LAURA DICKEY
PROFESSIONAL MAKE-UP PROJECT
SCULPTING THE NECK - ATTEMPT 1
INITIAL REFERENCE IMAGES:
 I decided to take inspiration from the whisky characteristics of my reference images, and by doing so, I wanted to create the illusion of a twisted neck inspired by smoke and distorted characteristics of paranormal entities. |
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 This was my inspiration for the mouth, ) wanted to created gaps around the mouth to indicate stretching. |
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 Inspiration for the eyes, I wanted to create hollow, deep set eyes in accordance to my reference images. |
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 Angry brow to make my character look more scary. |
 Lines around mouth to make it look stretched. Flat nose to make it look inhuman. |
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 Protruding cheekbones inspiration to emphasis deadly characteristics. |
 Large nostrils to reflect eroding nose. |
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EVALUATION:
PROCESS:
Reddit. (2014). Lets Glorify Anorexia. [online images]. Available from: http://www.reddit.com/r/cringepics/comments/1pudep/lets_glorify_anorexia/. [Accessed: 29th March 2015]
I initially wanted to take inspiration from anorexia when sculpting the neck as the boney characteristics of the disorder reflected a decayed and eroding appearance which was a common characteristic within paranormal entities.
Pinterest. (2015). SUPERNATURAL. [online]. Available from: https://www.pinterest.com/laurajdickey/supernatural/​. [Accessed: 14th March 2015]
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WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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Overall, the piece was sculpted well as it was symmetrical in shape and was anatomically correct meaning it would translate successfully as a boney neck piece. I achieved this by referring to my references and through accurate judgement and placement of clay.
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The clay was smoothed and detailed well which I achieved by heating up the clay in a microwave and by using a blow torch to smooth and refine the surface. I then used effective sculpting tools such as a pet brush and stipple sponge to achieve skin like texture.
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, the piece did not float off easily and as I began to ease to release, the sculpt decided to tear and rip in several places. This was caused due to a number of reasons, such as the neck piece being sculpted too thin and not applying enough layers of Scopaz parting agent. To overcome this, I shoud apply more layer and considering buying wax sheet to stick across the core prior to sculpting to create a generic and even thickness over the mould. This process meant that I had wasted time and to use this to my advantage I changed to whole neck design.
EVALUATION:
SCULPTING THE FACE AND NECK - ATTEMPT 2
REFERENCE IMAGES:
TOOLS & MATERIALS:
- VARIOUS SCULPTING TOOLS, INCLUDING LOOP TOOLS AN DENTAL TOOLS
- MONSTER CLAY
- BLOW TORCH AND GAS
- LIGHTER FLUID
- THICK PLASTIC
- CLAY EXTRUDOR
- TALC POWDER
PROCESS - SHAPING, REFINING AND DETAILING:
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PROCESS - DETAILING AND FINAL OUTCOME:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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I was happy with the overall shape and characteristics of my character and I feel they successfully reflect a supernatural creature. I achieved this through successful research and then using this as inspiration.
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My sculpt was symmetrical which made it look neater and more professonial. I achieved this through accurate judgement and placement of clay.
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The sculpt was smoother well which I achieved by heating the clay in the microwave and using a blow torch to refine the surface.
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I was important to map out the shape prior to refine the surface to ensure that I was happy with the shape and did not waste time adding detail.
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The sculpt was detail well which I achieved by brushing over a pet brush in a random manner and by stippling over the surface to refine the detail and make it look more natural.
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The flashing was an even thickness all of the way around which I achieved by using a clay extrudor to produce standardised clay strips which I then layer next to eachother. I then created the keys use a circular lid and positioned then a frequent and equal distance around the flashing to ensure it looked neater and more professional and would allow more drill holes to ensure the core could be drilled as tightly as possible creating a finer cutting edge.
SCULPTING THE COWL
REFERENCE IMAGES:
 Here I have taken inspiration from all of the elongated heads in the reference images as this is a common characteristic within supernatural entities. |
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Pinterest. (2015). SUPERNATURAL. [online]. Available from: https://www.pinterest.com/laurajdickey/supernatural/​. [Accessed: 14th March 2015]
PROCESS AND FINAL OUTCOME:
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EVALUATION:
WHAT WENT WELL AND HOW DID I ACHIEVE THIS?
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In the end, I was happy with the shape of the cowl as it appeared like an elongated scull which wasting too harsh and obvious. I achieved this by refferring to my reference images for shape and formation.
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The cowl was detailed well to mimic pourous skin texture - I achieved this by folding over thick plastic and positioning it over the sculpt and then repeatedly punched small holes into the plastic using the end of a small loop tool to create pore texture. I then refined the surface using a stipple sponge.
WHAT DIDN'T GO WELL AND HOW DID I OVERCOME THIS/WHAT DO I NEED TO CONSIDER FOR NEXT TIME?
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At first the head shape appeared to flat on top which looked odd and did not reflected the exaggerated characteristic I was aiming for. I should have noticed this before refining the surface which meant that I wasted time.
SCULPTING RESEARCH
HOW TO SCULPT A CHARACTER MAKEUP WITH BRUCE SPAULDING. (n.d.). [DVD] USA: STAN WINSTON SCHOOL.
NOTES FROM THE DVD:
- NSP medium clay
- it is important to thick about how many pieces you are creating and consider applying a parting agent over your mould if this piece needs floating off
- The design should have arrived through reference images so that you can put as much reality into your design as possible
- rough in the characters shapes
- start with the head and then face
- blend and refine the surface with a rake tool
- detail and refine ussing smaller pieces of clay
- refer to anatomy of placement for angular lines and wrinkles
- add worms of clay to reflect wrinkels, place clingfilm over and carve in wrinkles to create a softer wrinkles (Dick Smith technique)
- finish by brushing acetone over the sculpt
STAN WINSTON - HOW TO SCULPT A CHARACTER MAKEUP:
NEILL GORTON - SCULPTING THE PROSTHETIC APPLIANCE:
PART 2: preparing for and sculpting the prosthetic appliance. (n.d.). [DVD] UK: NEILL GORTON PROSTHETICS STUDIO.
NOTES FROM THE DVD:
- Use sheets of wax to apply all over the core to achieve a guaranteed thickness, preventing the clay being too thin
- warm clay in hands and allow it to conform to contours of the face and head
- sculpt design and use naptha to refine the surface
- create elongated pores by applying tip of loop tool into clay at an angle
- grate clay and mix in a bowl with some naptha (lighter fluid), apply in blobs to the clay to create a bumpy texture to the skin
- apply flashing into the eyes
- leave a 3-4 ml gap between flashing and edge
