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I have been using @Autodesk @AutodeskReMake for a while. Just the free version while I practice how to photograph my models. I think I finally cracked it, and it’s almost certainly going to offer great results once I pay for the subscription and can send 250 photos not just 50 😉


 


So my very first test.


I can’t find my photos but basically I started with the head cast a little way from my far workroom corner and took photos with it stationary.


 


Looking at the model put out through different angles:



So here you can see the rest of the room was partially captured but the sculpt is well defined.



Isolating the sculpt and it’s even captured all the clay shavings! Just a few lumps in the horns but otherwise I’m impressed.


However I was not really able to get close enough in all angles around my sculpt to get decent shots of the underside of the horns.


 


So I watched a few more tutorials and a few suggested rotating the object rather than standing up and lying down to get angles otherwise difficult.



This was in the same place as before. The doorhandle looks mildly terrifying…



Still on the same stand and this time against a wall in better light. Well I have bricks!



So I painted the horns pink! And put them on a tall stand to really isolate them. Again the horns disappear and there is a great view of the wall.


 


Okay so obviously this sculpt needs to be static not moved around. I realised the back deck is often protected from harsh sunlight but offers good light bouncing from many surfaces. So to the deck with my pink horns on a spike and finally got this:


  


Lots of background but the horns are easy to isolate.



So finally some of the ridge detail is captured! But still quite lumpy.


 


Each model used the 50 photo limit. I do think with 250 photos I’ll be able to get all the detail needed.


 


So for a sculpt like this, of complexity of line:


Do make sure the model is static. Do not rotate it for different angles, move yourself around instead.


Get it at a height where you can get images from underneath as well as on top and all around (for me this is about knee to waist high)


Get some photos with the full area around you as that will help isolate the model and put it in context.


Get some mid distance images.


 


Once those are done you can get in close. I have to reset where my camera focuses because I got a few where the point was on the deck.


 


But yes. I’m going to set up a few sculpts outside so I can digitise a good number of them. Shae for one, old Maley horns for another. And I’ll melt some clay and pour into some other molds to capture them as well 🙂 I think with one month Subscription I can get a reasonable number captured. Heck I will even capture my Togruta horns for in case I have to move and my molds have to go bye bye. I may have someone who could take them on but I’m not 100% sure.


 





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Maleficent collar template!





If anyone needs a base I’ll be sure to scan these as soon as I have a moment. Right now my sinuses are really kicking butt (I suspect bacterial infection because yay, RA and comprmoised immune system and how familiar this all is) and I’m finding it hard to concentrate. But I have kept all my patterns to transfer to 1:10 scale patterns 🙂


Sooo.


 






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Maleficent fibreglassing





Sooo, the duo tone blue green doesn’t show up in the photo but it does in reality and I’ll just mix some and coat it tomorrow.




So I put the horns and head in the sink and used hot water to soften them enough to remove from forms.



E voila! Head support, untrimmed horns and staff all ready for the next stage of sticking together and sanding.




See the thin layer on the horns? It’s a bit tricky to do and I’ll probably not do that again. These will get a layer of black latex for the show so I don’t need to try and make some latex sheeting. It’ll stay well until I need to remove it 🙂


So how to stick the horns to the support? No idea just yet! They’ll be trimmed before anything else. And I’ll try and get some foam inside. Still not sure how one of the horns got warped but it must have been during curing as it won’t heat shape out.









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Maleficent, new parks costume, maybe….?





Well it was made for the Social Media Moms’ event so it may or may not be permanent.



 


 


The gown in action sheds a lot of light on the train of the original. It fits to the back after all unlike her other robes.


https://twitter.com/samhowzit/status/454767382804721664/photo/1



https://www.flickr.com/photos/aloha75/13991128094/in/set-72157643806632283


(many more, scroll through to see them all)



https://www.flickr.com/photos/hyku/13787915495/


And even more, scroll backwards for images from the meet and greet.



So from the recreation:


The gown is less full but is made from a knit mounted over a more stable fabric. The sleeves have extra details to reflect the original gown (deep wedges/notches at the hem of the front of the sleeves.


The headdress appears all in one and has more sculptural lines on the leather parts.


