Claire Golby
Level 5
Dramatic Contexts
Loop tool/Ribbon tool: Is also used for removing material, but in strips instead of in large sections. It has a flat side and a bladed side which gives a hard, straight, uniform cut. This tool can also be used to create wrinkles, but is generally a bit big for such a detailed effect.
Stipple Sponge: Is used constantly to create a skin texture so that when a flat piece (such as a cut) is applied, is blends in with the surrounding skin instead of being unrealistically smooth.
stuart bray. (2014) Sculpting Prosthetics: Reptile Skin. [online]. Available from: https://www.youtube.com/watch?v=rUh4VUAQlNQ&index=4&list=UUKZTt3ilM0Ry1YgN0ZJG7nw [Accessed October 4th 2014]
stuart bray. (2014) Sculpting Prosthetics: Skin Textures. [online] Available from: https://www.youtube.com/watch?v=1IAc2hDCHlQ&index=5&list=UUKZTt3ilM0Ry1YgN0ZJG7nw [Accessed October 4th 2014]
Rakes/loops: Are wire racked to smooth down surfaces and take away material. They remove the highest points and miss out the low ones. They can also be used to create a rough, wrinkled texture.
For my sculpts, I decided to do a vampire bite and a lizard skin inspired piece. I wanted the vampire bite to like a little rough, like maybe the victim had struggled a little, hance why the bite isnt completely smooth and there are some little dents around the hole. I tried to measure how far away the distance would be by measuring the distance of the canines on my own teeth. I had difficulties trying to do more traditional, scaley lizard skin because I couldn't get the clay as smooth as I wanted it. So instead I went for a more spikey kind of scale instead. As it was quite small and intricate, I still couldn't manage to get it very smooth or as polished as id've liked. Upon reflection, and after watching the Timothy Martin DVD, maybe using some lighter fluid and a small, smooth brush would've helped me achieve the right texture.
Sculpting Flatpieces
Clay Shapers: are for water based clays. They have soft or firm tips made of silicone that are typically used to make marks and detail a sculpt.
To learn more about the intricacies of sculpting, I went on youtube to look at some of Stuart Bray's videos, which were really helpful and informative and I feel i know have a better idea of how to use sculpting tools for their intended purposes to create better effects.
Tools
Lizard Skin, (2013) [online image) available from: http://www.reptiles4all.com/data/2031/cache/208198v755r500g3.jpg [accessed October 12th 2014]
stuart bray. (2014). How To Use Flat Moulds by Stuart Bray. [online] Available from: https://www.youtube.com/watch?v=O1U7XFSiCh8&list=UUKZTt3ilM0Ry1YgN0ZJG7nw [Accessed October 4th 2014]
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"Sulfur Clay - Anything that comes into contact with sulfur-infued clay whill inhibit the silicone from curing. Manufacturers use sulfur in clay because it is an inexspensive, nontoxic filler that enhances the surface texture of the clay, giving it a unique, silky feel.
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Wed Clay (Walter Elias Disney): a water based clay. Lightly spritzing your clay with some water from a spray bottle or using a mixture of water and glycerin will keep your clay workable. An advantage of water clay over oil clay is that it takes texture stamos more easily with less pressure. However, if the clay is too wet then the stamp will just make a smear. Water clay is very easy to work with quickly because its soft. A design can be roughed out in a short amount of time.
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Oil Clay: Chavant Le Beau Touche is one of the most popular oil clays and the one we used in class. Its firm, but easily warmed for malleability and takes texture stamps well. This clay can also be melted, poured or brushed and dissolved with lighter fluid. Its fairly firm, but if you want to sculpt props like weapons, then Casteline (a wax-based clay) is better because its a lot firmer. "
CLAYS
Debrecini, T. (2009) Special Effects Makeup. Oxford: Focal Press. Pages 115,116
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Warm and smooth out clay
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Smooth seamlessly onto the tile
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Rake from the centre outwards to keep clay even and level
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For a wound, you can scrape out all the clay until you hit the tile. Clay can then be added back in for fat and sinew, etc. Can add muscle hanging out of a deep wound
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Think about skin tension and impact for a wound
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Also think about placement and any wrinkles that might need to be added - parent wrinkles and child wrinkles for a realistic finish. (power of X, all wrinkles overlap)
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Skin works in the opposite direction to muscles
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After spreading the edge with your fingers, you shouldn't be able to feel a step between the edge of the piece and the tile
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To blend seamlessly take some lighter fluid on a sponge around the edge to dissolve some of the clay
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Clean off all tools with lighter fluid
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Roll out a piece of clay into a sausage of even thickness
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lay it around the piece and push down gently about 1cm away from the edge trying to maintain an even thickness
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take a sculpting tool and surgeon slice the edge so that it's vertically very straight. A tool such as a clay extruder could aid this process
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The flashing needs to follow the edge of the sculpt and should be about the same height as the highest point on the sculpture
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The closer this wall is to the sculpt, the less flashing there will be
For the 2nd barrier
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Make a thicker sausage
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This one needs to be higher than the previous barrier
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NO HOLES, or the silicone with leak everywhere
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Go around the inside with a sculpting tool on the inside and surgeon slice it like the 1st barrier
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This wall should be about 1cm away from the 1st
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Any edges can be neatened with a cotton bud and some lighter fluid
Looking at this birds eye view photo of my finished sculpt with flashing, its obvious that the second wall isn't an even width apart from the first one. However, I had to make it close to the first wall around the lizard skin sculpt, as i'd sculpted it too close to the edge of the tile in the first place. I also think that I might not have sculpted the vampire sculpt flat enough to the tile. I think it might come out slightly bulkier than i'd planned.