, Gi. Creating GYfelike Siqures Tools & Techniques for Sculpting Realistic Figures+| Table of Contents Introduction — Page 5 Part | ~ A Medium for Everyone — Page 6 Polymer Clay Fundamentals Part 2 — Figure Fundamentals - Page 10 An Overview of Figurative Modeling Part 3_~ Fundamental Tools ~ Page 13 The Essential and Nonessential Too! Kit Part 4 — Face to Face — Page 20 Modeling the Head and Face Part 5 — The Body in Question - Page 46 Modeling the Torso Part 6 — A Leg to Stand On — Page 70 Modeling the Leg & Foot Part 7 — A Show of Hands — Page 86 Modeling the Hand et Arm Part 8 — Measure for Measure - Page 102 Modeling in a Smaller Scale Part 9 - Costumes of Clay - Page 116. Dressing the Sculpture in Polymer Clay Part 10 — Finishing Touches — Page 130 Adding Details with Paint and Fiber Resources — Page 143 Index _— Page 144| Introduction Tam an amateur at heart. I sculpt for the love of it. ‘That's what the word “amateur” m¢ loves. 1 cannot resist creating new shapes in wet ns—one who sand, new fallen snow, fresh cement, or cold mashed potatoes. I'm also a professional. Sculpting is my livelihood, and polymer clay is my favorite medium, No other clay is as colorful, versatile, or widely available, No other clay drives me to explore the possibilities. No other clay urges me to ask “What if?” What if T wrote a book about the art of figure modeling in polymer clay? What if I wrote that book with the amateur in mind? The am: sense of the word, has a love of art and seulpture eur, in the truest The amateur is ready to take the fisst step into the artis’s realm, This book is about that first step and those that follow. It will tke you along a different path than other books on the subject of realistic figure modeling. Why? Because polymer clay is a thoroughly modem product, not bound by tradition. Nan Roche called it “the new clay.” Why not use new methods? Taken as a whole, the figure is complex. Why not break it down? Break everything down: proportions, body parts, armature, and clay. Break the body down part by part, and break the paris down form by form. Sep: separate armatures, the bones of the sculpture. Break the clay down, too, into te parts mean measured amounts—so much for each form, so much for each body part. Break it down and then put it back together again. Taken as parts of the whole, the complex figure becomes simple enough for the amateur. 1am an amateur at hePart | ~ A Medium for Everyone PART ONE A Medium for Everyone olymer clay is unique, a P remarkable clay that requires no special tools, not even a Kiln. its wide availability has made it the fi clay of choice for many profession- als—sculptors. who have designed one of a kind dolls, modeled figures for the toy and collectable industries, and created miniatures and masks for the movies. There is no other clay quite like clay for amateurs and the the ‘This man-made clay is a medium for the new millennium, Polymer clay is composed of fine PVC particles suspended in a liquid called a plasticiser. The plasticiser gives the clay its flexibility. Fillers, such as natural earth clays and chalks, add bulk. Pigments add color. Baking the clay at the right temperature (between 200. and 275* F) fuses all of the ingredients into a hard plastic. Polymer Clays are low temperature clays, sensitive to: heat, some more ©H26ifow'll ew aby wert lcs factinn of thelr anata. Mas so than others, The warmth of your erat ant fle Bend ae iy day, Wht oe hands or the heat of a summer day differ in subile ways, all share one important trait—they urge tbe artist r0 can make them softer. Too much — explore she passbilitis heat (above 90° F) over too long a time will partially bake the clay, but don’t assume firm clay has been partially baked, even if it crumbles. Tt may simply be old. As polymer clay i ages, fillers absorb some of the plasticiser and the clay loses some of its pliability. Clay softeners such as Sculpey Diluent, Kato * Liquid Conditioner, and Fimo Mix Quick can extend the life of these “advanced” clays, but often they just need to be kneaded. Once kneaded, they become pliable,Part 1 ~ A Medium for Everyone The Perfect Polymer Clay? For the artist who sculpts, the perfect polymer clay blends, tasly, It’s firm enough to hole its form, yet soft enough to model and drape. The perfect clay has a long ‘working time, remains color faithful after baking, and! resists breakage. That's the perfect clay for ‘modeling, but, no brand has all of those qualities. ‘he clays easiest to blend, Super Sculpey, Sculpey land Premo, tend to scorch if baked too long. The ‘os flexible clays after baking, Cernit and Moclelene, are difficult to blend. The same is true for the ficmest clay Greal-Theim. The most color faithful clay, Kato, has a short ‘working time, Because no clay has all of the qualities artists desire, artists adapt. They choose the clay that suits the way they ‘work and work in ways that give them the control they need Gernit—A German clay prized by doll artists for its porcelain texture and durability, Cemnit responds: quickly 10 the heat of your hands, becoming, very soft. Many artists mix this clay with a more blendable bbrind to improve its workability. Available in 27 colors. Greal-Therm—A very firm clay, this Dutch product requires substantial kneading before it will blend. A ‘very durable product if baked as the manufacturer directs. Available in 28 colors. Di-Kit—A clay from New Zealand, Dukit has a nice firmness, smooth texture, and blends beautifully. Divkit has a long working time. After baking it remains flexible, making it a durable clay. Made in 25 colors Pimo Classic—A German clay prized by jewelry designers for its firmness and color faithful quali Fimo is flexible after baking andl resists cracking. Made in 24 colors, Fino Soft—As soft as its name implies, this sister to Fimo Classic is not as flexible as the original. “Available in 48 colors, Fimo Soft also comes in Stone, Glitter, and translucent hue Kato Polyclay—Designed by Donna Kato, this clay handles extended baking times without changing ‘color A day with a shorter working time than others, it requires additional kneading during the moclel- ‘ng process. Afier baking, this blendable clay is very flexible and resists cracking, Available in 17 colors, Modelene—A clay from Australia, Modelene blends with ease, but has some of the heat sensitive qualities of | While it darkens slightly on baking, Modelene remains flexible afterwards. Available in 27 colors. Super Sculpey—Made in America, this clay is ideal for the sculptor more concemed with form and texture rather than color. Available only in beige, Super Sculpey blends effortlessly, but can darken if baked too long, Prema Seulpey—This clay blends effortlessly and has the longest working time available to the artist “Though it tends to darken when baked too long, it remains my favorite clay. Most of the figures in this ‘book were made of Premo Sculpey. Available in 32 colors. ProSsulpt—Designed by a doll artist for doll artists, this clay is available in three colors—Caucasian Flesh, Bihnic Brown and Translucent White, A variety of realistic flesh blends are possible with this soft, blend: able clay. imo rs, they add it, Premo, Fimo, and Kato metallic and pearl clays shine like satins and “GELS) and Kato Sauce are liquid polymer clays. Translucent Liquid ‘matte finish, 10 i$ thin and clear as water before and after baking, Mix them with pigments t0 create polymer paints; or use them as polymer vanish. ative wellPart | — A Medium for Everyone Flesh Blends Every brand makes a variety of flesh toned clays. Most are translucent and produce a realistic impression, but that same quality, translicence, can cause problems, The sheen of unbaked clay, especially translucent clay, makes it difficult to detect seam lines, finger prints, tool marks. These flaws become noticeable after baking. Wet sanding, scraping, and wiping the surface with acetone will eliminate most fingerprints and tool marks, but not a phenomenon called *plaquing,” a problem with translucent clays. The surface will feel smooth, but appear pocked with cres- cent-shaped blisters of trapped air. For [7 q these reasons, use’a semi-opaque flesh air of rhe major brands manufacture lb tons ranging from cep cxaa browns tone, Aided by a bright light, you'll see tv ale olin pinks. Most companies mabe cay conto a el, ud tool marks, fingerprints, and unblended see sch as See's Dilnnt or Fines MixQuic Conditioners put now life seams. After baking, glazing with acrylic ino old, dry clay and belp unbaked clay adbere 10 bed clay, « wealudble tch- paints or water mixable oils will create nique forthe figure modelo: the illusion of translucent flesh. TIP. IF youre a begintier or new to. polymer clay, get acquainted with the tech- niques by modeling one or two faces or figures in gray oF green clay, of create ‘the look of bronze with a blend of two parts black and one part copper. When Using these. colors, vioual distrac- tions—such as dirt in clay—wor't laf begins with coor bat caprae the ideal ofthe figare bother you. With experience, youll gain ee ze a po om snag heen Sie confidence and learn to work quickly. oad of rele Beige ad ot leat ne peau clay. a) Asian ; natty 6 part Beige ~ 1 part Bir b) Nerhera European —8 eae en la eae. aris Beige ~ 1 part Eo. ¢) American Indian—8 parts Beige + pln Raler Heat vanes vena eat 1 pert Rate Sieana, pat orn d) African American Hevitege— The other key Is firm, ft clay, 4 parts Beige + 1 part Raw Sienna. 6) African Ancestry —t part Beige +t part Ret Sienna. What brand of lay yon lat, dot de ready made flesh er lini yor ratty.Part | - A Medium for Everyone Fit Clay for a Fit Figure Learning to judge the clay’s fitness for modeling is the single most important lesson you can learn. Compared to clay fresh from the package, clay fit for modeling may feel “hard,” but it will hold the shape you give it and remain blendable without cracking. Firm clay feels silkier, resists dirt and fingerprints, GETTING INTO CONDITION PASSING THE FITNESS TEST MAKING SOFT CLAY FIRMER All ply clays nec conditioning. Begin Test be clay’ lms for madelng. Roll the Mast polymer clays are tay soft for be eh ayvlling the clay in your bands to form x clay into a bal. Ct the ball in half amd’ niques described in shit book. To mabe it ong rod. Pol dist, then roll another then put the balves back together. Blend the firmer, rll it ints thin sbos, sandwich the od Continue folding, isting and raling swam by stroking she surface with your clay shuts betcen clean piv of paper and Jor abou foe minuts until he clay is thumb or finger. Ifyou cam esate oath place a wright onto, Lat it ret for seer sniferly pliable. Use this technique to ball out of the to halve simply by lend- aurs. The paper will draus or “leach ed el, sox Once tbe calor is wvifrm ing the seams, its fic. Ifthe ball Iss ite xcs plastics from the clay. Do th fines Jo koe te clay is conditioned, bs is it shape, te clays foo soft. Make te clay tas, If sill 00 of, leu it again Fit for modeling? Tet it and find ot, From and fit by _ SAFETY FUNDAMENTALS “Before you bean, stop and read the aba. Just do each clay has diferent crate, each clay has afferent: ethuc- - “Hons for use and different pakirg temperatures Look for the AP Non Todc Seal. Make sure the clay meets the Art _ & Creative Materials Institute's. safety standards, e * The AP Non to label daes ince mean powymer clays éafé to emt; fv eane the lay ts roh tone ‘teats fcod containeres resine In baked polymer clay are nat. ee. 2 y ert and may leach into the Food, me Teason. if you work at she kitchen table, protect it from the clay, le might be an old and battered table, | _1¥6 also where you prepare food. Ifyou ase Kitchen utensils as tools, don't: neta them to the artist now, and that: aatic prees, rong pin, baking dich are al artists tools. If you bake your 7 __ S2Me oven you use For cook, clean fe aftervarc. only takeo afew minites to Wipe the walla and celng with 9 arp rag and mic desreacer. ee : 2 Wher'a eculptisre Is ih the oven, use the ventilator Folymer clay releaces fumes when baking, and t unpleasant, may botner some, Use an accurate oven thermometer. Baking above 360: “ eeaseiritating and hazardous fumeee = eae oe a con vil photeck the clay from dust and Abo, the bare of ever plyrer artist ol cleat means parting the clay auay nhen yuo freed —away from the ds, away fom the peta Store the ne Yoole aiay in.a sealed container, and store it with the label. There’ valuable information on that label, + IFyour children war to play withthe clay play with them, Polymer Clay is not toy. Is a creative mec: Trea _ Ibs one ard your children wil, too. Naturally, everyone washes their hands when they're finished.Part 2 10 Figure Fundamentals PART TWO Figure Fundamentals efore you begin, take a moment to learn about the modeling method described in this book. B It’s a modular method , one that focuses on the individual parts of the body and the simple shapes used to create those parts, It's also a measured method, one that assures you'll use the right amount of clay for each body part. Still, the techniques are flexible. You'll find you can make creative choices with confidence. Later, if you want to explore other techniques and other clays, you'll find you have the knowledge to apply what you've learned. Understanding begins here with the basics, the basics of proportion and the basic shapes. A Method for Modeling a TIPS FOR THE MODELER + Stayin etep. Take the time to measure the ry. Let your muscle memory and sense oF scale develop naturally, Soon, youll have the skills to combine steps, create short cuts, and work without: measuring the clay. Always blend ceame with overlapping ‘strokes and alvays from the applique onto the base piece. When you model the features of the face, position matching appliques in pairs. + When you model the limbo, don't nich one leg dr one arm. Model both sete of limbe at the earme time. + Toole are harder than your fingers. When {you use tools, use them gently and with lese pressure. + Don't