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. The distance between the inner corners of the eyes is the same width of the nose at the outer extent of the nostrils.

The corners of the mouth lie directly in line with the inner edge of the iris when the eyes are gazed forwards. Placing the eyes above the middle line has the effect of making the face appear older, the opposite will make the face look more childlike.

(Hildre, 2008. P.19)

Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers. P. 12

-Press on clay, roughing out shape in direction, spin the head and keep it on a turntable, keep checking the profile.

-Work in sausages, rough the outine and reference photograph

[PET BRUSHES- PLASTIC BRUSHES- CHEAP, HARD BRISTLES] Slicker brush, tooth pick.

Le Beautouche (no sulpher clay) good for silicone

-Sulpher can inhibite the curing time of silicone

-Freeman sheet wax used 1.5mm Thermo stable. Good for a guaranteed thickness of what will transfer into silicone. If doinga whole head piece the silicone cant be too thin, it will buckle and stretch- can be problematic. Map out the wax and put in areas you need that extra thickness.

Notes Taken: Tips and Tricks, educational advice:

- Follow the natural lines as a guidance, follow natural movements- giving direction and building impression, move the face around. Try to keep the face in symmetry (Use lighter fluid and baby powder to reveal any hidden detail)

- Tie the surface together with a flat wooden tool- cross hatch pattern. Not re-defining the forms of the face.

Eyes:

Vertical: 5cm, Horizontal: 6.5cm, Diagonal: 6cm

Nose

Vertical: 5.5cm, Horizontal nostrils: 6cm, Horizontal bridge: 5cm, Horizontal top: 3.5cm, Diagonal:6cm

Mouth

Across: 7.5cm, Vertical: 3.5cm, Diagonal: 6.5cm

Top of eye to bottom of lips: 12cm

Across both eyes: 14cm

Above: Gorton, N. (n/a). creating character prosthetics in silicone. Part 2: preparing for and sculpting the prosthetic appliance. [DVD] Neill Gorton Prosthetic Studios.

NEILL GORTON

After watching the Neill Gorton’s character prosthetics I considered sheet wax for the basis of my sculpting. I felt as though I would benefit from using the wax as my sculpt would be very thin in areas and with using the wax I would have a guaranteed thickness around the head. I didn’t want the silicone to be too thin as I was creating a full head prosthetic and didn’t want to distort the silicone. I bought two sheets of the wax at a 1mm thickness from easycomposites.co.uk in the UK. I only used one sheet of the wax and have another sheet spare, which I will use in my third year of study. I cut out the wax and placed it on areas of the core which I felt needed extra thickness before sculpting, afterwards, I started mapping out the basic outline of my sculpt, slowly decreasing the visibility of the models natural features.

MEASURING EACH SECTION

TO DIMINISH THE ORIGINAL FEATURES:

The Art Of Sculpting : Tips

Have a skull and face close by to refer to. There is usually space for three eyes on an adult face, correct proportions '3 eye gap' and the forehead would be shorter for an older person. Check the profile as often as you can and always reference back to the anatomy images, the brow bone is shaped and you can see it, check anatomy books. Check the jaw and profile of the face, making sure it follows the line. Use wire to slice under the chin, choosing your desired face shape by taking out clay and moving the jawline around.

TRANSFERRING TO CORE:

Initially I found it challenging to build the face outwards to a point were the features were receding, the more I built the face forwards I had to build up areas around the crown and forehead. I didn’t want to build up too much clay around the neck because the model would look hunched over in the prosthetic; I needed it to look as natural as possible, I constantly referred back to the measurements as I built out each section of the face.

Faraut, P. (2001). The Art Of Sculpting. Volume 2: Expressions and facial constructions. [DVD] PCF Studios

PHILIPPE FARAUT

Once I had mapped out each section precisely were the new features would slot into place, I began focusing on the formation of the face- the correct shape and size, whilst referring to an Asian skull and photographs of the models face and her head cast from all angles. I had to change the general shape of her face slightly to contour to the new fitting features; I had to slightly distort the cheekbones by bringing them outwards and making them a prominent feature. I wanted to keep the chin and jawline quite receding to follow the natural shape of the models face and ultimately, keep the sculpt looking natural.

INCORPORATING THE WAX

I laid the wax over the cut out sections of the face and cut it to size, I didn’t want the cut out sections to be too thick as the magnets would be fixed behind the silicone and too much material would prevent them from adhering to the magnets inside of the features. Once I was happy with the general shapes I tested them in the correct sections to ensure they were the correct size- before sculpting the accessory features.

