The Skin Illustrator On Set Greg Cannom Monster palette is a collection of six oil-based makeup colors formulated from William Tuttle's original cream/wax formulas, personally selected by four-time Oscar winner Greg Cannom for his most demanding work. Compatible with skin, silicone and latex, these colors have been part of some of the most acclaimed monster and age makeups in international cinema. If you're looking for a professional reference palette with a proven on-set track record, this is the one.
Technical specifications
| Feature | Detail |
|---|
| Product type | Oil-based makeup (cream/wax base) |
| Number of colors | 6 |
| Colors included | Elvira, Porcelana, Burdeos, Shadower, Shadower 2 + 1 additional |
| Compatibility | Skin, silicone, latex |
| Collection | On Set Signature — Greg Cannom |
| Brand | PM Colors / Skin Illustrator |
| Recommended use | Professional SFX makeup, character work, age and monster effects |
What it's used for
This palette is designed for special effects makeup professionals working on silicone and latex prosthetics as well as directly on skin. The six colors are optimized for aging effects, monster character work, zombies and period characters. The Shadower and Shadower 2 shades are especially versatile for working subtle nuances on both elderly characters and creatures. Burdeos stands out for its usefulness on zombies and dry blood glazes. Elvira and Porcelana are ideal for pale skin bases and ghostly effects.
- Monster and fantasy creature character makeup
- Age makeups on skin and prosthetics
- Zombie, vampire and nocturnal creature effects
- Painting on silicone and latex prosthetics
- Detail glazes and shading on complex characters
- Film productions, television series and theatre
- Practical special effects scenes on set
How to use it
- Make sure the surface (skin or prosthetic) is clean, dry and free of grease before applying.
- Pick up a small amount of color with a flat makeup brush or latex sponge and warm it slightly with your finger to soften the texture.
- Apply the color in thin, transparent layers, building intensity progressively. Blend directly on the surface or on the palette.
- For shading and glazing, use Shadower or Shadower 2 over already applied layers and blend with a clean brush or dry sponge.
- Combine Burdeos with neutral tones to achieve decomposed skin effects, bruising or monster tones.
- Once satisfied with the result, set the makeup with a compatible HD setting spray to ensure on-set durability.
- To remove the makeup, use isopropyl alcohol 99.9% on silicone or latex, or a suitable oil-based makeup remover for skin.
Tips for use
Build in thin layers
Oil-based makeup looks more natural when applied in successive very thin layers. A first coat that is too heavily loaded tends to mask the texture of the prosthetic or skin, losing the three-dimensionality that makes a character makeup convincing. Always start with less product than you think you need.
Use the Shadowers for transitions
The two Shadower shades are the most technical colors in the palette. Use them to create transitions between lit and shadowed areas in aging effects, or to add depth to orbital cavities, nasolabial folds and temples in monster character makeups. Their cool-neutral character makes them especially useful over warmer base tones such as Porcelana.
Setting and on-set durability
On set, makeup durability is critical. Combine these colors with a matte HD setting spray after completing the character makeup. This prevents smearing from sweat and the heat of the lights, and reduces touch-ups between takes. On silicone surfaces, isopropyl alcohol also acts as an activator that improves adhesion before you start painting.
Frequently asked questions
Does this type of oil-based makeup perform the same on skin as on silicone prosthetics?
Yes, but with some nuances. On skin, the colors adhere directly and blend easily. On silicone, it is recommended to clean the surface thoroughly with isopropyl alcohol before applying to improve adhesion. The Greg Cannom Monster palette is specifically formulated to perform on both surfaces, as well as on latex.
Is it necessary to set oil-based makeup after applying it?
For professional on-set use, it is highly recommended. Without setting, oil-based makeup can smear from the heat of the lights or the actor's sweat. A matte HD setting spray extends durability and reduces touch-up time. Setting is especially important for long-duration scenes or outdoor shoots.
Can the colors in the palette be mixed with each other?
Yes. Since they share the same cream/wax base, all colors in the palette are miscible with one another. You can mix them directly on the palette, on a spatula or even on the prosthetic to dial in the exact tone you need. This compatibility is one of the key advantages of working with colors from the same line.
How long does the makeup last on skin without touch-ups?
Depending on conditions (temperature, humidity, actor activity), properly set oil-based makeup can last several hours without significant touch-ups. In on-set conditions with studio lights and high heat, it is recommended to keep the palette accessible for small touch-ups between takes.
How do you remove this type of makeup from a silicone prosthetic?
The most effective method is to use isopropyl alcohol 99.9% applied with a brush or soft cloth. It dissolves the pigment without damaging the silicone and allows the prosthetic to be reused in subsequent sessions. Avoid excessive rubbing if the prosthetic has very delicate finishes or thin edges.
Is it suitable for sensitive skin or people with allergies?
As with any professional makeup product, it is recommended to perform a patch test on a small area of skin before a full application, especially on actors with sensitive skin or a history of allergies. If in doubt, consult the manufacturer's technical data sheet or carry out the test 24 hours before the shoot.
What is the difference between this palette and other Skin Illustrator palettes?
The Greg Cannom Monster palette is an On Set Signature collection — a personal selection of colors used by Greg Cannom in specific film productions. It is specifically aimed at monster effects, extreme aging and creature work. Other palettes in the Skin Illustrator line, such as the Flesh Tone Palette or the Complexion Palette, are geared towards natural skin tones and more everyday character makeups.
Can this palette be used for theatre makeup as well as film?
Absolutely. Although designed for the demands of the film set, its durability and color intensity make it equally valid for theatre and live productions. In theatre, where the distance to the audience is greater, the ability to build more pronounced and contrasted effects is an additional advantage.
