1. The Lifecast Matrix 
2. Measurement & Conservation 
3. Traditional Molding Methods 
4. Sculpture & Casting Mediums 
5. Portrait & Precision Lifecasting 
6. Erotic Lifecasting

Chapter 5: Advanced Techniques:
Precision Lifecasting & Other Applications

Precision LifeCastingâ„¢ is the term used to describe any application that requires exact control over the timing of the molding process, especially those with very short working times. For example, using these techniques a lifecast artist can make remarkable portraits within the time that most people can hold their breath!

This is only possible with our Earthiumâ„¢(f/x) because it can be pre-liquefied and uses a 2-part formulation for precise control. Of course it will take a little practice to master the materials and "human issues" so refer to Earthium's Instructions in the Products section for more specific information, ratios and practice exercises.

Precision Lifecasting Overview:

Remember from LifeCastâ„¢ Basics that:
• Working Time = Blending Time + Positioning Time.
• Setting Time is from first gellation (the end of Positioning Time) to a full solid (when the model may be released).

The relationship between Working Time and Setting Time is proportional. In other words the faster you want it to set, the less working time you will have. Therein lies the challenge of precision lifecasting; to achieve a firm, detailed mold when the working time is measured in seconds rather than minutes.

This requires us to work with liquids. Powders (solids) simply do not dissolve fast enough. Pre-blending the two parts of Earthiumâ„¢(f/x) to their liquid state before combining them eliminates most of the Blending Time in the above equation, allowing the artist to focus almost entirely on the second part; Positioning Time.

Precision Lifecasting Overview:

Positioning Time itself has two parts, which may seem to be the same but, they are not;
1.) Getting the model in the mold
2.) Getting the mold on the model

Part 1 is fully discussed elsewhere. Basically you can dunk the model in or pour/spread the mold on and around them.
Part 2, in Precision LifeCastingâ„¢ can be tricky. Because of the short Working Times
• Only medium and low viscosity ratios (see LifeCast™ Basics) work. Only relatively thin fluids can be mixed and get into all the details of your subject fast enough. This also means that for anything more than 3-4 of cups, BlendBags™ or mixing machines are required.

This also requires the lifecaster to be intimately familiar with how to deal with air bubbles, traps, paths and pools. In Precision LifeCastingâ„¢, set-up is everything! Refer to other LifeCastâ„¢Library sections for more information.

Working With Infants:

Infants, of course have no clue about anything not even how to control their own bodies. In LifeCastingâ„¢ they are not able to help the artist in the process at all. Indeed they can be more difficult than even inanimate objects. Infants must be soothed and 'tricked' into posing for us.

Luckily, they are tiny and sleep alot. Which means we can make several attempts to duplicate their bodies without using large amounts of time or materials. And, with this technique the problems are mostly eliminated. I have done marvelous LifeCastsâ„¢ of them as young as 3 days!

First, they should be sound asleep. Exceptions do exist but, as a father of three I find the best time is a little while after they have been fed and put down for a nap. The whole process should be done calmly, quietly and in dim light to avoid waking them. Of course if your little one is jittery for some reason, (has colic, illness, diaper rash, etc.) you may just have to wait for another day.

See the ChildCastâ„¢ kit instructions for a non-precision method with a BODY PARTSâ„¢ kit materials and warm water. This example uses a hand and the Earthiumâ„¢(f/x) Precision Ratio #2 (see Instructions) at body temperature (100 degrees (F) to avoid waking them.
• Water = 3 parts, Part A = 1 part, Part B = 0.75 parts).
• Work Time = 30 Seconds / Set Time = 30 Seconds.

