CineMagic #06 (1980)

Kenneth Anthony's Producer.' Bulletin Board entry, Winners' Moon, features many InteresUng specla' effec .... Here, .n ar· bltrary nYtte is uaed to matte· out the day-time .ky a.d, . .

I,.

the roc:k plies bilckground .ppear.s

dl.t.ilnt 1.,,00m,ou,,· taln •. It Is evident from thla photo thilt • great de.l of cre.Uve energy went into m.klng thi. film.

NCC-Il[

Tim P.ce of Fillls Church, Vlrglnl., con· structed this full· slae repllc. of the St.r Trek. shuttle cr.ft for Trelclcleil, • mo"le by Tim D."I •. _ _ __ _ _ _ _ It'. the best St.r

Trek. prop we've e"er seen. Mr. Pace h.s .Iso con.OUcted the robot chiln.cte ... for .n aU·robot roc:k·and· roll b.nd, which will be seen ht. future Isaue of CINEJIIIAGIC.

"-""-

-iI . . . _ i s _'s _ ao t l d e . _ with a 5 • of his Iau:lI - " cre.u - . Bndyb u " ' -some wort!. f..-TV. He cre.t.e.d _ of the .Ue_ ... t were seen on Pr.-jec! U.F.O. Kirk Is currently busy producing his own film, Astronaut, which will festure bls talents

.s

wrikr director. as wtU_-tleup &rt:ist...

t_' __

'es;p!or .... • I ilt."..,pMr.

•

CONTENTS

Editor

'

s

4

Bench

_ _

An effective alternative to full

makeup and facial appliances is

explored in this detailed how-to

feature.

FUmmakers

1 8

'

Forum

;;;;;;;;:::';

~~

A regular department devoted,to

readers' commen

t

s about

film-maki

n

g, their problems and

solutions.

The

Invhilble

Wino

22

Returns

_

~.

an

"invisible

man" to move

objects on

a

set?

Try this method

used by a

pro filmmaker.

Producers

'

BuUetin

Board

Transitions:

Bastc

=ques26

The art

of

getting your films from

here to there, wit

h

a look at some of

the

classic

examples

of

H

itc

h

cock

and others.

N

umb

e

r

6

All

the

Clrc:ults

Money

30

CanBuy

_

-

-Easy, inexpensive les that can add

that special magic to your

electronic special effects.

Books

_

32

Books for filmmakers-valuable

sources of information and

techniques for the filmmaker.

Cinemagic

Market-

33

place

_ _

_

Classified advertising and

announcements.

Close-up

_

3 4

Foreground

miniatures are one of

the most powerful tools availab

l

e to

the low-budget filmmaker_

C!NEMAGIC'6 J

~

Editor's

(c;;/liJl.i:W

Issue

-

6

BENCH

PubU.hedby

:

---~---O'QUINN STUDIOS, INC. 475 P2Irk Avenue South

New York, N

.

V:l0016

PabU.be ...

:

Norman Jacobs/Kerry O'Quinn

Founder of CINEMAGIC and

Editorial Con.ultant:

Don Dahler

Editor-In-Chief

:

David Hutchison

De.lgn Director

:

Cheh N, Low

De.lgner

:

Robert Sefcik

A •• oclate Editor:

John Clayton

JIIlanaglng Editor

:

Bob Woods

Editorial Contributor.:

Kirk Brady Bob Heath Britt McDonough Kenneth Walker

Art8taff

:

Laura O'Brien Leigh Grau

Aa.oclate PuhU.her

:

Ira Friedman

A •• latant PubU.her

:

Rita Eisenstein

for Adv<rti.ing Info,,,,,,,,,,,,: Ir. Frirdman. Ri ... Ei.."..t.in (212) 689-28J()

CINEMAGIC Is pYbli.hed bi.mMthly by O'OOINN STUDIOS, INC" '7~ P.rk .. wen""' South, Ne ... York. NY 10016. ISSN #0090·3000. Thi. i. I ... ...., Number 6, Volum.. L Content i. 0 Copyright 1960 by O'Q{JINN STUDIOS. INC. "'II rlgM. r • ..,rvt<l. Reprlnl 0' reproduc-ti~n in 1>0,1 or In .. l'I<>le ,.iU'lOUt written pe,ml .. ion from ,he publi • ...,,. is '''ictly fo,bid~n, CINE ... AGK accepts no ,eop<>nsibility for unsolicited manuKflpts, phot"", ~rt 0< DIM, mote,lolo, Dul iff, ... ",,,,,,, .ubmll1.l.a~a«nm­

I>Onied by • ..,If·add, ... d •• tam~ en."I"I"'. , .... y ... 111 ... d"",ly con.kJ."rd .J'Id. If """""'''y. -.turned. Product. a(lveUi..,d are no! ""cuurily et><Io, ... d by CINEMAGIC .• n<! any ¥~ .... e.pre.""<l in editorial cop)' are oot """" .... 'ily tho ... 0/ CINE./'V.,GIC. S~boc'ipt!oo

It's Contest

Time!

1'1.

any of you have written asking about the annual CINEMAGIC Short Film Search. Last April, STARLOG and CINEMAGIC judged entrants from our first competition and announced the winners at Balticon in Maryland. This year, we are pleased to announce that the second annual Short Film Search will be conducted in association with the prestigious School of Visual Arts in New York City.

Full details will be discussed in the nellt issue ofClNEMAGIC, but for the mo· ment you should know that all amateur and semi·pro films in Super·8 or 16mm of not more than 15

minutes

in length will be accepted for judging. All entries should feature science fiction, horror or fantasy themes and can utilize live·action, animation and any special·effects technique desired.

It is not necessary to create a film just for this contest; i

t

can be a film you are working on now or have recently completed. However, if you are just starting a film, you should prepare to have it finished by early September in order to qualify for the judging. Awards and cash prizes will be presented to the winners at a gala theatrical screening of the finalists in New York City under the auspices of CINEMAGIC and The School of Visual Arts.

