- Here's the hag.
Here's a bucket of water that I pre-setup.
We're just gonna sit her in there.
You try to burp it a little bit because it's hollow, right.
So air's gonna get up in there,
but you want water to get up in there so I try to
(air burping) burp it a little bit.
You can hear the bubbles.
Get her in there. Fortunately she fits.
Obviously we're gonna need a little more water.
'Cuz you wanna cover her.
(water flowing)
And that's probably enough.
So all I would do from here is like I said
just try to burp her a little,
make sure there's water goin' up into the cast.
That's the water is soaking through the plaster
and coming out from under the clay.
So all the air is startin' to pop out.
So that's gonna reactivate the alcote
and pieces should be able to wiggle right off.
Back to this table.
Okay she's fresh out of the water.
She'd ready to pry apart.
So we're gonna take a tool
and were gonna go in to all our little cuts here
and sometimes you haven't cut all the way through
so you gotta give it a little encouragement.
This is also a rather large chunk.
Oh and the lip is coming with it which we don't really want.
There we go.
First piece.
So that will be, when we're done,
this will be it's own silicon piece,
That we're gonna put on.
We're gonna lay that on some foam there
to be protected.
Ah this lip was coming with it so the lip comes right off.
That's a little nothing piece.
But vital to the makeup.
I'm gonna take this chin off next.
There's the cheek.
You can see I've got some very, very thin spots
I'm gonna have to add a little clay and correct that
but overall it's a really good thickness.
I was intentionally going really, really thin
to try to emphasize a point but you don't really want that.
So we're gonna have to add a little clay in there.
But overall that's a very, very good thickness.
That's that one.
And this one I must not have cut all the way through.
There we go, a little more coaxing.
Once again we have a thin, very too thin spot
but we'll add a tiny little touch of clay there.
There's that piece.
So you can see the clay is hard enough
that the pieces have their own integrity.
As long as you don't step on this or sit on it
or you know put, somebody comes along and puts a mold on it.
(laughs)
You're pieces are fine, they're safe, they're gonna hold up.
If it's gonna be a while
before you get to all these little molds,
which in our case is multiple days we're doing this filming
so it might be a little while.
You wanna put these in a plastic container.
Something with some paper towels or some,
a towel or some cotton or something just to keep them nice.
Here's our chin.
Ahh!
Comes right off.
That chin's thick.
So we're all good there.
The chin and the lower lip.
Okay, so the last pieces we have are the cap,
the front neck, and the back neck.
And the front neck I'm gonna get in there and start prying.
Ah, there we go.
Now remember this is because before we sculpted
we put alcote separator, painted it on the cast,
three coats, and we dried it between coats each time.
And we put that over the acrylic paint
when we first painted the cast this clay color,
then we put the alcote on,
if you missed the sculpting lesson,
and alcote is a dental separator,
but that allows this magic to happen.
There's the neck.
So that's gonna be the front neck.
We got a couple little tiny fine spots,
yeah in the hollows,
that we'll fix.
We'll get the back off.
However it was thick here where I cut it
so I might have to coax it
a little bit.
There's her hump.
What hump?
Put that over there for the moment.
So this is the shape of the headpiece.
This is what's left.
This is the first piece of the makeup that will go on.
I still wanna get this off.
And this is gonna be the most challenging piece to get off.
I'm gonna have to cut it somewhere
'cuz I doubt it'll just pop off,
'cuz there's a bulb shape of a head in there.
This casting, if we remember, is still a hydrocal.
Not really strong enough to be the base of your mold,
to be the positive.
So we have to remold this.
And make it an ultracal which is today's first big project.
But you wanna cut it so that it makes some sense
when it goes back together.
Like I'm not gonna do a straight cut
down this middle thick part, 'cuz it's really thick there
and you know why, it would just be a kinda silly thing.
I'm also not gonna cut it across here
because it might be hard to register
that back on the head front to back.
I'm gonna cut kind of across this,
in a weird diagonal,
so that there's enough side of the head
on each side to register it back.
I hope that makes some sorta sense.
So unfortunately all your beautiful texture that you did
will have to be fixed up.
And the only way you could avoid this
is if it had popped off the head by itself
which it's not doing.
There's definitely too much of a head shape
goin' on under there.
Unfortunately the whole cap is real thick.
Oo wait.
There it is, it's just moving.
So all it took was just a little separation there,
a little release.
Aha!
That's the best news I could of possibly had.
So there it is, there's all my little balls of clay
that I did when I was sculpting.
Right, if you remember in the sculpting lesson
that's how I started out with little, little beads of clay.
This is in one piece now.
That's awesome news.
So I guess the next project is remolding this.
You're gonna set all these pieces aside somewhere
where they won't get hurt
and we'll do that right now
and we'll get to work on this.