Working With Infants:

1.) Get three small paper or foam cups large enough to contain the hand
2.) In one cup mix the Part A with 110º (F) water until completely smooth. The reason we use such warm water is that adding the powder and mixing will take some time and cool it down to about body temperature by the time you are ready to use it.
3.) In another cup mix Part B with an equal amount of the same temperature water (110ºF). Have both cups ready to mix together near the infant.
4.) The third cup should have just warm water in it. This is used as a test, to get the skin wet and to desensitize the child if necessary.
5.) Gently dunk the hand into the water repeatedly until the baby stops reacting and can leave it there for a few seconds.
6.) Mix the fluids together quickly. This is easy with such small amounts but, make sure to scrape the sides of the cup as you do it to ensure a complete blend.
7.) Dunk the the hand in. Gently rotate the cup back & forth and up & down to coat the skin. It will begin to set very fast.
8.) When firm enough to press on the surface without damaging the mold or having any stick to your finger, wiggle the hand out. Baby's don't have any real bones yet so blowing with the straw (see Suction in LifeCastâ„¢ Basics) may not be necessary unless the mold is fairly deep (a few inches above the wrist). Set the mold aside.
9.) Check the hand for any little bits of mold and remove. While it is completely harmless to eat, we don't want them to choke on any chunks as they sleep.
10.) Pour the casting immediately (see LifeCastâ„¢ Basics or BODY PARTSâ„¢ kit instructions).

The LifeMaskâ„¢:

These are perhaps the most interesting, and challenging, subject for a lifecast artist. In the past of course, 'death mask' was the more common term. This was because either the model was actually dead or because the techniques were too slow and awkward for any model to maintain any living expression. This is also true of the first two techniques of portraiture described here with precision methods following.

The LifeMaskâ„¢:

The degree of detail now achievable is unsurpassed. The last technique is suited for true a LifeMaskâ„¢, capturing literally any living expression. The FastMaskâ„¢ is a radical departure from previous approaches. Only the incredible characteristics of Earthium(f/x)â„¢ make it possible. There is another technique for partial portraits, suitable for beginners described in our Customer Projects section.

The Shelled LifeMaskâ„¢:

This is very similar to historic techniques, with the minor variation of our mold compounds between the skin and the plaster.
• In the past (and in many high schools even today) the plaster is actually placed directly against the skin after liberal greasing with lubricant such as petroleum jelly.
• Direct plaster impressions are also still usefull as the best way to make lifecasts of a pregnant women's stomach. Since they posess little inherent detail or complexity no flexible molds are even required.

It can be done with either the single part ArtFormâ„¢ or

The Shelled LifeMaskâ„¢:

3.) Once the mold is completely set, a thin coating (1/8" to 1/4") of high viscosity ArtCastâ„¢ or plaster is spread over the surface. You must be careful to keep it on the mold, not the skin and, of course to leave the nostrils unobstructed. It is best to apply the plaster just a few moments before it sets.

the 2-part Earthium(f/x)â„¢. It can even be done with the materials in one of our Original LifeCastâ„¢ kits (#1120).
1.) The model, in a swimming cap, lays flat and the face is moistened. A high viscosity ratio (see LifeCastâ„¢ Basics) of water and powder* is prepared and quickly spread all over the skin. It tends to run down the sides but is scooped back up until it begins to hold its own shape. The nostrils are left uncovered to facilitate breathing.

2.) The mold will be 'tacky' at this stage. The sculptor daps cotton balls over the surface so that some fibers become embedded.

For many lifemask examples of famous personalities click here.

4.) When this shell has hardened the model will sit up and wiggle the facial muscles while exhaling to release the suction. The cotton fibers have bound the mold to the shell so they both come off at the same time. The casting should be done immediately.

The main drawback to this approach, other than the fact that it takes 10 to 15 minutes to do is the weight of the assembly. It tends to press the skin down unnaturally and, especially on older models, will cause it to gather in noticeable folds back around the ears.

*If using ArtFormâ„¢ the water should be very cold to extend working time (see LifeCastâ„¢ Basics). If using Earthium(f/x)â„¢ a low Part B ratio would be used for the same reason (see product instructions).

