File puptcrit/puptcrit.0606, message 129

To: <>
Date: Sun, 11 Jun 2006 02:52:15 -0400
Subject: Re: [Puptcrit] moldmaking learning curve

Hi Greg,.. You are absolutely right. But I had to try the clay wall  at 
least once during this project before giving up for now and switching to the 
string method (which worked real well).

There were too many problems with the clay wall molds, starting with the 
plaster being the weirdest I've ever tried. The edges were fuzzy in the 
end(because I have yet to learn how to make them on a too-soft model).

The string molds are just precise enough for me to use them with paper 
strips or Apoxie Sculpt, whichever will prove the strongest.
I'm hoping for Paper strips. The apoxie would probably be hard to press into 
both halves, then join together when still soft.
Or I could trim and assemble when both halves are dry.

Mathieu René Créaturiste
Marionnettes, Masques, Etcetera...
Puppets, Masks, Etcetera...
(514) 274-8027
----- Original Message ----- 
From: "Gregory Ballora" <>
To: <>
Sent: Saturday, June 10, 2006 8:36 PM
Subject: Re: [Puptcrit] moldmaking learning curve

> If detail is so important, and the head is so small,
> why are you risking it with a string mold? Building a
> clay wall is much more precise, and although it
> requires more time and mixing 2 batches of plaster,
> isn't getting it right worth it? Also, with string
> molds, the keying is usually not as precise.
> Just my thoughts.
> Greg Ballora
> --- Mathieu René <> wrote:
>> Tonight I'm going for the second attempt at molding
>> my puppet heads for this movie I've done moldmaking
>> before, but not that much. and never for a head that
>> is about 2 inches high.
>> Detail is crucial. Fuzyness is a no-no.
>> I'm switching to the Rufus Rose string method. I've
>> tried it before, it works. If you are careful and
>> have good timing.
>> Someone on this list explained it to me. If he is
>> willing to explain or repost (I don't have the
>> original message he sent me), I'm sure many will
>> appreciate.
>> I think he's very busy these days, so that's why I
>> don't dare tell his name, for fear of heavy
>> solicitation...
>> Pardon my basic view of the technique, I still need
>> to learn more about it to refine it.
>> My model is plastalina, but this works too with
>> regular clay.
>> It consists of laying very fine string (fine fishing
>> line, or even dental floss) over the separation
>> lines you have planned to make the separate pieces
>> of your mold.
>> Make sure the string is flush with the surface of
>> the model.
>> Make each cut as a single string, and identify each,
>> and number them to know which to pull up first
>> later. Each string should be long enough to be
>> reacheable away from he mold.
>> Basically, you just pour some well mixed (but not
>> too vigoursly!) plaster over the entire object.
>> For complex shapes, you might still need to make a
>> clay wall around the base.
>> And to limit plaster spread in the case of a more
>> than two part mold.
>> When the plaster is firm but not too hard, pull each
>> string slowly, creating the separation lines.
>> Someone reccomended that I wiggle the strings a bit,
>> but only when i,m sure the string is away from the
>> face, to create a "key" system that will keep the
>> mold closed properly later.
>> The subtle problem of this method is the thickness
>> of the string. If you work medium to big scale, no
>> problem. But for very small scale, the width of a
>> string can make a whole difference when separating
>> the face in half in the mold. Plan ahead in this
>> case, and add that thicknes into your design before
>> molding,.
>> The mold might be stuck together at first, depending
>> on when and how you pull the strings. A very blunt
>> tool should be used to gently pry open the mold. In
>> case of lots of resistance, I'd reccomend waiting
>> for when the mold is completely hard, in order to
>> avoid breakage.
>> I've used this method a lot lately for my
>> maskmaking.
>> The difference is that I glued the molds back
>> together since my paper mache strip method is
>> flexible enough to allow for easy removal.
>> Then why uise this method at all?
>> Simply to remove the mold without destroying the
>> plaster cast of a face underneath the clay mask
>> form.
>> Mathieu René Créaturiste
>> Marionnettes, Masques, Etcetera...
>> Puppets, Masks, Etcetera...
>> (514) 274-8027
>> _______________________________________________
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>> Admin interface:
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