Episodes

  • We covered cutting edges in episode #61 but this one is specifically about cutting edges on flat moulds.

    Cutting edges on appliance moulds do the work of separating the fine appliance edge from the flashing and excess, allowing the mould to close properly and achieve the feather thin edge you have sculpted.

    The exact width of the distance between the cutting edge and the sculpted edge varies between artists and techniques, preferences and materials.

    I have seen many sculpts where folk have had a massive distance between the cutting edge and the sculpt, and this is what prompted this episode.

    The book I was reading which mentioned 'Stereo Type' with regards to printing was The Village Carpenter: The Classic Memoir of the Life of a Victorian Craftsman by Walter Rose, published originally in 1937. Check out the Stereotype process on the Wikipedia page.

    See what books are freely available at Project Gutenberg https://www.gutenberg.org/.

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd

  • In episode #74 we talk about running lots of foam latex and overcoming the things that can go wrong with foam latex. Despite silicone being the material most go to first, it is a very real material that needs to be kept in mind for certain projects.

    We also chat about how 3D scanning and printing has had a tangible benefit on some jobs we had this year, and how using this technology has enabled things that would not have otherwise been possible.

    Many thanks for listening!

    -Stuart & Todd

    Email the show on stuartandtodd@gmail.com

    Leave us a voice message straight from our website.

  • Missing episodes?

    Click here to refresh the feed.

  • Rod Maxwell is a bit of a Renaissance man, and the more we talked the more you can see how wearing many hats has informed his approach. Of late, Rod has become known for his fusion of digital techniques with practical outcomes.

    Looking at his Instagram, you can see trailblazing work with 3D printed moulds, scanning lifecasts and moulds and using that data to create things impossible to do any other way. Overlaying lifecasts done years apart to animate the changes in features displaying the effects of aging? Yes please!

    Rod created a short movie, The Wishing Well, in which he created and wore 26 makeups to play the various characters...all self applied. Check it out on Amazon Prime and see this behind the scenes video here: https://www.youtube.com/watch?v=PYJmW3KYtTw

    He was on Syfy's Face Off season 3, which he took as an opportunity to take full advantage of the opportunity to make something with an amazing facility at his disposal.

    He created an app to help artists improve their colour theory skills, called Flesh Master. There is also a corresponding Skin Illustrator 'Rescue On Set' palette to then use those techniques to correct appliance colours to better match skin.

    Taking it all in, it's a great insight into the work that goes into acquiring the skills and experience which make an accomplished person. We think you'll get a kick out of this one.

    Check out Rods Instagram: https://www.instagram.com/rodmaxwell/

    ---------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Adam has become well known for his miniature and smaller-scale work which has both great expression as well as high levels of detail, and even developed a material which allowed such tight detail for miniatures called Cx5.

    The man has done a lot of things and has worked many jobs - let's be clear his feet are on the ground and he knows what hard work is.

    He also has cultivated a very positive and effective mindset which is infectious and inspiring to behold and makes you want to try harder as you see that he walks the walk himself.

    There is a great body of work to be seen online, so check out his Instagram, (www.instagram.com/adambeanecreates) so you see what we are talking about. Adam also teaches so check out his website www.adambeane.com and his Patreon at www.patreon.com/AdamBeaneCreates. It's new at the time of writing, so go give the man a hand and check him out.

    -------------------------------------

    Links

    The study Adam mentions (by Aude Oliva, Antonio Torralba & Philippe. G. Schyns) with the hybrid images is worth checking out here:
    https://studylib.net/doc/14424564/hybrid-images-aude-oliva-antonio-torralba-philippe.-g.-sc...

    Adam mentions Sight-Size as a technique in drawing, which is an arrangement of the artist, subject and artwork that allows the artist to see their subject and artwork one-to-one. See more on this here: https://www.sightsize.com/

    Also, Persistence Of Vision is mentioned:
    https://en.wikipedia.org/wiki/Persistence_of_vision

    Adam mentions Generative Adversarial Network, which I must confess I had not heard of before. Check it out here:
    https://en.wikipedia.org/wiki/Generative_adversarial_network

    Also seeing this example, an automatic realistic person generator:
    https://www.thispersondoesnotexist.com/

    We mentioned the awesome creature designer and artist Carlos Huante, and his stuff is well worth checking out:
    http://www.carlos-huante-monstruo.com/

    -------------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Daniel was the first professional prosthetic professional to look at my portfolio. That stuff sticks with you.

    That was back in 1994, and there was still a lot of Frankenstein stuff kicking about in the workshop from the previous year. I learned a lot being in that workshop, and got to see a makeup test on Ian McKellan for Richard III in my time there.