Another Shelled LifeMaskâ„¢:

This variation on the shelled approach allows the model to remain upright which minimizes skin/muscle compression and feature distortion. Also, the use of plaster bandages instead of solid plaster will lighten and strengthen the shell. Bandages of this type can be purchased ready made at most pharmacies and at some art supply stores or can be made as needed.

My favorite is to drag strips of coarse burlap through a slurry of cement before applying them. This requires fewer layers, has greater strength, is less expensive and sets faster.
• There are also some plastics formulations made specifically for this use. I have used one called "Mother Mold" or "Por-A-Mold® Thixotropic" by SynAir/Pathway Polymers with excellent results.

Shelled LifeMaskâ„¢

This can also be done in a two part arrangement for the back of the head (see Sandwich Molds in Chapter 3).

The optional breathing tube can make the model more confident and the vertical position makes it easier to avoid accidentally plugging up both nostrils.

Precision LifeMask Technique:

The FastMaskâ„¢ was developed specifically to capture the faces of my children (7 and 10 at the time). It can only be done with Earthiumâ„¢(f/x) by the "Wet/Wet" blending. This does take some practice but uses very little material when done efficiently.

Careful selection and preparation of your matrix is time well spent.

Precision LifeMask Technique:

See the Earthiumâ„¢(f/x) instructions in Products for more information and the Precision Ratios used.

This entire process is done while the model holds their breath! It is so safe and fast that virtually any expression is possible. The medium can even enter the mouth to capture the gaping facial contortions of horror or wild enthusiasm.

The Set Up:

Working Time is less than 1 minute total so there simply is no time for error once you actually begin.
• Make sure no loose clothing or hair will get in the mold to hinder easy release.

The matrix is thoroughly lined with adhesive hook & loop strips, particularly at the sides of the nose area to prevent slip & slide (see Chapter 1).
• It is also helpful if the matrix is somewhat flat-bottomed with gently tapering sides.
• I've found that the plastic domes which cover whole, roasted chickens and turkeys to be excellent for this application on many faces.

The Set Up:

The speed of the process creates a whole new set of potential problems, primarily relating to air pools (see Dip & Dunk in Chapter 1) which form in the recesses of the human face. These are described below.

You must use a thin viscosity so the fluid can get into all the skin details very quickly. It must also set up quite stiff.

Facial Anatomy & The FastMaskâ„¢:

A little understanding of facial anatomy is required to see where the problems with air pools will occur. These are illustrated in red to the right.

The nasolabial furrow (where your nostrils join your cheek), the philtrum (that little dent in your upper lip), the mentolabial furrow (between your lower lip and chin), and the infrapalpebral furrow (where the eye socket meets the nose) are the concave areas.

Facial Anatomy

These are the areas where the large, hard to correct AirPools will form if you are not carefull.

Uncontrolled, these areas along with the inside of the ears and nostrils will form large blobs which must then be carved to shape.

FastMaskâ„¢ Continued:

The eye sockets are the deepest and most difficult to avoid. In addition to the model's efforts (see illustration right), I find it is usually necessary to spread the mold fluid into those areas with my hands as the model submerges into the liquid Earthiumâ„¢.

Also, if the design calls for the model's mouth to be open, make sure they carefully suck some of the mold inside. An open mouth can be the biggest air pool of all.

As the illustrations show, as soon as the model is in the fluid they must quickly move their face back & forth to try to dislodge the air pools. There may be enough time for you to gently spread the liquid directly into these areas with your hands.

Also the model may be able to come up for a gulp of air if required. Much depends on your relationship with the model and their confidence in you and the process. The most crucial aspect of this method is getting a good coating directly on the skin.

If your model is relaxed and knows what to expect, they will have less problem holding their breath and, more importantly, maintaining the facial expression you want. You don't want them to come out looking cramped or bloated from discomfort or anxiety.

Also remember that to carve the eyes open later, the muscles around them must not be tightly clamped shut. The 'gestalt' must be appropriate to the expression. This will take some practice on the part of you and your model. Once the mold has set the model can simply exhale. This releases the suction which, with a little facial wiggling gets them out easily.

