Steve Wang's Special Makeup FX Portfolio
(This is a work in progress. It will be a bit of a mess until it's done. I will be updating and organizing this page often ) (Sorry about the photo size inconsistencies. I have no control over how photobucket resizes images)
2005 LADY IN THE WATER Lead artist/supervisor for Spectral Motion Inc.
Below are shots of one of the 3 Tartutics for the film that I built. They were designed by Crash McCreery and art directed and supervised by me. We affectionately called them the "tree monkies". You got to see them for about 3 seconds in the film. We were told that we would not really get to see them in the film and they did not lie! LOL
These creatures required a ton of branches growing out of their backs and arms. This presented me with an interesting challenge. Fortunately, I had toyed with heating Polypropylene tubes and stretching shapes out of them for the creatures on "The Cave" and this is an extension to this technique. Tully Summers and Art Sakamoto ultimately were the artists that made the branches and Jim Beinke textured and painted them. They were also super light weight and virtually indestructable!
Bud McGrew mechanized the 2 heads that I sculpted and Tim Gore assisted me in painting the suit.
3 maquettes were created. The ones on the far left (Brian Steele) and far right (Doug JOnes) were sculpted by me, the middle one (Kurt Carley) was sculpted by Dave Grasso who also built the full size version. I also did a bit of sculpting on the Doug Jones tartutic.
Crash's designs were very impressionistic so we got to play and embellish the designs with our noodley details.
The body sculpt I did for Brian Steele. Assisted by russ Lukich. Thie was a lot of fun as I have never sculpted anything like this before. I did a lot of research on trees prior to sculpting this creature.
Detail shot of one of the legs. This particular Tartutic took after a rotted tree trunk.
Me sculpting the head of the Doug Jones Tartutic.
Brian Steele inside the unfinished suit for testing movement and fabrication check. I was really proud of how the suit came together. We made a ton of little snaps to attach the head, hands and feet. Once they were snapped in place, the seams were invisible!
X-MEN: LAST STAND lead artist/concept designs of background mutant makeups for Spectral Motion Inc.
These were executed in photoshop and had to be done very quickly. About 3 designs per day. Most of these were designed to be "paint-only" makeups although we did end up doing some to be appliances.
None of these makeups or designs made it in the final film as the director did not want to see mutants in the film? Don't ask...
These are some of the "paint-only" makeups I did on set.
With contact lenses.
This is a makeup I applied on set. It was sculpted by Mario Torres and designed by Constantine.
2002 HELLBOY - Lead Creature art director/supervisor for Spectral Motion Inc.
Abe Sapien's design was the results many artists contributions. They are Guillermo Del Toro, Wayne Barlow, Jose Fernandez and myself. (I hope I did not exclude anyone!?)
This is a Maquette sculpted by Jose Fernandez and painted by me.
This Maquette was designed by Carlos Huantes and sculpted by Jordu Schell. I designed the paintjob and also painted it.
Here are some shots of Abe as he appeared in the film. I was in charge of building him. I designed how the makeup broke down. I sculpted the head, neck, arms, feet. The body was sculpted by Jeff Bucaccio and myself. The hands were sculpted by Don Lanning and myself. The fins were sculpted by Jeff Bucaccio as well. The final painting of the appliances were done by me and Tim Gore.
Sammael: Hound of Resurrection. Was designed by Wayne Barlowe. I supervised and designed how to build him. (except for the mechanics, that was done by Mark Setrakian and John Dawe) This creature was a massive undertaking. It is by far the most complicated creature I ever had to build.
I sculpted the head and all the stuff that went with it, the rest by Hiroshi Katagiri, Moto Hata, Norman Cabrera, Don Lanning and Jeff Buccacio. The basic color scheme was designed and painted by Russ Lukich. I afabricated and painted the head.
2001 Darkness Falls (creature designer, creator of unused tooth fairy creature)
The final Tooth Fairy as she would have appeared in the film. She was always designed to be shot in front of a green screen and composited into the scene as an apparition.
Our first test fittings on Doug Jones as the Tooth Fairy. The original concept was more fantasy based. An "angel of death" if you will. Late in the film's production, they decided to change the concept completely and my creature was scrapped.
On Location in Melbourne, Australia. She had 3 pairs of wings. The 2 smaller pair were animatronic and the largest wings were rod puppetted. It was only intended to be used for medium shots or closeup of the tooth fairy. For wide shots and when she's flying, the large wings were supposed to be CGI.
Her "dormant" face was sculpted in layers. The translucent skin was casted in "Cleartex" and applied over the under face.
This is the "reveal" face. It's what she really looks like when her dormant face is singed off by exposure to bright lights. It's an animatronic puppet that required 3 people to operate. The animatronics were designed and built by Russ Shinkle.
This is the sculpture I did of the "under face". Another sculpture was done over this face to achieve the translucent skin.
The "dormant" face cover sculpt.
The "reveal" face puppet head sculpt.
1999 ZEROES - Designed and applied prosthetic makeup for film.
This makeup was a freebie I did for my friend John Ryman. John wrote and directed this sci-fi dramedy. The film was produced by my producing partner, Jenny Manriquez.
The final makeup as seen in the film.
Early design. It was more subtle. John felt the audience may not notice the deformity as it was means to be seen through a TV monitor.
The final approved sculpt.
Me on set.
1996 ALIEN: RESURRECTION- 20th Century Fox. Sculptor. Amalgamated Dynamics Inc.
These are shots of a 1/2 scale alien I sculpted for CGI scanning. Only a half side was sculpted on a mirror since in the computer they can create the other side with a touch of a button!
I also sculpted the head of the "Newborn" .
These sculptures are of Ripley at age 9 and at 30. They started out as claypressed 1/2 lifecasts with no backs at all. Mike Smithson Cleaned up the little girl's head and I attached it to my body sculpt. For the 30 year old Ripley, I had to do 90he sculpt from scratch.
This is the "failed" Ripley clone. I sculpted it entirely in Waterclay with an aluminum armature.
1986 PREDATOR- 20TH CENTURY FOX. Conceptual artist for the predator creature and creature construction supervisor. (Stan Winston Studios) NOMINATED FOR AN ACADEMY AWARD.
This was the original Predator helmet that I designed and Matt Rose sculpted. Producer Joel Silver liked it but wanted a simpler face that the audience would know without a doubt is a mask. So Stan designed the "smooth face" and Matt sculpted that as well.
Goofing around pretending to be a painting stud! What do you want? I just turned 21 when this picture was taken.
Painting one of two Predator suits.
Group shot on set. (from left to right) Shane Mahan, Steve Wang, Brian Simpson, Stan Winston, Kevin Peter Hall, Shannon Shea, Richard Landon and Matt Rose.
This is the "sychro-gun" I designed it on a paper napkin saturday morning and started sculpting. When I went home on Sunday night, the sculpt was done. Predator had a super short schedule of 8 weeks. The first 4 weeks was just Me, Matt Rose and Shannon Shea!
1986 THE MONSTER SQUAD- Warner Bros. Chief construction and paint designer for the "Gillman". (Stan Winston Studios)
Two shots of the Gillman. This was a collaboration between Matt Rose and Myself. It was also the first time we had built a seamless-style suit that would now be industry standard.
The Body sculpture that I did. Matt Rose sculpted the head.