final stage of fibreglass mould making

Hi everyone so hear is the last stage of the ,mould making before we can start running it in foam latex and then platinum silicone .


  • Once the sculpt is protected with several layers of releasing agent you can start the final fiberglass process                                          work experinace photos 409
  • Begin by laying out some plastic sheeting to protect your work area .
  • Next cut up  10-15 small squares of fibre glass tissue in preparation for the next step
  • Mix up half a cup of gel coat with two measures of  catalyst (catalyst is added to speed up the vulcanisation process ).                   DSCF0180DSCF0179
  • Once mixed thoroughly paint the gel coat over the sculpt make sure you cover all the sculpt to pick up all the detail .
  • Then wait for it to cure until it is tacky to touch it  will take from 1hr-2hr depending on the temperature of the room
  •  The next step is to apply a coat of laminating resin over the cured gel coat. This will allow the fibreglass tissue to adhere to the gel coat and prevent any separation of the two layers . Then coat each square of fibre glass tissue with resin and apply it over the gel coat . Make sure you overlap each square to strengthen the layer .
  • As always leave it for 20 minutes and cut any sharp  edges around the mould .
  • After this layer is dry (wait 1hr between layers) repeat the process twice again but with fiberglass matting .
  • The next step is to drill holes through both parts of the mould to allow washers and screws to be used as a way of closing and clamping the mould shut. This is important as the mould needs to be tightly closed to ensure the edges set  thin . Make sure you don’t drill the holes through the keys in the mould .
  • After the holes are drilled the mould can then be separated and clean . Be patient as carefully when opening the mould  as you don’t want to damage anything .
  • Now clean out the Plasterline from the mould in preparation for running foam latex . I also use lighter fluid to further clean the mould as this dissolves the Plasterline easily.                                                                                                                                                              work experinace photos 442

Thanks for reading

Bex 🙂


As I have had quite a lot of practice with fiberglass I now feel confident enough with this process.. Overall I am very happy with quality of the moulds i have created . But i will really see how good they are when we start running them for foam latex .


Making a fibreglass positive

Hi everyone this post will be all about the next step of fibreglass mould making. So for this post i will be taking the silicone off my plaster models and filling this with fibre glass to get a positive fiberglass mould of my models face which i will then go to sculpt my prosthetic onto . So here we go :

Products neede:

  • Fiber glass matting
  • Gel coat
  • Fiberglass matting
  • Plastic sheeting
  • Scissors
  • laminating fibreglass resin
  • paint brush
  • Tools to use to relive the silicone from the plaster mould


  • The first step is to realise the silicone and fiberglass topping from the plaster life cast .                                                                                     1 (2)1 (4)
  • Use a  wooden sculpting tool and  gently prized the two sections apart (be careful not to damage any part of the mould as this can affect the final product .  This can be time consuming and difficult as the two can suction together .
  • place the plaster live casts to one side to create more space for the next step.
  •  cover the work surface  with plastic as fiberglass will adhere to anything and not come off .
  • You need to fix the negative to a wooden board to make sure it does not move when applying the fibre glass to the inside. To do this you need to make tow sausage shapes of clay to the front and back of the negative .                                                                           1 (6)1 (10)
  • mixed up a half cup of gel coat to begin the fibreglass process. Same as before you need to  use the same ratio of catalyst and applied I layer all over the silicone inner. This will pick up the detail of the silicone giving us a perfect surface to sculpt on top of. Next  added a generous layer of fiberglass fibres on  top of the gel coat this adds extra strength to the mould .                              1 (19)

IMPORTANT INFORMATION : Never place the cups and brushes directly into the bin after use – Fibre glass heats up when it cures, meaning it is a fire hazard. It is best to let it cure in sight completely.

