Preparation Ear Casts for Silicone and Fiberglass Mould

Hiiii again! Another special effects studio update! This lesson we were preparing for fiberglass and silicone moulds, this involved us ‘bedding in’ a ear cast into water based clay. The reason this is a vital preparation stage it to eliminate any possible undercuts in which may lock the mould. So lets get started!

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This is a vital preparation stage.  As I will be using a fibreglass moulding method I need to make sure there is not risk of the mould locking. To ensure this I need to make sure I fill in any undercuts that may prevent the fibreglass from releasing from the cast. To do this I will be placing the ear cast in a bed of clay building up each side. First we made sure to place the positive cast on a wooden board to make it easier to manoeuvre around and build the clay wall. We then secured the ear cast onto the board with clay before building up the sides.

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Tip! At first I struggled to get my head around the idea of undercuts however, Becky (our SFX teacher) told me a really good method of figuring out where any undercuts may be hiding. The trick was to look at the cast from a birds eye view – anything that I couldn’t see from this angle (for example the underside of the ear lobe) needed to be filled in with clay.

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Once I was happy with the bedding in process I was then able to build up a clay and Mod-Roc wall in preparation for silicone.  We then applied a light layer of Vaseline to the ear cast as silicone can adhere to plaster.

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Once prepped, we were then able to begin mixing the silicone.  First we made sure we had all the necessary materials and tools to do this.  We first began by zeroing the scales whilst the plastic bowl was on top to make sure we get an accurate reading as it is vital that the silicone is measured out precisely as it will not vulcanize.  The equation for silicone as are follows:

Part A of silicone:
100%

Part B Silicone:
10%

Accelerator:
1%

For the size of the positive face cast I was covering I wanted to mix up 70 grams of part -A 7 grams part -B and 0.7 grams of accelerator to speed up the vulcanisation process.

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Before mixing we made sure that the tubs of silicone were very close to the scales as it can drip really easily which can be difficult to clean up when not mixed as it stays in its liquid form. To avoid and drips whilst measuring out the silicone we also used a wooden stick to scrape the excess silicone from the sides of the cups. We first measured out parts A and B and then added the accelerator and mixed them together really well to ensure all the silicone would cure.

Tip! An important thing to remember when mixing up a batch of silicone is to avoid cross contamination of each part as this could ruin the full tub of silicone and its isn’t cheap! To avoid this make sure to use different cups and wooden sticks when measuring out each part.

We then poured the silicone into the centre of the positive to allow it to drip over the entire surface. This is only the first layer so it does not need to fill to the top of the clay wall.

Tip! To avoid air bubbles during this process it is always best to pour the silicone from a height as this eliminates the hair bubbles as it pours.

We then set the positive aside on a flat surface to allow the silicone to level out and cure. Due to the accelerator we would be able to come back and add the next layer in around 2 hours.

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The next later of silicone was of a different consistency to the first as we used a different product – Thixo Additive. We carried out the same process as the first layer however we mixed the Thixo at the very end. There was no precise measurement for this ingredient as it was simply to thicken the silicone up to a state I was happy with. The consistency I was looking for thick paste which I would be able to apply generously over the first layer of silicone. If the first layer is still a little tacky that doesn’t matter as it will help the next layer adhere better.  Once the past was mixed we then used another wooden tool to spread the mixture around (Some may fine using a brush easier – but keep in keep in mind it will damage the brush – so think cheap and cheerful!). We then left it to cure for a further 2-3 hours.

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Once the second later had cured, we then added another liquid layer over the top (same process as the first layer) this smoothes over any lumps and bumps from the second coat

Then you are ready for the fibreglass outer casing!

I will be posting the next step very soon, so stay tuned ,

Thanks for visiting my blog,
Katy x

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Preparing Silicon Inner For Fiberglass Moulds

HI! Just another up date about what we have been getting up to in the special effects studio. Last week we were making a start on a different type of mould –  Fiberglass outer and silicone inner.

First we had to make the silicone part of the mould. To do this we used life casts of fellow class mates we had made last semester. If you would like to have a quick look of how we did that just click the following link: https://kathrenelizabethmakeup.wordpress.com/2013/09/29/face-casting/

So here goes!

You will need:
– Clay
– Mod-Roc
– Vaseline
– x2 cardboard cups
– Silicone part A and B / Accelerator (optional)
– Measuring scales
– Wooden sticks (lolly pop sticks)
– Gloves Optional)
-Plastic bowl

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First began by applying a light layer Vaseline to the already shellaced face cast. This ensured the silicone we were about to apply would not adhere to the surface of the plaster. Next we placed the positive onto a wooden board to be able to build up a clay and Mod-Roc wall around the positive. This ensures the silicone would not spill out over the table. To make it easier to make a neat clay wall we used a clay block to flatten out the clay so we were then able to cut it evenly to fit around the plaster. As an extra precaution I blended the clay onto the wooden board. We then added a few layers of Mod-Roc around the clay.

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Once prepped, we were then able to begin mixing the silicone.  First we made sure we had all the necessary materials and tools to do this.

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We first began by zeroing the scales whilst the plastic bowl was on top to make sure we get an accurate reading as it is vital that the silicone is measured out precisely as it will not vulcanize.  The equation for silicone as are follows:

Part A of silicone:
100%

Part B Silicone:
10%

Accelerator:
1%

For the size of the positive face cast I was covering I wanted to mix up 100 grams of part -A 10grams part -B and 1gram of accelerator to speed up the vulcanisation process.

