The finishing touches with the clay mask involve small pore details and skin textural inconsistencies being made to the casting.
I really want to emphasise the hyperrealist nature LifeCasting and am trying to avoid smooth casting finishing techniques as much as possible. This involves modelling tools and a scalpel to make small marks onto the surface
In addition I have decided to remove the back of the head of the casting in order to really create an uncanny, abstract casting model for the external exhibition.
I have decided not to rush the final details of this casting – eventually planning to move onto a realistic silicone casting (with hair) – as I feel that there are really benefits that can be taken from my move from the 2D to 3D.
Finished Cast:
