So now I had managed to make the 2 piece silicone mold for our little Sack character, the next stage was to cast him in resin. I chose resin but can’t exactly explain why.  I read about all the different mediums for making figurines and toys and got totally confused about all the different qualities. The most commonly used are PVC, vinyl and resin as far as I can see. I follow a lot of toy/figure makers on Instagram and Twitter etc and there seems to be a lot of resin used for this type of thing and also it seemed to quite reasonable cost wise. I’m going to experiment with the different types definitely but for now the resin was the way forward.

The resin I bought in the end, after a lot of deliberation, was Polycraft SG2000 Fast Cast Polyurethane Liquid Plastic Casting Resin 2kg Kit (1kg Part A & 1kg Part B) from eBay. It cost me £30 with £7.99 P&P.

Mix Ratio : 1A : 1B by weight
Pot Life 200g/20°c : 2.5 – 3.5 Minutes
Demold Time : 30 Min / 1hr

Cured Colour – Ivory

I should mention here that there are different types of resin like polyester resin and water clear casting which can all be used for similar types of things like jewellery and such but I read that the best kind for making the figures (I think?) was POLYURETHANE FAST CAST RESIN. It doesn’t take long to cure and has low odour etc.

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I also bought some polyurethane resin pigments from the same seller because we wanted to experiment with different shades for the figures. I bought red, white, black and light buff because I had mentioned previously we originally were thinking about making the figures in a similar style to the buff/flesh toned M.U.S.C.L.E. figures that were massively popular in the 80s.

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As you can see from the mix ratio, this resin was very simple to use thankfully. The only issue was working out how much to use so as not to waste any. I filled the mold with water and poured this into a plastic disposable cup after zeroing of course and weighing it. It weighed just over 40g so I simply weighed 20g of Part A with 20g of Part B in another cup. I then added tiny amounts of light buff, white and red pigments with the tip of  a lollipop stick to a colour I thought approximated a flesh tone and mixed it together quickly but again gently so as not to introduce air.

I placed elastic bands around both ends of the mold prior to adding the resin to ensure it was held firmly together and to minimise seams where the resin might leak and gently poured the resin into the mold. You have to work quickly for this stage as there are only a few minutes pot life before the resin begins to cure. I tapped the mold a little and squeezed it gently to try to get any air out and then left it to cure. It has a 30-60 mins cure time but with the figure being so small it only took about 10 mins.

Resin actually cures from the thicker parts first so you can tell when the cast has set when the thinner parts are hard rather than the other way round.

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Once it had set  I was able to easily remove the figure.

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It actually came out better than I expected but the colour wasn’t right, (I’d added way too much pigment), so any translucency that the resin has was lost. Also as you can see I’d overfilled it slightly so the feet would need trimming down a lot.

So then I tried experimenting with different colouring, beginning with no pigment at all which I loved.

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Then with a tiny bit of each single colour which resulted in a lovely pink and grey and a kind of yellow colour from the buff.

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I had to trim the rough edges and seams with a knife and sand the figures down a bit to neaten them up but they looked great. However after a lot of deliberation we realised that until the figures became recognisable it wasn’t as likely people would want a plain figure in a particular style.

This meant for now, (we’re still planning on doing the plain figures at some point), we were going to paint the figures as they appear in the books.


I used ordinary acrylics to paint the figure, with a selection of very fine brushes because of the detail. It was fiddly but I’m hoping when I have to do a series of them I can paint them like a conveyor belt with all the blocks of colour to reduce time a bit. I also added custom blood splatter to make them all a bit more individual by spraying paint with a dry brush over him.

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I was really pleased with how he turned out. Hopefully when the characters become a little more well known we can put these on sale.

This final pic shows the scale of the final figure (about 1.5 inch), against the original detail figures.

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I’m very excited to tell you that the first 3 books in our Slasherton series, Sack, Stitch and Stealth are now available to buy from Amazon in both paperback and ebook formats. Please check them out and leave us a review, hopefully you’ll love them as much as we love creating them :)

Stealth is currently FREE to download (Tues 14th – Fri 16th Aug 2013) so give it a go ;)

Creep also has a number of awesome books you can download too. Just search ‘Creep Creepersin’ on Amazon for the full selection :)

If you have read the previous post about the creation of Sack from Creep Creepersin’s book series Slasherton already, you’ll be familiar with this awesome little character, but if not, he’s basically a little freaky murderer with a bag over his head and a penchant for the ladies.

