How to Mold a Prosthetic Makeup Sculpture – FREE CHAPTER


– All right, the first step is over. You know, we’ve cut her ears off. This is a witch without ears. Now I wanna lay her down, and
obviously her big shoulders are in the way, but I wanna lay her down ’cause I’m gonna take a
little alginate snap mold of this area that we just did. So I was thinking you could
lay her down on anything. I was thinking a bag of white
clay, but that is too tall to get a nice horizontal angle for her. So I happened to figure
out just a minute ago that this nice pillow of
Accu-Cast, which is our alginate, is just about the right height. So I’m gonna put that there,
I’m gonna put a little form pad on it to protect our sculpture, and I’m gonna stick her like that. So that’s pretty good. What I have ready at the table is everything you’re gonna need. I have plaster bandages, buckets. I have water sources ready. I have alginate ready, white clay. I have my famous clay cutter
that I believe you saw in the last episode. And we’re gonna get to work here. So the first thing I want
to do, I’m gonna cut a nice thick slab of white clay. I wanna get my mold knife out which is here. So there’s a fettling knife,
this is actually called. With a fettling knife, we fettle, and here’s our slab of clay. I’m just gonna cut it in half
and all I’m using this clay for is to prop her up so that she’s not going all over the place
while we’re trying to do that. Now we can take our
adjustable clay cutter, which you just saw me use, and we’re gonna change to
roughly about 1/2 an inch. I’m gonna take another slice off my clay, and move that aside. And all I’m gonna do is,
I’ve got a straight edge, I’m gonna cut a wall, cut some strips, about an inch and a 1/2, what
have you, it’s not critical. I’m gonna make a little
bit of a wall around here so I don’t have to make a gigantic mold. I don’t have to get alginate
all over my sculpture. This is a very crude wall. I’m not gonna get too
carried away with it. I am thinking about what
my final piece is gonna be and how big it’s gonna be. And I’m also going to look at the ear and make sure for the final buck, the positive that this ear will be permanently sat on and completed, that there’s enough
plaster around the ear. So what we’re doing is
we’re taking a mold here. We’re gonna make a plaster
piece that this ear will then sit on and be finished and then a mold will
be made on top of that. So we’re making a plaster piece that has all the witchy textures that
I’m gonna match this down to. So I’m just making sure as I’m
making my little mold here, nothing has to be perfect, but we’ll work as cleanly as possible. I’m just making sure
there’s enough plaster and witch texture represented around the ear. And we can make a cut here,
’cause that’s all we need. Put that together. Again this is crude, but it’s fine. We can clean it all up later. I’m gonna add a tiny bit here because, as I pour my alginate, that’s the dip where it’s all gonna run out. So I’m just gonna add a little bit there. So I mean that looks like
a healthy amount of detail and plaster and clay around the ear. When you’re working mold walls like this, try not to do what I’m doing right now. Try not to get in there with your fingers and make all kinds of finger printy stuff. Try to just use your clay
as a wall, you stick it, you leave it alone. All right, you butt the next one up. You maybe smoosh a little bit together. But try to work cleanly. If that’s your wall and you
stick it there, you’re done. Don’t get in there, and I see all kinds of beginning mold makers get in there and they’re doing this and
trying to make it all perfect and they end up with that. They end up with this horrible lumpy mess. So here we have Accu-Cast alginate, prosthetic grade alginate. You can use any brand of alginate. My recommendation, honestly, for this work is buy a nice cheap alginate because basically we’re
making a lot waste molds. We call them waste molds
because you’re gonna pour one thing out of it and
throw it away, okay. So don’t buy prosthetic grade cream, you know the very expensive stuff. This is perfectly fine. There might even be cheaper
solutions, I’m not sure. And we’re not gonna need a ton of this. That’s probably more than plenty. This is alcohol. I’m smoothing some clay, and
cleaning a little clay dust. You could use water if you were
in love with your sculpture and didn’t want to smooth
it, but I’m also smoothing some sculpture in here as we go. Okay, so there’s that. We have our alginate, we
have our water source. We need another bucket
for plaster bandages. So we’ll just put a little water in there. Hot water will make
your bandages go faster. This is not hot water. So always alginate, always add water into the powder, never
the opposite way around. It’s completely different than stone. Stone you add powder into the water. This is the opposite. So you just mix that up. Thick is fine for this. You’re just capturing not a lot of detail. You’re just getting a form basically. You want what detail is there, but that’s not even finished detail yet. That is the rough approximation
of finished detail. You’re gonna see as we
go through this process, you’re gonna finish all
the finished, finished, finished detail on the
separate little molds. So you’re not done sculpting. There’s still sculpting to be done. So there we are, nice and creamy. It could have been thicker,
it’s fine like this. I’m just gonna put it in there, and really kinda mush it down, make sure I am getting
whatever detail there is. You could put it in with
a brush if you’d like. Again, you’re more
worried about basic form. So this getting thicker already. And the next thing we’re
gonna do once this thickens up is just put a little plaster
bandage shell around it to hold it in place. What we’re gonna be doing in this process is a lot of little mini
lifecasts like this. Once we cut this apart
and put it in the water, we’re gonna take all the
clay pieces off except, well, you’ll see. The head part will be the
first part we finish, the cowl, because that’ll be the first
part we put on the actress will be the overall headpiece. All the other pieces
are gonna key onto that. So we will finish off the headpiece first and then we’ll slowly start
adding back the other pieces and taking little molds so that they all fit together with their wrinkles. It’ll all come clear as we do it. I know right now that might
seem a little mysterious. You could use gloves for
