Creating Life-Like Figures in Polymer Clay a step-by-step guide Techniques, _ Tools & Tips for: . Proportion Armature & Pose Accurate Anatomy Gender Differences Modeling Muscle & Fat Ethnicity, Emotion & Age Modeling in Scale Costumes of Clay Sculpting Hair Paints & Finishes plus A Touch of Fantasy Katherine DeweyDedication For Lillian and Leo... They know why. Acknowledgements to - Chae Fontan, ought ad arte mb sgraphd wry Kite Mackewsi. a gift bak designer ad graphic ar tBoswsond: 9f word the jingle bred of ages eed Keith Scroggins, Britt Mrs and Dan Deve, each craton whe boaeledge and saidome sade ts ook poste, Hope Phillipe, Jan Walt, Jorge Sanches of Payfirm Prades: Donn Kuso aed the Vie Aken osu: and Peace Dyn of Golding Harndoata. Each falfied every rane and anverct 01g queso Creating Life-Like Figures in Polymer Clay, a step-by-step guide. Copyright © 2003 hy Katherine Dewey. All rights reserved, Manufactured in the United States by Copy Cratt Printers Ine.. Lubbock, Tena, Patterns ancl drawings in this hook are for the personal use of the reader. By permis from the author. patterns, diagrams and draw ings nay bE harid trace, photocopied Or scanned by the reader to make singh copies for theie personal use. but under no circumstances may they be resold. republished or redistributed! in any form without the expressed writen consent of the author. Readers may scl any creations derived from the instructions in this book at any venue. No par of this book may be reproduced in any form by any electronie or mechanical means including information storige and retrieval systems. for any other purpose than described above without whiten permis sion from the author. Book seviewers may quote brief passages for the purposes of reviews, but must swek + ‘writen penission from the author oF publisher before reproducing extended text oF images from the book, Published by ERenwork Press, PO Box $3, Maxwell, Texas 78656, utp: Awww elvenwors com, International Standard Book Numlser (ISUN%: 09741930041 brary of Congress Control Number (LCN): 2003093547 Revised Publisher's Cataloging-in-Publication (Provided by Quality Books, Inc.) Dewey, Katherine, 1944. Creating life-like figures in polymer clay -a step-by-step guide / Katherine Dewey. pom Includes bibliographical references and index. LCCN 2003093537 ISBN 0-9741530-0-1 1. Polymer clay craft. 1. Title. ‘T7297.D484 2003 731.82 QB103-200498 Cover andl Interiar Design: Kim Muckenvic, San Antonio, Texas, hip. ‘ssww.liddtechick com Photography: Chase Fountain, Southern Exposure Photography. San Marcos. Texas Proxluction Manager: Leo DeweyAbout the Author Katherine Dewey has been an award winning, professional artist for 30 years. The author of Crestiig Life-life Animal: in Palyer Clay, she is 2 regularly featured instructor and guest anist at polymer clay venues nationwide. Born in Peoria, Illinois in 1944, Katherine was raised by parents who recognized her talent and introduced her to all of the arts, During her early dena and Pasadena Junior College, vollege years she concentrated on the performing asts at the P. hous sadena, California, When her Family moved fo Mlinois, she began to explore the visual arts at Springficld College. the University of tIlinoi Eastern Illinois. University, and Parkland College. She studied graphic design, sculpture, and painting under several of the fest artisans in the region, but took many geology, history, and biology courses in order to provide herself with a solid foundation for her work. In 1968, Katherine struck out on her own as a freelance anist, She painted igs, designed and illustrated elaborate brochures, rendered medical illustrations for a series of instructional slides, and constructed wildlife dioramas, built architectural models, and designed masks and theater, for busi Married in. 1969, she and her husband spent the next 24 years traveling wherever bis Ait Force career took them, All the while Katherine pursued and expanded her artistic horizons. She perfected her painting skills, broadened her experience. and acquired an increasingly rich collection of subject maner. When she and her family retumed to Illinois in 1975, Katherine discovered polymer clay. a medium that set her free to express her ideas in. three dimensions. She soon earned 3. reputation as an accomplished sculptor, «ind today is one of the leading and working in polymer clay. Her works have been displayed worldwide. Her teaching skills have made er a popular instructor in This is ‘st known artists the art of sculpting ia polymer her second book.| Table of Contents Introduction — Page 5 Part 1 ~ 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 Tool 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 & 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 1am an amatcur at heart, { sculpt for the Jove of it 8 what the word ~amaicur” means—one who <3. 1 cannot resist creating new shapes in wet sand, new fallen snow, fresh cement or cold mashed polaioes, Tim also a professional. Sculpting is my livelihood, and polymer clay #s my favorite medium, No other cl No other ties, No other clay urges me to ask “W is as colorful, versatile, of available. y drives me to explore the possibili- aie” What if | wrote a book about the art of figure modeling in polymer chiy? What af 1 wrote a hook with the amateur, not th the amateur in mind? The am: raw beginner, but uur, in the true sense of the word, has some experience drawing or modeling. The amateur is the budding artist with tie inkling about the shape of life, the not-so- sculptor who's ready to take the first step from caricature to realism. ‘This book is about that finst step. one that will lead you on a different path than other books on the subject of modeling the Aigare. The path is dlifferent because the clay is different, Polymer clay has been called the New Clay. so why not use new methods? ‘Taken as a whole, the figure is complex. Why not break it down? Break everything down—proportion, body the clay. Break the proportions down body part by body part. Break che body pans down shape by shape. Separate body parts mean separate armatures. the bones of the sculptuse. Break the clay down into measured amounts—so much for each shape of each body pan. Break it down and then pit it back together. Taken as parts of the whole, the fig simple enough for the amateur, Lam an amateur at hear. simple Katherine Dewey - Maxwell, Tenis 2003,bart | ~ A Medium for Everyone PART ONE A Medium for Everyone olymer clay is unique. a Perrine na no special tools. not even a Kiln, I's wide availability bas made it the first clay for amateurs and she the 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 ntiniatures and masks for the movies. There is no other clay quite Hike i. ‘This man-made clay is a mediun 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 adel color. Baking the clay at the right temperiture (between 200 and "758 F) fuses all of the ingredients into a hard plastic. Polymer Clays are low temperature clays sestive to eat some rae fon alm th ward iar tin fk ae: so than others. The warmth of your ‘etnies wsmafactare bath emald Blicks and large Bricks. and wat offer a wagon aed oben epi ce While oes hands or the heat of a summer day ef is pel and Yeinch drill bite: 7: thick wood plaque, harp long blade (a glaes scraper or clay blade), tube cutter (availabie at hobby and craft stores), stove (for hesting sed bending needles), pata mactine or roller, large wooden craft ball (or round soup ladle), glass veauis or bali earings sizes 4mm, Gmm, Bram Glues: vinyl glue. cyanoacrylate (Instant) glue, heat resistant opoxy putty (optional) Polymer Clay: 12~16 ounces of a strong polymer clay (Prémo, Fitro) ayy color or colorsFunda Making Your Own Tools Yow I med hae tls Step Ste wre bullae. Cat she needles poinaed ond of the bx dons, 2 ilsirStansp temas fu sions handles a last 4 bubs fog ez as PREPARING = f THE HANDLES q Step 2—Curer Step 3—a) Rall a thin pamcae of clay larger tha the BY Trin tbe clay naa cen as Uo the bate gd idem than th 5 wie €) Pr . tay ser relay andIMPROVING THE GRIP Stop 4 tape ie wae yt bd mr sods Sl he rod hd PACKING THE HANDLES Step GR vad of pulser slay into Ian ra! and Sill each lea. Tarp ocr and deme clay atl the handle ie fll Ser the pckad bales aside and prepare the tb ADDING ANEEDLE Step 2—Te inert a rele, add author Jip of natant gle to th Inet and quickly rs fe into the clay packed handle, Add inure clay. pack fry rnd rab nwt Babs for