The collar sits wider, possibly not hooked to the choker, which is what I suspect may be needed.


The choker has a centre front seam.


The fabric is not purple but the lighting was used to make it so- another nod to the original.


The hem of the gown and the train is not as large as the original. Makes sense having just tried to wrangle the back alone….


There are skirt gores and they are similar to the ones in the Game of Thrones Westeros gowns. But narrower! There is a sculpted detail like a tail that covers the top of the gores and appears to go through in the recreation, it appears flatter in the original so may just be butted.


The back has a spine of some sort. Probably to cover a zipper- a good quality metal zipper as per the burlesque corset reblogged the other day 🙂  I’ll attempt a sculpted urethane piece.






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Maleficent pleather wrangling





So it’s a total pain to try and sew as it sticks to everything. To tidy the front edges I needed to top stitch a narrow facing. And I stumbled across this nifty little method to avoid puckering!


A button hole foot! Yep, this sticks to the pleather and you can then sew the full length and then lift the foot and slide forward again as you need.




 


For those of us with some fancy feet but not all.


For the hem I used a really sloppy running stitch with a very few back stitches, then clipped the hem off.



Once the hem was reshaped I then zipped it under the overlocker using the hand basting as a guide. I don’t fancy hand sewing all this. So I may wind up doing a “rolled” hem that the machine does. It’s a silly name as there is no rolling, just a very tidy encasing in thread effect.



 







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Maleficent has a huge hoop. Bugger.





I had suspected but a few images put together really do reveal this quite clearly.


If you watch the Awkward Situation clip you can see how the train skims the ground without folding or dragging. If you watch the edge of the train as she goes up the steps it even catches and springs just like a hooped skirt. If you have ever worn hoops or a cage crinoline with flat steels/plastic it wibbles a bit like a jellyfish.



 


 


Note how the front edge of the train stops, it doesn’t just pull like fabric under tension it moves like there is a wired edge. And in movement the edge then springs forward once released from that first step.



 


Here the train is caught on the last step but this is mainly to show the front of the gown is not also stifened. It does have a fairly deep hem which does has some sort of facing but it still flows. It also looks like Angelina is wearing platforms to add to her height- note how the toes push the fabric out above hem line.


You can also see the wired edge also extends in to the seam where the train is sewn to the gown. This makes sense to help support the full train. Having now made mine it is very heavy indeed.


This then explains why that seam appear to be top stitched or otherwise additionally reinforced in other images.



So I had a look at stills again and they do also support the idea of a supported train. In the still below (screengrab) you can see how the train edge is under a lot of tension, but also there is a mystery “bump” near the join between the leather and shell fabric- it does not correspond with the step or any fabric componant of the gown. This is most likely due to a support underneath lifting off the ground- as she is turning this makes sense.



And in this still you can see a ridge that follows the main curve of the leather. And even where the layers are caught to the support hoop in the 2nd to left panel.


So a U shaped hoop on the bottom of the train and two gently flared strips inside the front edge of the train. Imagine a curvy scoop. To make mine I’ll be making a tube of fabric to tack to the underside of my train. And a wrapped facing on the front edge. Then wrap three layers of plumbers coil with sports tape to insert just before putting the entire piece on. I will have to use temporary fastenings to hold the ends in place so as to be able to remove them for convention safety!


I have also just overdyed a huge metal zip (possibly for a sleeping bag) so I will have a super mega firm fastening that will survive the pull and drag of this train. Then I can cover it with a spine.


And now to resize my collars 🙂





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Why Maleficent? Why that costume?





Costume is art. The costume can tell a tale all on its own.


So take this gown.


Why? The film hasn’t come out and even based on the leaked script (which I haven’t read) I can’t surely be a fan of either the character or the film yet? Well true, maybe not. But costume is part of the art department and what art does in any form is make you think and feel,


Maleficent’s gown is the biggest Eff You I have seen in film for a very long time. It is on the same level of brilliance as Mina’s red gown in Dracula and Michelle Pfeiffer’s catsuit in Batman Returns. It’s on par with the world building the costumes affect in Game of Thrones- where one costume spoilt me months in advance.