KathrenElizabethMake-upFaceCasting (35) Before mixing we made sure that the tubs of silicone were very close to the scales as it can drip really easily which can be difficult to clean up when not mixed as it stays in its liquid form. To avoid and drips whilst measuring out the silicone we also used a wooden stick to scrape the excess silicone from the sides of the cups. We first measured out parts A and B and then added the accelerant and mixed them together really well to ensure all the silicone would cure.

Tip! An important thing to remember when mixing up a batch of silicone is to avoid cross contamination of each part as this could ruin the full tub of silicone and its isn’t cheap! To avoid this make sure to use different cups and wooden sticks when measuring out each part.

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We then poured the silicone into the centre of the positive to allow it to drip over the entire surface. This is only the first layer so it does not need to fill to the top of the clay wall.

Tip! To avoid air bubbles during this process it is always best to pour the silicone from a height as this eliminates the hair bubbles as it pours.

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We then set the positive aside on a flat surface to allow the silicone to level out and cure. Due to the accelerator we would be able to come back and add the next layer in around 2 hours.

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The next later of silicone was of a different consistency to the first as we used a different product – Thixo Additive. We carried out the same process as the first layer however we mixed the Thixo at the very end. There was no precise measurement for this ingredient as it was simply to thicken the silicone up to a state I was happy with. The consistency I was looking for thick paste which I would be able to apply generously over the first layer of silicone. If the first layer is still a little tacky that does not matter as it will help the next layer adhere better.

DSCF0118Once the past was mixed we then used another wooden tool to spread the mixture around (Some may fine using a brush easier – but keep in keep in mind it will damage the brush – so think cheap and cheerful!).

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We then left it to cure for a further 2-3 hours.

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Once the second later had cured, we then added another liquid layer over the top (same process as the first layer) this smooths over any lumps and bumps from the second coat.

Then that is it for the silicone inner! I’ll be posting  the next step very soon!

Thanks for reading 

Katy x

Casting Hands in Alginate

Hand Casting

You will need:
– x1 empty  2 litter bottle
– Scissors
– Vaseline (Not a necessity)
– Access to water
– Power drill
– Squirrel piece to fit onto drill
– x2 Flexible bucket
– Alginate (roughly one and a half bags)
– Plaster
– Flexible bowl
– Metal filing tool

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First we prepared the mould casing. To do this we cut the top off a 2 litter bottle using a pair of shape scissors (be careful! Keep your fingers well out of the way). We made sure there was no shape pointy bits as this could scratch our models arm during casting. If you want to cast both hands at a time you need to find a large mould casing so you can fit both hands in without touching the sides. Once we had cut the bottle to size we needed to place it correctly so that our models hand could hang freely into the bottle without touching the bottom.

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Next we mixed a batch of alginate. As it was a large batch we used a flexible bucket and a power drill with a squirrel mechanism attached to the end to mix it better. To make sure we didn’t make too much alginate we measured the amount by filling up the cut up 2 litter bottle leaving around 1-2 inches at the top. We made sure the water was tepid and not hot as this would boost the curing time giving us a shorter working time. We added the water to the bucket and gradually sprinkled in the alginate whilst drilling. Once the mixture was similar to a lumpy custard texture it was ready to pour.

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We only have around 3minutes to pour the alginate before it starts to vulcanise (set/cure) so we had to pour it instantly after mixing.We asked our model to dangle her hand comfortably into the bottle so I was able to pour it down one side to eliminate bubbles. Hannah (our model) wriggled her hand ever so slightly to get rid of any air bubbles attached to her hands. The alginate set pretty quickly however we left it for a further 5 minutes to ensure it was completely vulcanized.

Tip! If your model had dry skin or suffers from eczema you can add a light layer of petroleum jelly to the hand and wrist prior to mixing the alginate, this may trap extra air bubbles however.

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Once cured, we then asked Hannah to gently wriggle her fingers to allow air into the mould. This is a really important stage as if the air didn’t gradually work its way down the cast the fingers would suction together resulting in tears in the alginate. We made sure to release Hannah’s hand slowly and steadily to prevent any tears as alginate is a flexible but fragile material.

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Once Hannah’s hand was free this is what we were left with!

We then mixed up a batch of plaster to pour into the hand cast (the negative) to make the positive. To do this we began by adding a cup of cold water to a plastic (easy bendable) mixing bowl then gradually sieved handfuls of plaster on top of the water until the surface looked like wet cracked sand. We then left it to stand for a few seconds and then mixed it with our hands to make sure there were no lumps or air bubbles as this will affect the quality of the positive. (The plaster should be of a similar consistency to double cream).

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We didn’t pour all the plaster in at first as we wanted to do a light coating first to make sure we got as much of the detail caught by the alginate. To do this we poured plaster into the finger tips only and then picked up the mould and rolled the plaster around to make sure all the edges we covered (If anyone has ever rolled glazed pottery it is pretty much the same method). Once we had done that we then slowly filled up the rest of the mould. We continued to fill the mould up to the top to create a base so the hand could stand up once set.

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We then left the plaster to cure for around half an hour. (If possible leave for longer as the plaster was still a little damp and fragile when we took it out). Once set we then began to remove the negative.

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First we gently cut away the cup being careful not to dig the scissors into the alginate underneath.

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Once the plastic bottle was removed we then began to chip away at the alginate piece by piece with a wooden tool. We had to make sure we were really careful when doing this as we don’t want to damage the plaster as this will eliminate vital details if scratched, details such as the small lines, creases and the texture of the skin is vital when creative a silicone hand for example as those little details make the piece look more realistic.

