LAURA DICKEY
PROFESSIONAL MAKE-UP PROJECT
INJECTION TUBES, HOLES AND BLEEDERS
TOOLS & MATERIALS:
- 1.5mm DRILL BIT
- DRILL
- PIPING TUBE (POUR TUBE)
- CAR BODY FILLER
PROCESS:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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I drilled various bleeder holes around high points of the mould using a small drill bit. This will indicate at which point the silicone has reached when injecting the moulds.
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I drilled a large circle into the highest point of the cowl and face to create the injection point. I achieved this by accurately measuring the width of the tube to ensure I drilled the hole the same size. I then stuck the tube in place with carbody filler to ensure it would hold well in position.
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I sanded the end of the drain blaster with sanding paper to make to end smaller so that it fit more snug inside the pouring tube for the face mould.
ENCAPSULATING THE FACE/NECK
TOOLS & MATERIALS:
- SPRAY CANISTER WITH PUMP
- PS COMPOSITE PRO PLASTIC PLUS
- ALCOHOL
- EXPOXY PARFILM SPRAY
- PETROLEUM JELLY
PROCESS:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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I ensured the moulds were properly released prior to encapsulating by applying an even layer of petroleum jelly and then expoxy parfilm and allowed to set.
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I mixed a smooth mixture of the cap plastic and alcohol to create a runny mixture that sprayed well through the spray bottle and did not clog.
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Using a spray bottle allowed me to achieve an even layer of encapsulater which was not disturbed or ruined by brush bristles.
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I allowed the cap plastic to completely dry between layers which I checked by touching the cap plastix before applying the next layer. This prevented bubbles of cap plastic which could ruin the texture of the final prosthetics.
INJECTING THE FACE/NECK - ATTEMPT 1
TOOLS & MATERIALS:
- PRO GEL 10 SILICONE A B AND C
- PRO GEL 10 00
- SCALES
- MIXING BOWLS
- SPATULA
- FLOCKING (RED, BLUE, PURPLE)
- WHITE SILICONE PIGMENT
PROCESS:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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I was happy with the colouring of the prosthetic as simulated the colouring I most prefered when experimenting with pigmenting. I achieved this by adding a few drops of white silicone pigment and red, blue and purple flocking to add more depth to the prosthetic.
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The piece was encapsulated well.
WHAT DIDN'T GO WELL AND HOW DID I OVERCOME THIS/WHAT DO I NEED TO CONSIDER FOR NEXT TIME?
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Unfortunately, I took too long to fill the mold and so it started to set half-way through injecting which meant the mould did not fill properly. This meant that the piece was not fit for injecting and resulted in a lot of waste product of silicone. To prevent this from happening again, I need to ensure I work quicker and consider buying silicone retarder to prolong the process. Alternatively, I should store the silicone in a cool place to prolong the setting time.
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There was an airbubble on the neck which also ruined the piece. This may have been caused when I noticed the silicone was setting and therefore, I began to inject the silicone quicker which could have caused air to trap around the neck. To prevent this, I should pour the silicone at a consistent level.
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The silicone did not fill also of the face due to setting and also because I injected the mould standing upright. To ensure the silicone fills all of the mould I should inject it with the face laying against the floor to ensure an even distribution of product.
INJECTING THE FACE/NECK - ATTEMPT 2 AND FINAL OUTCOME
PROCESS:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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This time the prosthetic completely filled all around and contained no airbubbles. I achieved this by injecting the mould as it was laid against the floor and also by cooling the silicone in the fridge prior to mixing to prolong the working time. As this was my second attempy also understood the injecting process and felt that I injected the mould more quickly.
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Again, I was happy with the colouring of the prosthetic.
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As I was filing my mould I noticed the bleeder were leaking which implied it was filling correctly. I covered these with clay to prevent any waste material.
WHAT DIDN'T GO WELL AND HOW DID I OVERCOME THIS/WHAT DO I NEED TO CONSIDER FOR NEXT TIME?
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I noticed there was a raised bumpy area of encapsulant on the forehead which suggests I did not leave the cap plastic to completely cure between layers which created a build up of product. However, this should be easily disguished when applying the colour and I will make ensure I pay more attention to this next time.
INJECTING THE COWL
PROCESS:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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Again, I am happy with the colouring of the prosthetic as it accurately matched the colouring of my facial prosthetic. I achieved this by adding the same amount of flocking and pigment.
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The majority of the piece turned out well, including the head and main body of the neck. The small gap on the left side should be covered by the costume or alternatively I can used airbrushing techniques to colour match to area to the rest of the prosthetic.
WHAT DIDN'T GO WELL AND HOW DID I OVERCOME THIS/WHAT DO I NEED TO CONSIDER FOR NEXT TIME?
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Unfortunately, I did not save the clay that was inside the cowl so I was unable to get an accurate measurment for the silicone I required. Therefore, I had to estimate the amount of silicone. Fortunately, I estimated correctly and filled the mould with enough silicone and had little waste product leftover.
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There on the inside of the cowl which was slightly visible from the outside. To overcome this, I mixed a small batch of silicone and filled in the bubble to reduce the appearance.
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The left side of the cowl did not fill properly and I did not have enough silicone left over to inject the cowl again prior to my assesment which suggests poor preparation. This may have been caused as the silicone began to set which meant I could not inject anymore product. Next time, it is important to work quicker and buy silicone retarder or cool the silicone to prolong setting time.
INJECTING MOULDS RESEARCH
NEILL GORTON - BLEEDERS, POUR TUBES, ENCAPSULATING:
NEILL GORTON - CASTING AND SEAMING:
PART 3: moulding the prosthetic sculpture. (n.d.). [DVD] UK: NEILL GORTON PROSTHETICS STUDIO.
NOTES FROM DVD:
- add bleeder holes to the highest points of the mould, such as nose and chin
- drill the holes from the inside of the mould out to prevent the gel coat from chipping
- drill bleeders in the flashing
- add a pour tube and carbody in place
- add fairyliquid mixed with 50% water and paste into mould to create a release
- spray in epoxy parfilm
- cut a sponge and stipple a thin layer of silicone over head
- add fine wig lace of the immobile area of the head
- do not stipple over cutting edge
- use pin to clean bleeder holes
- airbrush on silicoe and thin with heptane or naptha
- Anything that is a naptha contains the code 'UN 1268' on the packaging
- Mix 3 parts naptha to 1 part silicone 3:1
- airbrush over edges and wear a respirator
PART 4: casting, finishing and application. (n.d.). [DVD] UK: NEILL GORTON PROSTHETICS STUDIO.
NOTES FROM DVD:
- cut away the seam
- pour in rigid expanding foam so can pin appliance to core
- clean silicone
- fill seam with silicone and spatula over silicone
- cling film over to smooth
- powder over the remove shine
TODD DEBRECENI:
Debreceni, T. (2013). Special makeup effects for stage and screen. New York: Focal Press, Taylor & Francis Group.