FIXING THE WAX SHEETS

To play, press and hold the enter key. To stop, release the enter key.

I used monster clay to sculpt with and I found it was tough to work with at first, for mythird year of study I will look to buy a rice cooker to keep the clay warm whilst i'm working with it. I found that it cooled down very quickly and turned solid. However, I prefer the monster clay to Le Bou Touche as it doesnt stick and is easier to clean.

I doubled the wax sheets for the cut out sections to 2mm in thickness, I wanted to ensure that the silicone was thick enough and wouldn't rip whilst demoulding the piece. I also added more melted clay into the deepest parts of the cut outs to prevent the wax from collapsing or distorting in shape.

SCULPTING

THE CORE AND THE ACCESSORY FEATURES

THE ADDITIONAL FEATURES

POURING THE MOULDS AND RE-DEFINING THE ORIGINAL SHAPES

Nose:

-Start with a basic shape, constantly checking and keeping accuracy, stick to the six planes of the nose. Later, add in the nostrils and define the overall shape

Eyes:

-Before giving the sculpture any expression, create a blank look. Create the eyelids and sockets with two round balls and use a flat tool to press the eye shape into the balls, checking the symmetry. When working on the eyes take a step back and work on the angling otherwise your sculpt could look crosseyed. The idea is for your sculpt to be looking through you at an angle rather than at you.

Faraut, P. (2001). The Art Of Sculpting. Volume 2: Expressions and facial constructions. [DVD] PCF Studios

PHILIPPE FARAUT

I used wed clay to build up a wall around each individual cast and sealed it with clear lacquer. I then left the clear lacquer to dry for two hours and melted monster clay in the microwave for four minutes. Once the clay had melted to a milk consistency I poured it into each mould and allowed it to harden.

Afterwards, I removed the clay walls and began re-shaping each feature to fit the core sculpt. I had to manipulate many of the features to fit the face, some features had to be enlarged and warped to fit. Once the monster clay had hardened, it was difficult to manage and I struggled taking the necessary excess material from the back of each positive, this process was very time consuming as I had to reach precise and accurate measurements in order for the prosthetic to work.

THE EYES

TECHNICAL DIFFICULTIES AND UNDERSTANDING THE STRUCTURE

The eyes are the most expressive part of all facial features and therefore the hardest to model correctly. I had to look at a lot of reference whilst sculpting the eyes, reference being images of the models eyes from all angles, various books on the geometry and structure of the orbital region and maxilla facial books.

The area between the upper lid and the eyebrow varies in its degree of fleshiness according to age. Since the eyes spherical shape is also perceptible from he side, you can examine the three quarter view to check that you have set the outer corner well within the eye socket. Hildre, 2008. P.40

Above images: Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers. P. 40

OPENING THE EYES

-Mark a line between the two lids, beginning at the inner corner.

-Begin the work of ‘opening the eye’ by pressing into the crack with a modelling tool

-Push the clay upwards as you work and remove the excess clay

-Begin the shaping of the lid, work the excess clay from the lid onto the surface above the eye in order to fill out the eye socket.

-Begin to work on the lower lid, the curvature is different on each lid.

-Make sure that the outer corner now lies either just above, or level with, the inner.

Above images: Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers. P. 40

Below images: Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers. P. 44

DIRECTION OF GAZE

-The downward gaze requires a greater mass on the upper lid, where it extends over the cornea.

-The lower lid is considerably further back, think of the spherical shape of the marble.

-One can tell the direction of gaze from the whites of the eyes, ensure that the eyelids always conform to the shape of the eyeball, the upper section of the iris is more visible than the lower.

Above images: Hildre, B. (2008) Modelling Heads and Faces in Clay. London: A & C Black Publishers. P. 46

I kept reference close whilst re-sculpting the eyes because where I only slightly adjusted the actual shape of the other features involved in the casting, I had to completely remodel the eyes. The monster clay was hard to handle and therefore trying to open the eyes with a metal tool was very difficult, I also struggled with the fitting: the orbital area varies in each individual and attempting a perfect fit was time consuming.

I would have like to of intrinsically painted the eyeballs myself, however, due to the short duration of the project there physically wasn’t time to do this also. Instead, I looked to buy human eyes from the glasseyecompany and other retailers. After speaking with Pete Tindall I discovered a dolls shop in Kinson, Bournemouth, they sell dolls eyes which to an extent- look like human eyes.

