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May 29, 2008
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Quasi by Kaduflyer Quasi by Kaduflyer
As iconic as Boris Karloff's Frankenstein's monster, Charles Laughton's 1939 make up and portrayal of The Hunchback of Notre Dame has become THE accepted version of poor old Qusimodo and so was the natural one for me to base my own, somewhat comic, version on.

This was made very quickly(about a week from start to finish) for a movie exhibition at the Cineaqua Muveum in Paris where it will be on permanent display from the 1st of June...it's right in the shadow of the Eiffel Tower, so if you're in the area and a bit bored go check it out!!

This is made from silicone over a fibre glass base with glass eyes (which I didn't make) and real hair.....he's 'life' size.
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Daily Deviation

Given 2008-12-10
From suggestor: "At first Quasi by *Kaduflyer appears a bit comical...the character, but when you look closer, you just get so enveloped in the details. Something about the ability to accurately craft human skin tone, and texture always fascinates me." The lankness of the hair, the shaven quality of the skin along with the skin and even vein details is incredibly life like and painstakingly created. ( Suggested by jacamat and Featured by Thebuild )
:icongreg-lamont:
Greg-Lamont Featured By Owner Jun 25, 2014   Traditional Artist
awsome, and quick work too, from sculpt to finish mould. very impressed
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:iconkaduflyer:
Kaduflyer Featured By Owner Jun 29, 2014  Professional Filmographer
Thank you
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:iconaudreyswarz:
audreyswarz Featured By Owner Jun 1, 2014
I just LOVE all your wonderful pieces but this Quasi is incredible.  I have always wanted to work in silicone.  I now sculpt in polymer clay but it lacks the realism that silicone has.  I sure would appreciate any suggestions you can give to me or maybe a website with more info on working with silicone.  Thank you so much. 

Audrey
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:iconkaduflyer:
Kaduflyer Featured By Owner Jun 3, 2014  Professional Filmographer
The process for making silicone heads like this one is fairly simple but requires multiple materials and a working space where you can get a bit dirty (as in messy ...not rude...lol).

I do all my larger sculpts in water clay, it's cheap, easy to source and is still the best sculpting material available (in my opinion). Once the sculpt is finished I mould it in either plaster or fibre glass. For someone like yourself I would recommend plaster as fibre glass is expensive, toxic and extremely messy. For a head like Quasi a simple two piece mould is all you need.
once the plaster has set open the mould and clean out the clay. The silicone I use is a translucent Tinsil two part compound that can be coloured with artists oil colours. I tint a batch of this the basic skin tone I want and paint in a thin layer into the mould to pick up all the detail. When this thin layer has gone off I back it up with a thicker layer of the same colour batch of silicone thickened with a special thixotropic agent that you can get from the same supplier as you'd get your silicone.
once the silicone has fully cured (24 hours) you'll need to back it up with some kind of rigid core (otherwise your silicone head will be all floppy and won't hold it's shape). For this I mostly use a polyurethane foam but you could just as easily use the same plaster as you moulded it with (though this makes the finished piece very heavy).
Once your core material has set you can open the mould and there is your base head now in silicone. To paint this you'll need to get some translucent silicone caulking (available from any hardware shop.....it's basically bathroom sealant), thin this down with white spirit to about the consistency of milk and then use this as your paint base. Using artists oil paints again, mixed with the paint base you can then paint your head using either hand brushes or an airbrush (I always use a combination of both).
i realise this probably all sounds very complicated but Google searches will turn up all manner of tips and tutorials on moulding, materials and techniques. If you are on Facebook I would highly recommend joining the group Neill Gortons Make Up Effects 911. This is a group with make up artists, both professional and hobbyist, from all over the world sharing tips and techniques, and answering and asking all manner of technical questions. It is also a massive resource of material advice, suppliers and stockists. If you need to find material suppliers in your part of the world, simply ask and someone from your neck of the woods will be able to recommend a supplier local to you.
if you want to try any of these techniques and have any specific questions feel free to drop me a note here and I will do my best to help.