BAKING THE HANDLES Step 5 for Babe the baals tm cS ter of th cay ye wing, ‘THE NEEDLE TOOLS — SECURING A NEEDLE Step To prvent ids froer palling los. ebrand the medio {with barton Pend and weap the tread arsed the ee Pring o Ibo, Aad a deep of ttt los amd ti he esses tread, NOTE 2 AR pe ‘The Tapestry Needle Too! has a large #13 needle In one end and smaller #16 o- 16 needle in the other, The Fine Nezdle Tool, also double ended, has a straight and bent needle. To bend a needle, hold It with a pliers over a flame heat until the needle turns cherry red. Bend it with a second pair of plier wrile the needle is stil hot.The Curved Tip Tool ‘Step 1—The Curved Tip sol bat malo wer: modeling the 8 is the mse. mark fnger sl toe nails, IE enced sud bap ale. After pecking the vera erg bad ro rate dimple 30 cach ond of hs tal Mabe ty uaft SHAPING THE LARGE TIP adh on wide os ihe laomtr of te tak. Ort es she Step 2—Beted ace eed ty pressing it agains the work sat Lege en of ek eg ta the dimples at hed of the tol. Blend the sn end or thoy SHAPING THE SMALL TIP Step S—Afvr habing. Step 3—Mao " pres it agains thf of ie hargcicating Step A—Lighly cbs te ater aed of and user to send ath tips, Mak sha ; nl Te ble wide getty re snd tet Paint, ssn the ey amd es sharp. Rab the Hp Usp gouges Tae cv ms ese ten pt it aoe te tard ond of a #2 de, Trt wit pass v0 tani shaped Aube she Cored Tod oma eshio of eterThe Hair Tool os 7 tN 2 Step 2-7) all abr ‘THE HAIR STAMP Step 1—Thie 4einch-long tol ser re pote end ofa large bnittons wale tar sae the fs tpt of eansrnctom. The ar vl an te tinats, The tip oft lighter tal hat bn capped with a thio, eam sh the ap radiating fra base ofthe cap toward tbe poi. U age sli te sae Bake for shirsy FINISHING THE HAIR TOOL Step 3—Pack she pen end of the bs tool wit writ of lay Hild the ne ers the aligned eo getber ad xe rth instant ‘he thread + dnp gl tote brand end cond quicely ice tbo lay. Seca with nvee slay and babe ogsin far 2) minutes ‘THE THREE NEEDLE COMB. tered of the ar tok Bisa ing nde fost of eh el th sa ofthe mele ids asthe mele rating a stamp. Tabe yar te ith this and 1 wil ave yn bes ef werk to mse, Begin by trading samp. The tw in thie 2 Draw clay spaced line in impress hoe Lines, me the tip The Core Tool Bonet shop. tit el ares alma « bell pod of cay ba sth fil co forthe bul. W's &inhes square and ofan th thick Prove. a ust wd dal rownd sp lade inn the ta ral, Renate the ball cr hdle and st posible 1 0% ake foe 1 wejamental Tools Making Tools for Life-Like Eyes THE EYEBALL MOLD : a Bua rhe sem fr 30 minntes withthe baad snd brings in plat Wes ml op the beads and beings oe The Sculpting Stand Tools for Strength Bi sas of possar clay prsed inte. the Beet were drilled ‘aud sorth wok well ce ths sate stable THE DRYING & BAKING STAND. and drying. painted on sored eya, make she small apsBaking Fundamentals Your oven, a fundamental tool, may be a standard gas or electti¢ oven, a smaller convection oF toaster oven, nev‘ 1a microwave. Microwaves will boil the liquids in the clay, causing it to explode. 1 use my kitchen oven and clean it regularly, but many artists devote a smaller convection or toaster ‘oven sirietly (© polvatier day use. What ever oven you select, use a timer, an oven thermomeser and a ventilating fan. Dedicate 2 pan just for baking and always prop your w TOOLS FOR BAKING The right bak Glass bake pont the cy the pos, Smal Bases rae at cae for seated figure whe fg Sag doen, Cat ng pride ft suppon for fae es tall 9 sand oth ove neface and a good thernameser ort sential sures the cay mre ety thaw mural. Sranch and a corane tile serves at work and baking suufe. Baca ifr it cares, ena med propping according eg, and The Non-essentials A daub of paint can turn your sculptures in colorfol characters. You'll find two types of paint very useful—fast drying acrylics and slower drying water mixable oils. Use the acrylics for those sharp edged details, features such as eye brows or lips. Use water mixable oils for sofily blended touches of color. Water-based wood finishes, such as Minwax’s Water-based Polycrylic and Flecto’s Diamond Elite will add shine where you want it pals, and hair. Apply these paints and varnishes good synthetic brushes—a small 00 detail brush and a broader 4 or #6 flat or filbert anc mix your paimis on a small cenimic tile, on the eyes. Por me toe tol bave come indipeniable, but for the now pal mer lay ont they are weeing to acre or mak oso» eat time, The pasta machine rlleconistently thin, even she costumes of lay, Tho mol eas, dil, grinds. and buffs a sme saver thst dies as. mach lay —a sus for th artist wh design around the bess ithe sai, The beat gun cars thin layer of clay bard nd ‘9 continue woeBing without basing to (quick repaies and adjusts. Ts riseling tol from 0910 Bttrn,incld trae tipped ely shapers. rec wae sandeling tals dental spar, donal pick, 2 deable ball sts cad banaonde tol wih oho mole ee emed, ad / 100 dell bis 0 in alyinaee tabing ta’ sen eared with purer cla. Lange ball iylas. actully 2 bodtin20 PART FOUR Face to Face Simple shapes and steps created these busts. For a brief time they were thin, earless beings with lidless eyes. Identical in form, each had the vague beginnings of a nose, mouth and chin, but little else. Flattened balls and rods of clay changed faint forms into people with distinet personalities. Simple shapes, simple steps—remember that and you'll do fine.Face (0 Face Understanding the Proportions of the Head and Face You'll usc the length and width of the bead as « measuring gauge when you model the torso and the limbs. Learning the average head's proportions before you begin is your real first step. a) Bae, the aad ig shaped os wide as 1 Jong, The firbaad and ca acnpy the upper hie of Baad the yes, brows. and bridge of the ce wy the middle third. The dase of she mse esuth and chin py ibe lower third. b) The ines indicate erica! and borieontal mines 0 this profile The eyes li om the erizontal ai The jaw trae dices the baad into tw pasty, the fare and the cranium. Tin ears are part of te ‘rainny, nt the fac The Magic Squares A single measurement, % the width of the face, will help you place the mouth, the nose, determine the eve width, establish the haisline and position the eats. a) Each side ofthis snare equals Ys he wide of re far at the midline, Oe balf ti vide of the fete alse dsrane herve tes cd he meth, B) Jin tw tguares so that the op af ene snare tus the idling ad hear es om te cin ad mic happens. Te hase of heme 8 Voth mid-widchine the cin. e) Add soa par of tqusres it the Bt square rsting the mid Lime amd You ca rp all ofthe feature, ielcding the hairline Is th msdn ab thee. Nee the distance Steen the moutb ond thy hare ofthe wove ts ali he ead of be ye, se dstane ease the apt ond rhe dst fr ts apt the de of faA Pattern for Modeling the Head and Face \Scale Size & Shape Base Unit of Foil Core ) ? Size of Eye bol of doy. fa inch in diamaser, The lime benear the circle wil help yw maacure te clay wins tbe method explained om page 12. Noe, 11, te This parte fie mating tbe aad im the Ys sale. Noe se ciel marked Vi Seale Base Unit. Le pes ve of the fal coe I wil ep te clay bold ts form a you fallow the atop. The gray ares indicate apliquse that burld up the fears. If yom want so wuok ina smaller sale, youl find ips and pater fr working 1m the met shaper but the se amd wcagns i ing bw 16 adel ane Sd ane ber B = Base Unio M = Modeling UnisFart 4 — Face to Face YOU'LL NEED THESE TOOLS + Five Base Units of Flesh Blend Clay (page 8) * Work surface + Stwaight blade for cutting clay + Gauge for measuring (a divider. compass, calipers, or sewing gauge) * Craft knife Fine Needle Too! (page 15) Step 2—Cenapte she “hres” Sowely and then more tightly. Tora ‘Nbr nase ates yap Ph nad me oy ‘Tapestry Needle Too! (page 18) then hehe oot vege bape ” + Large and medium aluminum knitting needles * Curved Tip Too! (page 16) * Craft grippers or hemostat + Pencil with firm, new eraser + Medium weight: alominurt foil * Ruler Core Mold (page 17) + Stiff metal rod at least 2 ine Yoinch in diameter. long ard Step 3—Place the fil cog im the cre wold, mall end doce. Use + Wire cutters or needie nose pliers that cut ‘te pal of or ad vl tbc and forth rapidly, Ur should Be the ke read shape a be fil oe 19 the diagram, TIP. While you're making that core, make more. Don't ust model one head, Model CRAFTING THE ARMATURE three or four at the same time. You'll Step '—To flp the bead kup us shape, make