Project 3: Head [Moulding, Casting, Painting]

Feb 3, 2019
3 min read

The Mould Making Process:

A month has passed since the sculpt was completed and luckily it was still moist and in-tact after following the proper wrapping technique. From here we had to mark out where the shim would be placed and work very carefully to avoid any gaps that the silicone or plaster could slip through.

Below you can see this process using metal shim, plastic bubble sheets and parcel tape

Above: Marking out the sculpt and creating the shim frame.

From here, we had to apply our first thin layer of silicone - paying close attention to fine details and orifices [nostrils & ear cavities]. Below is a short time-lapse of that process and some images documenting the thicker layers of silicone applied. Keys were made using buddies and once the silicone was set, we created the jesmonite casing to support the mould.

https://www.youtube.com/watch?v=lNRRNzfg2c4

Above: Applying multiple layers of silicone, using buddies to create keys and a final layer of Jesmonite.

Once everything was set, we had to chisel and pry open the structure carefully, revealing the sculpt below. Unfortunately, I noticed one large dent in the back of the head where i had pushed a tool in by accident while adding the silicone. Luckily, this can be corrected in the plaster cast stage.

https://www.youtube.com/watch?v=2qwDEtdqtcg

Above: Removing the mould and supportive Jesmonite layer.

The mould came out better than expected and it was interesting to see that through the lens, and depending on shadows cast by the classroom light, the face appeared both concaved and convexed. Below is a short video of the mould from within - to me it resembles something close to a feotus 3D scan used in medicine today.

https://www.youtube.com/watch?v=dWDEqR4Qbw0

Above: Video footage of the silicone mould from within.

https://www.youtube.com/watch?v=tplC98W_VHQ

Above: Recyclying the clay before dismantling the armature.

The Cast Making Process:

As a practice step before creating the entire head, and to use to test paint effects, I attempted a half piece. This required 4 layers of plaster with 2 layers of scrim in between. Below you can see the result, luckily the only defects were the strange nostril and a small air bubble behind one of the ears.

Above: The result of the half cast.

Making the full head required up to 2 other people helping me, especially when it came to putting the two halves together. The actual casts of the front and back came out really well, however it was the seem that was a little dissapointing. Due to uneven thickness of plasters, they didn't line up quite right which meant I had to do a lot of modification once the plaster was dry. Luckily I didn't have to redo this stage but I've definitely learnt something for next time.

Above: The whole head cast's seam and placed alongside the half cast.

Note: Kerry required a collection of casts to turn into a presentation board, so Martin demonstrated a very simple face piece [not half piece] by simply painted in the details and then pouring in the plaster up to about an inch above the eyes. Below you can see all 3 casts side-by-side.

Above: Half piece, whole piece and face piece.

Colouring the Half Piece & Whole Piece

Using shellac, bronze flake powder and different coloured waxes I decided to go for a fake water-eroded bronze look as documented below [along with the mounting of the full head onto a plinth].