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Once all the alginate it removed you then have your positive! If there is any air bubbles or imperfections they can easily be filed down gently with a metal tool. When filing away imperfections it is important that you try to follow the natural lines in the skin as this is more forgiving if you accidently scratch the plaster.

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Then you’re done!

Evaluation / Reflection:
Overall I thought the process was quite straight forward and a lot easier than expected. If I was to do this process again I would perhaps make sure our model has all her fingers separated as Hannah’s little finger was touching her ring finger. However it is hard to judge the positioning of your hand when you can not see it due to the Alginate. A way of overcoming this problem is to use a larger container so our model doesn’t have to be so careful not to touch the edges of the bottle – this may result in using a larger amount of alginate however it will give a better result.

Thanks for visiting my blog! If you have any comments or questions please don’t hesitate to contact me! 

Katy x

Glatzan – Brow blocking Experiment (Gone wrong!)

Hello! Ok, so during yesterday’s lesson the full class was asked to demonstrate different ways in which to block out natural eye brows. we were all split into different groups and assigned different methods. Our group was assigned the Latex OR Cap Plastic (Glatzan) method. I have often experimented with covering my own natural eye brows using the glue stick method (There are plenty of tutorials for this method on YouTube) ~I did this for my ‘Drag Queen’ make-up I shall post a link bellow! I personally found it the easiest way to cover the eyebrows however it was time consuming as you have to wait for each coat of glue to dry completely before applying anything on top of it.

combineeeDrag Queen Make-up – https://kathrenelizabethmakeup.wordpress.com/2013/08/12/drag-make-up/

When researching into covering the eyebrows with Cap Plastic we could barely find anything! Our group had previously worked with both Cap Plastic and Latex however we had never used it so near the eyes before. So after revising the health and safety datasheets we then felt comfortable and safe to experiment with the products.

What is a product datasheet?
A datasheet is a document summarising the performance, and characteristics of a product. It also includes the properties of the product along with health and safety risks and first aid precautions.

We decided to only demonstrate the cap plastic method as in theory it would be more effective. We had previously used this material when making bald caps and remember it blending really well onto the skin with acetone. Latex however has a different texture to the skin completely and personally I find it really difficult into the natural skin as make-up products react differently on it. e.g. some foundations simply glide off and gather in the creases and edges of the latex.

Ideally I would have preferred to practice coving the brows with Glatzan Prior to demonstrating it in front of the class however we didn’t manage to have time to do it as each layer of cap plastic took longer than expected to dry.

You will need:
Glass tile
Plastic wrap (or a clear plastic bag)
Clear sticky tape
Marker pen
Scissors
Acetone
Glatzan (cap plastic)
Cheap Brush
Petroleum
Glue stick jelly
Translucent powder and blush brush
Spirit gum
cotton buds / cotton pads
Greasepaints (preferably rubber mask paints)
Brushes (to blend the greasepaint on)
Bond Off  (for removal process)

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To ensure we made a piece that was the correct shape we took a pattern of our models eyebrows by using a plastic wrap method. To make the pattern we began by placing a square of plastic wrap over her eyebrow and used sticky tape to strengthen and mold the plastic to the shape of her face. As the plastic is see through we were able to see her natural brow shape on the top of the plastic. Once we had drawn on the brow we then were able to remove the plastic leaving us with a pattern.

We then placed the pattern under a class tile. The next step was to prepare the glass. First we added a light layer of petroleum jelly over the pattern and added translucent powder over the top with a light blush brush. This prevents the Glatzan from sticking to the glass surface. We then prepared for the next step – applying the Glatzan.

To make sure that the brushed don’t get permanently damaged we made sure to have a cup of acetone to drip the brush in after each coat. We added each coat in a cross hatch directions making sure each coat was completely dry before adding the next coat. We also added a light coat of powder in between each coat to make it easier to apply the next coat. We added around 4-5 layers gradually moving inwards to make sure we had a thinner bendable edge.

Once completely dry we then gradually peeled away the plastic, this left us with a small piece that we can blend over the eye brows.

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Tip! There is a different method however.. Instead of layering the Glatzan onto a glass tile you can add it onto an orange as this provides a pour like texture and gives it a natural roundness.

Application:
First we cleansed and toned the eyebrow area to make sure the piece would adhere to the skin. Next we flattened the eye-brow down with a glue stick – simply running it along the brow. (I didn’t add enough layers of glue down during the demonstration so it unfortunately didn’t turn out as I had hoped however, I intend to have another go and perfect it!) We then added spirit gum around the eye brow and laid the Glatzan piece over the top and blended out the edges with a small brush loaded with acetone. If you choose to use water based spirit gum, you do have the option to stick the brow down with that as it can be removed from the brow hair easily.
Health and safety! Before using any runny substances such as Acetone near the eye – make sure you do not over load the brush as you want to prevent any drips around the eyes. Also, be sure to hold cotton pads over the eye just as a precaution (you can often asked you model to help you out with that).

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Next we had to use the colour correction theory to further block out the brows as you were still able to see the underlying hairs as Glatzan is quite transparent. To do this we used a combination of white and red greasepaint to create a pink rose shade that would combat the dark undertones. It is best to use rubber mask greasepaint as these are more compatible as they do not slide or move. Once the dark tones were colour corrected we then moved on to building up the natural flesh tones over the top with greasepaint and foundation (MAC studio tech).  And that is pretty much it!
If you would like to know more on colour correction theory just click the following link:
https://kathrenelizabethmakeup.wordpress.com/2012/11/12/concealing-imperfections-with-the-colour-theory-correction-method/

Tip! If you do not have access to rubber mask greasepaint – add a few drops of caster oil to your pallet to make your very own rubber mask compatible paints! 

