Up until this point, things had been relatively straightforward as the processes I was using were all ones that I had followed previously with success. With the mouth mould complete, I turned my attention to the hands.
Using the same diagram-stencil technique aforementioned, I carved hand shapes out of a Plasticine mould base to embed them half way in the surface, making it easier to seal them around a midpoint. Since both colours of Plasticine were the same softness, it was painstaking work to sculpt the mould right up to the hands and seal the gap around the edge without damaging them.
Just like the mouth mould, keys were added to make it easy to alight the mould halves. The base was boxed in with foamcore and sealed to a waterproof base (in this case, a spare tile) with a glue gun to prevent the liquid Plaster from escaping its makeshift container.
Above left: The final two-part hand mould, with the original sculpts (thankfully!) still intact.
Above right: The wire hand armatures in place, consisting of double aluminium wire twisted around a small metal washer in the palm. The wire is looped at the end of the fingers/thumbs to prevent sharp wire piercing through the end of the soft cast digits.
After the hand mould, I proceeded to create the torso mould- which meant sculpting around my armature for the first time.
The Plasticine was blocked out around the armature, before being refined and smoothened. Further details were added after the main body was complete. You will notice the body extends lower than it should- The Plasticine here formed the open cavity in my mould, thus the lengthened body formed an open channel in which to pour my liquid rubber.
Again, the same technique was used to create both halves of my mould.