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 🙂

Freyja Norse mythology, Creative Hair assessment final photos

Hi everyone , So this semester was all about hair and for my final project I could go a bit wild and creative with some creative hair . So for my inspiration for my creative hair I used Freyja the n=Norse Goddess of love and war. I wanted to create something really striking and powerful to the eye whilst still holding the Norse roots of my character . If you want to find out any more information on Freyja hear is a link to a really good website about her and her role ad a Norse goddess that I used in my research :
I think I pulled it together pretty well, and I was really happy with my final look . So I just got my final images back from photographer Camilla Felgate. She has done such a great job with them im so happy with how they have turned out .If you want to know who the phtographer was she is called camilla Felgate check out her Facebook page to check out the rest of her work , she’s very talented.

Model:Kristina Pledaite
Photographer: Camilla Felgate
MUA, hair and costume : Rebbecca Convey

4_MG_8340 (2) me edit
Thank you 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.
face sculpitn g 074
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.
zombie final pice 013
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 :
zombie final pice 016zombie final pice 011zombie final pice 017
Thankyou for taking the time to read my blog
Bex 🙂

Edwardian man Postiche assessment

Hi everyone ,So as you might know this semester for me is all about hair , for my first task I had to design, manufacture (knot) and apply an facial hair postiche . For my design I chose the handle bar moustache for an Edwardian man character. In this blog post I will be showing my final assessment images along with the method of application and how to remove a facial postiche. Along with the products I used and an evaluation of the whole assessment.
My final images from this assessment :
bridal hair practice 035bridal hair practice 040bridal hair practice 042

Products needed :
Make-up : Matte primer- to be applied all over the models face and neck .
Moustache :
spirit gum
mild spirit gum remover (I used bond off by ben nye)

The first step to applying the moustache is to ensure the skin is grease free by gently applying a toner in a sweeping motion.
Next apply a matte spirit gum to the skin and tap it with your finger until the surface becomes sticky.
Once the spirit gum is sticky enough place the moustache into place and press it down with a damp cloth or sponge.
Once applied comb and style the moustache as desired.

Using a mild spirit gum remover or surgical spirit on a brush gently work away at the edges of the lace until each edge comes loose.
Gently peel away the moustache
Use the same product to remove the remainder of the spirit gum from the skin
To clean the moustache and lace use small amount of acetone that was applied using a ball of cotton wool warped in a bit of material (I used some old tights) and then dabbed on the reverse of the moustache
Then the moustache is ready to be reused , make sure to re block the your facial hair to keep it tidy and safe. do this using T-pins . This means you can also safely re style for when it needs to be used again .

Before we started knotting hair I though it would be really intricate and that I would find it hard to do, but after a few practice sessions I really enjoyed it and I found knotting very therapeutic . So I began to really enjoy making my facial postiche . I tried to make the knots as small as possible to make it look more natural on the skin. As i was mixing my own hair to make the colour of my postiche fit my models natural colour hair I had to pay attention to make the mix look natural by adding a few strands of each colour in each knot.I was surprised how quickly the moustache came together as I knotted in two straight 3-5hr sessions as I enjoyed the process and got a bit carried away each time i only had to do two sittings to complete it . I did not want to put any make-up on my model as Edwardian men did not wear make-up and I wanted my look to be historical correct . However I did decide on using a matte primer which would eliminate any shine which was beneficial when I take the final photographs.
Applying the moustache to my model was surprisingly easy as it fitted him perfectly as I had used the pattern I had taken of his face. I also did some research into how to apply a facial hair postiche and the different methods of using spirit gum . I found that by rolling a brush handle over the spirit gum it made the surface sticker and kept my hands clean ready to apply the moustache quick. Overall i really enjoyed this task and i would like to possibly continue hair knotting in the future .
Thank you for reading
bex 🙂