What we learned:

  • Always make sure to flatten the brows completely before applying Glatzan or latex pieces
  • Always colour correct the area first to eliminate any dark underlying hair
  • Only colour correct the area that needs it
  • Use a gental buffing motion on top of the Glatzan
  • Always follow the pattern made for your model
  • Applying Glatzan to a orange provides a curved shape and can imitate pour texture
  • Use rubber mask paints as they will not slide around and they also last longer
  • Always remember to look at the health and safety regulations before experimenting
  • And finally.. Practice makes perfect!

Evaluation / Reflection:
Although this was an unsuccessful attempt I now feel more confident to work with Glatzan again. I intend to experiment further with the product as I really like the way it blends seamlessly into the skin. If I was to use this technique again I would most definitly practice more, I would also stick the eyebrow down flatter before applying the piece as they did raise up slightly resulting in a blistered effect. I intend to keep trying this technique until I perfect it as I feel it will be a really effective way to cover over the brows. I would also have made a smaller piece therefore I wouldn’t have to eliminate the feathered out edges by cutting them down in order for them to fit better. Overall I think this task has been a really good learning curb which has encouraged me to experiment with more materials in my kit.

Let my know if you have any questions!
Thanks for visiting! 

Katy x 

Ear Casting using Alginate

Hi everyone! So, I thought I’d share with you what we have been taught this week during the Special Make-up Effects lesson. This week was very exciting as I got to work with a product  I have hear a lot about but unfortunately haven’t had the opportunity to work with yet. Alginate.  From my research I found out that Alginate originates from a brown seaweed that grows in cold waters. Sodium Alginate is a natural polysaccharide product that is extracted from the cell wall of the seaweed. The natural function of alginate is to give flexibility to the seaweed, which made perfect sense as I have read that is is a very flexible casting medium.

Casting an the ear was loads of fun to do and really wasn’t as difficult as anticipated if you’d like to see how we did it please continue reading, If you have any questions I will try and answer them ASAP!

So here goes!

Things to remember:
-Abide by the health and safety regulations over each product used.
-Make sure the model is comfortable throughout the process. – Ask if they’re okay and talk them through the process while you are doing it so they know what to expect (cold fluids etc).
-Be fully prepared with all products and object you will need to
-It helps to have someone to help you (I will explain why later)

You will need:
x2 plastic mixing bowls
x2 paper cups
Paper towels
Cotton wool
Clear plastic bag / clear plastic / cling film
Petroleum Jelly (Vaseline)
Alginate
Access to water
Plaster
An extractor fan (for health and safety reasons)
Clay
x2 long strips of plaster bandage (Modroc) Roughly 30cms in length

Before starting the casting process we split into groups of three to make sure we all had someone at hand to assist when needed. We also cut the paper cups in half in preparation. During the casting process we made sure to wear overalls to prevent our clothes from being damaged (old clothes will do just fine).

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First we asked our model to plug up her ear with cotton wool to prevent the products seeping down into the ear canal. We then asked our model to lay down on the desk top -making sure their head was supported and lying as flat as possible.

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It is vital that the model is comfortable in the position they are laying in as the Alginate needs to be left to cure for up to 5 minutes, which requires the model to sit still.

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Next we then moved any stray hairs away from the ear – smoothing it down by applying a small amount of petroleum jelly with our finger tips.

Tip! If the top of the ear is touching or very close to the head – push a small amount of cotton wool under the fold to prop up the ear slightly. This will allow the alginate to manoeuvre around the ear better giving you a clearer cast of the entire ear. Make sure you don’t distort the ear shape by putting too much cotton wool under as this will cause problems later on. For example, when it comes to sculpting on top of the ear cast you will not be sculpting on a replica that is true to the natural shape of the models ear. Possibly resulting in an ill-fitting prosthetic.

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Next we cut a section off the plastic bag out to act as a protective layer between the skin and hair around the ear and the Alginate. We then cut a split in middle of the plastic to expose the ear. We then used a little more petroleum jelly to stick it down on the skin around the ear. Always keep health and safety in mind so don’t place the plastic over the models face as this could obstruct her airways. You do not need to add any releasing agent when using Alginate as it has a watery feeling exterior once cured which prevents it sticking to surfaces. It is also really flexible so you can easily bend the product away from what ever you are casting.

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Once the plastic was secure we then were able to use to top half of a paper cup as a wall around the ear to prevent the alginate from leaking. This is when you may need a little help! To prevent the alginate from leaking down onto our models head one of us held onto the cup tight, slightly pressing it down onto our models head. Remember keep asking if your model is okay to ensure you are not applying too much pressure. As another precaution we also wrapped paper towel around the lip of the cup.

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The next step was to mix up the alginate! Alginate comes in a powdered form which you need to mix with water to begin the vulcanization process (setting/curing). To mix up a batch of alginate it is always best to use only tepid/room temperature water as the warmer the water the quicker the alginate will solidify. When the alginate is mixed you only will have around 3 minutes of working time before it begins to set. First we poured a cup of tepid water into a plastic bowl. We then began to sprinkle in the Alginate directly into the water using our hand to mix it until it was at a ‘runny/lumpy porridge’ consistency. Once we were happy with the consistency we were ready to cast!

