dramatic contexts
flat pieces design initial sculpting
1.Take two long rolls of plastaline and push on to the tile creating the shape of piece.
2. Press the edges of the plastaline outwards blending into the tile creating a seamless edge, use a mixing stick to blend and neaten edges.
3. Look at the height of the piece, making sure its to too high to look unrealistic or abnormally raised for the base.
4. Put talcum powder onto the clay ( this helps to stop balls of clay coming of the piece ). Go over with a plastic brush to give a natural skin texture.
5. Push around the inner edge of the wound with your finger giving a more natural edge.
6. smooth away any bumps there might be between the wound and the outer edge to give a more seamless transaction.
7. put a little bit of lighter fluid in to the centre of the piece and brush out the talcum powder.
8. create small balls of clay and place in to the cut to simulate fatty flesh very the size and shape to give a more natural look and try not to make it look to uniform or organised.
9. drop some more lighter fluid and using a small brush blend. then add the powder again and brush away with a soft brush.
10. to add more texture to the skin using a shape edge create lines overlapping in the shape of x creating natural lines in the skin ( change the direction of the lines and not to straight or to wavy lines are best).
11. with lighter fluid go over using a latex sponge to soften the edges, stipple all over, this also helps to get rid of any shinny or to smooth surfaces.
12. clean around the outside of the piece checking again that it blends well with no steps or lumps (loosing away to do this can help).
while sculpting the flat piece i found that is was chalanging to get the hight of the peice to give a deep enoughcut without making it look to raised from the skin. looking back on my referance images to make sure i wasnt changing the look of the wound throught the prosses. even though i did this i still found that it looked to raised form the tile so i had to cut iyt down, i think the more subtal and detaild wound and flat pieces sometimes look the most realistic and un noticable.
i had some problems with sticking down the balls of clay used to simulate fat cells as they would stick to the tool, i used a smaller tool with a flat edge and them managed to finish the detail in the centre of the ound. i also added some clay and created linned texture to look like flesh in the centre as i thought it looked to flat and i wanted some definition when blood and colouring is added.
other than tese isues i was pleased with the wound, the blending out went well and i tested it by feeling the edge while looking away an their was no steps or bumps found, i think i could have gone in with less subtal detail on the skin textures and lines because ones i added the lighter fluid it faded slightly getting rid of detail.
you can crwate loop tools by bending differant gouges of wire then crimping them inside a metal handle. when you're sculpting, clay passes through the loop instead of getting stuck on the tool. so loop tools can save time and require less cleaning. try creating differant loop shapes and sizes; there are many veriations when you get craetive.
wrincles and ski texture:
when your sculpting wrincles and organic-looking skin texture, you can create a veriety of multi-pronged tools usign wire. you can rake these tools across a sculpt to create natural wrinkles patterns. add exstr wires and bend them differant ways for more variation.
tools and equipment:
self evaluation of practical:
creating flat pieces:
1. using a presice scale measure out equal parts on a in to ne cup and b in to another (dont mix sticks or cross contamon)
2.place the cup on to the scales and and then press the tair button.(150g)pour in a.
3. do the same with b, put the lid on tightly and clean after using.
4. using vinal gloves (not latex) put both a and b in to a bowl and mix with a clean stick (dont wisk but mix well).
5. pour from a hight to get rid of bubbles in to your piece, make sure to pour in oone place and tilt the tile if is not even.
6. leave for 10 minuits then come back and toach the left over in the bowl to see if it has set.
7. when this is firm you can then de mould out of the clay.
8. then clean the mould thuraly getting rid of any clay and then place back on to the tile.
self evaluation of practical:
looking at how we did the falashing for the flat pieces it was hard for me to get the size of the spaces between the sculpts and the walls so i would use as little silicone to create the mould as possable , because of this i changed thh wall and bring it in closer to the sculpts before i craeted the mould.
also i think that the wall first wall around the sculpts should have been a little bit shorter than they were and more neatly done so that it will create a more crisp and neat mould.
the wall around the outer edge i was happy with i think tghat i had made it high enough for the silicone to go higher than the highest point of the scupts and i blended it in to the tile so that none of the silicone would leak out.
examples of this stage of the prosses:
13. roll out a suasage of clay or use an extuder, then with this go around the outside of the piece as a channel, leave a gap between the two.