hold your work too tightly. Better to drop it on the floor than squeeze it out of shape. + Check your work for symmetry. Study it from all angles. Use a micron When in doubt, measure the figure. “This anusual woman illustrates a mathad for madeling the figure “The lf sie of ber by shows te sinple shapes that erate each body art, The areas colored in white represent fully rounded forms. The gry areas illustrate appliques hat crate tbe serface features of the (dy, Tho are patterns for medelimg each bedy part. Drawn to sale, they illustrate te s2e, shape ofeach applique and body part.Mastering the Basic Shapes | THEBALL oor fimdamental frm begins wih a south, seams ball of lay. ie ave presire. Too much pressure with one hand will praduce Bie, smilar toa ty top. If thas happens, nse your fingers to pas ‘tito rawr shape, then reroll gent THE EGG To form an egg, bold. your pals rgebor na V" shape cand roll a ball back and fort ro o three times. THE ROD Slap rc of clay by rolling a ball of clay bac an fort om a flat sac. Exert eon pressare as you move your hands apart. For aniform rods, use 2 shut of plexiglass a ceramic tile intead of jer ands Figure Fundamentals ‘THE SMALL BALL Uae yaur finger 0 roll smaller bls in te bolle of your bard. ‘THE SMALL EGG Shape a small ogg by suring you finger 10 roll a small ball back and fourth in the oll of your pata a ‘THE TAPERED ROD Bot tbe arms and legs use the tapered rad. Roll a rad back amd forth om she work surface wish the Bel of your bud st mar the ‘end ofthe rad, The more presare ye use, the mar tapered the rad. Practice ereating a gently tapered radPart 2 Figure Fundamentals Measuring the Figure Artists use certain features of the head and body landmarks for creating a realistically propor- tioned figure, one with dimensions correct for its: type. Like the landmarks of a map these features are prominent and fixed. The distance between one and another remains constant. These distances are the keys to mapping and modeling the figure, rules of proportion in every sense of the word. Using the length and width of the head as a measuring gauge gives you a standard for the rest of the figure MEASURED CLAY FORA MEASURED FIGURE Macturing the clay assures yow'll use she right amount of clay foreach bady part, With each scale paitern, you'll find this diagram. Its culled the Base Unit. The circle represents a ball of clay of a specific tize. The line bensath the circle isthe kay to erating uniform Base Units from rads of lary AMETHOD OF MEASURING Rolla ved of lay wat it's the same diameter as the Base Unit. Set ss divider to match the lie baat the circle. Pres it against the rod saving tos marks in te lay, Continue marking the rad by pressing each mark into the prevons mark. When you cut abe rad, each sie will produce a ball of clay the seme diameter as the Base Unit clay ahead of time. Store the marked — rods ina plactic bag and cub th “youresd them The Proportioned Figure 1 Head Width MEL SPRBH */, i we Mearuring as ye model isthe hey t0 well proportioned sculpture ‘Maas the baad and you cin masa he bady or the Limbs by asing ‘he besa pane, You'll find this bok fled with maps to bel you Jind your tay. This is he first, a figure standing 7 % beads tallFRAOAHENn aS LOR PART THREE Fundamental Tools ou already own the most sophisticated pair of tools imaginable— your hands. But you will need other tools, tools that can reach in tight spaces or ‘manipulate the clay in ways your fingers cannot. While polymer clay is readily avail- able good, suitable modeling tools are not. Making your ‘own tools solves that problem. Making your own tools also extends your knowledge of polymer clay and your abili- ties as an artist. As the artist in you grows, you'll gain an awareness of your needs as sculptor and have the skills to THE ESSENTIAL TOOL KIT Meet those needs by designing These are some of the esentiali—tols forthe modeler and talmater Th acrylic nod rll or adapting the right tool for smth ses of clay. The divider measures the cay and the scupoure. ‘The blade snd eraf Anifs cut clay. Te brash remaves rate edges. Pliers amd wie cnters bend and cat the arma the task at hand, It’s a valuable tare wires te bof oa lpn. The ond plage is senting sand. The tof the skill, one every sculptor Seeder 3 ceen ane TE a vel ela eg iad should have sig ale pp jor bck pr ors fe bis includes tb da assortment of iting and YOU'LL NEED THESE SUPPLIES TO MAKE YOUR OWN TOOLS: * Knitting Needles: one pair of #11 % or #15 standard, aluminum knitting needles, one #7 and one #2 double ended aluminum kribting needle, two to four #7 or #8. alurinum knitting needles (optional) * Sewing Needles: five medium sewing heedles, one #18 or #20 tapestry hieedle, one #13 tapestry needle * Tools for Making Toole: work surface, small ceramic tile; two needle nose pliers, button thread, Yo and Yeinch drill bites" thick wood plaque, sharp long blade (a lags ecraper or clay viade), tube cutter (available at hobby and craft: etoree), stove (for heating and bending needles), pasta machine or roller, large wooden craft ball (or round soup ladle), glass veads or ball bearings sizes 4mm, Gmm, Emm * Glues: vinyl glue, cyanoacrylave (instant) glue, heat resistant epoxy putty (optional) * Polymer Clay: 12-16 ounces of a strong polymer clay (Primo, Fimo) any color or colorsPart 3 - Fundamental Tools Making Your Own Tools You'll nod these als to rete she figures in is bok: a & b) the large and medina Auitting nel, €) the cured tip tol d) the fine nose sol &) the apesiry mavdle 10k cand f) the bair seam. Made of kniting sewing, and tapestry wedtes, these tole ad ad fin eis. ‘Step 1—Standard alnminuns hnitting ncdles sizes 10 and larger are hollow. Cut the newdler with a tube cutter. Two sols use the intend ofthe nitting nee: the Large male tal is 6 inces Fo athe Hair Stamp is 4 inches long. Use the vst of he mds 0 make fo strong ales at loa ches Long PREPARING THE HANDLES Step 2—Cover the andes for a beter grip. Make the clay adhere ty coating tach handle with vinyl glas, Stand the handles on end wo dsy Step 3—a) Roll a thin pancake of clay larger thaw the bundle 1b) Trim the clay into a ratanle as Tong the handle na tle more ‘than three times ax wide, e) Pres firmly as you rll tbe tube onthe clay shut. d) Trim the exes clay and rab sathIMPROVING THE GRIP Step 4 depo te grip. Pron 2 to 4 Intima Mo ech ahr te polymer lay to bold tho sid Si the hye bal Np perpen to (he xii ws all the bene bch lining PACKING THE HANDLES Step 6—Roll a rad of polymer clay into along ral and fill each Iandte Tamp it down and add more clay until the handle is fll. Sut the packed bundles aside and prepare the sips ADDING ANEEDLE Step 2—Te insert a mele, add another drop of instant glue to. the Jeno and quickly inset the wwcle ito the clay pachid andl, Add sore clay, pack firmly and rah smooth, Bae for Part 3 Fundamental Tools BAKING THE HANDLES Step 5—Bae the bandleson a cusbion of cotton suffi for twenty minutes atthe eonperture reammonded by or baning ‘aren ofthe clay you're sing ‘THE NEEDLE TOOLS — SECURING A NEEDLE Step 1—o prevent males from palling lose, thread the med with button thread and wrap the trea round the ee forming ‘bnat. Ade a drop of instant glue and trin the exes tread. NOTE The Tapestry Necale-Tool has a large #5 needle in one end and smaller #16 or 18 headle in the The Fine Needle Tool, aleo double ended aight, and bent needle, To bend a needle, with a pliots over a flame heat until the needle turns cherry red. Bend it with a second pall of pliers while the needle is stil hot,Part 3 — Fundamental Tools The Curved Tip Tool Step 1—The Conved Tip tool bas multiple mex: modeling the eye (ids, the nos, marking finger and te nails Begins with a covered and baked bandle. After packing the handle, nse your finger or a large bed 20 create dimple in sac en of tbs tol. Mabe ro smal ys each as wide as the diameter of the tool. One by one, press the lange sud of ach egg int the limples at the ends ofthe tao. Blend SHAPING THE LARGE TIP Step 2—Bevl one end by presing it agains the work surface the scan tee a” Step 3—Muistn th bled end and thon SHAPING THE SMALL TIP Step 5—After baking, exe emery fuaper res api the shaft ofthe large britting Step 4—Lightly strobe the other cud of atl water to ond bath tips Make then nee. The spsaak somble a wide, gently the rol to a point, meister the hay and saath and the dees sharp, Rac the tps U-shape gonge The care mot to damage it them press it gaint the tapered end ofa #2 with talcum poder. Treat with poder n tile you the the small creed tip Initting netle. This tip sbanld rsemble a regia basis tsardrop-haped gouge, braader at the base then at the tip. With boob sis finished, ‘babe the Cursed Talon 2 cashion of etson for 30 10 40 mines.Part 3 ~ Fundamental Tools The Hair Tool ‘THE THREE NEEDLE COMB Step 2—The ober end ofthe baie tod bole a small “om muade of thre medi sexing mele that draw fine casey shed Live in ‘the clay where the stamp is impractical to use. Begin by threading all thro meds sogetber: THE HAIR STAMP Step thir 4-inch-lomg oo uss the point end of «large kiting mde as a feundation fore stamp, The to inthis ltare show he fe ses of constrton. T of clay and bated for 20 nats. he tip ofthe Lighter tol bas en capped with a thin, triangular shet of fresh clay, Drew closely spaced lines in theca radiating from base ofthe cap Lowa the point. Use te shaft of the nde to impress there Liner, nt the tip. I will asa lne the same width at the male, eating a stamp. Take yr te with tis tol ad twill ave you haus of wor Bate fo thirty minutes be ark sol wn te op left has baw covered with a sheet FINISHINGTHE = The Core Tool HAIR TOOL, Step 3—Pack the open end of the air tool with a rad of clay. Hold the needles in a Biers s0 tere aligned dose egetber cd scare ‘the thread with stant lie, Trim the thr, add another drop of give tothe head end ‘pak cathea Gace ts ached day. Secure with more lay and babe again ‘comb into t Bool shaped, thir ol wee almost half pond of ele, bout muah it posse to erste smont foil cores (halls) forthe bad. 14 inces square and ofan ims tick Presta wet wo ball or rd soup ladle inta the clay 1 form a shallow bowl, Remove the ball or Ladle and take for 1 ewPart 3 — Fundamental lools Mal g Tools for Life-Like Eyes THE EYEBALL MOLD The ge mold gins a fas black of clay aprosimately 1* wide, 1 8 ong cand abit mare tha 12 thick. Press ball bearings or glass Pads ranging fram Smo to Sem balf way imo the clay at erm interval Bake the stand for 30 minuces with she Beads and brings in ple When ol, pp te Beads and earings out. The Sculpting Stand ‘Ar your seulpire progress, you'll ead scalping stave fr ies tat stands Drill at leas doen Boles at ivegedar intervals, using move it until the clay cools. Moving a warm sculpture leade to disaster—cracked necks, broken arms and fractured knees, +f a sculpture does crack, stay cool, and let the sculpture cool. The glues you'll use to make repairé—instiant, glues for amall cracke, polymer clay for large fraictures, and PYC cement: for major breaks—work best. at room temperature. + lf the clay tends to darken or scorch, drape the aculpture with wet: paper towels during the last half of the bakirg time. + If part of a sculpture does scorch, take heart. Cut that dark clay away. Craft a new face, or new hose, or anew arm. | did, oy Part 5 ~ The Body in QuestionPART SIX A Leg to Stand On ‘The strongest bones, the most powerful muscles, and the most complex joints are in our lower limbs, We walk, run, leap and dance with astonishing agility. Work to suggest that combination of strength and joinery and you'll create the illusion of a figure with the same capacity for movement 70Part 6 — A Leg to Stand On Landmarks of the Thigh, Leg, and Foot Powerful muscles shape the lower limb. The Gluteals add roundness to the hips and buttocks while the Quadriceps add fullness to the thigh. ‘The strap-like Sartorious enhances that fullness and visu- ally divides the quadriceps from the hollow of the thigh. The Hamstrings create a flat, even appearance in the back while the Hamstring tendons frame the hollow of the knee. ‘The knee joins the thigh to the leg. The inner margin of the tibia, the shinbone, is a visible kindmark on the front of the leg. On the outside of the leg the thin fibula produces the gentle arc in the exterior muscles, On the back of the leg the Gastrocnemius, or calf, extends from the hollow of the knee to the mid- leg where it attaches to the Achilles tendon, The ankles, the heads of the fibula and tibia, divide the leg from the wedge-shaped foot. The dorsal arch, top of the foot, roundness of the heel and the toes are three of the landmarks within that form, The arch on the instep is another important land~ mark. The outsicle of the foot hugs the ground. Gluteals Gluteals Quadrifeps Hamstrings Hollow ‘of the knee Ankle Dorsal Arch Arch of the Instep Toes Female Limb Male Limbs. ‘The Limb fra figure 7 % bead lengths tall measnrs abort 4% buad longs fram she cre of the hip to th btton of theft, and 3“ bead engi fre the fork ofthe body. Thangh the woman's limb on the right bas a smoarber aspect ands braader tthe thigh, the pusiton of Aandnarts om ber Lic te same asthe bnew male limbs the lft. The bate ofthe Buttocks lies inline with the fk ofthe bay, The Strtovinns eres the ir thigh Ys ofa bead length frow the fork. The widpoint of the Linh is just above the hue, and the base of the calf (the gastrsnenins) lest bad length bel the midair, withthe vel bend long below the calf. Howe sharply yew chess to define the males depends onthe bady type yon sane vo dpc. 7Part 6 — A Leg to Stand On 72 Building Legs and Feet of Clay Again, you'll combine simple shapes to create complex forms. Again, you'll us tures to make those forms strong—a stiff metal rod will replace the bones in each limb. Instead of foil you'll use clay cores, Easier to craft than foil cores, baked clay cores reduce the baking time of a partially or completely finished sculpture. Without a core, the thickest component of the limb, needs to bake 2 