Body Casting ›› The Process

Most lifecasters use the conventional approach and take a mould directly from the body using alginate which is supported by a plaster bandage shell. Once the mould has been removed from the body and gypsum poured directly into the mould, the result is a cast with incredible detail, and may include skin texture, pimples, even fingerprints. If detail is required, alginate is good, and I use it for hands and faces, but for me, and the work I produce, I prefer not to use alginate for torsos.

My process has evolved over time, and has developed to give the client more choice. Casts can be produced in ceramic, these pieces are bisque fired, enhanced with oxides, and then fired again to stoneware at 1260c. At this high temperature, the clay is vitrified, which means the final piece can even be displayed outside and will not be affected by extremes of weather. Due to the water content of the clay that obviously disappears while drying and firing, the finished pieces are slightly smaller than life.
I have recently developed a method to produce lifecasts made of real pewter; these have a wonderful antique silvery hue combined with a unique molten metal effect finish. These pieces and their surface texture are very unusual and are acknowledged and admired within the lifecasting world.

Both the ceramic and pewter casts are more representational, and have a contemporary arty feel and look about them. They still have sufficient accuracy for the person to be recognised, and combine enough artistic aesthetic for the finished piece to be hung anywhere without fear of embarrassment.
Lifecasts are also available in the classical option of white gypsum. They are smooth to the touch without skin texture, pimples, dimples etc. Skin blemishes are just sanded away to leave a smooth, but accurate appearance of the client 

My alternative process also has the ability to accommodate people who wish to have their cast delicately enhanced. Just as an artist is kind to his client's portrait, or a photographer may use 'soft focus' if asked, I can if required, discreetly enhance a clients cast while still maintaining an accurate appearance of them.
After the initial cast is taken, the mould is used to reproduce the client in clay. This clay torso is called the sacrificial positive.  Having the sacrificial clay 'positive' gives me the opportunity to make any discreet alterations if necessary, these are usually to the breasts, waist and bum, but they must be delicate and minimal to maintain the client's appearance. Once the clay torso is checked, and if necessary, altered and smoothed, it is re-cast in either silicone or plaster, depending on the client's final choice of materials for the finished piece.

Only when the final negative mould has been trimmed and dried, I can start to produce the client's work in the material of their choice.