For a copy of the official rules and entry form, send a self·addressed, stamped envelope (large

"'10

size) to:

CINEMAGIC/SVA Short Film Search-1980

475

Park Avenue South

New York, NY 10016

Return information will be sent in May.

Remember, more details and helpful tips will be included in the next issue of CINEMAGIC, as well as another look at last year's winners.

ra',,", $8.99"""y".r(.i.I .. "".)&li"",rdinU,S, c.~~ ~

and Mr.ico: f"""'gn .~b"'riptio, .. tl1.99 in U.S. f~ndl

5

only. Ne'" .... b""lpllon •. ,..,,,,,,,,.I.aOO ~h6ng~ of addre..

!

.houldbr

.entdire<:tlyto;CINEMAGIC,O·o.~lnrStudiol.

l_-=~~~~~~~~~~~~~~~~;~~~~~~~~~~~~=-_J

I"" .. 47!> Park Avrnue Sou,h, N"", York. NY 10016, ~

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The authoritative

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•

COVER STORY

LATEX

MASKS

An

effective alternative

to

full

makeup

and facial appliances.

By KIRK BRADY

F

ull·head maskscrellted In latex rubber offer the filmmaker an alternative to tmditioOllI makeup methods when com·

plex

lind

elaborllte makeup designs are needed. Letex masks elimiOllte the problem of makeup continuity over long shooting schedules and reduce the time

required for on·lOClltion makeup lIppllca·

lion to lIterlllly seconds.

Masks lire not generally viewed as &c.

ceptable alternatives to IlIrge·budget filmmakers because they

do

not allow

the

nmge

of f&Cial movement possible with prosthetic appliance makeups. Among those filmmakers not fortunllte

enough to have a makeup artist as part of their C:~, however, the loss of facial

dexterity is usually felt to

be

a fair

tnKie

for the time and continuity problems 101ved by masks.

The

a ••

le Meth

odo

l

og

y

This article covers, in detail, the crell· tion of fulJ·head latex masks. LIItex face masks, or "half·mllsks, H are also useful

makeup altematives. Making face

masks follows the

same

basic

pro-cedure, but is much simpler thlln mak -Ing full heads.

For those r~ers inexperienced with the materials and techniques discussed here, it is recommended that you try face masks for your first two or three

creations. Once you have gairied ex· perience, you can easily move up to full

Tbl.l • • life cast Including shoulders of the subject. Wben the Ufe c.st I, completed oU cboy I • • pplied. to rougb out tbe ... k design. The 011 cboy I. built up on the life cast, .lso caOed the .r .... ture. until the lJCulpture for the ... k Is completed.

There are bascially five steps in creating latex masks. Each of these steps should be patiently studied and completely understood before attemp-ting to "plunge" into mask making. Gaining familiarity with the various materials prior to using them on your sculpted "masterwork" will help you avoid ruining your creation due to ig' norance or misunderstanding.

The five steps are:

1.

Making the armature

2.

Designing and sculpting

3.

Mold· making

4.

Casting in latex

5.

Painting end adding hair

JIII

a

king th

e A

rm

a

tu

re

An armature is simply a guide or "platform" to which you apply modeling material and sculpt. In the case of full· head masks, the doser the armature ap-proximates the size, shape e.nd propor· tionsofthehuman hee.d, the better. With fe.ce mesks, the armature need only represent the fe.ce itself, dividing the head vertically behind the ears.

The armeture will show you where the

eyeholes and noseholes should be and will help to insure that the mask is large enough to wear. The armature will also help beginning sculptors develop a feel for the correct proportions and sym·

Below: The .r .... ture (Inside the .culpture) .nd sculpture.re sitting on a heavy·duty "bo:ty Sus.n" which allows full 360° rotation of the sculpture. Thb procedu ... kes working on the .culpture much more comfortable .nd b easier than mov· Ing .round the sculpture yourself or contltantly turning the heavy arma· ture/sculpture. Lazy Sus.ns are avall.ble at most dep.rtment stores, gift shops and large hardware stores.

metry of the f&Cial features.

Armatures range from the ready· made profesiontlol models, which can be purchased from sculpture supply houses, to simple styrofoom wig forms available in variety stores. The most widely used type of head armature is a /ifecaslof a real human head. Created in plaster and mounted on a stable plat· ..form, a well·made life cast can be used

for creating hundreds of masks. To get started on your life cast, you will

need

the following materials:

Prosthetic AlgInate or M.oulage: these materials are negaliue casting media which can safely be applied to the face.

Plaster Bandages: available at drugstores and less expenSively from medical supply companies. These are rolls of surgical gauze (non· sterile) im· pregnated with plaster·of·paris.

Casting Plaster: 3imilar to pla3ter·of· paris, but much harder and more ac· curate.

Threaded Lead

Pipe

:

one·inch by 16·inches, used to mount your life cast on a pipe stand.

Other Materials: a rubber clown skull or bathing cap, several cheap bristle paint brushes 1" and 2" wide, a measur· ing cup, plastic spatulas, sewing thread, newspaper.

This IA the flnlsheel sculpture. ready for spnylng with Cry.tal Clear. Care must be taken to avoid undercubl th.t could c.use the sculpture to become stuck In the plaAter mold and could ruin the .culpture. About 20·25 pound. of oll·b •• e cboy .re re' qulred for .culptlng one medium·to· large head, It Is a good Idea to use vlAual referencea •• uch as sketche8, of the creature you. want to create.

You will also need an assistant and a wi lling subject who will agree to sit calm· ly for about 30 minutes while you make the negative impression. It is best to work on spread newspapers to simplify dean·up later.

Begin by having your subject seated comfortably with his head in a natural

upright position and wearing the rubber cap. He should also remove his shirt so the neck is easily accessible. Avoid sub· jects with thick mustaches or beards. Negative impression materials (except plaster) will not stick to eyebrows or eyelashes, but beards and mustaches are a complication 10 be avoided.

Some mask makers use prosthetic alginate while others use moulage as a negative medium. These two materials accomplish the same end result, but dif· fer in how they are activated and in their limitations. Which to use is a matter of

per30nal preferenceeond avoilobility.