English rose Location Photo Shoot

HI everyone, i have recently signed myself up to a networking sight called model mehem where i can look for local and national makeup jobs like photo shoots and fashion shows. Websites like these are a great way to start networking with local models, photographers , stylists and clothes designers . Over the past month i have been talking to several photographers who have contacted me to collaborate on some photo shoots with them so it has been quite an exciting time for me . But due to my work load with university and the same with some of the photographers we have decided to collaborate in the new year when we all have more time . But i have been able to collaborate with one photographer , last few weeks for some shoots , lil autum is a local photographer that contacted me through this sight for a shoot based on an English rose . We emailed and discussed what she wanted me to do with the makeup , we met up on the day with the two models in Huddersfield in the .. park . we had to do the makeup outside that was a new experience for me but i didn’t find it difficult , i actually enjoyed been outside in the park it was quite inspiring . And after been cooped up at uni doing work for the past few weeks it was a breath of fresh air that needed to reboot me and my passion for my degree . We found a bench and a good spot with some good light so i could do the makeup , the only problem was having my kit on the floor and i had to keep it all my makeup in my case so it got messed up and sometimes difficult to find thing but it wasn’t anything that i could not solve and work around . Anyway i am hopefully getting a new makeup case in the new year that will be better for working on locations . We then packed up and walked around the park for some locations for her to shoot at, I can say it was one of the most beautiful and well-kept parks i have ever been in it had some stunning features like some Victorian style fountains and a beautiful Victorian green house where there was a coffee shop . I was really pleased with the outcome of the shoot and we got some great pictures, i am still waiting for the full edited photos So i will upload them as so as i get them back from the photographer
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
20131206_131705 . 20131206_13174620131206_131904
thanks for reading
Bex 🙂


Hi everyone so this week myself and a few other students from the class were asked to take part in a fashion show in central Leeds. The ‘We Heart Leeds’ is a charity fashion show took place on the 8th of November to raise money for ’The Children’s Heart Surgery Fund’ which is a fantastic charity as it is an area that needs a lot of funding especial for the hospitals around Yorkshire . It was a fantastic event and had a really good turnout. As we were asked quit last minute we did not have time to attend a meeting before the fashion show to get a briefing for the makeup . Although we were still all organised as there was a head make-up artist there to explain and direct us on the theme for the show. So for the makeup ,we were all asked to do the same look as it suited all the different collections that was on show that night . We were asked to create a smoky eye with a hint of blue in the center of the lid. For the lips we used deep red shades to create a dramatic overall look. So to create this i used : The Body Shop tea tree primer ,MAC face and body to give a natural finish, Illamasqua translucent powdered to keep the models face free from shine especial under catwalk lights and to set the base . I used urban decay gravity lipstick (my favorite shade of red lipstick to use it such a lovely lipstick and very pigmented defiantly worth investing in ) I also used a black eye crayon for the eye base and them went over with a royal blue eye shadow and finished off with eyelashes . To contour the face i used mac matt bronzer . After we had completed all the models make-ups we stayed to view the show, which was great as some of the clothes were Gorgeous.
Here are some images from the show hope you enjoy them 🙂
On the night of the show the makeup team was based upstairs in an empty hall which had very poor lighting so we had to make sure that we sat the models in the best possible lighting which was difficult! However I was really pleased with all the make-up looks I did on the day. I just wish we would have had some better light as it would have made sure a huge difference .Also as we were not sure what sort of makeup we were going to be asked to do i took my whole kit and my hair kit , which i am glad i did as we ended up doing the hair as well . Overall it was a really good night and we all loved the experience and the over all look we produced for the show .
thankyou for taking the time to read my blog
bex 🙂

face casting/prosthetic making part 4

Hi everyone , so this week we got down to sculpting out prosthetic i have decided to sculpt a zombie , inspired from the program the walking dead . My concept is that we have fallen into the zombie apocalypse and the only cure/ prevention of the condition spreading is to stop the zombies form biting people . So in attempt to stop the spread the government and armed forces have started to round up the zombies and sewing up there mouths and in some extreme cases pulling out there teeth as well as a prevention until a cure is found . these are some inspiration pictures i have found :stitched_up_mouth_by_bewitchedgirl-d64o8ne sophia_zombie_the_walking_dead
To sculpt my design I used Plasterline which I found really difficult to work with at first. It did get easier the warmer it was and the more I practiced. I didn’t want to sculpt in any stitches as I wanted to add them in at a later stage. Hear is a picture of my final sculptface sculpitn g 023 :