14. then with the 92 tool or another clean the edges, both sides of the channel this is called grounding up.
15. go around all of the pieces on the tile leaving the same gap and making it the same hight.
16. using the clay create another wall around the outside of the first.
17. this should be taller than the highest point of your sculpting (2cm higher)
18. go around the outside of the whole walls and on the outer edge of this blend the edge down in to the tile and make sure their are no gaps or holes for the silicone to escape from.
18. also go around the inside of this wall pushing it down on to the board.
sticking on flat pieces:
making the flat piece:
1. ones you have used alchahole to clean the mould then put in a mould relise such as vasaline.
2. masage this in to the mould and then using tishue dab or stipple most of it off.
3. then using acurate scales mix equal parts 20g of a in to a cup then 20g of b in to a seperate cup then you add 40g of softener in to another cup.
4. write a on a stick on one end and on the other out a dot and do this for all three of the cups.
5. then add a small amount of silicone pigment to colour each of the products in the pots.
6. make sure that when you put the stick in you can see the dot on the end but not to much, this is to test the colour and translusansy of the colour.
7. do this for all three of the cups, then ypu can add red flock to cup c, only a small amount, this adds more dimention to the colouring of the skin to make it look more real.
8. before you do this you shold mix 3 part alchahole to 1 part cap plastic to the consitancy required.
9. then pour this over the mould then pour of back in to the mould and dry (not to high heat or it will bubble).
10. then repeat this for another two layers of cap plastic.
11. place a pin under an unimportant edge of the mould to chech that the cap plastic is thick enough.
12. pore the contence of all three of the cups and mix to combine around the sides dont take to long at this.
13. poor this in a thin stream in to the mould startng with the flashing and then the rest.
14. place a mixing stick at one end of the mould and drag it across the top scraping away any exess silicone.
15. ones this hase dryed then add 2 more layers of cap plastic mixture and let dry.
16. before de moulding use talk to powder over the piece and under when de moulding.
self evaluation of practical:
ones i had taken the silicone out of the moulf i found that it was to soft and sticky and because of this it made it hard to take out of the mould and parts of it would tare or stick together even though i used alot of talken powder.
the persantege or a,b and c was 20,20,40 so i was quite suprised that it was to soft as it was not ever 100%. so next time i will have to use even less softner to my silicone to give it more of a firm feel so it can keep the detail of the scult.
if i was to do this again i would have also improved the aplication of the poouring of the sillicone os their was some bubbles so i should have gone fron more of a hight as well as when i was scraping over the mould i need to be a bit firmer so the silicone would not spred to much on the top that would make it harder to blend.
method1; frame method:
for this method ypu use a cord board frame for direct application. with this meathod you do nnot add silicone to the mould, use incogneto whitch is a brand of bondo (prozade+caposil=bondo). to this you then can add foundations and colours to colour the piece. you can also use gelitine for this as it stays rubbery for a long time and because it is a lot cheeper to buy than silicone you can use it first test your mould before using silicone.
method 2; direct aplication or direct transfers:
for this method you use transparant 73/15 from mouldlife. this helps so that you can see through the piece to the skin to see where to place it. using bondo to stick this down by plasing this on to the arm take of then blow dry then do the same to the silicone piece. using alchahole blend the edges out in to the skin.
method 3;
exaples of the prosses:
1. roll out some clay and and place this around the prosthetic leavign a 5mm gap around the outside.make sure that this is neey and tidy exspecally on the inside.
2. push this down on to the plaster to keep it in place, go around the inside and outside cutting around the outside to neeten it further.
3. then make touch downs; these are holes through the grounding not to huge but also not to small. they sould be evenly spaced and several around the outside.