hours, That much time in the oven can scorch one of the best polymer modeling clays. Smaller ‘elements in a sculpture—noses, ears, and toes—will darken, More importantly, these cores help you to model limbs that match. ‘arm Patterns for Building the Lower Limbs s YOU'LL NEED Thigh Core Pattern - 9 Base Units THESE SUPPLIES: Work surface 740 Base Units of clay + Straight blade for cutting clay * Gauge or dividers + Large and omall tapestry needle tool (page 15) ‘Large and medium Leg Core Pattern - 5 Base Units aluminum knitting needles ‘THE BAKED CLAY CORE ‘* Curved Tip Tool (page 16) Once bathed cd threaded oat the rca bones, the clay cons made acconing te these fattoms Crain sil give ou a wary and poseable fandation fr modeling. Bou cores bin as elongated bi- come, rod tore teach ond. Cutting each master core in half at a 43 dere angle willeeate —_* Standing figure armature: ‘tuo Yoinch brass rads 5% 00 matcbing thigh a two matching be cores fas aie nave long + Seated figure armature: two Ye inch brass rods 4% NOTES ete iaete a Btn So head lengths long Even if you choose to costume your figure 2a gi po Gee eats with loose-fitting trousers or a long diameter ag armature gow, those garments deserve a figure rode 3 head lengths long ‘that stands on realiscically modeled limbs. Don't skip ahead. Stay in otep and opeuiryng svat (vse fe) learn to model the bare limb. The well Large baking dich or dressed limb will follow con enough ceramic tle 6 FiberflPart 6 ~ A Leg to Stand On ES eee Pattern for the Limb 5 Yhead length Rod 1%-2(3) 3-4 1466) Base Units to Cover Base Units to Cover Yo (1B YB 1hA-1%(2)B 1-1% AB b) 9 rom the length ofthe armature rad tothe size amd psition of the appli sles so bw toca jul leg wits males, jis, and ft jut vight fir the dy typ god: With the appliques in place, and te lib seabed, tl and finger orbs do aa B= Base Unit ‘he rst: Ther’s wo pattern fur the fet simply because they're s0 easy t0 mabe. Yarn YWScale —(#) = fat Figure imastored the face and the rors: yan an mater te ft as wt. Base Unit messurements igus, this patern 7%‘THE THIGH CORE Step) 1—Combine 9 Base Units ito a soar, sents bal of cay Roll itso tbick vod about Bese lange lng, Plove your palms at the ond taper the ends 1 sont be similar othe patirn ov age T2, a bi sconce olin, applying presnre with yon pals to ome clrast 3% bad legis to. TIPS + For very strong legs for the standing figure, use an epoxy putty for the leg and thigh cores, teaspoon of putty equals the Base Unit in volume, Blend the putty according to directions and let it set up for an hour or two. Ue water or petroleum jely to keep the putty from sticking to your hands and your tools and when you customize the thigh cores, Following the core directions for modeling, but before baking, thread bath the ‘thigh and leq cores onto each of the arm: ‘ture rode and gertty bona together. Let cure ‘over night: for greater strength. iF you have trouble roliing a core that’s everly tapered, you're using more pressure with one hand than the other. Let the hand that caused the problem correct the problem—flip the core lengthwise ard continue roling THE LEG CORE Step 2—Use 5 Bane Units to fore the lg cores Use your fingers ‘and more prosave usar the ends a erste a shape matching the astern, more taper b-sme 3% bead lengtbs long Step 3—Use the pterm guide on page 72 to cut sac mater thigh and lg cor nal at a 45 degre angle cS a PIERCING THE CORES Step 4—Use «en he, iff rod on tong eadle 10 pire etch ‘are. Spin yor ta ie ct dill, ad wb te faap it comtead. After Dering the coe, thread ech onto a empoary rad te sae Aiaavaer a te ar tare rad yall sei the fii figare, % inh tick for asad ing fire and Ys of an is sbi for sated figALIGNING THE SHINBONE Step S—Hod the leg cre by the knee with the hme ace down amd robe it at the ankle sil the cave is the right length, 1% bead eng for an average or lan figure, 1% baad lenght ar bet for lane figure. Geatly prs the front of cach leg cre agains ibe cork snr te ation i slightly, and then rad sa the fons by rolling it back aon fort one or tines. Issa carves the lenge, shina ‘the ates, ana aligns the shiubone coe tot TIPS Once the cores are on the rod, zallor them to sult the stature of your sculpture, not t pattern. For average or lean figures, stretch or Compress the thigh cores to equal the distance trom the fork ofthe body to the base of the pectorale, or 1% head lenatina. You may have made 4 taller or shorter figure, and rafting coree th stature io more important. than following the parctern exactly For fat figures a thigh shorter than norm: / 6 will emphasize the body's Y head plump appearan THIGHS THAT FIT THE TORSO Stefy 6—Inser oud feof the thigh tothe bady. With sbesbigh ‘or on the temporary ro imart te rd inte socket in the torn Lightly press the thigh agains the hip joins wo snr efits the bay Brush the ip ine wit water or paste obec the or fem stick ‘ing. This pasition, in Tne with the body, suits standing pace BAKING THE CORES Step ?—Bake all four cares on a casa of fbf na glass um according t package insrastions. The clay will be thicket the ‘high cores aed that thickuess doers the baking tine, dipend- ‘ng onthe clay fran to 1 Ys bars. While bse coves babe, model the fet,76 Feet of Clay ‘SHAPING THE BASIC FOOT Step 8—Work ste by stop tocreate a prof fet, wt om at tie Use 1 Ys Bare Units foreach Base Units foreach suan’s fot, amd 1 4102 Base Units for the fut fat. To shape eacd ft, rll te cay 0 form an lamar exe beat % of Beat length Hol these by the stall end, the bes, yon stroke the oer end, the ts, 10 flatten tam. "Tis will lengthen the font vo a tle mre ‘how 1 bead lag san’ fot, REFINING THE WEBBING Step 10—Uise ths large tapeory male to rena ont the toes anal anc theca, webbing, hetwven each te ORIENTING THE FEET AND MARKING THE TOES Step) 9—Carve sac fot inward, forming a righe ana lf fot, ad the con ebro evenly pau "tes" wit a raft hie. Spit ube due ter tos with te hfe ouch fo sale tes and ove big tc sch fot REFINING THE TOES Step 11—On the bitto of te oot, press tw angled grams te the clay—ow below the small toes, Carl the small toes over the asd aftr yo crate tis. graveStep 12—Place the sco proms below the bg te FORMING THE ARCH Step 13—Create the arch om the itp with the large taper ale, Roll back ana fort a bit to form smooth and reals DETAILING THE SOLE Step 14—With sane poses, the bottom of the fa i Fora Anvclng o° seated figure, auld sbic ssp: Separate each tne with the small tapestry nee ad then use the Large medi knitting nese MARKING THE NAILS Step) 15—Use the Large cured sp to inprins the bse of FINISHING THE NAILS Step 16-—Deinet is of the mail with te small tapry male tig toe andthe sal carved ‘0 imprint the nails on the sal te tia et aieCOVERING THE CORES WITH CLAY Stepp 17—Renove the soporary rade amd cover each ere with an inl she of clay. Form the clay into a shape resembling the core lation with a rller until its 3 times as wide and abit longer 4% Base Units tn over each mate thigh, 3 % tmits foreach mate thigh, and 6 Base Units foreach fat tigh. Use 2 Base Units to coer np each male leg and 1 Ys Bare Units tn overeat female leg, Use 3 Base Units for each fat leg, Cover Pan the care, MUSCLES OF THE CALF Stepp 19— Build up the rnsles of the calf, the Ge with cm ea appliqne. Use Ys of a Base Unit on a fmale leg, Yea to Lait ona fat bg. Blend from Base Unit on male leg, ad te applique onto the hg MODELING THE LEG AND ATTACHING THE FOOT Step 18—Ser the con fit, Pres the base ofthe leg into the lay fit, Thread the armatnre red dato te lg apiece the fo. Secor the fe aad bl wp te dorsal arch with an wal applique made of sof @ Bare Uwit. Blend ‘he sas by ia ring lay fre te Bel pnt te lead fo the sides of the fot onta tbe lg, Bld the applique by stroking frost the applique np oto te shin aad ve cmto theft, Rs smn with wd abigl aide wile yon asenble the fe ed yor finger and ve-mace the arcs en the inp if massa ‘THE ACHILLES TENDON Step 2 stokes just hove te bel, This step rates the Achilles tendon and ads more lay tv the mace of te cf. Strobe mare frmdy on te imide of the deg the ser baly of the gastrocnomine is lightly igher. If he ondon mses toe ide, ener with a foger cae on te trie 1 Sire np ca ide of th bac ofthe le. Begin yaAWELL-TURNED ANKLE Step 21—Use one slightly flatonsl rd of clay for wach amhle, Use fu of Base Unit for woman's ales and Ya for a man's ankles, Ve bare of inner ane lie just above the top of th fo andthe eter ankle lis jst blo Blond the side and reas stroking mpd with your BUILDING UP THE HAMSTRINGS Stop 23-—Socure rhe joint and buildup the Hanstrings swith an oval appliqns. Use t Base Unit on woman's fia, 1% Base Units on a man's linc, ad 1 Yoon a ut lin, Pres fray in pasion so that it coe the dolla of tbe awe. Blend the seans from te applique up nse tb igh and down onto the calf ad then the sides ASSEMBLING THE LIMB AND MODELING THE THIGH Step 2. ‘rod withthe ces of the thigh on the outside. Pash firmly ther: The be shold overlap the bate of the thigh Blend re seas. Thread the cared thigh onta the armature to wel the tao ars ofthe lg 1 ‘THE HOLLOW OF THE KNEE Step 24—Siroe te bac of the ke jnint dowmerds create the tendons and the bellow of the ewe. Use peated strobes rather than one fr stroke. Finish by ighly pinching the tendons toward each othrPart 6 80 0 Stand ‘THE QUADRICEPS ANDTHE KNEE THE QUADRICEPS TENDON ‘THE KNEECAP Step 25—Build up tbe hme and Step 26—Sugget the Quadviceps rendon Step 27 —Sugget the knecaps tring (Queciceps wih am el apiqne. Use 1 with light presare fom the large hitting lar shape with prestare from the large Bae Units for cco’ fe, 1 YsBase vale om the tide and ontside afte Tim iting ele. Sofen the fer deals Units for a art's leg, LY to 2 for the jst abe te Race. On ot wamant's mare with your finger avy le. Blond the bottom vans carfully —afly adele tend cond on the ft limb, so as watt let the base ofthe he, Blend ase your Ute finger todo this te. the seams by string frm the appliqne ‘nto the thigh. When finshed, strobe along the ee of the appliqne on tbe ote thigh. This softy wadeled groove is the beside band. ay. i ‘THE SARTORIOUS Stepp 28 —of a bea length from the tp of thinner thigh, nthe shaft of te Large rinsing esl to pss a diagoeal grove extending from the inner thigh to the bp, fading at the bit, This is she srap-tibe Sartore. Sofien it with a forge stroke. THE TIBIAL MARGIN ‘Step 29—Saroe the inde ofthe eg. fram Just above the inner ame tothe base of the ‘rcp, Use enough preinre to raise a tight ridge, the vibe edge or margin of he tibiaPart 6 ~ A Leg to Stand On The Heroic Limb like the heroic torso, the muscles on the heroic limb stand proud and well defined. This pattern will help you place appliques on the already modeled leg to Produce muscles befitting a hero's stature, Each frac- tion is that part of a Base Unit Adductors YoB Quadriceps Beach Ye B BUILDING UP THE HEROIC LIMB Step A—Pres all of the appligns fray in lace Strate cong the ras with yor finger end, cmc the sams et leaving. the sce wl defi Hamstrings %Beach Gastrocnemius “B Front Back DETAILING THE HEROIC LIMB Step B—Roll bar thin rods of clay ad pres in pave. The veins curve hn and owt like aod river branching at the midfoot toward the big sand litle tos, Drag the tip of the large baiting % Seale along the edge ofthe seins to blead. Finish with "ace Unit Base Unit <4ft brash ane ala, 81Part 6 A Leg to Stand On At Last ... Legs to Stand On 82 ATTACHING THE LIMBS Step 30—Attach end finish nding each Tinb ome att, Bi by covering, each dip joint witha coal applique made of to thaf a Base Unit, Press frmby ple Yow soul have wo table ating he pero sackets where the armatare rd imerts into the by Piers the sachet agen Step 33—Brild up cach of the buticks witha half ince applique made of s Bas Unit, Use Ys of a Base Unis an a coments acc amd 1 eta fat figure Step 31—Open she windows! Or, tabe the logy aa he tor ease for this stop ‘The bast method for securing limbs to a toro this size, it works with bath habed or un-babed clay —apply a small amount of lear PY cement tothe center of the hip joie with a coon swat. Step 34—Blend the ams by stroking fon the applique onto the back and thigh, ‘oe tab care not to fas the fold tthe base of the buatocks, nor the reas Stop 32—Quickly attach tbe lib by inserting the armature rad dep into the Indy, at least 1 bad lege, ad prs te form in place. Hol the lid firmly against the tars for five tox mines ard tho blend to seams. SETTING THE POSE ‘Step 34—Ser he pase. Hal the figure bythe Ii an inert the armature reds into te bein the porary Base. Af dsermning our figure stands vertically, push deum ety, I wil now tad fev. Lt she igure stand for several bans, ining te le ies ‘amply an the jones are srngThe Seated Figure Step Pring hon in hsbc THEBENT LIMB ese oe teres a mci ecy ep Slee pore—sitsing or kneeling back on one's heeds all of the seps that suggest the mascles and Di te ip jot th sch og ty el ge ‘vad: ld Score in pahion against the Ta ge il las its shape aed the clay ‘ie it sa geno hen with ty on a, Rear te apn he Demers gm rh pong 0 art mie Re Oe WLS SAAN PEE ROOO chs cite ond ec ems Bo sll: Bie Me ec He ERA OUR ne re be wig eal ad of ragnire casting, bt they de wo 10 be the righ: lengsh with th sbinbone aligned, 9 Made of Yo of a Base Unit ad Blond. Carga pine atl tbe ors, tread onto armavere sized wire witht disurking their shapes and babs. Part 6 — A Leg to Stand On NOTE = The seated pose is a cup- ported pose with the body reeting on the buttocks and ‘thighs. For that reason, you can use a lighter weight metal rod in the lienbs. Ye inch brass. rods are ideal. They're sturdy, easy to bend, and available at. most hobky shops, The rod docen't nced to extend deep into the body or beyond the sole of the foot, but it should extend into the foot. Dorit forget to model the bottom of ‘the foot with ae much care a2 yourodelthe top Step C—Attach the legs using the same tachniques you wold user secure stand ing leg, Build mp the buscks with val appliques ax if it wore a stamding figure Use