Shots of mask before being sent to the Lighthouse

Me holding the mask

In character

View from above

Left side

Right side

How the wearer fits inside the mask

Before sending the finished head off to the Lighthouse, I have taken my own shots of the head without the rest of the costume. There should be some publicity shots of the full costume worn by the dancer taken at the Lighthouse, though the Crocodile costume will not be released to the press before the performance is on show. As the character of the Crocodile is usually shown briefly, using a puppet of static model, Ken wanted the costume to appear as a surprise for the people coming to watch the show. I also hope to get some shots of the costume in context with the rest of the actors and set. I will be attending a dress rehearsal on the 9th December to witness the costume within the show, before the production is performed to the public.

These photos also show the fabric attachment at the back of the neck. This is a spare ruffle made by Debbie with wire running through the bottom to hold the fabric's shape. I simply pinned and glued the fabric into a leather pad inside at the back of the helmet. Though the pins were right inside the helmet, I later removed them just in case they were to fall out during the run of the show.

Setting the teeth

Close-up of gum line

The head is sat upside down while the top row of teeth set

Bottom set of teeth

Initially, I tried to further secure the teeth in position with a wire staple alongside contact adhesive. The wire hook proved to make the tooth sit more loosely along the gum line, as it moved about inside the plastazote and rarely stuck into the head securely. I opted to use a blob of contact adhesive instead, having let the glue half cure in the air before applying it to the tooth. I then simply placed the teeth on the flattest areas of the gum line, though I sometimes had to angle the base of the tooth in order for it to sit properly. The bottom row was left to set for an hour before I was confident to turn the head upside down and set the top row of teeth. The top row proved more difficult to attach as the gum line is thinner, giving an uneven base for the tooth to attach to. Some of the teeth do not fit at a 90degree angle to the gums, and sit at juxtaposing angles like the teeth found in real crocodiles. In order to fit the teeth far enough back in the head, some had to sit along the brim of the bike helmet to blend in with the rest of the gum line. These teeth were slit down the centre so that they could slot on the thin line of the plastic.

The tongue was simply glued into the mask and at the tip where it joins the inside of the mouth. This was further secured with duct tape whilst the glue dried, though I removed the tape later as it would inevitably peel off. The glass eyes were also secured with contact adhesive run around the edges. For the right eye, fine filler was used to pack out the uneven surface behind. The eye was added while the filler was still wet for a good fit. This meant that some filler got onto the glass surface of the eye, which i removed using lighter fluid and a scalpol. Once the eye socket's surface was sanded back and cleaned up, I disguised the filler with black and copper acrylic paint. In response to the client's feedback, each eyeball is circled with black to help it stand out and appear more sinister looking.

Once the contact adhesive had set, there were a few gaps where the tooth had not met the gum line. I used a toothpick to fill these gaps with fine car body filler before running the filler around the base of each tooth for extra security. The yellow filler was then easily blended into the tooth and gums with white acrylic paint. As a finishing touch, black spots were added with a toothpick. This simulates the detail on my crocodile imagery and helps to merge the light pink of the gums into the green scales.

Final paint finish

Gold highlights and spotted detail around gum line

The use of turquoise in my scales matches my fabric sample but also gives a silvery shine to the crocodile. For the final coat of paint, I have mixed a green that is two parts gold to blue. I have allowed the turquoise to show through by lightly dabbing this layer on with a dry kitchen sponge.

Other details

Clear, glitter stars are applied to the teeth

Bronze eyes to draw focus the the gold, glass eyes

How best to finish the teeth came under conflicting opinions. Whilst Martin in the model making studio encouraged me to yellow the bright, pearly teeth up, Ken the client wanted shiny white ones finished with glitter. I proceeded with yellowing the teeth round the edges to provide contrast with the white, pearly highlights on the tooth. To add some sparkle, I used the clear glitter stars approved by Ken so that the light catches them, without the glitter appearing too obvious.

Second fitting

front view

Fabric pinned to cover the neck

profile view

From the second fitting I was able to see how the costume had progressed and any changes in the materials that would influence my chosen paint finish. The costume varies from the original design in subtle but significant ways. His body suit colour has noticably changed from light blue to light green, though I have been informed that this is also likely to change as more scales are printed on. This photograph shows a piece of material pinned into the back of the head, to act as a neck to the crocodile. I have been provided with different fabrics to attach to the head once it is complete to help tye my piece into the rest of the costume. Though the ruffle appears rather large from the back, it is not noticeable in the front view.

An example of miscommunication is evident in the fabrics they provided me to re-create this neck ruffle. I was given completely different fabric off cuts that were not large enough to cover the neck and clashed with my paint finish. After finding Debbie, I was able to use the fabric shown here as it was already sewn and overlocked for me. Though I have been visiting the costume studio, there are definite gaps in my understanding of how she has adapted the costume. If I had more input into the costume work, I would have probably chosen a different material for the trousers and bodysuit. Alternatively, I would have probably changed the performer's body shape to more closely resemble the torso of a crocodile, if I could convince the client it would work.

