LIFE CASTING TECHNIQUE - AL APONE
(as shown by special makeup effects artist David Schlatter)
At the Makeup Artist's Magazine Convention in Pasadena, California a few years ago, there was a technique shown and taught to the attendees which improves greatly on the lifecasting technique for a full head (or even just a front half head) lifecast. This technique is likely in wide use at this time since the convention and is without doubt, a very viable way to do this since there is usually no detail needed for the back half of the head, rather just the shape. It isn't a new technique but a reworking of an old idea. But it's a good one. The technique that was demonstrated and taught, eliminates the need for the whole head being covered in alginate - our most often used life casting medium. It still uses the plaster bandages but on the back side of the head all that is generally needed is the shape so why waste the alginate?

These photos detail and show that process and I trust will serve to give you a "new" idea or way to do this and save yourself some expense and aggravation with alginate that needs to be split in the back to remove anyway and often creates problems. The baldcap is still necessary but the technique simply does away with the alginate on the back side. Not only that, the technique for the front, sort of "locks in" the alginate between plaster bandage (explained later - you will see it). But it is a technique I now use to do full head life casting. It can be done similarly for just a front half head. The techniques that lock in the alginate between layers of plaster bandage help to prevent the alginate from flopping around inside the mother mold somewhat, PLUS it makes it a little easier to remove it from the face.

This process is in use by the author of the commentary, special makeup effects artist, David Schlatter, and these photos show him doing this process on a subject for the purpose of this article.

I have some additional thoughts about the technique relative to the use of a baldcap with longer hair and though I haven't tried it yet, I think it might help solve some of the problems inherent in doing a full head casting such as the above, where a baldcap has to be used.

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At the second annual Makeup Artist's Magazine Special Make-up Effects Trade Show, Allan A. Apone demonstrated this technique. In writing this I have made some assumptions:

1. That you know how to apply a baldcap.
2. That you know how to cast a positive.

The materials list is as follows:

1. Two 4" or 6" wide 36" long plaster bandage strips 3-4 layers thick.
2. Two 4" or 6" wide 24" long plaster bandage strips 3-4 layers thick.
3. Ten to twelve 6" wide 12" long plaster bandage strips 3-4 layers thick.
4. Several small strips to use around the nose area for support.
5. One roll of cotton or cotton balls.
6. Four cups of alginate.
7. Four cups of water.
8. Petroleum jelly.
9. One baldcap.
10. Duct tape or mold straps.
11. Mixing bowls.
12. Dental alginate or water based clay. (This is used to plug the hole in the back if long hair and a ponytail is an issue).

I haven't determined which width 4" or 6" plaster bandage is best to use for the 36" and 24" strips. May be just a matter of preference. The 6" will cover more area - obviously - and may be the better way to go.

One last note is that I always cut a few more 12" strips than I think I will need just in case there is a spot that I feel needs extra reinforcing. Doing this beforehand saves time and is easier on the model. The model in this process, is 21 year old Christie Klutz.

David Schlatter.

For a long time I wondered why there was an issue with long hair that must be dealt with when doing a baldcap for lifecasting purposes. I simply say CUT IT OFF!! No!! Just kidding, don't panic!! Got your attention though didn't it? Anyway, what you always see is that a hole is cut in the back and a ponytail drawn though, wrapped in Saran Wrap, and tied up to the ceiling (or somewere). The thing that always bothered me was that there was this pressing need felt that this was the way it HAD to be done. On a front half head lifecast the hair in the back really doesn't matter much at all since you rarely go beyond the middle of the head anyway. But in a full head lifecast, it always seems to be a problem. Then the task of having to deal with plugging the hole before you cast it in plaster, or smoothing the positive cast once it is made, always seemed like a big, fat pain in the butt to me. You ALWAYS end up with a slight lump where the ponytail hole was made and have to grind it away, no matter what you do, to get back to a reasonable facsimile of the shape of the back of the head - never really getting it exactly correct.