Ye Base Unit for mae figure, oof «4 Base Unit fora female figure, 1 Base Unis om se ft igure. Aad flanena rods made of ts of Base Unit along the inguinal line. Blend the suas 83Part 6 ~ A Leg to Stand On Step C—Pase te foot amd flatten the shin 84 MODELING THE THIGH TO SUIT THE POSE Step A—Lo model the thighs, emer the igh cover using the same eval wrapping techniqne, but use thee amon: 4% Base Units 10 cover each female thigh core and 6 ents to cover each male thigh care. Rub the ay snmcth and attach the thighs 10 the torso, Secure ad mindel the buttoks, ning the same tchniques aif fr a seated fig Buildup the buoocks with wal appliqnes of 1 to 1 Base Units each, 1 fora man and 1% for woman, Made the inguinal fold swith flattened rads made of Ys Platten she Dabs of the thighs by pressing the figure down against the work surface. This with twiden the exterior wight MODELING THE LEG ‘TO SUIT THE POSE Step B—Cover the leg eves ming 24s Base Units for each finale leg, and 3. Ys Base Units for each male leg. This is thicker tera, but thre are no appliques. Blend the sua, Strobe th clay from the base of be Teg ip onto the calf, Madel the fit foot for this pe, attach and score with a coal appliqne made of 4 of a Base Unis Remember, the logis compressed by se weight of the body and the thigh — don't bnild np the Gastranemins om the back of the calf il it mp on the outer calf with aw oval applique made of ‘4 of a Base Unit and Hlond, Model the ankles, using sips made of Yu ofa Base Unit for cach ankle SITTING BACK (ON ONE’S HEELS With a pose 20 compact and self supporting, you don'c need metal rods, but you will have ta make some changes to model this pose realisti- cally. Do inoure the thigh cores to fit the pose using the same technique you would use for a sitting figure. The thigh i smooth and uniform; there are no appliques, but you'll use extra clay when you ‘cover the thigh core. Step D—Prass the tmadeled lower tes sagaine the base of the thighs. Pill the ap atthe ee jos teith wedges made of Base Unis aac, then blend and made the leToo Tall for the Oven? Baking Techniques for the Standing and Sicting Figure joo tall to stand in most ovens, the 12 inch tall hero will bake laying on a cushion of iberfill. Laying down distributes the weight more evenly and prevents cracking at the joints. AA sturdy cardboard box provides temporary chair for the seated lady ‘The dark brown lady illustrates another seated pose and how to. bake her. In all of these figures, the clay in the foot is the thickest unbaked component, almost a half inch thick. These figures will ba for 40 to 50 minutes and cool for 2-4 hours before they're moved. A blanket of damp pa laid in place halfway through the baking time will prevent scorching, NOTE Remember, in the oven and fresh from the oven, strong sculptures are vulnerable eculptures. Folymer clay, baked or unbaked, expands and softens with heat. In the oven and while it cools, your sculpture needs adequate propping against the effects of gravity, especially at the neck, hips, knees, and ankles. For figures thio size and weight, almost a pound, the clay in the limbe can and will crack if the figure bakes in a etanding position. Compressed by ite own weight, the softened clay will slide down the emooth arma- ‘ture rede in the legs, That's why laying the figure down je 90 Important. 85 Part 6 ~ A Leg to Stand OnPART SEVEN A Show of Hands Our arms and hands have set us apart. Other creatures possess more powerful limbs, arms that are pound for pound far stronger. Other creatures possess hands, other primates an opposable thumb, but no creature has changed the world as wwe have. Offset by an arm of adequate strength is the human hand capable of the delicate maneuver, Because of that balance of adequacy and delicacy, we possess an unparalleled dexter- ity. Celebrate that distinction with wire and clay.Part 7 ~ A Show of Hands SEE Mapping the Landmarks of the Hand and Arm Deltoid Triceps Elbow Extensars of th Fordarm, Ulna Male Arm Female Arms ‘Phases of te female arm om th fe and me of the mae arm on the right sow on be similar, and ye singular the tu ar. From anders finger tip wen’ are is 3% bd lengths lov, while a man's arm is ong, alt 3 bet let te bath the diac Sows he ari tt elie it 1 ec ent, aad 1 bad log from te lw abv tb rit bane. Pro ibe rib oth ip of mil fn ma’ bai 1 and lent lng and woman Yo ad et, The fvers ae lgy las then bal te lng hs of the and ital, YOU'LL NEED THESE SUPPLIES + Work surface + Wire cubters or nail clippors +10-12 Base Units of clay + Ten cloch-covered florist wires * Straight blade for cutting clay + Vinyl glue * Gauge or dividers * Small ceramic tile « Large and small tapestry needle tool (page 15) + Sculpting Stand (page 18) Large and medium aluminum knitting needles Large baking dish or ceramic tile & cotton fber * Curved Tip Too! (page 16) or batting + Blade 87j Part 7 — A Show of Hands wrist to fingertips /.t0 1 head length BUILDING THE HAND Use tis pattern a. gd for modaing the bana, beginning wit the armaatirs and ending with «a fnished band and abit of pastry. Notice thee you mel te fingers first, amd then build ‘the band, and then she arm. This is woman's hand —the writs is Ys of a bua length from tbe fingertips, Ln 2 man’s amd, the writ is 1 ad length from the fingertip Armature Techniques ‘THE BASIC ARMATURE Step 1—This is the basic armature me white, lcb-avered florist wire. Fur sach arm, ext five wires 4s bead lengths tong ‘Mark the via, 1 bad length fram ne end cand. twist the wives togtlertrngh to the ter enc Troe the ingore ad enh, A cil dipper o small scisors works bs. i ‘THE STRONG ARMATURE ‘Step 2—Goat the finger and thund wires For figures whose arms are rated this with vinyl glue (Sabo, Gem Tax, feul-it) ‘stronger sersion ase the same floral wine and let dry, Apply a second coat and lt enapped around a inc thi bras rd. — dry again. Fer each arm, ont five wires 4% bead ent Fong. Used width from the finger= ips, wise the wires gether so ses and shen serap than tightly around the rod. Use avd 3 % ead Lens long fora woman's arm, 4 bad lengths for man’s arm NOTE Remember Modeling Unite? Made by cutting Ys of a Base Unit Into fourth, ‘theyre easier to make than cutting clay into and fa. You! need & to 10 such unite to model the fingers, more to build the knuckles and flesh out ‘the pair. Step 3—Use of Madling Ui f t iad ill i ig ge fen, ighly ox ob inking end sor fr ec hab Pra mt and 1 Modding Unit et for te thanb nd Ifthe ile ings. 114 ot pl ig Pater oi seh la, Pater ond rat fl coma the ig curing Sb tipStep 4—One finger ta tne ntl roll ‘the cay svat Fuld the ec fingers out of the wey and work on a smeat, ratsed srfce. A ceramic tite stow a small box or ace works wel Step S—Lest the tp by lightly touching it swith your finger. You sould fol resistance of the armature wire, but nt the wie isl. If there's to mach clay the tp of finger, fold i hack ar pinch it of, and rex rll the for clay. Uf thers ton Lite, stra the finger to cae: mare cay over the 2p of the wire, MODELING THE NAILS Step 7—Lightly strobe the tp of the Singers to flatten slightly. Use the mull curved tify al to form the nails, each at east as lang asthe finger is wide Step 8—Use the ine nce to mark the sides and tip of each mail. For a smoath “Pearce sic press fram the shar of ‘the nce, 10 the pont Step 6—On the palin side of acd finger, stggert the rae of the joints wit the fine meal. The jints divide the fingers into ‘thirds. Each sbind is: roughly equal tw ‘ce the wide of the finger: Maasnre fom the tip ofthe finger to mark these rare Divide the hua in half Step 9—Gntly carve en finger suggest fing rele sate, From the grand ep of earn slight shrug of the shales, mnt sitaes deen! on movements atthe eri bbc, ad shnlder to mabe tbe pnt Part 7 — A Show of Hands a SePart 7 — A Show of Hands 4 ‘Step 12—Blend the seams and rab clay sy ‘from the back ofthe and onta the fongrs 2 ca fra se pal onto the fingers Step 10—Conpare ts but sts of veer BUILDING THE BASIC HAND {for symontry, Do they mirror each other? —— Step 11-—Place a flasoned ova of clay ‘fs, bake for 20 minutes on a cushion of om abe pan. Pres firmly and place a fibril fo, make oration. second al the back ofthe and, snd wiching the wires. Use‘ of « Base Unit fer each oval on a women's bard, eof ‘Base nnis for each on a man's bard, ad oto fora fat figures bad WORKING WITH WEBBING BUILDING UP MODELING THE KNUCKLES ‘Step 15—Use he medinm butting ealle THE BACK OF THE HAND Step 13—Add swall balls 10 each ov the apr mee to separate te fingers Step L4—Paa the sum dur ido teal ada flttned rd the bl of scat adel the webbing. The Ingest finger barizan of the band, Plae am Lcsbaped the toons Use 10 of & Modeling ‘pty tes ban hf te eg of the flared rd made of st of Madeling Unit for each ad Blend the sams sing ‘end, Work alternately othe pal’ aod Unit on the bach ofthe hand atthe base of te large kiting mee a a aller Use ‘hac of te und. Sip ae cand ren toe fingers our fog a tfen te hues of fat end cay ont te hand ad ta stab the ‘hand sides ofthe fingers wit te arg saps mall, Ya ec to eset tsp yon eft the ad. 90FINISHING THE FINGERS Part 7 — A Show of Hands FLESHING OUT THE PALM ALITTLE PALMISTRY Step 16—Pase she fingers by bending Step 17—Place a flattened rad, made of Step 18-—Use the small tapestry mele te then at the knuckles, not at the jints. sof a Mudeling Unis, ono the palm of define she tins of the palm. Hold the Afi pong th fers, se asf rasta hel at tb bare ofthe fingers. This ie nae art parle w the cay x ou strate the back ofthe bad mse be ball of the liate finger. Use a large scare tte erases, Use your own bane of ‘butting meadle to blend the seams and thy illatraton an the pattern guide ruin this appliqn’'s shape. MODELING THE HAND THAT HOLDS Step A—Afier marking tho lines of the ins, bend the fengers so mates the object the Bands will bold. You cam mtd the fingers arcand the objet, bit do it wit ‘ame. Model the joins afore you mark the rails nd then bake fr 20 minut, Step B—Model the hand an then st the ‘rip wsing the ojo: the band will bold. ‘The hand holding this wizards staff ray acl miner repairs after adjusting the fingers and the thumb, ‘Te joints may vac, bat they cam be repaired. aAPart 7 — A Show of Hands 92 f MODELING THE FIST ‘Step A—Ube clenched band begins with a diffrent armarure— wo wie, eich 9 Bead Longs lang, twisted 19 teaww a toop approsraaely Ys tbe mid-widthof the haa in length. Coat the laps twit vinyl glee and let dry. Coat again an let dry Step C—The puak of the angle is the Ienacle ofthe index finger Tire the band 1 place the pook on the right o lft, t0 ceeate aright band o lft hand. Forma ighly flattened rod and place it flash vith te angled age. Tis red will provide the slay for the fingert, Use 2 Modeling Units for a woman's and, 3 Modeling Units fr a man’s band 3.10 4 on a fat ‘nd, Bleu al but the bottom seam. Step B—For a woman's fst, sandwich the lop within wee flat toned ovals made of 3 Modeling Units. For a man’s fst te 4 Madeling Units for sac. Use 5 on a fat band. Blend the seams, crating « flatoned ogg with the small en atthe wrist, Place your index fonger atone side and strobe the top of the ey towards your index fingers forming 1 flat es, ome vertical and ome aged tt Step D—Use the tapered end of the Step B—Sngqect the individual fingers ‘medinns kitting needle to pus the “Le with the large tapestry neal St the point finger” odin at sight angle, vewcaling ofthe malo tp ofthe bund atthe Rew ‘the hel of the and es where the webbing begins and pivot the ee down 10 cathe cay. Three equally ace nae ets make onr finerthe pal Step I—Build up the knucles witb for small flattened balls of lay. Ure % of a Madding Unit for cach bauble on a woman's hand aud ofa anit for ach nwoble ona mats Band: Step P—With the tapestry mele, ron ff the joints whore he figer fold agit Step G—Emphas ‘the fingers down to flaten then slightly th jn by stroking Step J—Blead the seams onto the back of the band aon then vate the fngers Use a oraft knife to separate amy fingers lene rosetbe Step H—Pash up the inde finger Step) K—The index and the pinkie ned ‘special atteation: they're visible from the ies. Ate tip to te ofthe es finger witha small 9g of clay made fram soft Madkling Unie fora mat alittle les for 4 woman, and more for the fat and, Blend the seams ad tke care ta retain the outline ofthe tp of tbe rer.Part 7 ~ A Show of Hands Step L—Adi the sip to te Ute finger with a small ogg made fom Yo of Modklng Unit es fora woman and more fora beever bond. Blend, tabing cae 10 retain tbe ntline ofthe fer i. ‘Step O—Mark the joint and bend the thamb 10 the dsr pas 94 ‘Step M—As the fingers bead, the skin folds in characerisic way. The folds rrsenble a tre with thre branche, and the hase of the tree begins atthe palm. Use the small tapestry wl 0 dea the fl in he index an lite fingers Step N—a) Roll 1 Modeling Unit 10 form an egg, ) Flatten the base of the Ubon slightly. «) Model the nail. Use % of Modeling unit for a eoman’s band cand 1, fora heavier bane Step P—Place the base of the thumb below the inde finger and pation the thu. Blend th base of the thus ands, Pins the fat by suggesting the cd of the lifeline nar he base of the pal,Part 7 — A Show of Hands A Pattern for the Female Arm Arm Core Forearm Core = Base Unit B = Base Unit: ‘This isthe pater fr the female arm. It's smaller and soother tan the mail arm, but bth the mate an fae arms seth sae sie cores sand flow manny of the sane sap. Note the bak clay cores ae the arm pteable, 95Part 7 - A Show of Hands A Pattern for the Male Arm ‘Arm Core “8 “8 “B Forearm Core % Seale Base Unit B = Base Unit Using more clay $0 coer the same coves gues yeu the deed fle for maeling the Larger male arm, Using acditinal applies gives yom the added male Sf ya wuts ta oeate avery nencntar, burvc arm, gin with this patra ad bud an it %Modeling the Arms Crafting the Cores Step 19—For each arm, make two clay cores. Use ofa Base Uni Loreac forcarm Fora a tapered red bd length long, Use 1 Ba (Unit fo be upper arm and form taped