer in its previous form. Foam is still the same piece that was cut but is being stretched, compressed and directed into a new but still temporary shape. This type of visualization is akin to engineering in fluid dynamics, the actual science specialization. It is hard enough to tell someone what you see in your mind's eye, let alone describe to that person how to take an elastic source, cut it to a specified, non-final, shape and then push it, pull it and twist it into the position and bond it to create your mind's eye picture. And lest we forget, he is using numerous values of elasticisity and rigidity (different foams and materials) on purpose to meet these requirements. Aaaaaand, he even takes into consideration the mobility and movement, or lack there of, of the final shape, be it a non moving sculpture vs a flexible body suit. The ability to visualize all of that while designing and problem solving is truly a staggering feat, no exaggeration. I would really love to see what he is seeing in his mind when he pauses to build a verbal description of his processes.

Hybrid Characters: Blending Practical & Digital FX John Rosengrant

Darrell Green — Mon, 06 Mar 2023 04:36:50 +0000

I very much treasure these insider view tutorials. To see the exact moments that effects change from digital to practical and vice versa within a scene really cements the techniques. Seeing the green or blue portions added to a practical suit and knowing it will be filled with cg is over the top genius. Making the suit partially its own green screen especially for the negative sculpting... it really removes physical limitations of a practical only makeup. Very inspiring and insightful class segment, thank you for another great addition.

Oversized Eyes Part 1: Digital Sculpting & 3D Printing

Angel Espiñeira Soto — Wed, 14 Dec 2022 16:19:35 +0000

Is it possible to get the .STL file of the course?

To be able to do parts 2 and 3 of the course if you don't have Zbrush

thanks

How to Make Eyes: Puppets, Masks & Makeups

Darrell Green — Sat, 24 Dec 2022 08:35:56 +0000

I have a question regarding natural eye shine. When a bright light is pointed at any creature it gets eyeshine, different colors for different species. Could this be replicated with spherical eyes by using a metallic or pearlescent color before the base coat of white? Something that would allow reflection out of the pupil? Also, is there a way to purposely do the same but with a glittering shimmer akin to the eyeshine rainbow affect from real fish eyes?

Filming and microphone placement in courses

Darth Mike — Sun, 11 Dec 2022 05:22:42 +0000

When artists are being filmed plying their craft and explaining techniques, it would be great if all the offscreen participants asking questions would speak into a mic. Often you see the artist stop to listen, the viewer hears mumbling in the background and then the artist just answers the question. Being able to hear the question is sometimes imperative in understanding the answer. Matt Winston always seems to speak into a mic and those videos are great, especially when Matt seems to know a lot about the processes and brings up interesting observations, questions or even additional information that enhances the understanding of a technique that an artist hasn't necessarily explained adequately or has inadvertently skipped over.

Creature Makeup - Multi-Piece Silicone Prosthetic Application Joel Harlow

Darrell Green — Mon, 05 Dec 2022 07:36:18 +0000

I thought I noticed Joel never stirring his colors within the airbrush cup. When he was using only one color but thinning it directly in the cup he did not overtly do any stirring. Is there a method he is using that is just so casual that I am not seeing it or is it not necessary when just using one color with thinner?

Lip and Eye Cupping

James Shaver — Tue, 08 Mar 2022 17:10:32 +0000

I know in the molding process of the silicone mask making tutorial..they "glazed" over the cupping process..is there anything by way of the actual SCULPTING process that can be said for how to make this feature work well...my reaoning is to have a THIN..almost paper thin layer in and around the eyes/mouth of the sculpting but then in the process of the casting this would become the weakest part of the mask due to the thinness of the silicone...how does one rectify this problem?

How to Make an Eye Mechanism - Design, 3D Printing & Assembly

Justin Swain — Thu, 13 Jan 2022 17:17:21 +0000

I recently finished this course about a month back. I found it incredibly helpful. I've yet to print my mech, but plan to soon. Obviously, it is dated, but nonetheless very useful. I wasn't very versed in 3d design, with the exception of Tinkercad and basic Sketchup. I wanted to take this course to learn how to work in Fusion 360. It definitely helped me get moving in the right direction and It's now an essential part of my workflow. Thanks, SWSCA and Dave!!

Yesterday I watched this https://www.youtube.com/watch?v=8mmlJdVcJkg
Super cool video. Everyone should check it out...

With how much 3d tech has grown since this course and seeing how heavily the industry now relies on it, will there be (could there be) more SWSCA courses covering 3d printing and the different ways it can benefit the creature making process? I feel like there is a ton of potential content that a lot of this community could enjoy and benefit from.

