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ArtMolds Lifecasting Series
The face is one of the more challenging
lifecasting projects because of its detail.
New materials and methods make molding
and casting a face simpler, more flaw-free and faster. Lifecasting artist Ed
McCormick takes you step-by-step through the process. Whether you are an experienced
or beginning artist your art will greatly benefit by adding this approach to your
portfolio of techniques.
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There are a number of differences in the lifecasting techniques between
special effects and life casting for pure art. Special effects lifecasters
usually begin by either making or affixing a bald cap to their models head
to protect the hair. The bald cap is marked in several places using a
permanent ink pen so that registration or key mark made be made. In
lifecasting for art the artist often wants to capture the hair so the hair
is not covered, but conditioned with a mold release such as MoldEZ. In our
example we are going to do a face. A face cast is usually the front part
of the face without the ears and usually without hair. But for
demonstration purposes we will mold a section of the hair line so that you
can see hold to mold the hair.
Making a face cast takes about 30-minutes not including
the wait time for your casting material to set and any repairs needed
after the cast is removed from the mold. Small repairs are often needed to
clear up air bubbles and to shape the edges which are normally ragged
after removal from the mold.
A Different Approach
We are going to teach you a number of new and better techniques to
creating a perfect face cast. Here are the differences
- A new type of alginate - highly tear resistant
- A new bonding method to hold the alginate fast to the
shell mold without lumps
- Elimination of plaster bandages as a shell
Eliminating Casting Bulges
The technique used in this casting eliminates plaster bandages. Instead we
will use cheese cloth and a liquid plaster mix for our shell mold. This
method reduces the possibility of casting bulges. Casting bulges are
caused when the shell mold does not fit flush against the surface of the
alginate mold. This often happens when applying the casting material, it
will push out against the shell mold creating a bulge a dimple.
Eliminating Casting Dimples
Some artists create a flexible mold and a rigid mold without bonding them
together. A highly experienced artist can get away with this. But
most of us will find that if the rubber-like mold separates from the shell
mold in the act of removing it from the face it is difficult to get the
two pieces to fit back together exactly. If the pieces do not fit
precisely casting irregularities will manifest. The standard way to
laminate the to different materials is to embed fiber into the alginate
before it sets. The plaster in the bandages will adhere to the fiber
bonding them together as one piece. However getting the fiber on think
enough and even enough is a challenge. It often lumps up. The symptom of
lumping fibers is casting dimples or depressions. The new method make
adding fiber easy while eliminating casting dimples. |
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Molding Materials:
1/2-lb FiberGel E F/X Grade Alginate
2-lb CastRite or (Pottery Plaster)
(1)-Jar MoldEZ
(1)- Jar Petroleum Jelly
(1)- bottle Algislo
(1)-Box Rolled Cotton
Cheese Cloth
Jiffy Mixer or similar
Electric Drill
(3) - 2-inch Chip Brushes
(1) Shower Cap
(1)-Pair of latex gloves
(1)-Drop Cloth |
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Preparation:
Material preparation begins by cutting our cheese cloth
into 6-8 inch strips. We cut 6-8 strips this length. Then we cut about 6
pieces into 1-inch by 4-inch pieces which will be used to cover the nose.
We measure our 1/2-lb. of FiberGel E F/X Grade alginate. Take our cotton
roll and cut one 6-inch strip from the roll then pull this piece apart to
expose the more fuzzy inside surface which we will use to secure the
alginate mold to the shell mold. We measure out about two pounds of
plaster which will be mixed with water and brushed on the cheese cloth to
form a shell.
You may want to put down a plastic drop cloth to protect
the floor. We are using a stool to seat the model as it gives extra height
so the artist does not need to lean over. One of the areas of concern is
under the chin as gravity will pull the material away. Therefore, one must
be constantly vigilant. The stool makes viewing the chin much easier
Once all the materials and tools are arranged the model
preparation begins by cutting arm holes and a head hole in a large trash
bag to protect the model's clothes. It is securely taped front and back to
eliminate seepage. Since we are just doing a face this method proves the
most comfortable. If we were doing an entire head complete with shoulders
the bag would be secured under the arms exposing the shoulders. |
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| If this is the model's first time it is
important to discuss safety issues. You need to arrange hand signals so
that the model feels confident you will immediately pull off the mold
should she feel the need. Next you must tell her about how you will keep
her airways clear. We do not use straws as there is a chance that one can
be accidentally driven up the nose and cause harm. Instead we tell our
models that we will cover the nose area last. We explain that if any
material drips into her nose she simply blows her nose to clear it. We
further explain that we will use cotton swabs to keep the nostrils free.
It is important to make certain your mold material covers the sides of the
inside of the nostril opening otherwise the nose mold will be imperfect.
So make certain you explain this to the model so he/she can anticipate
your actions and will be reassured that this is normal.
Once the model has been briefed the artist prepares the
hair. Lifecasting purists often like to mold the hair and it can be done
with good results. It takes practice though. Special effect artists are
taught to ignore the hair and cover the head with bald cap. Since we are
only doing a face not a head, in this instance we cover most the the hair
with a shower cap to minimize splashing. We have left some hair exposed to
demonstrate how to prepare hair. MoldEZ is thoroughly worked into the hair
to the roots and a second coat applied to the surface. If you do not do
this well hair will entangle in the alginate mold and will rip it on
removal not to mention a bit of pain on the part of your model. MoldEZ is
a water soluble hair release which washes right out. Then
a very light coat of petroleum jelly is applied to the eyebrows and eye
lashes. MoldEZ can sting if it get in the eye so petroleum jelly is used
instead. |
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Creating the Mold
For a face 8-oz of FiberGel E F/X is mixed with 20-oz amount of water. This is a major technique difference. FiberGel E F/X
contains fibers which provide extra tear strength. Because of the fibers a
number of differences manifest. FiberGel is mixed thicker - to the
consistency of peanut butter. The benefit is that it seldom drips or pulls
away. But to achieve this thickness the mixture must be mechanically
mixed. You can't get the correct consistency mixing by hand as many artist
are used to doing. You will need a Jiffy Mixer and an electric drill.
However, because the material doesn't readily drip there is little waste
so when so most alginate materials require 3/4 pounds to 1-pound for a
face you only need a 1/2-lb with FiberGel. Another major benefit is that
the fibers make the mold highly rip resistant assuring that the mold can
be removed tear free.
Once the FiberGel is mixed it is applied beginning at
the top of the head and worked downward avoiding the nose. The nose will
be covered last. Notice the lack of drips even as the FiberGel is
completely covering the forehead and eyes. There are no drips on the
plastic bag. |
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EnvironMolds
18 Bank Street
Summit, NJ 07901
Tel. 908.273.5401
Fax. 908.273.9256 |
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EnvironMolds Art MaterialsTM, EnvironMolds® and The Art of Imitating LifeTM are registered trademarks of EnvironMolds, LLC.
© Copyright 1997-2008 EnvironMolds LLC. All rights reserved
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