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Skin Illustrator On Set Greg Cannom - Color 1
270030060
€59.00
71,39 € Tax incl.
71,39 € Tax incl.
Skin Illustrator On Set Greg Cannom Color 1 oil-based makeup palette. 6 cream-base colors for skin, silicone and latex.
The Skin Illustrator On Set Greg Cannom Color 1 palette brings together six oil-based makeup colors formulated from William Tuttle's original cream and wax formulas. These are the favourite shades of four-time Oscar winner Greg Cannom, used in some of the most iconic character makeups in cinema history. Compatible with natural skin, silicone prosthetics and latex, they offer the adhesion and durability required for professional work on set and stage.
Technical specifications
| Feature | Detail |
|---|---|
| Collection | On Set Signature — Greg Cannom (PM Colors) |
| Number of colors | 6 |
| Colors included | Emily Blush, Cwb, Mauve Blusher, Wb Stipple, Rust, Autumn Leaves |
| Base | Cream/wax (oil-based formula) |
| Compatible surfaces | Natural skin, silicone, latex |
| Application method | Brush, sponge, applicator |
| Intended use | Film, television, special effects, theatrical character makeup |
What it's used for
This palette is designed for special effects and character makeup artists who need reliable, mixable and durable colors on any working surface. The warm, earthy shades of the Color 1 range are especially useful for building skin tones, adding age, toning prosthetics and creating realistic skin effects.
- Painting and toning encapsulated silicone and foam latex prosthetics
- Character makeup for elderly or ailing characters
- Creating base skin tones, blush and natural flush
- Skin stippling and texturing with Wb Stipple
- Blending edges and transitions between prosthetics and natural skin
- Mixing with other colors in the Skin Illustrator line to expand the palette
- Film and television production work where on-camera durability is critical
How to use it
- Make sure the surface — skin, silicone or latex — is clean, dry and free of grease or release agent residue.
- Pick up a small amount of color with a makeup brush or sponge. The formula is highly pigmented; work in thin layers.
- Apply the color using gentle circular motions to blend it into the surface. For stippling, use the sponge with a dry-touch technique.
- Mix colors directly on the palette or on the surface to achieve intermediate shades. The Complexion Palette or the Flesh Tone Palette are ideal companions to extend the range of skin tones.
- Allow to dry briefly between layers. If more coverage is needed, repeat the application in thin coats.
- To set and prevent smudging on set, apply an HD matte setting spray compatible with oil-based makeups.
- To remove, use a solvent or oil-based makeup remover appropriate to the treated surface.
Usage tips
Work in thin layers
Cream-base colors have high coverage power. Applying too much product at once can obscure the texture of the prosthetic or produce an artificial finish. Build up intensity progressively with translucent layers; this preserves surface detail and the result reads more convincingly on camera.
Mix to customise skin tones
No character has exactly the same skin tones. Emily Blush and Mauve Blusher work very well mixed with neutrals from the Flesh Tone Palette to adjust color temperature. Rust and Autumn Leaves are ideal for adding warmth and age. Test your mixes on paper or the inside of your wrist before applying them to the final prosthetic.
Palette care and maintenance
Oil-based makeups soften with the heat of the set. Keep the palette in a cool place when not in use and avoid cross-contaminating colors by passing an uncleaned brush between them. A brush with a few drops of isopropyl alcohol is enough to clean between colors without dragging excess product.
Frequently asked questions
Can this makeup be used directly on skin without a primer?
Yes. The colors in the Greg Cannom Color 1 palette adhere directly to clean, dry skin. To extend wear during long shoots or in hot conditions, setting with an HD matte spray compatible with oil-based makeups is recommended. On very oily skin, a light cleanse beforehand improves adhesion.
Does it work over silicone prosthetics painted with intrinsic pigments?
Yes. This palette is formulated to work as an extrinsic paint layer over silicone. It perfectly complements the intrinsic coloring of the prosthetic, allowing you to add nuances, veining, flush or aging effects that would be difficult to achieve with mass pigments alone.
Can these colors be mixed with other palettes in the same line?
Yes, all colors in the Skin Illustrator range are compatible with each other. You can combine Color 1 with the Flesh Tone Palette, the FX Palette or the Complexion Palette to extend the range of available shades without changing systems.
How do you set it to prevent staining costumes or props?
Once the makeup is applied, use an HD matte setting spray compatible with oil-based formulas. This type of setter seals the color layer and significantly reduces the risk of transfer. Avoid touching the made-up surface until the setter is completely dry.
Is it suitable for sensitive skin or extended character makeups?
The formula is developed for professional on-set use, where character makeup times can be very long. On particularly sensitive skin, a patch test in a discreet area 24 hours beforehand is recommended. To remove the makeup at the end of the day, use a dedicated oil-based makeup remover to minimise friction on the skin.
What is the difference between this palette and other flesh-tone palettes?
The Greg Cannom Color 1 palette is oriented towards blush, flush and warm color shades for character makeup and aging. If you need a broader base of neutral skin tones, the Flesh Tone Palette or the Complexion Palette are the most versatile starting point. Both complement this color range well.
Can it be used over latex and foam latex?
Yes. This palette is compatible with latex and foam latex. The oil base adheres well to these surfaces and allows work in thin, buildable layers. Bear in mind that latex is flexible, so color layers should not be excessively thick to avoid cracking in areas of movement.
How do you clean the palette between uses?
To clean colors between uses, use a clean brush or remove excess mixed product with a spatula. If the surface of the colors has accumulated residue, gently wipe with a clean sponge dampened with a few drops of isopropyl alcohol. Avoid introducing water into the palette.
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