Health and Safety
-Clean all surfaces and prepare your workspace.
-No cross contamination.
-Wear gloves when handling mixtures.
-Wear a breathing mask if holding silicones or spraying moulds.
-Hair up.
-No jewellery.
-Cover client with cape.
Products
-Talcum Powder
-Laminating Brush
-Pros-Aide
-Pro Clean Remover
-Barrier Cream
-Baby Buds
-Isopropyl Alcohol.
-Neill's Colour Palette
-Supra Colours
Method
1. Clean the skin. Any products used before applying the wound will affect the application of the wound. You will make up around the wound after it is applied.
2. With the mould, use talcum powder and a laminating brush to clear bald ease mix away from the mould. The talc removes the stickiness from the mould and gives you a matte finish, as well as making it easier to remove.
3. Apply Barrier Cream to the site where the wound is going to be.
4. With a Baby Bud, apply Pros-Aide first to the wound, set aside and apply to your model. Pros-Aide is a contact glue, which means the glue bonds to itself. You apply the glue to the wound first, as it takes less time to dry on the model due to body heat. Make sure all of the edges are covered, and that when you set it aside the edges do not fold back on themselves.
5. Apply the wound to the skin, press hard all over, to make sure the glue has set.
6. Using baby buds and Isopropyl Alcohol, blend the edges of the wound. The Baldease mixture is melted away by the alcohol.
7. You can now begin to colour the moulds.
8. Using Neill's Colour Palette, which reacts with alcohol, use a flicking motion to create the mottled texture of the skin. Using this technique will achieve a more realistic skin tone, as you can capture all of the different colours that are in the skin.
9. Work into the wound. I used blue, yellow and red tones to create depth and highlight. I didn't have to colour the whole of my mould as it was already similar to that of my model's, Lucy.
10. I blended the colour away from the wound, to make the wound look more realistic, and less like it was just plonked onto the face.
11. Once you are satisfied with the colouring of your mould, you can now concentrate on the rest of the face.
Altogether, I was really pleased about the application and colouring of my mould. I was quite nervous at the beginning of the session, but towards the end I gained confidence. When I first took my wound out of the mould, I found that it had many small indents in it. I was confused, as the other side was very smooth. I believe that I had applied too much petrolease before pouring the silicone in, which left little air-like bubbles. Overall, this benefitted my look, as it made the skin look porous and fizzled away. I spent a lot of the time blending my wound, I think if I didn't focus on the blending as much as I did, that the outcome wouldn't look as realistic. I was thorough in checking if my piece was glued on properly, which also benefitted me as the Baldease did not start to peel when blending. I found, instead of rubbing away the wound from side to side, using an up and down movement produced a better outcome. When it came to colour, I did not need to colour over my mould, as it was already very similar to my model's, Lucy. I began by using the normal paintbrush technique and painting the colour on, but this made the mould look fake and unrealistic. Kat then helped me, to show me how to use the flicking method, where the paint would slowly build up a colour. This produced a more realistic colour and tone of the skin. After I was happy with the overall skin tone of the wound, I then worked into the indents, making them seem deeper with darker tones. Using a range of tones made the would look more natural. Through just one application and colour, I have learnt many things about keeping the mould looking as realistic as possible. I am pleased with the outcome of the wound and the application.
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