an eeshapad racer fra a 9 inch by 6% inc eer of mado weight find your technique improving because ‘tnmunun fail a) Gather men sds tte center frm ab te youve repeated the same steps In 1) Gator the oppette side ocho 19 mabe a bstefly €) Crumple rapid euccession. ‘the wing tip tard cet om pain othe pando pai 00 the Sts, 1 shld reinbea eee .Step 5—Use you thumb to blend ping strakes. To cag free of ie Ne ees ‘SHAPING THE BASIC SKULL Step 4+—Combive two Bare Units ad fora be sivse amd flatten each Bal. Carer Step 6—Rul ball of clay int a bat i half make 00 canis. Place crib fiat ba af the Bae. Blend he sw the sivoking lay jose 1h pplique one tbe bead Step 7—Use te lange hing nucle ta prssa gree the clay just blow the midline of tej, Step 8B sour lac peti of the ace making Fe Jesper and Laer thew the bran Eimish by Lidl pinch ‘or index finger Step 9 Rell the renaming done inte oral. Flat fornia strip abit longer than rhe but is wide, Place th ‘aig onthe forced between the Br fie cand the nace of the ad. Blend the side seomt frit, the cvvce, and thor~ 4 j SHAPING THE SAW Step 10—Defivs th je Fine withthe larg Rvitiing woods, Place the shaft ofthe mle atthe side ofthe Baad Kalas betwee te ford and the bach of the Bead. Pras sontly ot you pivot the smd 1 he aes strate ch cde of th form a gost, Cie one fs month on cach side of te greece. Step 12—To supe the sioes of the fai are the beable dex finger devas the jaw and sirvke doion on the sides of the face set owe thd, Ife side is longer aban the saber b ase TIP Before you mark the face, check ite dimen sions, The head should now bes as wide «9 It 16 long, approximately | inch wide at the mid brow and 1%. inches long from crown to chin. If the lergth of head is too long compared to its width, press the base of the Jaw against the work surface. it’s too short, lightly stroke dawn on the front and both sides of the face Step 1)—Flatten the hase ofthe wy lightly, pressing the base of against the work sare. Passe bead ighily forward as 3 Aart te ja the bad sin Step 13—Follow thes ps to map and mark tho Landogars of he the witiad aed bovizontal mid Ties. 2 ange to equal tbe distance fram side of the face to Ne contr Tins. 3) ‘Seure a ine forthe sane the mid-ardth Bel the mid-l, 4) Scone li forthe mies the mil-wideb abe the chi. 5) Mestane the disence betwee the uth ane noe—that's the fue 1)Part 4 ~ Face to Face ‘THE BASIC NOSE Step Build op the rose ith a short rad of day. Use 7 Modeling Unit to uake a waman's ese Use 1 mits for a man's moe, Place he rad om the conteline from the byw le “just atace the lower lip, (Sx the wate abowe Modeigg Baits) ABOUT MODELING UNITS ‘A Modeling Unit is i of a Base Unit, Some features of the face—the eyelids for exampie—use fractions of the Modeling Unit, portions a6 small as Yoo of a Base Unit. That's hard to meagure. instead, otart by cutting a Base Unit into quar- ‘ere Roll tack quarter into a ball and flatten slightly. Cut each into four equal sectione—these sections are fs of a Base Unit cr Medelina Unite. Cut them Into smaller portions as you need them. The average head uses 9 Modeling Unite, Sup Ux ‘he lage ising aslle ato raller to lead the seams at the 0p. sks. asd ose of the rose Finish Blanding swith the sider of the te yen finger. Cort the Grow line with a sone rabing and place any fost ‘ide lines Step W6—Pier the bare ofthe bead withthe large tapers neil Inset a sf etal rade oF use a tapestry mele tal aso tenporary spine aed ad the rad later. I will suppor rhe bead while yan lock Im ond minded the rest of Us fates AR EP SETTING THE FACIAL ANGLE cay In fase of cin lavage ths ebin is line with she Jrebead. nun aa trtcalfaral angle 6) Faces of Cansasian bevtaze have 2 vertical tensa evn angle.) Faces expressing am Afircam ancairy sould havea slictly tiled facial angle: Use these drawings asa guide 26Face (0 Face FACES OF AFRICAN HERITAGE Who sr mda fate of Aa bere, srl facial age iy dunlding up the bon aud month wb « laened dae nike of fs Modeling Unit, Bld and then mark the potvon ofthe msurh. snath oar se Bloch i the appr ip. ue Buinting wosle lle mare then the tip of sch, Path up comuy es the BLOCKING THE LOWER LIP ‘SHAPING THE ORBITS AND EYE SOCKETS Step 12—Ser the msium bnuting wsdle a ttle more than Step 19—Build np the eye sckts and orbit. rhe bony part Iaafsy bce she npr ip and the rp of chin. Push up. Reshape sal aroma the wists. Place oul flat die om each ss he ba of jan and chia if sary ridge ofthe we jut el the bre Tine, Ue Zot Modeling Ure Use | Mein Unit foreach dis elle at a rll added clay belps of th for wah die on a wre’ f ‘an a mats fae. Blend by mins the large kt cand shen finish crashing with your finger. Thi form the brat and bral wp the ceckbom 27Part 4 - Face to Face 28 Creating Life-like Eyes in Polymer Clay You can use manufactured glass or acrylic eyes. bur glass eyes are expensive and acrylic eyes may crack during baking, And. too. eyes fash- ioned for dolls sometimes exaggerate the si the iris. Here's a brush free method for making painted. polymer clay eyes durable enough for modeling. They take litle time to make, but they do need varnish, and the varnish should cure for several hours. Cured varnish is forgiv- ing: you won't damage the eye as you work. Youtl need the eye mold and stand described on page 18 in Part Three. Always frustrat 12. than dropping a tiny eyeball, where its lost in thick carpeting or bounced into oblivion. TO MAKE LIFE-LIKE EYES YOU'LL NEED: +The eye mold and otand (page 18) + A small amount of light colored clay + Shallow dish with water + Cyanoscrylate (instant) glue +A omall jar lid + Straight pins + Acrylic gloss varvivn (page 12) “Acrylic paints: White, Black; Cobalt or Uitramarine Blue: Raw Umber and Raw Sienna; or Sap Green and Cadmium Yellow Medium + Paint: brush (For mbxing, not: painting) + Small steel crochet hook + Paint tray or jar ide water + Paper towel or clean ag MAKING THE EYEBALLS Step 20—Rell ee cyl lay nto sual bas ip i water aed ‘hoa prs firmly nt he ye mld ra is Som diana The ay tual be evo with be tp ofthe mal. Dip she bao. a straight pom inv ita gl ed th prs it tothe ester of soe chal. Wie 24 sds fo the lv 20 hfe asin tx pin asa aleve Hie tin cebell ot of the mld. Set the in i the Baking stand. Bake the ps fr 20 19 38) mbes at 265° F and beat te stad. Step 21—Ue the pin as. handle dip rhe eyes into whine serie ‘ains, Locking twecers o kenitats ar peri! for balding the pin. Let the eyes sey in the star abut 30 rites. Dip nto clos ‘tarnish tapping the pon 1 ramove any eset sarish Let ty for V how: NOTE “The eye width encompasses the comers of the eyes, a feature that’s part of the lids, 4mm is a good size for a Yo scale head, but-you can use an eyeball as large as 5mm and set it slightly deeperFROM WHITE TO PUPIL These e308 Hlastrate the parting technique. They also tlasrate che $128 of the Frist» the tye wid, a) The varnished pebull with its som exty 19 stamp surface. 6) The dark ‘natin So this lac #915 blend of bhack sand bla, €) The tomted asi. lighter asd of We, d) The darber pnpil ic bod of ‘lack and ve ohne shod; PAINTING THE IRIS Step 23—Uiwe che fre ofa tel ences bok as a sep be ons. Dip the ble in the pant fst enh to eat he tip Stamp the ster of she eebell with the darker outline color, After te outline olor cis, dip the bowl ofthe crt Bonk inte the Lighter ris be, jus esough tocar a ha of pain. Tol ib bad of pan (not th ales to ae aastne pair, The pane sald PAL ty orgrmol eve but lero seof the vtlive visible Basic Iris Eye Color Shade Shade MIXING THE PAINT Shep 22—Choate Bune Eye Color Blue, Brown or Groen. Te outline shade is the aie olor darko with a touch of Black, The fr shade isn fighter Bu of the asc oo, Por Blu sys. edd Wits we Corntean Ble. For Bren and Gra es, add Rae Sionva Yelle, or Yloss Ocbe 10 the havc cule Al mare Black 1 te Online She paint the pagel. Use fst ong aii the sonst of ori. PAINTING THE PUPIL Step 24—Asier the vit die, ase rhe pois of a mado bit ‘ing mele n pas 8: ppl. Dip the mele pain inte pale of publ ent te jt ach the paint tthe cent oft, Afr ‘he papel vies, dip te ye im earch, Tap a reysre any exes ad 1 te fir F182 bowre or re 29He! it takes a bit of practice to set the focus. Sometimes ‘wnisting an eyeball will bring both inte aligrerent, Another solution: eyes that: look toe one side or tl tt adde a spark of awareness, and that’s pricelesa. SETTING FOCUSED EYES Suep 26—Cur the srais pin Step 25—tark the serbsy one eye wrdeh eb Set the eps i thea