rad 1 bad length, Thay shawl mat ‘aul longbcise tb cares i the torn guide Split euch cre almast tn Step 21—Fluttes bac clay armatures slighty. They sbanld mates ‘ores in te pattern on age 95 BUILDING UP THE ARMS Step 23—Aded mate and fl tothe freer with Y of a Base Unit foreach teman'sfrcarm, 1 Bae Unit for each men's forcarn, snd 1 Units for the heavier arm. Farm a taper od} bead dengt to aed fleton witha rll Use 1% Base Units fr ec seaman’ per arm, 2 ants foreach man's 2 forth fat figure vole rma roc 1% bead lene long and fltion ei 2 Step 20—Besin with the forcrn. Sandich the teiad ‘wires inthe pit cay rod as ‘oe the wrist and Wend the seas. De the iene w mall gap Seto the forearm and arm. tht ‘nber ar, tas Step 22—The exposed wire «4 the sbabder shouldbe Ya to 1 buad witb long. Bend it at a right angle to the arm, NOTE Youll have no trouble modeling the arms once the core covered armatures have been baked. When you bake them, lay them on. fiberfll cushion palm side up, Bake for 20 minutes atthe recommended temper ature: Let them cool completely before YoU ad muscle and FleshPart 7 — A Show of Hands MODELING THE FOREARM Step 24—Wrap the forsarm core so that the sane met on the ander sie of the arm, te sane side at the pal of te band. Pras fil and srake alan the length of the ssam forsara flatoning it slighty Blend clay onto the band. MODELING THE UPPER ARM ‘Step 27—Covr the upper aro with the sams wrapping aed blending techniques ‘you wud om the forearm. Again press firmly and strobe along the length of the arm with engh pressure to assare a simon surface and strong bond. Bleed to the fear 0 that no sas show 9 Step 25—Sugget the bead of the Ulus, he visible worst bane, and the mascles of the ter fortarm ‘with am elangatad exe shaped applique 1 ead wide lng. Use of ‘of a Base Unit on a woman's foram and ofa Base Unit ono man’s forcarm, Ys om a bsoey forvarns, Place re applique on the ouside of the arm with the small end at the wrict bone. Blend the sams: ‘THE ELBOW Step 28—Place a small egg-shaped ligne to maedel the elbow two bead ngs from she Hp ofthe mide finger Ure Ys of a Base Unit for 4 women's bw and ofa nit fra man's, ‘10% forthe beavy ara FURROWS OF THE FOREARM Step 26-—Use he madi hurting neadle to sugget the Uluar furrow: It rs from the eure ofthe wri bone so abe ell. Use ho mein nail to suggest another furrow ranning from the base of the pate cand wesishing asthe mid forearm. ‘Step 29-—Blead the seams ofthe appligne, ‘and thon re a mediom knitting nase 0 wget the el ait by pivoting the shaft of the me acros he sop ofthe jitPart 7 — A Show of Hands MODELING MUSCLE Compared 10.4 woman's arm, a mans aro bas greater length and side. Using more clay inthe fingers and band, more clay t coer Step 30—Build np the Trips on the exter arm ‘the armatures and more clay in the appliques is only the beginning, and. Biceps an the inmer arm with me onal Note be additional appligns, each a mace gr, makes the male apiques clay. Build up the inner forain with a som atthe tep Lager and visibly more masala than te fonale arm flatiensd rod placed jst al the are of the awit ‘hua, Use of a Base Unit for each applique. To sggest a porfal woman, use 1 Modeling Unit foreach applique on a women's arn POSING THE ARM AND HAND Step 32—Support the elbow: when you bend or turn the arms Step 31—Only the wis and elbow ave the pen Rerdel any msbapon ots, Repair amy tart by bending te cay taal for por, Yau can bend amd tara them, but rather than patching if prsible Use the taputry med avert snpport bth the frearan and the band whan yon folds inthe shin atthe joints Sand the wir, 99Part 7 - A Show of Hands Use this drawing as guide for changing the vonage male arm into the heric arm. Build the Deloid with a pie ext shape applique. Build np che Treas with an val appliqne 1 bad long long. Model the Brachislis with a flestoned rad 1 bead vidi tong and wie am oval applique T ‘bad length long 10 ad 10 the Biceps: Bimphasize the Exiensrs of the forearm swith flatened rad slighty more shan 1 ad length long. Note how the Tries and Biesps wrap armed the ara and the sn ons curve ofthe Extensor Ye Scale Base Unit B = Base Unit A Pattern for the Heroic Arm MODELING THE HEROIC ARM Step A—Attac all ofthe appliques and them blend the seams sing the sant th igs yn used om the heroic lib Strobe along. the seam Lins wish your finger. Afoer blending, poe the arm, making ay cst coretons Step C—And near the ball of the shams, DETAILING THE HEROIC ARM Stop B—Use the tip ofthe large bnstng mle 10 snggest visible tendons on the ‘palo side ofthe frsarm near she wis. Step D—Tiny shreads of oly, Uighuly lended eth the finger or the large kit ing newle suggest the prominext véins of te foresnn and band.Attaching the Arm TIP. Before you attach the arm, Consider two thinge—it'e easier to design a hire or bodice on a torso that has no arms and easier to dress an unattached arm ifthe arm has been baked. Make sure it fita snugly, iF you do chaose to bake it separate irom the body. Before baking burnich with ‘aale or brush down with alco- hol. Wait 30 minutes ana then bake for 30 to 40 minutes. Thoroughly cushion ‘and prop the figure. Watch the thermostat and the clock. Don't move your work until it’ cool to the touch, Step 35—Press gentle V in the clay sith he bare ofthe V tous the font of This isthe Deltoid mace, om a ack ad bry an a sofily Sift the ar dined fat, th yoor finger Suep 33 Blend the wane a Placa flatened ova made of a Base Unit on th nd perce te cok healed joint swith «small kndting nel the Delnid fe is prominent, oe oll att ace 7 — A Show of Hands Step 34—tn cet, wl ash firmly toast te ar jn postion. Sere the arm with « flattnad cal. This is tbe Delwid applique made of the tite wiv ity the f «Base Unit on a woman's ar, 1 Buse Unit on a me's aren and a beaver arm. Blend the seams ATTACHING THE RAISED ARM Step A—Cover the shoulder socket with ‘he Base Unit oval opplign, blend and ‘piers the sachet srt the arate rd the socket, Place a erent shaped rd made of end st the arm in poston Bae Unie boneatb the arm. Press firmly Plce the Delta appligne ubove the arm ‘Blend the seams, Use add presser from pour fiers to madel te indented arm pt 101102 PART EIGHT Measure ‘for Measure % the size of a life si You've been modeling in the 1.6 s model. The same techniques will work in any scale, Change the Base Unit, the foil core and the eyes according to scale, and you can create figures in any size That's the real advantage of meas- uring the clay. Once you've measured the clay, forget about inches or centimeters. Think in terms relative to the head and face. It's the proportions that matter, not the size. One half the mid-width is still one half the mi width, and the width of the head is still 4 its length, eModeling in Miniature Good miniature modeling is all about the details. In the Ye scale, the miniaturist’s scale, those details are very small, so use a good light source. Use a bright light that casts shadows. In those shadow: you'll be able to see the details. Don't be surprised if you find yourself lost in the details. Modeling in miniature is a delight; getting lost is easy. Size of & Shape Base Unit of Foll Core | OC Ya Scale Size of —O BAKA" fye 35mm ‘© Yo Seale © Six at 3mm O O a. Ya Seale ie MODELING THE SMALL SCALE HEAD ‘This digram will belp yom seas the clay, raft the right fil core, erat ees tne to tne fr bree smaller sales, Yi, and Za. Use the rod matbad to measure the clay. The manabere belo the fail ‘are tell you bon mach el oust For patterns scaled to size, copy the orignal parern for the bead on ‘age 22 and then radace isto 75% for thee scale, 60% for the ou scale, aad 50% for the saa The sachaigus ronan the same, rom fil coro finished face, al ofthe steps ave the 1am, but if you have trouble with a misshapen bead, model sand then bake the back of the bead {firs Cover only half te coe with clay ‘and lightly bend thas clay to the fi Build ap the crown and blend and then shape and pinch the chin (page 24). Mosel the jaw on all sides (page 25) sand underneath (page 43). Pie she (eof te bead. Bake for 10 mints Let cool. A balf udeld, balf-babed baad will hold itt shape while you model the fae Part 8 ~ Measure for Meastire 103Part 8 ~ Measure for Measur 104 x 4 x MAKING MINIATURE FOIL CORES ‘TECHNIQUES FOR TINY EYES ‘Use ou thu to ral iy fi evs back and fort in your core The tuo eyes om te left are ulymer cl. ‘The tun smaller es are aoe, nl you'll ave na tonble wabing shor seth, last “Quilters Pins.” bn ne bos yall fad a range of izes from 2.5mm up 193.50, re ae a Ute the recht bok to aim the vs, Only Use the large bitcing wale to ake «Set inthe yer with hard clean erase, ba ‘be boa of paint auld rnc the pn, met smoot orbit for the eyes, Rotating, or nse sandpaper a grinding whe, ora craft the tol. Let the paint dry. Dip suet, Whan dry, we he tapestry male small sate one ding eye in spinwing 38 in place corks well in this oifete taper the vase so yon car see what to int the ppl. Varn again FOLLOW YOUR INSTINCTS BUT NOT ALWAYS Ween yur sein sins ell you to ass suller tol oto past- ‘The Large creed tip to still the tol of cae for wadding the ye pon ops tll lane, follow yur intinsx For example use te fone Tide, Wovk from the cuside ro the inside. Ue tbe fe mele to marke le tou to make the rst aed refi the mouth, Medel te cars a id-line as a guide for setting the too in ple sft you attach the bad the bayPart 8 — Measure for Measure Modeling the Small-Scale Torso Remember, size doesn’t matter; proportion does, the same techniques sting the torsos in varying scales uses many of For the very small figures, there are even a few shor THE '/ SCALE TORSO With ip and chest widebs greater thaw 1 inh, the sate ‘dy othe lft has a oi sre similar to the sete bndy 09 the right. Made in the seme seay, is 2506 small Besaere of ts length and wid, body (is size masa ful coe THE SCALE BODY CORE 4 "he same cond core pattern, reac forthe scale for, uss Hse measurement: a) Fold am 18* x 9 lang st of fit lf to mabe 4189" square. Crease th foil parallel tthe fold 3% inches from one end, the wattle b) Fold wer 1 ines of the bp sation and 2% inches of the cession, c) ald over Ys inch ow the surter bp satin and U inch an the longer chest ration. he fla se sunk ae sre nly " x3 1%. d) Gat pepenticaar tothe folds ad nist ome at the wast. Wrap te cre wih thre 9¥ 9 shes. Gale each ‘et tthe length ofthe central cre and wrap ona a tnePart 8 - Measure for Measure The ‘% Scale Basic Body Pattern Uncovered Foil Core Core Covered with Clay 10-14 Base Units to Cover Front Side Front Side ch, tbe core should match tis pattern. To ‘Afier you've wrapped the central ere, formed the hip jens, Beda the sneer, and arcbd the 14 fo stocky bay, bt dn’ oll the sueps in Part 6, Use 10 Base Unit fora slender boy, 12 for an average bay {forget t0 rade the Base Unit to the right sive Hew Shoulders i BUILDING UP Be ‘THE BASIC BODY : Back Build ap the basic body with he same appliques, bat seth den fr the eae igre by ssn the smaller ‘scale : ‘Bat Unitas sen bere Buttocks % Scale Base Unit : V7 B = Base Unit Front side : 106) Part 8 - Measure for Measure Modeling the Miniature Torso You can moxlel the “sand Ye scale bodies without foil core by NOTE : replacing the core with clay. It takes 14 ¥ Base Units to replace the foil core and 17 % units to create a built up woman's body, 19%: to nan’s body, and 20 4 to build up a stocky body. With a To model a torso without a foll core use: the following build up a thickness of less than one inch, a miniature body will hake suff Number of Base Unite ciently to eure completely and at a short enough baking time to Woman's Body = 30 prevent scorching, a problem with some clays. The clay should be Maris Body = 34 very firm. A stiff metal rod, long enough to support the length of Stocky Body = 45 the body and attach the head and neck, will give these tiny torsos the strength they need, The ‘Az Scale Torso OBLUC UG A PATTERN FOR THE MINIATURE TORSO 107 Ye Scale Base UnitPart 8 - Measure for Measure MODELING A ‘ToRSO WITHOUT ACORE Step Combine the waite into a eat, sets bill oll fora a sige tapered rad 20 ea Tenge dog, Ts begin the wait pase Joer litle finger 0 the mide of the rid and roll it gunsly back for wot the oad i 2% bad lengths ‘Step 3—Use the pul of yor hand to goal laton the ady. Te wide (dep) in rail is % the wide ofthe bd tbe viewed frm thy front or bak. Stop 5 — Piene the ads at the we wit the large tapestry ele, With the hack anced, insert iff metal rd long enough bo snpport the omtine Ids, the ne ana the Ind. The red sol fe 33% bead egos bon. - Stepp 2—Safrn amd refine the wstst by stroking from the waist ono the ipa and tocar the chat and back Step 4—Pinch the tapered end t0 erate te fork of the buy witb don and tthe same te, gently pach the sbaders with the other ‘ad cnd arc the back, The sau sealed mate the sale paterson nage 107. TIP. Don't forget that landmarke on the front of the body can ve used to place landmarks on the back of the body. For example, the base of the shoulder biades is in line with the base of the pectorale and the crest. of the buttocks is in line with the navelWohterer the sz of the torso, these for madeling the Landnuers are exactly the seme, but aswel ‘There's no filer, s de’ bald your work 0 tightly. Cradle it. When yon wade the est and asdamen, spent the bac, ad sehen yo model the ac, appar the chs. Y the clays firm enangh, it will have god meory ad Dal es dpe ym may went tse smaller tol. The lange hitting nelle makes an excellant vole. The ‘madinn knitting males groat for madeling te mace. Te tapestry meal too bes wes POSING THE MINIATURE BODY To pose the miniature boy, mudd the straight body fist. Renae the spine nd then bond the body. Bead the rd in a matching cores. When yu reinsert the eu, the channel should romain oper. Work sdoaly. fing yar way. If you fret seme, pall the rad ot and tar agin Use the small tapestry mae to adel the case of the butacks, but follow ap by sing the mcd knitting mle tw erat the medial frre Add and made the cars after yo've attached