Moulding Part Two Evaluation

Moulding part two is done to achieve a negative mould of the product which has been sculpted. Once this is complete, one is left with a two part mould, a positive mould of the models head and a negative mould of the sculpt. This process included the use of clay and plaster and was a rather fast exercise. It is important to complete this step as once this has been accomplished, casting the appliance can be conducted which is done by pressing the two moulds together.

An overflow was made with clay which then created a cutting edge. This was constructed well around the edges of the sculpt which was later found extremely helpful once the appliance was cast. Before the moulding began, a work station was set up neatly to allow me to access products quickly when needed. This showed good organisation and preparation skills. The demonstration was followed correctly which demonstrated good listening skills and the ability to follow instructions. The exercise went well. 

Although all the instructions were followed as described, once the first appliance was cast, both moulds began to crack which meant that this would be shown in the detail of any further appliances. This also meant that the moulds may not stay solid when casting the appliance again. It was understood that the cause of this was due to the plaster not being thick enough which meant a ratio of water to plaster should not be 1:2.5 but perhaps 1:3.5. A new batch of plaster with the new ratio was made up and added around the outside of the negative mould and to the edges of the positive mould. Burlap was also encountered to assure the moulds would stay stable. This demonstrated problem solving skills. If I was to complete the task again, I would make sure the plaster was thick enough by adding more plaster to water and would add more to the moulds.   

Casting the Appliance

For this assessment, the final piece will be made with foam latex. This is because the prosthetic is to be flexible and move when the face moves. All foam latex systems are a combination of natural latex (concentrated sap of rubber trees), a soap to make the foam whip up to desired volume (foaming agent), a vulcanizer (curing agent), and a coagulant (gelling agent). Foaming agent is a substance which is safe to use however curing agent and gelling agent are both toxic ingredients. Below is a step by step which demonstrates detailed instructions of this process with images. 

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What you will need:

- Gloves (latex free)

- Cloak

- Scales

- Mixer

- Spatula

- Latex foam base

- Foaming agent

- Curing agent

- Gelling agent

- Syringe

- Small plastic pot

- Timer

- Oven

- Large paint brush

- Two part mould

- Mould release agent
- Screw driver

Step 1: Set up equipment on the table. Put on the gloves and cloak.



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Step 2: Place the bowl from the mixer onto the scales and reset the scales to 0.000. Pour 300g of latex foam base into the bowl. (Image one).

Step 3: Reset the scales to 0.000 then pour in the foaming agent which should be 20 per cent of the foam base, which in this case is 60g.

Step 4: Again, reset the scales to 0.000 then add curing agent which should be 10 per cent of the foam base which should be 30g.

Step 5: Place the bowl back onto the mixer and turn the mixer on at a maximum speed. This is done to make the latex rise and give it volume. Set four minutes on the timer.

Step 6: Once the four minutes is up, turn the mixer onto the lowest setting. and set the timer for six minutes. This is done to cut down the number of air bubbles and make the product smooth.

Step 7: Place the small plastic pot onto the scales and set them to 0.000. Add gelling agent. This should be 10- 15 percent of the foam base depending on the temperature of the gel. If the gel is warmer use less and if it is cooler use more.

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Step 8: Use the syringe to slowly add to the mix for another two minutes. This is to allow the foam to become a solid. (Image two). Use the spatula to scrape off any latex that may have risen in the bowl and mix it in.

Step 9: Once the mixing time is up, use the large paint brush to apply it to the negative mould making sure it is applied thoroughly to avoid air bubbles and so that the detail will show up well when finished. This should be done quickly while the latex is still a paste like texture. (Image three).

Step 10: Fill the rest of the mould with the substance up to the edges of the mask which has been sculpted. 

Step 11: Place the positive mould inside the negative mould then squeeze the two moulds together. The latex should then squirt out of the sides. (Image four).

Step 12: Leave the latex to set. This should take 10-15 minutes.

Step 13: The product should then be placed in the oven for three hours. This is so that the product has fully set and has become a solid.

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Step 14: Once the product has set, use a screw driver to spate the positive and negative mould. This should be done with care to prevent the moulds from cracking. The appliance is then ready for application. For long term storage, the foam piece should be powdered and placed into a plastic bag then sealed. 



Casting the Appliance Evaluation

After completing the two part moulding process, the next step was to cast the appliance. This was done using foam latex which was formed by adding a number of ingredients both safe and toxic. When completing the task, it was important to wear protect clothing and work cautiously. The exercise did not take long to carry out, however the product was to be left for a few hours to set. Once the latex had set and the two part mould was removed. I was left with my prosthetic facial appliance which was ready to be applied to the model. This task was undertaken twice in order to obtain a prosthetic to practice on and one to use in the final exam.

This task although done quickly, it was one which would suffer bad results if the correct measurements of products were not used. This meant one had to stay focused and listen carefully demonstrating good listening skills. I followed instructions and considered caution very carefully. It was an enjoyable task and I found myself helping others who needed it showing team work skills. When the first mask was removed from the mould although the mould cracked, the mask was done successfully, capturing all the detail which was sculpted and I was pleased with the outcome.

When later on applying the first mask as a practice I realised that the overflow in the position of the eyes was not smooth fading onto the cutting edge which meant when the piece was to be attached to the face it would not blend so well with the skin. It was difficult removing the first appliance from the two part mould as the plaster used for the mould was not thick enough which meant it began to crack on the positive and negative mould. When the prosthetic was removed, it was vital to stabilize the mould by mixing up more plaster and adding it to the outside of the negative mould and round the edges of the positive mould. Burlap was also added to assure the product would stay strong. Unfortunately, there was cracks in the detail which the second appliance captured. If I was to complete the exercise again I would not change the way the appliance was casted but would make sure the plaster was thick enough when completing the moulding process and ensure the overflow was thin when blending it onto the cutting edge.

