Brian Kinney’s Hurtbox Masterclass

Brian Kinney’s Hurtbox Masterclass

We were excited to welcome our Emmy nominated prosthetics and special effects tutor Brian back to Delamar. With his eccentric moustache and love of #allblackeverything, Brian is a great character to have in the Academy. As a graduate of Delamar Academy himself and industry professional with a career spanning 20 years, Brian has worked on The Hunger Games, Game Of Thrones, CSI, Fear The Walking Dead, Band of Brothers, Law & Order, plus many more well-known film and TV productions.

When we announced this last-minute master class (literally the night before) we did not anticipate such a huge turn out!

The focal point of this master class is the nifty piece of kit Brian developed to create wounds with… enter the Hurtbox. The Hurtbox is a mould for Pro Bondo, latex, gelatine, cap plastic and platinum silicone. Housed in a sleek and ergonomic case, this is perfect for carrying around on-set and makes the process of creating wounds simple. We were lucky enough to have a Delamar Academy special edition Hurtbox made for the students’ kits. It’s a source of price for us that Brian is a Delamar graduate, tutor and now creator of a product used in the kits of our students, soon to be graduates themselves.

Brian’s master class started with a talk on his career from “cocky” student to present day pro. His first break came on Brand of Brothers with Prosthetics designer, Danny Parker on the recommendation of Delamar Tutor, Tom Smith. Tom (RIP) was a huge star in the make-up industry having worked on Marilyn Monroe, designing Indiana Jones and the Temple of Doom, Star Wars – Return of the Jedi plus so many more classic blockbusters. Our Delamar family past and present are quite established glitterati of the make-up industry! Penny Delamar (our founder RIP) wrote a letter recommending Brian, who was then offered the position of trainee, paid at a rate of £100 a day.


“I should have paid Band of Brothers £100 a day to have me!” Laughs broke throughout the audience.


Brian’s career was kick-started by this lucky break, testimony to the fantastic aftercare supplied by Delamar.


After many laughs and anecdotes, Brian got into the nitty gritty of how to use the Hurt Box:



For making the pieces you can use:



Cap plastic


Release and Seal

No Colour Powder by RCMA

3rd Degree

Pro Bondo

For Application of the pieces you can use:

Sweat stop

Kiehls Blue Astringent


Prosaid or Telesis (5 or 8)

Cotton Pads

Illustrator Palettes

Stipple brushes

Flicking brush

Fine synthetic brushes for painting

Bloods/Wound Filler

KY Jelly





  • The Hurt Box mould is not designed to press onto the skin directly  (direct transfer) and therefore it is not recommended that you cut up the mould.
  • Gelatine or 3rd Degree seem to be the best material to use. Use for making a whole sheet of injuries or individual pieces.
  • Good to note that there is no flashing around the wounds. This was to allow Brian room for maximum number of injuries /swellings in the hurt box.
  • Also important to note that generally speaking a releasing agent is vital for successful removal of pieces from the mould. Cap plastic, Vaseline or no colour powder… (more detail below )
  • Brian is developing moulds for direct transfer use with Pro Bondo , at present the hurt box mould is a little thick for direct transfer… you can do it, but its tricky.
  • Gelatine from Titanic or KM effects is recommended.
  • Paint cap plastic into the mound 2/3 layers. Allow to dry. You could at this point paint the airbrush the cap plastic in.
  • Cut up the gelatine, heat in the microwave, let cool down then pour into whole mould.
  • Let cool and peel out. Use no colour powder by RCMA to help get out the pieces.



  • Clean skin using either touch of IPA on cotton bud or Khiels Blue Astringent.
  • Apply a little Prosaid onto the skin and on the back of the piece. Allow the Prosaid to dry until it goes clear. Note – Telesis in 5 or 8 will keep the piece on for a whole day of filming.
  • Apply the piece.
  • Blend edges with IPA or witch hazel (have to double check this – you can use acetone sparingly, Brian had a small bottle of acetone which he put a drop of food colouring, red or blue… to make it look nice … and called it “edger” to fool the actor who may be uneasy about nail polish remover being used on their skin!
  • Paint with illustrator
  • Cap plastic allows a good edge and is a good surface to colour.



Cap Plastic for very fine pieces:


  • Just a few layers (3) painted in 
  • Allow to dry 
  • No colour powder to help ease out of mould

Pro Bondo application:



  • This works best in individual moulds 
  • Use release and seal first 
  • Allow to dry
  • Fill mould and level off with lolly stick. 
  • Best to under fill than over fill, as you want the contact side to be concave rather than convex.


3rd Degree application:


  • Good idea to use cap plastic in the mould first so that you can paint on the piece. It also gives you a nice edge. 3 layers.
  • Help out of the mould with no colour powder.
  • If you aren’t encapsulating … use Vaseline in the mould.



A quick note about painting and colour.


Brian used Dave Stoneman wet clotted blood and Nick Dudman runny blood.


His favoured colours for painting trauma pieces are Capillary (for depth) red rum, rice paper & natural 1. He used fine synthetic brushes for the depth, detail and for painting the piece he finished by flicking colours.




There we have it! Thank you to all who came and thank you to Brian for being a brilliant showman, fitting us in so last minute, after weeks working on a film in Scotland.


We are very pleased to have Brian teaching in the Academy this week.

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