In the above video featuring the workflow over at Legacy, they turn to 3d scanning, modeling, and printing all throughout their process to make models, molds, maquettes, prototypes, finished parts, accessories, mechanisms, etc... I know that a quick youtube or google search and a little bit of perusing can answer most 3d print enthusiasts' questions, but personally, I would love to learn at the feet (screens) of the masters...but I digress.

Great course as always! Thanks, SWSCA Team!!

Christopher Swift Photoshop

Darrell Green — Mon, 27 Dec 2021 02:40:02 +0000

I recently viewed the digital creature creation process in Photoshop with Christopher Swift. In a very short time, he showed me all the tools and shortcuts I have been needing for twenty years. No amount of Adobe training can replace looking over the shoulder of a pro at work. I have recently been asked to tutor another PR/sales professional in our small town and I, without a second thought, proposed we work through some projects using Stan Winston's School of Character Arts.

How to attach props to a corset harness?

Desiree L — Mon, 13 Sep 2021 16:14:46 +0000

For an upcoming production, we need to have an axe stuck into an actor's back. He needs to be able to walk around with the axe sticking out.

Last week, I watched the Making an FX Corset Harness tutorial by Amy Whetsel, and while it is great in showing the process of making a corset harness, I'm missing one essential element: how to actually attach props to this harness.

Amy mentions several times in passing that you can attach a weapon to a fibre glass plate that you then attach to the harness, but after several hours of trying to study the pictures of finished FX harnesses in the course, as well as searching online, I haven't quite found an answer to the question of HOW to do this.

Does anyone have any experience with this? Or is there a follow up to this course that I have yet to discover?

(The production provided us with a prop axe with a foam blade and a wooden handle, but we can make a foam replica if it needs to be light weight.)

dissertation on prosthetics suits

Nata Nyaschina — Fri, 02 Jul 2021 16:24:40 +0000

Hey! My name is Natasha. I am studying in Russia for a Master of Arts. I am writing a dissertation on prosthetics suits in the cinema. But we have virtually no scientific articles on this topic. Tell me monographs or scientific articles, please ... Or how best to formulate a query in a search engine? I am desperate and ask for your help. Thank you))

How to run silicone prosthetic appliances

Lennert Vieberink — Sun, 13 Jun 2021 13:02:11 +0000

Hello,

What a great tutorial! I feel like I am ready to try for myself . One last question, in the part just before running the appliances, the host says that he sprays a layer of 'glue' on the vinyl/cap plastic to prevent delamination. He does show this but I don't seem to find/hear what he means with 'glue'. Could you clarify which material is being used for this step?

Kind regards,

Lennert

Need help finding course

Audrey Jarvis — Thu, 20 May 2021 16:51:27 +0000

I've been hoping to find something for painting reptile like creature textures and colors ? I know Stan Winston has done a lot of dinosaurs and such in the past. I'm thinking maybe my skimming and keyword searching just isn't hitting the mark.
Hoping to use an airbrush on some appliances to create a lizard/reptile appearance.

Styrofoam Prop Making Part 1

Jerry Lund — Sun, 21 Mar 2021 19:28:06 +0000

I've gone through several other courses, all great. However, the moment I saw the title, I was hooked. What a fun course to watch. The detail of what's happening step-by-step and whole process overview is what I always hope will be shown when I watch DIY TV on Discovery Channel or whatever. I always want them to go into more detail, and the SWS courses do just that!
I really like that Tim enjoys what he's doing. You can feel his enthusiasm as he shares the techniques without talking down to "newbies" or any sort of ego that might come with his accomplished career. Well done, my man!
I find myself already refreshing the page frequently hoping for Part 2 to miraculously appear. Can. Not. Wait.
Thanks to everyone at SWSCA for the effort put into these courses.

How to make fake teeth- Cynthia Garza

Michael Ornelas — Sat, 18 Jan 2014 17:18:56 +0000

I found this DVD Interesting and a bit more then just the basic teeth making DVD but I was hopping for a more advanced DVD. Perhaps parts two and three will fill me up? Also it would be great to see some teeth DVDs form other artists! If you have little to no experience making fake teeth then this DVD will be perfect for you. Lots of information here. Enjoy.

painting airbrush platinum silicone mask painting

patysclay — Thu, 25 Mar 2021 02:35:20 +0000

Im not able to use naphta, another alternative to mix slurry and pigments or oil colors could be bob ross thinner (instead of naphta)?