Proathetic AlgiDate

Alginate is the material that dentists use to make impressions of the teeth and that plastic surgeons use when tak· ing impressions for surgical prosthetics. Alginate comes in a dry, powdered form and is mixed with very cold water. The water is poured onlothe powder and stir· red with a spatula or fingers. It takes ClNEMAG/C"6 7

This t. completed water-clay dam. Caat back half of

sculpture flnt. note smaU by gulde deprea.loos. U_. s01alI brush to clea .. up _ m b,. washing away eJlcea. water clay. Key guides help line up mold front and back halves.

The back hall of the mold has been completely cut In plaatet-. Remove the water·cIay dam by peeling away from the ... ulp~ and bad· mold waU. Clean walo .. cia,. frum sculp~ with c:ameI·baIr brush and water. Important:

Smear V - U - 00 back mold edge so molds will .eparste. about three and a half cups of powder for

the face and three and a half cups for the back of the head.

Alginate powder is mixed equal

parts

with water. It sets very fast-in about five to seven minutes-so it is best for one person to do the face and an assistant to do the back of the head Simultaneously. The colder the water, the longer the set· ting time. About 500 _{F (measure with a} photo thermometer) will give you six to seven minutes. The thick mixture is spread immediately by hand on the sub· ject all over the entire head and neck.

From this point on, working with alginate and moulage is the same. so the

process of activating moulage will be

discussed before proceeding.

Moulage

Moulage comes in a congealed form

which has been grated into small chunks about a quater.inch square. Unlike alginate, this material can be used over and over again, provided it is cared for properly. T ocover a whole head requires about six pounds of moulage.

To activate, the grated moulage is heated in a double boiler (one with an enameled finish is preferrable, but not essential). While heating it on a stove or

hotplate, stir the moulage until it is

re[ldered the consistency of not

·too-8 C/NEMAGIC·6

thick cake icing. After cooling on a brush for a few seconds to the point where it is comfortable for the subject. it isspread thickly. As long as the moulage is kept heated, it will not set. A small amount 6f water should be added to the heating moulage from time to time to thin it out. Read the label for detailed in·

structions.

Applying the

Negative Material

Both alginate and moulage are ap· plied. starting at the top of the head. and worked down over the back of the skull and over the face, under the chin and down the neck. Be sure that all of the crevices near the eyes, nose and ears are covered down to the skin, avoiding air bubbles. Remind your subject to keep his face perfectly still. The nose is covered last, with holes left uncovered for the nostrils.

Both materials are spread on to a thickness of no less than a quarter inch, and thicker if possible, especially around the ears. Note: Both material:! wilJ not stick to themselves very welL

Once the first coat has set, a second coat is not advised, since it is likely to

separate from the first coat and distort

the life cast.

Important: Before activating either

material for application, it is necessary to lay a double strand of sewing thread

over your subject's head behind both ears and draping down both shoulders.

(Drawing - 1) Stick the thread in place with a small band of Vaseline jelly. After the negative casting material is set and the mother mold is complete. this thread will allow you to cut the negative material in half from the inside· out and separate the halves. Without this thread in place, your negative cast will be very difficult to remove.

For face mask armatures. negative

impression material is applied over the

face, neck and behind the ear only. dividing the head vertically in half.

The Mother Mold

Both types of negative·impression

material are very fragile and will not sup-port their own weight. Beforecutting the

cast in half with the thread. you must first

reinforce it with a "mother mold" made

of plaster bandages.

Cut the plaster bandages from the roll into 12·inch strips, four layers thick, and have them ready and laid out before you activate the negative impression materi -al. Immediately after the last moulage or

alginate is applied and set. dip sue· cessive sections of the bandages into a pan of warm water, wring it out gently,

Right: With the sculpture and Hcll mold 1ylDg down, VaseUne Is sprud on the mold wsU to serve .s •

separator. Be su ... tbst the Vaseline

c_t t. .p.--d Into s tA1n "yel'. ThIs wHl make.tJddng the c"y to the p ... te .. surface _slu. Above: UM s

smaU arnel ... brush to ... movs

sm_r of resldu.1 w.ter·base ca.y

from the seam ... The c1_ner the _ m betw_n the dam and the .culpture, the better the aeam oa

,our mold wUl be. Camel· ... lr

bra.bee worll best for ... moving the

_c ...

water·beae

ca.,

becallM they sre very 110ft and they wHl not

gouge the .culptu ....

then straighten

and apply

it

to

th~ IIf~

cast. Cover

th~

entire

head

and neck

with bandag

es. leaving only

the

nostr

ils

and the area

running

just

above

the

ru

t

·

ting thread

uncov~red.

In two

to three

minutes

,

the

bandages

will begin to

get

warm

,

indicllting

thzlt

they

are

setting. Once

t

h

ey hav

e

h

arden

·

ed use the

thread

to

c

ut the hal

ves apart

.

The back

half

w

ill

release first: la

y

it

down

00

the

bandageti .side

.

For

the

face-half

,

""peer'

the

ears

free

carefully

.

then wiggle the

rest of the

f<:lCe

free

.

T

ell

the

s

ubject to suck in his cheeks

and

gently wigg

le

his

jaw and facial muscles

.

Your subject will feel the

cast release its

grip-urge

him t

o

w

o

rk w

i

th

you

slowly.

Don

't

be

too

co

ncerned about

air bub

·

bles or

small

tears in

the

negative

material

;

these

minor

imperfection

s will

not

ca

use you any

problems

.

This life

cast

will

serve asa

"

Neutral Form

"

and a

flawless

surfllce

Is

n

o

t

critical.

If

any

large

holes

or

tears do

occur,

they

c

lln

be

repaired by brushing

on

a

small

amount

of

activated impression material.

You

should

also

""

plug

""

the

nostr

il

holes

in

the

same manner. Thi

s

will prevent

plaster

from

runnin

g out

when

you pour

the

positiv~

cast.

If the

negative

cast

starts to

separate fr

om the

mother mold,

squirt

som~

denture

IId

hesive

in the

SliP

and

press

the edges together

.

