UMAE Tutorial

 

In my research for this project I came across these videos created by Stuart Bray that has detailed the entire process that he conducted when producing a makeup that involved the use of prosthetics. This video was incredibly helpful as it contained a lot of information in the visual format that detailed relatively advance techniques which are generally not made into videos as at this level artists learn the technique in the workshop or from other professionals. As this video is so new it meant that all of the information was very up to date and is therefore very applicable to the project. The ways in which the moulds have been made revolve around the matrix moulds idea that I touched on in the moulding page.

 

These are the two videos that I found by Stuart Bray the first descirbing the first stages including sculpitng and moulding. In one section he creates a silicone mould of an ear in which he brushes on two layers of the silicone and then lays down a cheescloth material and layers another of silicone to create a stronger mould whilst saving on the amount of silicone used. Another important element in the first video is the way in which each of the cores for the different segments of the face sculpt have been made. Bray has used fast cast resin to create these cores with clay walls to embed keys into these resin cores. This is a very interesting way of creating the cores and shows the technique in an easy to understand format. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The second video also touches on the way to create a multiple appliance makeup by creating one overall sculpt and dividing the segments. There are even tips as to the direction to hold the scalpel when cutting the clay. Bray also touches on the creation of a fibreglass mould and how to create a perfect outcome, similarly a little note on equipment such as a pasta roller to create an even amount of clay to use for the grounding. One other tip that I found very useful was the addition of two wooden blocks to the outer fibreglass mould attached with car body filler. This creates a good grip on the mould so that the casting process is much easier. Bray makes the bleeder holes in the core before taking the clay off to ensure that the holes are right by the edge of the piece, but not in the flashing. He also adds a small blob of car body filler to the bleeder hole on the outside of the mould to allow a slightly longer passage for the silicone to pour out. He also suggests that instead of using one injection hole use a group of smaller holes which will make it easier to smooth off on the underside of the appliance.