Ultracal Vs Hydrocal Dwell Time
Hi. Is there a difference in latex dwell times between ultra-cal vs hydro-cal molds?
0
Best Answers
-
Hi again, Chris,
All else being equal (ambient temperature, humidity, desired mask thickness) HC dwell times will always be a bit shorter than UC because the greater porosity and dryness of HC absorbs moisture more quickly. Also, it's very important to note that unless your UC mold has been baked first, it will not be dry enough to effectively pull the moisture from your slip latex, leading to poor results even if you let it dwell for a long time.
If you're looking for an exact difference in dwell times between Hydrocal and a baked out Ultra Cal 30 mold, I can't be of much help because so much of that depends on the temperature and humidity where you are running your masks.
Hope that helps,
Matt5 -
Chris,
We do not recommend that you use an unbaked Ultra Cal 30 mold for slip latex mask making. The dwelling process will take much longer and your results will not be that great. If you don't have access to a big enough oven for your UC mold, we recommend you stick with Hydrocal.
Pro tip: you can try mixing HC and UC in a 50/50 ratio to get a stronger mold that dries out decently without the need for baking.
Happy Mask Making,
Matt5
Answers
-
Hi Chris,
Due to its more porous properties, latex dwell times are shorter in Hydrocal molds than in Ultra Cal 30 molds.
However, Ultra Cal 30 molds last longer than Hydrocal molds and do a better job of retaining surface detail after multiple castings.
See below for some additional information on this topic from our friends at The Monster Makers. Original article here.
_________
Ultra Cal 30 vs. White Hydrocal
Latex mask making uses a slip casting process very similar to the one used for ceramics. For those new to this medium, the basic concept is that when liquid latex is poured into the mold, an even layer of gelled rubber begins to build on the mold interior. The porous nature of the mold has a capillary effect on the rubber which first causes it to build up in the mold. The thickness of the rubber build-up is defendant on how long the liquid rubber is left in the mold. Then, once the excess latex is poured out of the mold, this same capillary effect of the mold combined with air exposure will cause the latex to dry for removal.
Ultra Cal 30 – Ultra Cal is a high strength, very low expanding stone or gypsum product that works similarly to plasters. Similar in the sense that once mixed with water, it will begin to react and after about 30 minutes, it will harden like plaster. That is where the similarity ends though. Unlike plasters, ultra cal will set to a very hard stone. Special effects artists have traditionally liked to use ultra cal 30 especially for foam latex molds because it’s high tooling accuracy. The benefit for using it in slip cast molds for masks is that it has a long service life. Ultra Cal will hold pattern detail much longer than white hydrocal.
Another benefit of that Ultra Cal 30 for mask molds is that it can be built up in layers without forming stress cracks.. This is again due to its strength and low expansion abilities. For this reason Ultra Cal 30 is the perfect material to use for making one piece, full head production molds for masks. The downside of Ultra Cal 30 for mask molds is that molds take at least twice as long to produce. It also takes quite a bit of practice to learn how to produce UC30 molds that will absorb the deposited latex evenly. Ultra Cal 30 molds that are not carefully made will have surface spots known as resistance areas where latex will not build up at all.
White Hydrocal
Many mask makers like to use white hydrocal for the majority WH is the primary choice for mass production. The main of their molds and advantage is that overall mold and mask production is significantly faster than UC30. Once WH is mixed with water, molds will set within 10-15 minutes on average depending on how thick it is mixed as opposed to 25 to 35 minutes or more for Ultra Cal 30 molds. The big downside with WH is that it has to be used in mass. In other words you mix up what you need in one shot and build it up over your sculpture until it completely sets. You cannot build up the mold in multiple layers and batches of gypsum like you can with UC30. WH molds made like this end up with stress fractures throughout the mold. These will show up as significant defects right from the get go when you go to cast your masks.
The second major drawback in molding with WH is that is has a very short service life. This is especially true if your mold has lots of detail. Each time you pull a latex piece from your mold, a small amount of surface detail is removed with the mask, and tiny air holes will begin to open up. When defects occur on the mold those are also defects that will show up on your mask. With each cast the defects gets progressively worse.
The same erosion effect happens with UC30, but it happens at a much slower rate. Given these problems, you may be wondering why anyone would choose WH for a mask mold. There are two main reasons: First, if only a few casts of the mask are required. And second, as silly as it sounds, some mask designs actually lend themselves to an eroding mold. So what kinds of designs are perfect for WH? How about Zombies, Corpses, and anything where defects will not detract from the mask. They might even help! In fact, most large mask companies will use WH and will simply make a large number of molds and use them for production until the quality of castings is no longer acceptable. When the mold reaches that point, the manufacturer will use a stored, thick latex copy of the mask (known as a production model), to make as many new molds as they need. Half masks are especially suited for WH since they only require a one piece mold and they can be easily replaced.
