Sunday, January 18, 2015

HSS Hell revamp

Here is my HSS Hell that I've had for a couple of years. It's 6 of 20. I repainted it 3 times and finally have it in a place I am really satisfied with.

Those familiar with the Hell know that there was a small "shrink" problem, that prevented the mask from being properly fitted with a standard size hockey mask. Using a Fiberglassmasks 9, likely cast from a leftover movie-mold hock, I re-sculpted the eye holes with epoxy sculpt and had it scanned by a 3D printing service. We then reduced the mask about 15% (about a half inch all around) in order to get a tight fit. The 3D print was made with black ABS like the movie masks and really came out great.

All he really needs now is hair.

Sunday, January 4, 2015

What color was the part 3 mask?

I've addressed this subject on the forums in years past, but wanted a version of my argument on the blog for posterity's sake. Back in 2009 and earlier when I first started painting these people used to paint the part 3/4 masks a variety of colors due to the fact that the masks look so different in the films. Were they white? Beige? Yellow? Sandshell? (lol), or something in between? Since then hock painters have standardized their color into a light lemon yellow color, which I believe to be inaccurate, as I will explain.

For starters, do not trust what you see in the film. Lighting can affect the appearance of the mask, as can color timing in post production. So how do we really know what color it was?

Well back in December 2009 I asked Robb Wilson King, the art director who worked on Friday the 13th part 3 and painted the originals. He described it as a "cream color" created by a "slight aged patina" over an off-white base. I took this to mean that the "cream color" was some sort of translucent glaze designed to give the mask weathering some depth, but can't be sure.

Regardless... as you can see from the several behind-the-scenes photos below here the mask wasn't exactly yellow, although there were yellow undertones in the color that will emphasize in certain lighting conditions. It was a sort of caramel-beige color. Call it a "cream color" if you like. My own approximation of it is at upper left.

Some painters have alleged that the mask changed colors over the years. But the above photos were taken between 1982 and 2010 or so. They all show the same color. So this theory is false.

This is the color I used to paint my masks. It took tons of trial and error to get it right with an acrylic mix but I think accuracy is the way to go. There was an acrylic color called "camel" at Joann Fabrics they used to sell that was extremely close. So there you have it. The mask may have looked white onscreen in certain scenes if the beige layer was translucent. Perhaps Dario Latinovic, who owns the part 4 mask can shed some light on this.

Update: Need more proof? Jesus Christ you're stubborn. Here you go, Dario with the real thing. It's beige, not yellow:
If you're a hock painter and you want to achieve this color, go get this and basecoat away:

Friday, January 31, 2014

Fuck it. Here's my whole collection.

Top row, from left:

Part 2: Campfire Legend. Sculpt by Josh Stephenson. Finish work by Lewis Frye.
Part 3: Hideous Looking Man. Sculpt by Crash. Paint job by Jasonlivessince1980.
Part 3: Hangman II. Sculpt by DBach. Paint job by Jasonlivessince1980.
Part 4: His Unlucky Day. Sculpted and painted by Paredoilia Productions.
Part 6: Coffin Dummy. Recasted from movie mold bust by Horror Sanctum Studios.
Part 6: Aladdin Sane. Sculpted and Painted by Jasonlivessince1980.
Part 7: New Blood. Recast from screen-used appliances by Silver Shampain Novelties. Painted by SSN, but some finish work by Jasonlivessince1980.
JGTH: HSS Hell. Recast from screen-used mask by Horror Sanctum Studios. Painted by Jasonlivessince1980.

Bottom Row:

Part 2: Pamela's Curse. Sculpted and painted by Jasonlivessince1980.
Part 3: Project 82 by Crash, painted by Jasonlivessince1980.
Part 4/5: Project 82 by Crash, repainted by Jasonlivessince1980.
Part 6 hock. Blank by Frightstuff, reshaped and painted by Jasonlivessince1980. Straps by Auz.
Part 7 hock: Cast from screen-used mask by Beyond Disgusting Studios. Painted by Jasonlivessince1980.
Part 8 hock: Cast from screen-used mask by Beyond Disgusting Studios. Painted by Jasonlivessince1980. Straps by Auz.
Remake hock: Blank by JDF. Painted by Jasonlivessince1980.
Fibrosport Elite: Replica of the mask that started it all by

Actually, this isn't my whole collection. Updates coming soon...