When you design you do not just draw pretty things or interesting lines. You have to think about the character, their mind and spirit and how they are reacting to the world they live in. And how that world responds to them


Catwoman’s catsuit was literally Selina tearing down the life she had built, and had others build around her, and reforming it. She took a practical item (at least in this bizarre world) and made it into a symbol. Her costume says yes you objectify me but I will kick your ass for doing so. You treat me like this? I’ll take that and make you regret it.


Mina’s red gown is another iteration of Eiko Ishioka’s obsession with the raw self. Being literally and figuratively ablated, exposed. It’s hard to think of it as part of the same theme as Dracula’s armour from the same movie, or the foam latex muscle suits from The Cell or the lycra and paint/cord/ink piece from Der Ring des Nibelungen. It’s a concealing dress after all.  But the texture, colour and self pattern in the form of organic leaves and striated pleats puts it firmly in place as a reminder that Mina conceals herself in the trappings of the society she lives in. In this gown she is letting herself see who she is and what she feels.


So Maleficent. What makes this gown over all her others so special?


In the world of the movie humans are very much dressed as we expect. At least what we expect from years of what Hollywood has shown us of the past. Which is mostly based on modern textures and materials, foundations and construction.


At the start Maleficent is a child of nature, her clothing is loose and flowing and not made from a drafted, and thus mass produced/industrialised. Even her other gowns seem to flow and drape with little relation to the methods used to create the costumes of humans. She is apart. And clearly so.


The gown she chooses to wear to the christening however is very complicated in structure. It mixes both draping and drafting techniques. It is fitted to the body but does not follow the lines of clothing worn by the members of the court.


Bias cutting alone makes the gown different. Bias cutting is so intrinsically different to even the most complicated multiple panel garment cut on the straight. It shifts and requires exquisite fit and shaping and multiple fittings. It is insanely personal and bespoke.


Maleficent has taken great care to dress herself splendidly for this court. Her fabric even mimics the watery weave of the king’s own robes. But again it is different. The texture is not woven but created by hand, organic and deliberately unable to be copied. A true one of a kind.


Her horns are covered but barely. The threat of nature is present though sheathed.


Her gown is bigger, more sophisticated than any other garment at the court. She outshines everyone. Yet the cut, fabric, and scale clearly single her out. No  one could mistake her as being expected or meant to be there.


Her gown says everything her speech does. It says you tell me I don’t belong, well, that’s true; I am more than you. 


pinkdiamond: (Default)




MALEFICENT at The El Capitan Theatre



pinkdiamond: (Default)


It’s at LACMA. It was being restored for display in a travelling exhibit but I’ve not been able to figure out where/when. But LACMA is a place I’ve wanted to go for a long time. The blue satin mantua is one reason 🙂


Anyway, lots of room for interpretation based on patterning in the 1930s, Adrian and his desire to be historic, and the really not at all 1930s or 1770s patterning. The bodice is glorious. It’s ideal for my figure as it has delves into late 19thC darting. This will have to be patterned on my calico covered stand as the bust is closer to what I need than my other forms. Also the stand is able to be made as tall as me (neither dressmaker stands do and I ask myself how on earth my friends in the US deal as I’m pretty short at 5’6″!


 


Oh look, another Shearer gown. There *maaay* be a folder just for her 😉 Thi s is the Upstage gown. But well the front is not exactly flattering* so I’m also taking from The Magic Flame and using the front of Vilma Bankey’s gown- to the right. If there is enough velvet who knows…


Actually there should be. The velvet was going to be for the maleficent battle robe but I have the main gown nearly finished again 🙂


But this gown is more achievable for my hands than the Sunburst so I’m moving my Feelz to this to make it work. There are challenges in this that will push but not punish. So say hello to the newest/last embroidery project 🙂


(Suddenly WP won’t let me upload an image- it’s the insert media window- I can upload via the upload page- wanted to add Maleficent here..)



My work on the horns is nearly done. The 3D scanning app works, and I may be able to get sculptris to work on adding nice texture. Okay hand warming day then sculpting tomorrow.)


