Archive | January, 2014

Eyebrow Blocking

29 Jan

Today as a class, in broken down groups we demonstrated to each other different ways of blocking out eyebrows; discussing the process, products and uses within the professional industry. The purpose of this task was not only to learn the obvious, but stretch our experimental abilities; questioning what was being asked of us and trying to formulate specific ways in which brow blocking worked for us personally.

I was in a group with Leanne and Emily, we split the task between us, sharing research, display and practical task. Prior to the presentation day, we did a trail run.

Despite our mistake in the size and cut of our eyebrow piece, we concluded that our process was the most successful in terms of visibility when done correctly. However, cap plastic application may not be required if dealing with a theatre production, as the detail will not be visible from far away. In reality, if dealing with a HD production, the actor would need to shave off or wax their eyebrows; as such small details would easily be recognised on the screen, rending coverup redundant.

Cap Plastic Application

Cap Plastic Application

Below you can see examples of the other groups’ work.

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Soap Application

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Wax Application

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Pritt Stick Application

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Pro-BOndo Application

2014 – Y2S2

28 Jan

It seems not so long ago that I was filled with excitement to start this course, now it is almost over!

So, as previously mentioned, this semester I will be focussing on technical processes in the special effects workshop, whilst still paying attention to design and artistic development.

During the first two weeks, we will be doing casts of hands and ears, as well as recapping (excuse the pun…) our wig cap and eyebrow blocking processes. Today we started with the ears…

EAR CASTING

YOU WILL NEED:

  • Tepid Water
  • 2x Mixing Bowls
  • Alginate
  • Blue Roll/Thick Tissue
  • Cotton Wool
  • Thin Plastic Sheeting
  • Vaseline
  • 2x Strong Card Cups
  • Clay
  • Modrock
  • Crystacal Plaster
  • Your model, and a helper!

METHOD:

  1. Follow PPE! Get your overalls on and ensure your model is also covered to protect their skin and clothing.

    I need overalls of my own.

    I need overalls of my own.

  2. Lay the model down on their side comfortably, with support for their head/neck, ensuring the ear is level. Now Vaseline the hair away form the area, keeping it smooth.
  3. Next, cut a 2-3″ slit in the thin plastic, positioning over the model’s ear, again making sure all materials around the ear as as flat and smooth as possible.
  4. Insert cotton wool into the ear – not too deep, just enough to ensure no alginate mixture is able to get inside the body.unnamed
  5. Place the larger half of the up over the ear (with both ends exposed, not covered). Place the blue roll around the  base of the cup to ensure that the Alginate does not seep onto the face and body and out of the protective wall.
  6. Mix half a cup of tepid water with Alginate, until a porridge like mixture is formed. You have 2-3min until this mixture goes off so you need to work quickly. The hotter the water temperature, the quicker the mix will go off. Use your hands to combine the mixture and squeeze out any lumps. Now pour this into the cup slowly, aiming behind the model’s ear.DO NOT pour excess down the sink – it will block it! Instead, wait for it to dry and peel it out of your mixing bowl and place in the bin.unnamed-2
  7. Once the Alginate has set, carefully release the suction by working around the base of the cup (removing the supportive blue roll), then working with the direction of the ear, peel away the mould case. Make sure to leave the cotton wool attached to the Alginate. Remove the plastic sheeting if you are sure it will not effect the mould shape.unnamed-4
  8. Now, position the second cup over the top of the first, again leaving both ends exposed. Create a clay/modrock bandage to attatch the cups together.unnamed-1unnamed-3
  9. Create your plaster, working in a ventilated area and adding the plaster to half a cup of tepid water slowly until islands are made on the surface.  Once all dissolved, mis with the hands to ensure consistency is even and of a double cream thickness. Now pour this into the flood walls, ensuring to tap out the bubbles. Again do not pour any excess down the drain, wait for the plaster to sediment and pour away the water, wiping out as much of the plaster as possible and placing in the bin. Now we wait!!
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    please excuse the bad pictures!

    Shona's Ear Cast

    Shona’s Ear Cast

Tomorrow we shall be working on eyebrow blocking. Stay tuned!

Ah! PS. I also received this amazing book in the post, to help me with my creature design!

BOOK! :D

BOOK! 😀

2014 – The Beginning!

28 Jan

It has been two months since I last wrote, I have been seriously neglecting my blogging duties!

I’m going to split this update into two posts; this one documenting the work I have done since my last post, and the second documenting my work today.

In the brief period I had during the winter holidays, I have tried to boost my portfolio work, experimenting with new techniques, new artistic teams and design. Here is a selection of work from the five shoots I completed during January:

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Scott Salt, MODEL: Mollie Hyde

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Scott Salt, MODEL: Mollie Hyde

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Scott Salt, MODEL: Mollie Hyde

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Scott Salt, MODEL: Mollie Hyde

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford, RETOUCHING: Lara Ostertag

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Lucy Spafford, RETOUCHING: Lara Ostertag

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Alix Dent

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Alix Dent

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Alix Dent, RETOUCHING: Lara Ostertag

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Kate Love, MODEL: Alix Dent, RETOUCHING: Lara Ostertag

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Martin Beaumont, MODEL: Becky Firth

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Martin Beaumont, MODEL: Becky Firth

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Martin Beaumont, MODEL: Becky Firth

HAIR & MUA: Victoria Stansfield, PHOTOGRAPHER: Martin Beaumont, MODEL: Becky Firth

As you can see, these are all more of an editorial/fashion base, with varying historical influence. I chose to look at this particular area as this semester I will be far removed from that in my student work. In the classroom, I will be focusing on technical processes in special effects workshop productions, specifically in creature design and manufacture!

Besides this, I had a working holiday; Christmas and New Year just don’t do it for me anymore. Next NYE I hope to be abroad and adventuring, so perhaps the holidays will regain my spirit! I know year holds much mental change for me, I can see already my development in thought processes and hope this flows through to my artistic work, I see lots of positive change in my future!