sockets, Ba from the conser li gs the rai bith lok 1» the same dace it the foil withthe ital tapestry noel bein ang te orl evar to fray pu Le te Dg eapstry she ees in place Log at abe ees fram the sition 19 scien th ane him 9p ty vase sure they've Le with she small saperry 1 the faces of the al oe that lok straight abso otek amg tu om side the ther FINISHING THE BASIC FACE Step 28—-Adi ad Mond « jlarioned ball made of | Modeling Unit placed on asco. Bland re saw araa sith yone fingers fins, Use large outring madles ovller ner the nese math and ee 8 a fngenUnderstanding the Skull beneath the Skin Modeling Ethnicity You've just made the basic face. Bug-eyed and laughable, it's the beginning of a thousand faces le by just ax many choices, Understanding some of the cthnic distinctions will help you make those choices. The Fackal ang page 26 is one example-an ethnic distinction seen in he skull beneath the skin. You may wish to represent others a} Asian b) African <) Caucasian a) Asha Tras mast efi sem Heal ond unt chin enbas the an ass may inluceam arched crrun and the vertical profile decribed om pace 26. A els, fase tat mest mse ight and tdd une te fa yout. Lack of ass fram dhe ase mae the almondssaped eyes lob wie read t0 be straight, athor than arched or rom dy bd aed pro rt mal bridge maker the nose appear moe dite set. The ae 5) African: People 6 26, Promise fa sritage mas sighhy flat of te ad, and te tilted profile dered en snaleid moe, andthe rounded etsy sm widest. Te fe typeof ican eet has vi layer of sin anal sel cer sath bres. The eis ix a round, eo di full Ir lip abun a vera, blunt chin, Te esebrce ave ft rsvnti, rater than arc or ith p oes amd abort naa Side pace wer flatter and sve ©) Caucasian: A round sown, la atthe back shapes te bull ofa perso of Cumin antes. The sighly ited fread, prone ent brow ridge. equally prowavent chin, and racing cbchbomes make te ace appesy aarveu: & long. bigh nasal bridge praduces a sharps een ore lacy st, The eis tea 19 be rl. rater than rao wr straightRefining the Shape of the Face Adding appliques 10 xe cheeks or jaw will make the basic face fuller, ar rounder Appliques also strengthen the perception of ancestry and gender YY a) African ©) American Indian se beta by balding Apia de ad ct half for Thee caves show yu the ize and shape of appliques tbat sp she caches ad rh jase a) Bi ‘heh a Mudeling Unit. Roll *s Model thts appligue by & e) Bor the baad. mr Asian or Armrion and atin lf. €) Wide the oa Maeling Umi Inia anit, rel Yo of Mseling Unit nto pee oe faces of American bud am or stronger BUILDING UP THE CHEEKBONES — MODELING A STRONG JAW MODELING THE PLUMP FACE You'll fd te Large itiong mde isthe Bld up tbe eck fore ym a Wf ym acted ta mak a fs face ase bese tod fr leading ohis appligne that ame tu amate a sg jaws a trait ld, An egg-shaped applique of 3 far ata fo builds up the cbc bn’. Use the merle os often $800 te fos of Arorcan tnlien — Madeing Units mut a rller an jib by rubbing smom with desu. Use ys thal or fogrs to lene fare with sop chev juts ad bin user finger Refor to the pattern for the this spblign. a strip made of V5 af init of te figure oling Uni. u're madeling.Refining the Features MODELING THE EYES AND LIDS Step 29—Modil thee Lis with ‘of a Madeling Writ fr sch pr lidar ach dass did, Roll race longa eas F Use the large Aniting vo ithe seams, 2) positive EXPRESSIVE EYES Heredity sh & crap mani shape of tbe erat well. These mate ey soteats they paid again Madelieg Unit to the clay. If the clay sticks it with a blade and then pick & our ees, bur emutioas exer tir omen aflaene Te deserbe eyes tha wl as eobuity add applique a) Whe tx site, pie fr thet ably the lover bid the ge erates the i adeling Unit. Plate it ast aber the ye aed SE S&S) LY a) Caucasian b) African ©) Asian ANCESTRAL EYES Tse ceaeings show tore distinc ee shape, each an caf ae or Ciancasian sche prodaces a agua ee with the ape of then ins. The lid is primient.b) Te Afvitan ye mivrns a rectangabar eke sucking for Hargen one ex cd ye, Thicker si om the nb may arial omoec te fid ) The altnd ope ofthe Asian people rifle the ol shape fost, The ecanthal fold vo a LES, Ce weeny to lift the at, affct the ‘ : Sep 30—Use she call raestry nelle to 1 the ceckdanes aed at the obit. When echelomc ed et te ddscribe the sbipe ofthe eye Ret she wp of epi ciars ths wale lightly on the eyeball a yor 5 art of the lid. eas He sping. Trav and tant upper ld wil sme. Dn abe rae for he ie corners of the eps by onal sapestey Tsar fi. Def pusbing the port of the ssl inset corer up tiny appliques with the tzol you'll use for blending, able to see what you're doing, Ju ¢ touch the tool the work surface, loosen che too)Part 4 — Face to Face MODELING THE EYELIDS, Step 31—Ser the Large carte tal an ‘he upper lid aise the mide of the ouhall and pivye fir 10 she imide nen of the ee ad the tthe aude crm: If ya with ie te fw rele rar idle a5. suid for eting 1 tool on la tA CREATING THE ASIAN FOLD Ie people of Aston. and sometimes American Tnuon or Ajricam dest. a old nthe thin idee the npper eyelid Sigget pris af the upper lid and the pcanthal fold cnceaing it by drawing a fine se at the tr cine of the 3 Step 33—Pres te large carved tip tod Jos ble the aac lid ad pivot fr be aside corner aed tet te tte, ‘Stop 32-—Refine be shape ofthe lid veeh te Lange tapsiry male 13 flee ances sand eahanee the corer the TIP If the eyelids seem t00 thick, use the medium kritting needle as a roller and move It gently acro9s the lid. Tim sway excess clay with a craft knife and re-define the shape of the lid at the same time.MODELING THE EYEBROWS Step 34—Add a flestonad sad made nf Hof a Mosbing Unit jae se the gaze corse of te ze and elo the eben, Blend nsing the mdi Botting tals ale, MODELING THE CLOSED EYE Madd the ved eye wera pris eehall, Paton she a sad doen ae the ceed tip tal ts rear he erage ofthe npr bid she Large bnitting rostle amd bond the 1 tbe cones of the ees at well a 1 Pay attnt atl cure, Re-afne the ld Tins with te small tapentry ml TIP Model normally-shaped brows fi loner them when you raise Particular emotion, youll bet ‘stand the technique and know wher stop and avoid exaggeration. Step 3S—Roll she nation large britingwecle wp fi ard he ora Line. Wark Joely ahase the and leans of abel (hoe atom ele tard the nr corer of te aye. Fons by sling the asalle don ft the wid facbund down tod the brow fnModeling the Mouth SHAPING THE PHILTRIM Step 36—Prsy the taper cd of the on pli, th MODELING THE LOWER LIP Sup 39—Geety ce tbe mnt ming ‘he sone wetbed you sed 1s Bek i he Aone ip, Refine the shop by prasing the dle sigh angle om as of the dese ip. Ve tbe nelle ata eller or smb tree any gros a the sides he mst ‘THE UPPER LIP Wf she nnaeb and SETTING THE LIP LINE resllejue Step 38 Hold the sell aptey r er of the ruth aad Tc the pres the corer of the month while the sha wale will ward al ofthe Lip Live PLAYING WITH EXPRESSION sen om se te Ub Ui ode the lip pl cies cow for daeorlip.Modeling the Nose Step 40-—Pione she nostibs with ce FRAMING THE NOSTRILS REFINING THE TIP fare tapsry race, Mote the male Step 41—U the age cared rp tal to Step A2—~Pras lists om ech de ofthe Thyssen then ap tot the erate cma graces sie f tbe tip af the mse wit the mdi Bring tal, area seals for pon beef the nos Th fsb tt Jets tbe sel Kol the meat am one fr adie ins small circle 10 widen the gla eefe : as fora et of Aft ems ‘THE ASIAN NOSE THE AFRICAN NOSE Fura face of Asian acstey. gently ress A Sate of freon cave ehanld hare os! ‘he wise apainst the fe 10 son the mestrils, Create obe coal sbape by presns profile done paint the 0p ofeach ale with the Tange briting weal‘THE SNUBBED NOSE THE AQUILINE NOSE ‘THE BULBOUS NOSE eto abd mate Cx iy stroking tbe tp down Use the large britting nsadle ato he sip wish your Jonge with your finger Brosire from the trge enlarge the tp of th mse by rll Redes the bree iy ealling the large it niting nate at tke tp of tho ridge and — ard. Pw the medium aie nol wll ting mecdle toward he bran Jet abowe the tip wall erste a bump thot the way avon abe sip of the moe th erate Modeling The Cheekbones and the Chin y we Step 43—Pres the shaft ofthe Large kssing SHAPING THE FEMININE CHIN rele git ech tide of the fa ot te Step $A—Lane np the mado buting ma Tine This pil ap the 1s fh ead thn pi te wile hed bose the fe that carte ci. caing got Sf heat teeage forthe je mae tithe Pan ite mf ye make cha joo. Tide wich th mt. wan and uid oh textDefining Gender Though you may