​I started making this video in August, thinking I'd use it to review and assess my sculpt before going on vacation. I was imagining plugging the sculpt into my subconscious this way and mulling over it while out in the woods camping, returning to it inspired and reinvigorated. That's not what happened, as you might guess. I started flailing in the middle of this video, sculpting and resculpting the area around the eyes and the top of the nose, but not making any significant improvements. I think this flailing happens when the subconscious realizes something is off but conscious awareness can't yet put it into words and express it clearly as a problem to solve. 

I've been flailing with this blog post too, working on it on and off since August. I kept thinking I'd found The Problem with my sculpt and wanted to unveil The Solution here with great fanfare, along with the clever thinking that led to its discovery. But every time I set out to write this post I only found myself with more questions. Soooo.... I present to you here, The State of The Problem at this Moment, and The Steps I have Taken to Solve It So Far. I leave the Grand Conclusion for another post, hopefully one that I will write in the Near Future. Right now I feel like I just need to get something written!
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​The common wisdom is that a sculpt, simply put, starts by establishing the relationships of the largest, most basic shapes to each other, then progresses to defining the relationships of smaller and smaller shapes within those big ones. The most common mistake a beginning sculptor makes, according to this wisdom, is working on fun little details before correctly establishing these big basic shapes. I wondered if this could be my problem.
Three dimensional art can be slippery though, as the points of reference that establish where those shapes begin and end can seem to shift in relation to each other, especially as the sculpt is viewed from different angles. So I tried to find reliable, easily reproducible viewpoints from which to establish my points of reference, one being a 90 degree side profile, and others being straight on from the top and  straight on to the underside. I might go into the latter two views in another post, but in this one, I'll stick with the 90 degree profile.

Wow, placing that ear at the back of the head would make that muzzle look short and the forehead **really** long!! Now here's the point at which I second guess myself  and wind up running and screaming back to the drawing board!! Away I go!!!
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Stay tuned!!

Here we have Sans Souci Studios' armatures and Best Boys, Arnold Full Armature and Arnold "Han Solo" Half Armature. (Seriously, his name is Arnold. That's the name of the person from whom this was live-cast.) Other than being a handy place to put clay while sculpting, Arnold provides valuable points of reference. Especially Half Arnold. While building a sculpt on Full Arnold is a good way of seeing what a sculpt will look like in motion on a real wearer, Half Arnold provides a perfectly flat plane from which to build a system of reference points and angles. Invaluable, as otherwise reference points have a maddening way of seeming to shift on a 3D sculpture.

Above, finding the center of the sculpt, and making sure it's at a 90 degree angle to the armature back. I measure to find the center of the armature, mark the line on both the top and bottom of the head, and trace the center line around the sculpt, as shown above. At any point where the sculpt doesn't meet the armature back (here, at the throat)  I mark the center on masking tape and then extend a line up the tape onto the sculpt. I use various measuring tools to keep the line as perpendicular as possible to the armature back, but there's always a certain amount of eyeballing and guesswork involved.

Above, creating a "template" of sorts for the back of the sculpt, to help ensure its symmetry. First, I lay down that good old patterning material, duck tape over aluminum foil, on the armature base under the sculpt in progress. Then I trace on the tape along the edge of the sculpt, mark and fold it at the halfway mark, and trim so that the two sides of the template are symmetrical.  Then I lay the template back down on the armature and clay up the back edge of the mask along it. There's still a certain amount of eyeballing and guesswork involved, as the template can shift and stretch, and little bits of clay on the armature can put it out of whack. But still, it makes a pretty good guide.

Now I have a sculpt with a symmetrical back and a centered and perpendicular nose. Getting the sides of the sculpt to match is a lot trickier. Each side can cave in, bow out, or do some evil combination of those things in its own special way. The back template can help  address this by placing "landmarks" on the sides, to make specific areas on the sides easier to compare. For example, I can mark where the cut out is for the lower jaw on one side of the template, then fold the template, mark the same spot for the jaw cutout on the other side, then transfer the mark into the clay. 

Once I've placed the landmarks I can make a gizmo to compare the angles at specific points of each side of the head. Here, I have cut out a little piece from a cereal box, preserving one original corner so that I have a handy 90 degree angle for reference. Then I carefully cut a thin slot into the sculpt, press one edge of the box in, and trace along the side of the sculpt to get the angle of that specific spot, making sure one side of the 90 degree angle is flat on the armature back. I trim along the line I've traced and then compare the angle of my gizmo to the angle of the sculpt on the other side, again being careful to line up one side of my 90 degree angle with the armature back. Then I adjust the sculpt as needed. I don't have too long to play with the gizmo though, as being made out of thin cardboard the edges start squishing down and losing their shape fairly quickly.