  • Before the gel coat dries  you can add colouring  to the gel coat to be a bit more creative . (For my mould i added a brass colouring so it would give my mould a metallic colouring when polished up ) .                                                                                                    1 (14)1 (18)
  • Once the gel coat is  applied  then leave  it to cure for around an hour. This will  allow the gel coat to cure but not become completely dry – leaving the surface slightly tacky ready for the next step.
  •  Cut 15-17pieces of  3inch square pieces of fibreglass matting ready for the next step .                                                                                     DSCF0183
  • Lay out a plastic sheet to protect the work area from fiberglass.                                                                                                                                 DSCF0184
  • Measure out half a cup of laminating fibreglass resin make sure to use a new cup to prevent cross contamination of products. Next add the catalyst to the resin using the same measurement as 2 from the last step and mix it thoroughly.                                      DSCF0175DSCF0179DSCF0180
  • Use a brush to paste a layer over the tacky surface of the gel coat this will help the next layer adhere. Then placed four pieces of the matting onto the plastic sheeting and soak  them with the resin.                                                                                                                   DSCF0185
  •  Once all four have been coated take the first square and place it into the cast over the surface of the painted layer of the resin. Past another coat over the top of the matting to make sure it is flat without any air bubbles. Also make sure each square overlapped slightly to make sure there is no  gaps where it could make the cast weaker .                                                                               DSCF0187DSCF0188DSCF0031
  • Leave it to it to dry for around 20 minutes until it goes a green colour you can then use a pair of scissors to cut off a excess fibre glass hanging off the mould edge .  If you do not do this and leave it too long the fiberglass will harden too much to cut and you will ned to use a grinder power tool to take off the sharp edges .                                                                                                                 DSCF0034
  • repeated the process  and add a second layer Then leave it to dry completely overnight.
  • Once dry  you can separate the silicone from the fibre glass using metal sculpting tools (Be patient and carful , you don’t want to damage your mould ) Once the two parts were separated we were left with the fiberglass positive! I was shocked to see how much detail the gel coat had picked up.                                                                                                                                                                                 DSCF0040
  • As i added a brass colouring to the gel coat i then buffed up the surface of  the cast using wire woo so i could see the metallic shine .                                                                                                                                                                                                                                                     DSCF0045


At the beginning of this mould making process I didn’t really understand why we created the silicone part of the mould , but by doing this next step I now understand this process . I am a very visual learner and i need to do a process to fully understand it.  It also gave me a light weight positive to sculpt on , this will be  much easier than sculpting onto a heavy plaster positive . I am really pleased at how my positive has turned out and it has made me realise that you have to be very precise and carful with every step to achieve a good final mould.

Thank you for reading


Making the fibreglass outer part of the silicone casing

Hi everyone  Here is the next step of making your  silicone inner and fiberglass moulds

So, once you had prepared the silicone inner for the mould you are now  ready to start the process of creating the fibre glass outer section of the mould. The reason you need to add a fiberglass outer is to support the silicone as it will not hold its shape through the next step..

Product needed and equipment needed  :

  • Gel coat
  • Fiberglass matting
  • Plastic sheeting
  • Scissors
  • laminating fibreglass resin
  • paint brush

Method :

kldjakd (1)

  • You need to start by removed the mod-roc and clay wall from around the edge of the cast. Then use paper towel to remove any moisture that may be onto  of the silicone the reason you must do this is If the silicone is damp or wet, the fibreglass would not cure.
  • Next  trim away any excess silicone around the edges of the silicone to create a clean edge. Depending on the surface you apply fibreglass to, a release agent may be needed as fibreglass adheres to pretty much anything however silicone is flexible and can easily peel away.                                                                                                                                                                                                              DSCF0171
  • When the silicone is ready you can move onto mixing the first stage of the fiberglass. So you need  to begin by measuring out half a cup of the gel coat.(this will be enough for two face casts .)                                                                                                                               DSCF0174DSCF0175
  • Next added a catalyst which will allow the gel coat to vulcanise.  Measurer on the bottle up to the 2 marker. Adding any more that this to  the gel coat will make the gel coat cure quicker  that we need it  and it will be a waste of product .                                       DSCF0178DSCF0179
  • Next  thoroughly mixed it together and applied a thick coating over the top of the silicone with a medium paint  brush.                 DSCF0181

IMPORTANT INFORMATION : Never place the cups and brushes directly into the bin after use –as it heats up when it cures, meaning it is a fire hazard. It is best to let it cure in sight completely before disposing in a safe manner.