have used the amount of clay recom- mended for modeling a man’s face, that face may still have some feminine qualities. You need to make adjustments, push the clay around a bit to emphasize a masculine gender, Before you do take a moment to understand what it is about a man’s face that makes him so different from a in, With that understand- ing, you'll have the confidence to make the necessary changes to your sculpture won All women have something of the child still in them. Her bones are small and smooth Her chin is pointed, her jaw round and narrow. Her for head appears vertical and ‘often round because of her small brow ridge. Her eyes. too, may seem round, soft and large because of the smoothness of the bones These are childlike fea that remain as a gil becomes & woman, A man's skeil is more robust sith a ruagedncss of hone that supports larger muscles and thicker skin. This bone and muscle growth gives an angubtrity (0 the features. inchading the eves Fart 4 TP. Whatever the gender of the sculpture youre creat~ ing, the basic techniques remain the same. When modeling a woman's face, work geritly and your work will show the smooth stull beneath the skin. Even though you've formed the foundation of a man's nose and eyes sockets, work with the same light touch. Those not quite masculine features will become a foundation for the changes that create a man’s face. When you make thase changes, be bold. Adopt. an angular attitude. Straighten the curvature in the eyes, the nose, the mauth and the chin. Use strong strokes to model a man’s head, beginning with the brows, ~ Face to Fa "heer heath semesters ete fate cleanly mated the er fone, The dio ome Hi the bys. Amis sll bas ticker. roger bones tam wae’, sing bine a mor procinest woe and ew’. a tguate chin and wick jew: The wasn’ warevasr jaw and ead face mas ba ys pear Lanyon Hr pated chin wack he mouth Sok fll: Whale dah pas the same mse, bic i eighty larger‘THE BROWS ENHANCING THE SOFTENING THE CORNERS fuinie ase uo on sat is TEMPORAL MUSCLE. OF THE MOUTH Begin with 2 Ve presen aight walling moos at Uses tumor fg to bl thee prsan as y all e meion orcad to sigst the of the ett 1 sar th te Bites npc. Don't forget cowll the pole Larger in mee, this meth and dr wre clay se aku busing douse from the forsad od heey breast psitine thes pre arly. Whe mare presets 90m appl the me [promino the br WIDENING THE JAW SHAPING THE MASCULINE CHIN Create a mony enlpsd ebiiboe and Lee up the sa (the diom briting widen te jaw farsi by presseg the shaft male atthe corer of tbe mat fore You of lange biting mele gait the side pices the male acrass the chin. Finish by ofthe acc. Rolling tbe mle down sacand —lyncning the ave of the ehin bit ‘he ia ata sight amgle forthe bert eet. “making tt nore ighareFart 4 Modeling The More Expressive Mouth On the adult face, with the features so widely spaced, you have room to make changes easily and in any oxter. You know how to make changes that alter the shape of the nose Irs time to open the mouth, show a bit of tooth and express delight with the grin and the lavgi. THE GRIN, Step A—Tarm a smile ince grim, Blase te font of te Large tapenry wade in the corr of ty rath, Pro the nel hack curs the lip Hise. Repeat om the appre id oft mash. Ti aap opens te wat, Step D—Relling she musium bnitving reat aves tb ut lip will erase ay wale marks, Step B—Uie he sapere ond ing made pla a tny fn the ten moth. Pros it far with tbe ae asin ys wed 1 Step C—Mark 6 10 8 sath witb she tafe oft fone made Begin i the center Danes worry af you mark tbe itt i. 1 th math. Cat ay any exes whit cay ad for a aig Hin a the base of he a wit a erp bal NOTE When the grin took shape, ‘those wide eyes no longer fit the face. Tiny rode of clay, blended on the lower ids soled that: problem. ‘THE WIDE OPEN MOUTH Pico che conten of the much witb the sapetny sul, Mote it in a cvee 10 bie pig abe nat and then ave a bare Aevittng weal 0 sen te ssh as we 4830 ishSOFT LINES AND WRINKLES. ‘As we grt ler cr sham Iss elasciy, oar masele Loe tome and oo Soft Lin shaft of the median or sell vin mesdle pret aba vex th ski on the ade of te fate the js ed fired wrinkles a frst. Ws the ‘THE EFFECTS OF OLD AGE Step Atm vo old fhe main knitting nee ta decre tbe ste boat the ey los of fat effects the appearance Es, ob ceasbrowd by zd of fat. sth slightly. Set the es epee Use te tip FINE LINES Usethe seal and Loge tapestry needle la gest bn Aebigarewrais ess ard the moth and worry limes across the fora th aioe Ue the shaft of the fine nee forthe mor Step B—Accenenat ach chcbione wath small dic of le, U oft Madeline Unit fer sah, Blend eth large aw medina brit rls. Pass the cin tac the me 10 she te feof Bt aModeling the Neck Man ar women. young oy old. the patios Step 4S—Rell a bal of ole fra 1 Bate is the ee Ut foe a acease Sigur 1 Zo anite fora 10 he wk a Jat figure. into 2 ved with dusmeer ff spain he bse f te length of te ud. Bree ome ad at an fl anale against the work safe. Tarn tee amd flares she ther ond a jaw, 34 for a mas, 3-6 fi ‘Bea ro be ck et be. Refining the Neck and Jaw Step 48—Uxe prossooe oon she lange Iuing male £9 waked the waders of foes Create iy mace by adding a flat the jae WP 375 ras ek mse the ad 19 ech side of the nah Use 10 mele side Sigh make the au Maing Uns for en a Plseeacbat wide Gel nc ema thant afer > sen angle bgrming jus bshond te jt Adan’ Arle cand sloping tad what wll ee pit of ‘he mak. Blond the ssamc br rrabing with yur finger oF wie che rion Brireng ele a oleAdding the Ears be tn rate the fos and wars, Yl Dein te be A yuan sexy inser 1 of Madeling Unit fir ur Finger ving a Sth pr Step 50—F or a ra saginly wh vw form 2 and vrrace the shal the tp of the oar and von tape nf at Be hase of the °Coe Part 4 - Face to Faci Sep $3—Tracezsmaiiv C-shaped ering Step $4—Ue she ip of rhe snedam bait Step 58—Piows the wads taining witb the Large Beting evale Gradually tng mele ro pres tbe Vehaped grove naar mule raat eras amd atthe pen (usb ssa th hack of thee to erate the te tap of the fold. The fil should me ing oft ears This sep eases te ar ad {Ald in the can {fy raise a sharp edge. rateable curt ¥. ashes a bt clay toward the opening of the etl rob amcth with your fg In a New Light On a different day in another tigh:. 1 might see other possibilities and make other changes. The mood striking me might strike them. For the moment, these three and several others are most finished. They need bodies and limbs, clothing and bair, blush on the cheeks and rouge on the lips ar foring te pina. TIP ‘cor youve frished, seo your work aide for day Spend some tine in the real wee, cheering real people. Now youre ready to look yourworkin a rew ignt—a bears and etic igi eck for balance andscle. Study it upside down and ina mivor Get oc your gauge and check for featurss chat might be too lara er teo sal. Yul find the rece cay cooler and firmer but you can easily change he features. Youll fd removing risks, soratches, fingerprints, ond flaws an easier task on cool cay. Ia eth this Brome andy’: brows—Presave abe the cylves wit the hy ft fll sr staat sige, bt wor te bigh ead rts toa large. took large baitsing nls made this un's easing bis math ait wdied realise 0 igs prowure absie the brows 9 lower — bones lager and lower bicexprsion thera. Binchieg ber vaso clae ber mots mae the fice the sveMy PART FIVE The Body ! in Question The torso ix the body in question, 4 marvel of musele and tendon fastened to a foundation of bone, Hourglass in shape, ‘compact foil cores provided the foundations for these torsos, A layer of clay. built up with appliques, provited the means for modeling the muscles. Tool strokes did the restMapping the Torso The same robust growth seen in a man’s skull exists in his torso. His ribcage. made of larger bones than 2 woman's, adds breadth to the shoulders. and produces a slight angle i the collar bones The pelvic girdle. more closed and upright than a woman's, makes for narrower hips and a flatter abdomen. Smaller, smoother bones comprise a woman's ribcage and shoulder girdle. Her collar hones tie horizontally because her sihcage is smaller, Her pelvic girdle, made 10 cradle a growing infars, adds width and roundness 0 the belly and hips. ab ff Sterno-mastoid \ = Pit of the Neck } Shoulder Line Collar Bones Breast Bone Pectorals Breasts Pit of the Stomach Rib Cage Serratus Obliques: Abdominals. Crest of the Pelvis Navel Fork of the Body LANDMARKS OF THE CHEST AND ABDOMEN Thee figures bare vale proportion tr 2% bed