4. then also add a few channels made of pieces of clay around the putside this helps to let silicone leek out.
5. then put a wall around the outside of this to stop anything from leeking out.
1. switch on the vaume former and leave for 15 minuits to heat up.
2. cut the plastic up to the wodden ber saying large. then place this on to[p of the vacume and place the frame over the top making sure that it covers oner the white frame.
3. then clip the frame in to place with the handles.
4. pull/drag the heating parrt of the vacume former towards you and leave for 35 seconds.
5. switch on the vacume then pull the leaver on the side of the vacume former toward you.
6. then leave this for 10 seconds.
7. then press the other switch to reverse the vacume, and then pull the leaver bck.
8. unclip and pull up the frame and take out the plastic.
vacume forming:
making a close mould:
1. get the plaster cast out of the mould.
2. then go over this with a thin layer of vasaline and then wipe most of this off with a tisue.
3. warm up the clay in your hands so that is is maluable, then start to moulf on to the plaster.
4. when sculpting make sure you leave room for the grounding.
sculpting on to the plaster:
sticking on my flat piece:
when i was sticking on my first flat piece i stucknit down usig prozade and i made sure to let it dry first so i dont think this was the problem with this aplication. however i think the cap plastic was to close to the silicone in some ared so this created a problem as i started to blend out the cap plastic it came to close to the edge of the silicone so on the next aplication it had a much wider gap between the two and i blended more carefully as not to get to close and used less ipa. i wass much happyer with the second aplication and i think that the changes i had made to the aplication mede it a lot better the second time around. i feel much more confidant in applying a flat piece now i have practiced, but i still think i will have to practice a lot more before it is at a stage that i am completely happy with.
1.sculpt the piece using a non salphur clay.
2. apply relice agent (ease release 200 is a general purpose relice agent).
3. shell shock is mixed quickly and thoroughly.
4. first a thin layer of shell shock is stippled, this reduces air bubbles.
5. the second layer of shell shock goes on thicker
6. the third layer of shell shock builds a 1 cm thickness of material.
7. the mold is removed from the board using a scraper tool.
8. the clay from the sculpt is scraped out using a wooden stick
9. measure out skin tite silicone 1a:1b by volume or weight.
10. add silc pig flesh skin tone to skin tite part b
11. combine skin tite part a and b
12. mix quickly and thoroughly.
13. pread the skin tite in to the plastic mould.
14. demold skin tit using powder.
15 ready for aplication.
attempt 1:
attempt 2:
for my second attempt at the application of a silicone piece i elt that it went alot better than the first it had taken a lot longer to blend the edges and i use a lot less ipa and rolled the cotton bud out and away from the piece to give a better blend on to avoid getting to close to the silicone as i could not blend this. i also did not colour this piece the colour already matches my skin tone and you could see the colour from the vains and skin through. however if i was to do this again i would have liked to have maybe added a small amout of colour to give texture and more depth to the piece but i was overall happy with the outcome.
one of the problems i found with this was the fact that it had a shine so in the future i would like to get a mat spray to go over but foe now i think some setting powder would work.
another thing that i did diferant this time was to stresh the piece as i blended around the edges but not to much as this can tare the cap plastic and create holes but i feel this gave a much smoother transaction on to the skin.
for my first attempt at the application of the silicone piece i dint think it went well and had a few issues with blending and the colouring of the piece.
for the edges i blended with ipa and a cotton bud i think the problem with this was that i was putting to much of the ipa on to the piece and it was desolving it to close to the piece that it didnt give a smoth edge.
the next time i do this i will have to put less ipa in to the cotton bud and whipe some of and start delicatly and ferther away form the silicone to achive better edges.
for the colouring i felt that where i tried to blend out with latex the skin illustator didnt place on to it as well and after layers of flicking the colour on to this it didnt buid up enough colour so i used a sponge, this really didnt work it gave a to thickly applied and flat colour. for my next attempt at this i will gradually build up layers of colour if needed but the silicone matched the skin tone quite well so maybe less product is needed.