    Daniel has recently been praised for his work as makeup and hair designer on The Queens Gambit (Netflix) and Chernobyl (HBO). He has an extensive range of credits spanning 37 years, including Zero Dark Thirty, The Hurt Locker, Band Of Brothers, Frankenstein (Academy Award nominee) Empire Of The Sun, Cloud Atlas, Robin Hood: Prince Of Thieves and Enemy Mine.

    In this conversation, we talked about how often simple techniques and good paintwork can do so much and using appliances wisely. It is very easy for an artist to fall in love with the processes and things they have learned, and to decide to inflict themselves as extensively as possible on anything they do. Instead, the aim is to see the full picture and work with the raw material of the performer and make only the correct changes for the character.

    Daniel also is a director at his temporary Tattoo company, TattooedNow! which he runs with Serbian artists Igor Strangliczky and Nikola Prijic.

    ----------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • In this second and final part of the chat with Dominic, we look at his art and discuss the drawing and sculptures.

    As usual, this podcast episode is a tale of two stories. Todd and I talk about the difficult work involved in lifecasting the deceased, which can be much trickier than dealing with the living.

    Then the chat with Dom, looking at his processes for creating artwork, using traditional and digital media and how they can work off each other. ZBrush has become such an integral part of many design processes and is a powerful tool with a terrifying interface which puts many people off.

    It's a good chat, and it pleased us greatly that the feet-on-the-ground attitude Dom has, despite being such an accomplished designer, was an inspiration. It's the kind of thing you need to hear if you are intimidated by good work.

    ----------------------------

    This past month has seen us produce some new videos for the channel. It's been a while since we have made some video tutorials, and so we present a couple on using cap plastic - one comparing the methods of application using an airbrush and a conventional brush: https://youtu.be/A71eYQF-Ot4

    Todd also made a cool video showing some alternative methods of applying cap plastic as a spray if you are not in possession of an airbrush: https://youtu.be/YSKcDClVZ8s

    Finally, a video of a mould Stuart did with makeup effects artist Helen McKenna. Helen had sculpted a neat cyclops bust on a Don Lanning workshop and had kept it under plastic for almost a year.

    She wanted to mould it but wasn't sure how to go about it. We decided the best way to help would be to mould it in the workshop and video the process: https://youtu.be/KatTvV8dOrU

    ----------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • In this episode (and the next), we have a chat with artist Dominic Hailstone. He works extensively with visual effects and has a background in makeup effects and practical effects which inform his approach.

    Being an early adopter of visual effects and using computers places him in a unique position of seeing both sides and is well versed in the processes and business in film making. As you will hear, his intimate understanding of film making as a storyteller and a designer gives him a good insight into the business.

    Necro Deathmort Album Cover Art

    Check out Dominic's website https://www.dominichailstone.com/ where you can see his work as a director in The Eel, artist, sculptor and visual effects reels. The variety and range of mediums and styles is fantastic, and you really have to see this stuff to appreciate what he is capable of. We think you'll get a kick out of it.

    Dom is also on YouTube and Instagram @dominic_hailstone_

    In this first part, the areas we cover include:

    Management meddling with effects and design choices. Being responsible for more than just effects, creating your own work. The struggle between old school & new tech. What is special now, and the insubstantial nature of the internet

    -------------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • This episode is a catch up on some emails and questions we had over the last couple of weeks. We have some great questions this time around, so many thanks for getting in touch!

    We talk about epoxy surfaced moulds, crinkly edges, and dodgy makeup course practices.

    Books mentioned in this episode:

    Silicone Art - Silicone As An Art Material
    By Tom McLaughlin V1.3

    Fundamentals of Facial Prosthetics
    By Robert E McKinstry

    Products mentioned:

    MAC Matte Cream or 'Crème Matifiante'

    A quick shout out to Thomas Tuohey for making this awesome mixer head available on Thingiverse:
    https://www.thingiverse.com/thing:4648372

    This fantastic materials calculator:
    https://www.fxcalc.monster/

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Brian Kinney is a primetime Emmy-nominated makeup artist and a Journeyman in IATSE Hollywood Local 706 Make-up Artists and Hairstylists Guild, where he serves as Makeup Craft President and Executive Board Member.

    His work can be seen in feature films and television shows, such as Fear The Walking Dead, Game of Thrones, Westworld, Purge: Anarchy and CSI. Check out his extensive IMDb page to see the hefty list of credits.

