Design 4
The sculpted design before refinements.
Each image from the collage is reflected in some way throughout my design. Small elements were take to give a unique, originla design to fulfill the brief for specialist practice.
This collage demonstrates key features required to create my creature. As they are mostly ideas from an existing reference, I was able to recreate accurate and recogniseable features. The teeth for example were taken from primary research, as I used my dogs teeth to influence the design of my the ones I made for my creature. Recognisale features help the audience to relate to the creature and understand it more clearly.
Final Design
Hairpunched eyebrows using synthetic hair to match lace front. Textured mixture of black and silver hair
Knotted piece attached using spirit gum, to sit in place next to the prosthetic edge.
Broadened nasal bone to look more animalistic, also help to sink the eyes
Teeth inserted in upper and lower lips to show transformation. They will not be a complete set as she is still part human.
wrinkled skin texture which shows expression marks when opening the mouth wide
Broad, textured nose joined tot he upper lip for a less human distinction
Cool areas of blue and purple tones will be airbrushed over appropriate areas. The arms, nose, chin, and ears will all be areas which become cold as they are
One eye will start to change to adapt to her environment and also as a warning to any predators she may cross in the forest. The yellow colour also contrasts against the skin
Materials:
Silicone appliances pigmented withdark flesh tone and brown.
Flocked applianecs
-broken cappillary flocking
-white flocked ears
Hair punched ear tips using same hair as brows and front lace/ hair piece
I feel that my designs link back to and reflect my research with apprpriate anatomy of both human and dog. The colours I have chosen are appropriate as the pale skin is a sign or no sunlight and that this creature is in constant shelter within the forest. The teeth clearly show a transformation process, however it seems incomplete as woodland creatures are typically covered in hair/ fur to keep warm. As she has only developed hair at the tips of her ears, this is also an indication of this transofrmation being an early stage.
Body painting with an airbrush - Arms, chest and blending the face into the neck.
Using Temptu Silicone based paints, I will create a cold, mottled tone, which will b a delicate translucent paint job, to show my modelds skin tones underneath.
White, purple and blue tones will be applied appropriately to achieve a veiny, mottled effect.
List of materials/ codes in order of application:
-Simple Toner
-Telesis 7, face piece
-blended edges, IPA
-cap plastic patches to blend edges further
-Attach ears with telesis
-Skin illustrator, on set palette, LAO2, Natural 2, Cedar Brown used to add depth to face piece and ears
-Skin illustrator fx palette,blood tone, aged blood, bruise and ultra blue to add lifelike tones to the face and ears
-Airburshed face, nech chest and arms unsing Temptu S/B paints, 027, 036, 029.
-Mottled skin with airbrush using Temptu 027
-maroon/purple wool fibres attached with prosaide
-Fleet St thick Bloodworks blood drying paste into side of nose cut and cheek cuts
-MAC matte cream, to reduce prosaide shine
-Marble sealer sprayed over entire face
-Attached hair to pin curls down centre of head using extention clips
-spirit gum to attach front lace
-Black hairspray to remove bleached sections of models hair
-tail comb to stretch out models curls and blend in with synthetic hair
-hairspray hair sleek on either side and pin hair up to support silver mohawk
Close up of airbrushing
(Dotted lines show edges of applied pieces.)
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