1. place on the skin
2. melt in to the skin
3. blend of any soft sealer
4. colour with sta colour
5. paint with cut
6. finished painted cut
7. add blood
8. showing the finished scar
dvd that i found useful:
i wanted to look at a range of dvd that would help with my understanding of the prosseses we have been shown and practiced. i found this very helpefull to see how the prosseses are done in diferant wayd and how each persone has their own vew on thing such as what tools they use or what meathod.
notes from the dvd:
clean and prep the skin with moisturiser. using a latex sponge dab prozade on to the piece and then place this on to the skin and take off. let dry and using a wet towl dab the prosthetic releasing it from the paper on to the skin.
go over this with a sponge pushing down on to the skin. get rid of thick areas around witha cotton bud. then powder over with a puff, add some sealer, spray this on to a latex sponge then dab on to the face.
he then added in veigns using an air brush in vain blue skin illustrator and then whent back over the areas with a small brush putting in more to give depth.
after this he then started to contour the skin with knin illustrator and going over some of the areas around the eyees with the air brush.
the section of this dvd i found most usefull to this project was applywing the prosthetics he didnt even need to blend having the edges so thin and keeping them on the sheets of papaer make it alot easyer and more effective when applying the prosthetics.
the art of silicone prosthetics: part 1:
life cast, plaster cast, he puts release agent then using platerline; labotoshe grade 55 tough he softans with a heater he then folds and wiggles them to soften he applies this to the cast.
he uses a wooden tool for creating the shapes and then a brush to soften them as well as a small loop tool for lines and wrinkles.
during the time of sculpting he made sure to have a light over the sculpt so that he could see that their were no harsh lines that where not wanted.
texture: the skin texture changes all over the face so he used texture stamps to give a veriety of skin textures for the bace skin texture, but you do not want to repeat these to much as u will tell and it will lok onatural.
he then whent over this by hand using the small looop tool and adding in more skin texture and lines.
he then places this in to a tub of cold water then leaves for 40 minuits and it comes away from the plaster cast.
part 2:
he mixes 200 of a with 200 of b and 400 of c he then puts this in to a vacume chamber to de gas the silicone creating the mould.
he then cleans this out with a wooden tool then with solvant, when the mould is make he wore gloves to keep it clean he then talks this for a matt finish. he then uses super baldies cap plastic and sprays it on to the mould with an air brush with a mix of 4:1 with alchahole.
he then applies this using snappy medical adhesive and desolves the edges with ipa and gets rid of the flashing, he colours this with skin illustrator going over with a red tone and a fine brush and then flicks a skin tone with a cut down brush
i found this extreamly helpeful to this project and their were some good ideas like floating the piece of of the cast and using an air brush to spray on the cap plastic. and it is always interesting to see the differance between the matereals and products like the medical adhesive i would likt to try these in the future to campare with what we use and do and see the results.
creature design sculpture techniques with jordu schell:
when sculpting heonly uses his hands for the anital forms and the larger shapes. then when everything has been astablished he refines with the loop tool. this blends the masses of cley and the muscles together.this tool can also be used to make areas deeper using the certed loop tool this can help to take away clay as well creating less crumb.
using the loop tool with one square and one circular end he went in a started to refine the shapes with the smooth edge loop tool. he cut in to the area with the square end and over agin with the circular end to soften.
using an acid brush and some terpanoid 1:4 parts alchahole, mix with the brush and apply to the sculpt. another one of the meathods that he used was to go over the areas with a blow torch to soften then leavs a second to cool and its easyer to go in to with the detail.
using a chip brush and cutting it down by a third you can put this in to the terpanoid and stipple over the clay for texture. he then whent in with small worms of clay to give depth ato the wrinkles and more dimention to the face.
these can also be used to add veins to the skin but the worms of caly have to be very thin. these need to be verry subtal so he pushes them in to the clay and then goes over them with the acid brush to blend.
