Foam Latex (Part 1)

- In 100g of foam latex you've got 68g of latex - you need this and upwards to be good

- a 300g batch is essentially 300g plus all the other components

- the foaming agent is essentially soap

- You need 20% foaming agent to latex (eg. 100g latex = 20g foaming agent)

- The curing agent contains sulfur which gives the foam it's memory and sponginess

- Need 10% of curing agent to latex (eg. 100g latex = 10g curing agent)

- The gelling agent makes the foam set (so it get's put in at the end). There is no set percentage - depends on the temperature, humidity of area. Usually around 10% but in England more like 14%. In winter use more gel

- Once the foam is set it can be put in the oven on a different day - process doesn't need to happen all at once.

- First step is putting in mold release as otherwise piece won't come out. Only need mold release with porous materials (plaster) not non-porous materials (fiberglass)

- Advisable to write down every thing about environment each time make roam latex (amounts, temperature etc.) to know how to keep improving.

- You can add pigments to latex mix to pre-colour it but latex is opaque so can't work in colour layers like you can with silicone

- Can use acylic paint as a pigment, food colouring etc. Avoid colouring with copper in. Oil paints will ruin foam.

- To paint on top of latex you need pax paint ( oil paint, pros-aide), greasepaint or airbrush.

- Foam is extremely light compared to silicone.

- You can reinforce foam for a suit with netting/fabric (lycra, tight material) because foam grabs onto material well. You can then glue these materials onto core then put the latex on top.

- Oven needs to be hot before beginning

- Need bleeding holes in the mold so air can escape when material is being injected and you don't get air bubbles or trapped moisture. It also gives a visual reference to know how filled the mold is.

- 85/90 degree ovem for the foam

To run a foam mix:

- Put lines/markers on the mold so you know which way to fit it together

- Need a mixer, a timer and a thermometer

- Add mold release inside and outside mold

- 200g latex = 40g foaming agent

- Add this straight into the mix

- 20g curing agent

- Add into mix

- Full spin for 2-3 mins till 2-3x original size

- Slower speed to refine it for 8 mins

- Add 28g of gelling agent and whisk for another 30 seconds

- Paint thin layer into negative to catch all the detail

- Pour rest of mixture in and press two halves together

- For injection fill syringe with mixture and push into mold, waiting until overflow comes out. Plug the overflow holes.

- Can also be painted into flat plate molds.

- Can take 10 mins to 1/2 hour to set.

- Put into oven.

Flat Mold Piece 

Closed mold piece

Injection filled piece

Body Painting - Research

'The art of body painting covers a vast area of painted effects ... from a simple tattoo on the arm to the reproduction of a famous painting across an entire body or painting a model to look fully clothed' (Delemar 1995, pg. 77)

 - Delemar states that because the body painting process is very time consuming, it is essential to plan the designs on paper first then to experiment of a mannequin or model before the actual shoot.

 - The materials are special watercolours for the skin and a variety of sponges, brushes or any type of tool (including airbrushing) Stencils can be used to make repeat patterns, masking tape is good for a clean edge, natural or stipple sponges for stippling textures, feathers for marbling effects.

 - For painting clothes on the body i is best to use sable artists brushes, brushes and airburshing techniques

 - These are examples from the Delemar academy

6

7

8

9

One of the most famous body painters is Joanne Gair, 'Gair allows us to see the human body as a canvas to be transformed' (Gair EDDDIT)

 - As a girl she was fascinated by the Maori culture and the way their tribal heritage was identified by skin adornment.

 - She started orking as a makeup-artists and body painter in the 1980s, her self taught body painting skill making her portfolio stand out.

 - She became famous in 1992 when working with Annie Leibovitz and Demi Moore for Vanity Fair

 - In 1998 she began her long standing collaboration with Sports Illustrated for their swimsuit edition of the magazine

 - In 2003 she begun to experiment with photography as well as body painting.

10 - effect of dried mud being removed

11 - promoting cell phones

12 - clay, pigment and gold leaf 

13 - experiment recreating Victoria's Secret underwear

14 - Vanity Fair - wings drawn with ballpoint pen

15 - advertising job

16 - SOHO style magazine. Real creations ink and sharpie pens

17 - Sports Illustrated magazine

18

19

20 - recreation of Botticelli's Primavera

I think these images will help my body painting experimentation as they show examples of full artworks that have a purpose. I especially like the use of different textures and materials in Joanne Gair and I'd like to try using some different materials in my work.

Editorial Makeup and Hair

We had a day practicing editorial hair and makeup with makeup artist Jenny Dayton. First we practiced henna/mendi inspired patters that were going to be incorporated into our makeups in some way. 

Our brief was a makeup/hair for a magazine such as ID so it needed to be artistic but still selling the clothes/accessories it was accompanying. I wanted my henna design to be going across the back and extend up into the face. First I practiced the design across the entire back but I thought this was too distracting and not intricate enough so reduced the design down to go in a diagonal line across the back, extending up into the eyebrow. Because the back was the main feature I wanted to keep the makeup relatively simple. I did a navy smokey eye, heavy contouring and a dark pink lip. To tie the two makeups together I added accents of the lipstick into the mendi design. Again because the back was the main focus I wanted the hair to be up. I did a scraped back bun so the look had a chic element to it but I crimped, curled and backcombed the bun so it was large and much more messy. I also added a feature plait around the base of the bun.

final image edited in photoshop

Overall I was pleased with my final makeup. I think it looked striking but not overpowering. I liked the slicked back part of the bun but the back needs to be slightly more pinned in and if I were to do it again I'd back the plait bigger so it could be seen better. One of my favourite parts is the lipstick accents in the mendi pattern as I believe this ties the whole look together and makes it look more cohesive.