Making the Poeltlve

While you are separ

at

i

ng

the

halvesof

the

negative

cast and

removing them

from your subject, you

r

assistant should

begin mixing a small batch of plaster to

seal the hllives of

th~

mother

mold back

together

after

r~moval.

This

will

be

done

by

plastering over

the

o

uter

seam

.

FilllI

plastic

buck~t

with one

cup

of

water

and

sift

dry

plast~r

through

the

fingers

into

the wat~r.

Stir gently and

contlnue ad·

ding plaster until

the

mixtu

re

ha

s

th

e

consistency of

thick m

ud

.

Now put the halves together

,

making

sure t

o

line

them

up

accu

ratel

y.

H

olding

the halves firmly

t

oge

ther

,

hav

e

your

assistant smooth some o

f

thewet

plast

er

thickl

y

ov~r

the edges of

the

mother

mold

and along the entire

exposed seem

of negative mater

ia

l. Hold

the

cas

t thi

s

way until the plaster sets. As it

sets,

the

plaster will

generate

heat.

Once the seam is

completely

set,

e

larger

.

lIlinner

batch

o

f

plaster

will

be

needed to

"sp

lash·coat" the negative

m

old

. This batch should

be

lIbout

two

c

ups

ofwa

ler

end

ha

ve plaster

added

un

·

Iii it is

the

co

n

s

isten

cy

of

hea

vy

cream.

Tap

the

sides

and

bottom of

Ih~

bucket

to release

a

ir

bubbles

in

the mix

.

Now hold

th~

mother

mold firmly and

have

your

assistant pour about

one· third

of the

wet pla

s

ter

In

S

lowly through the

A

scar is

born!

From Franke ... rein to Sr.r Wan .. from Maurice Evans

*

10 Linda Blair ... here are the world" ~t celebrated mOnsterl, as created by

Hollywood's lOp makeup 81lil".

More Ihan "00 intimate ph.oto· graphs show you step·by·step how

illusion is created with plastic molds, facial pieces, make·up, hair_all the trick. of the trade!

MAKING

A MONSTER

by AL TAYLOR and SUE ROY

INTRODUCT1ON BY CHRISTQf>t1EA LEE

*

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at yoor bookstore

CRO'IWN

i~~s~~',::;1:Z

BORIS

card5, S9.00

:1

posta~e &

handling

.

enclose 5

for---.SetCsI

"'---'U"0~p

\---w"ng"'~d

plas1:er bandage

Don't forgel to leaoe

the nostrils open so

your subject can breathe!

Dntwing 2: Undercuta Must be Avoldedl

The black part of the IIJTDature will pre\lellt the removal of the mold front haH.

annature "wrong~ dividing seam

"right" dividing seam _--'\---' mold

front hillf

neck opening. Gently rotate the mold in your hands so the plaster flows all over the inner surface and up the neck. The plaster will stick to the negative cast and will slowly build up its thickness as you

rotate. After

you

have applied all the

plaster that the cast can hold without sagging, begin mixing 8 second, thicker batch. Repeat the pouring and rotating process with successive batches of pillster until the positive cast is about one inch thick all around.

Face

casts ca

n be finished by

simply

filling the mold with plaster after the first

"splash"

coat

is

applied and set.

Mounting the Armature

To mount the positive cast on the teCJd pipe, first mix a thick batch of plaster. Hold the head upside down and pour the plaster in through the neck opening so that about three inches of it collects in the bottom. Just before the plaster sets, push about one inch of one end of the pipe into the plaster, keeping it vert ide with respect to the positive cast. Where the pipe sticks out through the neck (at least four inches must stick out), dose up the neck hole with more thick plaster, centering the pipe. Don't bother to fill the entire head with plaster. This would make it very heavy and is not necessary for strength.

10 C/NEMAG1CIt₆

Rlgbt: A bristle brusb Is u_d to "splash 00" the f1l"st3 01" 4 cu.ta of pl.stel". A brusb will not gouge the sculptul"e as _sHy ss s sJ"ltuls will. Above: Drawing I t ] show. how to .vold covering the cutting th.-e.d. Dnwlng ·Z sbows how the "Wl"Ong s_m" lockA mold to armatul'e by hooking over' it. A f<!lce <!Irmature c<!ln be mounted on a

piece of one-inch wood. To tie the <!IT-mature to the wood, imbed a piece of wire in the wet plaster when you pour the life C<!Ist.

Finishing Up

Now remove the plaster b<!lndage mother mold by first crllCking the pl<!lster along the dividing seam by tap· ping it lightly with a hammer and screwdriver. Now pull the halves apart slowly, but firmly. The negative cast (i.e. alginate or moulage) will be destroyed during this step. If you used mOUlage, later you can grate the large pieces on a cutting board with a knife, then put the smaller pieces in a se<!lled glass jar with about one inch of water in the bottom. This will keep the material from drying out and you can use it over and over. Thro... the alginate <!Iway after one U'"'.

If the ears do not come out perfectly, don't beconcemed, As long as the posi· tion of the ears is discernable you will have no problems sculpting over them.

Designing .nd Sculpting

Now that you have an armature, you are ready to begin sculpting. Place the mounted armature on a heavy-duty "lazy Susan" tumtable (available at large

hllrdware stores). With it you can rotate the sculpture 360° lind easily get to all sides. You will need 20·25 pounds of ojl-base day (Le. plasticene modeling day) to sculpt a medium-to-Iarge head. To prepare the armature, wipe the plaster surface with a thin coating of Vaseline. This will make sticking the day to the plaster surface easier. Once the entirear· mature is covered with clay, the rest is up to you and your sculpting ability. [t is very helpful to use visual references, such as photographs and drawings depicting the creature you want to creat~. These pictorial guides will in· spire you to do your best and will give a goal to work toward.

Begin sculpting by building up a rough general shape of the design with your hands and fingers. Finer details are accomplished with various sculptor's tools. A great variety of sculptor's tools are available at art supply stores. Buy several types-wire loops, wooden chisels, rakes, etc.-and experiment,

One very useful "trick of the trade" which will give your sculpture a "finish-ed" look is the textured rubber pad. This pad is used in' the final stages of sculpting to stamp or imprint a texture onto the surface of the day, such as skin pores, reptile skin, etc. You can make the pads yourself by painting a three·

•

I

!