Cunning plan for the epic hoops is to use plumbers coil, tapes, and felt as a brushbraid type deal. Okay, time to rescue the felt that was tossed…


And finally:



This one is really doing my head in but I have a test in foam that looks really good. It’s translating what works nicely on my cutting board into what looks good in reality! Also I’m not sure I can afford 50lbs of leather, that is many many many skins. But boy is this pretty!



And finally tidy the Mina. Just made the few extra leaves to hide the hook and eye closure of the bodice but it was rough so just need to get some more ribbon. Lots of firm cotton twill tape has been purchased to bind the seams and reduce the stretch of the cotton while being worn. There will be a waist stay as well. The rip stop cotton is very firm and so far is holding shape 🙂


New petticoat or skirt lining, not sure what to do. But the pleats are sewn in so many rows that the stitching can get caught so they need to be protected.


Oh yes! Ahsoka!



Cunning plan for casting the montral has worked!!! In fact so well that the few wonky bits are frustratingly there and not worth fixing. But I have latex to do this in the next few days 🙂


Spent far too long on the pc today to actually do anything. Time to get a hot water bottle for my hands and rest.

pinkdiamond: (Default)


(shown on my battle Maleficent horn base)



This is now available for a very short time- there was a very lucky find in the warehouse as this has not been made for a few years now

What is on the site is the very last left anywhere in the world.






Please be aware the pigment is totally inert, is non-toxic but may not be easily shipped overseas. The size is actually the same as you can buy in any art store, so they fit in the hand 🙂 This is a staggeringly beautiful pigment that mimics natural shifting colours on beetles wings and mixes into any medium.

pinkdiamond: (Default)

I haven’t shared here, I have just been so tired after sculpting (it’s full body, standing, sitting, holding- something this size and floating in the air? yeah you need to use your whole body!)


The latest huge 10 update has also changed all my import settings and my phone is not happy! So I’m still waiting for my images to import before going further 🙂


October 8


sm_dsc_0633 sm_dsc_0656 sm_dsc_0670 sm_dsc_0638


After reshaping the polymorph frame using a heat gun:


sm_dsc_1110 sm_dsc_1112 sm_dsc_1108 sm_dsc_1109


October 9th:


After cutting back the polymorph with a dremel. Note the horns are so long the ends look disproportionately large from the rear view.


sm_dsc_1190 sm_dsc_1192 sm_dsc_1194


October 10th, more cleaning, more reshaping of the flare.


sm_dsc_1209 sm_dsc_1207 sm_dsc_1208


October 11 even more subtle shaping- mainly of the extra horn supports


sm_dsc_1226 sm_dsc_1228 sm_dsc_1225


Detailing the supports more aggressively


sm_dsc_1274 sm_dsc_1278 sm_dsc_1279


And then to show why I have been taking photos up close despite distortion, it’s more detailed 🙂 My phone does not like even lowish light. But here you can see the horn tips really are not like bunny ears!


sm_dsc_1284 sm_dsc_1285

pinkdiamond: (Default)

malhornsmodel malhornsmodel2


That would be a 3D scan of my horns created from about 40 photos from my plain old DSLR! I have yet to find the “remove everything but the selection” to remove the background of my workroom but.. but.. I may be able to tidy the sculpt and more the table more centrally in my room and then mask off the walls. the few errors in the capture of the horns has a lot to do with not being able to get to the back of the stand.


It did take all night, and I may have to make sure the model doesn’t accidentally wind up published but yeah. I can probably also scan the head cast for fully 3D sculpting! And I will be able to get my hands done too 🙂

pinkdiamond: (Default)

The very early night has been of benefit. I am indeed rested.


So today will be a sculpting day!


Also I’ll be attempting to use a 3D modelling app to turn photos of my Maleficent horns into a printable file. This will be just the start. I will then need to tidy and make the files actually printable (should be fairly easy as the scan is only of the surface, vs creating a file from scratch and the need to remove internal frames.


But I also didn’t realise just how nicely my sculpt has remained, so there may also be some tidying of the polymorphf head support. It may be worth getting my calipers out 🙂


I can also work on Ahsoka 🙂 The clay is soft enough to smooth by hand 🙂

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