A Rake’s Progress

William Hogarth (1697-1764)
A Rake's Progress (1733)

The eight paintings in William Hogarth's A Rake's Progress (1733) tell the story of Tom Rakewell, a young man who follows a path of vice and self-destruction after inheriting a fortune from his miserly father. It was Hogarth's second 'modern moral subject', and followed the hugely successful A Harlot's Progress (1730).
The series is principally known through the engravings made by Hogarth from his paintings in 1735. In an advertisement published in November 1734 Hogarth invited potential subscribers to visit his studio in Leicester Fields (now Leicester Square) to see the paintings before subscribing to a set of engravings.
The paintings were in the possession of William Beckford until Soane bought them at auction in 1802 for 570 guineas (Mrs Soane bid for them at Christie's on her husband's behalf). The canvasses of A Harlot's Progress, also owned by Beckford, had been destroyed in a fire at Fonthill Splendens, Wiltshire, in 1755.
The paintings were originally hung at Soane's country villa, Pitzhanger Manor, Ealing, but were moved back to Lincoln's Inn Fields in 1810. In 1824 Soane re-hung them in his new Picture Room at the rear of No.14 Lincoln's Inn Fields together with the recently acquired Election series.
1. The Heir
The scene introduces our hero, Tom Rakewell, who has inherited a fortune following the death of his miserly father. Tom is pictured in his father's house which is beginning to yield up its hoarded wealth.
Tom is attempting to pay-off a servant girl, Sarah Young. She holds a gold ring, revealing that Tom has seduced her with the promise of marriage. Behind Tom, a lawyer, employed to compile an inventory of his dead father's estate, is stealing gold coins. A starved cat searches for food in a chest full of silver, whilst servants find treasure hidden in the fireplace and behind wall hangings.

2. The Levee
The second scene sees Tom in his new palatial lodgings where he is holding a morning levée in the manner of a fashionable gentleman.
Amongst the assorted visitors who have come to offer their services is a jockey, a dancing-master (with violin), a music teacher (believed to be based on Hogarth's great rival Handel), a landscape gardener, a poet and a tailor.
On the wall behind hang some of Tom's recent acquisitions three Italian paintings - Hogarth was known to dislike the fashion for acquiring Old Master works (which he branded 'dark pictures') at the expense of paintings by British artists.

3. The Orgy
It is three o'clock in the morning and Tom, drunk, is enjoying the attentions of prostitutes at the Rose Tavern in London's Covent Garden. A night watchman's staff and lantern lie beside him (souvenirs of a rowdy night in the surrounding streets). Two of the ladies are relieving Tom of his watch.
In the foreground a woman is undressing ready to perform poses on the pewter dish that is being carried into the chamber.

4. The Arrest
Tom has squandered his fortune and narrowly escapes arrest for debt on the way to a party at St James's Palace. It is Queen Caroline's birthday, also St David's Day, and the two bailiffs wear leeks in their hats to mark the occasion.
Tom is saved by Sarah Young, now a milliner, who pays his bail money with her meagre earnings. A street urchin steals Tom's gold-topped cane, whilst a lamplighter, distracted by the commotion, accidentally pours oil on to Tom's wig.


5. The Marriage
Impoverished, but accustomed to a life of luxury and excess, Tom decides to marry an old hag for her fortune. The shabby setting is Marylebone church, which at this time was on the northern fringes of London and well known as a venue for clandestine weddings.
Tom is clearly more interested in the pretty young maid then his one-eyed bride. In the background Sarah Young and her mother are being prevented from entering the church.
Two dogs in the foreground (one of which has lost an eye) present a grotesque parody of the marriage.

6. The Gaming House
Tom, wigless and cursing his fate, has gambled away his second fortune.
The setting is White's Club in Soho. Tom is not the only loser - a dejected highwayman (with pistol and mask protruding from his pocket) sits by the fire, and a nobleman, eager to continue playing, pleads for an advance from a moneylender.
The gamblers are oblivious to the fact that the club is on the point of destruction. Only the two croupiers appear to have noticed the smoke curling in from behind the panelling.

