Basic BODY PARTS™ Projects:
Lifecasts which anyone can make - guaranteed!*

Click on any of the individual LifeCast sculptures above to view a description of how it was made and the finishes which were applied.

These two children's hands are exactly like the basic project described in the LifeCast™ Kit Instructions. After unveiling and doing a little touch up we electroplated the sculpture with copper.

Electroplating is described at the end of this section with additional links.

Three children's hands are also a basic project so long as they can fit in an unmodified can. Since this displaced more water (See step 1B of the LifeCast™ Kit Instructions), less water than normal was mixed with the ArtForm™ powder.

This could make it set too fast so we blended it for only 1.5 minutes instead of the full 2.

Children and sports are classic themes. The baseball was held by this boy throughout the entire LifeCast™ project from measuring the water (step 1B) through the release (step 1M). At the release the boy's hand was removed but, the object remained in the mold (Alternative & Advanced Techniques). That way the casting medium can only go where the hand was, since the ball was still inside exactly as he held it. The bandage was actually on his arm when we made the sculpture and was perfectly duplicated along with his wrist. After touch up it was painted with acrylics, carefully avoiding the baseball.

Many other sports items can be done similarly with a little ingenuity. For example, we were asked to create a trophy for the coaches of a little league team which would include all 10 boys! Our solution was to have a baseball bat inscribed with a memorial phrase and have each boy wrap his hand around it. This arrangement when into a long trough made of Styrofoam which was our LifeCast™ matrix.

This rose quartz crystal ball was held by a young girl in the same way as with the baseball above except with 2 hands. The object was too heavy for her to hold by just her fingertips and it was allowed to simply rest on the bottom of the can. Only areas of the skin should not touch the can, objects may touch.Since, with two hands, the sculpture would be very difficult to paint without getting it all over the ball we first covered the object with a tight cover of common plastic food wrap then did the LifeCast™.

After unveiling it could be painted easily because any paint that got on the ball would be removed when the plastic wrap was taken off (you can even use spray paint with this technique).

Partial BODY PARTS™ Kit Projects:
When A Whole Kit Is Just Too Big.

Little feet like this are made by cutting the can and all the measurements in half. We wanted the toes and ball of the foot to touch the bottom to make a flat spot for mounting it to a custom base. Again a small split was needed behind the heel, as most foot LifeCasts require which was made with a butter knife - dull side toward the skin (Alternative & Advanced Techniques).

It was gold-leafed before spraying with a mat-finish and mounted to the base with epoxy.

The ears & nose on this paper clip holder were made in wide paper cups cut down to about 2" – 3" deep. Each one required less tan 1/4 cup of ArtForm™ mold powder.

After determining how much water was needed by displacement (Alternative & Advanced Techniques) we added 1/2 as much ArtForm™ powder and blended it with a small wire whisk for 2 minutes. Then we quickly spread a coating of the mixture on the body part.

Ears have lots of places for air bubbles to accumulate if you just dunk them in.and you should never pour any liquid into the ear. Spreading it on before dunking is the best, safest solution.

Next the model submerged the coated body part into the shallow cup with the rest of the liquid and held it in until the mold set. Finally they were painted and attached to the paper clip holder for an amusing, if silly, desk accessory.

The little pigs, the monkeys and the mermaids were all made by mixing an equal amount of ArtForm™ powder and cold water then spreading the paste on the original figures.

Magnets and jewelry pins were embedded into the casting cement before hardening. We poured many copies of each with the same molds since the mold did not have to be destroyed to get the castings out.

These types of relief mold projects (Alternative & Advanced Techniques) make cute little ornaments for any occasion.

Lizards, snakes, birds and other non-mammals have such delicate details that we wanted a firmer mold. We used 3/4 cup of ArtForm™ powder for strength with 1 cup of ice water to extend the working time. After spreading a good coat all over it with our fingers the remaining fluid was applied. It was painted like the real animal, making a stunningly detailed LifeCast™.

Note: mammals are more difficult because of the hair. The hair must be slicked down with plenty of water, oil or petroleum jelly to create a single surface which will not become entangled in the ArtForm™.

These complex flowers and leaves are from succulents, desert type plants which have thick bodies. The mold must be made weak to allow release without pulling off pieces, leaving them stuck deep in the mold.