length lone The appro lace sees are 1 bed eng long, jane by midsection of a boad lenge lous, Thr wats are vad 1 bed Lengch wie, but che imilartss ond tre. A wore’ but it 1 baad fy the cameo mere tae ts ide and ber hips slghely wider, bat 1A Baad lngchs. A man as maraer bigs amd a bade cs. astra ppt of woman. The isan yn marke soak flee sinatlar proportions, Knowing the semis anid bows, even thy cornoes names, ill ‘make nndeling tho sae,b Part 5 - The Rady in Question The Torso in Profile Female Male ‘Seen fn tse, s tan se beth bos of the tose det afi tape, The aa’ braader chest eflcts bis Larger iba Mis upright elisa for a sraight back. A uses riled pels produces a grater anch, The grid tora) the apt of be tore ecparal ov its wideh—ronghly Zhe width all alors ie loath,tS - The Body in Questi Landmarks of the Back 7th Vertebrae ‘Medial Furrow Shoulder Blades Trapezius Laterals Erector Muscles: Crest of the Buttocks Crease of the Buttocks Buttocks Male Female pb tbe et ed cls repos ‘The some gre yur rele sideline lamar fe back. The iedt 5 — The Body in Question Building The Body Crafting the Body Armature With a baking time of 20 to 30 minutes for every quaner inch of clay. using a foib core for the body makes prictical sense. A foil core with a body-like shitpe makes modelin and shape to the figure YOU'LL NEED THESE SUPPLIES sense. If gives strength + Work surface + Aluminum fol + Twelverinch ruler +20 to 25 Unite of flesh blend clay * Straight blade for cutting clay * Gauge or dividers + Large and small tapestry needle tool (Page 15) + Large and medium aluminum knitting needles Finishing Materials ‘# Two inch diameter brass rode or coat hangere (5 / head lengths long) + Sculpting Stand (page 18) +» Rubbing alcohal (81% is bear) + Clean paint brush—a #4 oF #6 Filbert i deal + Taloum ponder + Baking dish 6. beri + Medium and fine wetidry sandpaper and waver MAKING THE CENTRAL CORE Step | These are the ips for making te central cores a) Fold 3 24-fach by 12-inch lang she of fal. Bal r haee 12 ibe: cane (Coeae ty fll parallel tothe fold 5 inches foe ee ond. Thi well bv watbine B) ald weer 2 sand 3% inches of the 7 inch sas extn, €) Fold vor uf an rch on Tnces of te 3 5o0h wide ip Border Bip scan aad 1 bask om the Langer chest atv YF "he fold set wessares 12 inchs iy 4 Ye Ibs, pane done it ast right.) Gabe pepeaicalar the fl, The snazece layers wf fk Ml east cme thicker tts oak —the chet and hips ane ibinner aPart 5 GATHERING THE FOIL Step Far mrs cntvd. make seal. ase peat fore yo he f CREATING THE WAIST Step 3—Pinch th ase te mob ore compat. Tis oma the teas, 1 should reemble a lopsided bow tie a Lite more than 4 Jches hg WRAPPING THE CENTRAL CORE Step +a bts shee 12 x 12 inc sts off. Garber cl 10 width of Tne mare than 4 inca, Roll the cre in the to ct te st a time. Pal sgh, Sop noe and toe fy pleh the ji at cheese. Mae carta the wrspsee ngbt. FLATTENING THE BACK Step S—Prs th crs agit bard sofas thie pate of yar shan. te sofnss of yor palm wil form rowed frame. The hard nuevos all flaten the hakSHAPING THE SHOULDERS. Step 6—Leve se sald sunfase De the aime ta the by prsing the ast agains a bard ARCHING THE BACK Step 8 Arch tbe ace asstng it at the nn es the core sent ack, Modeling stoi 1 pte ths bd ler 0 pla to pase the bly by bending or dy nea lesa cir its yo te opion ‘TAPERING THE FORK Step 7—Taer the bip jim precing each Stam exer against a woot, eharply dined jon, This ond face, Press bard and by bling the core at am age stb fk f the bdBuilding the Basic Body Uncovered Foil Core Core Covered with Clay 12-16 Base Units to Cover Front Side Front Side SIZE & SHAPE OF FOIL CORE Tie scale ny core shed match thie diagram for Ce ame shape Aes jue vighe fr fire Vs baad legehs tall but a Figure stand 1 eas tall, with a tr of almott $ bad length ig © bud tall wit stonter tv x juntas rite. So, om, fa igor sanalng lors, If yr fil cores compact and tightly wrapped. dew wore fra br longer a uote than the pattern. hic is. divere world whe sev bad is perfect.Far 54 2 [ne Body in Ques Step 9—Fal small wera in the ome ‘ith ama amounts of lay. You doaldy COVERING THE CORE WITH CLAY sect mare than on Bate Unit. Step 10—Combine 12 Base Units for & eer Bay 14 er am vecage by on 16 fra stacks cy, Rll the layin @ sath seals all, Porm a ra the length of the cot. Place the ee of yn don omit of the way from tbe a of the rad and rll te rd back and fib dil th as lang 36 the cae sand cele 20 offer brags Svep 12—Sanlcd the cone between the 19 shee Shep 11 —Cur se slay baer in balf Inge rire, Flaren eoch half with she pale of yore bundl Un roller mabe she tn ade hav ong 20 cover half of secre hay, Pres firmly cal the seme and rub smth, 4 snow body, The conned eae cal Bure Bas PartreBuilding Up the Body ~ These appliques will build up the chest, upper back. buttocks. and correct the width of the shoul ders and hips Front [Shoulders “18 |) Buttocks Tria B Side Back 8 = Base UniFart o — the Body tn Question BUILDING UP THE CHEST BUILDING UP THE BACK BUILDING UP THE HIPS Step 14—Bwild up tie chap wish ae AND BUTTOCKS AND SHOULDERS sal parca of lay. Use} Base Unit fir Step Alda flasted sal of ly to Step 16—Cherd the sbaalder and ip woman snd 2 it fora mon, AdE' the upper amd mid back. Use? Bare Units wie Broad a wate’ soars to 1% anit for a sce figure of eb sender for a woman and 2 ais fr a miso — baa Uengtbr ide with jastned os Roll the clay its a sick rf. ad ten add wnt ro make a stckier figure of made of 1 Bate Unit ext, Wie A of a Latent wath yor pals atti matches arr gender. Build pth bttcks with a Bate Unit fora wcmnis emuler chau the ose apoligns 1m tbe paners. Blend fanned ge made of 1A univ for bh des. They shoal be 2 bead widths. Aad the scans dy ening from she apDliiee she slender and average Unit Add itt to man's bps with mal appliques one the tose, Use a rll 10 eeste @ amber mit fora tocby bad, Blend the rode of “2 Base Unt. Use ent efor saath finish sane send thew wie voller 2 teomart’s ips Modeling the Landmarks THE PECTORALS AND THE NAVEL Step 18—Oualine the parol wirb Step 17—Buablsh ne» landmarks, he grate eat side of the bee With te besef th pcemlsand the navel. Dine ls hitting neil or exh gre the mate 1 ba nth hot the fork of ey lle at ei in cron ‘dy. Use the large iting mle psf 168 shader to tbe nated and res st burezatal grace ints the cay a like Renn of th crsrs peeing te mele more than 1 bed longbow the shoulder ae This he base of the patraMODELING THE RIBCAGE Step 20—Resonbleng an imveted W, the ee of ty ribcage ies on ty imsgiairs nse ab the fork abot to the pit ofthe lies from the wasn fine 10 te comer ef ‘ck, Hs dpe whore rhe nls ore more ec bras. Sethe large heeing, male decloped just abres the base of the parallel 10 that tesginary line aad pus petra aed en th bdo anand che shoulders soil the male ts lost athe line. Rec eaty any sarge cadges sh soar finger THE OBLIQUES Stup 21—The rbhigns. naw for there lain angle. flank th 09 aa fran the minal, One beach wil wide be thdejnals send jr: the vbeage 20 the Fook ofthe by, tape, lel the mal Create both nce grey posting tao gontle gratis with & median brining rele. Sofie by raking your finer up andl low tbe grits, Use yu fer sed of 2 dial gg winan’s wore ely dead idy oy oma sac alc bay ‘THE ABDOMINALS THE PELVIC GIRDLE Step 22—Tendonons bands erss she Step 23—Sur she shaft of the medium abdominals, dng srg by cid he tting male atthe sie of the bad ie work. Tie fet Ua tle more cue 1 ee time wit the navel and the pone the width abave the navel. Te sa fs “the elle toucad the fork of the body. Tic sid-eidch abvoe the fist boi Use he Time eas the angle ofthe peleir and will haf ofthe medio knitting, wallet fine lp yo madd the barks sh fest ad snd sina well seotped snaierlne tevin The tind bond. ar ido the pectoral, i sedi este Ure 2 Lage biting male and light presar fo a me ined. et well ruled teen'sFart 9 = the body In Ques 58 On Finishing Touches to the Chest and Ribcage ‘THE EDGE OF THE DELTOID Step 24—Reub be ran, rough eda of the ‘hess and abdoninals sth, Form a al fore at te ede of he be carndiaonknutng tale. This frre. the eading cdge of the dio mule. will ude you whos yom add the arms tu te ody id model the sbowldir MODELING THE MASCULINE CHEST Step 27—The nipples lie 1 bead lengeh ‘part and 1 brad length ane he nate Use tiny balls of cay to form the mpl Ye of oe Modeling Unit for each or les Flanon lightly. prs im place and blond! the edges gels with he large briting reulie. Leste a onal. roid axek and