http://blog.polytek.com/2015/02/26/tek-tip-painting-with-platsil-gel-10-silicone-pigments/
An important aspect of remanufacturing the human face is in the painting stage. Here I will add all of the vital colours and tones to really bring the mask to life, mores than its superficial textural representation. This video is instrumental for me in really adapting my drawing skills to this new avenue of work and bringing the cast to life.
When painting the mask, I made instance of pure colour to see how the pigment will visually mix when applied in layers onto the mask. This, also mixed with NAPTHA to thin the mixture is useful in diluting the mixture (to an watercolour consistency). As I have a whole range of silicone pigments I feel that I have enough of a colour base to effectively communicate the colour palette of the human face.
To do this I will be working from a studio photo that I took earlier in the year. From this I can get the basic colours needed to make the casting look more realistic.
FAILURE:
It seems that whilst painting the individual mixtures were too which and so created a thick layer on top of the skin, opposed to seeping into the pour textures and making the casting appear realistic.
This meant that not only was there an improper mixing of the colour on the skin, but that it created a layer that began to peel off after fully curing. This can see below…
Despite my various attempt to peel of the (4) remaining layers of the colour, I was unsuccessful. As a result, I have decided to do further search on methods to remove the silicone, and also to use this casting as an experimental cast that I can test my painting techniques on so i do not make the sam mistake a second time.
I feel that I have learnt form my mistakes this time around, and I will be specific about where I place the pigmentation, opposed to fully following the video tutorial and applying colour all over the head. For example, I feel I will focus my attention on the lips, around the eyes, eyebrows and cheek areas. This, alongside instances of hair9eyelashes and eyebrows) will aid in a life-like life-cast.
I will also experiment in the correct diluting quantity as so not to make the same mistake.
attempting to remove (4) painted layers
Peeling of painted layers
As you can see, the painted layers made the surf appear winked and overly shiny. This was not aided by setting power to make the layers matte.
Despite the annoyance of having to re-cast, I feel the the failure I have suffered throughout the process has taught me so much. I have, more than at any other point, has to refine and rethink my methods and I feel that this will lead to to further prosper in the future.
Stages of Painting:
Matte Powder (added)
Brown Layer
Yellow Layer
Despite the textural inconsistencies, it is nice to see colour on the lips and around the eyes, the casting to some degree appearing more realistic.
Pink Layer
Light Pink Layer – Blush & Lip Colour
Here you can see an improper mixing of colour, the pink being too pigmented on the cheek areas. Here is where the mixture should have been diluted more.
Here is an example of a reasonable amount of dilution of the mixture. Enough to add a rosy plus to the lips and cheeks.
Initial Layer
Too transparent, this just added unnecessary layers to the mask, partly causing the wrinkled end outcome.
Painting Silicone: Attempt 2
My second attempt went much better than my first
I decided to completely go against the traditional technique of layered gel painting, and instead to use the silicone gel on its work. This involved me painted and blending a variety skin colours in order to bring out tonal features in the face. In this instance it was most important for me to get character in the lips, cheeks and eye-lids.
The difficult I found in this technique is that I had no guide other then the tutorial I had watched, and even these did not provide information on darken flesh tones. Working from the studio image above, I feel that my efforts were worthwhile, really gaining a (subtle) feeling of realism to the face, adding blue/purple tones to the eyelids and lips, a rose glow on the checks and a dry white that really brings out the lip details. This was then made matte using Icing Sugar and then washed before being left to set over night.
Painted more in an acrylic fashion, than VFX fashion, I missed pure silicone colour before applying them to the cast instead of the more traditional method of adding colour in cured silicone layers.
In this instance I really feel that less was more, and I worked tirelessly for a number of our to bring out the subtle tones of the face, the colours becoming more dominant as I added more overall colour. Although this method is unorthodox – more like oil colour painted techniques than VFX technique – I really feel that I have benefitted from both processes, and definitely will apply all the skills I have learn to making a number of casts.
In terms of progression, I feel that it is appropriate to create a series of casts – using very different models – to build on the technique I have learnt throughout this process.
Initial Lip Colouration – Pale Pink
(brings out the textural tones of the casting)
Lip Undertone – Brown/Purple
(under and inner lip colouration)
(finished Lips)
Darker upper lip – Purple/Blue tones
Pale pink lower lip w. under/inner lip colouration
To make the mask matte, icing sugar was sprinkled over the top of the entire mask and blended in using a makeup brush/paint brush. This then needs to be left to set before washing off with some cool water.
The mask is then left to air dry or dabbed dry using a paper towel. to this I then added a tiny bit more icing sugar to really secure the pigmentation, bringing out the textural elements of the life casting.
Finished Mask
As you can see there is a subtly to the tones in the cast. there is distinct blue tone to the upper eyelids really bringing out the hollows of the lids and the nose bone. The colour change the lips rally adds fullness to the area, as well as works well against the sublet rose tone of the cheek and the dark flesh chin area.
Dry Cast
Here the colour change can be seen clearly, there is clear distinction in the eyelid are as well as in the upper cheekbone and lips area, really bringing out the lifelike feeling of the cast.
I am very pleased wit this secondary outcome and feel that I have definitely built upon the techniques that I stumbled on in my first attempt. This mask will be properly photographed in the studio for imagery for my research catalogue for the End of Term Exhibition.
***details***
Rosey he of the cheekbones and subtle blue highlighting
Tips & Tricks vid.