7. The Prison
Tom is now an inmate of the Fleet, London's celebrated debtors' prison. Beside him lies the rejected script of a play he has written in the hope of securing his freedom.
Other prisoners in the cell are trying similarly hopeless schemes. One man has written a treatise on how to pay 'ye Debts of ye Nation', and another is attempting to make 'fools' gold.
Tom, exhibiting the first signs of impending madness, has sunk into despair. The beer-boy harasses him for payment whilst the gaoler demands the settlement of his weekly bill. His wife scolds him for having squandered her fortune.
Sarah Young, who is visiting with her child, has fainted from distress at the scene.


8. The Madhouse
In the concluding scene Tom has descended into madness and is now in Bethlem Hospital or Bedlam as it was known.
He is surrounded by other inmates who are suffering various delusions. These include a tailor, a musician, an astronomer and an archbishop. In the door to one of the cells is a man who thinks he is a king - he is naked and carries a straw crown and sceptre.
Like the real Bedlam, Hogarth's Madhouse is open to the public. Two fashionable ladies have come to observe the poor suffering lunatics as one of the sights of the town.
The ever-faithful Sarah Young sits, weeping, by Tom's side

Experimental drawing

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Creating my story in a picture

Prop's Explained

Whilst makeup is generally used in film to make actors and actresses look more attractive, it can also be used to make them look scary or inhuman. When a Director needs a handsome actor to become a horrifying mutant, the considerable talents of the Prosthetics or Special Effects Makeup Artist is called for. This kind of makeup artistry is a whole world of gelatine, casting, latex, wigs, body art, bald caps, moustaches, beards and prosthetics. Prosthetics are appliances made of rubber, plastic, gelatine or any other material that can be affixed to the actor’s face or body in order to change their age, shape and appearance. These three-dimensional pieces range from simple effects, such as scars or wounds, to noses, chins, foreheads right up to full body suits.
As well as extreme proficiency in normal makeup techniques, what does a Prosthetics or Special Effects Artist need?

A comprehensive knowledge of latex, rubber, fake blood and other materials that will be used to create realistic-looking prosthetics.
A good understanding of human anatomy and a talent for sculpting.
Excellent leadership, communication and interpersonal skills combined with self assurance and confidence.
The ability to understand the ideas and concerns of others whilst trusting their own opinions and instincts.
Working physically close with performers they must be tactful, sensitive, patient and able to put people at ease.
Stamina and physical fitness as the work involves many hours of standing or bending over performers.
Strategic planning, scheduling and budget control abilities.
Highly developed research skills.
A good understanding of chemistry is essential with awareness of how the materials will react with each other and to specific conditions of heat, moisture and other atmospheric conditions.
Prosthetic Makup Artists have performed their miracles in the film industry since the beginning and have helped contribute to the suspension of reality which is key to the film experience. Because the job requires you to focus less on making actors look good and more on making them look monstrous, you will find your talents employed on science fiction, fantasy and horror films, although you’ll also be essential on any film which needs a character to age 20 years in a day, or come out of the basement as a strange half-animal, half-human creature. Long and tiring sessions on set whilst making actors feel comfortable during the many hours they will be sitting in the makeup chair are part of a normal days’ work.
Prosthetic Artists work with the Director, Production Designer, Makeup Designer, Costume Designer, Art Department and Performers in order to design, make, apply and maintain prosthetics in line with the style of the production. Even in the world of computer-generated special effects, prosthetic makeup is still important in helping to create a seamless connection between live performances and the fantasy world around the Actors. Artists in this position must work with both the Special and Visual Effects departments.

Prosthetics Artists may be hired for the duration of the production, or they may work as ‘Dailies’ to work on large crowd scenes. Prosthetics Artists hired for the duration of a film will break down the script to analyse what Prosthetics are needed for which character. Meeting with the Makeup Designer and Director, the Prosthetics Artist is briefed and given detailed drawings and specifications. Very occasionally, due to time restrictions, the brief may be rough and the Prosthetics Artist must use their own design skills to interpret ideas. They may also carry out their own research and present alternative designs, styles or colour palettes to the Director and Makeup Designer.

