Fibre glass punchinello mask

The Process...

To achieve the bronze coat I added brass metal powder to the gel coat before applying a thick layer to my waste mould. And when I say thick...I mean THICK, took longer than expected to dry...note to self, follow your notes directly, if it says 2mm - it doesn't mean 2 cm! After my 'thick' layer of gel coat had dried, I was able to apply the fibres to my mask using coloured lay up resin...

Once dry, it was a matter of hacking, sawing and filing, which was a fun but messy work out I must say.
To remove the excess plaster off, i was told to give it a good soak...so with my 90p bowl from wilkos, my bathroom turned into a prop production room!

Finishing off required some scrubbing and buffing.

Second Attempt....

So, not to be defeated I thought I'd try again at the casting process...

After trimming and scrapping the excess rubber and remains of my first cast out of the rubber mould, I mixed my resin, filled the mould and prayed...

Day later... Wehey, it worked! One fake mushroom, with already authentic look as too the dirty rotting mushroom stained rubber mould :)

Casting veg

One word....whoops!
So my first attempt at creating something using resin wasn't that successful.
I think one reason it broke was parts of my rubber mould stuck out at awkward angles. Therefore under were cuts present, causing the resin to set in between the silicon mould.
Ah well...I suppose I could disguise the fact I have only half a mushroom by displaying it face down in a pretty bowl?!
Or I could get some super glue and piece the puzzle back together....

Resin - Moulding and casting

Working progress

Casted fresh mushroom inside!

Mushroom rotted inside but mould was still cast.

This was a smelly but sucessfully cast...

(To be continued)

Fibre Glassing Process

Preparing the mould

1. 2 Coats of sanding sealer on plaster cast to seal surface.
2. 3 Coats of wax (a resistive) - dry and buff each layer in turn.
3. 1 Layer of blue PVA (release agent)
4. Spray on wax layer (aerosol can of release agent) - 3 sprays all over.

Gelcoat

• Gelcoat 'Norpol' can change its pigment by adding metal powders or different coloured pigments depending on the finish you want.
• (For metallic finish use metal powders)
• 1% hardener to be put in before pigment.
• Once mixed thoroughly apply to mould - 1-2mm coat.
• It'll become tacky but let it set and become dry. (30mins to an hour drying time depending on atmosphere)

Applying the fibre glass

• 100msq Tissue fibre - one layer
• 50msq Matt fibre - two layers

1. Tear tissue fibre - as straight edges won't intertwine with one another.


2. Apply thin amount of lay up resin over surface for tissue fibres to stick to.


3. Remember to apply resin right up to the edge of the mould.


4. Push tissue layer into the mould using brush in a dabbing motion making sure fibres are firmly stuck down.


5. Trim fibres around eye sockets etc.


6. Let layer go off - take around 30mins.


7. Go on to apply the matt fibre


8. With tip of brush and dab at the fibres - white fibres change to colour of pigment.

Tips

• Working with a 2oz fibre glass - this can be separated to make it thinner to apply.
• Avoid air bubbles - feed fibres into on another by dabbing motion.
• Indication that resin is going off is jelly like bubbles - about 5 minutes working time left at this stage.
• Trim edges once gone off.
• Resin in pot will pop out once gone off and hardened.
• Wash brush in jar of thinner solution.

Adapt and Transform

MISTRESS AND MAID

To find a plain box or a modern looking one and make it authentic?

On the table lies a fancy veneered box, most likely to be used to hold jewelry or love letters.

THE GUITAR PLAYER

To modify a modern guitar of today?

The guitar was just coming into vogue in the 17th century as a popular instrument for solo accompaniment.

'The ornate hand-carved sound hole is rendered with an astounding calligraphic shorthand of thick blobs of impasto paint which miraculously describes the way light rakes across the uneven shiny surface.'

A LADY STANDING AT A VIRGINAL

To buy a plain white tile and just Vermeer's iconic blue pigment to create a delft tile?