Now bear in mind, I have not tried this technique yet (but I intend to) and it is only MY OPINION, but why do we feel the need to put the hair in a ponytail at all? Why not simply smooth the hair down as flat and smooth as is possible with whatever it takes (water, Gafquat, hairspray, gelatin or some other solution), conforming it to the shape of the back of the head and neck as is possible, covering it with a long nape baldcap (even if you have to create your own longer nape cap) and simply covering the rest by taping it over with a piece of Saran Wrap to protect it if it extends down beyond the shoulders (if you are casting that far down)? If you take pains to get the hair laying on the back of the neck and the back as smoothly as you can, then this would facilitate getting far less bulk at the back of the head because of a lot of hair or a ponytail. As well, it would make the back of the head - under the baldcap - much more correct as to it's shape and smoothness. Sure, pains might have to be taken to get the baldcap on and smooth with the hair not tied up, but I recall years ago, when I was doing a theater production, the women in the show had to plaster their hair down for it to stay put. Granted, they used a lot of hair gel and hairspray, but it was flat to their heads and stayed put - even under hot stage lights and these girls were dancers as well. So I think any argument would simply be an excuse not to do it this way. The baldcap would have to be glued around the front as normal. Then down the sides behind and around the ears (cut to accommodate casting the ears too), as good as you can possibly get it to avoid wrinkles in the finished positive cast, and then simply left unglued at the bottom-back so the longer hair would hang out the back and be smoothed down. Then you cover what is showing with Saran Wrap, perhaps taped down, and you're done.

Take a look at these illustrations and see if this possible, proposed technique isn't better than the "conventional" way we find ourselves dealing with long hair. Of course, every situation will vary to varying degrees anyway. But for reasonably long hair this could work.

I enjoyed seeing the Allan A. Apone method of lifecasting, as presented by David Schlatter. It is the only lifecasting technique that I have used since I returned from California. It really makes the process go faster and produces great results. I have found that the reinforcement of plaster bandage on the subject's collarbone, serves as a type of neck support/brace when taking the lifecast. It literally allows the subject to remain in a fixed position, and endure the accumulated weight of alginate and plaster bandages during the process, minimizing their fatigue and potential error in the lifecast from movement.

I asked Allan about the concept of sandwiching the alginate between the plaster bandages, and the use of plaster bandages to cover the rear of the head to register shape, rather than detail. He stated that it was not his idea, that it has, in fact, been around for years. However, he did not elaborate on the origin of the technique - if it is even known. Afterall, it forces all of us to ask the poignant question, "Why didn't I think of this before!" He utilizes and teaches this technique precisely because of the paramount importance of producing an error-free lifemask. The lifemask lies at the root of all special make-up effect conceptual design, sculpture and application. Additionally, Allan is concerned about the virtually lost art form of mold making within the industry.

Allan's "trick" of using torn cotton fibers (from cotton puffs or rolled cotton) patted onto and into the alginate before it "kicks," really locks the alginate into the plaster mother mold, and prevents distortions in the lifemask when removed from the subject's face, and during the molding process.

Regarding your technique concerning long hair, and avoiding the "traditional technique" of making a ponytail out of it - so it sticks out of the back of the lifecast... I have used the technique you advocate, and it works. Ed French has frequently suggested the styling of hair for dealing with long, or difficult lengths of hair - even to the end of using gelatine to stick the hair down and sculpting a smooth shape so that it conforms to the surrounding head/body areas. Or, in the most difficult of lifecasting situations - calling upon the expertise of a hair dresser to literally wrap the hair. The technique you advocate has virtually no effect upon the lifecast's duplication of features and/or shape. Additionally, it avoids having to work around the "hanging ponytail," cutting a hole through a perfectly good baldcap (which can distort the baldcap by wrinkling), patching holes, etc, etc. Time is of the essence, and so is simplicity, in the art of lifecasting.