Creep really would like a full range of merchandise to run alongside each book character that comes along so we put our heads together to decide what kind of products we wanted to produce. We decided upon key chains, fridge magnets, collectible resin figures and tees.

The easiest to make were little key chains so I set about those first. After testing some various designs we decided to do each one in the same design as each book that comes out as each will be a different colour scheme. Again my ridiculously limited computer abilities made this a bit of a test but I got there in the end.

Key Chains

This is the final product …

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They look quite cute right? :D

Collectible Figures

So the collectible figure was a bit more complicated obviously … We couldn’t decide how to go about this at first. Creep originally wanted a plain fleshy colour, small pocket sized figure, reminiscent of the M.U.S.C.L.E figures that were massively popular in the 80s but I’ll go into that in more depth when I get to the casting stage. Firstly, I had to sculpt the figure of Sack himself.


We eventually decided we still wanted a small cute figure designed like the final book design but we went through a few designs first before we reached this decision which we might be able to release as limited editions or something at a later date if they are popular.

The first was a larger, more detailed figure which I made with Super Sculpey over a basic wire armature with the same process I described in the making of the grotesque figure in a previous post (if you want to check it out).

Once he was baked I was able to paint him and was really pleased with the result but the time and materials needed made this figure impractical to make in larger amounts if necessary.

Here is the process, briefly in pics.

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And the painting …

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So I went about making a smaller, more simple version which turned out to still be too big as it turns out.

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So started again :) These last two didn’t require an armature by the way.

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You can see the size difference between the two figures. This final figure was much closer to the book design and much cuter too so all good.

The next stage was to make a mold so that I could make multiple casts of the original figure from resin.


I did loads of research about how to make the mold so I could make multiple casts from the original sculpt. There was so many different versions of basically two methods that I felt I could do, one of which was a single silicone mold that you cut open to remove the sculpt. The other is a two part mold, which was the one I decided to do as I felt it would stand up better to being used over and over.

This technique was actually very similar to the type of mold I’ve made before for other mediums. This time I would be using silicone for the first time though so I was excited to mess around with that.

The first stage is to half bury the sculpt on a flat clay base, and to smooth the clay right up to every contact with the original so there is a little flash as possible. This takes a bit of time if you want to make it really neat, especially as this figure is quite small, but it’s worth it for the end product.

Once this is all neat I needed to make the keys so that when the mold is finished, the two parts fit closely together. You can use all sorts of things to make the keys for example ball bearings, beads, pegs, anything that creates a smooth connection really. Unfortunately I had none of these things to hand when I started so I improvised with balls of clay. (This method didn’t exactly work well at all because the silicone sort of leaked around the irregular edges and I had to trim around the edges so they’d work ok).

Once this step is complete the next stage is to create a wall tightly around the clay so you can add the silicone. You can use all sorts of materials for the wall. A lot of people who are regular figure/toy makers etc use laminated wood pieces and clamps so that the clay doesn’t stick to much and ensures regular edges. Also a lot of people use Lego apparently because again to get the regular, clean edges and you can build the mold exactly to size.

I decided to go for the cheap, disposable option which is cardboard that I have kept especially for projects like this, partly because I was experimenting and wasn’t sure it would work but mainly because I have very little money and it’s a perfectly workable material, particularly for smaller figures. I used a hot glue gun to seal around the base.

Pic 1. shows the loose cardboard wall around the clay base and sculpt.

Pic 2. shows is a more detailed view of the base to show the keys. You can see how I’d made them wrong so there was an overhang that caused the flashing.

Pic 3. shows the wall connected together, (I used masking tape for this because it’s easily removed), and also I filled the edges up to the wall with clay also to prevent the silicone leaking.

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Now the mold was ready to add the silicone.


After a lot of deliberation I decided upon buying Polysil F25 Silicone rubber which was recommended for this type of project from eBay. It thankfully has a fairly simple mix ratio of 10:1 rubber base to catalyst. I had to estimate how much silicone I’d need which was a bit tricky but I decided upon about 200ml of base so I’d need 20ml of the catalyst. It’s really important to measure out the amounts really carefully which I did and also was careful to mix in the catalyst thoroughly but incorporating as few air bubbles as possible.