this gives me a better understanding of the prosses of sculpting and how you can use a range of differant products and tools to create the desired result. the way he would go over the clay with a bruch i will use when next sculpting., i used a stipple sponge for this preveously but i feel that this might work better to give a more delicate texture to the skin.
i found that the worms of clay that he added to the sculpt worked really well i think this also is something that i woud like to try and see what it would look like.
making a gelatine piece in a close mould:
when i was making a piece in the mould that was made from gelatine i first hested the gelatine in the microwave for 10 second and i did this twice until it was all melted.
before i had done this i coated the mould with a layer of vasaline as a relice agent and then wiped some of it of with tisue.
ones i had done this i then poured the hot gelatine in to the mould and pressed the posative in to this, i then wayed this down with something heave so that it would put preasure on to the mould and give a thinner edge.
i found that ones i had seperated the two halfs of the mould it was alot eayer for the gelatine piece to come out than the silicone as becaus ei didnt need to put a cap plastic layer on that wasant sticking to the mould.
i had problems using the silicone when the cap plastic would tare from the silicone and stick to the plaster moulds.
feedback and self evaluation:
witht the gelatine piece from the close mould i found that it was hard totake out of the mould bot once it was out the most of the nose was in tact and kept its shape, however the edge of the nose for blending out had holes and tares in it so didnt leave enough of an edge to blend well enough for it to look affective.
ones i had applied the nose i found that becouse the blending edge was not big enough it was harder to make the nose look natural as well as keeping it in place as it ddint have much to hold on to the face with so it didnt stay in place well.
i think the reason for this might be that i had put to much preasure on to the mould when it was drying or it could have also been the fact that i might not have added enough vasaline before i added the gelatine.
aplication of the gelatine nose:
for the application of the gelatine nose to the face i first powdered both sides of the nose when i was taking it out of the mould, i then placed it on to the nose to see if it would fit.
after this i added prozade to the edges of the nose and placed it on to the face, then took it of to show wher to put the prozade.
i then added more prozade to the piece and the face and waited for both to dry clear i then place the nose on to the face stretching out the edges as i layed them on to the face to give tention and an even edge to blend but not to much so that i would tare the edges.
i then started to blend the edges with some metal tools that i had in a cup of boiling water and then gentle placed on to the edges to melt them down on to the face. (making sure its not to hot to burn the skin).i would keep swapping the tools ones one had cooled down. i went all around the nose in thes way blending the edges .
second attempt at close mould:
for the second attempt at the gelatine casting from the close mould i found it worked alot better this time as i took on the problems that i had with the last one and changed some of the factors; i added more vasaline but then dabed some of with a tisue but i still added preasure but not so much so that it created holes in the blending edge.
i think that this nose will be alot easyer and go on to the nose alot better than the first one as it came out will still some small holes but less than last time and with alot more of a cerface for me to stick it on to the nose with.
feedback and self evaluation:
I feel that in this practical the edges of the geletine piece did not blend as well as would have liked on the sides but more so at the bridge of the nose.
onse i had tried to melt the sides some of them would come away from the face so i had to leav it to cool down and then go back to it again and melt a little at a time.
i tried to add some latex to the top of the nose to help blend out the thick edge but this did not help, i would have to re do the cast again to see if i could get a thiner edge next time.
ones i had gone over the sides again i was quite happy with the blend and felt it blended in to the skin well.
ones i had coloured the nose with my super colour pallet i felt that the translusancy of the gelatine nose still would show through the colour so i would like to add some colour pigmant or foundation next time to avoid this problem.
i fliced on the colour with a brush but i did first go over with a more red tone to try to cover the sheer ness of the piece.
i wasnt to happy with the colouring i felt that it oculd have been a bit lighter to better match the skin tone and with more depth to the colour by adding more layers of colours and giving more of a depth to the piece to make it look more like skin.
feedback and self evaluation:
the outcome of this mould ones i had done a cast using gelatine didnt come out as well as i would have liked. because the touch downs were to small it wass harder for the gelatine to come out even though i had vasalined the mould, it their for ripped as i was trying to take it out of the mould.
