Plastered!

There is no doubt that photographs are not only a lasting record but
can also provide a rich source of entertainment. Proud parents flip
through endless photos of their children's achievements and loving
grandparents proudly present the latest prints of their
grandchildren.

How many of us, I wonder, can gaze rapturously at a life cast of their
loved one? Very few, I suspect! The facial life cast is part of the
much longer and highly detailed process of creating a theatrical mask.
It is not usually a service offered to the public.

Our life cast was performed because my husband volunteered to be a
guinea pig at a teaching session! Now that cold, bare, white plaster
likeness looks down on us from its place in our rogue's gallery where
it is carefully posed amongst the family photographs. Reactions to it
vary: friends think it strange, uncanny, disconcerting, but all are
intrigued.

After donning protective clothing my husband took his seat in what can
only be described as something akin to a dentist's chair. I expected
the tutor to lower the chair into its reclining position. But, no, he
explained that that could actually be extremely dangerous because the
model might suffocate.

I shudder as I recall my husband's nose and mouth disappearing under a
shroud of warm alginate. I watched the colour drain from his knuckles
as he tightly clenched the arms of the chair and wondered if he was
going to panic. He did not. This was the initial test to check that Ron
would cope once his entire head was encased in plaster. We were all set
for the facial life cast to go ahead.

Throughout the procedure safety is of prime importance. Before
commencing the technician confirmed with Ron that he was not suffering
from a cold or bronchial problems. Ron had to practise blowing out
through his nostrils to ensure that he could expel any alginate or
plaster that may become lodged there. He also had to agree on, and
practise, an emergency signal if he felt that at any time he could not
breathe. A qualified nurse was in attendance during the casting
session.

Ron's head was covered with a latex bald cap, the type used to hold the
hair down when wearing a wig. Ron made a joke of sniffing the spirit
gum used to fix the cap in place but was firmly advised against this by
the technician.

Once the preparation was complete the whole head was covered with warm
alginate. Ron could breathe only through his nose and his airway was
continually monitored.

The alginate forms the initial impression. It takes only a few minutes
for it to set to a rubbery texture. The excess alginate is trimmed off
to form a clean edge. The entire head is now wrapped in strips of wet
Plaster of Paris similar to that used in hospitals. This adds strength
to the alginate impression. If the Plaster were not applied the
alginate impression would be too flexible to work with.

The plaster cast sets quickly and is removed from the head. This forms
a mould that must be carefully filled with plaster and allowed to set.
When the external plaster bandages and alginate impression are removed
the end product is a positive plaster cast of the face.
The result shows every facial detail perfectly. If the process were
continued to its conclusion the artist would use the life cast to
create a mask such as those used in film and television.

Of course, what you do with the cast is up to you. Many of our visitors
find it too strange to contemplate, while others are totally
fascinated. One thing is for certain - visitors will always find
something to talk about in our house!