Moulding the Faun Sculpt

Once I had finalized all of the fine detail for the Faun sculpt I could start to work on making the mould for the final foam latex piece. I decided to do it in 3 pieces with one piece at the front and two at the back with the seam along the horn stumps and behind the edge of the mask. The first job was to create the clay wall and support it with  modroc for the front fibreglass part of the mould.


Once I had fibre glassed the front part, I moved on to the back which I did in the same way but in two parts. Once all of the parts were completely cured I neatened the edges, drilled bolt holes, and split the mould and cleaned it of any remaining clay. The sculpture did not survive the  moulding process but I didn’t need it any-more now that I had a mould of it. Now that the mould is finished I can start to do some foam runs to create the final foam latex piece.




Horn Tests

Next I made the resin master copy. I poured resin into the mould and weighted and left it overnight to set. When I removed the master copy I split the mould and left a small hinge on tinsil underneath to reduce the seamline. The horn had come out really well and picked up all of the detail, it had a few bubbles in it but these were bubbles in the resin and not the mould. The next stage will be a test piece in expanding rigid foam.


The rigid foam piece was really easy to mix and ready to de-mould in around 15 minutes. The first piece had started to kick as I was pouring it into the mould and also overflowed a lot. The foam did not make it all the way to the end of the mould so even though it picked up all of the detail really well it did not work as a full piece. I made another foam piece and only used around half as much and spent only 10 seconds mixing before I started to pour it into the mould. For this piece the foam made it all the way to the end of the mould and overall it was very successful.


I then started to colour the foam failed piece for practice and used pros-aide to varnish it and greasepaint to colour it. When I was happy with the colouring I added some moss to the ridges and I think that this was really effective.


Horn Moulds

Ok, first post back after deadlines and decided to try to keep the blog going. This blog doesn’t need to be handed in for marking any more so its going to be a bit less formal/academic, I can even put smiley faces in now 😀

Most of the work was still being marked when I got back but I was allowed one of the horns so I straight away got it moulded and cast! I finally decided on a complete silicon mould where I placed the horn in a box and flooded with silicon. Because of the size of the horn I ended up using almost a whole tub of tinsil which is crazy and I’m probably not going to be able to do the other horn in the same way because of the cost of material, but its good to be able to try different ways. I think next time I’m going to try a silicon brush mould with a plaster bandage jacket.

I poured a thin layer of silicon in the box first and allowed it to cure for around 2 hours to make sure I didn’t miss any of the horn in the mould. Once that was cured enough to support the horn I poured in another small amount of silicon and placed the horn on top. I then flooded the box with silicon until the horn was completely submerged. I got rid of as many bubbles as possible and left it to completely cure overnight.

Once the silicon had cured I removed it from the box and started to cut the horn out. De-moulding the horn was a lot harder than I was expecting and because of the way the horn bent back on itself I had to break it in Several places in order to get it all out. Overall though I’m quite confident that the mould has been successful. Next I’m going to create a resin master copy so that I will always have a more robust copy to fall back on.When it comes to removing the master copy from the mould I think that I will have to separate the mould into two parts to get the horn out intact.

Finishing the Faun Sculpture

I am now working on adding the last of the fine detail and texture, and refining the overall sculpture. I have added a downy fur divide between the tip and the bridge of the nose to help define the two textures. I have also tried to give the bottom half of the face and the bridge of the nose a hard weathered skin texture.

I have been drawing inspiration from photos of goats, nature, and also human skin. I have incorporated a furry goat texture on the ears, added wrinkles to the eye area very similar to how humans develop wrinkles and cracked and split the horn stumps to look as though the horns are growing from them like a tree.

The texture is a lot more prominent now and I feel that it defiantly helps to finish the look of the faun and add believability to the overall appearance.


Finishing the Horn Sculptures

I have now started to add the final touches to the horns. I’ve been adding a more weathered texture to the sides of the horns and cracks and splits along the ridges. I don’t want to add too much texture to the horns because I want them to have a very smooth and shiny finish so that they look healthy and strong. I have also been adding more texture to the tree aspect of the horns, making it look more like bark and roots.


Adding Texture to The Faun

Now that I have finished blocking out and shaping the face and I am happy with the overall appearance  I have started to add texture and fine detail. The original Faun design does not have much major detail so at first I was quite cautious with how much I put onto my design.


However my tutor advised me that it looked unfinished and that the foam latex would not pick up all of the detail so I stated to add more. I also added some completely new textures to my design that are not in the original to help distinguish it and as part of the character development and ageing process.


Adding Colour to the Bark Appliances

Once the gelatine and latex pieces were completely dry, clean, and powdered I could start colouring them ready for application. I wanted to try different ways of colouring to see the difference in finish. I coloured a few with alcohol based airbrush pigment and some with greasepaint applied with brush and sponge.


These are some of the pieces that I coloured with my airbrush. I really like the smooth blended finish and the effect of the shading but I am not particularly confident with the airbrush and could not apply any fine detail. Because the paint is alcohol based it is very durable and wont rub off or run in water.



These are some of the pieces that I coloured with greasepaints. I found it a lot easier because I was very familiar with the materials and working with sponges and brushes. However I don’t think that the finish looks as professional, and it needed a lot of powder to set the paint which affects the final look. It is also a lot more fragile because greasepaint will rub off quite easily and will need frequent touch ups.