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£34.99 per month Individual PROCESSES and PATHWAYS coming January 2021
£34.99 per month Individual PROCESSES and PATHWAYS coming January 2021
Preparing the Full Head Life Cast for Filling with Plaster
Neill Gorton
Preparing the Full Head Life Cast for Filling with Plaster The steps taken to prepare a full head life cast that’s been taken with an alginate front and plaster bandage back, for casting a positive in plaster. Closing the nostril holes with alginate and joining to the two halves accurately and securing them ready for filling the cast with plaster.
Pouring Plaster into a Full Head Life Cast and Cleaning up the Cast
Neill Gorton
Pouring Plaster into a Full Head Life Cast and Cleaning up the Cast Filling the full head life cast with plaster and then de-moulding the finished cast. How to use tools to refine and clean up the plaster cast, removing and correcting imperfections.
Prep of a Face Cast with Frame
Neill Gorton
Prep of a Face Cast with Frame Preparing a face cast that has been taken using the frame technique for casting in plaster. Reassembling the cast and securing the parts together ready for filling with plaster.
Prep of a Face Cast and Casting a Plaster Positive
Neill Gorton
Prep of a Face Cast and Casting a Plaster Positive Casting a plaster positive of the face from an alginate face cast. De-moulding and cleaning up the plaster cast.
Mould Making Part One: Cheeks and Forehead
Neill Gorton
Mould Making Part One: Cheeks and Forehead Creating new cores to transfer the floated forehead and cheek appliance sculptures on to. We cast a rigid foam copy from the silicone negative mould and use this to help define the best shape and make a guide for producing plaster copies.
Mould Making Part One: Chin, Lips and Nose
Neill Gorton
Mould Making Part One: Chin, Lips and Nose Creating new cores to transfer the floated chin, lips and nose appliance sculptures to. We create snap moulds in alginate and cast plaster copies from these which are shaped in readiness for moulding in silicone and casting positives in PU resin.
Mould Making Part Two: Cheeks
Neill Gorton
Mould Making Part Two: Cheeks Block moulding the cheek cores in silicone and casting them out in polyurethane resin.
Mould Making Part Two: Chin, Lips and Nose
Neill Gorton
Mould Making Part Two: Chin, Lips and Nose Block moulding the chin, lip and nose in silicone using various found containers.
Mould Making Part Two: Forehead
Neill Gorton
Mould Making Part Two: Forehead Making a brush up silicone mould of the forehead core.
Mould Making Part Three: Cheeks
Neill Gorton
Mould Making Part Three: Cheeks Casting the cheek cores in polyurethane resin and using fillers.
Mould Making Part Three: Chin, Lips and Nose
Neill Gorton
Mould Making Part Three: Chin, Lips and Nose Casting the chin, nose and lip cores in a hard polyurethane casting resin.
Mould Making Part Three: Forehead
Neill Gorton
Mould Making Part Three: Forehead Casting the forehead in a hard polyurethane casting back filled with a fast cast resin and filler. Inserting bolts to create screw threads for mould opening.
Casting a Plaster Cast out of a Permanent Mould
Neill Gorton
Casting a Plaster Cast out of a Permanent Mould How to cast a plaster positive copy of a life cast from a silicone negative mould, making the cast hollow to reduce weight and make it more efficient for use when floating appliance sculptures.
De-moulding the Prosthetic Moulds
Neill Gorton
De-moulding the Prosthetic Moulds Once the moulds have completely cured, we now carefully open the moulds and clean them out in preparation for casting the silicone appliances.
Making a Brush Up Silicone Mould of a Life Cast
Neill Gorton
Making a Brush Up Silicone Mould of a Life Cast The process of mounting and extending a life cast in preparation for moulding and then moulding it using the silicone brush on method. This silicone mould is then supported with a plaster jacket.
Finishing and Texturing the Appliance Sculptures and Adding Flashing
Neill Gorton
Finishing and Texturing the Appliance Sculptures and Adding Flashing Taking the floated prosthetic sculptures and attaching them to the cores. Once attached all the finishing, detailing and texturing work is done before creating the cutting edge and adding areas of flashing in preparation for making a negative mould.