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Before pouring the alginate make sure someone is holding the cup firmly onto the head to prevent any alginate running under the lip of the cup and onto the models head and hair. When pouring it is always best to pour it either behind or in front of the ear making sure it fills up gradually and doesn’t create air bubbles. Once you have poured in the alginate you then need to use your finger to move it around the ear. This makes sure there are no air bubbles preventing the alginate from reaching the surface of the skin. Again, remember to constantly reassure your model and tell then what is going on.

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Once poured a the cup must still be held firm until the alginate has set a significant amount. The curing time may differ depending on the type/brand of alginate you are using. Our casts took around 5 minutes to cure completely.

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Tip! If you are unsure if the alginate has set take a look at the alginate left over in your bowl and see if that is completely set, chances are it has vulcanized enough ready to be removed. If unsure I’d recommend leaving it for another minute. Better leaving it on for too long rather than taking it off too soon!

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Although alginate is a flexible product once dry it is still susceptible to tears if not removed correctly. Once cured the next step is to remove the mould from the model. To do this you need to follow the direction of the each and gradually peel away the edges – reaching your fingers gently underneath the mold. Then once lifted from the face, gently swipe it towards the back of the head following the ears natural shape. Then remove the plastic bag from the surface of the mold.

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Once the ear is free from the mold you can then sit your model up and prepare for the next step. Now we have made a negative it is time to make the plaster positive. To do this we cut another paper cup in half and placed it directly on top of the cup the mold was in. We then used clay to attach the two cups together.

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Tip! This can be quite difficult as the cups are flimsy and may bend when you try to blend the clay out. To help attach the two I found it easier to create 3 or 4 anchor points rather than rolling out a long strip of clay and trying to blend it on. I then filled in the gaps.

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Another reason for using the clay is prevent the plaster from leaking out of the joining of the cups as that could be messy! Once the joins are completely covered with clay we went on to using plaster bandage (Modroc). Gathering a bowl of warm water we then dipped each strip of Modroc and removed any excess water. Quickly, we then applied the Modroc directly over the top of the clay and smoothed it out to further prevent any plaster spillage. Once I was happy with the joining of the two cups we then left it for a few minutes to solidify.

Once dry, we mixed up a batch of plaster under the extractor fan (to prevent any plaster dust floating around the work room as this is not good to inhale).

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To do this we began by adding a cup of cold water to a plastic (easy bendable) mixing bowl then gradually sieved handfuls of plaster on top of the water until the surface looked like wet cracked sand. We then left it to stand for a few seconds and then mixed it with our hands to make sure there were no lumps or air bubbles as this will affect the quality of the positive. (The plaster should be of a similar consistency to double cream).

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We then poured the plaster directly into the mould. (This is why a bendy bowl is handy as it allows you to use to funnel the plaster in with little or no spillage) Make sure the cast is completely full and then continue pouring to create a good base for the positive to stand on. Once poured give the mold a few short sharp taps on the table to encourage the air bubbles to rise to the surface – as this will give you a smoother effect. We then left it until next lesson because we ran out of time however if you have the time to run through the full process leave it for around an hour to cure completely before moving onto the next step.

As we had left our ear casts for a long period of time we soaked them in a bucket of water for around half an hour to soften the cup, plaster bandage and Alginate to make the removal process that much easier. You may not need to do this depending on how long you leave the plaster to set for. You may get away with soaking it only for 10 minutes or less.

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Once we had soaked the casts we then removed them and began to peel away the cups, plaster bandage (mod-roc) and clay to reveal the the Alginate and plaster underneath.

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Once that is done I then began chipping away at the Alginate with a wooden tool to reveal the plaster positive underneath. I had to be extremely careful during this stage as the plaster is also damp making it more susceptible to damage.

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Once all the Alginate is cleared we can then see how well cast come out. Here is what my ear positive looked like!

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Evaluation / Reflection:
Overall I felt the process ran quite smoothly however we did unfortunately get a small amount of the Alginate in one of our models hair however once it was dry it combed straight out due to it’s flexibility.
Unfortunately there was some air bubbles that restricted the Alginate from getting a clear cast of my ear however the general outline is still there. I would not feel comfortable sculpting on top of this cast as it isn’t strong enough as I think the top of the ear (the scapha) would easily break with minimal pressure. If I had the time I would do the cast again making sure the to move my finger around the entire ear making sure to eliminate any possible air bubbles.
However I was impressed by the amount of detail the Alginate picked up for example; the holes where I have had my ears pierced.
Overall I was a little disappointed about how my cast turned out however, I now feel confident in making a second attempt to try and perfect this skill.
Thanks so much for visiting my blog! I will also be going through the next few steps such as sculpting casting, colouring and applying the appliance at a later date.

Next week we are going to casting our hand too, so stay tuned!

Thanks again, Katy x

Final images from my creative hair assessment

Hi guys! I just got my final images back from photographer Camilla Felgate. She has done such a great job, I’m so pleased with how they have turned out. Make sure to check out her Facebook page to check out the rest of her work its worth a visit, she’s very talented. 🙂

https://www.facebook.com/camillafelgatephotography?fref=ts

So here goes! If you missed the previous posts just click the following link for more information on the background of the character I had chosen and how I created the overall look.

Character: Artemis – Greek goddess of the hunt
Model: Ruthie Holland
Photographer: Camilla Felgate
MUA, hair and costume by me

tagged ;ldssd

Thanks for visiting!
Katy

Bridal Make-up and Hair Assessment

Hello again! For another assessment we were asked to incorporate some form of postiche into a look. I decided on creating a bridal look here is how it all went!

