painting Silicone, I started off by cleaning the silicone mould using lighter fluid, this creates a base for the silicone paint to stick to by opening up the particles of the silicone. It also removes any dust or grease that has accumulated on the silicone over time. After this Platsil gel 10 silicone is mixed up (only a small amount is needed) and then diluted down to a wash (1 part silicone to 10 part lighter fluid) A small amount of oil paint is added but for this first colour pass it needs to be very opaque otherwise it won’t look natural.
The issue I had with the painting Is that I couldn’t put it back on the bust peg because I hadn’t left a hole in it. Consequently this made it harder to paint because where the head rested on the glass jar no paint could get to so I had to try and move it around which was not easy with the wet paint. Next time the bust peg could have been placed in the un-cured silicone that was still in the mould, this would leave a slot for the head to slip back onto once cured I could have then filled the hole back up once painted.
The first wash of colour picked up details in the silicone, this is why it was important not make it too thick as it would take away the texture.
I found the best way to apply colours was by stippling it on, This stopped it looking painted on and built up a gradual natural colour. I worked with depth perception something I learnt from watching the Rick Baker youtube video, The areas that were higher up I painted with a lighter yellow tone and the sunken areas purple tones were used. Different sized paint brushes were used to paint in details.
I powdered this which then really brought all the colours together, after powdering I flicked on darker shades of paint to create more of skin texture.
As these are shrunken heads I wanted the colours of them to be quite washed out as there wouldn’t be any blood running through them.
Videos of me painting one of my silicone heads
Sculpting inspiations African Scarification Using this standard fibre glass head I am able to use it to plot my sculpt on this helps me to visualise what it will look like when applied to the face, which is some what difficult when it sculpted onto a flat board. I applied a layer of fairy liquid under the sculpt so that when I put it in water it will hopefully float off and I can re sculpt it on to a flat board
Sculpting the scarification was interesting as it still need to blend into the skin so there were no edges but at the same time there need to be a visable difference between the scarred skin and the skin underneath.
The teeth that are embedded into it were donated to me from a friend who makes teeth. The reason why I chose to have teeth in it is too show another side of body modification what could be the future of it?
Along with this I wanted it to have some form of magic to it rather than just normal scars, something different and interesting.
I tried filling my first mould with geletin to see how it would come out, however I didn’t quite have enough geletin which meant the water ratio was too high making the gelatin very fragile. it was still good to see how the mould went together and if anything leaked.
If there were any leaks I would be able to prevent them before using silicone which would be more of an expense to lose.
when I pulled the mould apart it split the gelatin in half as it was so fragile but it was good to see how much silicone would approximately be needed
Here you can see some of the detailing came out of the forehead and eye socket. I was really excited to see this just to know that the detailed was picked up after I had the issue with the gel coat, when fibre glassing. The gelatin soon melted in my hands as it wasn’t stable but still was a good process to see how the mould fit together as I have never done a two part mould before. Experiment before going into using silicone.
I then placed the mould into a bucket of warm water and left it to soak in there for around half an hour. Turning the dry clay into a slurry with a scrubbing brush I was able to remove most of the clay, I then went in with a toothbrush and removed clay from the harder to reach areas.
This process of cleaning out the mould was a lot easier than it has been in the past when working with plasterline and le beau touche
This photo shows the issue when the fibre glass lifted up due to having to leave it over night as the gel coat didn’t set in time. The lighter colour is where is has lifted away from the rest of the fibre glass.
Washing the clay out fine details appear, paint brush was the last process to get the last of the clay off
First Fibre glass mould. I added pigment into one side of the fibreglassing so that when it came to demoulding I could see which side was which and make sure it was cracking down the right seem. The fibre glass itself had separated slightly anyway, which originally concerned my but luckily it was further out away from the sculpt so I just cut it off with the oscillating saw.
G clamps are need to hold the two sides of the mould together whilst holes are being drilled just in case it moves whilst they are being drilled and then don’t line up
These are G clamps
It was difficult to place these on my mould as it doesn’t have many flat surfaces to clamp on to. originally I tried to use grip clamps but they wouldn’t stay on the mould and kept sliding off. I was then recommended to use these by the workshop technicians. the mould hand to be layed down as the clamps were to heavy for it to stand by itself.
M6 is the industry standard bold used for mould making which is 6mm in diameter, I had to use a drill bit which was the dame diameter here they are shown next to each.
Here I drilled a hole in the top put through a bolt and tighten with a wing nut. This held this side together meaning I could move the clamp around and hold the other side. I put bolts in top, two sides and one at the bottom, then removed the clamps and drilled the rest of the holes.
When screwing the bolts in I had to hold my mould up to the light to be able to see where the keys were. This was so I didn’t drill through them making them week.
Final mould with wing nuts in place. Once this was done it was all taken apart and demoulded. This stage is done before demoulding so that it fits perfectly together.
In the past when making and applying flat pieces I have never applied them to skin that wasn’t Caucasian, so as a challenge for this project i’m planning on using a model with darker skin. This in turn meant doing a colour test so that when It comes to pigmenting the silicon piece I can get the closest match as possible
I was give a couple of rings which held lots of different samples of silicone pieces tinted to different shades. Each had a number reference that I could link too later on.
These colour swatches were originally designed for Australian skin, so finding an exact match was tricky. They seemed to have a more ash undertone where as my model very much has a yellow undertone to her skin. However this will give a slight match that I can work with. I took two different shades one from the lighter part of her skin and one from the darker areas.
Here is where the colour is marked (I will refer to this later on) I have taken a photo in order to remember which shade it was as a lot are the same.