I had learned from various videos that it was a good idea to pour the silicone from a height, in a thin stream, in one corner of the mold until the figure was covered, again to eliminate air bubbles so I tried that as best I could. Bit tricky.  I had marked the inside of the mold about a centimetre above the highest point of the figure so I’d know how much silicone to pour. It’s very expensive so it’s useful to use this method to use as little as possible.

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This is how the mold looked with the silicone poured. Different brands of silicone have different curing times and the Polysil has a range of 12-24 hrs so I just left it overnight to ensure it had sufficient time. I was really anxious if it would work or not because there are all sorts of factors such as temp and humidity (as with a lot of materials I have used throughout the course), that can affect curing but thankfully when I returned the next day I was relieved to find it had worked fine!

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This is how the first half of the cast looked once de-molded.  I removed the cardboard and cleaned all the clay from the back of the figure. I also had to trim the keys as I mentioned because the balls of clay I had used were too rounded causing flashing,  so the silicone ran around the back of them which closed the holes if you understand? Once trimmed though, I thought they would be ok. Once all cleaned I had to repeat the process with the cardboard mold, filling the edges and using a hot glue gun round the base to prevent the silicone leaking.

I marked the mold and sprayed the silicone with a lubricant to prevent the two sides sticking together before repeating the silicone mixing process and pouring it into the mold.

24 hrs later I was able to de-mold. It wasn’t as easy as I’d hoped because some silicone had run down the edges and cured so the two edges of the cast were difficult to see to separate them. I managed in the end though and this is the result.

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Air Vents

As you can see when the two pieces are together there are two extra holes on either side of the main pouring hole. These are the air vents and HAVE to be included at the lowest points, (or highest when it’s upside down in the mold), to allow air to escape because as you pour into the main hole, the arms will fill upwards and if there isn’t a way for the air to escape it creates huge bubbles in the extremities. This is really important with any extremity that is pointing downwards on the original figure you want to cast.

It was also recommended to me from an expert figure maker when I posted pics of this on Instagram that it would be better if I extended the bottom of the mold on both sides so the feet were totally included in the mold and therefore the main pouring vent reduced in size. This would’ve cut down the introduction of air bubbles again and make it easier to get a uniform shape to the feet too. But, as I’d already got so far and was only experimenting I decided to bear this in mind for the next mold and see how it worked as it was.

Once the mold was all trimmed and tidied up, it was ready to be used to cast the figure in resin.

I’ll discuss the resin stage in the next post :)


Posted: June 28, 2013 in Slasherton

Hey everyone, I have to first apologise once again for the lack of posts recently but for once there is a very good reason. I have been really busy illustrating a series of books called Slasherton for Creep Creepersin, the awesome horror director, writer, actor and front man for the band Creepersin.

Creep had first come up with the concept for Slasherton in 2009 and had a professional artist do initial drawings from his sketches originally hoping to get a cartoon series made. In the end though this wasn’t possible so he decided to create his own series of books instead.

The books tell the stories of all the nasty little inhabitants who live in and around Slasherton. “These not children’s books, but adult books for creepy little kids at heart” as there is gore, girls and rudeness aplenty. He wanted very cute designs but equally evil and creepy, but very bright coloured and bold in a sort of Mr Men with a twist sort of style.

Creep sent me the original designs for each character  and explained how he wanted them to look exactly and I came up with rough designs and we went to and fro until we were both happy with them. I then went about drawing them on the computer which was a first for me and since I’m absolutely incompetent with technology the only programme I was able to use with any result was Windows Paint. Eventually I managed to come up with a library of all the characters that are slowly revealed as the series progresses.

We decided the first three characters to be introduced in the books would be Sack, Stitch and Stealth. These three are a collection of sidekicks who all work for another key character so it made sense to start with their stories. Sack was always the most charismatic somehow and the ringleader, so we decided to make the first book about him.

Original Sketches

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This was my first ever sketch of Sack. Unfortunately though, we had a slight miscommunication over the sack concept as Creep is from the US and meant a paper shopping sack rather than the hessian sack here :D He wasn’t too keen on the tattoos and also pictured him with shorter legs and bigger feet to ramp up the cute factor so I tried again.

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This second attempt was better but the legs were still too long and feet not big enough.

Eventually I managed to come up with this full colour version of Sack but this one was drawn and scanned.