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I wanted to take a different root with this assessment as I wanted to treat my model as if she was a real client paying me to do the make-up for her big day. Instead of creating a look which I thought was a stereo typical bridal look I wanted to find out exactly what my client would like on her wedding day so decided to conduct a questionnaire which would break down what my client wants. From the questionnaire I was then able to put together a look in which my client would be pleased with taking each answer into consideration. I split the questionnaire into three sections: Hair, make-up and general questions. The general questions section contained information that would affect the overall look in a different way for example questions such as ‘Do you intend of traveling to your wedding in an open topped vehicle?’ know the answer to this will let me know if I need to take any extra precautions to keep the hair and make-up stable e.g. setting sprays and hair strays.

To incorporate the postiche into my hair design I wanted to use two strips of weft extensions. To this start out with long strips of real hair wefts which I then cut to size and doubled up for extra thickness. The next step was to stitch the two strips together and then securely stitch on the clips which would then attach to the roots of my clients hair. As I was setting my clients hair with heated rollers I wanted to sure the extensions using a similar method so used rollers but wet set them for a better result. Wet setting would cause less damage to the hair and be more long lasting.

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I wanted to practice before the actual assessment to make sure I can combat any issues I come across during the practice sessions instead of on the day of the assessment. This also allows me to get used to my clients skin and see what makes her look her best when it comes to colour choices and which base to use. After I had carried out some minor adjustments to my hair design and face chart I was ready for the assessment. For example I added another eye shadow which had a slight shimmer to open up the eyes.

On the day of assessment I felt it went quite well however I did have some difficulties with finishing the hair and had to ask for some advice. Once I knew the way around it I was able to complete the hair to a standard I was happy with. The application of the make-up ran smoothly and I was really happy with the blending of the eyes as it had went a lot better than the practice run as it was more flattering on my client.

Overall I am very pleased with this assessment, I feel I have learned some vital tips which will help me improve my special occasion make-up stills.  However, if I was to do the assessment again I would work on the eye brows shaping and colouring as they were uneven and needed warmed up slightly but putting a lighter brown tone through them. I also need to be a little braver when it comes to applying a heavy base. Personally I don’t like to wear a lot of a foundation as it’s not something I personally wear however for a bride they need full coverage on their big day to look as flawless as possible. Another reason for adding a heavier base is to make sure any skin imperfections don’t take away from the features such as the eyes or lips. By creating a flawless base first it allows you to really make these facial features stand out to create a higher contrast. I also need to invest in a higher quality powder that does not clog the skin but can still be used to matte some areas of the face down. These are all tips I will take into consideration when I next complete a bridal or special occasion make-up.

Products Used:

Face:
Once  had cleaned tones and hydrated the skin I applied the following products
Illamasqua matte primer – Buffed gently into the skin
MAC face and body foundation (a mixture of C1 and C5) – I then toughly buffed this into the skin to really push the products into the primer for extra staying power.
Benefit concealer – Applied under the eyes and to anywhere else that needed a little brightening up. I applied this with my ring finger and then blended out with a fluffy brush to ensure an even blend.
15 Concealer Palette – I then used the same method as above to conceal to any other imperfections using the colour corrections theory.

Cheeks:
MAC Bronzer – I applied this like a contour pigment to define the facial features using a fluffy angular contouring brush.
No 7 –
I then applied a small amount of this products just above the bronzer nearing the top of the cheekbones to add a bit more colour to the face
Illamasqua Gleam (Aurora) –
I used this product to highlight the tops of the cheekbones by applying Eyes:
Before applying any products to the eye area I made sure to apply a liberal amount of eye cream to hydrate the skin and make them appear fresher. Eye drops will also contribute.
Eyes:
Benefit Stay Don’t Stray Eye Primer – Apply all over lid with ring finger and blend out all over the lid.
Virgin V Eye shadow (Honeysuckle) – Apply all over the lid using a flat fluffy brush to brighten up the appearance of the eye. This also helps blend out the other colours that are added next.
No7 eye shadow (Weatsheaf)-
Apply into the inner corner of the eye to open them up
Virgin Vie (Beige) – 
Apply into the crease and blend out using a fluffy brush
Virgin Vie (Fawn)– Apply into the outer corner of the crease to define the eye and give it a slightly smokier effect. 
MAC Gel Eyeliner (Black Track)
 –  I then applied a thin line onto upper lash line and halfway on the outer corner of lower lash line to define the eye.
Curl Lashes
Maybelline Colossal Lash (Black)
 – Apply to upper and lower lash lines.
Salon System False lashes (225) – Cut to size and apply to upper lash line to give the eyes more drama

Thanks for visiting my blog!
Katy xx

Making Cloaks For Character Assessments

Hellooo! Well I have already posted about my creative hair project so I thought I might as well tell you all how I made the cloak to complete my characters overall look 🙂 So here is the link to my previous post cause you want to have a little look!
https://kathrenelizabethmakeup.wordpress.com/2013/12/22/creative-hair-final-assessment/

Okay so here goes!

I wanted to incorporate a cloak into my design as she spends a lot of time in woodland areas. I want my character to be wearing a typical Grecian style dress however I that would give her away if she was hiding from her prey. I researched into ways I could make a custom fit cape for my character and found many different patterns in which I could follow. I ended up following a DIY YouTube video that directed me though the full process. I am extremely happy with how it turned out and it only cost me £3 pounds to make in total.