Building up the inside of the mouth

To reach this fiery finish to the inside of the mouth, I started with a peach base colour before dry sponging on several tones to highlight the ridges inside the mouth. Through using a strong raspberry red, the result has become rather orangey, to contrast with the bright pink tongue. I initially found it difficult to decide the colour of the inside mouth, as I had to consider the client's request of a cartoonish, pink colour whilst my crocodile reference images all showed yellow and black mouths. I feel that I have reached a good middle ground that contrasts with the scales and gives a bright finish ideal for the stage.

Base colour and finish

Duct tape bridges the gap underneath the helmet's visor

Base tones to guide my build up of paint later on

The fitting helped me to identify areas that I previously didn't consider to be on show, such as the visor underneath the top jaw. To help the black plastic blend into the foam section, I covered the gap with duct tape and then masking tape to give a surface to paint over. Any small gaps or faults in the latex skin have been filled with more latex and painted over in a base coat colour.

Filling in the back of the head

carved into with filler and latex

Plastazote glued into place with contact adhesive and left to set with masking tape to hold it in place

Looking at the head in profile, there is a fair gap between the top and bottom jaws that continues all the way round the back of the head. This also makes the webbing at the sides of the mouth appear too large. As a crocodile's head would naturally continue along the line of it's body, I have flattened off the back of the head, in line with the human neckline. A piece of fabric will act as concealment of the wearer's neck and help the head to fade into the rest of the costume without a big gap. Rather than using lots of filler, I have bulked out the join between the jaws with left over strips of plastazote. I then used filler to smooth over the foam before carving in the scale relief, matching the detail either side of the join. The new scales were then sanded back, including any protruding bits of plastazote before I painted the whole thing over with latex.

Painting progress

Metallic highlights

Filling in imperfections with a thick base colour

Using the acrylic colours I assumed I would need less of in the final paint finish, I sponged on the shading between the scales and tested how a pink colour would look inside the mouth. The shading provides a guide for the areas that will be shown in relief. The base layer also helps to fill in small imperfections in the latex skin. Whilst purchasing the acrylics, my budget had fluctuated a few times. At the start of the project I was allowed £150 from the £300 allocated for the entire crocodile costume. Since then, the costume department had wanted to reduce my share of the budget to £75. Considering the cost of the helmet was already deducted, this didn't seem very likely. Add to that the cost of the glass eyes and expanding foam I had about five pounds left for all the paints. However, I explained to the client that I would need the acrylics for the correct finish and I purchased them without expecting them to be fully paid for.

Making the tongue and teeth

Tongue and teeth

teeth finished with latex and acrylic

Plastazote cut into teeth with latex skin

Tongue in position within the mask

These elements are made from a sheet of flexible foam called Plastazote. This foam is most commonly used in packaging, with the object sitting in a shape cut to fit it's silhouette. This material is lightweight, water resistant and available in various thicknesses. The foam availible in the store cupboard is 0.6mm thick coloured Black. For my tester piece, I was able to use a thicker sheet from which a rounded tooth could be cut from with a scalpel. However, when I was ready to make my teeth only the thinner sheet of foam was available. To reduce costs, I simply stuck two sheets of the plastazote together using contact adhesive. Once the glue had set, I could then cut a tooth shape from the foam. Following my reference imagery, I cut an array of different tooth sizes that are exaggerated from the relative proportions found in real crocodiles. To further bond the two sides of the tooth together, the foam was then dipped in liquid latex to give a smooth skin for which to paint on. The teeth had to be repeatedly coated as the latex tends to drip down to the base of the tooth. This process proved rather time consuming, especially as I then had to cut out bubbles and large imperfections in the cured latex. I used the same method to make the tongue, cutting a slit down the centre so that it fit into to jaw of the helmet. Each flap at the back of the tongue glues into the chin while the tongue is secured down at its tip where it touches the inside mouth.

When painting the teeth, I started with a base coat of latex mixed with white pigment. I was hoping that this would provide further coverage of the Plastazote's surface. I also found that small holes in the latex skin could be filled with thick, white acrylic paint.

Costume update

Gold print belt

Back view

Frontal view

These are some quick shots I took as Debbie's costume was progressing. From talking with her I was able to see how the costume has changed from the design to include much warmer, Golden tones in it's colour scheme. I have also noticed how she has added a padded fabric tale in addition to the ruffles that will fan out at the hips. She has used a quilted texture in the waistcoat to simulate scales, whilst the metallic fabric is mainly reserved for the trousers and patches of detail. The costume strikes me as rather Punk in style, thrown together using mismatching fabrics with belts to be strapped across the chest. Some sections of the costume are rather refined, such as the neck ruffle and screen printed scales that cover the hands and body suit. As my head piece is rather large, I should be careful to try and not obscure the costume, particularly the broach at the front of the choker.

