Latex noses, eye pieces and scars

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s and 1970s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.

Roy Ashton (1909–95) and Phil Leakey (1908–92) were master make-up artists who worked on many of the British cult horror films of the mid-20th century. A trained artist, Australia-born Ashton began his career at Gaumont-British Film Corporation in 1932 as a means of supplementing his passion for opera singing. In 1955, Ashton became the assistant to Hammer Films’ Phil Leakey, the first makeup artist to receive on-screen credit for ‘Special Make-up Effects’. Following Leakey’s departure from Hammer in 1958, Ashton took over as head makeup artist, where he continued his expert work throughout the 1960s.

Roy Ashton made many prosthetic body parts and skin pieces from latex which would be applied to the actors to create suitably horrific effects.