!

inch round area on 8 textured surface (such liS an orange, plastic luggage, bi!l,sketball) with six to seven coats of li-quid latex. You

will

wlInt to have 8 variety of these pads on hand when putting the finishing touches on a sculpture.

M.old

·

M.aklng

To convert your clay sculpture into a IZltex mask, you must now make a

!I.VO-piece plaster mold

of

the

sculpture. As

with the armature, you

will

be making a negative ellst of your subject (Le. your sculpture), only this time the negative cast will become a permanent tool and an end-product in itself.

If made properly, the plaster mold can be used to make dozens of duplicate masks, allowing you to create "makeups" for literally an army of aliens, demons or whatever your wish.

Making a mold can take all day, so

be sure to begin early in the day.

To get stZlrted on your mold, you will need the following materials;

Casting Plaster: It's cheaper to buy it in loo·lb. bags than in lO·or25-pound bags. Two brands-Hydrocal and Hydrostone Supr-X-are very hard and very aC1:urate. Dental stone is also effec· tive (your dentist will be able to get it for you or you can order it from your local denti!ll supply house: see the yellow

Left: _veral coat. are buHt up with .ucce •• lve _lehe. of

pWter. The flr.t coat should be m.laed thlllDt!ll' than suc· cesslvll _tcbes. ThIs wlll.-ecluce sir bubbles and Imperfec·

tlons In the outer skin of the mold. 1"Iop the sides and bottom of the bucket after the p .. ster .. mlzed to release .... r bub·

bles from the plaster. Allow _cb coat to completely_t before adding aoother coat. Above: a-boit handles are add·

ed after the p .. ster Is 00 les. than two Inche. thick. The handles make It _sler to move the mold after the p"ster has aet. Mount the Mndle n_r the nutslde of the neck and be sure to apply plenty of plaster over the aocbor of the handles to prevent them from pulling out. After about the third coat, a spatula un be u_d to allow fsster sppllcatlon of thicker pla.ter.

pages). A plaster with a 3D·minute set· ting time will allow you 15 minutes working time. Do

not

use plaster·of· paris, as it is very soft and a mold made from it will not hold detail under repeated use. It is also weak, st'ructurllll· ly, and molds made from it mlllycollapse under the weight of the volume of rubber

it will be required to hold.

Water·Base Clay: Ten pounds should be enough. As long as it is kept in an air·tight container, itcan be used over i!lnd over again.

Clear Acrylic Spray: Krylon "Crystal Clear" is a good brand.

Also: Several two-gallon plastic buckets, two two· inch cheap bristle brushes, two wide·blade platic spatulas. Vaseline, newspaper, one nylon cargo strap with a rat,het-type buckle.

An assistant will also be of great help here. Mold making is a very messy and tedious process. yet requires much con

-centration. so before starting, be sure you hi!lve everything you will need already laid out. Also be sure that you fully understand what you have to do. It is during this step that perfectly good sculptures can be damaged or ruined.

To prepare the sculpture. spray the entire surface with "Crystal Clear." Give the sculpture a good healthy coating to insure that the day is completely sealed.

Be

careful to avoid over.spri!lying-this is indicated when the coating sags or runs.

Erecting the D • •

Since you art making a two·part mold, the sculpture must be divided into "front" and "back" halves. This division is accomplished by erecting a "dam" made of water-base day along the ver-tical median of the head, running either along the outer edge of the ears or just

behind them.

The dam wilt be constructed from several interlocking 8·to IO·inch long sections about one and a half inches tall and about a half.inch thick. These sec· tions are made by nattening the day with a rolling pin and shaping the sec-tions with an X·acto knife. Guide keys should be pressed into the soft day sec-tions with the test tube, the handle-end of a wooden spoon or a burned·out editor bulb. These shallow, rounded in-tentions will help you interlock the two halves of the mold later.

Working with one section of dam at a time, press the bottom edge gently onto the sculpture. Dampening the sections with a small amount of water will make them stick better to the oil·base day. By adding successive sections and blend· ing the i!lbutting edges with your fingers, CfNEMAGIC"6 11

•

Once I •• t CCNlt of pl •• ter is _ t the b.tvea are _pal'llted

10,. Qllltlo_ly prying the seam. !"Iote the painted edge of the back mold ulled to help locate the seam for _pantioD. !lIght: Dnlwlng ·3 shows some other examples of undercut.

tlng. (Jodereu" can alao be fonned around the neck. Le •• serloulI, but stili to be avoided, are unden:ub behind the sculpted teeth! ranga, under sharply hooked noae .. and Imtlde eye aockeb, noatril. and ears. Plug these holes with 011 clay whereve .. potIalble.

you will work around the entire head, eventually dividing itcompleteJy. Withe small camel-hair brush and water, wash off any blobs or smears of

Wilier-base

day which mi!ly hllve gotten on the oil·

base

day.

The

cleaner

the

seam

be

-tween the dam and the sculpture, the

better the seam on your mold will be.

Completing the Back Half

Now give the bKk-side of the clay

dam and the edge of the sculpture near the dam a final spray of "Crystal Clear"

to rePltir any water dllrnage to

the

first coating. and begin mixing a batch of plaster for the initial "splash coal" As

before, the

first

batch should be mixed

somewhat thinner than successive bat·

ches. This will redu«: air bubbles and

imperfections in the "outer skin~ of the mold.

Sift dry plaster into about two cups of

water, stirring slightly with a rubber kit·

chen spatula to break up any dumps.

Minimize stirring as much as possible

will cause

the

plaster to set faster. Add plaster until the surface beings to look

like a drfed up river

bed

(If you make the plaster too thick. don't add water to compensate. this will only create even more air bubbles).

When your plaster is mixed, tap the sides and bottom of the bucket to 12 ONEMAG/C"6

release air bubbl~s and begin brushing It on the sculpture with a cheap bristle paint brush. Work steadily. leaving no part of the back side of the sculpture un·

covered.

