Casting the Nude Female Torso | Page 3

Figure 10

Once the alginate has been applied, Algislo is sprayed on its surface to retard the alginate surface from setting, keeping it slightly sticky to hold the fiber which comes in the next step. 

Figure 11

The prepared square of cotton is then applied to the sticky alginate surface which pulls the cotton fibers off the pad and attach to the surface. The cotton square is gently patted over the entire surface of the mold. When the alginate cures, the fiber will be embedded to the surface.

Figure 12

The artist’s assistant mixes a batch of fast setting plaster to apply over the cotton. So that once the cotton is applied, the plaster is painted over the cotton fiber.

Figure 13

A first layer of cheesecloth is then added to the wet plaster and smoothed down with the palms of the hands to eliminate air bubbles. Additional plaster is painted over the cheesecloth layer.

Figure 14

A second layer of cheesecloth is dipped in the plaster and applied over the first layer of cheesecloth as added reinforcement.

Figure 15

The fast setting plaster sets in a matter of minutes. This allows for a more rapid demolding of the newly created mold. With practice this process takes between ten to fifteen minutes - a big relief for the immobilized model.

When the plaster has set, demolding can begin. The fingers are placed between the skin and under the alginate and moved around the entire perimeter of the mold. This breaks the suction that was created by the setting alginate.

The model is then asked lean forward. The artist positions one of his hands at neck level and the other at thigh level to catch the mold as it falls off into his arms.

Figure 16

The mold is carefully laid down so that it is completely supported from beneath. It is then inspected for any imperfections and the edges cleaned up using a sharp blade.

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