    Brian came to my workshop just after Christmas 2019 and we had a great afternoon catching up and recording a chat. It seems funny to remember when you could just be in a room with other people normally and not wear masks...

    Anyhoo, we started our chat with the time Brian visited the workshops of Stuart Freeborn (original Star Wars trilogy, 2001, The Bridge Over The River Kwai) which is eye-watering nostalgic.

    Brian has a fantastic manner, combining the makeup artists skills with exquisite etiquette (plus a great voice for radio as you'll hear!).

    We chat about being responsible for things on set, how bosses may allocate tasks to their freelancers, case-hardening skills learned in makeup school in the real world and being available to help others.

    Check his website out here. He is on Instagram @bekinney.

    --------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Lars is a generous self-taught artist from Sweden. He works in film, TV and theatre productions often using new technology to scan and print items for practical effects.

    We wanted to chat theatre stuff, as that is not something we have spoken much about on the podcast. It's an area which may well be more available for people starting out, as many sizes of theatre and regional playhouses have small scale productions offering great opportunities for creative people starting out.

    In this episode, we talk scanning, printing and sculpting in virtual reality, trouble with new LED lighting in theatres, making mistakes and having the courage to say YES to things in order to figure out how to do them. We also chat about the famous airbrush splatter nozzles which Lars came up with and freely shares on his website.

    Check out Lars' website, shop and in particular, the tutorials which cover so many important areas in makeup effects, from sculpting, moulding, painting and of course, hair punching. Of particular note is the excellent silicone calculator on there too! Lars is on Instagram @makeupfx.

    We mention the Effects Lab, which was a big deal in the early days of the internet before everything became a massive echo chamber. It is currently being overhauled and upgraded, but much of it is accessible here. Well worth checking out if you haven't already.

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • https://battleswithbitsofrubber.com/

    It’s Halloween. A Saturday! A full moon! Also not happening because of Covid. Boo.

    It’s a damn shame, but I imagine around the world, a lot more horror movies will be watched. I can only hope such mass consumption will drive production to make more stuff as we burn through the back catalogue of shows with a worldwide captive audience.

    Cutting Edges

    On appliances, a cutting edge is often employed to mark the boundary of where appliance stops and real skin should begin. With foam and gelatine, the end of the piece was the end of the piece. With silicone appliances, we usually have a cap plastic barrier which extends beyond the silicone edge to provide that nice, melt-to-nothing transition.

    However, on a lot of flat moulds, we have seen varying takes on how far away a cutting edge should be from the sculpt. We chat about that!

    Cap Plastic On The Back Of A Piece

    We also chat about cap plastic on the back of pieces. Usually necessary when a mould and a core is involved, but there are some reasons why it is desirable to not have cap plastic on the back of a piece.

    For one, often when removing the appliance, the cap plastic will stick better to the skin because of the glue than it does to the back of the appliance. This ‘delamination’ means it takes longer to clean up and can be a pain.

    Why cap plastic the back at all? Usually two reasons.

    One reason is deadened/softened silicone is very sticky, so the barrier makes it possible to handle the piece during demoulding. The other is to allow ‘cheaper’ water-based adhesives (as opposed to the more expensive silicone adhesives) to bond better to the piece.

    Let’s not forget that silicone is a material much used for moulds precisely because not much sticks to it. Including most glues and makeup.

    By having a barrier on the surface which is not actually silicone at all, but cap plastic, suddenly a whole world of things can be used on the makeup and blendable edges are possible. The sheer joy!

    So, when running flat pieces, now I don’t bother with cap plastic on the back. I did it, like many do, out of habit and seeing it down without really asking myself why it was necessary. By spraying more cap plastic on the back, we essentially double the edge thickness and it’s an extra step in the job.

    We talk through some notions of why it can be a problem, and how one might get around it.

    Podcast recommendation

    Check out a great podcast I just discovered via Kiana ‘Freakmo’ Jones called Red Carpet Rookies. In particular, episode #5 with Bill Corso talking about digital makeup. It’s a great show done by someone who cares about the subject, and I’d add it to your podcast subscriptions if you dig film chat.

    So, getting the horror on with audio books to keep us spooked during the workshop hours…Salem’s Lot and the The Exorcist was a double bill which put me in the right mood for some Halloween Horror Movies this weekend.

    Sculpting a vampire face whilst listening to William Peter Blatty read Regan’s tirades at Father Karras felt like a peak moment of Halloween fun.
    ---------------------------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd

    https://battleswithbitsofrubber.com/

  • Danny has done some interesting things with prosthetics, leading with fashion and high concept looks and bringing appliance work into the mix.