So we mixed 3 parts water with only 1 part ArtForm™ powder.Blending at this high ratio must be very thorough so we used ice water to extend the working time. The flowers are mounted on small jars also made with ArtCast™.
Note: Both are the same flower in different stages of development over a few days. While sitting in the studio, in some water, the earlier one (in red) sprouted a central pod of remarkable seed arrangement (in yellow) which we again duplicated.These types of very thin LifeCasts are best poured in wax or plastic although the cement does work, as shown here.

Many fruits and vegetables can be LifeCast™ with incredible detail. This arrangement of asparagus was actually made with one of our small, ChildCast™ kits after extending the can a few inches (Alternative & Advanced Techniques).First we hot-glued asparagus to the inside of the lid. The bottom of the can was also removed and the can put over the top of the asparagus to reattach it to the lid (which was now the bottom). The ArtForm™ was poured over it. With such thin tubes as asparagus, the ArtCast™ would be easy to break. Notice how they are all arranged to touch one another, creating mutual support.

The cement was mixed with less water than suggested (to make it stronger) and left in the mold for an entire day to become as hard as possible.

After unveiling, some areas were too complex and tight to get the mold out easily. It was allowed to just sit for a few hours so the ArtForm™ mold could shrink a little between the stalks. Then it was much easier to remove. When dry they were painted to resemble the actual vegetable.

Our compounds can also duplicate precise, mechanical objects. This is great for many prototype and design applications as well as emergency mechanical part repair or duplication when poured or "slush" cast (Alternative & Advanced Techniques) in the new, durable epoxies.

This object was a complex aluminum bracket which was duplicated in just the ArtCast™ cement, painted and shaped to make a lit tle bottle with a removable lid.

Intermediate BODY PARTS™ Projects:
Projects For The Adventurous Beginner

A more complex type of holding object, this plastic box has a lid which we wanted to remain removable for knickknacks. We carefully positioned her fingers around the box so that none of them overlapped the top edge and so that no air traps (The Basics of LifeCasting™) were formed. Held this way, a smooth object that is either straight up and down or smaller at the bottom than the top will slide out of the sculpture.

The LifeCast™ was made and allowed to harden in the mold for an entire day because we wanted a very strong cast when it came time to remove the box. Remember, its being wet that makes the cement hard, not drying out (Alternative & Advanced Techniques).

Up to a point, the longer its wet the stronger it gets. After unveiling and drying, the plastic box was gently slid out and the piece was painted to simulate actual stone.

Then the box bottom was returned to its place and glued with a "super type" glue (one with cyanoacrylate) to support the delicate fingers since the lid was designed to be removed and replaced repeatedly.

This charming LifeCast™ of a brother and sister holding hands was made without a base so we could mount it to a carved, wooden one that reads "brother and sister".

Illustrations of this piece are used elsewhere to demonstrate the precautions needed to prevent air traps (The Basics of LifeCasting™). You must make sure one child's fingers touch the back of the other's hand.

With young children the only way to stress this is to have them practice a few times so they understand that its important (we made a game of it). Arranged this way, the air from her fingertips could escape through his wrist.

For a more elegant, extended thumb on this woman's graceful hand we removed the can's top and bottom then bend it into an oval shape. The bottom was then sealed with duct tape.

Her long fingernails in a cement casting would be very easy to break. Even an actual stone such as marble would be easily chipped if shaped as thin as a fingernail. So, we first thickened them by filling the inside curves with modeling clay before making the mold (The Basics of LifeCasting™).

This one was used as a window display for a manicurist and finished with flesh-tone paint and durable, acrylic sealant which would not be dissolved by nail polish remover. That way the fingernail artist could change the design of the display as she chose.

To fit this adult and 2 children's hands we had to make the can slightly wider and taller (Alternative & Advanced Techniques). This increased the amount of water to fill the can but, because we had more hands in, they also displaced more water.We needed about 9 cups to cover them all a few inches up the wrist.

This is more than the suggested 7–8 cups for the material in a LifeCast™ kit which means some detail will be lost. The ArtForm™ must also be very well mixed when using high ratios like this so we used colder water (50 degrees F) to give us more working time to get all the lumps out. The mold required about 6 or 8 minutes to set completely.

