Life casting is the process of creating a three dimensional copy of a live human body with the use of moulding and casting techniques. Life casting is used to create an exact replica of an individuals head, face of body, a prosthetic piece can then be created which is perfectly shaped to fit the persons face. This is a detailed step by step instruction of how the face and ears were cast. This process can be extemely messy so protecting surfaces, clothing, floors and having a well ventilated room is very important. Overalls and gloves were worn throughout this process to protect both cloths and skin. It is also advisable to wear a respirator mask when mixing and using the products as some can be harmful when inhaled.
The image above has been taken from Sharon McConnell's art collection of face casts , “I am blind. I lost my sight when I was in my 20's. Through life casting, I create images that let me see and feel the faces behind the music that has become my passion. This project also allows me to participate in a dynamic creative exchange. Through life casting, I honor these musicians. I adore them and adorn them with plaster and wrap them up like precious packages. " ( Sharon McConnell 2008) This information and quotation was taken from http://www.vsartsnm.org/gallery/mcconnell.htm on the 2nd of February 2014 .
Research then led me to the book 'A complete guide to special effects makeup' by Tokyo SFX makeup workshop. The images below have been taken from the moulding section of the book, the pages give step by step demonstrations on mould making and its importance. Both the step by steps and images have been extremely helpful through the making a researching process and have been followed throughout. The images below are unfortunately a bag quality however can be found on pages 70-73 of the book.
I have taken this quotes from the book under the title 'why is mold making necessary?' 'The biggest characteristic of special effects makeup is that a prosthetic, unlike a mask, adheres to the contours of the wearer's face and allows to come through the wearers facial expressions. Consequently, the interior of the prosthetic (the side that attaches to the wearers face) mirrors the contours of the wearers face, while the exterior (the visible side) is a sculpted design.' (Tokyo SFX makeup workshop 2008)
The process
The image above shows the model fully prepped for the life casting to take place, the clothing has been covered and bald cap applied. (bald cap information can be found on the 'finer detail' page of the blog). As well as this Vaseline has been applied to the eye lashes and eye brows to make sure no hairs are removed through the process. (This is present on the YouTube videos).
Application of the bald cap
- The hair is firstly brushed back off the forehead.
- The cap is held in position at the front of the head by the model, the remainder of the cap need to be pulled over the rest of the head.
- The hairline and around the ears should then be outlines using an eyebrow or lip liner pencil.
- This line should then be followed and cut out.
- Roll back the edges of the cap and apply spirit gum to the skin to secure, this should be carried out all the way round the head.
The next step in the process is to mix the alginate and water together which will be applied to the models face to create the mould.
- The powdered alginate should be placed into a mixing bucket ready for the water to be added.
- Water should then be poured into a different bucket, the water should be cold! If the water is hot it will caused to product to set quickly and the product is then wasted.
- The manufactures instructions state the product should be mixed at a 2:1 ratio, however mixing with hands allows you to feel if the consistency is correct. The texture should not be to thick as this causes the alginate to go of f quicker and set in place.
Above are the step by step images of my model having the alginate applied to his face, a class mate and tutor are helping with the process.
- When preparing to apply the product ideally there should be three people, one person applying the product, a second person to help and third to constantly check for the nostrils being clear.
- The product should be scooped into the head, gravity will pull the product down the face reaching into all areas. However air bubbles need to be removed by pressing to product into the skin, areas such as the eyes, sides of the nose and lips should be concentrated on.
- The nose should be left until last, a small special effects spatular used to apply on and around the bridge of the nose. The model should be aware that at any point of he or she feels the product is blocking airways to blow strongly out there nose.
- Once gravity has pulled to product down the face, it should be scooped back up to the top of the head and allowed to roll back down again.
- This process I'd extremely quick as the product has only 3 minutes from the time it has been mixed to the time it will be fully set in place.
Above is an image of the raw materials before being used, the step by step images of the next stage of the process which is when the mod roc structure is applied to create a jacket which will protect the alginate mould from ripping and also the image of the application of the mod roc to the ears using the same principles.
- The mod roc should be dipped into room temperature water and excess water ringed out.
- The product should then be rubbed together to give a creamy texture.
- Any additional water should be ringed out at this point.
- The mod roc should be placed onto the alginate.
- The product should be then rubbed into all the small crevices.
- This should be carried out over the face, neck and head for 2 -3 layers.
- Once even, structure pieces of mod roc can be applied down the middle of the face, these are pieces which have been shaped into sausages to give extra strength.
- This should then be left to dry for up to 5 minutes.
- Primarily the model was asked to try and move his face, starting by frowning and sucking in the cheeks. This will allow air in and release the alginate from the skin.
- The bald cap can then be pulled forward which will release the forehead.
- After this run then finger around the edge of the alginate will allow yet more air in to release the face.
- When able to pull the mould off the face, ensure the safety jacket is always on as this will stop the alginate from ripping.
The next step in the process is to fill the mould with plaster, above is an image of the mould partially filled. However the mould was not filled a great deal more that this, due to the plaster being extremely heavy when it has set.
- When filling the mould with plaster, the nasal holes should firstly be plugged using a small amount of alginate which has been mixed to a thicker consistency.
- The mixture should be scooped into the hand and the nose dipped into the alginate, making sure the product doesn't flood the nose as this will ruin the cast of the models face. The nasal holes need to be plugged so the plaster does not leek through.
- Once ready to fill the mould with plaster, it should be placed somewhere that is secure and steady to make sure the plaster it spread evenly throughout.