  • Once the gel coat is applied leave it to cure for around an hour. This will allow the gel coat to cure but not become completely dry – leaving the surface slightly tacky ready for the next step.
  •  Next cut   15-20 3inch square pieces of fibreglass matting to prepare for the next step (any squares left over can be used for the next step ).                                                                                                                                                                                                                                    DSCF0191
  • You need to prepare a work space as fiberglass can become quite messy and it does not come off any surface when dry .  So laid out another piece of plastic sheeting onto the table to protect the surface. then laid out 4 pieces of the matting onto the plastic to preparation for the next step.                                                                                                                                                                                 DSCF0184
    •  measure out half a cup of laminating fibreglass resin using a new cup – to prevent cross contamination of products . Also added the catalyst to the resin using the same measurement of 2 again  then mixed it thoroughly.                                    DSCF0179
    • Then used a brush to paint a layer over the tacky surface of the gel coat this will help the next layer adhere.
    • Next used a brush to soak the 4 piece of matting you have laid out with resin. Once all four have been coated they will have absorbed the resin making it easier to mould to the shape of the silicone inner. Repeat this process till you have covered all the surface but make sure to overlap each piece. make sure there are no air bubbles .                                                DSCF0185 DSCF0188DSCF0189
    • Leave  the layer to  dry for around 20 minutes until it goes a green colour. To prevent using a grinder power tool you can use a pair of scissors to cut the edges of the fiberglass whilst it is still setting . Once it is set and solid this is not possible and you need to use a power tool.
    • repeated the process  adding a second layer. Then leave it to dry completely overnight

    So that this part of the process completed , I will blog about the next step next week

    Thank you  for reading

    Bex 🙂

Preparing an ear cast for silicone and fibreglass moulds

Hi everyone, so this blog post is all about preparing for fibreglass and silicone moulds . On this post i will specifically taking you through the process of bedding in an ear cast into water based clay . The reason we bed in an ear is to eliminate any undercuts where the future fiberglass mould could lock .

Products and tools needed :

  • Water based clay
  • Clay tools
  • Wooden board
  • Mod rock
  • Part A of silicone
  • Part B Silicone
  • Accelerator
  • Thixo

Method :

  • To eliminate any undercuts  you need to build up a  bed of clay around the ear cast. placing the ear cast onto a wooden board  and start building clay up around  each side of the cast.If you are un-sure about what an under cut is  take a look at the cast from a bird’s eye view – anything that you can’t see from this angle  needed to be filled in with clay.
  • When happy with the ear you have bedded in you need to next build up a clay wall . For extra strength wrap two layers of mod rock around the outside of the wall for strength                                                                                                                                                       5
  • Next  applied a light layer of Vaseline to the ear cast as silicone can adhere to plaster and the Vaseline acts as a relive agent .
  • You now need to mix up the first layer of silicone .You need to make  sure you  have  all the necessary materials and tools to do this.  You need to start by  zeroing the scales whilst the plastic bowl  is on  top to make sure you  get an accurate reading .The equation for silicone is:

–              Part A of silicone:100%

–              Part B Silicone:10%

–              Accelerator: 1%

For the size of the positive ear cast you will be covering you will need  to mix up 70 grams of part -A 7 grams part -B and 0.7 grams of accelerator to speed up the vulcanisation process.

  • Before mixing  make  sure that the tubs of silicone are  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 any drips whilst measuring out the silicone use a lolly pop stick  to scrape the excess silicone from the sides of the cups.
  • Start by measuring out parts A and B and then added the accelerator and mixed them together really well to ensure all the silicone will cure.
  • To avoid air bubbles during pouring  the silicone into the ear cast   it is always best to pour the silicone from a height as this eliminates some of  the air bubbles as it pours.                                                                                                                                                                   DSCF0113
  • Set the positive aside on a flat surface to allow the silicone to level out and cure this will take about 2hr as you have added an accelerator  to the silicone .
  • The next later of silicone is a  different consistency to the first as you need to  use  a different product – Thixo Additive. You need to  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  the consistency needs to look and feel like  a  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 is  mixed you then need to use a new lolly pop stick to spread the mixture around                                 kldjakd (11)
  • then  leave it to cure for a further 2-3 hours.
  • Once the second later had cured, then added another liquid layer over the top same as the first layer this creates a smoother layer  over the second layer                                                                                                                                                                                                        The next step is creating a fiberglass cover for this silicone , I will be blogging about this next week so stay tune .

Thank for reading

bex 🙂

Preparing and making an silicone inner for fibreglass moulds.


