Almost There

The deer mask is almost there! Here it is in its current state. As you can see, the mask has more detail and a smoother surface texture than it did in the previous post. I made lips, eyelids, wrinkles, etc with a layer of Paperclay, and filled smaller irregularities with a layer of Polyfilla. Both of these materials sand beautifully, and the Paperclay can be carved, albiet gently, with Dremel alumium oxide grinding stones, on a low speed.

Below, the mask with initial applications of Paperclay and Polyfilla.



Below, with eyebrows and other details sculpted in, and antlers removed. Due to the complexity of their shape, the antlers need to be removable and replaceable for both moldmaking and casting.



At this point, I decided I didn't like the ears, and started resculpting them. I wanted the base of the ear to be longer and thicker, the tips to be thinner and more refined, and the openings to be further away from the head.

Below, the antlers in their newly removable state, attached with screws. You can see the scorch marks from the Dremel from when I cut them off initially. The ears are also more refined.



Next step, to get the antlers on straight and even again! Somehow the antler on the right side has sagged noticeably in this process, sigh.



Good thing I get so much moral support from studio assistant Ezzy.

Deer Antlers, Part 2

Here's the deer mask back in June. I felt pleased and thought all I needed to do was smooth and refine the antlers a little.

Ha, ha.



While I worked on bunny masks and looked at the deer mask just sitting on my workbench for the next several months, I realized the distance from the center of the mask to the tip of one antler was almost twice as far as to the other. Some asymmetry in deer antlers is to be expected, but not this much. Not cool.



So I cut the antler between the innermost and the three outermost tines and rotated the whole thing out a little. Not surprisingly, while the tip of the antler is more properly positioned, the tines are now tilted too far back. I stapled wads of tinfoil to the antler to use as an armature for new improved tines.





Then I took a photo of the mask, which I printed out and folded in half to check the relative positions of the two antlers to each other. The bottom edge of the left hand antler obviously need work, but otherwise, so far, so good.

Then I covered the new tines with Celluclay, cut off the old ones, and refined the rest of the antler a little bit.



I got rid of the lump on the underside of the left hand antler and...





OMG! How could I not have noticed before that the tip of the right ear is at least a half an inch higher than the left ear?? So I carved the bottom edge of the antler up a little...



... and brought up the edge of the left ear.



And here's where we are for the moment.

But wait, look, the second outermost tine on the right hand antler is about an inch longer than its conterpart on the left.... AAAGGGGHHHH!!!!

Antlers

I have been working on the antlers for my deer mask for the past several months, in particular on attaching them in something less than a ridiculous manner. In my mind, a deer mask is largely an excuse for a human to wear antlers, so the antlers must look good. If the antlers look "off" the whole mask will look wrong.



(Gratuitous cute pic alert!!) I started making my antlers by tracking down this set of real whitetail antlers in the wilds of eBay. Whitetail antlers in particular are more on a human scale, as opposed to say, mule deer or fallow deer antlers, which can be huge. I made a paper mache version of these antlers by taking a positive cast of them in Celluclay. (For more about this method, see this post here.)



I also needed plenty of reference photos, for which this book (found on the clearance table at a local bookstore) was my main source. The picture on the cover is particularly helpful. (Gratuitous factoid alert- I also learned from this book that antlers are the fastest known growing tissue in the animal kingdom, growing at a rate of half an inch a day.)



And here we have the first attempt to attach the cast Celluclay antlers to the mask. If you compare this photo with the photo on the book above, you can see that the two short tines in the center of the rack are too short, spaced too widely and make too much of a "V" shape. You can also see that the two main beams are too horizontal. In the reference pic above, the beams are more vertical and have a gentle, shallow "C" shape.





Attempt number two. Here the beams are more upright and starting to take on some of that "C" shape, but the tips are too close together, nearly meeting over the center of the mask while on the real deer, the tips line up roughly with the middle of the ears. The ink sketch superimposed over the photocopy demonstrates this.







Attempt number three. The two middle tines have been lengthened and straightened, and the right hand antler has the "C" shape I've been trying for. However, two of the tines of the left hand antler are too short and straight, and something very funky is going on with middle of the beam. The photocopy/ink sketch of the top view shows that the curve of the beam needs to be tightened, and the end needs to move forward.







Attempt number four. I've lengthened and curved those two short straight tines on the left hand antler. I've also started to tighten the curve of the beam of the left hand antler, particularly towards the back of the mask, but in doing so I have once again moved the tip of the antler too close to the center of the mask. As the top view photocopy/ink sketch shows, it needs to be moved out again, and perhaps shortened.



And, here is the mask in its current state. At this point I'm happy with the overall look of the antlers, though the left hand antler has some weird lumpiness going on that needs to be addressed. Next I need to define and refine the mask's overall texture. Then, off to the moldmaker!

(Gratuitous factoid alert- on a trip to Wikipedia to check that my antler terminology above was correct, I learned it is now believed antlers act as parabolic reflectors, vastly improving the hearing of their wearers. I'm not kidding. We'll see if paper mache antlers can do the same!)

White Rabbit Mask Commission Part 2

During our last thrilling episode, our bold heroine had just finished a mask sculpture in a blazingly fast twenty one hours. Tune in this week to see if she can actually make a mask before Halloween!

I positive cast the mask in Celluclay over the plasticine rabbit sculpture and let it dry with the help of a fan. Then I cut it off, reassembled it, filled the seams and added the hair texture with more Celluclay. I just got a new batch of Celluclay and don't know if it's because it's been reformulated or just because it's fresh and new, but it was so much smoother and took texture so much better than it has before. (For more about positive casting, see this earlier post here)



Here is the mask with texture freshly applied. The hair on the nose and muzzle looks rather schnauzer-ish, so I later sanded it down.