Though we are working from the same design, there are inevitable differences in our approach. My head is becoming more sinister and cartoonist in response to the client's feedback, while I feel that the costume appears to reference the Aristocracy as it's main inspiration. Merging these two styles may prove to produce the desired outcome, though only the designer can really know if we have re-created his idea correctly.

Fixing onto the helmet and applying a skin

latex finish

Guide for webbing detail

Filler covers the helmet and provides a surface for the webbing detail to be carved into

To prepare the helmet for fixing the jaws in place, I keyed its black paint finish and the inside of my foam model with a scalpel, so that the contact adhesive would sit into these indentations. It was also important to key the sides of the helmet for the car body filler parts at the sides of the mouth. The filler provides a thin, strong surface for me to carve in detail, whilst providing additional support by filling any gaps between the jaws and the helmet. Both jaws were positioned in place by standing back and alligning them with a ruler. The contact adhesive was allowed to air dry for about ten minuets onec out of the tin before being applied to both surfaces. I left this for one hour to dry.

Once I was satisfied with the surafce of the blue foam, I could then sponge and paint on several coats of liquid latex, approaching the head at different angles throughout the day to ensure even coverage. I took out two paint brushes and used cheap kitchen sponges as the latex destroys painting equiptment. I also wore protective gloves and clothing whilst doing this. Latex gives off an ammonia smell as it cures which is unpleasent but relativly harmless. Naturally, the latex has pooled and filled some spaces whilst any stray drips have created small bobbles on the foam's surface. I have cut out any gloops I feel to be a problem whilst leaving a few imperfections allows for a rougher, more realistic finish to the crocodile.

Experiementing with different finishes

PVA glue

Painted foil and clear cast resin

Tin foil and glue, with clear resin on top

During our mid-way tutorials, it was suggested to me to experiment with a foil and resin finish, to reinforce the blue foam and help to protect it from ware and tear during the two-month run of the pantomime. The foil is successful in creating a more textured, metallic finish but shows through once painted with acrylics. I predicted that the silver sheen of the foil would add a metallic finish to the paint, but it actually appears to dull it.

A hard shell sitting on top of the foam is also more likely to shatter once knocked. Foam coated in latex will become indented more easily, but this is less noticeable compared to a shattered affect in the paintwork. By keeping the finish fairly thin and elastic, it is more easy to patch up if damage does occur. Another finish I have trialed is PVA glue, to seal the foam before the latex is applied. Again, this creates a harder shell to the model but retracts from the foam's ability to spring back into place once knocked.

Filling, sanding and filling in the gaps in my designs

My workspace

Scales with filler

Reference image for under bottom jaw

Bottom jaw detailing

As I have been levelling out my scales, I have strayed from my photoshopped design whilst drawing reference from a vast number of crocodile photographs. This imagery has particularly helped me with the under section to the bottom jaw, as I have not drawn my designs to show this viewpoint. Whilst carving in detail, particularly around the eyes, I have use regular car body filler to reinforce and alter the form of the foam. I have also added fine filler between the scales, where the blue foam is flaking or has holes in it. By giving the head a smoother finish, I hope that fine detail such as the marks defining the gums will be more visible, as the model will require less coats of latex to fill in the faults.

Acrylic paint finish

Fabrics applied to costume

Metalic Goldy green and bronze

Matt, deep green finish

Metallic, turquoise and gold finish

I have trialed several paint effects in response to my sample fabrics. The material swatches vary between a matt, sea green and a bright, metallic turquoise. Having spoken with the costume student, I have added gold highlights to the peek of the scales. She has altered the original costume design to incorporate a dark red belly dancing skirt, with gold coins attached. To match her scale print fabric, the groves between the scales should be deep green to black, whilst the Goldy green I have mixed up on my third paint test matches the sea green, more tweedy fabric. I feel that my paint sample shown at the top does not work as there are too many, clearly defined tones that do not blend together. The metallic sample shown at the bottom is the most effective as I have started to blend the layers of green together using a sponge.

Carving out scales

Rough markings and areas of car body filler

Filed back and filled

scalpel groves beginning to be cut at an angle

Following my photoshopped design, I have started to carve in the scales that cover the top and bottom jaws. Firstly, I roughly marked their position with marker pen before re-tracing the lines with a scalpel. This process proves rather time consuming, though I feel that a hand made approach is the most suitable method to use due to the softness of the blue foam and abstract sizing and positioning of the scales. I am aware that carving too deeply between the scales distorts the original shape of the crocodile's features. Once the lines are cut, I have began to flatten out my indentations by carving a gentle angle around the boarder of each scale. I am also working back into the ridges with car body filler to give a clean finish when filed and sanded, whereas the blue foam has a tendency to flake in delicate areas. Fine body filler provides definition to the groves and also helps to smooth the sanded foam.