Ears: Worbla thermoplastic experiments

1) Taking the original foam template and decreasing it in size slightly.
2) The new foam cut out sizing in comparison to the original.
3) The foam piece is sandwiched between two sheets of Worbla thermoplastic.
4) I glued the foam down to stop it from sliding about, then used a heat gun to soften the thermoplastic. I then pressed the edges together forming a seam that fused together.

Here shows the ears against the mask so far; the mask was being sanded down at the time.

Prometheus model: detailing

Close up images of the kinds of materials and textures I'm working with. I decided on mixed media in order to portray a patchwork and pieced together kind of disguise that the character made themselves. I almost wanted it to look as if it had movement running through it, but equally wanted the viewer or observer to want to reach out and touch all the different textures, fabrics and patterns.

Update: Prometheus model

Inspecting the silhouette:
I'm not going to simply stick this sheet to the model, it's just to check how the final silhouette and colour choices will appear alongside the overall shape.
The second image shows the model almost covered in a variation of fabrics. All were hot glued into place, and I placed them in such a way that flowed with the form of the plaster bandages, e.g. small clustered swirls in the dips, and long stretched pieces of leather on the flatter planes.

Foam ear experiment

Whilst sculpting the clay ears I was realising more and more how heavy they were getting. The thickness around the bottoms of the ears was also building up, so it would be impossible to stick the ears to the mask while still being about to see through it. Even though I've spent a lot of time sculpting and figuring out techniques and materials, I feel like I may have to give up on that process. Instead I've started looking at a lighter, quicker and more flexible method. Above shows the experimentation using scrap foam sheets; here I was figuring out the pattern and shape that I wanted the ear to be. 

Mask Fabrication: Sanding and filling

1) The covered ear beginning to be sanded smooth.
2) The difference between a sanded and un-sanded surface. The light and dark patches show where the dips and lumps are, so can guide you were needs filling.
3) Stage one of sanding complete! One of the ears was more cracked than the other so needed extra support on the inside.

Mask Fabrication: Ears

After sculpting an ear out using air dry clay and chicken wire for support, I decided to attempt using these as the final things. Speaking to a technician, Emma suggested that I use the milliput to coat the ears in, in order to stop them from cracking, meaning I wouldn't have to re-sculpt something I was already happy with too.

I began this process by mixing up equal amounts of the two part epoxy putty, then squishing small, thin circles together, blending them together to create a thin layer about a millimeter thick over the whole sculpt.

Mask priming: sanding and filling

1) Spraying the first layer of primer onto the mask. This highlights the bumps and where needs to be sanded down, or built up a little bit more.
2) Close up of the detailing. The bumps are where I've applied the milliput and it still needs to be smoothed down.
3) After a few layers of sanding and filling: The grey paint mattifies after being sanded and more milliput has been built up in the areas that have dips.
4) After another layer or so of sanding, filling then spray painting, I circled the areas that needed filling to assist myself in remembering what areas needed attention.