have fun!
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:iconaudreyswarz:
audreyswarz Featured By Owner Jun 3, 2014
thank you so much or being so wonderful in giving me this information.  I really appreciate it so very much.   I know the time you spend on each creation and it is a labor of love as it shows!   I love the realism and one day I hope to take a deep breath and try this process.  If you are ever in Michigan please let me know!  Thank you so much for your kindness.
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:iconkaduflyer:
Kaduflyer Featured By Owner Jun 4, 2014  Professional Filmographer
You're very welcome.
:)
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:iconcaberwood:
Caberwood Featured By Owner Apr 6, 2014  Professional Filmographer
Beautiful! You have captured the essence of the tortured soul.How did you do that without actually having an eye line? You told me that sculpting with a designated eye line would distract from the sculpt.I find it really helps.Is it down to personal choice in the end?
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:iconkaduflyer:
Kaduflyer Featured By Owner Apr 7, 2014  Professional Filmographer
I will always maintain that a sculpture should work from any angle…that surely is the point of doing something in 360 degrees. However as humans we are drawn to faces, so if you watch people looking at sculptures of human (or near human) figures they always gravitate to the 'front'. With something like Quasi here, where all of his humanity/anguish/rage/despair is channeled through his one good eye it seems to pull you round until you find yourself automatically looking at him in such a way that you frame him like this…which is the most common shot you'll find of the Laughton version. I have other pictures of this at different angles but they leave you feeling uncomfortable, like you desperately want to try and peer around the edge of the photo to find that eye. 
If you look at most classical sculptures they are rarely focussed on their audience (I actually can't think of one example where they are to be honest), they look at other elements within the sculpture, gaze off into the distance or are introspective, caught within their own thoughts, a private moment which we naturally don't try and break. This allows us to enjoy the sculpture from all angles, without feeling we have to find the 'right' position to look at it.
As commercial artists we either don't have the practise or the skill to get the balance right. We are so used to making stuff that is SUPPOSED to engage with the audience that we find it almost impossible to break the habit in our personal work.
If you look at my two 'Lil-Divil' pieces you can see that in the painting she is looking 'straight down the lens' at us and this gives a feeling that she's aware of us peeking at her…like a deer that has caught sight of the hunter sneaking up on it and is in the moment before it flees. In the sculpture you can angle yourself to get the same feeling, but move slightly and her gaze goes up and over your head and so works from any angle that you look at her. Which probably makes it a more successful sculpture than Quasi here.

In the end it's not so much up to personal choice rather than how you intend the piece to be seen. If it's to be exhibited as a sculpture I would say you would be more successful giving it the unfocussed/off into the distance look. If it's for a photo then a more direct gaze is acceptable.

This is a long and rambling way of saying that I probably got it wrong with Quasi…but I got away with it because of the nature of the subject. I think I'm a good sculptor, but in reality I'm a rank amateur in comparison to those old geezers in the museums….but I'm learning!!
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:iconcaberwood:
Caberwood Featured By Owner Apr 8, 2014  Professional Filmographer
Thanks so much for taking the time to write this Dave!It's really thought provoking.
I've never really meshed with the old "classical" sculptures.
Your right.They are distant,god-like,idealised.They don't look you in the eye.
I'm currently expanding on the whole "trophy head" thing I started with you and the Manticore.I'm intrigued to explore facial expressions/mythical beasts from that KILL 'EM,STUFF'EM,MOUNT 'EM approach.
Its fantastical that they would actually retain the expression just before death,but,what the hell..;)
Getting into the mind of what you sculpt is a fun thing to do.

BTW..In terms of art,we are ALL always learning.You are a solid influence and source of encouragement in my ongoing attempts. No one told me I was able to sculpt before.You rekindled that fire.

(ps..still really want to see that Innsmouth sculpt! Did you finish it or did it have to be shelved/chucked?)

"When you stare into the Abyss,the Abyss stares back at you.."
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:iconkaduflyer:
Kaduflyer Featured By Owner Apr 13, 2014  Professional Filmographer
The trophy head thing sounds fun…and the expression thing doesn't matter, taxidermists always put back the expression anyway.

As for you and sculpting? One of the real frustrations I've found since I started teaching was finding that the students with ability often lack the self confidence and those with enormous confidence and drive often lack the ability. I rue the fact that if I were a better teacher I'd be able to rectify that more than I do. You're a really, really good artist and your work (both 2D and 3D) has enormous personality and a sly wit….you just need to get out there and sell yourself better!

The Innsmouth piece was finished and run as a foam and now sit in a bag in my workroom at home. My original model has since left the country, but I'm going to try and put it on someone else when I get the chance…it's just finding the time.
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