FastMaskâ„¢ Continued:

The casting, whether done solid or by Slush Cast (see Chapter 3) is pretty straight forward as long as you make sure to again, get a good coating into all the surface details.

The one area where extra care is needed occurs when the expression has an open mouth. In a mold, the inside of the mouth will generally look like a shapeless blob. As this illustration at left shows, where the mold enters the mouth, between the lips and teeth, will be thinner than the inside area.

When removed from the model along with the rest of the mold, it may flop around. If you pour the casting solid, this lump will usually float into its correct position with a little help from the sculptor. In a slush cast though, you must hold or otherwise support it as you spread the casting media in to the details of the teeth, tongue, lips. etc.

Precision LifeCastâ„¢ applications are endless. If you have browsed the other areas of lifecast.net you're imagination is already working overtime with ideas.

Once you understand how to work with Earthium(f/x)â„¢ it will seem as if nothing is beyond your abilities. All it takes is 3 or 4 exact ratios and techniques which you can apply to any given circumstance.

Torsos, Partial and Full Body Lifecasting:

The Torso Tank: These are my favorite for large projects. They require considerable material but the results are so slick if done properly that its worth it. Steel, fiberglass, plastic or paperboard drums are easily found and inexpensive (look under "drums" or "barrels" in the yellow pages).

Precaution: If you buy used drums make sure you know what the contents were and clean them out thoroughly before use. There's alot of very toxic stuff out there - most shipped in drums.

Buoyancy is another attribute of viscosity (LifeCastâ„¢ Basics). The thicker the liquid, the more a human body will tend to float in it. For women with large breasts, this can be used to offset the effects of gravity and create a more flattering LifeCastâ„¢.

Also, if you mix in batches, the Earthiumâ„¢ can be allowed to partially set up in lower areas to give support to subsequent pours in higher ones. The torso tank moves the burden of supporting the mediums from your model's body to the matrix, where it belongs. Make sure your set up works by testing it with just water first!

Water is very heavy. If your matrix collapses in mid-project someone could get hurt (not to mention the waste of materials and effort).
• I have attached spigots to the bottom of barrels to allow easy draining of the test and measurement water.

The leg holes must closely fit the contour of the leg or the plastic bags and rubber bands will not be able to restrain the liquid. You can also pad the edges with foam rubber for a closer fit and model comfort. Use plenty of hook & loop or other materials, firmly attached to prevent "Slip & Slid".

Body Lifecasting:

Torso Tank Displacement:

Anything you can do to minimize material is time well spent. You only need 2-3 inches or less of mold material around the model's body.

While the model is in the empty matrix, look for areas around the waist, the small of the back, etc. where there is more than 2 to 3 inches of empty space. Shape and firmly attach foam rubber or, styrofoam, etyc. to the inside of the tank in those areas to drastically reduce the volume of water and Earthiumâ„¢ needed.

Done carefully these will require from 20 to 50 pounds of Earthium(f/x)â„¢ depending on your set up. Since this is not a time-critical technique you would use a low Part B ratio to give yourself maximum Work Time.

The photo shows a nice finished example of a Torso Tank LifeCastâ„¢.

LifeCastâ„¢ Project Ideas:

Non-Mammel Projects:

We have used it on living reptiles for example, by tricking them into dormancy long enough to make the mold.
• This is done by putting them in the refrigerator for a few moments.

LifeCastâ„¢ Ideas:

Non-Mammel Projects:

Being cold blooded, it doesn't take long for these creatures (lizards, frogs, snakes, etc) to lower their metabolism to the point where they can be LifeCastâ„¢ without suffocating.

Several taxidermists who buy from us swear by it for fishing trophy applications, every scale perfectly captured!

Plants:

Here's another subject for stunning sculpture. With thin, liquid ratios we have captured the metamorphosis of a single plant into its flowering stage over several days without harm.

