THE DESIGN: SEVEN DEADLY SINS

WRATH

CHARACTER AND DESIGN: WRATH

The character is inspired by the deadly sin, wrath. I imaging wrath to be an explosion of anger. This kind of outburst can arise from pent up frustration that is repressed until it finally can't be contained any longer. The image of a volcano demonstrates the same kind of built-up pressure and explosion. I will use prosthetics to create a lava flow over the face with reddended eyes and lava tears to emulate tears. I will use the hair to create a cloud of smoke and ash erupting on the top of the head.

RESEARCH

This is an image of the "Anger Volcano " graphic used in teaching children aout anger management.

I like this image due to the facial expression of the anger.

This is an image of steam blowing out someone's ears, which is a similar representation of pressure release from anger.

This is an AI image of an angry child crying. I like how the tears look viscous.

This is an image from Disney's Moana. I like how the lava creates tears.

This is an image of a volcanic erruption with a lava flow

This is an image of a lava flow, showing molten lava between darker crusty cooled areas.

This is an image of the character "Anger" from Disney and Pixar's "Inside Out". He has a similar Explosive reaction out of the top of hos head when he loses his temper.

This is an image of a volcano hairstyle. It's maybe a little too pretty and neat fo my look, but I like the colors.

This is an artwork of a lava man. I like how the molten lava is breaking through the hardened exterior, especially in the form of tears.

MAKEUP, MATERIALS, AND TOOLS

Makeup:

Athena Pallette Cream Make-up Red and Black
Alcohol activated Make-up red, Black, orange and yellow
Arctic Fox semi permenant Hair color -red
Translucent powder

Other Products:

Aquaphor
skin safe alginate
plaster bandages
Hydrocal Plaster
Wax sealant
Monster Clay
Dragon Skin two part silicone
Soma Foama two part silicone foam

Silc Pig colorant Black and red
Gafquat
Skin Tac adhesive
Isopropol mystrate (for removal)
Bobby pins
Hair tie
Hair spray

Tools:

plastic cups
Craft sticks
clay sculpting tools
Dremmel
Chisel
Scissors
make-up brushes
Brush for teasing

THE PROCESS

MAKING A FACE CAST

Cover the hair in plastic wrap

Coat the areas of the face with hair with a thin layer of Aquaphor.
mix alginate 1:1 (about 15ml each) with water, stir
apply immediately to the face with craft sticks, avoiding the nostrils.
Allow to set until firm and no longer sticky, about 5 minutes.
wet strips of plaster bandage, squeeze out excess water, and apply over the alginate until all areas are covered with at least 3 layers.
Wait 20 minutes, or until plaster is hardened.
Carefully remove the mold. cover the nostril hole on the outside with monster clay to seal and place face down in a show box.
Mix hydrocal material into with 15ml of water until fully saturated and stir.
Pour a small amount into the mold, and use a craft stick to make sure it coats deep areas and crevices without bubbles. Pour remaining casting until the cast is full.
Allow to set at least 1-2 hours remove the cast from the mold.
Use sandpaper and dremmel to smooth any rough spots and to form nostril shapes
Seal the face surface with wax or polyurethane.

CREATING THE PROSTHETIC MOLD

Sculpt the prosthetic on the face cast with Monster clay.
Build a ring on the back of the mold to seal out any plaster flowing under the mold and place it face side up in a plastic shoebox, being careful to assure that the area underneath and along the edges of the cast are sealed off with clay.
Coat the cast and sculpt with Aquaphor.
Mix hydrocal as previously, and pour into the box to completely cover the sculpt.
Allow to set at least overnight
Remove the face cast from the new plaster negative mold. This required a chisel and a lot of patience.
Clean off all of the monster clay from the mold and the face cast.
Re coat both with Aquaphor.

POURING THE PROSTHETIC

Mix Dragin skin in equal amounts of part A and B, adding desired colorant to part A before mixing
Add a few drops of Thivex immediately after mixing
Spread into desired areas for that color in the negative mold. Place face cast into the mold and press firmly. Allow to set 40 minutes
Repeat with other color(s) of dragon skin until the entire prosthetic area is coated and cured. I used red and black.
Mix Soma Foama 2 parts A to 1 part B, adding desired colorant, I used red, to part A before mixing.
Immediately pour into the mold, focusing on filling the deeper areas.
Press the face cast into the mold and hold tightly or clamp for 15-20 minutes. Allow to cure 40 minutes.
Remove the face cast, and carefully peel the prosthetic out of the mold.
Trim aroung the eyes, nostrils, mouth and any thick edges.

PRE-PAINT THE PROSTHETIC

Use alcohol activated make-up to paint shading and detail onto the new silicone prosthetic. I added a deep red into the cracks of the cooled lava, deepened the black of the cooled lava, and added shading of deep red, orange and yellow to the monten lava flows.
Add a layer of gafquat over the molten lava areas to make them glossy.

APPLICATION

Apply Skin Tac adhesive to the prosthetic around the edges of the face, eye sockets and mouth. Allow to dry enough to become tacky
Place the prostetic on the face and press down the edges.
Use red and black cream make-up for the area around the eyes, neck, ears and lips.
Gather up hair into a pony tail at the top of the head and tease to create the ash cloud. I dyed my hair ahead of time to add red streaks.
Add additional lava flow pieces from extra dragon skin by attaching to the base of the pont tail.

Me with my face cast (from 2022)

My new face cast

Negative alginate mold after cast is removed

Sculpting the clay

removing the face cast from the negative plaster mold

Prostheic untrimmed and unpainted

Prosthetic with red orange and yellow paint

Prosthetic trimmed and painted

Prostheic applied

REFLECTION AND CRITIQUE

I am pleased with the outcome of this look. The most challenging part was to get the face mold and sculpt out of the cast, so I learned a lot about better preparing the cast for molding next time with more clay to block the plaster from encompassing the face, and also to possibly cast the face further back on the head beyond the hairline, so that the sculpt does not go all the way to the edge of the face cast. I also have a better feel on a second attempt of how much to thicken the dragon skin to have better control over where it goes. I think that in the future it would be better for the prosthetic to not end so near the mouth or eye. It should have ended further away and feathered into my skin to allow more movement of the eyes and mouth without the edges coming loose. the cracks in the black lava could have been more prominent. Overall the look is successful. It looks like a volcano erupting. The lava tears read the way I wanted them to, and the hair explosion on top turned out well.

SCHEMATIC

FINAL LOOK

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