And here we have my Glorious Goggles, my Reference Point Piece de Resistance. The goggles will help ensure that the eyes will be equidistant from the center line of the head, lie along a line that is at right angles to the center line of the head, and are both set back the same distance into the head. They will also help ensure that the eye bed I sculpt on my head will be parallel to the back of the mask and not tipped forward or back. Plus, if I'm fairly certain that my eye placement is accurate and even, I can use the eyes themselves as further reference points for sculpting the head.

How I made the Glorious Goggles. I've traced the backs of correctly sized eye cabochons onto a piece of thin craft plastic and cut the circles out. I've measured the distance between the eyes on my original resin head, cut down a disposable chopstick I got from Chinese takeout to that length, and carefully hot glued the plastic circles on the ends, lining up the outside edges of the circles with the ends of the chopstick. Then I marked the center of my contraption with a Sharpie. Next, I measured the distance from the armature back to a point a little bit in front of its eyes and cut two more pieces of chopstick to that length, thus making the "arms" of my goggles. I hot glued them on as well, taking care to hold the arms at more or less at a right angle to the front of the goggles until the glue cools. 

Above, beginning to set the glasses into the sculpt. I've started carving out holes into which to insert the arms of the glasses. These holes need to be pretty roomy so they don't force the arms out of their proper alignment. 

Adding a slot to the sculpt, into which I'll set the bridge of the glasses. I insert a skewer through the bridge of the sculpt's nose at the inside corner of each eye, keeping the skewer as perpendicular to the center line as I can. Then I cut a slot into the sculpt by pulling up on the skewer and removing clay along its path as needed with clay tools. 

Above, the glasses have been added. Now just to fill the clay back in around them. It's already easy to see adjustments I need to make to the cheeks and brows, with the right hand brow being raised higher and there being more material on the outside edge of the right eye. 

And, here we have the goggles completely clayed over, with a pair of acrylic eye cabochons resting on top of them, and a more developed sculpt in general. I'm happy to have this pretty solid point of reference in the sculpt, though it also makes me think how sculpting software makes symmetry so effortless!

Here is my progress so far. The white mask on the left is a resin cast of the original wolf head base, the tan one on the right is the resculpt in progress. I learned a lot from making four different masks from this original head, and I want to apply what I learned to the new sculpt. 

Tangentially, I must say, using the stacked yogurt containers to support the masks on the armatures was a stroke of genius. I have a zillion of them that I've been saving to mix resin in, and by adding just one more yogurt container to the stack I can adjust the support by just fractions of inches. I can make the support pretty much exactly the height I need. 

Anyway. I have several objectives for this new sculpt. One is to lengthen the area under the lower jaw. It's already easy to see how much longer this area is on the new sculpt. I found I had to build this out with foam on the original so it would rest properly under a wearer's chin. The jaw of the mask won't open and close properly if it doesn't,  plus it's just more comfortable and secure that way. I can save time (and potentially, earn more money per hour!) if I eliminate the extra step of having to build this out on each individual mask. 

Another objective is to build back the crown of the mask so it balances on the top of the wearer's head better. I had to build up this area on the original with foam to make it do this. If I didn't, the balance of the mask would shift forward, making it more likely to slide  down the wearer's face. Another extra step to get rid of! If you look at the pics above, you can see the top (the area between the eyebrows and the back of the mask) of the resculpt is longer, although the two masks appear to rest on the same place on the armature. That's because the clay is built up an inch or two thick inside the resculpt to keep it from squishing, and the face on the armature doesn't entirely fit into it.

A third objective is to build up a flat area on either side of the mask onto which to attach the hinges. My original sculpt didn't have this, and the hinges would pop out at all kinds of crazy angles unless I built up said flat area out of epoxy to prevent it. I bet you can guess what I'm thinking: Get rid of that extra step! Again, the flat area I'm developing is pretty easy to see in the photos.

I love both Silas and Artemis, don't get me wrong! But I'm also really entertained by the difference between these two, especially considering that they're built on identical resin bases, with identical resin and silicone parts.

Here we get a little peek under the skin, as it were. For Artemis (and her brother Garm) I extended the top of the head back and made ruffs out of foam, made the ears out of Varaform and felt instead of Foamies, and used the ear vents as bases/supports for the ears instead of sewing the vents in afterwards. The ears are glued onto and supported by the foam instead of the resin base, which allows more flexibility with their size and shape. I got this idea from Stuffed Panda Studios, and the designs of the ears and ruffs are adapted from her designs. Credit where credit is due!

