Dixie Crouch: Professional Make-up Project
Silicone Painting
Electrostatic Flocking
Hair Punching
These technique is for Pre-painting. Not to do on the actor.
Silicone paints consist of 3 or 4 elements.
1. Solvent base (Naptha)
- Panel Wipe
- Lighter Fluid
- low odour white spirit
- Naptha in the pure form - (highly flammable and smells strong)
You can get
2. Silicone
- Evo Stick- 1 hour shower
- silicone sealers
-2 part A and B silicone
the benefits of using the same silocone that you use to make the pieces out of is that you know it will stick to the piece because it has the same molecular make up, where as with the other you will have to test.
First step is to mix these two elements together.
There is no particular ratio, you will need more naptha than silicone, but every mix is different. It should be a syrup like consistency.
If you want a longer working time and a thinner paint, add more naptha. It is up to the artist.
(you can freeze this mix, it will slow down the curing process and you can use it later on.)
3. Pigment
- silicone pigments
-silicone powder and silicone oil (polymer systems)
- oil paints
4. Silicone oil (not necessary)
- to help pigment blend to silicone naptha mix.
Making Skin Tones
Make sure the piece is clean before painting.
All the colours you make when making skin tones should be translucent. To make the paint job more realistic.
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Never add black or white to a skin tone. because it doesn't exist in nature.
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REFERENCE is key. you must have it to make the piece look realistic.
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Start with Blues in your deepest shadows.
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Build it up in really thin subtle layers.
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In between layers you can powder with baking powder or cabosil to absorb some of the paint.
Afer the initial blues, add a subtle shade of purple into the deep creases, and then go in with some greens for secondary shadows
When painting the piece do not use a latex sponge because the silicone paint with never cure.
Avoid Uniform colours- keep mixing the paints.
Reds and purples.
Place these colours in areas where a lot of blood would flow on the face. i.e. the cheeks and the nose and brows. Areas with a lot of flesh.
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Don't brush the paint on, keep the brush loose in your hand and keep it rotating.
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You want to follow the wrinkles but mainly stipple on the colours to make the paint job look realistic.
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Keep reds super subtle because they will build up very quickly, you have to be careful with the pigment.
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Add some blues to your reds every now and again, because you want to avoid that one uniform red colours.
If you make a mistake try to wipe the colour off straight away, otherwise the silicone will absorb it and you wont be able to adjust is.
Ron Mueck
Hair punching as a technique is not too difficult. The hardest thing about hair punching is making it look natural and realistic.
Hair punching is the laast thing you do after all the painting and flocking etc.
Materials for Hair punching
Yak Hair /Human Hair
Hair punching needle
Pin Vice
It is best to make your own hair punching needle out of a needle. you will need to trim and sand down the eye of the needle like so :
This can be done with sand paper and a lot of elbow grease, but it is easier with a dremel.
Direction
You have to punch the hair into the silicone the way you want to lay the hair. so for instance if you punch it in at a 90 degree angle it will stick straight upwards.
Flocking is really effective and perfectly safe.
The flocking gun creates a static field. That you can charge glue with so it becomes static and flocking is attracted to the glue.
if you want to flock silicone, you should use a silicone adhesive, rather than pros-aid.
Flocking Gets everywhere, so put everything you don't want to to get it on, ad preferably work in a box or covered area.
Just load the end of the flocking gun with flock and clup the charger onto the edge of the glue.
Tip- carry the glue down onto the mould and clip the charge onto the mould.
It is a really quick process. and if you make a mistake, if you are using silicone you can not remove it.
Art Finishing Techniques (Silicone Painting/ Hair Punching/ Flocking)
Electrostatic Flocking Artists
Valerie (Val) Crawford
Method
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How to make a hair punching needle, and how NOT to punch hair!