I began by gathering my materials. I visited the local fabric shop and bought two meters of fabric which come to £2.40 from the sale section. The fabric was perfect as it was quite heavy and had a crushed velvet style to it which would give it a more luxury effect.

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I then folded the fabric in half length ways and made a 20” by 17” box from the folder corner and cut it. I then stitched up one of the longer sides to create a hood. I had to make sure it was inside out when I was stitching to make sure I could turn it back on itself to get a neater edge. I then laid the rest of the fabric out and pinned and stitched the hood onto the fabric leaving a 2” overlap of fabric (This would be to thread the ribbon through). I then stitched a tube roughly around 1” thickness which I could thread the ribbon through to act as a draw sting.

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To thread the ribbon I used a small piece of tape and a pencil as this would make it easier to tell where the ribbon is in the tube I had just created. Once I pulled the ribbon all the way through to the other side I was then able to pull the ribbon together tight to make a gathering effect around the collar. I am extremely pleased and proud of how the hooded cloak come together. It didn’t take me as long as expected and looked good of decent quality even though I had no choice but to hand stitch it.

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And this is what it looked like!
2013-12-07 23.02.35This is the same pattern just in a different colour.

Thanks for reading! Hope this helps,

Katy xx

Creative Hair Final Assessment

Hi guys! So, I thought I’d do a post on one of my more recent university assessments. This semester we were asked to do a create hair character piece. I really enjoyed putting it together although it felt like it took me forever! Here is some images and info about the look. Enjoy! kljrfdr

For the task three creative hair assessment I had chosen to look into Greek mythology. I based my look around one Goddess in particular, Artemis – ‘the Goddess of the hunt’. I studied several aspects of the character; how she is commonly depicted, what she symbolises, how she is interpreted in mythological stories and her sacred symbols. All this research helped me build up to my final design. I had based my look on the mythical story of Artemis and Actaeon. Actaeon was caught spying on the virgin Goddess Artemis whilst she was bathing. Furious, Artemis punished Actaeon by turning him into a stag and turning his own hunting dogs against him. I liked the idea of Artemis taking the antlers from Actaeon body and mounted them upon her head as a trophy. To interpret them into the hair I wanted it look like her natural hair had gradually grown around the antlers entwining with her hair.  As for the rest of the hair I had bounced back and forth from different ideas but eventually come to a decision of making the hair look as natural and earthy as possible; incorporating dreadlocks, braids, and matted textured hair. To blend all these aspects together I wanted to incorporate foliage to keep it natural and earthy looking. Another idea I was unsure about what of how I was going to incorporate ‘the Goddess of light’ aspect to my final design. I stumbled across some foliage which had little LED lights entwined through it. I was worried that it was going to look too festive and out of place however when I tried it out on myself I really liked the effect. Also I thought it would be good for a theatrical performance as it would be really interesting on stage.

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For the make-up I wanted to create something strong yet graceful and natural. I decided to emphasis the eyes to highlight her fierce eyes as she stalks her prey whilst hunting. As my look was for theatre I wanted to take what I had learned from the first year and do a full coverage and a heavy contour, making the facial features stand out. As for the colours I wanted to stick the earthy colour scheme so I decided to use a mauve colour alongside a deep burgundy to compliment the green in the costume and hair.

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I wanted to make a full costume for my character to complete the look. I visited the local fabric shop and bought two meters of cream fabric to make a wraparound Grecian style dress and two meters of thick earthy green fabric to make into a cloak. I looked at several tutorials to figure out how to stitch it together as best I could. I was really pleased with how the costume came out as I feel the fabrics were suited to my design. I also wanted to make a bow and arrow prop as the one I had ordered online was not suitable for my character as it looked to cartoon like so I made my own from sticks and parcel sting. I also used left over straps of fabric to act as the riser it also makes the bow look more decorative. I thought the prop worked really well as it give my model something to work with on the shoot.

On the day of assessment I was fully prepped and ready to put my look together as I had had a few dress rehearsals at home. I first began by braiding the two sides of the hair and pulling the rest of the hair back to keep it out of the way whilst I was doing the make-up. The application of the make-up went really well as I was extremely pleased with it. However I did struggle on the lip colour as the product I had practiced with did not suit my model so I had to improvise and I was not entirely happy with the shade I had chosen. I would perhaps use a plump shade as opposed to a pink however this may clash with the eye make-up.

As for the head piece I found it harder to secure it onto my model although I had made the size of the head piece adjustable to allow it to fit properly. I would like to have used stronger wire to make the antlers more stable as they moved when my model shook her head although they were secured onto her head well they still had too much movement for my liking.

I received positive feedback however I need to work on choosing a lip colour to fit my design. Also I think I should have tried to disguise the plastic foliage with natural leaves to try and make it less fake looking however, fake foliage would most likely be used in theatre for easiness as it can be reused and stays the same which is good for continuity. I did try doing the look with dead autumn coloured leaves however it looked too bland so I think the green adds the pop of colour it needed. Overall I am pleased with how my final look come together as I was happy with the overall look; hair, make-up, props and costume. I managed my time well as it took me exactly two hours to complete the look and was on time for my photo-shoot slot.

