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Silicone Mould/PlatSil Appliances

12 Jun

These past few days I have been making big progress on the SFX front… I feel like I’m actually learning useable skills now! (Thanks to Natalia!!). Having created my moulds (actually I did use PlatSil for these and created a Modrock shell to keep the shape, but as I have now realised, using a stronger silicone; such as BlueSil, would have been more appropriate), I have now started creating my PlatSil pieces, encapsulated with cap plastic (2x 1:1 dilution layers, 2x 1:0 layers).

So, my first appliance… made a couple of mistakes. Definitely don’t need accelerator on a warm day!! So that didn’t work out. I also realised I only want the PlatSil in the deeper parts – as they’re flat backed pieces, it needs to be Cap Plastic backed to make sure they encapsulate properly, stick to the skin and can be blended out efficiently.

So, Version 2.0 worked out great. Now for the other 7 pieces to make!

Photo on 2014-06-11 at 14.39 #5 Photo on 2014-06-11 at 15.52 #6

Applying and Colouring a Foam Latex Piece.

13 May

Today I completed the final step of my fiberglass mould/foam latex piece process.

Having completed my hand and left it to set, I returned to apply it. Despite being stretched over the mould is did shrink slightly, however not too much that it couldn’t still be applied.

Being short on time and seeing as the hand had been cast from my own, I decided to just apply it to myself.  Unfortunately I’m right handed, and the piece was on my right hand; so I’d given myself a challenge.

I covered the area of my hand that would be touching the prosthetic in pros-aide, and then applied pros-aide to the piece. Once they had both become clear and tacky, I gently started from my finger tips and stretched the piece slowly over my hand. It stuck perfectly. As the edges were slightly too thick, I used pro-bondo (a thickened pros-aide) to smooth down and blend out the edges.

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Once I had done this I had two colouring options. A) Illustrator (alcohol based paint) or, B) Pax paint (equal parts of pros-aide and acrylic paint). Having had more practice with the illustrator i decided to go for this – I couldn’t seem to mix the Pax to the colour I wanted. I layered up my illustrator colour with a stiff brush, spraying the colour across my hand, I then used a thin brush to accent the shadow and highlight around my circular edges.

Overall, I think I did okay to say I was painting with my left hand only, however I think  the colour had merged a lot and was not quite as bright and inky looking as I wanted – however it does correspond to my initial design.

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Reflection and Photography

3 May

I dream of travelling the world, meeting people from every corner and widening my reality.

I want to understand people’s faces, I want to learn about people not just from their words, but from what I see and experience. I feel through excessive use of media my senses have become dulled to the world around me. I have spent hours and hours in from of my laptop, often living what I see as an almost purely synthetic existence. Don’t get me wrong – the internet is a vast melting pot of useful information and inspiration to be seized, but what and I really gaining from the experience? Could I be spending my time on this earth better?

Being an individual who’s every action depends upon intensive gut feelings, I think perhaps the reason my life sometimes feels so empty, is because I am not listening to what my mind and soul are asking for. Vivid, interactive personal experience.

Day 01. PHOTOGRAPHER: Victoria Stansfield

Day 01.
PHOTOGRAPHER: Victoria Stansfield

When considering my art, within the fashion industry I have found makeup can be quite passive – and is often dictated by someone else. I myself am a result of media contortion and am often incredibly self objective, as are many other women (and men). I do not want to be part of an industry in which women are made to feel uncomfortable with themselves and their lives. I watched a great Ted Talk my friend Steph posted up and it summarises these issues well. Take a look….

https://sftimes.co/?id=17&src=share_fb_new_17

Whilst working within the fashion industry, we feel are creating something beautiful, but in actual fact we are producing only destruction. We are crushing the self confidence of millions of women, debilitating their daily lives and increasing self hate and jealousy. Why are we doing this to ourselves? Is this really how we think we should be acting and feeling? Is there not something better for us out there?

I feel by doing any kind of fashion makeup, I am tearing myself away from the path towards my mountain (thanks for the advice Gaiman!) – both morally and artistically. I feel I have been easily led into fashion by the promise of instantaneous reward, particularly in monetary terms. However, despite the draw, I am to stop taking part in this game and follow what is true to myself, now focussing on my workshop practice (the SFX discipline I most enjoy), along with performance work.