Size 19: Very heavy for hidden areas
Size 36: Normal for human hair
Size 38: Fine for thin human hair
Size 40: Very fine for mohair or wool
Size 43: Ultra fine for the finest fiber
Size 46: An ridiculously tiny needle for the smallest of the smallest animal hairs
Hyper Realistic Art finishing Techniques
- Artists -
Sam Jinks
Jamie Salmon
The Elder
21cm x 23cm x 41cm
Silicone,acrylic, pigment and hair
2006
Chris
89cm x 48cm x 100cm
Silicone, pigment, acrylic and hair
2007
Sam Jinks
Tattooed Woman , 2007
90cm
silicon, paint & human hair
Sam Jinks
"woman and child."
silicone, silk, human hair. 2010
Mask II (detail), 2001Mixed media77 x 118 x 85 cm / 30 3/8 x 46 1/2 x 33 1/2 inInstallation view: Fondation Cartier pour l'art contemporain, Paris, 2013
Photo: Patrick Gries
Couple under an Umbrella, 2013Mixed media300 x 400 x 350 cm / 118 1/8 x 157 1/2 x 137 3/4 inInstallation view: Fondation Cartier pour l'art contemporain, Paris, 2013
Photo: Patrick Gries
Born in Melbourne, Australia.
Resides and works in London, England.
Deborah Galvez
Fig. 6.1
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Fig. 6.43
Val Crawford is an American artist specialising in fur and hair for special FX, she has worked on many films such as.. The Last Samurai (2003), How the Grinch Stole Christmas, (2000) and X-Men Origins: Wolverine (2009).
Above are some photos of her work that i found on her facebook page. But i think the most interesting one out of them all in the dead pitbull to the left, because it shows how short the hairs can be when you electrostaticly flock something. and i am also really impressed and interested in how you can manipulate the direction of the hairs like she has done on the chast of the do. I believe this is done with an airbrush, but i have seen videos of people using hair dryers for more force and bigger fur.
Industry Professionals
David Malinowski
Wayne's Demonstration
Wayne's Demonstration
Other Artists I find interesting
David Malinowski is widely recognised as one of the best in the industry.
He set up his studio ATD creations in 2000. It stands for Attention to Detail creations, and through that he has created personal works and many SFX creations for the film and television industry and for exhibition. His work can be seen in the following:
Feature Films-
Fury, (Brad Pitt / David Ayer Untitled) 2013 / 2014
The Grand Budapest Hotel, 2013
World War Z, 2011
Iron Lady, 2010
X-Men: First Class, 2010
Harry Potter 5: The Order of the Phoenix, 2006
T.V and commercials-
Downton Abbey, Series 2 - ITV, 2011
Being Human, Series 2 - BBC, 2009
Museums, The Arts & Entertainment:
Madame Tussauds worldwide, 1998 - 2011
and more.
Bill Turpin
Nick Marra
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Hair Punching Eyebrows Demonstration
Fig. 6.13
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Fig. 6.16
Anna Cichoń (2014) Hair punching - eye brow by Anna Cichon, nerdsfx.com [Online]. https://www.youtube.com/watch?v=8WCipq0Z73U&feature=youtu.be [Accessed April [2015]
Brick In The Yard Mold Supply (2013) Special Effects Tutorial: Hair Punching Tips [Online]. https://www.youtube.com/watch?v=-hHcpEavXsA&feature=youtu.be [Accessed April [2015]
Tip:
When Hair Punching you can also dip your needle into silicon caulk before punching the hair. To help keep it secure in place.
Debreceni, T. (2013) Special makeup effects for stage and screen : making and applying prosthetics. 2nd edn. Burlington, MA.: Focal Press.
Salmon, J. (2007). Chris. 89cm x 48cm x 100cm, Silicone, pigment, acrylic and hair.
Walter White bust (2015) Silicone.
Debreceni, T. (2013) Special makeup effects for stage and screen : making and applying prosthetics. 2nd edn. Burlington, MA.: Focal Press.