With the fixed amount of ArtCast™ cement in this size kit we knew there was just barely enough. Just to make sure we added 1/4 cup more water than suggested in the instructions. Even so there was just barely enough cement for a tiny base although 3 hands don't typically need one to stand up.

This exit sign was made by cutting the can open along the side and sealing the now, 3/4 open top with duct tape to hold liquid (Alternative & Advanced Techniques).

The entire process was done through the side with only a portion of the pointing hand in the mold since the back would be sanded flat anyway. The mold was made and before mixing the cement we coated a bolt with a little petroleum jelly as lubricant. When the cement was poured in and still liquid, this bolt was embedded in it and allowed to harden inside.

When fully cured, the bolt, because of the lubricant could be gently unscrewed. This left threads in the sculpture which were then used to mount it to the wooden, vertical base through the back.

These crystals were far too long to be held as we wanted in the kit's can so we cut a hole in the bottom of it.

The tops of the crystals could stick out, through that hole, allowing just the hands to be inside. The gaps in our rough hole were sealed up with duct tape to make the can again able to hold liquid, at least for a few moments.

The crystals were also covered with plastic wrap to make the final sculpture easier to paint. It was painted in metallic blue and brown with a sponge then sprinkled with metallic dust while the paint was still wet before being sealed.

This complex, vase assembly required several steps. First the glass vase was sealed with tape so that it would displace water rather than fill with it. That way less mold medium is used and, of course there is less to dig out later. The can was both widened and shaped into an oval (Alternative & Advanced Techniques) to accommodate the child's hands around the vase.

The mold was made with no base since the vase stuck up above her wrists and the top of the can.We only used about half the ArtCast™ cement to fill just her hands. After the unveiling (step 2I – 2K) we mixed the other half of the cement and applied it by hand to surround the bottom, leaving a portion of the vase exposed.

The base was abused with power tools after the cement had dried to simulate rough stone.

Note: You don't want to get drill bits, etc. covered with wet cement since it will harden on them, they will rust and get duller, faster. Wait until the LifeCast™ has fully dried before using these kinds of tools.

To make this foot lamp we first cut open one side of the can and spliced in a wedge of cardboard, tapering the cylinder shape. The can was now wider at the top than the bottom to allow for the heel/ankle bend.

We hot glued rocks on the can bottom and proceeded with the typical, split mold, foot methods (Alternative & Advanced Techniques). After drying (to protect the power tools never use them on wet cement) we drilled holes, using a masonry drill bit, up from the bottom and down from the top to intersect inside the ankle.

This made a channel for the electric cord and an opening to mount the lighting hardware. The hole for this hardware was packed and reinforced with heat tolerant epoxy (don't use hot melt glue or flammable adhesives since the light bulb will melt or ignite it).

After doing some touch up the sculpture was painted, the electrical wires strung through the channel we drilled and the lamp shade attached.

Advanced BODY PARTS™ Projects:
For Lifecasters With Experience.

This handshake is the only project shown in the grouping that required 2 kits. The bottom hand was made first with the model holding his hand in the general position needed. That cast was held by the second, top hand while making the second mold. A hole cut in the can bottom allowed the wrist to protrude so that only the hand was inside the can. This displaced (step 1B) all but 6 cups of water. To extend the blending time with such a low water ratio we used cold water.Instead of painting these, we used another technique.

The ArtCast™ cement was divided into 2 batches. One was mixed normally but the other was also mixed with a small amount of powdered, black, pigment giving it a gray tone. By pouring a little white, then a little gray and tapping to remove bubbles (step 2G) between the colors we built up an effect just like actual stone. The assembly was mounted with bolts through the back of its vertical base.

Note: The handshake is a powerful, universal symbol of teamwork, trust, etc. and we have made several of this type for Chambers of Commerce, businesses and other associations as displays and awards. These are usually cast in bronze or other metal via the "lost wax" foundry techniques of the fine arts and heavy industry.

Other Lifecasting Ideas:
Additional Finishing Possibilities.

Artificial or "faux" finishes are ones that make a LifeCast™ resemble other materials, like natural stone for example.

It was a very popular skill during many opulent eras of history such as the notorious royal courts of France when sublime Baroque distorted into excessive Rococo. These skills are experiencing a revival of interest today.