    Most demonstrations at trade shows involving appliances are showing just the tail end of a much longer hidden process which perhaps isn't at all evident in the final piece. It's nice to hear about what happens in the lead up to such a thing.

    As with many artists sealed tight with Non-Disclosure Agreements on professional projects, trade shows offer a real opportunity to try something new and experiment with ideas and processes without the risk of shooting days or high-stakes schedules.

    We chat with Danny about her influences, approach and work ethic and get into some pretty useful stuff. For example, Danny keeps records of makeup applications and lists what was used, including techniques, materials and products as well as notes on what well and what didn't.

    The result after a number of years is a great resource which will supply a record of a journey, as well as a very practical guide to your own best practice for similar jobs in the future.

    It takes a deal of humility to acknowledge what didn't work and address those shortcomings. It is also good practice to acknowledge what did work and take note of what went well.

    It is easy to become automatically self-critical as a default position, but the ability to have genuine regard for your own work, objectively seeing good and bad and using them both as a guide to improvement is a useful tool.

    It was a great chat and we got fired up as you'll hear.

    Links to things mentioned in this episode

    The Dip by Seth Godin:

    (summary: Every new project (or career or relationship) starts out exciting and fun. Then it gets harder and less fun until it hits a low point - really hard, really not fun. At this point, you might be in a Dip, which will get better if you keep pushing, or a Cul-de-Sac, which will never get better no matter how hard you try. The hard part is knowing the difference and acting on it.)

    Science Kits for kids: https://www.robocube.co.uk/collections/stem-kits

    We mention a popular chain of hardware stores in the UK called B&Q, the name is an acronym of the original owners' names, Block and Quayle.

    In the US, Home Depot would be an equivalent. If you have been on the hunt for unusual uses for conventional materials, then you may be familiar with the odd looks when responding to enquiries.

    Check out Dannys' work on her website and instagram.

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • We have all spotted things in shows which were never meant to be there. Scars swapping sides, hair up one minute and then down the next, blood which moves shot to shot or an errant edge which can't be hidden.

    Those are the things which you notice, and maybe take great pleasure in spotting and shaming those unfortunate artists who were 'responsible'.

    However, there are many things which you didn't spot which could have been issues if they were not overcome before the cameras started rolling.

    We go through some of these hidden problems which are not so rare, and which will tax the creative minds of those on whose shoulders these things fall.

    We have had a long lay-off and been quiet coping with one thing and another, so apologies for the radio silence. We have a few new toys which will mean things are going to be more regular on the podcast front.

    -------------------------------

    Links to things we mention in this episode

    Nomad sculpting app: https://nomadsculpt.com/
    Procreate art app: https://procreate.art/
    Infinite painter: https://www.infinitestudio.art/discover.php
    Forger sculpting app: https://forgerapp.com/
    ZBrush (all bells and whistles): https://pixologic.com/
    Zbrush Core (stripped down, lighter version): https://store.pixologic.com/zbrushcore-2020/
    ZBrush Core Mini (even more stripped down and free): https://zbrushcore.com/mini/#
    Sculptris (free sculpting app): https://pixologic.com/sculptris/

    What we do in the shadows (excellent TV show): https://www.imdb.com/title/tt7908628/

    ------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Closing moulds correctly is vital to get good casts out of them. There seems little point in making a good mould and then getting bad casts out of it.

    In this episode we chat about things to consider when looking at ‘mould closure’. Essentially, a mould other than a flat or open mould will usually need to be attached or fitted to another component to produce a cast.

    This could be another part of the mould if a ‘multi-piece’ mould is made and/or a core which will be placed into the mould to create the interior.

    These pieces need to remain securely in position, and may be required to exert a lot of force if the cast piece needs to have thin seams which are more easily repaired.

    That has cost implications - think about having to repair bad seams of fifty casts out of a mould which wasn’t closed correctly!

    Small block moulds are often clamped together for speed and convenience, but what happens if the mould is huge, such as a full body or a dinosaur?

    This episode has another hefty set of notes to help make sense of it all. It is picture heavy and goes deeper into what to look out for. Get them here or the blog post for this episode.

    ----------------------------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!

    -Stuart & Todd
  • Cutting edges are the point at which a core meets the mould, and is crucial in creating a fine edge for many appliances.

    In flat moulds, there can be something similar even though a core isn’t involved, as it establishes where the appliance actually stops and the skin begins.

    A cutting edge and overflow are critical in foam appliances, especially where a mould has foam latex added and a core is pushed into it. A gap between the core and the mould face would ensure the excess foam could escape, and the contact point where the mould meets the core would be decided carefully and precisely.

