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Creating A Silicone Severed Head Using a Shell Shock Mold

Shell Shock® brushable plastic and Plasti-Paste® trowelable plastic can be used in combination to create a rigid, strong, inexpensive mold. A mold created from these materials can be used for casting silicones directly without a mold release.

Constructing a core in the mold allows for a thin walled casting that uses a minimum of material. The hollow casting is then filled with inexpensive urethane foam to provide support.
 The original piece in this example is a sculpted prop severed head.
The piece is sculpted out of a non-sulfur clay.

1 - The original piece in this example is a sculpted prop severed head. The piece is sculpted out of a non-sulfur clay.
 A clay wall is placed on the sculpture, dividing it in half.

2 - A clay wall is placed on the sculpture, dividing it in half.
 The piece and surrounding clay wall are sealed with clear acrylic spray and left to dry.

3 - The piece and surrounding clay wall are sealed with clear acrylic spray and left to dry.
 After the acrylic spray dries, Sonite Wax® release agent is brushed onto the sculpture and clay wall.

4 - After the acrylic spray dries, Sonite Wax® release agent is brushed onto the sculpture and clay wall.
 Shell Shock® is measured 1A:4B by volume.

5 - Shell Shock® is measured 1A:4B by volume.
 Shell Shock® is mixed thoroughly for 30 seconds.

6 - Shell Shock® is mixed thoroughly for 30 seconds.
 The first coat of Shell Shock® is ‘stippled’ onto the surface of the sculpt and the clay wall.

7 - The first coat of Shell Shock® is ‘stippled’ onto the surface of the sculpt and the clay wall.
 The first layer of Shell Shock® is left to cure for approximately 30 minutes.

8 - The first layer of Shell Shock® is left to cure for approximately 30 minutes.
 A second batch of Shell Shock® is measured and mixed thoroughly.

9 - A second batch of Shell Shock® is measured and mixed thoroughly.
 The second coat of Shell Shock® is applied on top of the first coat.

10 - The second coat of Shell Shock® is applied on top of the first coat.
 The second layer of Shell Shock® is allowed to cure for approximately 30 minutes.

11 - The second layer of Shell Shock® is allowed to cure for approximately 30 minutes.
 Plasti-Paste® is measured 1A:3B by volume

12 - Plasti-Paste® is measured 1A:3B by volume
 The Plasti-Paste® is mixed carefully and thoroughly.

13 - The Plasti-Paste® is mixed carefully and thoroughly.
 A coat of Plasti-Paste® is applied to the entire surface. The Plasti-Paste® will bond to the Shell Shock® and help to provide extra strength.

14 - A coat of Plasti-Paste® is applied to the entire surface. The Plasti-Paste® will bond to the Shell Shock® and help to provide extra strength.
 It is easy to build up a thickness of 3/8”(1 cm) by using Plasti-Paste® in combination with Shell Shock®

15 - It is easy to build up a thickness of 3/8”(1 cm) by using Plasti-Paste® in combination with Shell Shock®
 A second batch of Plasti-Paste® is measured 1A:3B by volume and mixed thoroughly.

16 - A second batch of Plasti-Paste® is measured 1A:3B by volume and mixed thoroughly.
 The second coat of Plasti-Paste® is applied on top of the first coat.

17 - The second coat of Plasti-Paste® is applied on top of the first coat.
 After the Plasti-Paste® cures for 90 minutes, the soft clay wall is removed.

18 - After the Plasti-Paste® cures for 90 minutes, the soft clay wall is removed.
 A clay pour spout is placed on the exposed Plasti-Paste®, on the surface of the sculpture.

19 - A clay pour spout is placed on the exposed Plasti-Paste®, on the surface of the sculpture.
 The piece and surrounding clay wall are sealed with clear acrylic spray and left to dry.

20 - The piece and surrounding clay wall are sealed with clear acrylic spray and left to dry.
 After the acrylic spray dries, Sonite Wax® release agent is brushed onto the sculpture and clay wall.

21 - After the acrylic spray dries, Sonite Wax® release agent is brushed onto the sculpture and clay wall.
 Shell Shock® is measured 1A:4B by volume and mixed thoroughly for 30 seconds.

22 - Shell Shock® is measured 1A:4B by volume and mixed thoroughly for 30 seconds.
 The first coat of Shell Shock® is ‘stippled’ onto the surface of the sculpt and exposed Shell Shock® wall.

23 - The first coat of Shell Shock® is ‘stippled’ onto the surface of the sculpt and exposed Shell Shock® wall.
 The first layer of Shell Shock® is allowed to cure for approximately 30 minutes.

24 - The first layer of Shell Shock® is allowed to cure for approximately 30 minutes.
 A second batch of Shell Shock® is measured and mixed.

25 - A second batch of Shell Shock® is measured and mixed.
 The second coat of Shell Shock® is applied on top of the first coat.
More fluid strokes can be used on this coat of material.

26 - The second coat of Shell Shock® is applied on top of the first coat. More fluid strokes can be used on this coat of material.
 A batch of Plasti-Paste® is measured 1A:3B by volume.