Uighy stpple ard the edge. REFINING THE PECTORALS Step 2301 ot well mnaced. mawcaline fidy. the pactirals appear “bnitea getter where they attach te the reastne. Pres tres Vesbaped gros ot us ide of be id-Love. halfway tater the hase af the chest muscles and she Bander line. Use mist finger ro sont te raw ober THE VISIBLE RIBS Step 26—Sugsett ris by gouty ere ‘mg three amsled gxraves om aach side of the vibsage MODELING THE FEMININE BREAST For a small breasted woman, val! ofa Base Unit nit rata a il sind cat i half (of awit fo euch bruce amd thon prise ecb ‘olf im ple For larger brass se twice az much cay. Bleed te seams at thet ofthe bras fst {by stroking frum the comer of the Iyeast ante the upper chest. and then towards she shoulders, Use he sudino biting mele. geise prasere and a piecing motion te seul and define the roundrae at he base and sides of the bets. Made she aipples ing the sane schuigues you avald aye on a seit chet. Thy could. poins = slightly upward ed sonwcard Larger trast ar Larger mipplesPosing the Torso We can shrug or hunch our shoulders, arch our backs, bend or rwist at the waist, This is the aver aye range of motion for the torso, easier to model with most of the work already finished, - — it cba th ark — Step Bole Cl ante ash may ally ek oon tet fd eres Step Ah Pend oe ts the to. 08 the with te palin of one bad while yo bed the fac ay Foon tat, Pres th lay fir Patch with swall pass of elay a blond and wcIigues described for madling the Now we te same t sonneg bark Step C—Prea any buckled lay Pray agains he fil cre Rens 1 the ahdoinal mans ifs, ad add few folds the wate,Part 5 - The Body in Question Modeling the Back THE SPINE AND Step 29 Rub the jaro south wits CREASE OF THE BUTTOCKS your shun by arching aniey foo the Step 28-—Coae fre alongahe mas wee. Do te sae tothe ede of ele Tine of the hack 83 srbing grove dows Batok Use psa finger stabs at the she pre witha mine Biting mele. tala the bach, 1 ad lent ae tbe Ta form thr ofr Lrcs, pres the fk of th ody ac othe le ie buff tbe wl pity te cay atthe tebe the omtor mace Te cae the ‘ork of the bs, Pot re mal from he fae Sq the hp ims te che ok sur the back sopping Yaa Baad 080 he Untick lesgth ake te for TIP. Use landmarks of the chest and ardomen as guidelines for modeling the pack. The creat of the buttocks Is in tine with the navel, the bottom of the shoulder blades are inline with the nippies, and the base of the trapezius in line with ‘the pectoral. MODELING THE Step 31—Gine the shoulder Hd a ‘SHOULDER BLADES gently rended V shape (y presing an Step 30—Use gonlepresore and ske nail groe ramming j um te bate of the ‘aft of the malian baiting mele ty — thodlder Blacks tothe sbaider, Rec the suggest the shower Bld, St rhe necdle edge of the boulder blader sat saan angle se ph tad iene estan fram the nape the nck tn these of te bad alist atts mid Doin, TB 0 te see tchnigne yom wad to rma the vib caseROUNDING OUT THE BUTTOCKS Step 33—A wide V is seated at the ert af she dati. te Suep 32—Ths hath: of the Os. Se the point of th la f the buttocks it 1 bead lo bern of te utc ea, tbe fork — a brictng mode the bt hor Poh the ele backing tr tac th ‘ip line. You Porat ti FINISHING TOUCHES TO THE BACK Step 34-—-The enapecins, med for its same shape, spd ike surg eer the npjen bk, nich and shor, Beets the V shape veon haath the slvr blades, The rans dirt. nal fr srr. Suet th trapezius by psig Highs V into the appr back 1 baud dengch blew the shoulder line, Suggest the Letts with bast and ceding at tbe apt, Ue the large Bring wee fr Auth Sif al of the mac cially om a woman’ by ithStep 35-—Pioe the tro at the center Step MoS te mek an bild yp Use of Base Ur fo theca tose op with the large tapestry neudle. Inert the specie muscle ith fl colar choy a womans eck. Blend the seams ast the sd ill the muck sts fornly and —maske of Yo of hace Unit if he figs is model te toons of he mar a waded lene sea oan ‘THE COLLAR BONES AND Step 38—U ie yr finger to oft ths pit THE PIT OF THE NECK (of he ach ed the clr ames with setle Step 37-—Cratte the hallow: in the nck toward eres abe the calar ios with tbe sath of the large kitting mele. Use the point of the : ade to erate the it of de mack the id-witDeew the ci thon the bud it level Use rlling eee from the ot apse sevind the alla bss to ome ise te calla bosBody in Questio POSING THE HEAD cud that looks sown. noose ADDING A BIT OF BACKBONE i Step 39 I! bas wo fialty snrne ——aratare rd ro the Band ad mvs tnd Stop AQ ison of the lcs els. t ing the ad ne side a only liegt th and then ase tl te bad, WE Add bit oh ane The weed maces im the mh wil alse ye i th ic om te len ra. he clay. Blond thy sss aig bxlving sn and tes watarally tell cr, Bb th sare acor ito ae a oS a Malin Ute acl of ly. and thor Bld and mide! esac d ‘he clr ome and ale. You ate will tr tbe bal fom det side stihl Step 4—Use the metiom brictong medle Step 42—Rub gently using a circular { to make tw or thee sal! gran moti are each esd wale creating the appaarans ofthe backone ol‘ t 5 — The Body in Questior The Heroic Torso Front ‘Sterno-Mastoid 1M Pectorals 1B Ties us ae a sled i hoon voy eft al rade by adding ending Serratus “eMac res fox of pin, The he i gen” of the vende. Th pater tel ou rt nally nani ecb yn dw Rib Cage vB supe bers This is ld ‘Obliques “vB Back Upper Trapezius 1B Middle Trapezius infraspinatus & Teres Major B = Base Unit M-= Modeling Unit Lower Trapezius Latissius Add theo appliques tn am aecady madeled hack. ‘Te Iauce revacts fie Wf applegaer, Inet the diamond-shaped tapesias of te upper back acd rick wis melee applies and tak aw frm caper mals ofthe bac amd mick exert their ew snflane. Eac bcos the borg Stee the deeleped 2 ds hit dene ot‘THE CHEST AND ABDOMEN A—Folle the Byrne pater to brid mp the cates tvs with apiigns. Bust ages oac ot Pres down firmly, Use dle to Slot th of ee applignes 19 tbe bay and thon 10 ‘bes. Model me dead fs pis your than ofr wn tp of the sigs. Us th datgvare fois thse mule ‘THE NECK AND BACK C—With ome side Shadi, yor igs om the ck ad th tis dpe up the mlb, if By ase Sack rw of appliques bps D—The sereatns interlace swith the es and the two appear bearded te finger ad tne tvs TO THE HEROIC TORSO E—With ll ofthe scams bonded, examine ynur work ina are light, Leak for vung cases. sich as these obi Roll or stoke the staat. Chuck thy FU press fow the ange kates 10 euphris bere wore egw ru mutieModeling the Fat Body SHAPING THE FAT CORE Step A—Thi fat bd 10 fy) Wrap again with 1 rth of te ccorad fhe aba tn, Piach the ot ext! ends tighely 08 you wrap Fat Body Core shbdes, for the hip unt ries desi om ag 31-52 f tis pattern Front Fe ld match the size and SideBuilding Up the Fat Body 13-15 Base Units to Cover Front ve Seale Base Unit Step C—Lie 13 Upper Back 28 Buttocks, 5 Base Units scorer the armature, Bill np the chet npr back ad solders and bps, wg the sem Shoulders YeIB AB Side Back B = Base Unit paownts of ely a yu wld for am vcr tre, Adu! ait more for the buttck ‘Step D—a) Tio fil sore) the basic ft bd with on a tn fen the bly ple) aed the madeled bay sigue rota yo! already Bran After burlding up thy eb, Back, batecs, Sips amd shad, Bld the soami, Model only she pazorals, she marl and the hip line. Don't makel the abdominal ov the midline. bus do epurate the Sree, Add amd blond the billy fat wit applique made of 2+ Base Unite, Use the medium krting 12 for enced lay crating the lion of fat bay srbase weigh aise the kin ard nnderlying NOTE Fat conceale. Landmarks such as the muscles of the neck, the collar bones, the shoulder blades, and the medial should be softly modeled,ne Body in Quest Step 43—Use the Large apesary rele sa erate starter seb for the “bes that will spurt the arms a es, Proree starter bles dpi the chur cad che bp ont. Wider the hip cats swith a sturdy ro the same tice 28 the armature wl onl tue to spot the legs or wea crit Bi the same zea he armature red. Widen the solder ck 5 10 about Yo of ad nc dames ing ether a 42 baiting mele, ae carnal, on dil Bi Preparing for the Next Step NOTE 12 gauge coat hanger wire docs work for the‘ scale standing figure, but #* brass rode are stronger and less apt to bend. Smaller /" brase rads are strong enough for the seated figure, As you've worked on your sculprure. you've used water to help your fingers glide over the clay. and mastered the skill of rolling surfaces smonth wit a knitting needle. Two technighies. “bumish- ing” and “brushing down,” will help erase fingerprints on large areas