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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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Shoot: Victorian England vs. Día de Muertos

25 Apr

Today I shot with Photographer Martin Beaumont and Lunar Rising (Aka Abi Wright).

The shoot was to be based on Victorian England and  Día de Muertos. Martin had wanted to add the  Día de Muertos element to his portfolio and I was keen on getting some body painting practice so was happy with this option. Martin had found a brilliant location, where we would be able to shoot it old Victoria Carriages… so we thought we would try add a little twist to the Day of the Dead theme.

Our original plans were big, however with such little time for body-painting and shooting, we found we were not able to fully carry out our ideas – so this is a project to be developed. I’m looking forward to the next step.

Special thanks to Sally Stone at West Yorkshire Playhouse Costumer Department for lending us the clothes! 🙂

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

MUA: Victoria Stansfield, PHOTOGRAPHER: MArtin Beaumont, MODEL: Lunar Rising

Happy Slap Boutique @ Rumpus – Shiny!

10 Apr

This weekend I worked with the ever wonderful Happy Slap at Rumpus in London.

The theme was shiny, and oh boy – do Happy Slap Boutique know how to do shiny!!

Ross

Ross

We bought about 17kg of glitter, and by the end of the night, every happy person in the place was covered in the stuff. It’s still happily trailing its way around my clothing, house, housemates, my cat and generally anything I have come into contact within the past few days. It’s a good job I like glitter.

Photography: Michael Marks

Photography: Michael Marks

On the night we had our performers in bald caps (it never ceases to amaze me how good people look in bald caps – particularly glitter covered bald caps.), we also did some collaborative body paints which was a new experience and also lots of fun, it helped eradicate that feeling of getting too intimately obsessed with a piece when on a tight time schedule, moving onto the next person as and when needed.

As usual, I can’t wait for the next one! Find us at Beaverworks for Beaverfest and the Rumpus Mega Event in June!

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Hair & Makeup: Victoria Stansfield

Hair & Makeup: Victoria Stansfield

Glitter Bath

Glitter Bath

Slava’s Snow Show & The German Market

21 Nov

Today I finally endeavoured to attend the German Market! After two years of deliberation, I bought a salt lamp (this may be the longest I’ve ever taken to make a decision, it must have been an important one.)

John & I enjoying the Market.

John & I enjoying the Market.

They had a lovely carousel, however there was not time to play on this occasion, as after a single mulled wine we headed off to Sheffield to see Slava’s Snow Show at the Lyceum!

This was a great chance to catch up with a few friends that I don’t get to see much outside of work related events! Plus the show was absolutely brilliant, it was beautiful and I really enjoyed all the acts. I liked the way there wasn’t particular story line, more the observation of the clowns happenings and emotions. At the end they had these huge plastic balls and balloons, I actually hit a women over the head in accidental childlike excitement trying to grab them (sorry!)

The costumes and makeup were simple but quaint, and certainly worked in promoting each clowns personality and sentiments.

My favourite act in this performance was actually my least favourite act in the Cirque Du Soleil Show! In the Allegria show I just did not have a clue what was going on, in the Slava show, during the same performance I was feeling so much for the main clown, I had total emotional involvement with the scene!

Bubble Snow!

Bubble Snow!

I won’t spoil it for you by saying anymore, it is definitely worth seeing, I would go see it again. I adored the balance of dark moments and laughs, based on visual rather than audio. There is much to be said about silence.

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!

Sue Day: Silicone Painting & Hair Punching Lesson

12 Nov

Today we had a session with Sue Day, who works at Madame Tussaud’s. We have been working with Martin from Madame Tussaud’s for a few weeks now on life casting, however Sue came in to teach us about painting silicone and hair punching.

Using a ready made silicone piece (originally of David Beckham), we practiced colouring. We used a silicone/turps/oil paint mix, creating the consistency and colours ourselves.

I wanted to work with a “flesh” coloured piece so I could create a more realistic look, but instead was given a opaque red-pink piece. I instantly gave it  green wash to try combat the horrible colour; though not knowing yet how to use the paint, I did leave a few green dots – oops. Using the flicking technique with a stiff brush and light washes with a small brush, I built up layers of colour to create a human skin pattern, paying attention to where certain colours would lie in the skin, such as more blues for the thin eye skins, where veins would show through.

Colour Build

Colour Build

She then showed us how to punch hair, the actual punching is pretty easy.

All you need is a normal needle; cut the end off the eye so you have a fork-like implement, then mount this in a needle grip handle (the same one used for a knotting needle). Next push the hair into the silicone, the key is the angle and direction. You need to study how the hair grows out of the skin to ensure a realistic growth pattern,  keeping the needle very horizontal if you want the hair to lie on the skin surface, vertical if pushing away from the body.

We were meant to use curled hair (curled by wrapping straight hair around a chopstick and boiling), however I wanted to create old man eyebrows, which often are quite messy and stick out a lot, so I used straight human hair.

Initial piece, next to the finished piece.

Initial piece, next to the finished piece.

Next stage is colouring and punching our own silicone piece… stay tuned!

Life Casting – Negative Creating & Silicone Running

11 Nov

Today I went into uni to catch up with my SFX work, having been off for work experience. Today I created my negative over the sculpted clay, to finish my mould and run my silicone piece.

Below you can see my finished sculpt, the top clay half is my primary piece, the lower half is a back up piece incase anything goes wrong with the top part.

To create the negative mould, we carried out the same steps as doing the initial life cast, only this time, we already have the facial mould to use. Check back through my earlier SFX posts to find more in depth details about this procedure, heres a quick run through –

1. Create the clay/modrock wall and cover the interior in Vaseline.

2. Fill with plaster, using a double skrim layer for support.

Clay/Modrock Wall

Clay/Modrock Wall

Creating the Plaster Negative

Creating the Plaster Negative

3. Allow to set for approximately 15min, then break open. remove all clay and particles from the interior to ensure the shape of the silicone run is not altered.

Plaster Negative

Plaster Negative

4. Once this has been done, we are ready to run! Place the mould on a stable horizontal surface, and pour in the silicone. Place the first part of the mould (the positive side) within the negative. Those holes we drilled earlier will help get positive to negative positioning correct. Silicone will run out the sides so watch out. Place a small dab of the silicone on top of the mould to help determine if the silicone has set.

Time to pour!

Time to pour!

Running the Silcone

Running the Silicone

5. After about 45min, it’s time to break open! You’ll have to come back next week to see the silicone piece!

Breaking Open!

Breaking Open!