So this semester i am concentrating on making fiberglass moulds and the process of doing this . So let’s get started . First you need a life cast i used my class mated face cast from last semester. If you want to create a face cast you can look to my previous blog posts hear is a link :


Products and materials needed :

  • Clay
  • Mod-Roc
  • Vaseline
  • x2 cardboard cups
  • Silicone part A and B
  •  Accelerator Suitable for silicone
  • Measuring scales
  • Wooden lolly pop stick
  • Gloves
  • Plastic bowl


Method :

  •  To ensures the silicone will  not spill out over the work surface you need to build a clay wall around the face cast .To make neat clay walls wall , used a clay block to flatten out the clay so you  are able to cut the clay evenly  to fit around the face cast . For extra precautions blend the clay onto the wooden board under the cast. Also ass two layers of mod rock for extra support .
  • apply a light layer of  Vaseline to the cast for an extra realise agent . This is to make sure the silicone you are going to pour onto the cast will not  adhere to the surface of the plaster.                                                                                                                                             work experinace photos 227
  • Once the cast is prepared  , you need to start mixing up the silicone . Always makeup sure you are fully equipped before you start with all the products and persona protective equipment .



  • Make sure the scales are at  zero before measuring any products . The products and equation  needed for silicone is :

–          Part A of silicone:100%

–          Part B Silicone:10%

–          Accelerator:1%


For the cast I am filling I need :100 grams of part -A 10grams part -B and 1gram of accelerator to speed up the vulcanisation process.

  • Start by measuring out parts A and B and then added the accelerant and mixed them together really well to ensure all the silicone will cure. When doing this step Its important  to remember when mixing up a batch of silicone, avoid cross contamination of each part as this could ruin the full tub of silicone. To avoid this make sure to use different cups and wooden sticks when measuring out each product .                                                                                                                                                                               work experinace photos 228
  • Then once mixed pour 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 doesn’t need  to cover everything in a thick layer.                                                                                                                             work experinace photos 229

GOOD TO KNOW: 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.

  • Set the cast aside on a flat surface to allow the silicone to level out and cure. By adding the accelerator you can come back and add the next layer in around 2hr .
  • The next later of silicone is a different consistency to the first as you need to used a different  product – Thixo Additive. Do the same process as the first layer however this time mix the Thixo at the very end. There is no precise measurement for this ingredient as its simply to thicken the silicone up to a  consistency that looks like a  thick paste which will 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.
  • Once the past is  mixed you then need to use  another lolly  pop stick  to spread the mixture around the cast .
  • You then need to let it cure for a further 2-3 hours.
  • Once the second later has cured, you  then need to  added another liquid layer over the top (same process as the first layer) this will  smooth’s over any uneven surface  from the second coat.

This is the first process for making a fibre glass mould watch out for the next blog post for the next step .

Thank you for reading



Products and equipment needed :
– 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

Method :

• First cut the top off a 2 litter bottle using a pair of shape scissors. Make sure there is no sharp pointy bits as this could scratch our models arm during casting.
• Next mix a batch of alginate. As this is a large batch use a flexible bucket and a power drill with a squirrel mechanism attached to the end to mix it better you must mix it this way as you only have three minutes working time before the mix goes off. To make sure you dont make too much alginate measure the amount by filling up the cut bottle leaving 1-2 inches for the plaster .
• Make sure the water is tepid and not hot as this would boost the curing time giving us a shorter working time. Added the water to the bucket and gradually sprinkled in the alginate whilst drilling. Once the mixture is similar to a lumpy custard texture it is ready to pour.
• Asked your model to dangle her hand comfortably into the bottle so you are able to pour it down one side to eliminate bubbles. Get them to wriggled their hand ever so slightly to get rid of any air bubbles attached to their hands. The alginate set pretty quickly however we left it for a further 5 minutes to ensure it was completely vulcanized.

GOOD TO KNOW : If your model has 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.