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When I started to draw Sack on Paint I realised if I was going to draw him on numerous occasions for the book, I’d have to simplify him quite a bit. After some playing around, this is a screenshot of what I came up with.

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Sack’s Book

Creep wrote the story for Sack and I began to illustrate it page by page. Here are a couple of sneak peek pages.

sack Pg1    sack Pg5

Eventually after a lot of editing and re-editing through, (a branch of Amazon), we have finally got the first book published and up for sale on Amazon. So exciting! :)

If you’re interested, please check the book out at the links below for both the .com and sites.

Front Cover

Front Cover

Back Cover

Back Cover

You can find all the upcoming Slasherton information either on Twitter @killsackkill or on Facebook at

You can also sign up for the Slasherton News mailing list on the FB page to make sure you can get all the news and offers first!

The next post I’m doing will show you how I made the little Sack collectible figure :)

Just finished a life size tooth prop for a Twitter friend of mine Rob Bish, @XzombishX who is making a short film along with two of his friends, Jim Dolan and Dazza Field called ‘Diemension‘ that is about a man that searches for more than his world  … Tagline “It’ll melt your teeth!!” …  :D

He’s starting to shoot in the next couple of weeks so keep a look out for more news.


The tooth in the script is a big molar tooth that the protagonist in the film pulls out and notices it has a strange blue effect where his fingers have touched it.

I sculpted the molar from Fimo polymer clay that you buy in the shade you require. I mixed a yellow and white to get a basic cream shade as a base. I use a pasta making machine to mix the clay but you can mix the colours by hand, especially with small amounts.

These photos show the tooth with a basic coat of white acrylic on the upper, enamel covered part of the tooth.

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The following photos show the tooth from lots of different angles which I painted with various washes of yellow and ochre acrylic to achieve the natural staining.

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These last photos show the final stage where I added the blue strange marbling effect. I achieved this by mixing a bright blue acrylic with silver, to give it a brighter more unnatural look. I used a very fine brush and cocktail stick to apply the paint, and then blurred it slightly with a damp cotton bud.

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(I held the tooth for the last few shots for scale).

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I finally sealed it to protect the paint with Plasticote Clear Sealer acrylic spray.

I’m actually ashamed with myself for not keeping the blog up to date lately. I have no excuses other than Christmas happened. I have a busy year ahead of me with lots of projects lined up to get my course completed so there will be a lot of regular posts keeping you all up to date with those.

Anyhow, I was contacted back in September by a lovely chap, Jason Berge who is a freelance cinematographer and amongst other things, runs a course for amateur filmmakers locally. He was assisting the group in making a short film about a fisherman who faces his own mortality and needed someone to create the effects. Very luckily for me Jason’s brother-in-law is a good twitter/facebook friend of mine, the wonderful Mr Jim Moon who had put my name forward when Jason had mentioned what he needed to him in conversation. Jim, (@Hypnogoria on Twitter), hosts one of my favourite podcasts Hypnobobs which celebrates a large range of subjects but a large part of the cast are readings of wonderful ghostly/strange stories from his Library of Dreams from masters such as Poe, M R James and many many more, as well as film reviews of classics and new movies, favourite monsters, toys, comics and games. If you’ve never listened you’d be very wise to give it a try.

The Short Film

So I got in touch with Jason via email and we discussed the sort of thing the group wanted and found out that the story of the film revolves around a fisherman who discovers a body on his line. When he turns it over he discovers to his horror that it is the drowned corpse of himself staring back at him.

We decided that we would buy a mannequin and I would take a cast of the actor’s face and sculpt onto this to achieve the drowned look before making a latex mask. This would then be attached onto the mannequin and painted before dressing it in the same clothes as the actor.

The catch was due to time restraints I only had 2 weeks from start to finish to complete the project before it was needed on the set on the 28th Oct. Because of my limited experience I was unsure about the whole thing but figured a challenge is always a good thing and working to a deadline is something I’ll have to get used to so I acepted and got to work researching the look that they were after.

The following pics are those that I sent to the group … They are all sourced from Google images so obviously I would be only using them as inspiration to avoid copyright issues.