To sum it up, if you only need to make a few copies of your mask or if your design lends itself to mold erosion, than White Hydrocal is a good choice. If however, you have a highly detailed mask that you plan on making a couple dozen copies or more, than the clear choice is Ultra Cal 30. The extra time and effort you put into the mold will be worth it in the long run.
0 -
Thanks but that wasn't my question. I know the difference between HC and UC. I'm asking the difference in latex dwell time between the 2.0
-
Thanks. That does help. Is it absolutely necessary to bake a UC mold? Can you just let it dry awhile before pouring latex?0
Categories
- All Categories
- 97 CURRENT CONTEST
- 97 2025 Halloween Costume Contest
- 1.3K COMMUNITY
- 1K General
- 62 Tutorial Reviews
- 98 Suggestions and FAQ
- 82 Job Listings
- 40 Artists for Hire
- 1.8K CHARACTER CREATION
- 165 Costumes & Cosplay
- 148 Lab work
- 95 Props
- 152 Puppets
- 36 Stop Motion
- 18 VFX
- 39 Student Projects
- 478 Sculpture
- 159 Fabrication
- 160 Animatronics
- 177 Makeup Effects
- 130 Painting
- 29 Traditional/Digital Design
- 8.1K PAST CONTESTS
- 244 Creature Making Contest 2025
- 100 2024 Halloween Costume Contest
- 198 Character Making Contest 2024
- 343 Creature Making Contest 2024
- 131 2023 Halloween Costume Contest
- 168 Monster Making Contest 2023
- 239 Creature Making Contest 2023
- 117 2022 Halloween Costume Contest
- 309 Character Sculpting Contest 2022
- 133 Character Makeup Contest 2022
- 170 2021 Halloween Costume Contest
- 261 Creature Sculpting Contest 2021
- 209 Character Makeup Contest 2021
- 354 Creature Making Contest
- 200 2020 Halloween Costume Contest
- 203 Monster Makeup Contest
- 372 Creature Painting Contest
- 244 Horror Character Contest
- 182 2019 Halloween Costume Contest
- 260 Character Makeup Contest 2019
- 351 Character Sculpting Contest
- 279 2018 Halloween Costume Contest
- 292 Alien Art Contest 2018
- 251 Character Makeup Contest
- 389 Monster Making Contest
- 167 2017 Halloween Costume Contest
- 153 Heroes & Villains Contest
- 221 Cosplay Contest
- 215 Creature Sculpting Contest
- 107 Puppet Contest
- 161 Alien Art Contest
- 98 Halloween Costume Contest
- 149 Robot Art Contest
- 269 Dino Art Contest
- 592 Creature Contest
- 5 ALUMNI
- 275 ON DEMAND WEBCOURSES
- 1 Hand Puppet Detail and Finishing Techniques
- 24 Animation for Animatronics
- 9 How To Make a Mask - Wearable Dynamic Art
- 11 3-Axis Robotic Mechanisms
- 5 Neck Mechanisms
- 24 How To Make a Monster Suit with Bill Bryan & Ted Haines
- 19 Character Animatronics
- 5 How to Sculpt a Dinosaur
- 5 How To Build An Animatronic Head
- 5 Creature Costume Basics
- 4 Puppet Mechanism Basics
- 1 Tattoo Makeup - Cover, Create, & Apply
- 2 How To Make Horror Props
- 1 The Fine Art of Horror Painting
- 1 Fantasy Maquette Sculpting In CX5(S)
- 14 The Business of Making Monsters
- Production Design - The Process Of Creating A World For Film
- 4 Character Makeup - Multi-Piece Prosthetic Application
- 3 Prosthetic Makeup Basics - Gelatin Facial Appliances
- 5 Stop Motion Animation with the Chiodo Bros.
