Ok. So that's just tacked down.
I don't want lots of glue.
Just so it holds.
Ok.
And now I'm gonna... literally draw, now--
Erich's got some... only small lines.
Y'know, he's a handsome young chap.
But, there's the...
Basically the information's there to tell me...
y'know, how this face is gonna age.
So, I'm going to just...
draw those in.
Woop. Gone through the plastic, slightly there.
Let's use the other side of my Sharpie.
And... It's not going to be the biggest piece.
I'm just going to come here...
Now, the eyes, I'm going to use some old age stipple.
So...
Ok...
That's a bit awkward, slightly, because I'm working...
I'd be in front of the camera if I was going to be...
directly on so I'm just at the side, slightly. But that kind of looks...
like what I want.
I'm just going to put some little...
kind of hash shapes which are going to
dictate where the thickest part of the sculpture needs to be.
Y'know there's different ways of drawing it.
I mean, you can do it like contours on a map, y'know where you get tighter circles
to show that's a higher point.
But that's pretty much going to be what...
a map-out for my prosthetic.
So I'm going to do a stronger line here. Increase the line there.
Just increase the depth in the nasal fold, there.
Put a little bit of weight there to just pronounce the cheekbone.
Yeah. That's the shape of the piece.
So I'm going to just gently peel that off.
Tell you what. Before I do that...
Put an 'R' so I also know which way around this is.
It's very easy, once you peel them off to forget which way around it was.
There we go.
That's one.
I'm going to turn you around. I'm going to do the same on the other side.
Ok. Cheers.
This whole idea of using the plastic really comes from...
doing wigs.
When they do 'wig wraps',
which is just wrapping the...
head form to create the head shape...
for a wig base.
Just a very simple idea.
Saves on materials.
Ok. So again just following the natural lines there.
Okay. And 'L' for left.
And then the next one we do is the forehead.
ERICH: I have a small forehead.
NEIL: So I just move the hair out the way,
and again a few dots with glue.
ASSISTANT: (Inaudible.) NEIL: Yeah, it would be good, would help.
Now, if you can just put a hand on there . . .
Thank you. Just a couple more dots of adhesive again.
Now, on the forehead here, it's going to be good to mark the hairline...
to make sure I'm not going to overlap and go outside
the hairline, the eyebrows,
'cause again, I don't want an edge to end up in the middle of an eyebrow.
Now, I can see through here,
Erich has some natural lines starting to form.
We can see the Botox didn't work.
So I'm going to draw those in, 'cause I want my lines to match up.
And basically . . .
Okay. So that's my three pieces.
I'm also going to do a little neck wattle.
But it's going to be a very fine, little piece,
so I'm not even going to bother with the tracing.
I don't really need that much information.
And that's it. So that's the face,
all the pieces I need off the face at this stage.
You can get, you know...
as kind of advanced as you want with that drawing.
You know, you can go in and really spend time and virtually sketch in a whole prosthetic.
But, you know, in principle, that will be enough to kind of get me going.
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