Here is Brian the hapless hubby modelling the mask with the flash going off in his eyes. I've tamed the hair texture somewhat, as well as sanded down the eyes, the nose, and inside of the ears. At this point I deemed the mask was ready for paint!

The customer sent me this wonderful traditional Aurthur Rackam illustration for ideas for colors.



I love this color scheme, with the creamy/yellowy white, the sepia undershadings, and brownish/reddish eyes and nose. That is one seriously wierd looking bunny though!

And.. (drumroll please).. the finished mask!







I added just a tiny bit of metallic copper paint to the irises, so that the eyes will flash when the customer moves his head. Overall I'm really pleased with how this mask came out.

And... as an added bonus, this is the only Sans Souci mask to date that is really two masks for the price of one. What a deal!

White Rabbit Mask Commission Part 1

A challenge! A customer asked me if I could make an Alice in Wonderland White Rabbit mask for Halloween. I had only a month, and I usually need around a hundred hours to finish a sculpt, often more, and at least twenty or thirty to make an actual mask. I really didn't think I had time, but I had also wanted to make a rabbit mask anyway and see if perhaps, in the two or more years it's been since I've started a new sculpt, I'd become more proficient. So I took it on.



First, I made a clay sketch on a miniature armature, to get a basic idea of masses and shapes without having to shove around pounds of plasticine. I then used this little sketch as a reference for the full sized sculpture.



Here we are fifteen minutes into the big sculpt, and Arnold the Armature is picking up your signal loud and clear. Those little bitties on the sculpting table in front of him are snails, frogs and slugs that Isabelle sculpted after sneaking into my studio one day.



End of Day One. The armature is covered and the resulting lump is somewhat rabbit shaped.



End of Day 2. Looking a little more rabbit shaped. The little clay sketch I made at first is visible in the background.



End of Day 3. Ready for liftoff! Muzzle and brows have also been refined.



End of Day 5. Per customer's request, ears restrained, cheeks narrowed down and eyebrows refined some more. At this point I am pretty much satisfied with the sculpture.

During this project I discovered some amazing new time saving sculpting tools- the digital camera, the scanner, the printer and my lightbox. At the end of each day I would take pics of the mask, print them out in black and white, and sketch changes over them I'd want to make the next day. This helped me stay focused and saved hours of needless fiddling.





These are two sketches I did to show my customer ideas for new ears and cheeks. He opted for ears somewhat between these two possibilites.

I also found that if I took pics of the mask on one side and then kept the tripod and the stand in one place, I could spin the stand around and get a picture of the other side of the mask that when flipped over, would line up very closely to the first. Then I would print out both pictures, trace around the major lines in red, flip one picture over and then lay them down on my lightbox to see any significant differences between the two sides. This was very helpful if one feature looked "right" one one side but "off" on the other, I could tell right away what the difference was.



A pic of the right hand side of the mask, outlined in red, with an area from the left hand side superimposed in green over part of the ear.



A pic of the left hand side of the mask, outlined in red, with an area of the right hand side of the mask superimposed in green over the eye.

So I had a sculpture I liked after only twenty one hours of work, which is far as I'm concerned is unprecedented.

Next, casting and painting the mask!

"Scrutinizing Eyes II" Off to the Mold Maker

I have been working on this thing off and on for FIVE YEARS. I am so excited to get it done and have a mold made. I can hardly wait to cast up a bunch and paint them in fun colors!

A long time ago I read Karen Horney's "Neurosis and Human Growth" and brainstormed a series of masks based on the different types of neurosis she proposes. (Which are, for the record, narcissistic, perfectionistic, arrogant-vindicative, self-effacing,and resigned. In case you're interested, perfectionistic is my own particular brand.) From there, I played with the more general idea of anxiety caused by excessive self-examination and concern about the opinions of others. As in, OMG HELP THEY'RE LOOKING AT ME!!! From there, I made a Mardi Gras type mask, substituting the feathers with eyeballs.

I had imagined this to be a series of three masks, "Scrutinizing Eyes" (the mask pictured below for the open studio giveaway) being the first and this being the second. The third exists right now simply as sketches in my sketchbook. Hopefully I'll finish it in less than five years!

Ear Hair

OK.... just for the record......I am so incredibly sick of.....EAR HAIR.





Maybe I should back up a little here. I have decided to try to sculpt and cast some mini-masks. I had been resistant to the idea when I was simply thinking of it as a way to add lower priced pieces to my body of work. Now it has much more appeal since I've been thinking of it as a way to try out ideas on which I may not have wanted to spend the hours and hours necessary to create a larger piece. So I started with these cat character sketches I've had knocking around ever since before I sculpted the large cat mask, "Sophia".

Above is "Nemo" in a early, rough form. The idea was for a stocky, staid British Shorthair sort of cat, one that looks a little like my brother's cat Nemo. When I first thought of this piece five years ago my brother's cat was a thoroughly middle aged sort, but now I'm afraid he's rather elderly! So this sketch began to take on a more grizzled, grandfatherly look, with the mustache, bushy eyebrows, and..... EAR HAIR.

So... I have been doing nothing but sculpting and resculpting ear hair for the past two weeks! It just refuses to cooperate! It's probably not too clear in the pics above, but they illustrate no less than FOUR different takes on ear hair. I've been driving my cats crazy following them around and looking in their ears!!

HELP I THINK I'M LOSING IT!!!!!

First Horse Mask Cast!

Whoopee!!!!!!

Now to work on a way of attaching it to someone's head! I'm imagining Velcro-ing it to a snug fitting hood of sorts. Time to cozy up to my friends who can sew!!!