the head tthe tre Ad the heed othe body with the same techniques yon ‘tad for the larger fguns. When you fish ‘the tors, ere the arm and hip sets eit the large tapestry esl: Finish wing ‘he same burnishing and baking tcbignes dered on pages 68-69, asure for Measu 109Part 8 — Measure for Measure Modeling the Miniature Limb Scaling down changes all three dimensions—the length, the width, and the depth. Adjust the Base te limbs in smaller scales. From establishing and maintaining the nodeling in scale means attention to detail Unit and the tools when you cr proportions to modeling the toenails, the art of| , % Scale Leg Pattern Armature—'/c" Rod 3%-4 (6) Base Units to Cover 5 Yshead length rod 1 %-2 (3) Base Units to Cover 1-1%4 (AB We 1% Q2)B 174 (2)B Yoo Thigh Core 9B Leg Core 5B Scale Base Unit ‘SMALLER LIMBS, SMALLER CORES “This pater is your nde for the Ya scale igre, bt nisasare the Ys scale tor yo created before yom begin, Use the lstace betwoen the fork ofthe dy cand te pit ofthe semacl as your gauge for modeling the thigh cars. The full Lib is.as log as the tos, nck and bead, sharter forthe fat figure tioPart 8 ~ Measure for Measure Taking Advantage of the Scale— Limbs Without Cores Why use a core at all for tiny such limbs? Aren't they small enough to bake thoroughly? Indeed, they are. The basic shapes are simple, and the steps proceed quickly. To model the thighs, combine the clay needed for the core with the clay necessary to cover it. You can eliminate the Hamstrings applique if you add it to the thigh clay. The same methods prove true for the leg, Combine the core clay, the modeling layer and the clay used to model the calf and you've elini- nated another applique. Weld the two together with the knee applique. ‘The Ye scale lin om the right is only 2596 smaller than the Y scale Link, With that miner difrone in ize, use the same techniques swith the same tots. Follow the ps deri in Part 6 and bp your measuring gage handy “2 Scale Leg Pattern 5% sal length rod. Armature 4~ ‘Act Rod SAB UB ee 1B A. -% eee, OC) ste. NOTE The following series of steps happens quickly, but there's no core to resist a heavy hand, only an armature rod. Hold your work lightly and blend the seams with care. Fause between steps to let ‘the clay cool down. When you. blend the seams, Use the tool that feelo most comfortable. That: tool Just ‘might: be your fingers. tlALIGNING THE SHINBONE Step 2—Pionse the leg with the small apetry mele. Thread onto am armature rd, Stroke to corr the length and press : Be fron of be eg lightly agains the work 3 $ sarfece to align the shinbawe THE BASIC LEG AND THIGH ATTACHING THE FOOT Step 1a) For mccbing thighs, rll the Step 3—Waitt made the tiny tos 08 ay int a Brcoms 3% baad legis dog cand Yo seule fet. Attach a partially Gut in the center at 45: dgrs, Use 18 smadeld fot (ro tos) with the dorsal arch tons fora ale figure, 17 fora eal. B) applique. Support te fot wile yu blend For matching es, rll madified bi-come ‘he scams. Lightly robe fram tbe bel onto adnust 3% bad lengths omg, Use a ths calf and fom dorsal cpplgue ots the ‘madi ttn aodle 20 tar sbe center (eg aed onto the foo. oft muster leg, Cat i ball. Use 10 ants for a aie of male legs, 8 % fora foal | =e] MODELING TINY TOES Step 5—The small carved 1p tol will Stepp 6—Don' forget to model she soe of Step 4a madd the ter ws te sanee — rate nais scaled tots small size. the fot, espcaly the arc on the imp tecbniqns dered on ages 76-77 in its the sides of tbe nails with tb ine ad the angled gross neath the te art 6, Use the five nee tou to mark the rele tn. "Thus fotnree affect the top of the foot in tac. Ure tbe small testy nel frter naticeable ways. separate tam, Peo the mle over the edge ofeach cleft to round the tps ofthe tos,me SHAPELY CALF Step 7—Afoer yon model the ter, be ‘the back of thee a8 each side of hele to Jorm the Acbilles Teulon and bail np the Gastrosnemins. Work from the ankle gion toward the calf, Step 10—Ssrabe 4p toward the thigh with your finger to saften the balou: i SEUET/$’' Part 8 ~ Measure for Measure a Tr Measure PUTTING THE LIMB TOGETHER Step 8a) Add the anbles ad blend. Use Ys ofa Base Unit fora woman's anbles and ‘A fora man's ankles. b) With the tg and Jon finish, sbread te thigh ont the arma ‘tr rod. 6) lente seat tthe hrc jung. Build ap the Quadvips and knee with an «pique wade of “>a Base Unit, d) Model the nse, the Onudrieeps ‘Tondon, the Srtorigus with the mdies kiting mle Light pressure is wha you esd, eecally on ‘the Quadhicis Tendon abo the bre. THE SMALL BENT LIMB ‘Maal the leg and foo om a crmatere rad salready bent t0 the desi poe, Pere the ‘high ad thread it ano the rod. Blend ibe seams and model the fee with the tech igus described em page 83. ‘THE HOLLOW OF THE KNEE Step 9—Form the Hollow ofthe ave with ‘he tip ofthe large kiting mele Roll it sand luck ad forth 0 erate the bullous ATTACHING THE LIMBS Step 11—Auach th lis with the same ecigues yom sed for the larger ‘h cde Ligeres on page 82 of Part 6. Apply a thin oral, made of Base Unit tte Bip jit ad (eer tartare ints the sche ‘the bip jrint and Blend the sams, soaking rom the thigh ont te torn Screed bd 1p eas of te batch with eval apligns of 1 Base Uni each for the female figare, seach Jor the male figure. Far fg hiss his Aighsigh, on do's md gl, ba yo may swith 1 partially bake the figare fw 20 nates after you ad the frst le and then abe aan after ye added thereon leg, aePart 8 — Measure for Measure Modeling the % Scale Hand and Arm wrist to fingertips 7/40 1 head length <& ¥ Arm Core 1 4B eB Ee Forearm Core *B lute 4 ; th i AN Compare the smaller scale Fingrs to the larger sale set cand yon snaerstand the inpor= ance of casing aconding t0 scale, especially when yon realize the % scale arm and and mses ty same gange cu cord wire Few the fingertip to the sha hr, every sty strobe, aad toot remains the same for the sale ad sand arom. Follow te saps decried in Part 7, amd cvs your sarees ee sp of he wu. 114 Ye Scale Base Unit B = Base Unit Modeling Urit Here's the puatorm for modding a won’ ands and arms reduc to the sale. Te emaller Base Unit sand the right proportions are the ‘eye to erating fingers that are te right size. Use those smaller fingers 45 visual ene for working qnicly stud confidently, Por a man's bands cand arms, reduce the patiorn on ees 88 cd 96 to 7596 NOTES iG pee a Whatever the size, hands and arms benefit. from a strong but flexible arma- ture. Whatever the size, the artiat benefite from model ing over baked clay cores. Unlike the lege, thie fe not a time to take shortoute,The 2 Hand and Arm Hor’ the pattern for modding the bands and arms in miniature, bat thre iso diffrence. ‘The Yo scale bands arsso tiny it's easier ts made wach finger reariely, babe ‘he finger, ane shen astenble tbe band. That's te only ddiffereme between this sede and the ale on the facing ‘age. At this scale, Kouckles are an artinic choice Enlarge this pao 1209 fora Yo scale reference 2 , a Step 2—Dea't twist the wires tgethen ‘Madel each finger separately by folding the lay aver th wire and soln it betwen Step 1—Use 10 strands of 24 t0 28 ange beading wine, 4% bead lengths Tou. Tra the wire with vinyl glue Tint ‘he glue with flesh-cobored acrylic paint. yur fngers aud then ona ceramic tle Repair airline crack by bracing back cand forth ever the crack with aectone After the aectons dries, apply a tiny disc of ay and brash sso wil diluent Step 4—Arvange th finger and thas, Holl fraly crud twit the airs tgetber atthe eri. Nove, follow sips describ in Part 710 model the banal an arm UB as 1h. B hs hi i Xs oh Part 8 ~ Measure for Mi we) [val i O Ye Scale Base Unit B= Base Unit fs M= Modeling Unit i Step 3—Use the small curved tip tol to ‘marke the was, Use the foe made te mark the sides ofthe mails. Babe the fingers and shuns ou fibril for 20 mines Woe yom add the ars tothe bady, me soar fingers ted the dated applique, ‘ond finish sith the mals ow find mst comfortable for this scale 15,PART NINE Costumes of Clay “Clothes,” said Mark Twain, “make the man.” ‘They also make the mannequin A costumed, sculpture makes a statement of time and place, Ideally, creating such a figure is a planned: part of the whole, but some of the best costumes are afterthoughts, inspired by the sculp- tures themselves.Part 9 — Costumes of Clay CREATING CLAY CLOTH Costas of clay begin with clay that bas the lac of lth. There are «variety of tecbrignes that create ebis hind of optical ieson. Special blends of cay—pearlescnt or fiber rich—add satin-tike sheen or vianal softs. Molds add cloh-like textures, while pains ana powders bighlight molded textures for starting ects CREATING A ‘TEXTURE MOLD BY HAND A blend of 3 parts Fine Mix Quick to 1 part Prema or part Kato Polylay mates far a darable tecture wold. Roll a thin clay shea ane place it en a ceramic tile Sua the fabric wanple iv ws, blot and ‘ras it fray on tbe clay she, Rolf one sloily and werd. Pel away the fabric sand abe the mold for 20 minutes ‘Mokding secerl tins ou a single shst of clay saves time and effort. Tri and babe for 20 mites SOURCES OF TEXTURE brie mad begin with «sors Scraps of late, fabric reunants are obviows sures of texzne, bt wire mac, a srnbbing pad and the edd soc onff av all generated wonderful fans fabrics and fabric ‘molds. Make a mold from wire mas to eae the lok of denon Pinctnced cobroidery, Te srabbing pad makes a bliebdle suse ‘A mold ofthe pad produces nappy cot, Molds made fram sch ens with tbr sight ribbing, resemble miniature bits CREATING A ‘TEXTURE MOLD BY MACHINE Use pasta machine to captors ipresions of Peavy rextarad or knitted fabrics Rell the clay sightly thicker shan the cloth, Wet the fabric ana lay it on tp of ab clay bust. Set the pass machines that it grips tu the cay snd fabric. Roll tag the macbine. Pel the clath fiom te clay, Lty the clay mate or babing dis, Trim aud ake for 20 mints CREATING A ‘TEXTURED PANEL MOLD Pavel molds have the appearance of trina fabric: Lay a pies of wet lave” ‘int onthe cay shit aaa top it with pose tvet fabric. Pras firmly and show rll carefully 10 bres bth testes intn the lay, Pret away the fabric and lave. Trim the mold and babe. To we a pasta ‘machine, fase the trim tothe fabric with fabric gle or fusible webbing and then ‘route the mold‘THE FREEHAND EMBROIDERY MOLD Grate the lok of embroidery by doaaing in the lay with a tyler or tapestry male. A inp moreso flower center Sarr it with potalt made of tres or mare lms dean cloely tester A spinal will ma a rst, Add vue, stems wis lang curing seas, ad leas with ser, sharp strokes. Don't ontline, Fil in Bae for 20 minnts MOLDING CLAY FABRIC BY MACHINE To mea mold with the pasta machine, wt the meld thor and ay the clay sheet ‘op, Roll bath through he pasa mac cata ustng just slightly larger than the ics of te rn. ead off te cay shat, trio aa lay om or soe to dry. MOLDING CLAY FABRIC BY HAND Step 1—Uh wse a fabric muld, wet tbe old to prevent the unbaked clay from sting, Rolla thin shot of lay the sare size of the mold or larger. Lary the slay sheet othe mod, cov with seo of wer: paper and burns firmly with your fers, Umpret evry aspect of the wild int te clay bfoe yo finish with a rll HIGHLIGHTING THE PAINT Yo cat aint, stencil, stamp, ond sith seven wba clay to mabe 2 varity of fabrics. Combine pint with tectare and the texture coms alive. Ure a cosmetic sponge 10 dry brash acrylic pant onto the raked surfs of the lay cath amd the texture will tad ant, even white pans on subite clay, De’ wet the sponge, just dab it in the paint ana tit Gently graze the serfa wit the spe, When she paint dries, you'll be able 10 deape or pres the clay in place witbond damaging the dsign Step 2—The clay will adbere to the suse paper, Use the pape 1 ee the clay doth foun the mold, Peal the “cloth” from the wsased paper and lay 31 01 a paper towel 10 dry lefore you bightighe witb bain or poder HIGHLIGHTING WITH POWDER This cay cloth, a Blend of red and gold ay, bathe took of satin and the sexe of tiny flowers mace sith the frcband old, Bronze tinted mica power brad lightly over the clay adores to the raised texts, but eaves the untested lay with its original color cand doen. Like parted lay, ya cam manipulate this shel. You ca ase flatten it wit voller The ica poueder will romain in its orighual pater. “The finished rest appears eubroidercd with sold threadDressing the Sculpture How much Clay? It can take almost as much clay to costume a figure as to model the figure itself. To cre: loose fitting shist or bodice of a dress, have half ats much clay on hand as you used to cover the core, When it comes to modeling trousers, have on hand one and half times the amount of clay needed to cover each core. Long skirts, coats nd capes can use two to three times as much. A lot of clay, yes, but oh, so much fun The Well-Dressed Limb These fellows illus methods determined by the color you choose. The fat fellow on the left shows you how to e two possible techniques, work with hard-to-keep-clean, light colored stockings or tights—model the entire limb in the light color and add shoes and pants afier baking. The thin fellow on the right illustrates a similar shortcut, Legs modeled in gray and feet modeled in brown. Note the wrinkles in the gray cloth and the softness of the color, a blend of gray clay and brown Granitex, Note, too, the shoe-shaped foot and the creases in the brown clay leather E _ WRINKLES AND FOLDS This detail adds interest to the stocking cwrered log. Pivee the meio or small ‘ttn nace in an arcing motion aérss (hear, sin jst emnugh preset rae “wrinkle” in tbe cay Part 9 ~ Costumes of Clay Begin at tbe bottom, begin with the chs and sos, ten work your ey ap and out, baking 40 rote yune work ae you proved. Save ime and taps by using colored clay to madd the limb tbat wears suckings, tights, leggings ar tras Leggings amd traners deserve extra tern ‘les and folds. Place wrinkles where theyre rast ikl 0 cc, br th limb beds o stretch fabric will rag, Note the sll ead pier of ca. Made of of a Base Unit, it adie a mecsary touch of vealiven te the mate figurePart 9 120 Costumes of Clay The Well-Shod Foot ATOUCH OF SOLE NOTE ‘These shoes are timelees in design, eimple to model, and full of character. The pictures llustrate the basic construction, but wait Until youve attached the lags and baked the figure before you add shoes. When you model ‘the foot, don't bother with the toes. instead, work to create a round or equare toe euitable tio the shoes you have in mind. Pr the dainty slipper, se of a Base Unit for each sole. Use a's «Base Unit tv mate sah bot sole, and full Base Unit t9 mate the ‘thik sol of the cag, Rell tbe clay to form a rod, af se lemerh of the fot. Rol herd ens yor Uitte finger to tra te rad into drostck shape and. ox flatten the dramatic wit your finger nich with a voller antl the sole is the right size THE SLIPPER “Te dainty slip as 3 pies. Tempers onto hin eof lay —the alfred “toe bs anda thin strip long. enongh sup around the length of the fot. The soles thin. a) Wea te te be and sah the cay tothe atom of the fot. 6) Wrap the sip around the base of thefts and ‘edit 0 the te sand te bain ofthe fot.) Tri the ppers with a raft fe 1 ovate he style of ior you wis, and prs te soe nla, Ad! se follow his sume order of assembly. THE CLOG. The clog basa ticker balf round toe box sand aibicher sole Blending and sinning carer's ncscary. Use this came pattern and twond grained clay (peck abead to crafting clay hair on page 132) to mabe wooden shoes. Blend the te Bos 1a the sale ify do sake woaden ses THE BOOT 4a) The boot complacly covers she fos; ‘model the fot using clay the colr of the boot. Use that same boot elon clay 10 secre the fat tothe leg amd to model the ankles, b) Pini te bot by wrapping the deg wit a set of clay three times as wide «a the leg, ) Blend the sane and prs the sole in place.