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Originally Jason and I really wanted to go for quite a severe zombified version similar to Ted Danson’s character in Creepshow …


However after a discussion with the group Jason thought that a combination of the following images for a more recently dead, subtle look was going to work better …

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Face Cast of the actor – George Collings

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Once I had the cast, I sculpted areas over the brows and around the eyes and cheeks to imply a sunken, drawn appearance as the corpse was to be recently dead, rather than bloated. I used the oil based clay, Chavant’s Le Beau Touche which I used on the sculpt for the Cthulhu mask. It’s a terracotta coloured clay, is sulphur free (compatible with silicone), very smooth and highly adhesive.

I started by just roughly bulking out the areas I mentioned above, conscious to keep the pieces as thin as possible so the effect remained subtle.

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The following day I refined the sculpt to the stage where I was happy and ready to mold.

This is the first stage of refining …

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Final Stage of refining.

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Mold Making

I made the mold for the latex mask out of WED wet clay, starting with a base or backing piece made out of 1/2 inch thick pieces of flat rolled clay, attached and smoothed together to avoid leakage. I was careful to make sure it was snugly attached to the cast all the way round and I also reinforced the strength of this full piece by supporting it all the way round beneath this join with a roll of clay on the underside and then towards the outer edges with towels and further clay pieces.

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The next stage was to add the vertical wall around the face cast to create a well for the Ultra-cal plaster. I again used flat, rolled out pieces of clay which I was careful to attach together really tightly again to avoid leakage. Once the vertical wall was attached, I reinforced the join with a roll of clay either side which I blended carefully into the exixting walls. I’m very careful with this stage now as I learnt the hard way having a mold collapsing completely on me once the weight of the plaster was added.

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Before I added the Ulra-Cal 30 plaster to the mold, I was careful to apply a coat of Vaseline all over the face cast as a seperating agent because otherwise the two types of plaster would just attach to each other and the cast would be ruined. I mixed the batch of plaster in the usual way using 2 full cups of water and then adding the plaster until I got the ‘dry cracked paving’ effect and then mixed it thoroughly until it was smooth. I poured it carefully over the face cast and kept drawing it from the edges up to the centre while it started to set to utilise the plaster as much as possible and then made a further smaller batch to ensure a decent thickness for strength. I think I may have used strips of burlap roll to reinforce the cast but I haven’t any photos of that stage.

This is the finished cast, ready for the latex stage.

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Latex Mask

The next stage was to make a latex mask from the cast. I did this by building up layer after layer of liquid latex. This took quite some time but I sped up the process by standing it in front of a heater to help dry each layer out after i’d swilled the latex around the mold and drained it. Eventually after about 7 or 8 layers the latex was thick enough to remove from the mold. I powdered the back of the latex with talcum powder as I removed it to prevent the latex from sticking to each other. The following photos show the liquid latex, still wet and the following day when it’s fully dry.

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These pics show the mask when it had been removed from the mold.

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Unfortunately when I tried to fit the mask onto the face of the mannequin the contours were so different there was no way I could attach the mask without building up either the inside of the mask or the face of the mannequin. There were big spaces under the cheeks and nose and the neck in particular.

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I started to build up those areas inside the mask by soaking strips of kitchen roll in liquid latex and drying each layer out with a hairdryer to try and save a bit of time. I realised after a while that I’d have to build up the mannequin too …

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Eventually after a LOT of adjusting and readjusting I managed to get the mask applied in a way that I was sort of happy with. At least it was the best I could do with the shape of the mannequin and in the time I had. Unfortunately it resulted in the face being out of proportion and jutting forward too far as you will probably be able to tell from the following pics but I was pleased with the likeness and figured I could disguise the problem with a hat.

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Once all the latex was dry, I was ready to paint.

Painting the Mannequin

I used a mixture of straight acrylic paint and washes to create the shades I wanted, based on the reference photos. I needed him to look very dead but not in a gory way. I used light shades of greys and purples with hints of blues and yellows to start and then built up with darker washes with a sponge over the top to give shadows and textures. Smaller brushes were used with darker more purple/grey colours for the detailed areas around the eyes and mouth. When I was happy, or when I’d run out of time, I sprayed the whole mannequin head and shoulders with acrylic Plasticote spray to set the colour and attempt to protect the paint a little as I knew it would be under the water and bashed around a fair bit. Ideally I would have added several more coats but just I didn’t have the time.

The following photos show the finished mannequin with and without the hat.