The one limit in botanical LifeCastsâ„¢ is the casting medium. Cements & plasters can only be used for certain succulents (desert type plants) which have thick bodies. Coniferous, deciduous and other types must be cast in something liquid enough to get into all areas of these delicate molds.

Plants:

Professional waxes, such as those used for fine art metal castings are my favorite (see Chapter 4). Another advantage of molds which are mostly water such as the ArtFormâ„¢ and Earthiumâ„¢ is that they can be quickly heated up in a microwave oven to the same temperature as the molten wax. Many problems are avoided by pouring hot wax into an equally hot mold so they both cool down together.

Fruits and vegetables make excellent subjects as this fellow demonstrates with the freshly bitten apple. With correct use even the complex artichoke has been captured. Considering the high cost of good quality simulations, this can be a neat little method of creating promotional displays.

Arts & Crafts:

These objects are a perennial interest world wide. Take a few hours one day an browse any good supply store. The variety of materials - many quite expensive - will astound you. Many of the items you will see are relevant to lifecasting either as finishing materials, holding props or, most importantly, as things which can be duplicated much, much cheaper than buying them.
•Wooden or plaster craft ornamentation for example. Say you need 5 of a certain design for some private, home project. There is nothing unethical or illegal about buying one and using that as the object for a mold from which to make the other 4.
•Cut out lettering is another example. Buy one full alphabet and copy the repeated letters as needed.
• The same is true for artificial fruits & vegetables, picture frames, refrigerator magnets, candlesticks (or candles), plaques and so on.

Arts & Crafts

Of course, many people make a living at selling the results of their creativity. Our materials can contribute the speed and versatility required for many short run applications or to allow you to test out designs without any major investment in permanent molds.

Many of our customers who attend arts & crafts fairs, swap meets, etc. sell our kits through their booths along with their main activity. This can generate considerable extra income and it frequently leads to additional commissions for doing a LifeCastâ„¢ of someone who might otherwise have purchased nothing.

Besides, people love it and lifecasting is fun! See our Support section for more details.

More Lifecasting Ideas:

We are always looking for clever approaches to sculpture and welcome your feedback via eMail.

Removable Holding Objects: If an object which is smooth and shaped correctly is used in a LifeCastâ„¢, it can be made to slide in and out of the grip. A business card holder is one popular example. Another is a holder for the TV remote.

Rotating Objects such as smooth glass or plastic balls will spin in the 'grip' of a correctly made LifeCastâ„¢. If cast in something durable these could even be used as chair or table casters!

Anatomical Models used to study the human anatomy in both science and fine arts are quite expensive and typically not very detailed. LifeCastsâ„¢ are not only cheaper but accurate right down to the fingerprints.

Commercial Displays for nail shop windows, jewelry stores, signage, foot traffic control and so on can make your efforts more memorable than mere graphics ever could.

Custom Fit Shoes are convenient even if the cobbler shop is far away. Copy your feet and ship them!

Halloween Decorations, pumpkins and other decorations of the 'bewitching' season are more frightening when combined with lifecasts. Ghoulish hands, dripping in red paint sticking out from the sides of a jack-o-lantern for example. Plus you can use them year after year. Custom, form fitting masks can be made with some skill and ingenuity. There are many books and a few web sites devoted to this special effects (f/x) skill but, they all begin with lifecasting!

Parent Day Gifts are a staple of elementary schools nationwide. Take one of our StudioPaksâ„¢ to your child's classroom and help the teacher show the kids how to create something truly memorable for a change.

Durable Media Lifecasts such as metal or some plastics, LifeCastsâ„¢ can be used for hat/coat racks, door knobs, garden decorations, etc.

Also see the Finishing Techniques section for more ideas.

Go To Chapter 6: Erotic Lifecasting:
Design & Techniques Guidelines

© 1987 –2009 MSWinn. All rights reserved. Thank you for visiting lifecast.net.
FAQs • Products • LifeCast™ Library • Support • Contact • Legal Information