‘THE HIGH MOCCASIN Step) 2—Wrap a shin strip around the base of the fot ad pres in Step 1—A variation ofthe but, shis isthe igh moccasin. Le begins ple, but dat Blend the strip. sith a toe ba, followcd by a shut of clay thre tis as wide as the deg. Use the medium kristing mate to create folds in the sd, a lend of light brown clay Step 3—Useprasire from the knisting mele 10 mae the mocaria ‘appar stitchad by pressing small indentations along the edge ofthe strip at regular interval, THE GLOVED HAND Gavracseineha Aired rane teevie caine Step 4—Sgest and opening in th side ofthe mocasin by eo TReERe GCA! ussite. model etoclnge it with a tapestry made. ress acrs the opening at regular intr and tights. Model @ hand using c of the glove. Omit: the finger nails and focus ‘on wrinkles and folds. Model the forearm in ‘the sai als ana place ny flat sri of clay, use act, on thee indemtaons. Use the tapestry nese 10 poke the ends of the Laces nto the clay and ingest eyelets te loathe. Bake amiaaes, or nse bat ga for th love color. Figen on figor filly prgped fr enty een to thirty minutes, Let the merely before the mest rp.PANTALOONS Step 1—This technique, called rod andl drape, mates rast pantelons, Weap a thin rip arovnd the waist, wast band, and thin strip arvand each thigh, ffi for the pantaloons. Place small rads aro the ls, long eng just ft ren the stst and the cf. Pres fry ima place KNICKERS. Step AA ssa pile for this flo 4s bcos, They bin with a wast band sana efi, followed ly a sves of sets of clay, lang. enangh 10 strach between the torithand aud nf Step, 2—Roll thin sats of clay, and ut int tips just wide cong to stretch from the wsishand tothe ef Gatber the tops ad we a biting meal to prs thm in pleat the wast. One by oe drape a sas down oer the vide, carefully resin thom in plac, ad gah ering atthe cuffs mde. Use treo fou gathered rips foreach le. Hide the sams by folding te eee of the sip andr. Wen yon res in plac, he folded ee will lak lie per and mt a wane, Use the Foirting meds to blend sh gacberad edges to the wart band and en Step B—These clay sete ae thin nah 0 shone the rhape ofthe leg, yet tick enough to cate wrinbles and folds. Mal gators by presing te tp of th kiting neile ins the clay atthe waiuhand and cf. Baca ofthe poerful pigments in the rd clay, thi fellow will hake again for 20 minute bore any amore garments ave adda TIP. Stop and wach your hands frequently when working with colored clays. A mixture of alcohol and diluent brushed on and wiped off with a clean brueh or paper towel will remove the red staine from thie fellows white stockings7 P send, shold thick enough LOOSE LEGGINGS Wrap and A fe more then tes times as wide athe eg ofthe keto the ake. The cafily bold its shape and the cease you and back, Add a button or zipper sparsiewsithand and a pockets if you wish, Ba nts accu tothe ticknes of tbe clay. ‘THE WEDGED SKIRT Step 1 gh, lac pera ile, Thi and fol ind pressed in 1 tis fully babel figure. Babe the sade by adding more wrinkle nade with rd of Step 2 Use presure from the large and medians cent of an Egyptian enti papular during the a of the Roman Republic. Alt this garment needs is teaisthand. A twisted strip of the seme clay elth wrapped armond the wait will mabe the kilt sPpear held in place by a cond, hidden beneath the folds. Becanse ofthe thicnes ofthe clay, this fignre will bake for 40 minutePart 9 — Costumes of Clay - Two Simple Shirts FITTED BUTTON FRONT ‘Stepp B—Trim the mebline witha exalt Step C—Add gathers with rad ad clay Step A—Begin the fited shire with swo bf cand arcing tos stroke. Blond, working ro thin shes of lay, each te wide as te torso erate a seamless appear cand. the desiad sbirt length Stretch one vet eras the chest so that it fits fray against the body. Pres to ronme air Iubdles. Do the same tothe back. Blend the sean atthe side and ti Step D—Uise the isting mle t press Step E—Lwicly blended balls of bran THE BELTED TUNIC. “astraighe place jum the wchine to the and tan clay presen place withthe end Wedge eomration above amd blow the twat. Por added charac, se the tip of of paint bra Lok Hike woud bation, waist makes tis shirt lak fll ad bee. the hitting neil to vase th plakes at Ping eo baler tv cach baton is an ‘The yoke line was pres int the clay rear intervals, Simply move the neele added detail asly dome with a wedle exe with a lating mele. Strokes with the from side 1 side orsve the edge, New the ext in al, Adding bis arms already ritting nedle created tbe smaller folds shirt appears tight. Ut meds butions. coved with des, is te mext sep. 181 ad ended te laror wades. A if cat sa spl task, one you've sen ‘ade the siple V opening at the ekg 124The Lace and Satin Dress » 2 Step B—This ssh hind ad final layer of fabric: Whee using this chnigue, pres cach layer firmly ont tbe previous layer or adel strongth Step A—Ratber sham ne a single gate ere set, ws several sats to build ap the shire in layers with a technique called Draping. Gator ase nd ofthe lay shes Sinatc the gatbrsd ond to mabe the clit inner where you will blend tt the bay The fle des lok Lie natural gathers iin the fabric Part 9 ~ Costumes of Clay ADDING A TEXTURED PANEL Step C—This lace panel made from a weld eas painted 10 accused th Lave Ws the Sims tach fr this sir, 1 was gathered ‘and then V eat at the wat preere the ve pattern shat sretching weald ave derayed. Very thin ses of clay isis me ad be prsed fray again the shirt eat, Pras down and do mot soe ares, the lay oy eth madd patra, ASIMPLE BODICE Step D—The bic for tis dress was cnt fro the dcorative border of lay Hae iden- ‘ica the lace panel on te fron he dress. Its design sabes advantage of tbe scalloped dg of the Lace, V cut at the waist, i will match the same V cat on the lace panel of the skirt. Lightly wrap the bodice avon ‘the torso and ten pres place Step P—On the back, ws craft buife to eat thrugh the overlapping pies. Lift cand remove the top and bottan cnt ends ad she scams will match Step P—Use the kiting and sapetry eles 10 finish she waist of the dre. Press additional gathers in the hit, but abo care with the lace panel, 125= ( A SLEEVE IS A SLEEVE ‘THE LEG OF MUTTON SLEEVE Whether i's tight fitting seve for Large Ve scaleseulprare, or 2 Stepp 1—To mate the lg of maton slr, roll a ball of clay from fancy Lac of Matton see fora smaller scale figure, a sleeve is 4 one Base wit and cat it in half Bach haf atacted to the baked sev, and the tcbnques ane similar. So, tm, are the simply cat arm twcomes the foendaton forthe large palfed cap of the slau attoras for bot sews Wrap the ssadrp-shaped see around the arm so shar rhe seas set on the underside ofthe arm. Blond the seams. Step 2—Use the medivm knitting wlle » pros wrinklss and ATTACHING THE COSTUMED ARM Jods into the clay, Use the tapestry male to create fmerwrinles. Step 3—Lasert the armature wive ino the socket cand press the arm an folds against the body, Accent gathers atthe shoulders with the hnining aid tapestry mele, Use this schnique to attach amy costumed armDressing the Seated Figure Step 3 result as mold, bus vary cam and will place lt sestare, Use your fingernail o Ietting nese to stub flds in the clay fabric throng the gerain Nat all fabrics pace the same Step 1—Support the shire with th wedges of clay—one between the b side ofthe body, Gater anal 8 thin shes of clay fabric. Pres shone the waist. To create fitted ‘ans adon in plac cpearamce, shave exces clay from witha craft bufe and rub snout. ‘Step 4—Restors te painted finish by dey lath. Brighten the lace sim, Bae at the rm tempenasnre brushing the ce for 30 mites Step 2 Treat the Bodie ar you would rt, Pras a sot of clay om the tur, casing the front and then the bas Blend she seams. Trim the nck and shoud cher lines with a oraf kaif ASLEEVEIS STILL A SLEEVE ‘Baking te shirt and bce maher adding shes anf ing the cotnme a mich caser task, especially when you're using more than one clot The visible lowe is rad and drape comtrastion and abe sare also vad and drape. The Large nd small apetry msde mht quick work of the tks and gathers at the shoulder seams cand on the baie.“ The Buckskin Gown ee this already aiff ade ofa circle Step A—Eabrie sifewer tinted with brown acrylic foint will ma ack deal enough to serve as am arate fora wind Hown teith an X cut inthe cenvr, the buckrao is sft while wet, but you ca play with the drap- ing design a it dris. A sede bottle filled with water for weight serves asthe form for shaping this armature, Different hotles will erate diffoent draping efits. Dic d ied many shampon battle have shoulders and make g soc bets make Bap shirts nd fora for eva and ea ek , a Step C—Ten diferent blends of light Step D—Estabish a machline with a sip Trou clay, with a litle Black Granites: of clay and Blend ie the rest of the dress sled to cach, make ralstic burke Us a roller to pst tr sets of the clay togtbor. Pros the “buckskin” sts fray aint the armuatnre lath, making sere thors are no air bubbles, Begin at ee heme ine and work your way wp to a fag rary macime, draw ome with a colored unc. Blend the cay firmly 0 the tos, Step B—The same siete of cloth, eased cover the logs and glued tothe trso with insane glue, wow rive a final shaping and cvat of vinyl gle 0 the clay will sathere. The ragged ben line, made with a small scisors sts the windblown bac shiv des this figare will wear Step E—Accent the wind blown lonk twit long arcing sos ofthe medinm and lenge Eniting needle, Use your fingers sv rns to soften the edges lft by she bist rales. Add a few garbored sbets amd stretch to make the clay sinner where yr Wend it 0 the bodice, Let some of the ragged edges soePart 9 — Costumes of Clay go Step G—Thee sees will match the ladder work lacing on the igh moccasins. Wrap the sve so thatthe seams mast on the top of ‘he arm, and pres the clay firmly against the arm. The clay i 0 thin it wrinkles easily, wie off, but clay that thin is fragile Pras it firmly against she arm and use the bnitting and tapestry sede to model wrinkles and fod A NOTE isi: Too tall to stand in the oven, this figure will Step F—Pross a scrubbing pad against the clay to add a buckskin bake laying on a thick cushion of fiberfill. ten Stuffing additional fer between the wind blown dress and her legs will protect the costume and the figure, but this additional fiberfil will Inculate ‘the clay. Add’ another twenty minutes to the baking time to Insure the clay cures, Use wet paper towels to protect the exposed figure from scorching. | | Step) H—Seal the slew seams at regular imeroals and ase crcing Ores of the kiting neale to push clay t0 the side, highlighting ‘the ladder worked slr. Add strips of lacing. The collar soe long orn sera, folded and pres in place 129PART TEN Finishing Touches We're colorful people, We bloom with youth and blush with modesty, simply be« alive, Make your sculptures bloom. With the first hint of color, the first dab of paint, they will begin to come to life, With the last details, you'll wonder if they've entered your world or you've entered theirsBEFORE YOU PAINT The fir touches of paint often eval flats, Despite carsfil work u've worked the bards, on iks aud seratches acer, often were the face. Use th ‘thin eas of water mislead fet cry. etna will flo inte onc of pandas tel fer discovery. App thas fle and highlight them. Use acetone to remove the paint amd ‘he flaws. 