EMMA FREEMAN
SPECIALIST PRACTICE
I asked my model to raise his eyebrows for me so that I could see his natural folds in the skin as reference. I used this along with the other references images to create the wrinkles in the forehead. I began adding textures after researching on techniques by Stuart Bray and the sculpture techniques DVD by Stan Winston. This helped me sculpt the veins in the side of my head. I rolled out a sausage of clay pressed into my head and with pressure flattened it out. With a small loop tool I took away excess and continued to flattened so that the vein was very subtle.
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Press on clay, roughing out shape in direction, spin the head and keep it on a turntable, keep checking the profile
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Work in sausages, rough the outine and use reference photographs, it is really important to constantly look back and forth at your reference images
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Follow the natural lines and movements as a guidance,
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giving direction of the folds and wrinkles and build the impressions
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with a turntable you can move the face around to see the piece as a whole.
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Try to keep the face in symmetry
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Use lighter fluid and baby powder to reveal any hidden detail
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Tie the surface together with a flat wooden tool with a cross hatch pattern. Not re-defining the forms of the face just softening lines
Each individual is unique, however, when it comes to the shape of the head, there are more similarities than differences. The face is divided into three equal parts: The upper part extends from the hair line to the eyebrow; the middle part from the eyebrow to just beneath the nose, and the third from there to the chin.
I have looked into the anatomy of the head before sculpting so that I do not lose my anatomy in the head. Although I already have the anatomy in my head, I did not want to lose it after the clay had been placed on top
Ageing with mottled colours of reds and browns, the eyes and nasal lobia folds are more pronounced
This silicone bald cap on Ben Stiller finishes at the top of his forehead and comes right down the sides of his ears. This placement is something I will consider when sculpting my bald cap, I will likely change the forehead as I want to include extra detail. I feel the seamline will be less dectable just above the eyebrow
After looking into how I could create a receding hairline I felt the most realistic looking would be to punch hair into a silicone bald cap. This way I can punch fine hairs at the front of the bald cap, I can also incorporate some forhead frown lines and a scar into the bald cap
Bald cap for Kevin Bacon, x-men: First class (2015) Available at: https://www.facebook.com/media/set/?set=a.316501851710914.91705.117397571621344&type=3 (Accessed: 16 November 2015).
SILICONE BALD CAP
EXAMPLES IN INDUSTRY:
A Benjamin ButtonA Benjamin button-inspired sequence in which stiller’s character ages several decades. “there were originally going to be three stages: one with Ben in his 50s with a bald spot and maybe a couple of eye bags and a neck. The second stage in his early 80s, and the last stage was going to be something like 100” “the first stage was just some eye bags, graying hair and a bald spot”
Very fine hair where this middle aged man has started to recede
Ruskai, M. and Lowery, A. (2013) Wig making and styling: A complete guide for theatre & film. United States: Focal Press.
This was the sick stage, this has different cheeks again, though hardly noticeable, as well as a full silicone bald cap with had punched hair. More hair would be hand laid to blend the forehead into the pre punched hair line. This was again applied by Jonghee and Mikyong.
Nickiforek, M. and profile, V. my complete (2006) ‘MY IMAGINATIVE OWN’, Available at: http://myimaginativeown.blogspot.co.uk/ (Accessed: 27 December 2015).
Image 2: Silicone bald cap/ forehead with lace piece by holmhanna and punched hair by Eva von Bahr.
Image 1: Rolf Lassgård in a younger version of Ove in en man som heter ove film . Same silicone piece that were used in the rest of the film ( from upper eyelids to back of head) but with a beautiful new hairline punched by Eva von Bahr.
The Instagram web interface (no date) Available at: http://ink361.com/app/users/ig-1698363133/themakeupdesigners/photos (Accessed: 27 December 2015).
Krulik, N. E. (1998) Leonardo DiCaprio: A biography. New York: Simon Spotlight Entertainment (Mm).
SCULPTING
Posts about j edgar hoover on film mafia / movieland (2008) Available at: https://filmmafia.wordpress.com/tag/j-edgar-hoover/ (Accessed: 27 December 2015).
CHOOSING CLAYS
I was particularly interested in using the plastiline advised by Stuart Bray, He seems to get a lot of interesting textures from this and from watching videos it seems to be a perfect medium of softness. I looked online for the plastiline but found with shipping it would cost £50. This is much too expensive for my budget so I decided to sculpt with NSP advised from the Todd Debrecceni book.