in the furture i will have to make sure that the holes in the flashing are alot bigger and i put on even more vasaline and be careful when removing from the mould.
mould making:
in this seasion we looked at the history of mould making and the differant moulds their are .
the first moulds started with a spear tip as they would melt the metal down and pour in to these moulds for a quicker way to create the object. another example of this is the press moulds from athens as they would use these to create ornimental pieces.also sand box moulds were used for cast iron to create industrial moulds.
here is a list of all of the moulds that we looked at :
.flat moulds/transfers
. injection moulding
. laminating
. matrix moulds
. vacume forming
. Matched mold
. Matrix molding
. PlasBc molding
. Pressure plug assist molding
. RotaBonal molding (or Rotomolding)
. Transfermolding
. Thermoforming
. Vacuum forming, a simplified version of thermoforming
. Vacuum plug assist molding
. Brush on
. laminating
.brush mould
-
Powder
-
metallurgy plus sintering
-
Compression
-
Expandable bead
-
Extrusionmolding
-
Foam molding
-
Flat molds
-
Injeconmolding
1. lay down with water
2. peel
3. blend
4. powder
5. seal
6. paint
using gelatine in film:
lookingat sarah elizabeths website and her work on the sort film the little mermaid it was interesting to find that she was working with gelatine prosthetics.
i think the resutlts of this is really affective the blend of the piece is well done and the colouring. after looking at some of her other work she uses gelatine quite a lot in her work and most of the time it workes quite well.
this changes my prospective on using gelatine because i have thought of it as a cheeper way of testing if your mould works and comparing it with other materials such as silicone i didnt think it would have worked as well.
it was quite interesting looking at the prosses and how this differs from what we do she used prozade to stick it down and witch hasel to blend the same as i have been doing however her edges look really nice and thin and because of this have blended really well in the aplication.
even though the gelatine has been tinted it still has quite a shine on it from the gelatine but i like the way it has beeen coloured only using skin illustrator and powder.
this is the imformation that i got from the website on how they made and applied the prosthetic this was under the geltine section of the site showing how they made and applied a gelatine piece.
Old hag in one day
This makeup was conceived, sculpted, molded, cast and applied all in one day. Though it's definitely far from sophisticated, as a practice piece I was a little bit proud of it. On top of my life cast I sculpted the nose and brow using Chavant NSP med. The mold edges/cutting lines were done with Kleen clay. I ran the piece out of tinted gelatin. Notice how thin the edges came out.
The prosthetic was adhered using Prosaide Adhesive and the edges were blended using witch hazel.
Finally the prosthetic was colored using Skin Illustrator alcohol activated pigments and powder finished.
using silicone prosthetics:
i wanted to look at this makeup from les miserables done by lisa westcott ve julie dartnell becaus of how the pieces have been applied and blended so well with the colouring making it un noticable when u look at him thathe had any prosthetics on at all.
i think the way they made the prosthetics so subtal and delicate to match his face perfectaly it really makes a hugedifferance to how well the make up works together.
i think looking at this it is a good exampe that in this portrate project beying subtal can be the diferance between a successfull or bad make up.
For Irisa, we tried to create a make-up that looked like part of her skeleton,” explained Jones, “so theedge of the silicone piece runs under the eyelid and blends across the bridge of the nose, back up the other side and extends about an inch and a half underneath the wig, so it’s one big forehead. The male Irathients have a slightly larger brow, plus we gave them a bit more cheekbone, so the edge wouldn’t just end at the corner of the eye. They’re always making very big expressions, so I wanted to bring the edge around to help with their expressions and keep a feral look to the make-ups.