27 - A batch of Plasti-Paste® is measured 1A:3B by volume.
 The Plasti-Paste® is mixed throroughly for 2 minutes.

28 - The Plasti-Paste® is mixed throroughly for 2 minutes.
 The second coat of Plasti-Paste® is applied on top of the first coat.

29 - The second coat of Plasti-Paste® is applied on top of the first coat.
 The second coat of Plasti-Paste® Is allowed to cure overnight for maximum rigidity.

30 - The second coat of Plasti-Paste® Is allowed to cure overnight for maximum rigidity.
 After the mold is completely cured, a screwdriver is used to CAREFULLY separate the two halves

31 - After the mold is completely cured, a screwdriver is used to CAREFULLY separate the two halves
 CAREFULLY separate the two halves.

32 - CAREFULLY separate the two halves.
 Excess clay is cleaned out of the mold using a wooden stick.

33 - Excess clay is cleaned out of the mold using a wooden stick.
 The mold is now prepared for creation of the core.
The core will be made out of Smooth-Cast® 320 resin. Ure-Fil® 3 will be added to reduce cost.

34 - The mold is now prepared for creation of the core. The core will be made out of Smooth-Cast® 320 resin. Ure-Fil® 3 will be added to reduce cost.
 A 1/2” thick layer of clay is laid into the mold.

35 - A 1/2” thick layer of clay is laid into the mold.
 Both halves are lined with 1/2 inch thick layer of clay.

36 - Both halves are lined with 1/2 inch thick layer of clay.
 The mold is bolted closed with the clay inside, placed in a container and leveled.

37 - The mold is bolted closed with the clay inside, placed in a container and leveled.
 Registration notches are drilled around the edge using
a countersink bit.

38 - Registration notches are drilled around the edge using a countersink bit.
 A clay wall is built to contain
the Smooth-Cast 320 liquid plastic.

39 - A clay wall is built to contain the Smooth-Cast 320 liquid plastic.
 The interior and exterior surfaces
are sprayed with Universal Mold Release.

40 - The interior and exterior surfaces are sprayed with Universal Mold Release.
 Smooth Cast® 320 is measured 1A:1B by volume along with one part Ure-Fil® 3 filler and mixed.

41 - Smooth Cast® 320 is measured 1A:1B by volume along with one part Ure-Fil® 3 filler and mixed.
 The Ure-Fil® will reduce cost and allow a larger casting

42 - The Ure-Fil® will reduce cost and allow a larger casting
 The mixed material is poured in the mold, and fills the clay wall area.

43 - The mixed material is poured in the mold, and fills the clay wall area.
 After the core is completely cured, the clay dam is removed

44 - After the core is completely cured, the clay dam is removed
 The mold is opened, and the clay blanket is removed from the surface of the mold.

45 - The mold is opened, and the clay blanket is removed from the surface of the mold.
 Excess clay is washed off of the mold core, leaving a clean Smooth Cast 320 core casting.

46 - Excess clay is washed off of the mold core, leaving a clean Smooth Cast 320 core casting.
 The core is placed inside the mold.

47 - The core is placed inside the mold.
 The mold is bolted shut and turned upside down.

48 - The mold is bolted shut and turned upside down.
 The core is clamped in place. Hot glue is used to seal any gaps between the core and outer mold.

49 - The core is clamped in place. Hot glue is used to seal any gaps between the core and outer mold.
 Dragon Skin® silicone rubber is measured 1A:1B by volume.

50 - Dragon Skin® silicone rubber is measured 1A:1B by volume.
 Silc-Pig® flesh tone pigment is added to the Dragon Skin® part B.
The Dragon Skin® part A is combined with the Dragon Skin® part B and mixed thoroughly.

51 - Silc-Pig® flesh tone pigment is added to the Dragon Skin® part B. The Dragon Skin® part A is combined with the Dragon Skin® part B and mixed thoroughly.
 The mold is turned upright and the Dragon Skin is poured SLOWLY into the pour spout. Working time is 20 minutes,

52 - The mold is turned upright and the Dragon Skin is poured SLOWLY into the pour spout. Working time is 20 minutes,
 The bolts are removed and the mold is GENTLY pried open with a screwdriver. The two mold halves are separated.

53 - The bolts are removed and the mold is GENTLY pried open with a screwdriver. The two mold halves are separated.
 The flashing is cut off, leaving a clean silicone casting.

54 - The flashing is cut off, leaving a clean silicone casting.
 The silicone casting is removed from the core...

55 - The silicone casting is removed from the core...
 ...and replaced in the Shell Shock® mold

56 - ...and replaced in the Shell Shock® mold
 Flex Foam-iT! III is measured out 1A:2B by volume, mixed, and poured into the mold cavity.

57 - Flex Foam-iT! III is measured out 1A:2B by volume, mixed, and poured into the mold cavity.
 The demolded casting is ready for finishing.

58 - The demolded casting is ready for finishing.
 The casting is painted with Psycho Paint.

59 - The casting is painted with Psycho Paint.
 Eyebrows are punched into the silicone.

60 - Eyebrows are punched into the silicone.
 The finished casting has a realistic, flesh-like look.

61 - The finished casting has a realistic, flesh-like look.

                   
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