While the first "splash coat" is setting. dean your brush and begin mixing the next batch, adding slightly more plaster

this time to make it thicker. When the

splash coat has compielely sel lind is hard, begin brushing on the second coat.

After about the third coat. you can ap' ply a thicker mix of plaster with lI5p(ltula

in a "trowel·like" manner. The first three

coats applied with the brush will protect

the sculpture. A more vigorous lIppllcli'

tion is possible with a spetulll and wi II get the job done much faster thlln II brush.

Build the plaster up to about a two-inch thickness over the entire back of the head.

Be

aware of protrusions on the

sculpture like homs and long noses and be certain these are &dequlltely covered

with plaster.

After the mold is at lellst two inches thick, you may want to imbed a IlIrge U·bolt or wire "handle" near the outside of the neck to facilitate lifting and cllrry.

ing the mold later.

Be

sure to apply plen.

ty of plaster over the "lInchor" portion of the handles to prevent them from pull.

ing out.

mold

~

~

om

/

2 .

The shaded portion of the mold·

ed ob)ect PreYeIlts the remoyai

of the bottom mold baH.

...

• If vou kt!ell the abo¥e sba.ded

ueM filled with~. undercub

Completing

the Front H.lf

After the last coat of plaster has set on the backside, remove the day dam by

gently pulling it from the hardened pillster. Using a camel·hair brush and wllter. dean all residual water·base day from the sculpture, being careful not to gouge it. Gently blot away any excess

w~ter this wllshing leaves with peper

towel lind stllrt smearing Vaseline on the

facing edge of the plaster mold. Using

another small brush, work the Vaseline as dose to the surface of the sculpture as

you can. The Vllselineservesasaseparll' tion agent which will allow you to part

the halves later. It is easy to overlook this step in the confusion of plastering. so be

very mindful of not forgetting it. Forget·

ting it will seal your sculpture lind ~r·

mllture in the plaster mold, necessitltt·

Ing destruction of the mold and result·

ing in severe damage to your sculpture.

To apply plaster to the front half. lay the sculpture over on

the

back half of the mold. being sure to support the back·

side mold with your hand when tuming it

over.

Without this support, the back half may separ~te from the sculpture. By hllving the front half pointing stfllight

up, gravity will be in your favor and

will

m~ke plastering much easier. Repeat

The bacll mold genenlly rel_ . e . tlr .... The ··bump.·· on the back·mold edge are key guide.. "ole O·bol .... ing the back half. Note: ~ mold·

makers find it useful to paint an iden· tification line in black acrylic paint alang the outside edge of the back mold before plastering the front. This will help you find the same when separating the: halves later.

Finishing

Up

After the last coat of plaster has set,

gently pry the mold halves apart. Start the separation by setting tilt: entire mold upright and then gently forcing a screwdriver into

the

seam. Work slo'4'ly, moving along the entire seam and never forcing the screwdriver too deeply or prying too hard in one place. USUlilly the back half will come off first. If the front half will not release immediately, bepa. llenll You may have to dig out the day sculpture around the edge of the mold with sculpting tools and pour hot water into the mold to release the front half. By alternately digging day away from tke mold, lidding hot water and twisting the mold, it will eventually break suction. Don't mar

the

delicate inner surf&c:e

of

your mold by frantically digging out dey-be patient. It may even be necessary to chisel away part of the er· meture If you have inadvertently created en undercut.

If It becomes necessary to chisel off

part of the armature (i.e. ears, sides of

the head or sides ohhe neck). use II ham· mer and screwdriver and be extremely

Cdre{uJ. not to chop into the surf&c:e of your mold. Clay left on the mold surface will serve as minimal protection from the chiseling. Remember. the armature Clln easily be repaired, since it is only a form to work on and detail Is not impor.

tant. Repairing a badly dllmaged mold surface is f1!II~ly satisfactory.

Once the sculpture and ermature have been

remo\-ect

from the mold, you may notice that smell blobsor ~rsof oil·base dllY lire on the Inner surf&ee of the mold. These should be removed right away by

the

gentle application of warm water with a soft brush. Extremely tough clay residue can be loosened with a small amount of "safety solvent" (a car· bon tetrachloride substitute) and a small brush.

Small "air bubble" indentations in the mold sun&Ce can be repaired by filling them with wet plaster. A small camel· hair bru~ can be very useful for making neat repairs.

Finally, blot or sponge the entire sur-face with warm water and a soft cloth to wash away any "Crystal Clear" or oily residue. Use the water liberally so all foreign matter is cleansed from the sur· face. Allow the mold to eir dry for 24

hours before going to the nat

step

,

which is sealing mold halves together.

C ••

Ung 10

Lalell:

Before you clln cast or "pour" your first mask, you musl put the mold halves together and seal the seam from the In·

side. (With face masKs, you lire now ready to cast in rubber.) The key guides you put In the clay dam will now

be

of help. Once the halves lire properly align·

ed, use a one·inch·wide nylon cargo strap with e ratchet·type buckle to hold

the

hllives together. Next, mix up a "crellmy" batch or plaster (small batch) lind, with this mold sitting "neck up," reach in the mold and spread small amounts of plaster IlII aiongand into the

inside seam with a small paint brush or your finger. Be sure the plaster is forced into the seam and that all excess is wiped aWlly immedialely. If the excess is

stub-born, dip your finger in some water and wa~ the excess off tke mold right away.

Be neat and work carefully.

Oncetheentire inner seam is 5elIled inl this manner, you can pour your first mask without any fear that tilt: rubber will leak through. Yoo may have to repair the seal from time to time, so get in the habit of checking the seam for cracks. For all intents and purposes, your mold should be considered to be per·

.Join the rront and back mold halves and secure them with a nylon strap. You can now seal the entire inner seam with plaster by using a amall brush and your ringers. The key guides that were put In the clay dam will help you aUgn the two mold halves. Be sure that the plaster is rorced Into the seam and that all excess is wiped away Immediately.

manently sealed.