I purchased two sets of eyes in the colours I felt were most similar to the two models- Emma Freeman and James Hall and secured them to the bottom of a wax coated cardboard cup. I mixed an equal about of A and B progel 10 silicone and poured the material over the eye and kept pouring until the highest point of the eye was covered in silicone by half of an inch. After, I de-moulded the eye easily by popping it out of the silicone and filled the mould four times. Finally, I drilled small holes through each iris to determine the central points of each eyeball.

PROBLEMS WITH EYE SIZE:

Unfortunately, after sculpting one of the eyes around the (PS Composites fast cast resin) eyeball, I noticed that the eye looked disproportionate and it didn’t seem right. Even though I had looked at the Maxillo Facial Technology book on eyeball and iris size, at the time of purchase, I didn’t think to ask and made an amateur mistake of buying the wrong size at 22mm. In this case I returned to the store and simply explained the situation, I was able to change both eyes for 26mm eyeballs which was the largest size they had in stock. I would have preferred 28mm eyes, however, this was not an option and time was a problem at this point, for the purpose of the make up design the 26mm eyes sufficed.

RESOLVING THE PROBLEM:

Once I had the 26mm eyeballs I repeated the process of mounting two to the bottom of plastic cups and this time mixed a small amount of silicone 3481 with a ratio of 10:1 and filled the moulds- again ½ an inch above the highest point of the iris unit. I repeated this twice and drilled four small holes in the centres of each eye. The drill holes would later secure the eyeballs in position during the fiberglass process and acted as a general guidance for me whilst I was sculpting the eyes open.

Thomas, K, F. 2006. The art of clinical Anaplastology: Keith F.Thomas. n/a . S. Thomas. p. 103

CLINICAL ANAPLASTOLOGY

TECHNIQUE:

Photographs may be useful for primary approximate eye alignment on the model and any approximate islands coping, however, the sole use of photographs for alignment or sculpting is not advocated. It is important that the sculpting records the most consistent appearance of the eye.

Softened and rolled strips of wax are adapted to form the approximate upper and lower eyelid relationship; further wax is added to create more detailed form of both eyelids.

PRO TIP:

By studying the thickness of the eyelids, and more natural relationship may be achieved is the addition of the approximate thickness of both upper and lower eyelid indicates correct back vertex alignment.

Below images: Thomas, K, F. 2006. The art of clinical Anaplastology: Keith F.Thomas. n/a . S. Thomas. p.106

Constant checking of the contra lateral eye aperture should be made so as to achieve the most constant appearance. Measurement of the aperture may be obtained by the use of vernier gauge, by measuring the width from the inner to outer canthus, and the distance between the upper and lower eyelid.

Below images: Institute, M-F-T. 1980-82.Proceedings of the institute of maxillo-facial technology: and international ocular prosthesis workshop 1980- 82 . n/a. p.274

MAXILLO-FACIAL TECHNOLOGY

IRIS SIZE:

12 different sizes of disc used varying from 9.5 mm. to 13 mm. each flask produces one size only. The discs have one flat surface and one convex service on which the paint is applied. The flash is removed from the disc by filling and each one is tested for accuracy of size in a gauge. The disc is mounted on or holder and the technician commences by painting firstly the people and then the stroma and limbus. The paints used normal artistic oil colours. (Institute, M. F. T. 1980- 82. P.271)

ANATOMY OF THE EYE:

The orbital cavity – The bony skeleton

Each orbit is pyramidal in shape. The orbital comedy consists essentially of the roof, lateral and medial walls and the floor. The anterior entrance is formed principally by the superior, inferior and lateral bony margins and medially by the nasal bones. The posterior aspect of the orbital cavity house is the orbital foramen through which passes both the optic nerve and the ophthalmic artery.

THE EYELIDS AND LACRIMAL APPARATUS:

The foundation of the eyelids consists of a fibrous band which is called the tarsal plate. This structure is transversely positioned and obtains its attachment to the bony cavity by means of the orbital septum and the medial and lateral palpebral ligaments. The tarsal plate in the upper lid is larger than in the lower lid. At the edge of the lids the skin is continuous with the conjunctival lining and edits at this juncture where the eyelashes are located. The eyelashes are positioned in such a way that they do not interlace when the lid is closed. (Institute, M. F. T. 1980- 82. P.277)

Above and below images: Institute, M-F-T. 1980-82.Proceedings of the institute of maxillo-facial technology: and international ocular prosthesis workshop 1980- 82 . n/a. p.280