Products used (Make-up):

Face:
Illamasqua Matte Primer – Buffed into cleansed and tones skin
MAC studio tech NC15– Buffed into the skin to warm up the skin tone a considerable amount this product also gives a full coverage flawless cover.
Kryolan Greasepaint supra color pallet (7W, Ng1, NG2) – Apply a dark brown to create a heavy contour down the side of the nose under the chin, cheek bones and jaw and blend into the neck. Also work a little of dark brown under the tip of the nose and into the temples and around the forehead to give the face definition.
Kryolan Greasepaint supra color pallet (1W, 3W)– Light peachy tones to use as highlighter on the top of the cheeks and jaw line, across the forehead down the nose and on the chin. Emphasis the eyebrows by using a lighter tone above the outer part of the brow and on the brow bone.
No 7 blusher (Coral Flush) – Apply small amount on top of the dark contour with a fluffy blush brush
Illamasqua gleam (Aurora) – Buff a small amount onto the tops of the cheekbones
Illamasqua Translucent Powder – Press onto skin using powder puff

Eyes:
Benefit Stay Don’t Stray- Apply evenly all over lid as a base
MAC orb – Apply all over the lid with flat fluffy brush to brighten up the eye
MAC Embark – pat onto the crease and blend out with fluffy brush. Bring the product down the side of the nose and out into the temple to create a winged eye effect. Add more if needed to darken the eyes further.
Body shop Iced body powder (apricot) – Apply under the inner corners of the eyes
No7 eye shadow (weatsheaf) apply to centre of the lid and in the inner corners of the eyes to open them uo
Barry M eyeliner cream – apply to lower waterline
Maybelline Colossal Lash (Black) Apply to upper and lash lines

Brows:
Use a spooly to brush the natural brows upwards. Then apply a clear mascara to keep the hairs in place. Once happy with the placement of the brows fill in with colour suitable for model I intend to use MAC eye shadows in Era and Concrete.

Lips:
MAC Lip liner (whirl) – define lips up to the natural lip line
Benefit (nice knickers) apply to the centre of lips

Thanks for visiting my blog!  Merry Christmas!
Katy x

Special Effects Silicone Prosthetic Final Assessment

Hi! Here is a general summary of the process of creative and colouring my final prosthetic piece.

During this semester we were asked to carry out several tasks in order to create a custom fit silicone prosthetic piece. At first I was unsure of what category I was going to base my prosthetic on. I finally decided to base it on a fantasy Frankenstein’s monster themed character. However I didn’t want to simply copy so I decided to change my characters story. Once I was completely happy with my character profile I then sculpted my design and completed the casting process to create my prosthetic. I was initially pleased with how it came out however; I noticed that my feathered smoothed out edges that I had previously sculpted were redundant as the cast come out as a full face and did not separate the two separate pieces. To combat this next time I would create a clay barrier around my sculpted pieces allowing the silicone to drain evenly creating a thinner edge for me to blend away on the skin.

KathrenElizabethMake-upFaceCasting (79) I had no other option but to cut the two pieces out with scissors and work on blending the edges directly on the face. Before cutting I used oil paint and silicone to pre-paint the piece. This wold save time and also makes the colour permanent.

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Once I was happy with the pre-painting of the piece I was then ready to begin the next process. As I had sculpted over my models natural eye brow I wanted to punch one in using the techniques I had learned with Sue Day. I was really pleased with how this looked as I had previously practiced on spare pieces of silicone. I had looked into how eyebrow hair grew naturally and noticed there was a strange pattern which made the hair grows almost in a pointed ‘V’ pattern.

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It was important that I punched the hair previous to applying the piece as this is a health and safety risk as the punching tool is quite sharp. Another effect I wanted to try was stitching into the silicone. This would create a more realistic effect rather than simply sticking stitches directly onto the prosthetic. It was surprisingly easy to stitch through the silicone which I was pleased to find.

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Once my prosthetic was fully prepped I was ready to begin. I adhered the prosthetic to the skin using pros-aide which I applied directly onto the skin and onto the back of the prosthetic leaving out the edges. It stayed in place really well allowing me to then glue down the edges separately to get a better fit. Once the pieces were glued onto the face securely I then used Cabosil which I had previously mixed with Pros-aide in the special effects studio. Whilst mixing the Cabosil I made sure to take all the health and safety precautions including wearing a respirator to prevent the light fibres from entering my lungs. I also made sure to place the tub of Cabosil under the extractor fan as an extra precaution. I then used a metal spatula to smooth it over the edges of my prosthetic. This worked really well however I found I had to reapply the product to some places as the Cabosil had shrunk whilst it was drying. Once that had completely dried I was then able to start applying paint over the top to further blend the edges. Unfortunately I only have greasepaints in my kit so I used a small amount of castor oil to make the greasepaints easier to work with as it allows the paint to glide smoothly over the silicone easily almost like the rubber mask paint. I also used Skin Illustrators to give the effect of different skin tones. I used a stippling and splashing technique to give a variation of tones in a more natural looking way; to do this I trimmed down a tough bristle brush and gently flicked the product onto the skin and prosthetic. This was really effective and made the piece look more realistic.

I had also made a cloak for my character to tie in with her back story or lurking in the shadows. This too was really effective as it only cost roughly around £3.00 to make. To find out how I made the cloak just click the following link for a tutorial
https://kathrenelizabethmakeup.wordpress.com/2013/12/22/making-cloaks-for-character-assessments/

Overall I am a little disappointed about the final look although I did get good feedback from tutors. If I was to do this again I would make my prosthetic out platinum silicone encased in Glatzan to make it easier to blend onto the skin thus creating a more realistic effect. I would also create a clay boarder around my sculpt and clamp my cast tighter to ensure thinner edges. However I now know what to do to overcome thick edges and have learned a great deal over this semester.

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Thanks for reading,
Katy x