    Go to our website to get the free booklet supporting this episode, or go here.

    This principle has carried on with silicone, although usually excess waste is minimised owing to the fact silicone isn't mostly made of air, as is the case with foam latex.

    Wherever the core meets or touches the mould - be it keys, the cutting edge or an unintentional, is known as a touchdown. Getting great edges is important in making pieces which will blend into the skin and appear as part of it, rather than exhibiting a clear boundary where the fake stops and the real begins.

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us?

    Send them a link and help us grow!

    -Stuart & Todd
  • Blog Post for this episode here.

    Tim Baggaley played the one-armed zombie in Shaun of the Dead. He's a damn nice fella, an actor, talented graphic designer and a fabulous dancer.

    In this episode, we chat about his experience on set and his recollections of being among the undead.

    As we chatted, he reminded me of a few other things we had worked on together and we get into the nitty-gritty of whether or not we should see the genitals of monsters. Sounds like a fun tangent, but it is a serious consideration when making creature suits.

    After all, their absence may be as strange as whatever freakishly upsetting creature-junk one may wish to design in their place. Who wants to write that back story?

    ----------------------

    Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

    If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow to the right people!

    –Stuart & Todd

  • Here is a little treat - an additional little episode that checks in with Mark Donovan who played The Hulking Zombie in Shaun Of The Dead.

    We talked through the difficulties involved in getting ready to be attacked with records and cricket bats, shovels and the heat whilst caked in blood.

    Also, as you'll hear, some very cool comic book related stuff which was an exciting discovery. You may recall in the bumper podcast episode #55 that Stuart Conran mentioned the back story to the Hulking Zombie, how he came to be a zombie and why he was there with Mary.

    I mentioned this to Mark and not only was he aware of it but he has the actual original panels framed at his home!

    Check pics in the accompanying blog post here.

    Many thanks for listening.

    -Stuart & Todd

  • It was a great pleasure to chat with John face to face (before lockdown, I hasten to add) back in December of 2019.

    John is a well known FX artist who has since gone on to work at Tussauds and is a freelance artist.

    I think you will get a real kick out of hearing his take, a perfect attitude to how to feel when creating. We chat about what it means to sculpt, that internal dialogue we all have when creating something new,

    Fact checking bellend: In this, I mistakenly assign Constantin Brâncuși as the artist behind 'Nude Descending a Staircase (No. 2)' which of course it wasn't - it was Marcel Duchamp.

    Links to things we mentioned.

    The Barclays Bank commercial directed by Ridley Scott.
    https://www.youtube.com/watch?v=JnVyANe0ZnE

    John Schoonraad Episode: https://battleswithbitsofrubber.com/14-scanners-schoonraads/

    Neill Gorton Episode: https://battleswithbitsofrubber.com/51-neill-gorton/

    Kris Costa: https://www.instagram.com/theantropus/

    Olya Anufrieva: https://www.instagram.com/he77ga/

    Follow John on Instagram: https://www.instagram.com/jcormican/

    Johns website: https://johncormican.co.uk/

    Some of John's work
    Nightbreed at Image Animation, Pinewood Studios. Vasty Moses sculpt in progress. The Judge Dredd wall panels for the movie.

    Many thanks. Don't forget you can get in touch by leaving us a voice message or email stuartandtodd@gmail.com.

    - Stuart & Todd

  • Air bubbles of one kind or another are inevitable if you deal with materials which start out life as a liquid and then later solidify such as plaster, latex, silicone and resin. Let’s take a look at what can happen, why, and what to do about it.

    Blog post accompanying this post: https://battleswithbitsofrubber.com/58-airbubbles/

  • This episode of the podcast, we catch up with some questions left on our answerphone, emails and comments.

    Clay issues, alcohol colours, and a nice message from sculpting master Amelia Rowcroft. Cheers to those been in touch, and leaving messages. You can get in touch by email at stuartandtodd@gmail.com or leave a voicemail here.

    I mentioned working at the BBC Visual FX department, and I was reminded that I have a book about it -

    BBC Vfx: The History of the BBC Visual Effects Department 2010
    by Mat Irvine (Author), Mike Tucker (Author)
    ISBN-10: 1845135563
    ISBN-13: 978-1845135560

    I mentioned 'enjoy the suck' and it was, of course, 'embrace the suck', and it's meaning is as follows:

    (military, slang) To consciously accept or appreciate something that is extremely unpleasant but unavoidable.

    Quite appropriate right now.

    Check our podcast website here: https://battleswithbitsofrubber.com/