• Once cured, ask your model to wriggle their fingers to allow air into the mould. This is a really important stage as the air needs to gradually work its way down the cast, If you didn’t do this the fingers would suction together resulting in tears in the alginate.
Know mix up a batch of plaster to pour into the hand cast (the negative) to make the positive. To do this 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).
• Don’t pour all the plaster in at first as you want 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 .Once you have done that slowly filled up the rest of the mould. continue to fill the mould up to the top to create a base so the hand could stand up once set.
• then leave 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 then began to remove the negative.
gently cut away the cup being careful not to dig the scissors into the alginate underneath.
• Once the plastic bottle has been removed then begin to chip away at the alginate piece by piece with a wooden tool. make sure your really careful when doing this as we don’t want to damage the plaster as this will eliminate vital details if scratched .
• 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

Evaluation / Reflection:
Overall I thought the process was quite straight forward . If I was to do this process again I would perhaps make sure our model has all her fingers separated as my model little finger was touching her ring finger. However it is hard to judge the positioning of your hand when you cannot see it whilst it is submerged . 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.
Thanks for reading


Hi everyone . So over the next few special effects lessons in uni I am going to be casting my ear and hand for this semesters prosthetic finial assessment and Fiberglas mound making . So let’s start with ear casting this is all new to me as i will be using a new method and new products so it’s very exciting
So to cast the ear we used alginate that is originally from brown seaweed that grows in cold water . The natural function of alginate is to give flexibility to the seaweed, which made perfect sense as it’s a very flexible casting medium.
Casting the ear was loads of fun to do and really wasn’t as difficult as anticipated if you’d like to.
Things to remember when been in a workshop and using these materials :
• Take note of the health and safety regulations of 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.
• Be fully prepared with all products and object you will need to
• It helps to have an assistant as you can’t do this process on your own , one set of hands are not enough.
• Must wear overalls whenever in the workshop to prevent any products getting on any outdoor clothing.
Products you will need :
x2 plastic mixing bowls
x2 paper cups
Paper towels
Cotton wool
cling film
Petroleum Jelly
An extractor fan (for health and safety reasons)
x2 long strips of mod rock that fit round the circumference of the cup
Method :
• cut the paper cups in half in preparation.

• Ask your model to plug up her ear with cotton wool to prevent the products seeping down into the ear canal. Then asked your model to lay down on the desk top -making sure their head is supported and lying as flat as possible.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.

• moved any stray hairs away from the ear, then smoothing it down by applying a small amount of petroleum jelly with your fingertips.

GOOD TO KNOW : If any point of the ear is touching or very close to the head, insert 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 with your prosthetic .

• cut a section off the cling film out to act as a protective layer between the skin and hair around the ear and the Alginate. then cut a split in middle of the plastic to expose the ear. If needed add a little more petroleum jelly to stick it down on the skin around the ear.
• Once the plastic Is secure place the to top half of a paper cup around the ear to prevent the alginate from leaking. This is when you will need an assistant to hold the cup in place to prevent the alginate from leaking out of the top half of the cup . Remember keep asking if your model is okay to ensure you are not applying too much pressure. As another precaution also wrap a paper towel around the lip of the cup.
• 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. 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. then began to sprinkle in the Alginate directly into the water using your hand to mix it until it is a ‘runny/lumpy porridge’ consistency.
• 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 is to makes sure there are no air pockets preventing the alginate from reaching the surface of the skin.
• 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.
GOOD TO KNOW :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. If unsure leave it for another minute. Better leaving it on for too long rather than taking it off too soon.

• Once cured the next step is to remove the mould from the model. To do this you need to follow the direction of the ear and gradually peel away the edges , reaching your fingers gently underneath the mould. Then once lifted from the face, gently pull and lift it towards the back of the head following the ears natural shape. Then remove the plastic bag from the surface of the mould once removed from the head .
• Now you have made a negative it is time to make the plaster positive. To do this you will have to cut another paper cup in half and placed it directly on top of the cup you negative ear cast is in .
• Next step is to go around the edge of the cups joinery with clay to0 act ad s barrier so the plaster will not pour out. Once the joint is completely covered with clay you then need to use Modroc to completely seal the joint .
• Gather a bowl of warm water so you can then dipped each strip of Modroc and removed any excess water. Quickly, then applied the Modroc directly over the top of the clay and smoothed it out to further prevent any plaster spillage. then leave it for a few minutes to harden and set .
• Once dry, 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.
• 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).
• Then poured the plaster directly into the mould. 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 mould a few short sharp taps on the table to encourage the air bubbles to rise to the surface. Then leave the plaster to set for 1-2hrs .
• Once the plaster set remove the plaster bandage ,clay and plastic cups .
• Begin chipping away at the Alginate with a wooden tool to reveal the plaster positive underneath.
• Once all the Alginate is cleared you can then see how well cast come out. Here is what my ear positive looked like!