“For the Sensoth, I got to have a lot of fun doing a big mechanical mask with oversized dentures and lips. I spent a couple ofyears early in my career doing nothing but animatronic masks, so I had a good grounding in those techniques, so I wasn’t worried about it at all. The way it was designed, the forehead was a prosthetic, while the muzzle was animatronic, so the forehead piece was glued on with a blending edge, and then the muzzle went on under the bridge of the nose. The brow was obviously the actor moving his own forehead, but the lips were me operating them remotely off-camera.
this information that i have loked at about how they have created the makeup for the tv series defiance. the edges of the silicone pieces are non existant when you look at this makeup and when watching the series i did not notice and edges throug out. it was such a small change to the face but the way they have blended it and matched it to look like it could be part of her bone structure its lookes natural and organic to the shape of the face, this is something i need to take in to concidertion when looking at creating my pieces.
The Liberata were foam latex. We ended up changing actresses between episodes, so that make-up was originally done for one actor and switched to another without re-sculpting it. She’s also wearing a muscle suit, gloves and a full neck piece.
this helps to show the differance between foam latex and silicone prosthetics and how they have used the foam latex when covering a larger area of the face and neck.
sculpting:
LESSONS FROM A GENIUS
Don Lanning is a genius. Let me just get that out there right up front. He manipulates clay so easily and smoothly, it’s intoxicating. He seems to be able to literally sculpt anything, and well, like I mentioned earlier, he practically does in this video. But where Don really shines is in his teaching technique. He is so calm and easy going, it never feels like he’s telling you what to do, it just feels like you’re having a nice conversation with a friend. Don’s teaching style is the perfect balance of telling and showing. He makes you honestly understand each and every thing he’s trying to put across, and that’s a skill that shouldn’t be underestimated. He gives specific examples, whether it’s talking about using Michelangelo’s David as the basis for all his eyes, or creating a fake language that he drew all over a character in Blade II. Everything he says has a reason and it helps illustrate his points much better.
THE POWER OF THE X
Now, while the larger forms may be the most recognizable, and the gore can be the most stomach churning, Don himself says that the most important and powerful thing to take away from this video is what he calls, The Power of X. It’s pretty much exactly what it sounds like. It’s a technique of drawing multiple X’s to create texture. This texture can be weathered skin, dinosaur skin, monster skin, you name it. As you watch him draw X after X, it’s shocking to see how quickly they add up and eventually you don’t even see the X’s any more. You only see texture. It’s a wildly useful technique that I guarantee everyone can use in their own practice.
looking at this section on don lanning and how he uses sculping and the power of x to create realistic lines and wrincles and natural shapes give a realistic, detailed sculpt.
the power of x that he uses is a really good way of adding texture to the skin giving more depth and realistickness.
i think this would help alot with the old age sculpt as well as texturising my pieces that i will make for my portraite sectio of the unit.
this image is from a stan winston school dvd looking at how to create Make a Monster Suit - Part Two: Mold Making, Foam Latex & Paint. i think this would be a good one to watch to learn more about how to use foam latex and the mould making thst would be made.
The mold that Adam had had made of his original was a brush-up urethane with a fiberglass jacket. This prevented me from using platinum based silicone (the urethane inhibits platinum from setting up) and the mold wasn’t set up to have a core put in it. So I would have to use a tin-based silicone and brush it into the mold, and try to maintain a consistent thickness.
To save weight (and silicone volume, because silicone is heavy), I thought it might be a good idea to make a hard resin shell on the top of his head, and have that support the weight of the silicone. I cast a fiberglass copy of this part, then started a silicone brush-up into the mold for the rest. Once I got into this process, however I quickly realized I was pushing a boulder up the wrong hill.
Matrix mold with an Ultracal jacket made for Hellraiser 4."
by David Perteet of Kevin Yagher Productions
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all images above are from the makeup artist hand book.
i think this part of the meathod you have to consintrate more on and be precise with the measuremant to make sure that you have the correct amount of each otherwise it will not projuce a usable prosthetic.
the persentage of softener you add to parts a and b can alter the softness of the prosthetic so you want to add enough so that it had the texture and movemant of human skin but not to much that it sticks to your hands and is un usable . it is critical to get the balance right normally at 100%.