Depending on the size of your mold, you will need from three to five gallons of late;w; rubber for casting. It is better to have too much rubber on hand than not enough. This large amount of rubber is

needed because this is a "slush mold" process and the rubber must fill the mold to the brim. The actual mask itself will consume only about one or two quarts. so you will beable to make lots of

masks from a beginning stock of five gallons.

For face masks. less rubber is re

-quired. In fact. it is possible to "paint" the

inside of the mold with successive coats

to make your face mask.

As implied, the rubber is simply poured slowly in through the neck until the mold is filled. Let is stand for 45-60 minutes (longer if cold and/or humid) and then "pour it off' (i.e_ pour the un-used rubber back into its original

con-tainer). If the seam does leak, the leak may be plugged temporarily from the

outside by jamming oil-base clay into the leaking area.

Keeping all your rubber in one Ii!lrge,

wide·mouth container is recommended

since funnels and gallon jugs are very messy.

Once the excess is poured off. i!lllow the mold to drain in a "neck-down" posi-14 QNEMAGIC"6

tion for about 10 minutes. The c!lsting is then allowed to air dry or "cure" for about eight hours, depending on the local humidity and tempeT!lture. Rubber takes longer to cure in cold and humid climate conditions.

After allowing the first pouring to cure, you will pour a second coat. This

can be poured off after standing just for a few minutes. Sometimes a third coat will be needed, depending on how thick you

want your mask to be. You can check the lhickness by peeling back part of the neck aW!ly from the mold after curing.

Do not allow the first coat to com-pletely dry before pouring the second coat_ If the first coat has any thin spots.

or holes, the second coat would then run through these holes and create an im-perfect "double flush" on the outer sur

-face of the first coat.

Avoid using "pure latex" or "100% latex." as it will take forever to build up a decent thickness_ Latex that has "filler"

added will build up faster and be firmer

after curing. There are many latex

for-mulationsand each has its own peculiar -ities. At the end of the article, I will list three addresses where latex filler can be

purchased.

Once the mask is completely cured after several pourings, you can carefully peel it away from the mold surface and

Both surfaces sbould be thoroughly cleaned with wann water to remove residual clay and Crystal Clear. In-spect ror and repair all' bubbles and other Imperfections on the mold's surrace. Allow the halves to air dry ror at leaat 24 hours. Oily r_idue can be removed with a sort cloth and warm water. Be sure to clean the mold thoroughly to avola 1m· perfectlonsln the latex mask •

pull it out of the mold through the neck. You'll know it is fully cured because as it

dries, the rubber turns a dull yellowish

color and shrinks slightly. The shrinking

causes the mask to "pull away" slightly from the inner surface of the mold. When removing the mask, gently separ-ate the facial features from the mold

sur-face-nostrils, eye-sockets and ears will all be a little difficult to pull free. Gently tugging will eventually work them free.

Painting

After taking the mask from the mold,

sprinkle the inside of the mask with a small amount of baby powder. This will

make it easier to put on and will keep it.

from sticking to itself. Also, stuff the

mask with loosely packed newspaper to

help it maintain its basic shape. The rub-berwill need tOCUTea little longer once it becomes fully exposed to the air on all

sides. The following day you can trim

any "flashing" with scissors, cut out the eye holes and nostrils with an X-acto knife and grind down any remaining seam with a Dremel mota-tool.

Masks are best painted with an air brush. Inexpensive models are available

at hobby stores and art stores. These can be powered by "canned air," eliminating the need for a compressor. If you are planning to go into mask making in a

•

This Is s completely cured. mask . . It comes from the mold. Successive pourlngs bullt.p the mask's

thlck_s, &clAson snd sn X·scto knife sre used to trim

fl-rw.g

sDd to cut out eye hole •• The maak caD aow H

.Ir·bru.hed.. If the ma.k I. to hIIv. hIIlr,lt un be .pplled .fter palatlng •

Allow tbe fll"at I ... "pourlng".to sbad fOI" 45·60

mlnutea snd then "pour It orr' .s shown In the photo.

The . . . -horse srr.ngement mak_ bsodllng lsl"ge molds

_sler, Small molds c.n be poured off by hand or by

.uspend1ng them from nfte,. by rope.

"big way" or if you hav~ olh~r kobbies re-quiring an elr brush,

now

would be a

good time to buy e small electric eir

compressor.

Th~re lire basically three ~ of peint which clin be used on latex masks: acrylics, lacquer and a mixture con·

slstlng of rubber cement, pelnt thinner and universal colorant. ElIch type has its own advantages and disadvenu,ges

which will help you to decide which type is best for your purposes.

Acrylic paints mix and clean up with weter. They are easily mixed with each

other for different shades, and they will work fairly well in an air brush when properly mixed. Acrylic peints do, how

-ever, tend to rub off mesks end will even

crack If peinted on too thickly. The rougher the mask is treated, the more acryl1c will rub off. Careful handling end

"touch·ups" as needed will help you

meintein a Qood·looking job.

La<::quer p!!Ilnts lIrt" much mnrf! Pfl{·

manent than ecrylics, but since they ere petroleum-based, dean·upand thinning is done with lecquer thinner. l.bcquer and Jacquer thinner must

be

used

In

well·ventilated areas, they are extremely flammable. A respirator mask Is neces-sary when air.brushlng with lecquer.

These paints are availeble in smell bot-tles lind in a variety of colors from tax·

idermy supply companies.

The obvious problem with the third

type of peinting is the tricky formulll for

getting a good mixture. 1nere is not set

recipe for mlxing rubber cement and paint thinner since there is no consisten-cy in the viscosity of univ~rsal colorants. A universal colorant Is what paint stores use to mix their peints. It comes in tubes and is every concentreted substance. To get varying shad~, a good deal of ex -perimenting is required. 1ne basic for·

mula is to thoroughly mix the colorant with a small amount of rubber cement. This mixture is subsequently thinned

with peint thinner until it will successful·

Iy go through an air brush. These color dry slightly darker than they appear to be when wet. It Is possible to dilute make

the formulaloomuch, and this will cause the paint to flake off. Properly mixed,

this formula offers the best in long. lestingness and brillience of color since

the paint ()Oe!Ilnlo the rubber.