Sulpher seems to be a cheaper form of clay but it will inhibit the cure of silicone. I have been seeking the cheaper options for all of my materials to reach within budget but it is important to research them before hand so you can get the best results
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I began sculpting by warming up my clay in a slow cooker, I did not want to over heat it. I made an error of using several references images, and should have realistically stuck to one. This made it harder for me to sculpt as the images al differ slightly. I wanted to really exaggerate my wrinkle lines initially, in the hope that I could take away any excess afterwards. I used a range of loop tools and a serrated kidney to smooth out the clay. The more I worked into it the more I felt it just looked wrong. I decided to research a little more into the anatomy as well as the wrinkle and folds in the forehead.
ANATOMY OF THE HEAD
The visual dictionary of human anatomy (1996) Australia: Reader’s Digest (Australia) Pty.
Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers
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When face casting my model I assumed as I was making a silicone bald cap I would not need the ears which is why I removed them after casting. It was only until this stage that I realised I was wrong and I did infact need to ears so that I could make sure my bald cap fitted in the correct position. What I could have done was knocked the ears off and filled with car body filler,, this would at least give me a marking of where they would be. In the future I will consider this in more depth. To rectify this problem I made a head template from my model to transfer onto my fibreglass core so that I could make an outline of where his ears were and where I needed to sculpt. I made measurements of his nose to ear, circumference of the head and neck. This helped me to place the ears onto my fibreglass head which I drew on with pencil.
Goldfinger, E. (1991) Human anatomy for artists: The elements of form. New York: Oxford University Press.
Goldfinger, E. (1991) Human anatomy for artists: The elements of form. New York: Oxford University Press.
To improve my understanding of anatomy, I researched into the facial muscles and bones and how the face moves. These drawings helped me to re-think about my sculpture. I decided i needed to take out the temples and start them again. I wanted to make them visible to the eye but also very subtle. I struggled with getting this balance correct.
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I softened down the wrinkles I had made but I still felt like they needed to be created in a different way. I began researching techniques on how to sculpt wrinkles. I also used reference images of 40year old men so that his anatomy of his age was correct. Below you can see some errors of mine in terms of the back of the head and neck. I assumed this would be a simple sculpt and would not take me that long started to become more difficult than I thought and took up too much of my project time.
NEILL GORTON CREATING CHARACTER PROSTHETICS IN SILICONE
As I had lost all form from over sculpting the temples I used a loop tool to remove the clay and start again. I took advice from Neil Gorton and Stuart Bray and looked into how they sculpted wrinkles. Here Gorton uses small sausages. The wrinkles are smaller and more frequent than how I first sculpted mine. I softened what I had done already and used this research to sculpt them again.
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establish correct forms first, there is no point in adding good textures to unconvincing anatomy
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eye lids have overhang, due to the weight of the material during life casting. Good to remove this
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rolls each piece into a sausage shape gradually building up the rough shapes you want
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blobs are bledned together using sculpting tools
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the texturing can look really wrong when you first start
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home made loop tools used to mark out wrinkles
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very important to look at the direction of the pores in the skin as they change direction
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vary the size of the pores
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stipple sponge softens the pores
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wrinkles are establushed first then material is taken off. a large tool used but used gently
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axxupuncture loop tool used on top of plastic to create soft lines and variation of depth
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the sponge helps to blend
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the plastic reduces the sharpness of the lines
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reticulated sponge-creates different textures
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rake tool is useful to create wrinkled lines
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avoid a series of lines in a flat plane, use sauasge of clay which gives a natural variation of form
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layer the textures
I used these anatomy books to help me become more familiar with the muscles in the neck, although I planned to punch hair into this I still wanted to get the forms correct for good practice
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ADDING TEXTURE/MEASURING THICKNESS
REFERENCE IMAGES USED:
Available at: http://www.tradebit.com/usr/stock-photos/pub/9002/1328633.jpg (Accessed: 28 December 2015
Available at: https://s-media-cache-ak0.pinimg.com/236x/c0/71/50/c07150bc3e194da19c2182226539760f.jpg (Accessed: 28 December 2015).
Fonds d’écran prison break: Tous les wallpapers prison break (no date) Available at: http://www.gentside.com/prison-break/wallpaper (Accessed: 28 December 2015).
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FINAL SCULPT: CRITIQUE
Problems faced:
I spent way too long over doing this sculpt. Something I assumed would not take me too long took me double the time to do. This was frustrating for me as I assumed this would be a more of a simple method to create the look I wanted. Re-working the wrinkles helped me to understand where I was going wrong originally and looked much more realistic the second time around. The textures I added got lost along the way of over doing the wrinkles so again I spent too long on this. I am happy with the improvements, and the little details made such as the veins and the scar incorporated into the bald cap. I felt these details would be a simplified version than if I were to create from flat pieces. Although not 100% happy with how this has turned out, I decided to start moulding as I had gone over the time estimated to finish this.