Day 02. PHOTOGRAPHER: Victoria Stansfield

Day 02.
PHOTOGRAPHER: Victoria Stansfield

Back to the photography side of this post.

I want to really focus on life, I want to get out there, see it, do it, capture it. I have decided to get back into photography. My main interest is within documentary, journalistic and portraiture photography – but I’m not going to focus on that too much whilst I learn to use my camera again. I feel by doing this I will train myself to look closer into what is around me and re-connect with people – or even just learn to connect as I am a child of the social media technology era and have grown up plugged in.

From now on, you shall be getting more mini-updates, as I invite you to share in my life adventure, one photo at a time.

I cant promise they’ll all be wonderful, but everyone starts somewhere. It’s just where it takes you along the way that is what matters.

I implore you do do something that will take you to new places, and fill your heart with light and happiness.
Look beyond your computer screen and reach to the world outside.

Day 03. PHOTOGRAPHER: Victoria Stansfield

Day 03.
PHOTOGRAPHER: Victoria Stansfield

Malice Shoot

21 Mar

This week I have been working for Big Blue Whale Studios in Leeds. BBWS is a collective arts company, which provides high levels of service for artistic projects by offering a range of professionals in differing disciplines, collaborating together to produce outstanding results. BBWS most commonly work on promotional and documentary pieces within the fashion, events and performance industries.

One of the projects we are currently working on is an online and printed look-book for the performance and lingerie clothing company, Malice. My role in this project is Key Make-up Artist, meaning I am to take instruction from the company director, Hannah Gurnett and liaise with the photographers, models and lighting technician to ensure the makeup design and production is correct.

Thursday 19th was our first day of shooting, taking up a full 12 hours. We got some amazing shots and I’m looking forward to getting back on set with them soon. I can’t say any more for now but here are a few teasers to get you going.

Abbie (Model) taking a selfie.

Abbie (Model) taking a selfie.

Sexy lady on a sexy bike!

Sexy lady on a sexy bike!

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!!
    unnamed-5

    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! 😀

Media Postiche: Task 1 Assessment

19 Nov

Today I did my Task 1 Media Postiche Assessment on John Godbolt.

My Victorian Style Player Shot.

My Victorian Style Player Shot.

The brief I had created was to produce a character look for TV, being filmed in 2003. The reason I chose to change my filming era was due to the fact that post 2005, HD netting would have been used. Pre 2005, HD TV was not used widespread and therefore more dated and thicker forms of net mesh would be used, such as the one available to us for use.

I decided to base my character on cricket player Billy Murdoch (though not the total look). As the TV production was to be set in 1981, Billy would have been around 37. 1981 Falls into the Victoria era, therefore the look was to also be of this period; meaning I needed to consider both historical fashion and ageing makeup in my final piece, as my model is currently 28 and of 21st Century appearance. In addition to this, environment and social influences would also need to be considered.

Before/After

Before/After
(Left Image: Van Loop Photography)

CREATING OLD AGED SKIN (28 aged to 37)

  1. Apply a light foundation. I used a wax palette from P.A.M. as its can be blended out to appear almost invisible, yet it still balances the subtle colour change. I used a slight green tint to colour correct undesirable red areas. I then used an HD makeup forever powder across the T-zone and cheekbones to protect against shine.
  2. Next, I used my Skin Illustrator palette to break up the youthful looking skin and create a more worn and broken down look. I added blue and green pigmentation across the skin to dull it, paying particular attention to the eyes, nose and under the cheekbones.

  3. Thirdly, I used my skin illustrator to emphasise John’s natural wrinkles, asking the model the scrunch his face so I could see where those would be. I used a blue/red/brown mix, blending out and then highlighting with the lightest colour in my palette
  4. I then added a red/orange pigmentation across the model’s upper cheeks and nose, to give the impression of a light sun-kiss, as his character regularly played cricket outdoors in the sun.
  5. I then added the pre-made moustache with spirit gum. I don’t think spirit gum works very well for this detailed work due to its colour and gloopy texture, in future I would use Pros-aide. I then styled the piece out, though I found this very hard with it being Yak hair, not human hair. I am not very happy with the overall finish, one side is thicker than the other and they are not evenly placed or styled – this need much practice but at least I got the colouring correct.
    Final Makeup

    Final Makeup
    Click for a larger Image!

    My next assessment will be Tuesday, with the beautiful Natasha modelling and amazing Scott Salt photographing her. Stay tuned!