Mold Surgery

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Performing surgery on a new mold. I created registration keys by cutting a zigzag into the outer edges. This helps the two parts line up more accurately for casting. I used a weitlaner retractor to hold the silicone open while I cut towards the inside, straightening out the seam as I got closer to the sculpt. It can be a bit tricky. The key is knowing where the edges of the sculpt are so that I’m not cutting totally blind. I usually take a picture of the mold set up before pouring so I have something to reference when I cut. I get better at it each time!

Nautilus

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A few years ago I made this tiny Nautilus for a production of 20,000 Leagues Under the Sea at the Georgia Aquarium, designed by Ninja Puppet Productions and Brandon Ross Productions. It’s always fun working with those guys! This is a scaled down version of the full sized set piece. It was used as a rod puppet to show the Nautilus at a distance. Swipe to check out the process. I made the pattern out of paper, and then recreated it in L200 foam. The big windows are mylar and the tiny round windows are glass cabochons. The last photo shows the full sized Nautilus it’s based on, an impressive beast that was a group effort.️

Tiny Hands

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Pouring Silicone

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Pouring the second half of a mold. 🌊I mix the silicone twice, transferring it into a clean cup to get a thorough mix. Not pictured, I use a vacuum chamber to pull air out of the silicone before pouring. I’ll be pressure casting later, so this step is important. Casting under pressure crushes trapped air, forcing resin into tiny details, allowing clear resin to cure bubble free. If any bubbles are left in the mold, pressure casting will cause it to deform wherever there are voids. Science magic! 🔮

Posted by Rachel De Urioste Art on Wednesday, December 26, 2018

Pouring the second half of a mold. I mix the silicone twice, transferring it into a clean cup to get a thorough mix. Not pictured, I use a vacuum chamber to pull air out of the silicone before pouring. I’ll be pressure casting later, so this step is important. Casting under pressure crushes trapped air, forcing resin into tiny details, allowing clear resin to cure bubble free. If any bubbles are left in the mold, pressure casting will cause it to deform wherever there are voids. Science magic!

New business cards!

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New business cards! 🌈 I’m digging the holographic paper. I’m a sucker for things that sparkle ✨These spacey miniatures are from the Mega Galactic Void sculpture I made earlier this year ☄️ 🌕

Posted by Rachel De Urioste Art on Monday, December 17, 2018

I’m digging the holographic paper. I’m a sucker for things that sparkle These spacey miniatures are from the Mega Galactic Void sculpture I made earlier this year ☄️

High School Photos

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I took these photos in high school with an old metal Minolta, the first machine I ever loved. I was lucky to have a great photography teacher who taught us more than just the basics. Learning this weird mix of science/art was the first taste I had of process-based art, my favorite thing ever.

These first two are of a friend covered in red body paint.

I took this b&w of my dad while he practiced spinning his revolver.

The color distortion in the toy photos was achieved through cross-processed slide film.

Painting tiny spots 🌚

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Painting tiny spots ✨🌚 After I finish the details, I’ll add a holographic sparkle coat and high gloss varnish to make the colors really pop. It’s all about creating depth through layering.

Posted by Rachel De Urioste Art on Sunday, December 9, 2018

After I finish the details, I’ll add a holographic sparkle coat and high gloss varnish to make the colors really pop. It’s all about creating depth through layering.

Gesso Time

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Applying gesso and drying it. Doesn’t look like much, but it’s an important step for good paint adhesion. 🖌🖤

Posted by Rachel De Urioste Art on Friday, November 30, 2018

Applying gesso and drying it. Doesn’t look like much, but it’s an important step for good paint adhesion. 🖌🖤

Ink Drawing

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This is an 18 x 24 inch drawing I did in high school. I did it entirely with ballpoint pens over the course of a year, carrying it around in a tube so that I could draw in between classes. I worked exclusively in black and white for years. 🥀 This piece is about growth and decay, the passage of time, and the cyclical nature of things.

Figure Drawing Practice

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I go to figure drawing sessions as often as I can to stay in practice. The one I go to is short pose. We start with 30 second poses, slowly increasing the time every few rounds until we end with a 20 minute pose. If you’re compulsively detail oriented (like me), it’s a great way to loosen up and practice drawing faster. It forces me to get to the heart of the pose quickly, then move on. It’s about finding momentum rather than creating a perfect drawing.

Painting Stardust

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Adding subtle paint details: thin washes of gold, silver, red, purple, and blue. The new ghost chameleon pigment I’m using looks different depending on how the light hits it. It’s transparent, showing the most dramatic color shifts when layered over black. With just the chameleon paint, the details were hard to see, so I’m also adding lighter areas with tinted metallics to create greater depth. 

Adding subtle paint details: thin washes of gold, silver, red, purple, and blue. 🎨🖌

Posted by Rachel De Urioste on Tuesday, October 30, 2018

How to make a planet with a ring system

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 The planet itself is a premade wood sphere. I made a pattern for the ring system out of chip board, checking the size and fit against the sphere. After sculpting the rings out of clay, I made a mold and pressure cast translucent purple tinted resin with laser glitter. The cast is stretchy for the first few hours after casting, allowing me to fit it precisely on the planet. The planet was painted with a supershift chameleon pigment that looks different depending on how the light hits it. 

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