Application

When applying the prosthetic to the models face, as it has been moulded intentionally for the person it is being applied to, it should fit perfectly and sit well on the face and should not be stretched. Once the prosthetic is applied, cabosil and Pros-aide are mixed together to make a paste which if needed will disguise the outline of the mask on the skin. The goal is to then make the prosthetic seem translucent by building up layers of thin colours so you can see the layers and see the depth. Below is a step by step demonstrating how to apply and paint the prosthetic piece for the look sculpted by myself: 

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What you will need:
- Cloak
- Small pot x3
- Cotton buds
- Pros- aide
- Cabosil
- IPA
- Red acrylic paint
- Yellow acrylic paint
- Brown acrylic paint
- Stipple sponges
- Paint brushes
- Rubber mask grease paint
- Talcum/ translucent powder

Step 1: Set up equipment. Make sure your model has no make-up on and has her hair tied back.

Step 2: Take the first small pot and mix together red acrylic paint and pros-aide. Take the second small pot and mix together red, yellow and brown acrylic paint then mix in pros-aid.

Step 3: Apply pros-aide to the centre of the prosthetic at the top of the negative part of the mask. Place it on while it is wet so that you can shape it correctly. Use a cotton bud to do this. Continue to add pros-aide to the centre of the prosthetic.

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Step 4: Check in the mirror that the prosthetic is positioned correctly then add pros-aide to the edges of the piece including around the eyes using a cotton bud. Powder the eyes using the talcum/ translucent powder and powder brush.

Step 5: Take the final small pot and mix together pros-aide and cabosile to make a paste. Apply this to any edges that have not blended well with the skin. This should be applied with a cotton bud rubbing back on the prosthetic before smoothing it down.

Step 6: Use IPA to lift the glue off any part of the prosthetic that does not lie correctly, then re stick the piece using a cotton bud and pros-aide.(image one)

Step 7: Stipple the face using a stipple sponge, with the red acrylic paint mixed with pros-aide. Cover the entire piece blending the red out on the skin.This allows the painting to have a feel that there is blood underneath the skin. Then powder over the face. (Image two).

Step 8: Repeat step seven however create the second layer using the mix which contains red, yellow and brown acrylic paint and pros-aide.

Step 9: Using a new stipple sponge, stipple a skin colour rubber mask grease paint onto the prosthetic. Blend this out onto the skin. Powder over. (Image three).

Image three

Step 10: Use a reddish brown rubber mask grease paint and paint brush to fill in the eyebrows, a line at either side of the nose should be painted following the brows to define the shape of the nose. A black rubber mask grease paint should be used to apply strokes into the brows.

Step 11: Dab a light brown and reddish brown rubber mask grease paint under the eyes, above the cheek bones, in the centre of the forehead and down the centre of the nose.

Step 12: Dab a black and dark brown rubber mask grease paint to the cheek bones, top of the fore head, to either side of the nose and in the temples of the head, (This is to contour the face).

Step 13: Blend the colours together using a dabbing technique and a stipple sponge. Then powder over the face.

Step 14: Using a reddish brown and dark brown rubber mask grease paint, paint on the eye make-up. This should follow the crease of the eye and flick out on the outer of the eye. This colour should also be applied under the bottom lashes. Use a thin paint brush to complete this. Use a skin colour rubber mask grease paint to highlight the brow. Powder over the eyes.

Step 15: Stipple black rubber mask grease paint on the end of the nose. Use a paint brush to fill the nostrils with black. (Image four).

Image four

Finalising the look step by step

When finalising the look, it was important to remember that the overall style is fashion based. This meant that additional make-up was to be added, the hair was to be styled and an outfit was to be added. Below is a step by step to complete the final look for the chosen design: 

What you will need:

Image one

• Hair piece
• Hair grips 
• Hair spray
• Hair bobble
• Paddle brush
• Pintail comb
• Eye lashes
• Eye lash glue
• Black MAC fluid eye liner
• Mascara
• Mascara wand
• MAC Creme de nude lipstick
• Crown sable eye liner brush
• Crown oval taklon lip brush
• White cravat
• Cravat pin
• Black body top
• Brown blazer
• High waisted tailored trousers
• Black wedges
• Cane

Step 1: Add black MAC fluid eye liner to the water line of the eyes using a sable eye liner brush. Then draw on a thin line on the top lid above the lash line, repeat this under the bottom lash line on the lower lid. Apply Mascara (W7 Flirty Eyes False Lash Effect) using a mascara wand.

Step 2: Add MAC Creme de nude lipstick using a oval taklon lip brush.

Step 3: Place lash glue on the false eyelashes and allow it to dry, and then place the false lashes on both lids.

Step 4: Brush through the hair using a paddle brush.

Step 5: Take a section of hair from the front of the models hair and tie it out of the way for the time being. Take the back section and pin it into a small flat bun at the back of the head at the bottom.

Step 6: Place the head piece on the top of the head. Back comb the hair from the front section of the head using a pintail comb and spray with hairspray the style it so that it disguises the front of the head piece. Style the fringe. Pull the hair from the hair piece to the right.

Step 7: Plait the remainder of the hair in a fishtail plait and tie it using a hair bobble. Spray hair spray. Then take a section of the loose hair which is tied in the bottom end of the bobble and wrap it around the bobble to hide it. Pin the hair with a hair grip. 

·      Step 8: Assist the model into the outfit, help tie the cravat and add pin. The cane is there as a prop. (Image one).
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Application: Practice Images

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Application: On Set Images and Video

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Click the link below to see a video taken on set.
https://www.facebook.com/photo.php?v=10152453086519588&l=4063311206676293410