Process pics. Ears freshly assembled, being inspected by the Feline Assistance and Cat Hair Distribution Department.

Foam added to the top of the head, ears partially glued on. Does this dude look weird or what?

Cheek fluffs added, and approved by the Feline Assistance Department. The triangular part under the chin helps with patterning the neck later on, and is cut off afterwards.

Brother and sister with ears and foam added, ready for patterning!

Above, trying to fit a silicone cast of this straight lip on my mask. You can see how it gaps underneath, between the lower edge of the lip and the jaw. No good.

Above, trying to glue the new lip on. I think that pile of clamps might be trying to tell me something.... 

Making a pattern for a more fitted lip. The green thing above is Frog Tape stuck to aluminum foil. I pressed a piece around the lower jaw, sketched the shape of the lip on it, and cut it out. I then made it symmetrical by folding it in half in the middle and trimming it so the two sides would match. Then I tried out the new shape back on the head (above), trimming and fiddling until I was happy with it.

Here I've built the lip up in Monster Clay. It's built right on top of the pattern thingy, stuck on around the edges with a little more Monster Clay, so I can fairly easily remove and reapply the lip to the mask or adjustments as needed. 

Above, the two clay lips next to each other for comparison. The new lip is on the bottom. Very different shapes. 

Gluing silicone casts of the new lip in place. Not so many clamps needed this time! (The rubber bands here are actually serving as clamps here too.) I tried using Weldbond instead of hot glue, as Weldbond is theoretically stronger and doesn't leave those lumpy ridges when it dries. Weldbond takes about 24 hours to fully cure, hence the clamps. It did a good job, but I'm not sure it does enough of a better job to justify the long wait time. 

And, the new lips freshly installed. Wheee!!

Above, two straps made by cutting webbing (not elastic, we don't want these guys to stretch!) to about 12” lengths, feeding them through the two front clips, folding them in half and gluing the halves to one another.   No glue on the clips, they need to be able to rotate on the straps. The suspension will be (well) suspended from these straps inside the head, allowing it to move and conform to the wearer's head.

​Now, to make the "slots". The short story is, these two new straps will be glued between two layers of foam inside the head. I imagine the straps could also be riveted inside, or perhaps just glued to the bare resin, but foam sticks really hard to the scored-up inside of a head with hot glue, and the straps stick really hard to the foam so… Plus the foam provides a much larger gluing surface and therefore more security, in my mind anyway.

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Above, the first layer of foam, visible underneath the browband, has been glued into the head. Then, the the correct placement for the suspension is found, with the browband going across the forehead just above the eyes. The clamps are only temporarily holding the suspension in the correct place, the browband will not actually be fixed to the mask like this but will be able to move inside the head somewhat.  

Next, the two new straps are glued on the foam directly underneath the two preexisting straps with which they share clips. I glue the straps all the way from the front of the mask to the back, where I  trim off any extra. The more gluing surface the  better.  Again, no glue on the clips! 

I start working the top layer of foam before the suspension is glued in, and finish it afterwards.  Above, making a pattern for this part using standard duck tape patterning procedures. I often use aluminum foil under the duck tape in place of the more standard plastic wrap as it is easier to handle, especially in a concave shape like this. 

Next, cutting the slots for the clips into the pattern. Cut a little bit, try sliding the pattern over the clips, cut a little more, slowly but surely. Worse comes to worst the slots can be taped over and started over again.

Above, the finished pattern for the top layer of foam. 

 

Above, the second foam piece has been cut out, laid into the head over the freshly glued pair of straps, and held in place with Wonder Clips. Working from one end to the other I'll unclip one Wonder Clip, smear hot glue around underneath the foam, and press it down until it cools. I work my way systematically across the head, unclipping each Wonder Clip in turn, putting glue under the foam, and moving on. The Wonder Clips keep the foam in the exact correct position while it's being glued. I'll cover the entire underside of the foam with glue, paying special attention to the openings for the clips. Lots and lots of glue, but again, none on the clips!!

Trying it out. I'm pleased with how it works.

Above, the suspension in the finished head. From these pictures you can get an idea of how it "floats" inside the head. It also makes the mask nice to take off and on, as once the back strap is adjusted to the wearer it's a lot like putting on a baseball cap. No straps to fasten and unfasten. 

I hope that this has been helpful to you. If you have any questions please feel free to ask! Thanks for looking!