Evaluation :
Overall I felt the process ran quite smoothly. The final cast of my ear is strong without any air bubbles in the ear which means i can safely sculpt onto it without it braking . I was impressed by the amount of detail the Alginate picked up for example; the holes where I have had my ears pierced and all the skin texture on my ear .
Thanks for reading
Bex 🙂


Hi everyone, so this post is all about my final assessment for special effects this semester, so i will be giving an overview of the processes and materials i used to create my final look .
During this semester we were asked to carry out several processes of face casting and sculpting in order to create a custom fit silicone prosthetic piece. After researching face prosthetic i decided to create a zombie look , so that i could compare my progress through my special effects work from the zombie look i created on a work experience in my first year of studies . But I didn’t want to simply copy the idea of a simple and classic zombie look so I decided to change my characters story and add the element of her teeth been pulled out and her mouth sewn up . I also wanted to research into how the skin decomposed and colour chance once the body dies so that i could get a realistic overall final look . Once I was happy with my character profile and research into the anatomy of the face I then sculpted my design, and carried out the rest of the casting process to create my prosthetic piece . I was initially pleased with how the piece came out but I noticed that my blended and smoothed out edges that I had initially sculpted were useless , as the cast come out as a full face and did not separate the two separate pieces. To rectify this in the future i will 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. However i did not know this until i have made my prosthetic piece. Because of my prosthetic coming out as a full face piece, I had to cut the two pieces out with scissors and work on blending the edges directly on the face.
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Once my prosthetic was prepped and cut to size 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. Although the thicker sections of the edge of my pieces did take time and patents to stick down. And the section nearest the mouth did restrict some movement of the mouth that i would have to rethink the design or product i was to do this again. 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 have to take precautions as cabosil is very harmful to the lungs so i had to wear a respirator to prevent the light fibres from entering my lungs and mix the two products under an extractor fan . ones the products were mixed the cabosil is not as harmful so i didn’t have to wear any PPE when applying it to the skin . 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 does shrinks whilst it dry’s. Once that had completely dried I was then able to start applying paint over the top to further blend the edges. As I only have greasepaints in my kit 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 to the decaying skin This method was really effective and made the piece look more realistic.
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I also created a stitched up mouth as could not make a prosthetic piece around the mouth to sew onto as this would completely restrict movement and breathing , I decided the best method was to pre make the stiches and stick them to the edges of the mouth using spirit gum . I think the final look of the mouth did show the stiches in a realistic manner that was comfortable for my model .
zombie final pice 005
Overall I am a very happy with my first attempt at applying a large facial prosthetic piece. I feel that by overcoming the obstacle of the thick edge to the prosthetics, it means that i have learnt more from this experience. And that if anything g like this happened whilst i was in industry i now have the skills to rectify the situation , whereas if this project had gone smoothly i would not have learnt as much . If I was to do this again I would make my prosthetic out platinum silicone encased in Glatzan (cap plastic) 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. Although this piece is probably not to industry standard is my first attempt and i am still learning . So overall i am very pleased with the final look . Hear are some final images of my zombie complete look :
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Thankyou for taking the time to read my blog
Bex 🙂

James greenwood demonstration on prosthetic coloring and application

Today i have a lesson with James greenwood, who has worked for tv programs such as Dr who and is a previous student at my collage came in to demonstrate prosthetic application for us .For today lesson James taught us how to apply our prosthetic pieces we have been working on all semester and how to color them . For his demonstration he used my zombie piece so he gave me some detailed tips on how to color my piece that will help me when it comes to my assessment day . As the edges on my piece were quite thick he showed us how to solve this problem by mixing together Pros-aid and Cabosil to make a filler that would help get rid of the edge and make a blended edge . He also helped me work out a color pallet for my zombie final look,as we went through my sketch book and looked at all the decaying colors and skin that i had researched . Overall this lesson has really helped bring together all my research and put it into context for my final look . I feel i am more confident to carry out my final assessment now . hear are some pictures of the final look James did with my zombie protective
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thanks for reading
Bex 🙂