- 11 Blood, Gore and Makeup Effects
- 7 How to Punch Hair - Hairwork for Silicone Characters
- 3 Bodycasting on a Budget with Ted Haines
- 2 Portrait Illustration with Terry Wolfinger
- 5 Mastering Marionettes - Design, Construction & Performance with Scott Land
- 1 Creature Makeup - Multi-piece silicone prosthetic application
- 12 Muscle Suit Fabrication
- 11 Wig & Hair Basics
- 4 Silicone Prosthetic Transfer Appliances
- 3 Building Miniatures: Small-Scale Model Making - Part 5
- 9 Toy Design & Sculpture for Action Figures & Collectibles
- 1 Building Miniatures: Small-Scale Model Making - Part 4
- 2 Human Head Anatomy & Sculpture
- 1 How to Make a Foam Puppet - Part 3
- 1 Building Miniatures: Small-Scale Model Making - Part 3
- 5 How to Make a Foam Puppet - Part 2
- 3 How To Make a Foam Puppet - Part 1
- 1 Building Miniatures: Small-Scale Model Making - Part 2
- 14 Animatronic Control Systems - Arduino Programming Basics with David Covarrubias
- 3 Building Miniatures: Small-Scale Model Making - Part 1
- 3 Advanced Creature Teeth: Prosthetic Dental Appliances - Part 2
- 1 3D Pumpkin Carving - How to Carve a Pumpkin from the Outside In
- 5 How To Make A Latex Rubber Mask Part 3
- 3 Advanced Creature Teeth - Part 1
- 11 How To Make A Latex Rubber Mask Part 2
- 6 How To Make A Latex Rubber Mask Part 1
- 294 PAST LIVE WEBCOURSES
- 11 Monster Sculpting
- 8 Platinum Silicone Mask Painting
- 5 Feather Work: Puppets, Costumes, Hair & Makeup
- 9 How To Make Eyes For Puppets, Masks, & Makeups
- Working with Wigs - Wig & Hair Basics with Connie Grayson Criswell
- 14 Muscle Suit Fabrication with Ted Haines
- 7 Homework - Muscle Suit Fabrication with Ted Haines
- 13 Toy Design & Sculpture for Action Figures & Collectibles with Sandy Collora
- 10 Homework - Toy Design & Sculpture for Action Figures & Collectibles with Sandy Collora
- 13 Human Head Anatomy & Sculpture with Jordu Schell
- 11 Homework - Human Head Anatomy & Sculpture with Jordu Schell
- 18 Mastering Marionettes - Design, Construction & Performance with Scott Land
- 13 Homework - Mastering Marionettes - Design, Construction & Performance with Scott Land
- 16 Puppet Mechanism Basics - Eyes, Brows & Ears with BJ Guyer - Watch & Chat
- 11 Homework - Puppet Mechanism Basics - Eyes, Brows & Ears with BJ Guyer
- 12 Advanced Creature Teeth -- with John Cherevka
- 3 On Camera Hand Puppet Performance
- 9 Silicone Prosthetic Transfer Appliances - Age Makeup with Neill Gorton
- 3 Practical Magic: The Art of In-Camera Visual Effects with Joey Shanks
- 9 Buisness of Making Monsters with Shannon Shea
- 11 Stop Motion Animation with the Chiodo Bros
- 5 Foam Carving Puppets with BJ Guyer
- 3 3D Pumpkin Carving with Andy Bergholtz
- 4 Prosthetic Makeup Basics with Rob Burman
- 13 How to Make a Latex Mask with Tim Martin
- 2 Character Illustration with Terry Wolfinger
- 3 Halloween Costumes - Fabric Effects with Dawn Dininger and Amy Whetsel
- 9 Blood, Makeup & Gore FX with Gary J. Tunnicliffe
- 13 Hand Puppet Design and Fabrication with BJ Guyer
- 3 How to Sculpt a Dinosaur with Christopher Darga
- 2 Airbrush FX: Beginning to Advanced with Craig Fraser
- 1 Female Figure Sculpting in Cx5 wtih Adam Beane
- 3 Creature Design: Maquette Sculpting with Casey Love
- 3 How to Make a Sci Fi Helmet with Fon Davis
- 2 Hyper Realistic Silicone Painting with Tim Gore
- 2 Josh Herman Zbrush Creature Sculpting
- 13 Textures and Forms with Don Lanning Oct 26, 2013
- 9 Character Rendering in Photoshop with Dan LuVisi
- 2 Creature Maquette Painting with Jordu Schell
- 24 Textures and Forms with Don Lanning May 04, 2013
- 3 Tattoo Makeup A-to-Z: Cover, Create, and Apply with Christien Tinsley
- 11 Creature Design w/ Casey Love - Sculpting
- 7 Creature Design With Casey Love - Translucent Creature Painting
- 3 Creature Maquette Sculpting with Jordu Schell