Making a Silicone Prosthetic

Products/tools needed :
X2 strips of Mod rock
Petroleum jelly
X2, 12″ by 12″ of Scrim
X3 Mixing bowl
Access to water
Flat wooden board
Silicone part A, B and a accelerate
Weighing scales
1/2 inch paint brushes
Paper towel
Method :
• began by building a clay wall similarly to before however this time it was twice as tall. Add a layer of Mod-Roc to provide more strength like in previous steps .
• Take cheap 1/2inch brush to paste a thin layer of petroleum jelly or Vaseline all over the exposed plaster and the face cast base. This step makes it easier to separate the top and the bottom part of the mould.
• take some clay to fill in any parts of the cast that may catch on the top of the mould like the nostrils and around the eyes or chin.
• mix up a batch a plaster, paint a thin layer of plaster over the top of the sculpture to catch all the detail.
face sculpitn g 028
• Take two pieces of scrim , place into the cast and poured a little more plaster onto the cast and allowed it to dry for a few minutes. This is to add strength.
face sculpitn g 030
• Then poured some more plaster over the top to ensure none of the scrim was visible. We then left it to dry for 1 hour to ensure it was fully set.
• Once set removed the clay and Mod-Roc wall and gently prise the two sections apart using chisel
• file away any rough edges of the plaster with a metal file. This is not only for neatness by for health and safety reasons.
face sculpitn g 038
• clean out any of the Plasterline out of the cast . A really helpful trick my tutor showed me was to use a piece of left over scrim to rub away any of the Plasterline that was taking forever to come away from the cast.
• Take the top part of the cast and soak it water for around 10 minutes. This is so the silicone doesn’t absorb into the open pours of the plaster. once soaked patted it dry ready for the next step.face sculpitn g 055
• Apply a very light coat of petroleum jelly to act as a releasing agent.
Mixing Silicone
• As this has to be done quickly it is always best to have everything you need lay out ready to start. This can be quite messy so its best to wear a pair of plastic gloves .
• Place the empty plastic bowl onto the scales making sure it is still on 0 (This is so we don’t include the weight of the bowl as the -measurements have to be accurate in order to get a good batch of silicon)
• Add 500grams of part A of the rubber silicone
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• Add 50grams of part B (Silicone catalyst)
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• Add Desired silicone colour a little at a time
• Mix the pigment in thoroughly to ensure an even colour throughout the silicone
• Add 5grams of the accelerant. This allows the silicone to set much quicker cutting the waiting time down dramatically.
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• Mix well
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• Once mixed thoroughly then pour into the top part of the mould its better to balance your mould on something like a stool then its an easy height and stable enough to pour your silicone into .
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• Once you are happy with the desired about of silicone immediately sandwich the two parts of the moulds together using the drilled dents as a guide to line it up correctly. You may need to use a clamp at this stage to tighten the two parts together.
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• Allow any excess silicone to drain out. This is a good sign, it shows that the mould is completely filled.
• Then leave to dry completely for around 30-45 minutes. A good way to tell if it is complete set is to pour a small amount of silicone on the top of the moulds as this will act as a visible guide.face sculpitn g 051
• Once the silicone is completely use a chisel to gently prise open the mould to reveal our silicone prosthetic. The next stages will be cutting it down to size, applying and painting.
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Reflections / Evaluation:
Overall I enjoyed this part of the process, I felt like I had a really productive day in the studio I now feel confident in my concept and sculpting abilities after having the chance to practice with the Plasterline at home before sculpting my final design. here is some of my practice sculpts :face sculpitn g 019face sculpitn g 021
I didn’t particularly find the casting process difficult as my tutor went through the process step by step , and i think am confident enough with this procedure that i could successful carry it out again on my own . I would however like to experiment in future with the colouring that i added to the silicone to see if i could mix a more realistic flesh colour . I am a little nervous about the cutting, blending and applying the prosthetic as I have never worked with silicone before. And i want to find a way of successfully blending out the edges , as it always annoys me when you can see the edges of a prosthetic and i want to avoid this at all costs . I am also looking into the best paints and method for silicone as i know you can produce the best prosthetic and then it can be ruined by a bad paint job , so i am going to research into the best paints for silicone and zombie makeup .
Thanks for reading i know it was a long blog post this week 🙂