this if you wanted to. I find that this is such a gummy material that I find it hard to
work in gloves with this. But this is perfectly safe, inert. You could put this in your mouth although it doesn’t taste good. They have separate dental
alginate for mouth castings that has a minty taste. This tastes like chalk. And I’m just waiting for it to set up. Now we’re gonna do the same
thing to the other side. They actually give ratios
on this for how you mix it. I just mixed it by eyeball ’cause I’ve been doing it for years. But on this particular brand, they say a good average consistency
is approximately four to one. That would be two ounces of powder to eight fluid ounces of water, four ounces of powder to
16 fluid ounces of water, eight ounces of powder to
32 fluid ounces of water, and so on. So they actually give
you ratios on this one. That’s news to me. You’d have to do a test and
see what their ratio gives you. Obviously this could have been thicker than what I made it but it’s fine. You wouldn’t want it
any runnier than this, so you’d have to try out
their ratios in a little cup or a little test batch to
make sure that their idea of what’s good is not too runny. It’s definitely gotten
to be like jelly or jam on the top here. It’s not running anymore. It’s not gonna go anywhere,
but it’s not quite setup enough for us to do our thing yet. While I’m waiting for
that to completely harden, I’ll rip up a few plaster bandages. We’re not gonna use many. We won’t use more than a roll. I like to make them two ply thick. Some people go three, some people go four. By two ply I mean I fold it over once, so it’s two bandages instead of one. I think we went through some
of this on the lifecasting when we did Cynthia’s hands. It’s kind of whatever you like. I do at least two play. I haven’t used a single
layer plaster bandage in years and years and years, probably not since I
was first starting out. But you could fold this over once, you could fold it over twice, you could fold it over four times, whatever gets you through. Personally in this instance,
because we’re only really trying to capture a form here, you could have made six
layer plastic bandages and just done one layer
on here and been done. I like just the two layers
to capture all the detail and get around all the nooks
and crannies and all that. But then you could start
backing it up with four layers, six layers, whatever,
just to get through it. So this is a holdover of lifecasting which is what we’re basically doing here. Okay, our alginate is setup
here and we’re gonna get to the plaster bandage part. But because we’re at Legacy Effects today, I thought I could show you a different way to go about this tool. This is my famous adjustable clay cutter that we love so much. If you don’t have one of
these or don’t have access to one of these, lots of times you see the two dowels with a wire between
them, a garrote, if you will, or even if you won’t,
that is a clay cutter. How you get a nice controlled
thickness like this, if you just take that and
go across a block of clay this gives you a nice, smooth, even slab. There’s another way to go
about it and I just happened to find these here at Legacy today because they have all the fancy stuff, this is another thing you can do. This is a board with, they
have machined aluminum on here, that’s 1/2 inch, you can
see that, it says 1/2 inch. They also have ones that are 1/4 inch, and you can make it whatever you want. Now if you don’t have access
to nice machined aluminum, and who does, you can just
glue some paint sticks here. You could take some paint sticks, pretend this is just a board, you can just glue paints
sticks, hot glue them down, until they are the desired height. Right, so three, maybe four
paints stick makes 1/2 an inch. So take that away, and
put that there instead on each side and you’ve got
1/2 inch clay cutting board. So this is the garrote
that I’m talking about or the gar-rot. It’s a wire and two pulls, okay. Cheap and easy, you can find these at any sculpture house, any art store. If you make a board with paint sticks or nice machined aluminum, you can put your clay on there like that, you put the wire down tight, and you just slice through always keeping the wire tight onto there. Then when you pull this off, upend it, you have a nice, clean slab of clay. I just wanted to show that
for all you mold makers out there, so you don’t
think I have something fancy that you don’t have. ‘Cause you can make this
really, really easily with a paint stick and a board. Okay, back to this. We are now ready to take this
clay wall off, this is setup. You can see it’s nice hard, it’s not hard, the material never gets hard,
it’s always kinda squishy. And you take your clay wall off. Okay, and you can take some of this little delicate stuff away. That’s not gonna buy you anything. You can take a nice, sharp tool. This is really jellylike alginate. I’m not sure I’m in love
with it, but it’ll work. It’ll work just fine. There we go. Now we are going to put some
plaster bandage around that to make sure it holds its shape. So we have our water, I
have warm water this time. Because I have seen the error of my ways and instead of using these two ply, I’m gonna put two together
and have four ply. Put it in the water,
squeeze it out real good, and I’m just gonna put it
around the edge to start with. Now all this is for is to
make this jiggly jello here of alginate just keep its shape. Again two, two plys
together makes a four ply. Squeeze it out real good,
you don’t want it all runny. I’m folding it over
again so I literally have an eight ply around the edge. Make sure the plaster bandage
is all meshed together really, really well when
you put it on there. Make sure there’s not
a lot of air under it, that it’s all laying down nicely. Now we’re gonna cap that. Now because I used so many
ply together, that’s probably all the plaster bandage
that I need on there. I’m just using this extra
piece ’cause this end didn’t get as much love as that end got. You gotta make sure the children
are all treated equally. And we’re just gonna let that set up now. Now normally I would use extra fast set. Today we’re dealing with fast
set which is not extra fast, so we’re gonna have a moment here. Once this is set, we’re gonna pull it off, flip it upside down. We’re gonna put Hydrocal into
it and make a stone positive.

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