- When mixing the plaster a medium bucket was filled half way with room temperature water.
- A scoop was then used to sprinkle the plaster powder into the water.
- Plaster should be added until a island is created with the plaster in the water.
- Once the island has appeared it should be left a minute for the plaster to slightly absorb some of the water.
- This should then be mixed using hand, this will ensure all lumps have been removed.
- The mixture should be a 'double cream' consistency with no lumps.
- When pouring the mixture into the mould, a small amount (small cup full) should be added.
- This small amount of the mixture should be rolled around the mould ensure all areas are covered, this should then be gently tapped onto a surface to remove any air bubbles.
- Once all of the bubbles have been removed, more of the mixture can be added to the mould.
- The mixture should be scooped up to the sides as they are the most likely to be fragile and break.
- The mixture should constantly be tapped on the surface to remove any hidden air bubble, the banging will cause them to rise and pop.
- The consistency will start to change and become thicker, when this happens it is easier to scoop up the side and will allow it to stay. This should be repeated a number of times to ensure the plaster is even and all areas are thick and will now break.
- More of the mixture can be added at any point however bare in mind it weight.
- Once the product nearly set, pieces of hessian should be added around the edges and down the centre. This will instate strength into the cast and of it was to break the added material would ensure it would not shatter into a hundred pieces.
- The material should be covered with the mixture and then left to dry.
- The mixture does not take long to set and can be removed after 5-10 minutes.
Above is an image of the face and ear casts after they have been removed from the alginate mould, the casts are ready to be cleaned up to remove any unnecessary lumps and bumps created in the plaster.
- When removing the plaster cast from the mould, the mod roc safety jacket should firstly be cut and pulled away.
- Once the mod roc has been removed, the alginate can be ripped and pulled away to reveal the face cast.
The image above Shows the cast before the clean up process and the tools used for this process. I purchased a sand paper bad, sculpting tools which can also be used to chip of any unnecessary pieces of plaster and a file to smooth the jagged edges of the cast.
The image above shows the face and ear casts after I have sanded the edges and chipped and cleaned the surface of the cast.
The next stage in the process is to secure the life casting of the face and ears to a board using clay ready for the next mould to be made.
All areas of the face which curve round which will cause the next mould to lock around the face making in impossible to remove without breaking. These areas should be filled with plaster to ensure this does not happen.
As you can see from the image no areas of the face now curve round and will cause the mould to lock.
A lip should then be created around the base of the head and neck to secure to the board. Also using a the end of a pepet to create the circular shapes in the clay, these will act as keys locking the mould and cast together making sure the mould will stay in place after drying. The image also shows a wall being built around to keep the moulding material in place as it sets.
This this was then sprayed with a sealant to ensure the clay does not crack and stays in place.
This process was then done to both the ears, however a wall did not need to be built due to the plastic lid being raised at the edges which the ears were placed on. Both ears were also sprayed with sealant.
The next stage of the process is mixing the two components to make the mixture for the flexible
mould.
The mixture is made up of component A which is liquid (katelis) based and component B which Is also liquid (silicone) based. Component B is firstly added to the jug, the component A is added to the measurement of 10% of what has been added of B. For example, 450 grams of B is added, therefore 45 grams of A will need to be added. Component A has been coloured to allow the mixer to see when the mixture is evenly mixed.
After being fully mixed, a very small amount of thickening agent is added. This will thicken the ,is true to ensure the product climbs to the face cast and it can be spread evenly.
Much like the face casting, a surface layer do the product is firstly applied using the fingers. Pushing the product into all the creases of the face will ensure there will not be any air bubbles in the mould.
After the surface layer has been applied, a brush is then used to apply a ticker layer over the face.
Using the brush to cover the keys in the product, however again fingers will need to be used to pitch to product is to ensure there are not any air holes.
This process was also done on both ears. The surface of the mould was also neatened using a damp paper towel and lightly patting over the mould, this evened out the brush marks created when
applying to give a neater appearance. The mould was then left to cure.
The next stage of the process to cast the final mould of the face and ears ready for the sculpting to start. Before the silicone mould can be removed a moc roc jacket needs to be formed for stability when the plaster will be added. The jacket is created using the same techniques as previously used from the first cast. The jacket is created in two halves to make it easier to remove from the mould.
The ears can be covered in full with two layers of mod roc. The firstly side of the mould is covered using two layers of the material and left to dry. Once dry a thick layer of Vaseline is added the the rim of the inner edge, this is to ensure the two halves do not stick together.
The oppersite half is also covered, slightly over lapping the first with two layers of the mod roc. This should then be left to dry.
Once the jacket has dried, it can be cracked down the middle to release from the mould. After the jacket is removed, the mould can be peeled off the cast very gently.
The jacket can then be placed back into position around the mould, both mould and the jacket should be placed securely on a flat surface to allow the plaster to be disputed evenly into the final mould.
Once stable, the mould should be filled with plaster using the same technique as the first face and ear cast. However this cast should be hollow to make it easier to maneuver for the sculpting process, then left to dry.
Once dry the mould can be removed from the mould very easily by peeling the edges back. The final cast has been improved with the addition on the keys, also the edges of the face are now suitable for the final mould of the prosthetic piece. The edges of the cast are now blended out to ensure none of the materials will lock onto the sculpted piece due to the curves around the face. The is the final cast which is ready for the design to be sculpted onto the models face, the next process can be found under the page 'the sculpt'.
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