'Other than two simple white jugs seen in his earlier compositions, these hand-painted baseboard tiles were the only homage Vermeer paid to the renowned Delft porcelain production. The humble tiles, which were so cheap that they sometimes served as ballast in ships sailing abroad, protected the plaster walls from the daily assault of brooms, mops and scrubbing brushes. Each tile was decorated separately with scenes of daily life including children's games such as walking on stilts or flying kites. The tile directly to the left of the woman's gown depicts a Cupid who is fishing.'

THE GLASS OF WINE

To find a large picture frame, modern of not and adapt it to look like it was from this painting?

'The sumptuous gilt frame adds greatly to the aesthetically rich yet measured pleasure of the picture.'

To modify a vase to look like an authentic jug?

'These all-white tin-glazed containers were originally produced in Faenza, Italy. In the 1550s they were exported to all over Europe and by the late 16th and early 17th century had become very fashionable.'

Charity shop hunt in self directed study me thinks!

Wood graining techniques

Using a thick brush here with excess paint taken off - gently stroke the board by lightly dragging the brush to create marks.

Too paint on straight lines for wood panelling - use ridged side of t-square and gentle apply paint with 'flat' brush.
(note to self: see A4 print out in file for more detailed wood grain technique notes)

Ooooo...3D Wood Effect

Plaster casting mask

Take clay model of mask....

Fill blow halfway with cold water, add handfuls of powdered plaster til mound appears in water
Apply the plaster in layers, runny at first...thickens with time
Make sure to cover every part
Shave plaster to create flat base

Task: To make something out of another thing...

Plant Goblet

Material used: Clay with a piece of dowel down middle to strengthen... hoping it won't crack!

The Art of Painting

Really inspired by this painting by Johannes Vermeer as to my interest in music.

Main props in this painting - Trumpet and Music book

Find first hand research of a 16th century trumpet.

Make it from brass or another material painted to look like brass? As its all about the look in some props!

Strangeface Theatre Company

I so want to witness this in the flesh, this is just my cup of tea!

http://www.youtube.com/watch?v=KqKA7o6ADaA&feature=player_embedded

Half masks can be quite freaky....

What the papers says - I have to agree!

"Exaggeratedly human (masks), shooting straight for the heart" - The Guardian

“The masks are fantastic” - The Scotsman

“Incredible carvings” - The List

"How expressive Russell Dean's masks are. Through them, especially the eyes, we receive detailed information about each set of personal traits" - The Evening Standard

The making of a mask

Applied clay in small chunks to vacuumed plastic mould of face, then blended together with fingers.

Based on the mask for a Punchinello character - Moulded clay with fingers and carving tool for eye shape.

Feathers and fur research

Hung pheasant anyone?

Daffnie the drake

In my eyes texture consists of 3 main things.... Colouring? Feel? Shape?

From analysing the feathers of 'Daffnie' it made me realise when someone tells you they've seen a stripey duck.....would yo believe them?

Well just see for yourself...

Although the colouring is quite monotone the different textures of the feathers makes this creature interesting I feel with the eye having a mass of information to put together into one object.

Making of a character mask research

To look at masks from the 16th/17th century

The masks of Punchinello caught my attention....

Background Information

Late 1730s

Giovanni Battista Tiepolo (Italian, 1696-1770)Pen and brown ink and brush with brown wash over black chalkVenice is famous for its festivals and commedia dell'arte, a form of popular theater featuring stock characters. Chief among these was Punchinello, recognizable by his hunched back, beak-nosed mask, and tall hat. Here Punchinello has multiplied and surrounds and confuses an elderly woman with a beak nose - a kind of female Punchinello counterpart - who seems delighted by the attention.

Facial features

• Prominent jowls
• Accentuated nose
• Bulbous cheeks
• Large forehead
• 'Tucked away' eyes
• Half face mask to see actors mouths