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To date I've purchased teeth from other craftspeople to use in my masks, but I've always really wanted to make my own. Below, a pile of attempts made over the past couple of years, made with Monster Clay (a kind of plasticine), Super Sculpey and Apoxie Sculpt.(Skully is supervising. He is a very helpful skull.) A whole lotta nope right here.

I finally settled on the Monster Clay for making the prototype teeth. I got tired of waiting for the other two to dry and/or set up in between sculpting sessions, and I got REALLY tired of trying to smooth out the hardened model with sandpaper or a Dremel. Monster Clay can be frozen to make it very hard and  can be softened with a hairdryer or microwave or such to make it very soft, so it is adaptable for a variety of sculpting situations. It also smooths beautifully using rubbing alcohol or its more powerful big brother, isopropyl myristate.

 

  

Above, looking to see how the lower part of the jawset is shaping up when viewed from the side. The teeth are just loosely stuck down to the gums at this point, so I can easily move them around if I need to.

 

And tada! Above, a finished Monster Clay plasticine model, ready for molding. Silly me, little did I realize that this would be the first of three finished jawsets I would mold. Sucks being a perfectionist.

Above, beginning the molding process, and a tongue while I'm at it. The jawset has been firmly attached to a thin piece of plywood, which will serve as a mold board. Every little gap between the model and the mold board is filled in, as otherwise the mold rubber could find its way under the model, and float the model up on top of it while it's curing. Which would not make a very good mold at all.

Above, getting ready to revise the jawset. Did I mention how I did this three times? Seriously though, it's easier to check the fit of the teeth in the head when they're in hard resin and not squishable clay. Above, a set of resin teeth that has been Dremelled down to fit the head better, and another set of clay teeth made by pouring melted Monster Clay into the mold, called a "borrowed casting". It's much easier to tweak the teeth from a borrowed casting than trying to make a whole new set from scratch. (If I wasn't such a chicken, I could have also resculpted my original set of clay teeth. But I wanted to keep them the way they were for extra insurance.) 

Above, revisions. To the right in both pictures is the original sculpt, still on the moldboard. In the middle is a modified resin casting, and to the left is the resculpted "borrowed casting". This first go round I removed the "flare" thingy from the bottom jaw, as it only really served to complicate fitting it into the resin head. I also made the plate for the upper jaw more symmetrical. You can see how the original sculpt has a bigger "bulge" on the left hand side than the right. Why did I do this, you may ask. Well, I was using a reject resin head casting to fit the teeth in, and I forgot that the resin on one side of the muzzle was much thicker than that on the other so.... in order to center the teeth in the opening, the plate had to be a lot wider on one side. Definitely not going to be the case with the average resin head! Fortunately I realized this before I got too much further into this process!  A great big duh, but could have been a much bigger duh.

Above, showing all three sets of revised teeth. The top set is the first one, the middle is the second and the set on the bottom is the final version. Besides changing the "plate" as described earlier, I did a lot of playing with the front incisors. I refined them in the second set but then realized I had also made the top ones too small, so I made them bigger in the third set. After re-checking my reference pictures of real wolves I also decided the gum area above the front incisors also needed to be longer, so I also changed that in the third set. I also did a lot of fiddling with the area circled in yellow in the right hand picture, with the way those particular teeth came together. The top incisor right next to the large bottom canine also underwent a fair bit of refinement.

And since I had spent so much time fiddling with the teeth, I decided to fiddle with the mold making method as well. At the suggestion of an acquaintance I made my next set of mold boxes out of Legos instead of Tupperware containers, so I could get the mold boxes precisely the size I needed them and save molding rubber. Molding rubber is expensive. They don't call it "platinum cure silicone" for nothing. (A good source of cheap used Legos is bricklink.com.)

 

Above, the nose and tongue models with their squishy rubber counterparts. Wheee!!!

Checking out the fit of the rubber nose in a resin head. Lookin' good! The resin head on the right wants a rubber nose too. 

And above, a pile o' puppy parts, ready for maskmaking!! I'm feeling good about the results of my endeavors here. Time to think about colors for fur!!

My daughter loves Max and so do I, but...

​I want Maxine's (aka Head #2's) ears to be better than Max's. This is at the top of the list of improvements I want to make this time around. Not only is the fur going the wrong way on Max's ears, growing towards the base instead of towards the tip (in spite of the fact I *did* mark the fur direction correctly on the pattern!) but IMO the ears... flap around... too much when the mask moves. You can see this especially clearly at .018 minutes in this video.