SSN New Blood

Pamela's Curse

Sunday, January 19, 2014

Oh shit son! It's a remake.

Yep. My last one, and definitely the best one I've ever done. On a JDF blank that I've owned for over a year. For some reason getting those chevrons right is tough as balls.

And of course the movie mask:

Tuesday, October 1, 2013

Crystal Lake Memories: Lloyd Albin, the untold story

Just watched a section of the outstanding Crystal Lake Memories: The Complete History of Friday the 13th. Congrats to Dan Farrands for making a great documentary and easily the most thorough one on the franchise.

In the section on Part 2, Lloyd Albin, who owned the summer camp in Kent, CT where the film was shot in September 1980, mentions he's had "a number of people" try to buy his props. I was one of them, having contacted Lloyd in early 2011 to visit and try to purchase his Pamela Voorhees head and the Camp Crystal Lake sign from the film. He was a really nice guy and told me a lot of the really cool stories and anecdotes he mentions in the DVD... and some that were left out. Such as:

  • The crew was battling the changing seasons in Connecticut, and had to keep spray painting leaves green.
  •  Neighbors complained about light pollution during the filming of the "skinny dip" sequence.
  • He played tennis against Lauren Marie Taylor during downtime. (Lauren Marie Taylor later told me she was embarrasingly bad at it).
  • Lloyd was paid $1,000 a day by the production company for the use of the camp and they took out a $20,000 bond against the possibility of damage. There was none so no penalties were charged.
  • Lloyd said filming began in early September 1980 and lasted about one month. The weather was generally still warm but they had to get people extra blankets who were staying in the cabins when a cold snap came in.
  • The “Jason shack” was built by the film crew in a flat area in the woods just west of the docks. There was also a camera track built in the same area to record Steve Dash running through the woods. When the crew was ready to leave they asked if they could leave the shack there, but Lloyd demanded they tear it down in case fans came by to check it out. Today there is no trace of it, but the growth in the area that was cleared is noticeably shorter.
  •  Lloyd said Lauren Taylor and most of the other cast and crew were very pleasant people.
  • Lloyd recognized Marta Kober on set and asked her if she was in a certain play he saw in New York, she confirmed it was her.
  • Lloyd was presant for the double impaling scene and found it very amusing. Apparently they called it “instant birth control” on set.
  • During filming, Steve Miner, whom Lloyd had gotten friendly with, presented three Jason facial designs, inquiring as to which one he thought was scariest. Lloyd said none of them were really fearsome, but that he preferred Hitchcockian horror where a person is coming up the stairs slowly and building tension and you never see the killer… he says that Miner then chose not to show Jason for most of the film.
  • Lloyd also pointed out to me from his living room the approximate location of the "Jason cabin", which I have located from memory on this map.

I told Dan Farrands about Lloyd and was really excited to see he made it out to Connecticut to film Lloyd, who despite his advanced age is still fit, healthy and loves to talk about Friday the 13th.

He also gave viewers a glimpse of his baby... the actual head of Mrs. Voorhees used in the film. I feel very lucky to have held it in real life and examined it closely. It is made of foam latex casted directly onto a wig display and painted reddish brown, blackened in some areas to give it a dried out, mummified look. It is still in very good shape aside from pieces missing from the nose and right temple.

       Congrats to Daniel Farrands for making an amazing documentary. Many thanks to Lloyd Albin for allowing me into his home to hold this piece of film history. And Lloyd: if you ever want to sell it LET ME KNOW!! THANKS!!!!

Monday, September 23, 2013


A collage of my better photos I was going to use as the blog's banner... until I realized it compresses everything beyond recognition.

I've had a few requests recently so I want to make it clear: I no longer paint masks or pull busts. The few I've done in the last year were for my own modest collection.