Jordu's Sculpting Tutorial - Excellent

Brian Lincoln — Wed, 15 Jan 2014 23:02:02 +0000

Jordu,

Just wanted to say what a fantastic tutorial on sculpting. Your clear explanation of technique as well as critique of your students work really brough this one home for me. I learned quite a bit on maquette fabrication as well as I enjoyed your humor throughout the tutorial.

I will be getting out some clay soon and giving it a try.

Thanks...

Brian

Mirror Magic - Where can I find a mirror for the Schüfftan Box?

Michael Savidge — Sat, 05 Jan 2019 00:20:14 +0000

I got the Mirror Magic Tutorial on DVD for Christmas, and I am planning to make my own Schüfftan Box! I'm really excited, because I've been looking for a practical effect like this for a very long time! The only problem I'm having is finding a One-Way Mirror for the size I'm looking (I am hoping that this can be portable, so the size would have to be pretty small. ) Anybody know where I can find one at a price that's not too expensive? Thank you!

Alien art contest - Win Alien anthology Bluray

Michael jones — Sat, 01 Dec 2018 06:50:50 +0000

Hi guys,

I have a voucher redeemed against my Amazon account for the Prometheus to Alien Bluray boxset. This is the set that includes everything the Alien anthology set does, (behind the scenes, commentaries etc) as well as Prometheus.

It's a region free set.

To enter, just submit a piece of Alien inspired artwork that you've created.

Rules:

The artwork must be an original piece created by you

When submitting, your username must be in shot on a hand written note (digital excluded)

You must live in the UK, Europe or mainland USA (when submitting, please include where you are from)

There must be a minimum of 5 entries for the contest to be valid

It goes without saying you should be comfortable sharing your address with me!

https://downloader.vip/yify-yts/ https://putlocker.ooo/ https://omegle.onl/

Schuftan Beam of Light

Rajoshi Seth — Fri, 23 Nov 2018 13:41:42 +0000

I really enjoyed the tutorial and have some questions. Kindly excuse my limited understanding..I am a beginner.
Can this effect be achieved using a non high-end equipment..like a regular Canon camera or an iPhone?
Can someone explain the *rolling up and down of the beam* effect in greater detail? What equipment will I require for this?

Can we, possibly, combine the Schuftan 4th Dimension effect and the Beam of Light effect in the same scene?

Wishing everyone an amazing Thanksgiving.

Which course is recommended for making a lighter, more permanant lifecast bust?

Kelly Mahler — Thu, 25 Oct 2018 21:59:07 +0000

I'm trying to figure out which course would be best suited. I already have had my lifecast done, and I have my Ultracal bust, I've used it, sculpted on it... but in a lot of resources online and videos I see people referring to making lighter, hollow, more permanent molds. I am not sure I understand this process, or what materials are used. I've seen some, where they are using silicone, and resins, and making "jacket molds" with pour tubes, or slushing ultracal in several layers.... and I just haven't figured out if there is a course or video here that would be best suited to teaching this as a complete topic. I'm even hazy on what the best terminology is here. I've heard words thrown around like "mother molds" and "jacket molds" or "case molds." Any suggestions or info to clear things up? Thanks!

silicon painting realistic flesh tones, a question about isopropyl alcohol!

ccris — Mon, 24 Sep 2018 08:53:24 +0000

Hello, I really enjoy Jamie S. Grove's class, and feel I have learnt a lot about the way slurries are made. My only question is how isopropyl alcohol is used in the process. He mentions it as one of the chemicals you need, but I missed how it is used. I may have missed it in an abbreviated re-watch. I imagine it might be used for cleaning the airbrush or it might slow down the gelling of the silicon slurry?? I'm trying to get up to speed before I attempt some painting of my own!
Anyway, all the best.

Relative lack of detailed information in edited Live Tutorials

Andy Jarosz — Sun, 15 Jul 2018 16:32:33 +0000

Hi! So first of all, I've been an SWSCA subscriber for years now. It's been a huge boon to my skillset and has helped me build a career in FX. I'm so appreciative of all the work that goes into it, and the fact it's available at all is just incredible. Thank you Matt and team!

That said, I often feel like the edited versions of live tutorials feel very time constrained compared to the old "around the shop style," and it seems that the presenters often have to make compromises due to time, lack of resources on set, etc. I realize they're much easier and faster to produce, and they look great, but sometimes it just feels like there's a lot more that goes into what is being presented that can't be shown for one reason or another. Be it time, space constraints, etc.

Just my 2c.