Above, the nascent Max with his freshly designed Foamy ears. (And the cat hair mustache my daughter made for him.) I think part of the issue is evident here- the ears have too much height in relation to their width at the base. Theory being, a wider base would provide more support and hopefully, less flapping.

Above, snips from one of Dream Vision Creation's ear making tutorials (used with permission.) I referenced these often making the patterns for Maxine's ears. The ears on this mask are a bit wider at the base than are Max's. If they were his ears, the bottoms would come to the point where the top half of the hinge is glued to the head, not to nearly the center of the hinge as they do.

Above, using a snip from a Dream Vision Creations tutorial (left) as pattern reference for Maxine's ears (right), aiming for the correct width at the base.

.Above left, the paper pattern in progress, and right, the finished Foamy ears. Looks like I initially made the patterns a little bit **too** wide at the base, and so narrowed them down a bit in the final version.

Above left, the pattern piece (tan) for the back of Maxine's ears, and right, the pattern piece (green) for Max's. (See, I DID mark the proper fur direction on Max's pattern piece!!) As it turns out, both pattern pieces are 6 1/2" high, but while Max's pattern piece is 7" wide, Maxine's is nearly 9" wide. 

And since Maxine isn't finished yet, this is the closest thing I have to a side by side comparison of the two- Max is the green one and Maxine is the tan one. (Credit where credit is due- Max is made entirely with DVC parts, where Maxine is made with my own resin base and DVC nose, teeth, tongue and eye blanks.) So far I like the ears with the wider base much better! I think there'll be other things I'll need to do to prevent flapping, however... stay tuned!!

Moving jaw test for Maxine the Mask. Thank you to the long suffering hubby for his patience!!! I'm pretty happy with it.

​​I also wanted the teeth to sit up much higher in the lower jaw than they did in my first head, as they kinda disappeared into lips and fur after I got it assembled. I played a lot with layers of Foamies underneath the teeth to get them exactly where I wanted them, and so far I'm happy with how they look.

As with the previous head, I've been referring to the DVC tutorials online as I work on this head, and much to my confusion they've started redoing that series- when I did the first mask, the lips were applied last, after the airbrushing, and now they're applied early in the process, along with the eyelids. Maybe they were done last in the first series so that airbrush overspray wouldn't get on them, but that's easy enough to paint over with black paint. In any case it was a pain to apply them with fur already there, and so far I like this way better.
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​I also learned the hard way it's best to cut the cast up right before assembling it. I was so excited to get a good cast I couldn't wait to open the eyes up and hinge the jaw, and then I let the head sit, and sit, and sit.... and the jaw warped, shifting to one side. Now the head has an expression kinda like this: :-/ Nothing that can't be fixed with a Dremel and some epoxy, but still, something I'd rather avoid in the future.

Above, working out how to resculpt the jaw to make it look straighter. I often take a photo of an area I'm working on, print it out and draw on it, to help visualize what I should do. In the printout /drawing to the right, I've decided to dremel off the lip outside of the thick blue line. Another point for adding the lip early on- it gave me a way to tweak the jaw I wouldn't have had otherwise.

(And... one day I went down into the basement to work, and I found my daughter had gotten into my packing peanuts....)

Above, the lower jaw resculpted and straightened out a bit. I think it looks much better. Neatening up the edge of the lower lip helped a bit too.

Above, chiffon added to one tear duct but not yet the other, as modelled by my packing peanut loving daughter. Freaky deaky!

​Two takeaways for the next resin base sculpt:

First, make sure the areas in which the eyes will be glued are as flat as possible and in the exact same plane with each other. Any crookedness or unnevenness in these areas will be greatly exaggerated when the resin eyes are in place, and gives the mask a rather wall-eyed, inbred expression. Next base sculpt, I think I'll use metal or rigid plastic discs of the correct size to mark out these areas and leave them there while moldmaking, to make sure those areas don't squish out of shape. I was able to glue the eyes into this base to my satisfaction using bits of resin and hot glue to level them out, but care taken with the next sculpt could definitely make the process a lot easier. 

Second, sculpt the next head so that it can easily take a nose with a flat back. DVC noses, and I suspect any other noses that are cast separately and glued on to a base later, have flat backs. I suspect they are made in one piece molds, the backs of which are open so that the casting material can be poured in, which then levels out as it sets. When I removed the nose on this base to accommodate the DVC nose, I was left with an awkwardly shaped hole into which to glue it. I re-sculpted the area a bit with epoxy so that the nose would fit (the thick black band behind the nose in the pics is epoxy for the most part) and so all is well that ends well, but again, this is something to take into consideration for future head sculpts.

Next, ears!!

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