We have discussed a few on the previous pages but, its such an interesting craft that it deserves more exploration.

Indeed, many professional artists work at providing faux finishes for interior decorators, theatrical and motion picture special effects (f/x). We offer a wide variety of finishing services for those who need it. Please refer to the Contact section of lifecast.net if we can be of service.

Commercially Available Finishes:

Do-it-yourself finishing kits have become too numerous to list here. Browse through your local art materials shop or any of the arts & crafts chain stores. You will find sprays and paints that simulate many kinds of stone, leathers such as suede, ceramic glazes, even some that fluff up like fur upon heating with a hair dryer!

Commercially Available Finishes:

In addition to the prepared finishes there are myriad special tools, brushes and other items for the faux artist to trick the eye into belief. Play around by applying paints with sponges, feathers, rubber stamps, leaves, carpet scraps and so on. Sometimes the effects are surprising.Always practice on some paper or scraps of cardboard until you get an effect you like before using it on your LifeCast™.

Antiqued:

This is the best way to emphasize its remarkable detail. Begin with a thin base coat of a flesh tone. These can be mixed if you are a good colorist or purchased in the rainbow of human skin tones. After this has dried, lightly coat it with some clear sealer.

Antiqued:

When that has dried, brush on a darker, contrasting color in small areas and wipe it back off with a soft cloth. The darker color remains only in the cracks and fingerprints, bringing them into startling contrast. Finish up with another coat of sealer.

Electroplating:

This process deposits a thin coating of actual metal particles on the surface of the LifeCast™. Basically this is how it is done.
1. The surface is coated with an electrically conductive medium
2. It is then submerged into an acidic solution that contains the dissolved metal of choice (i.e.; copper, gold, silver, nickel, etc.)
3. The object is connected to a positive electrode while the solution is negatively charged.

Electroplating:

4. When activated the object attracts the metal particles which coat the surface evenly, creating an artifact that appears to be made of that metal.Some of the more fine details of a LifeCast™ are lost in this process but others are drawn out in beautiful relief. Electroplating can be done on many different substrates including the ArtCast™ which is included in our kits.

Fine Art (Hot Poured) Metals:

Of course the best way of creating a truly fine, artifact that will endure the generations is to work in the actual metal by various foundry methods. There is nothing more arresting and durable than a LifeCast™ which duplicates each fingerprint or nuance of facial expression in rich, lustrous bronze.

Fine Art (Hot Poured) Metals:

We can provide instruction in the best way to prepare a LifeCast™ for "lost wax" bronze casting then pour the metal for you economically. Our foundry services are also available through the Sculpture Services section.

Metal Leafing:

This is another traditional way of surfacing a sculpture with extravagant materials such as gold. Several inexpensive kits are commercially available which simulate gold, silver, copper, etc. It is a simple method but, takes some skill to accomplish properly. The LifeCast™ is lightly coated with adhesive and while tacky the ultra thin sheets of metal are positioned and carefully brushed on. Sometimes, if portions of the LifeCast™ are to be allowed to show through, it is first painted in an appealing, contrasting color.

Metal Leafing:

Finally the entire piece is protected by a clear sealant. Note: For this surfacing to last, you must use quality materials applied correctly. The adhesive for example must have a neutral ph and be the correct one for use on your base material, in this case gypsum cement.We offer a wide variety of finishing services for those who need it. Please refer to the Sculpture Services section of lifecast.net.

Pedistal Bases:

Bases are as important to the display of sculpture as frames are to the display of 2 dimension art. They can be made from any material such as wood, stone, or mirrored glass to reflect the undersides of a particular piece.

Pedistal Bases:

To mount them properly the LifeCast™ can have the hardware incorporated at the time of creation or added later by drilling and reinforcement.

Holding Objects:

Holding Objects add unique value and appeal to many LifeCast™ artifacts.

Holding Objects:

Please refer to the Alternative & Advanced Techniques Book in the Library for more information.

Other Meduims:

Many Other Mediums such as wax, plastic, clays and even chocolate can be used as a final casting medium.

Other Meduims:

Refer to Advanced Methods book for more information.

Go To Basics Chapter 1: Common Sense & Materials:
An ounce of prevention is worth a pound of cure.

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