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On Set

These shots were taken of the mannequin on set, fully dressed in the same clothes as the actor, Mr George Collings …

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Many thanks to Jason Berge for giving me the opportunity to practise the skills I need to master for my course and gain the valuable experience of being on the working set of a short film and to everybody in the group for allowing me to tag along.

Also thanks to Shelley Newnham for the photos provided from the shoot.


On a final note as it was Halloween, Jason asked if there was any chance I could ‘zombify’ up the dummy for him to put in his garden. I would never turn down the chance to mess about with blood and latex so I used small strips of tissue soaked in the liquid latex again to form various wounds and scars, specifically a big open wound with the skull showing through, and 3 big gashes on his neck. I added more texture in general and exagerrated the makeup tones, adding lots of  Mehron false blood with a little blue food colouring to darken it as they were meant to be old wounds.

Again I had limited time to achieve these effects but was happy with what I could come up with … (Sorry the photos are pretty rubbish).

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Bill Oberst Jr Portrait

Posted: November 15, 2012 in Commissions, Pen and Ink

A while ago now I was very kindly asked to put some of my portraits in a gallery for the great online horror ezine Dark River Press. Not long after I was emailed by the Robert Leyland, the editor, who had been contacted by upcoming horror actor Bill Oberst Jr, (Take This Lollipop, The Secret Life of Bees, Nude Nuns With Big Guns, The Devil Within).

Check out his IMDB for full details

You can follow him on Twitter too @billoberstjr

He apparently really liked my work and was very interested in me doing a portrait of him for his site. As you can imagine I was a bit overwhelmed and totally chuffed that Bill had even noticed my art, let alone wanted me to do his portrait. Anyway I was given his personal email and contacted him about it and after several emails, (he’s a genuinely humble and lovely fella), we decided what picture he wanted me to use. It was a photo that he used for his IMDb page at the time where he’s wearing a very distinctive rosary that was custom made for him by artist Amanda Norman and he was very keen that the rosary be included in the portrait to show off her work.

Amanda makes beautiful jewellery as well as being an awesome photographer. Check out her work at …

It took a while to get the likeness right but eventually I was happy. Here is the finished portrait …

Bill Oberst Jr
Pen and Ink
(29.7 cm x 42 cm)

I sent the finished portrait and thankfully Bill really liked it. I wanted to repay him for all the kindness and support he’s given me and ensure that anyone who reads this blog has all the recent Bill Oberst Jr news so I asked him what he’s been up to lately and if there were things in particular that he’d like me to mention. This is the information he gave me.

“Children Of Sorrow’s trailer is out … We just won Best Of Festival at the Sacramento Horror Film Festival and I have been nominated for a Best Actor Award for it by the Shockfest International Film Festival in Hollywood Nov 16-17. The film’s Los Angeles premiere is Nov 17 at Shockfest. IMDb is … Director was trying for something different: skin-crawling and disturbing without a lot of gore.

Oh and here is my newest look for a demon project I am working on if you wish to use it … “.

I’d be really grateful if you’d check out his work and if you like the look of it give him your support too. I believe he’s a very talented actor and destined for a long and prosperous career. (Being a thoroughly nice chap helps a lot too) … :)

(I would put links to the Dark River Press Ezine as there is an interview with Bill Oberst Jr on there too I believe, but think there is a problem with their site at the minute. I will edit this post when I have more information.)

My Shop Is Open!

Posted: September 13, 2012 in Big Cartel, Pen and Ink

Hey everyone! Just wanted to let you know that my store is open now at :)

If you click on the ‘Shop’ Menu at the top of the page, the link will take you straight there.

I currently have a selection of my pen and ink portraits available as limited edition A4 prints, (printed in a run of 30), at hopefully reasonable prices. The prints will come with a certificate of authenticity, signed and numbered by myself and are printed on high quality, matt, inkjet paper (230gsm) for a gorgeous clean image.

There are also  A5 prints and Art Cards (6×4 in) available but in the future I’m hoping to have larger sizes too, (if they are requested), as well as tees and maybe other bits and pieces when I work it all out.

So that’s it for shameless plug time once again but wanted to let you know as Christmas is coming round again soon ;)

I would seriously love your feedback as always, good or bad. Please leave a comment or send me an email and let me know your views or if you have any questions or specific requests.

Hope you enjoy!

Many thanks :)