1c will soon the kid clay. Apply i with a sft ailaton, wear proces gles, and wipe or brash carefully, ‘Tone wicks amd seteber will disap sor. So 10 will herbie cracks, Dea’ fet the acto pd o on lay tom long oi wil tb he clay and you'lf have to remove she oft paper towel, Use adequate g When the acne evaporates, you're ready t» bring your FACE PAINTING sea small ras to acon shadows around the ees ard mse. Try blend of Cobalt Blue with Crimson fr worm tone. Fer of lasbes and soft oes, the paint shoal tick enaugh to contr and thin enough for painting fine tis, ad, of srs the desnad bar colr, Notice ow the sage clay mow appears tnenslent? m Cobalt Blas HIGHLIGHTING DARK-TONED SKIN A blend of Crimson and Raw Umber ighlight this dark ads Blond of Cron ant ‘er lips, Soft svadows arama the eyes ome froma a blend of Raw Umber, Crim and USING WATER MIXABLE OILS Uwe a dy of color where the bloud flow i shin—the thigh, the calves, the belly, the butacks, the outer arms ‘the ebous, the soles of the fc, ana he nipples. Whe te print ses tren, Lightly brush the srface with diluent. Dip the tip of the rush in diluent aed thew wipe dt on a paper towel brash suc ad a wide soft brah to ai roy bin th or clase 10 the surface of the ong way. The color will remain and the brash res disappesr as the lent suaks nto the clay NOTE: BODY PAINTING Aarylice have been the paint of choice for most artists who work in polymer clay, but try water mixable olle. The refined oll are compatible with the clay when mixed with water. They blend beautifully and leave no hard edges, Mica pallet of flesh tones and blushes. Add a bit of Raw Sienna to White, and the tini- ‘est touch of Crimson to create a range of flesh tones from shadowy to rosy to one exactly matching the skin tone of your sculpture, Thin the paint with water, nat: of, and apply it sparingly. Though It takes longer to dry, this paint is forgiving, bub once dry, i9 permanent. chucks, while w Sienna elor10 — Finishing Touches ‘THE PALE COMPLEXION ale pn, a blend of fle and a bit of Pale by comparison, scant shadows arennd —vimton applied with a brash and Moted theeyeapplind with a mall brash ae alt witha paper tel wil add ft bloom this lady weds. A fine Tine, carey #0 pale ec applied at the inde ee ofthe lid, bih- lighted the lass; Crowning Glory Step 1—Create a geaina end of iors wit a tach of metallic frm an los rad clay tad ras to cepted hain For each bar coer, tboroaghly imix om dark and ome Uight value Mix equal parts ofthe Heo t create middle value Use a metallic lay to ete te igh vale, For example, create black hate with one rad of Blac on rod of 4 parts Black & 1 part Caper and one rod ofa combination of te ‘uw, Brown Hairs one dof Burt Unie, one vad of 4 parts Raw Siew amd prt Gold anda third ra cmbiaing the to. Titian Iai: me one end of Ras Stor, one ved of 3 pars Yellow and 1 ‘part Gold, and a bland forthe third rad. White bar is he exep- ‘on. eon ra of 1 part Pearl White and ¥ urt Translcet, ome rn of | part Trance and part gold, and rod of Traslaent. For sharply defined Brows aad lip, acrylics cam fi bac dhe obs Past dying, they work eit the water micable il. A blend of White, Rave Siorns, and Alizaria Crimson sine br lie while a blend of Reve Senna cand Raw Urabe tinted her brows. When it ome to painting bros, pain the os df alt drow fis. Uf ome right hard, paint the vight brow, the ome othe fas it faces you. If youve left nde, pains the ‘rw othe right as it faces yo CREATING THE GRAINED BLEND Shep 2—Stac the tre rds and rll tri betcen your pals” Step 3—Fold the rad in hulf. Rll he Step 4—Flaten the rad with « rll; THE GIBSON GIRL folded rad bwece your palms Conte rolling withthe grain, Flan i slighily Step A—This simple syle mses wedges roiling and folding 8 times. It sould for hick hair aykes amd thin fo hr that gaia clay, mae by srching shot remble grained lg, and lok grat ‘ays las 10 tbe bad thick ris ta pine, Pres the wedge om eal libs wo the ernn, with flat edge just abvee the Iai line. Use she medi baiting nedle to strake the day tnvard the crown, blend ing the scales soetber and establishing he upswep syle rr /\ Step B—Lightly stroke from the crown to Step C—Use the hair stamp to add fine Step D—Finith detailing the bir fine soften the Bairline all around the bad texture. Meisen the stamp with water and texture with the conch. Watch for ss Divot it acras the hair, from the bairtine hatched ties and comb them cut. You'll tour the crown, find she fie and bina nee tol work tery well at te bas of the sal and ear the sat 133Part 10 ~ Finishing Touches ‘THE ROMAN CUT ‘SHORT, THICK AND BEARDED Short bai lies close t0 the ba, but the Similar to the Roma cat, thick tapered racbnignes for this style have a lt in rads radiate from the crown and frame the anon wit the Gilson Girl Buildup the far flows face. Smaller rods bxlp to ‘rau with thin rds tered at bth ends. devo is beard. Use thr hating wee to Readiate the rods frum rhe canter crmun lend the rds of chy. Stroke from the bar ‘card the bar Tine, and curl the ends t9 onto the face sp that the growth appears fo te fc. Stok with.akuiting mle natural. Finish with the stamp, the com to establish the avave and style, and then and fine mal, Use ny rads forthe ras se the stanp ad finish esaring with ead she fime nelle 1 ade tears comb. Instead of aime bras, this mean ‘as lay bres, mak frm ty rads of ay. Combining Clay and Fiber Sisal twine, a natural fiber with a lovely sheen can add a new dimension to the reality you've created, hair that looks real, hair that's both clay and fiber, Slightly heavier than human hair or mohair, this fiber has the advan- DYING SISAL Step 2—Varnich the dyed fier and yor lt Step 1—a) Gut fifen to twenty avande of sisat be able to made snaig bar, srs curly ‘into G-inc length, and te them togetbr at one air lo locks and ombud tbe i the (abe Ob nna 1 ‘nd wit baton had, eating ah of sal 8) lay. Cor sb wih oi, ad lay 2 textured clay hair ‘Saab in water to ponte he filer ad comb. e) Dye arp of masng tape ara ne ode Ald created by the stamp: ‘the hanks with fabric dye, vinse, aud bang to dry, or stand strip of masking tape, sticky side wp, and comb, enabling you iw the hanbs tin clean paper tous. Adel Ueping tbe ens 10 the toe says in ples to combine materials bad silb dys, such ar Dupont work wll. The clay Pret te fbrs om te sticky tape amd and method's ends wre made 0 math tr of tee as, the snr with id pie of making ape, ‘Titian, Brown, ated Black. With a ttle experimen: satan, you lave no trouble crating clay Blend for od air, o one thar marches natural ssa. 134> Part 10 ~ Finishing Touche Combining Sisal and Clay AD m& Step 3—Use a gonge ora brash to apply Step 4—Yow'll want ssparate strands LONG AND CURLY LOCKS satin or ghas acrylic warns tothe fers ard arrow docks of straight, iff bai, Step A—Thin stripe of brown grained “This sticky wencare. Some ofthe fibers same as. wide as 2% inc, but mast clay are the bgiaing for this simple sty will stich to each ether. Cond threngh narrower, Play with it, Pal of a lack aud Natice uu the bin sips of ely define the atin. Before the eraish cis, pel off the nap it around thin mactal rad or style afore the fber as been ade? Yu ond (the sticky side up) marking tap, tapestry nade to make a cuts. The thin- en define ty tle with clay. Bart it on All of the varnished {fibers will stay er the rad or mde, the tighter the carl. th side, in the wide, orev add ang secured betwven tao pices of tape, Use a Suddenly, it lnk lie ban dabespin or bull clip and ang the Siep BU te spt ein uding Stop C—Cor te acs at ae bats Step DU the ts mal ob fetes foe confl are with ibcoper efit fran tired Omsk at blind hay, Comb inn the cy. Pros iit be lay ad that he filers aig it 1h fi tl, Us biting let ler 10 ran embdding ar i bof Bate poly thrme ley. spond abe, Ute al sy te itm th mb nd thf male a ene ad laren fe Pay atin eh erie ad te ae |LONG, STRAIGHT HAIR Step 1—The same techniques wad to make curly locks apply t0 lang straight air—imbed, patch, Blend, and texture Affer you've combed the clay and fier, use a hean brash and diluct to soften any ragged ees. Bruch the clay with the sain ofthe hain Step B—Wrap long, marroe looks ud crate Lng tight car carom thi Yo will wa tenor more of he crly los. Use tapestry mal t0 ibd the lacks in the lay every “sof am inc ora, Lay the locks in a rendom wey pattern so that it ook ike many sone curls rather chan a Ting me. Uf you have tre making the ur aber tothe it, Adal tiny drop of intant gle 1 the lay and pss the curl i place with a nth pick ay just whe you watnt 136 Step 2: amish will soften. Tabs aduantage of thie property 10 finish the bain style and somtra any fly aay locks shat don't bang natal, Pres the lecks close tothe by and carsfilly wrap the prose locks ana brady with a srip of alninum fil. Bake When yo hake the figure, the the figare for 20 to 30 minutes depending ‘om the ticks of the unbaed cay. ‘THE GIBSON GIRL AND SHINING GLORY Stepp 1—You can ine fiber ito a thick upnoept syle and change the look camplaey. Renin the grain of the clay Iai determines howe yo imbad the fiber ‘Alusays embed the Laks with patebes lhe this ome, patches that flow with the lied hairstyle SHORT AND CURLY Step A—Thin. stripe of clay are the inning of this bair style. Pras shen fomly into the clay and use a biting ‘cle to craw tiny spirals in the clay ‘most importantly near the bairtine. Work 10 ereate tiny, wispy curs » a Bl Step 2—Affer Vaking, apply swith a safe brush anc brach with the again, While yeu're varnishing, use the mall brash to add a lem tthe eyes and a shine tothe ips and fingernail ich(0 ~ Finishing Touches Solid Ground Your work is more Pc vision. ¢ ana its your singular eate a world based on that vision, solid ground for your sculpture. Suggest the fragment of a room with wooden plaque covered with polymer clay. A loose and streaky blend of clay, sanded smooth and buffed ter baking, resembles marble. Dusky colored clay mixed with Granitex or Fimo Stone, textured with crum: pled foil, looks like stone. Step 2—Pres thin snaps of dark ov mat geen lay on the base and msec ‘led foil tive the base an earthy tecture Step 1—Create am autdoor environment Or suggest the world where wit sachad shes of earthy clay, a Blend your sculpture resides, of brown and black. This method let yon uitd up a foundation ticker where the Figure will wand. Ys of an inch at the tages, this bit of grand it of an inch thick where the figure will stand. That's enaagh cpt to support buavy 12-inch tall figure. Step 3—Audd rocks of gray lay marbled Step 4—Do this stop on a babeshle Step 5—When the base ix thoroughly swith sranslncens or whit, Bled a bit of surface. Moisen theft ofthe igure. Hold coo, et i on at craic tile and apply Fin Stone or Granites for mre reac, the figure firmly ad pres it into the clay, PVC cement tothe fontprint and the fu, {sea tapestry male tot the green clay seating the armature rds dec into the base Stand the figure n the base ad camp the ‘nto masy grand by drawing a series in and the ft in th clay ground. Careflly figure in place with beawy rubber hand spirals and interlocking figure eights in remove the figure and bake the base for tbat traps arund the tile as well as the the clay, A drawing technique called about am hour and twenty minutes Sct and base. The glee will set wp in an scumbling, it will create raised and raged ‘oar, and carefully in 24 bones edges of gren growth.A Touch of Fantasy The fantasy sculpture is my hallmark. Fairies are my stock in trade, and here is how T make fairy d drawing and painting wings on velum or acetate, I now use my wings, After years of computer and my inkjet printer. MAKING FAIRY WINGS Step A—Uie this in busters. 1f you ase calor ener, print tw rath ing copies the size you dev, onto archival paper gto make Monarch fives of If ys fave the tol (a scar, computer, graphic progrant and prinsr) sian the wings ata the bigh- cet sting pasible withowt pradacing a “pisilaied” image, Save the image ar TIPE. Use a graphicr program such as Paina Shep Bro or Phatachp prin the wings at 720 d or bigher in these you desire Prine woo matching copies onto arcival paper or gon sranslacens inkjet vel sah as Strathmore Lat the ink dry for ten boars ov mors. Cat nt the wings and apply a Step C—Hold a matched st up to the ight, align ne eck othe amprinted side of ene of each wing, Leave the cormer of dhe eages a pres he wo wings toga nd Step B- peranen the wing ware it attaches tothe fairy 4the lop in pve, Let iy Step P—Twrn the wing wer, place the vinyl sve, ad nse a Large hitting mae 10 ouline the scald part of the wings Work next to but not on the oxin tins. Finish by embossing she entire ald ara. Use form, straight srs amd nes ras ‘the ein lines. Do this seach wing art 10 ~ Finishing Touc Stepp D—Maske four ee pins out of a thin brass rd as tng as ADDING DIMENSION TO THE WINGS. 40% abe depo ofthe fairy's tors Open the wugluad corner ofthe Step E—Plase a win on aft folded paper towel and cover it with swings and carefully bush a small amon vinyl lve onto om wi «2 she of car vinyl. to minimize scarving, The vingl fom a fod Insert the lop of the ee in and press dhe wings rgaher, securing storage bag works well. Use the meitiom bniting ecto to scone «along tbe ein lines of each wing, Don nse toa mach presse, just ‘exangh 0 embuss the win, Tabe care ta embacs a right and lft pair of wing Step G—Make the wings wterprof — THEFAIRY seth Tenses LignidScpey or Clear Dri four bus nthe uper bak of the Genesis Mate Mein, pose bt st fairy. Sree nash V patter, with bait, Brash bah sides of the wings andthe hse ofthe V puising doom. Chock hon wipe off the liguid polymer with soft gach wing one ata time ta make certain the towel. This will lave a thin ba effective Inde is deep enough and the eye pin is wot {fil Set the ye pis into the ee stand and to lang. Add drop of instant lve int the ae the wing for 15 t0 20 meter swing scket and srt the ee pn ad sat ‘the wing. Insert the wings on ove side and ‘he the ober, binning with the bottom ceing fst. Lette gl dry afore pce ig 10 tbe next wing 139The Last Details Every sculpture needs a special touch, an enchantment to catch the eye and capture the heart. Tiny wings are at the heart of the little monarch, the last derail for this sculpture. No eye pins, but instant glue holds all four wings together at the insertion point. ‘The burterfly’s body is a rod of clay, flattened and folded over the base of the wings, The antennae are beading wire, painted black. Instant glue holds the butterfly nestled in the gathers on this young lady's sleeve, Father Christmas now holds several scrolls. Liquid polymer clay protects the names of boy's and girl's names copied from a baby book and printed with an ink jet printer in a tiny but fancy font. His green suspenders, are simply two strips of clay, but they add an extra bit of color that visually unites the figure with the base. The frechand flower texture mold and bronze powder created the cross brace for bis suspenders.