While fishing for ideas for the look of Bela Lugosi's "Sayer of the Law" in the 1932 Island of Lost Souls (above), Wally Westmore came up with this fairly simple test design. Bela was probably disappointed when the design was changed to almost completely cover his distinguished features with fur.

Chip off the old block Lon Chaney Jr. attempted to follow in his father's footsteps and created his own test make-up for One Million B.C. (right). Unfortunately, by 1940 when the film was made, union rules prohibited actors from also doing make-up and the job was handled by a studio make-up man.

A test make-up that differs slightly from Charles Laughton's final appearance as The Hunchback of Notre Dame (above). This is also an early example of the use of foam rubber appliances.

Originally Boris Karloff was supposed to transform into this strange creature at the end of Die, Monster Die (1965) before it was decided to have the meteor-made mutant look more like Mr. Karloff.

This rare shot (left) shows the original direction Jack Pierce wanted to take the make-up for Werewolf of London (1935). Later the design was streamlined making Henry Hull more recognizable. Eventually Pierce applied some of the techniques used in this test to Lon Chaney Jr.'s make-up for The Wolf Man.

We all know what the Monster on the Campus (above) from Universal's 1958 not-so classic looks like. But one photograph pops up from time to time that indicates that there was an earlier, more natural-looking version of the scientist turned Neanderthal. Shadows of the character seen in the film also resemble this design.

Recently the James Whale film The Old Dark House (1932) has resurfaced after many years on the most wanted list. For his first fright film after Frankenstein Boris Karloff's make-up was carefully chosen. Here is a version that didn't make it to the screen.