Mix up your Sculpt Gel, and if you want to intrisically colour your makeup add your silicone pigments or flocking now. I have added some red and yellow flocking. Apply the Sculpt Gel over the face, in the length and direction you want.
You can start out pretty rough, as we will be blending the edges after. Keeping your tool clean by wiping it with a paper towel, begin smoothing out the edges. Applying a little IPA will help the tool to glide over the Sculpt Gel, and stop it from sticking.
Don’t apply too much IPA, if it’s dripping down the face it’s too much, and this will be uncomfortable for the model. Be careful around the eyes and the nose, as it’s fumy. To improve at blending out edges, practice! You can see how unpleasant the IPA is around the eyes.
Blend out the edges with the tool a second time. We will keep refining as the Sculpt Gel cures and firms. Now go over the Sculpt Gel with a sponge dampened with IPA. This will help to blend out and soften the edges further, and will take away some of the shine and smoothness of the silicone, leaving a more skin-like texture.
If the IPA overwhelms the model, give them breathing breaks. Make sure you have good ventilation. Try different sponges for different textures. I’m going back in with the tool to try to blend out the edges more.
Using a small, pointed (but not sharp) metal tool, I start to carve out the cuts. My camera decided to stop recording here, sorry. I went back over the Sculpt Gel with a sponge, to get more texture in it, then went back into the cuts to re-define them after the sponge.
Now let the silicone cure, until it doesn’t change shape when pressed. Using Skin Illustrator’s FX palette, I’m going to paint the deepest parts of the cut black, to add the illusion of more depth, and to define them more.
Now I’m going over the black with the aged blood colour. As you can see, the silicone is still quite shiny. This can be rectified with a matte sealer (which I didn’t have with me). Now I am adding Blood Red into the wounds.
Now I’m using a makeup setting spray (Urban Decay All Nighter), to keep that colour in place. You can use other setting or sealing sprays, I’m just using this because it was handy. Using Skin Illustrator’s Flesh tones palette, I will flick some olive tones over the Sculpt Gel to try to get it to match Daniel’s skin better.
This technique is usually performed with a 1 inch chip brush, with the bristles cut down, but I left mine at home… awkward. 24 00:06:55,000 –> 00:06:58,000 Now I am applying the Rose Adjuster colour from the Flesh Tones palette around the cuts to simulate sore, red, agitated skin.
Now I’m applying blood into the wounds. I am using Mouldlife’s Kensington Gore (Aged) blood. Use a tissue to smear the blood around the face, to give a more realistic, messy blood look. This is Mehron’s Fresh Squirt blood, but I didn’t like how bright it looked.
I sprayed some more setting spray. Annnd back to the Kensington Gore. Finished look.