In summery, acrylic paint seems to of

-fer about th~ best set of trade-offs for

most filmmaking situations. Those who

desire painting with capabilities for harder weer should take the tim~ to leam the intricllCl~ of the other paints.

Applying Hair

There are several kinds of artificial

hair lIvailable.

Tne

most commonly

known is crepl! hair. Crepe hair

comes

braided in one· loot and one·yard

lengths.' One Yllrd is more than enough

to complete most mask designs except possibily a werewolf or wookie. Crepe is i!llso the cheapest hair i!lvi!lilable.

To pr~palr the crepe, unbrald th~ strend lind soak it in very hot weter. The

hotter the water, the straighter the hllir will becorT'H!. Aft~r drying, bunch the strllnds together end, from theends, pull

out dumbs in four· to six·inch lengths. This pulling will fluff out

the

ends end make bl~ndlng the sections easier. With scissors, cut one end of the clump at the angle best suited for the part of the h~d

it is being lIpplied to. A good method is

to have several clumps prepered ahead

of time end trim the ends just prior to

sticking the hair in the glue.

Contect cerT'H!nt works well for stick·

ing on hair, liS does liquid latex. With II small brush. pl!int II ribbon of glue i!lbout e half·inch wide horizontally along the back of

the skull. You must

i!llways lIpply

heir from back·lo-[ronJ., with the forehead hairline being done last. This will el10w each preceding layer to be neatly overlapped. To affix the heir, simply press the trimmed end of the haIr

clump into a moderately thick ribbon of

SecUona of hair lrln .. ned on One end are pre.eaed Int.o a rihhon of gl .... wlUo the back end of a smilll brush. Hillr I. applied by working bilck to front.

the handle·end of" sm,,11 paint brush or orange stick. You will be able to sllde h"ir around some if necessary. But by the same token. be careful not to dislodge "Ire;,dy·"pplied sections while working on others. The glue will set completely overnight.

This same method can be used to ap· ply the other types of hair. too. The other types are: NSD (Nylon. Saran, Dynel). Nylon Horsehair and several types of more Mtur"l"nim,,1 h"ir. The two man· m"de typesare much more natural look·

ing than crepe. but are much more ex· pensive. They i!lre both stri!light. through NSC is also available In i!I "curly" form.

Animal hair. not as expensive as these two. comes straight and looks very natural. The only drawback is that it's sometimes difficult to get. The only place I have been able to find it is R.

Quinn Studios in Arizona.

Beware of Undercuts

The subject of undercuts is saved for last to give it special emphasis. An undercut occurs during sculpting when a portion of the i!lrm"ture is not suffi·

ciently built up with oil·base clay and causes the outer mold to be "locked" on· to the armature. (See drawings

-2

and

-3.)

When this happens. It becomes

necessary to chizel pieces off the ar·

16 ONcMAGIC·6

mature so the mold can I:.e saved, thus

possibly destroying the hard·built ar·

mature. To prevent the armi!llure from being "locked" in the mold. i!llways be

sure to have

at

least

one·quarter to one half inch of oil· base clay covering all parts of the armature. Also. ere<:t the clay dam asclose as possible to the eXi!lct mid'point of the scultpure. Deep nostrils and eye sockets and elabofi!lte ears can likewise cause undercuf problems when casting the mask in latex. Fill the nostrils and eye· sockets with oil·base clay; these "plugs" can be cut out Ii!lter.

Final Comments

Making latex masks involves a wide variety of skills and requires i!I proficien.

cy in using materials unfamiliar to most people. Advance preparation, close study fo the te<:hniques and thorough organization before starting each phase will make your job easier and more rewarding.

While some may argue that less adui!ll

work is involved in using ordinary fi!lcial makeup te<:hniques, anyone who has

ever felt the pressure of getting "every -thing just right" when setting up a com·

plex scene for filming will welcome the ease with which actors are tranformed into alien beings by simply slipping on a

latex mask. (JI

Supply Sources

Uquld

LaleJl:

"Westwood Latex" (5 gal.)

Westwood Ceramic Supply

14400 lomitas Avenue City of Industry, CA 91744 "RDL 407-Slush molding latex" R [, D Latex Corp. 590 I Telegraph Road Commerce, CA 90040

"Pliatex Casting Rubber" (fliller is bought separately) Sculpture House

38 East 30th Street New York, N.Y. 10016

C ••

Ung

PI . .

ter

It is best to find this locally through art supply stores. It is available by mail from these tax· idermy companies (check your local yellow pages directory for other listings):

Penn Taxidermy Supply P.O. Box 156

Hazelton, PA 18201

Van Dyke's

Woonsocket, SO 57385

Dental

Stone

Your local dentist can get this for you, or check the yellow pages directory for dental supply com-panies in your area.

PLuter lIUl ... e.

Local medical supply house

Lacquer pUnta

Taxiderm supply companies Ac..,.UcP ....

te

Local art supply stores

Umve .... l Color

...

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Larger local paint stores and some discount variety stores

H.lr

R. Quinn Studios 950 West Grant Tucson. AZ 85705 Theatre House

400 West Third Street

Covington, KY 41011

Paramount Theatrical Supplies 32 West 20th Street

New York, NY 10011 Moulage

Paramount Theatrical Supplies OUa..eClay

Local art supply stores. Clayola gray-green is a good clay.

Sugge.ted Rudlng

Molding

and

Casting

and

Plaster

Casting {or the Sludent

Sculptor.

Both of these books are available

r

•

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_

...

,

I--~nd-;;~;E-;;;~~~;ES

DEPT. SM

I

12 MORAY COURT

I

BALTIMORE, MARYLAND

I

21236

I

I cnclose $5.50 for cilCh copy of STOP

I

MOnON PLUS, ANIMATION,

I

~ST

AGE (U.S. & CanadII Only) 7S'

I

UPS(f~e-,MJreDepenclllOle:) 1.50

I

ForelSl1(U.S.FundsOnty) 2.00

Tot'" Enclosed

u.s.

FUf'oLlS ON.Y PAYABlE TO (NMA ENTERPRISES.

Sl ... TE