The Prosthetic Artist can work from their own studio, however, on large productions a specially created workshop may be based within the production area where Prosthetics Artists will work as part of a larger team.

They may create bald caps or original small prosthetic pieces, such as facial parts or scars. They may also work from life, taking casts from an Actor’s facial features, head or body, checking whether the performer has any allergies or other sensitivities as well as patch testing the adhesives and chemicals to be used. They explain the ongoing process to the performers and reassure them, making sure that their skin, hair and clothing are suitably prepared and protected before taking the cast.

Prosthetic Artists keep accurate records of the formulas, timing and processes they have used so that they can replicate the process. When the prosthetic has been made, they colour and finish it ready to apply to the performer. Tricky applications can take many hours, so they might use an Assistant or work with a Makeup Artist. After fitting the prosthetic, they usually stand by on set to ensure that the prosthetics are sustained under shooting conditions

Most Prosthetics Artists start their careers as Trainees within the Makeup department working with and learning from experienced Artists. Progress through the department is usually based on skills and experience, which is only acquired by on-the-job training.

Prosthetics Artists must understand how to translate abstract design ideas into practical applications. They need creative flair and extensive craft skills, combined with a strong sense of colour and design. They should have a good understanding of anatomy and a talent for sculpting. They must be adept in mould-making, casting, part casting and removal procedures and should understand how to join body sections together. They must know how to work with industry standard materials such as foam, latex and silicone. They should also be proficient in techniques such as face and body ageing using prosthetics and creating bald caps, false noses, wounds, scars, skin diseases and tattoos.

Prosthetics Artists may also be skilled in animatronics, special effects makeup, creature creation or model making. Scenes involving prosthetics are occasionally mixed in with Computer Generated Images (CGI) during the editing process so an understanding of these procedures is very useful. If wigs are very stylized and an integral part of the overall design, they are designed and overseen by the Prosthetic Artist, whilst more conventional wigs, such as those provided to age characters, are usually overseen by Makeup Designers.

If you want to eventually work as a Prosthetics Artist the path isn’t easy – there is much to learn over several years and the competition for jobs is fierce – however, if and when you do succeed, each new job will challenge your skills and you will be part of the fantastic world of film production.

WEBSITES

NASMAH - National Association of Screen Makeup Artists & Hairdressers
BAFTA - British Academy of Film & Television Art
WFTV - Women in Film & Television
BECTU – The Media & Entertainment Union
Network Nine News
MAGAZINES

The Make-up Artist Magazine
Professional Hairdresser
Hairdressers Journal International
Stage Screen and Radio
Screen International
BOOKS

Special Effects Make-up: For Film and Theatre by Janus Vinther
A Complete Guide to Special Effects Makeup (Tokyo Sfx Makeup Workshop) Tokyo SFX Makeup Workshop
Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics by Todd Debreceni
Wig Making and Styling: A Complete Guide for Theatre & Film by Martha Ruskai & Allison Lowery
Grande Illusions: A Learn-By-Example Guide to the Art and Technique of Special Make-Up Effects from the Films of Tom Savini by Tom Savini
Techniques of Three-dimensional Make-up by Lee Baygan
Prosthetics and Orthotics by Donald G. Shurr, Thomas M. Cook
Human Anatomy for Artists by Andras Szunyoghy
An Atlas of Animal Anatomy for Artists (Dover Anatomy for Artists) by W. Ellenberger
The Prop Builder’s Moulding and Casting Handbook by Thurston James
Behind the Mask: Secrets of Hollywood’s Monster Makers by Mark Salisbury, Alan Hedgcock , John Carpenter
The Winston Effect: The Art and History of Stan Winston Studio by Jody Duncan, James Cameron

Link to URL: http://www.craftandtech.org/prosthetics-or-special-effects/