LAURA DICKEY
PROFESSIONAL MAKE-UP PROJECT
PRE-PIGMENTING SILICONE EXPERIMENTATION
TOOLS & MATERIALS:
- RED, BLUE, PURPLE FLOCKING
- RED, BLUE WHITE SILICONE PIGMENT
-RED BLUE WHITE WINSOR AND NEWTON CALLIGRAPHY INKS
- PLATGEL 10 SILICONE A AND B
PROCESS:
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 IMG_2547.jpg |  IMG_2548.jpg |  IMG_2549.jpg |
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 IMG_2560.jpg |  SAM_8912.JPG |  SAM_8909.JPG |
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EVALUATION:
Here I experimented with pre-pigmenting silicone. (With reference to the above image).
TEST SAMPLE 1: Un-pigmented silicone - if I were to unpigment my silicone the make-up would have no depth and it would take a long time to colours the prosthetic so I have decided against this.
TEST SAMPLE 2: Here I added just the white silcione pigment to the silicone. I feel this colour will best reflect the ghostly characteristic of my character, however the silicone needs more depth to it and appears too opaque.
TEST SAMPLE 3: Here I added red, blue and purple flocking to white silicone pigment. Out of all of the samples this is the test piece I like the most as the silicone is the correct colouring and also has depth to it with the use of flocking.
TEST SAMPLE 4: Here, I attempted adding white, red and blue silicone pigment to the silicone but it did not mix properly at the bottom. I also feel that the colouring is too dark which will make it difficult to add lighter colouring over the silicone.
TEST SAMPLE 5: Here I added white, red and blue ink to the silicone to create a deep purple. Again, this colour would not be suitable for pre-pigmentation as it is too dark and will be difficult to lighten.
EXPERIMENTATION WITH COLOUR PALETTE AND MOTTLING EFFECTS
TOOLS & MATERIALS:
- AIRBASE AIRBRUSH AND COMPRESSOR
- SILICONE TEST PIECES X2
- BLACK, WHITE, RED, BLUE, PURPLE TEMPTU SILICONE COLOURS
PROCESS:
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EVALUATION:
TEST 1: Here I experimented with a black, white and grey colour palette. This was to reflect the description of paranormal entites as 'dark and smokey' which I discovered in my research. However, I found the combination of these colours too dull and feel that it would not bring my character to life.
TEST 2: Here I experimented colouring the silicone sample with blue, red, purple and white colours. I feel this colour palette creates a vibrancy that will bring my character to life. The inspiration for this is taken from the 'deathly' characteristic of paranormal entites - here I have developed on this to look at the colouring of dead bodies, with a focus on livor mortis which contains various shades of purple. I also feel the combination of the colours make silicone appear like it is glowing - this is effective because it relfects the characteristics of orbs which is a common sign of paranormal activity.
EXPERIMENTATION WITH MOTTLING EFFECTS ON THE ARM
PROCESS:
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EVALUATION:
I feel that I successfully achieved a mottling effect on the arm by following a hexagonal pattern on the arm using the airbrush. I also feel it was important to start with the lightest colour for example, white, light purple, flashes of blue, deep purple and then black. This allowed me to create a graduation of colour without needing to clean the airbrush frequently, which also saved time.
COLOURING THE FACE/NECK PIECE
PROCESS:
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COLOURING THE COWL
PROCESS:
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COLOURING TECHNIQUES RESEARCH
STEVE WANG - CREATURE MASK PAINTING:
STEVE WANG - CREATURE MASK PAINTING. (n.d.). [DVD] USA: STAN WINSTON SCHOOL.
NOTES FROM DVD:
- MATERIALS, INKS AND PAINTS: rubber inks or stamping inks and dilute with naptha
- Acrylic paint thinned with alcohol
- AIRBRUSH: Iwata, martini mixer used to mix the paint, bristle brush set to clean airbrush, portable compressor on a 40 pressure, air regulator, extractor and respirator
- BASE: pour in colour, thin with naptha, mix with martini mixer, work in a circular motion
- CONTINUING BASE COLOUR: run naptha through airbrush to clean, work on a 30 pressure, follow contours of head
- MOTTLING: burnt umber, shakey hand motion, closely airbrush, octogan shape
- ADDING SPOTS: randomly places, hold airbrush onto area up close
- VEINING: fine lines up close, don't make a consistent, darker on points of connection
- Blood vessels in eye
- Accent vein work with blue
- Splatter effect, test on piece of paper with chip brush, naptha and silicone pigment
- Add black and shadowing
- line lips with black in a broken line so looks more organic
- blacken pupil
- GLOSS COAT: liquidtex gloss medium mixed with matte medium, makes colour pop, gives satin sheen
BRUCE SPAULDING - PAINTING PROSTHETIC MAKEUP APPLIANCES:
BRUCE SPAULDING - PAINTING PROSTHETIC MAKEUP APPLIANCES. (n.d.). [DVD] USA: STAN WINSTON SCHOOL.
NOTES FROM DVD:
- TOOLS AND MATERIALS: chip brushes, dental toold and airbrush
- remove the flashing by trimming with scissors
- mottle with textured sponge, ie sea sponge
- splatter with skin illustrator in airbrush
- create spots and blotches with pax paints and prosaide
- create base layer with pax paint and latex free sponge
- mix skin illustraor paints
- shadow the low points
NEILL GORTON - PAINTING SILICONE:
PART 4: casting, finishing and application. (n.d.). [DVD] UK: NEILL GORTON PROSTHETICS STUDIO.
NOTES FROM DVD:
- colour with 2:1 naptha and silicone
- wash over silicone
- flick onto silicone with chip brusha and dab over
- create veining with wash of blue and make an irreuglar shape so it looks more organic.
ASH LINTON - MOTTLING/VEINING TECHNIQUE:
Facebook. (2015). Ash Linton Hand Painted Veins [online. Available from: facebook.com/make-upfxforum. [Accessed 22nd April 2015]
On the facebook fx forum I came across this post for mottling and veining. It is interesting to see the level of detail achieved for vein work when using methods, such as painting by hand. The irregularity of the veins makes them look organic and real, however, I do feel the veining is too red and requires more blue and purple underones.