About 10 years ago I did some work for
a few special FX teams in London. All of the companies had at some point
dabbled in prosthetic make-up effects for fantasy and/or horror movies.
Back then, before the advent of today's digital effects, this invariably
involved the use of latex appliances worn by an actor to distort his or
her face. These projects usually came under the remit of 3 different groups
of people. On one side were the creative teams consisting of designers,
sculptors and model makers. A second group was composed chiefly of lab technicians
whose job it was to fashion the molds from which the appliances were created.
Once the latex pieces have been produced they are then passed on the make-up
team who prepare them for application.
One of the first steps in the process involves taking a life cast of
the actor's face. This will create a negative mold. From this, the technician
will produce a solid positive casting. This then forms the basis upon
which the appliances are modelled following the precise contours of the
actor's face. This is usually done with Plasticine or some other sculpting
material. Once complete, the technical will take a second negative casting
incorporating the newly modelled features. At this point both of the required
positive and negative molds are complete. When they are placed together,
and the sculpting material is removed, there will be a void between the
two halves. Finally, the technician fills this area with foam latex or
urethane to create the appliances.
One of the companies I did some work for asked me to recreate part of
this procedure and make a photographic record of the process. I was instructed
to create a positive mold and then use this as base on which to sculpt
an old age mask. Although I had access to a range of specialist tools
and materials, many of them are now widely available on the open market.
This is one of the reasons why I thought I would dust off the old pictures
and present them to you here. The process is still widely used throughout
the film industry and any budding FX technician should take note!
Materials
Prosthetic Grade Alginate
Dental Stone
Plaster Bandages
Petroleum Jelly
Roma Plastalene
Tools
Bald Cap
Make-up cape or similar covering
Sculpting tools
Spatula
Large brush
Various mixing bowls
Procedure
Begin the process by preparing your subject. It is a messy business so they
should remove most of their clothing from the waist up. Modesty is protected
by the use of a make-up cape or some similar covering. (pics 2 + 3) Click on the thumbs for a closer look.
The subject is now fitted with a bald cap to cover all hair. The entire
face is then given a light covering of petroleum jelly. Special attention
paid to the eyebrows and lashes and any other facial hair. (pics 3 + 4)
Next it's time to apply the alginate. This is a common impression material
that is easy to prepare and apply and does not require heating. Some people
may have already come into contact with alginate at the dentists when it
is used to create impressions of the teeth. The alginate is applied with
a brush and spatula all over the face. Most alginates start to set within
3 minutes. Although the technician must work quickly care must be taken
around the nose and mouth. These areas should be covered last. It is vitally
important to ensure non of the material blocks the nostrils. Some technicians
take the precaution of inserting straws into the nostrils - but this is
not to everyone's taste. In any event, ensure that the subject is comfortable
and the nostril air ways unobstructed at all times. (pic 5)
Once the alginate has been applied, it must be reinforced with a mother
mold. This is made from strips of plaster bandages - the same material that
is used to create casts around broken limbs. The bandages are soaked prior
to the application of the alginate so they are ready for use soon after.
The strips are applied firs, vertically, around and down the top of the
head, forming the demarcation line at the back of the casting. (pic 6) Other
strips are then added under the chin and across the brow. (pic 7) The process
continues around the face until it is covered with 3 or 4 layers of bandages.
I also added several smaller pre-cut strips to reinforce areas such as the
bridge of the nose. (pic 8)
After several minutes the plaster will first begin to heat up as it "goes
off" - and then cool down again. (pic 9) The impression can now be
removed from the face. The best way to do this is to instruct the subject
to stretch their facial muscles by pulling faces. This will have the effect
of loosening the alginate and thus easing removal of the cast. (pic 10)
Now the technician must work quickly. As soon as the alginate hits the air
it will begin to dry out and shrink. For this reason the positive cast must
be made immediately. A mixture of dental stone is prepared and a thin coat
applied to the alginate with a brush. (pic 11) This should be blown into
the impression to ensure that it fills all the nooks and crannies of the
face. The remaining mixture is then poured into the rest of the mold. Once
filled, it is a good idea to tap the mold to force any air bubbles to the
surface. (pic 12)
It's best to leave the dental stone to set for at least one hour. This is
a good time to clean up the studio! Once the material has set completely it can be removed from the mother mold. This has now played its
part in the proceedings and can be discarded. The finished casting may require
some attention and cleaning-up - especially around the nostrils - and any
tiny air holes should be filled. The finished casting is now ready for the
next stage. (pic 13)
This is the fun bit. The positive casting can now be used as the basis
for whatever sculpture you may wish to fashion. My brief was to create
an aged face but you could just as easily create a monster. This can be
achieved with some fairly rudimentary sculpting tools. Sticks, knives,
even the pointy end of a paint brush all played their part in my creation.
I used a sculpting material called Roma Plastalena which can be bought
in huge blocks. It's very easy to use and is available in several grades
of hardness. In order to give the skin it's characteristic texture, I
coated an orange in several layers of liquid latex. Once set, the impression
was turned inside out and pressed lightly on to the surface of the plastalena.
Instant pores!
Although you may never want to create prosthetic appliances, creating
a face cast can be immensely rewarding. It also leaves you with a valuable
tool. Any one who is interested in sculpture, for example, can use a cast
as the perfect study aid. It will help you map the contours of the human
face. It also serves as the perfect dummy on which you can learn to sculpt
a variety of different facial enhancements. Once you're happy with the
results, simply pull off the sculpting material and start again!
I hope this has given you an insight into the methods described above. Whenever you cast a face, however, be certain to ensure the safety of
your subject at all times. A misplaced lump of alginate in a nostril will
not endear you to anyone! Also, bear in mind that being encased in impression
material, then swathed in bandages can be extremely uncomfortable. It
also takes claustrophobia to new heights. For this reason, DO NOT even
attempt to carry out this procedure on anyone who has the slightest doubt
about what they are being asked to undertake.
Finally, if at all possible, get someone to help you. An extra pair of hands
can be invaluable - especially when there are so many different things to
mix and prepare. Having said that, choose your assistant wisely. Not every
applicant makes the grade. Despite the very best of intentions, the chap
in pic 17 simply didn't have what it takes!
