A couple of nice auto exterior mould maker photos I discovered:
Image by Douglas R Witt
Now that Bazile is back in one piece, it’s time to do a tiny added operate in the back of the mask. The pictures in this collection have taken spot over the last three day… this is a time of waiting and working sections… it requires time for the mask to settle and dry, this operate demands to be accomplished somewhat gradually if you are to get a mask that isn’t warped out of shape. There are a couple of items that I do to hold it from deforming.
I use the original armature in this case it is a plaster life cast of my teacher/actor friend Sean Daly. I place the mask back over the plaster armature to make certain it will not warp out of face shape.
I have discovered that Papier-mâching the inside of a mask should be completed in stages… begin with the middle attributes like the eyes nose and mouth… than Papier-mâché outward. Leave the rim of the mask as the final factor to mâché … this can be rapidly or slow… based how massive the mask is and how considerably interior work wants to be done… Bazile mask is nevertheless drying 72 hours later. It’s just starting to harden…
The purpose it’s taken this long is due to the fact of two factors. It is been raining a lot right here and it is created the apartment far more humid than standard, the other and the primary purpose is due to the fact I employed a TP Paste (the white stuff) to fill some of the huge damaging spaces like the nose, around the eyes, ears and bottom lip. The white stuff that you are searching at is a mixture of all-objective white glue and shredded bathroom tissue.
I use this TP Paste to fill in a few areas of the mask that I really feel require some protection from put on and tear just in case it gets bumped whilst becoming utilized on stage. After I have utilised the TP Paste to fill in the places of the mask I want to straighten I will leave it to dry for six hours or more.
Warning: this mixture need to be employed sparingly due to the fact it takes a lengthy whilst to dry, also if you use a ton of it will make the mask heavier difficult to wear.
Even although I didn’t use really considerably of this Paste it will take three days plus to completely dry. I don’t use it quite often, but it is truly a great thing to us to fill gaps. It’s like a mask maker’s auto body filler to smooth some uneven exterior lumps and it strengthens the mask, I felt this mask want it and what a excellent likelihood to show you 🙂 super mask generating secretes
I do one more six layers of Papier-mâché in the back of the masks. This will bulk up the mask a bit and give it some added stability for frequent use on stage or using as a teaching mask. In these photographs the 1st point I did was use the TP fill and then let it sit to settle and dry in front of a fan for 16 hours. Then I cut out the ear holes, nostrils and trimmed the rim of the mask. After I am happy with the timing I Papier-mâché six layers on the interior of the mask starting with the middle functions in the mask and worked my way outward. I did the eye, ears, nose, chin and cheek area. Then I let it settles in front of the fan for one more 8 hours. When it was dry I completed the brows and forehead and Papier-mâché the rim of the mas with smaller sized ribbons of paper, this will seal the mask completely and hold it from possibly chipping for flaking apart from you’re face sweat and warm breath from typical use… it also makes it appear nice.
After all six layers of mâché are finish… put in front of the fan once again and let it sit and dry again for at least eight hours… there has been a lot of new operate completed on the mask and you will notice that it will be heavier… there is due to a lot of water added to the mask and it requirements to dry out and settle… put it on the armature base you sculpted the mask on and leave it sit for a day or overnight.
Now that the mask is dry… it is time to add the fabric elastic head band, you can us any sort of head band suits your fancy or what ever turns you on… String, Ribbon, leather, Fabric elastic, etc… the way to attach them is basically the very same although my strategy is not the only way… and you are welcome to explore other people.
For Bazile mask I am making use of a half inch black fabric elastic, you can choose it up at any location that sells fabric. I use black simply because it disappears on stage and it never appears dirty. I start off by measuring a length of fabric elastic from temple to temple. Coming around the crown of the back of the head and sitting behind the ears like a pair of sunglasses. I pull the elastic just a tiny snug (NOT TIGHT) you want the mask to match a snuggly on your face… in the next set of photographs I will be showing how to add foam rubber to the interior of the mask so it will sit comfortable on the face.
After I have measured out my length of elastic set it aside and get a marker, place the mask on your face and find your temples on the inside of the mask. When you have marked exactly where the elastic is going to go, use a tiny dab of hot glue and glue the elastic in… and attempt the mask on. This might take a handful of tries so use a little hot glue till you locate a comfortable fit. The mask may sit on your face a bit uncomfortable… it might be pressing into the corners of your eyes of sitting quite snuggly to your face… that’s ok because that’s what the foam rubber is for.
The discomfort will show you exactly where to place the foam… ha ha ha!
When the mask fits snuggly it is time to use a small more hot glue to anchor the fabric elastic into the mask, attempt to make the glue as flat as attainable utilizing the tip of the hot gun so that you’re not obtaining poked in the temples by hot glue lumps. Then Papier-mâché three more layers of paper more than and about the fabric elastic and set the mask in front of a fan to dry for another six hours or so… it’s crucial to give the mask lots of drying time. The next methods are the sealing and painting and you want a good dry mask to function on.
Particular person artist note to newbie mask makers:
The back of the mask is just as critical as the front of the mask. Most folks believe it ends with taking the mask off the mold. But if you commit a couple of further hours detailing and finishing the back of the mask you are going to have a mask that will final longer and take a beating or hang on a wall with out deforming over time.
It is important to also reinforce the back and fill in some of the damaging spaces… and add ventilation holes like nostrils and often a small mouth slit. This will aid the actor from overheating and reduce down on sweating behind the mask. Some masks will fit really close to the face and subsequently create a vacuum effect that is like placing a plastic bag more than your face. The capacity to breath very easily out of the mask is crucial it will aid the actor overlook there wearing a mask, also if all you have are eyeholes as venation entrance and exit the flow of air will dry out the performer’s eyes.
Please listen to this music although viewing this set of pictures