such ay the fit man’s belly. oF sulten too} marks in those hard to reach spots, sucht as the tendons in the Here's ned Step 44 —"Bumisbing” west a ald — Step AS—Iwert stiff rls de in she abrasive such as salu powder ov corm ip sckers and stand she figure v0 the search bol to enue wild mnperitions, sculpting stand. “Bra daca” the tne Wear alates slice fingercts(ghncs for with 91% rubbing also. Vee clean the forges) ow the aod you ‘your work, Dut the figure and shen work. Apply the aloud st furnish the sanface witb. yon umd. lightly bat der’ 1 bl symtoms amd et the add the it fls b Don't we tv fing: ow pat of your band. Take care rnc. or yo'll dry sat the ols, Wear er te mse ys. es. ad mat loco finger cme. Let your scalars est a bro Pore bfor aangPart 5 — the Body in Qu : To Bake or Not to Bake Adding limbs calls for a bit of manhandling. Tf the clay’s veny firm. you can simoly let it rest and cool before you add the legs, of you can bake your sculpture now. a technique called “Series Baking.” There are advantages to both choices. Working with a baked torso may feel awkward. ‘Once it’s baked, the pose is set, but mishandling won't damage well wrought muscles or fine features, Achieving & strong joint is easier with an unbaked torso, byt sbishandling while manhan- dling can damage a lot of hard work. BAKING THE HEAD & TORSO If yu die 10 baie the figure at thie print, follow the dictions for the fngud of clay yore sing, The cla, sbiker at the neck, determines the babivg zine, Teswven 40 mites te a hour Wie a ls pa oe darge ova tl. Lay she “Pune on cision of coton beri or atsing with 3m additives cushion exeatte neck am ar ofthe hack, To prow fens sending cnr the figure wih 2 125 damp paper nests. Kip ome ne on Ube sBomonataad the aber cn the ios A vse sulpir is.a ea scale tare, ome thot can crack—let #1 end completely before handling it. HOT TIPS FOR THE COOL SCULPTOR The figures in thie book were baked many times, This techrique, called “Series Baking” lero you build up a sculpture body part by body part, or layer by layer. Here are some tips for baking + Use the baking temperature and time recommended by the manufacturer + Bach time you bake a sculpture, or part of one, prop it It may stand tall on the workbench, but notin the oven, Warm clay is winarable clay, soft and weak. Baked clay will soften, too. + Let your sculpture cool in the over tor an hour or more and then lett cool to room temper= ature. Don't 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 C02), and let the sculpture cool. The glues you'll use to make repaire—instant glues for small cracks, polytter clay for large fractures, and PYC cement for major breaks-—work best at room temperature. «if the clay tends to darken or scorch, drape the sculpture with wet paper towels during the laet half of the baking time. +f part of a sculpture does scorch, take heart, Cut that dark clay away. Craft a new face, or ew nose, or 3 new arm. I did.PART SIX A Leg to Stand On "i rene bones te cand plrwiefel maclon/ aid te bse 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 ofa figure with the same eapacity for movement.Part 6 - A Leg to Stand 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 10 the thigh. The strap-like Sastorious enhances that fullness and visu- ally divides the quadriceps from the hollow of the thigh. The Hamsttings create it flat, even appearance in the back while the Hamstring tendons frame the hollow of the knee. The knee joins the thigh 1 the leg. The inner margin of the tibia. the shinbone, is a visible landmark on the front of the leg. On the outside of the leg the thin fibula produces the gentle are in the exterior muscles. ‘On the back of the leg the Gastrocnemius, or calf, extends from the hollow of the knee to die mid- deg 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. (op Of the foot, roundness of the heel and the toes are three of the landmarks swithin that form. The arch on the instep js another important land- mark. The outside of the foot hugs the ground. Ghuteais Gluteals Hamstrings Gastroen Ankle Dorsal Arch Arch of the Instep Toes . Female Limb Male Limbs Thx ling joc figure 75 bund longus tall measures aes 5% lad lengthy fom the sf tbe byp ay she tee of he fst, and 3 Iimgtbs fro the fork of tbe bad). Thong the ecoraae’s lol on te right bar a smuarber aspect ara Grader atthe thigh, the passin of Taner noe Hits the same 6 che tres se Tomb on the lft. The base ofthe Barttchs ler in Lime with te for of the bd. The ‘Surrerns esves the incr thi 7 of had long fram abe fork The midpoine ofthe lm is just aban te ft, amd tbe hare af the calf (the castsemanias TT ead length bela the midpoint ith cbebucl 1 bund log Blow te calf Hw cburply yom ches tse the mncles depend athe badly pe yor wate 20 dc,Building Legs and Feet of Clay Again, you'll combine simple shapes to create complex forms. Again, you'll use armatures 10 make those forms strong—a stiff metal rod will replace the bones in each limb, Instead of foil you"? use clay cores. Easier to cratt than foil cores, baked clay cores reduce the baking time of a partially or completely finished sculpture. Without 2 core, the thickest component of te limb, needs 10 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, «nd toes—will darken. More importantly, these cores help you to model Tims that mateh, ildi * Patterns for Building the Lower Limbs ‘ieee Thigh Core Pattern - 9 Base Units THESE SUPPLIES Work surface +40 Base Unite of + Sraight blade for curzing olay + Gouge or dikiers + Large and small capeesry needle tool (paae 15) + Large and medion Leg Core Pattern - $ Base Units aluminum keisting needles THE BAKED CLAY CORE + Curwed Tip Tool (page 16) Once holed cmd tread gut te tal ames te cay ses made axcuning ta these ators Cru eit sell ite yo ome. rd rapered ach el Cuing msc hich amd te edy ate pose omen for madelng. Bath core bn at eamgated bi- ch matter core in alfa a 35 cere angle will rete + Standing fig og ers ‘to % inch brass rode 5 head lengths long Seated figure armarsee: ‘ao Ye inch trass rode 4 ead lengths ong Nore Even if you choose to castume your figure with loose-fitting trousere or a long Four temporary res same diameter as armature gown, those garments deserve a figure rods 3 head lonatns long that stands on realistically modeled limbs. Don't skip ahead. Stay In step ard learn to model the bare lim The wel- + Lange ating dish dressed lis wil follow 600n enough, ‘ceramis tle & Fert + Sculpting stand (page 18)Pattern for the Limb 5 head length Rod VA~2(3) Base Units to Cover 35-4 46) Base Units to Cover Vs AB MB 14-1 )B Vh- a) 174 (2)B “e-V2B b) Seah ofthe arastare ti ofthe appligaen ths potten yoo bone 1 crate at fl With the applies in place, and ie fost si face amd the ss yo cam master the Sot as well Base Unit,, _Part 6 - A Leg Stand On a z ‘THE THIGH CORE Supt Roll itn a thick rod about ban fngth long. Pla he ends nd cating rain, applying presare with your pals ta taper the ee should vimsbon tote tons ope 72, cone alnst 3 Ys Bud eng lng, TIPS + For very strong legs for the standing use an epoxy putty for the leg ard thigh cores. / teaspoon of putty equale the Base Unit in volume, Biend the putty according to divections and let it set-up for an hour or ‘Pwo, Use water or petroleum jelly to keep the putty from sticking to your hands and your tools and when you customize the thigh cores. Following the core directions for rrodeling, but before baking, thread both the thigh and leg cores onto each oF the arms: ture rods and gently bond together. Let cure over right for greater strength. vuble roling a core thav's pered, you're using more pressure With ofe hand than the other. Let the hand that caused the problem correct the problem-—flip the core lengthwise and continue rolling Combine’) Bote Unite inte merh, seamless Ball of ay ye pals puter, mo THE LEG CORE Step 2 cand more pre 5 Base Unie 10 fir the tog cores. Use yor fing shape matching te fed lengtb long re wear the ends 20 ere red Gocone 3 Step 3 cand le ore in ball a a 43 depose camel Uses patere wide page 72 10 c. PIERCING ‘THE CORES Sup 4—Uie sen soll 10 pire ot cars Spin yur tie ep it scr. fer Dpiosing the coe thrced ea tempor rate sme tare rd yl ae be fini fiur, inc hick fora stand ing fe ond of as cb thick for a sted fre— ALIGNING THE SHINBONE ‘Step 5—Hold the le ore by the we withthe kee f sobs iat the ashe unl cove isthe righ length, 1% Jad Ign figare. 1% ud lenges or less fr lip figure. Gently pres the caf flattn tightly, ad ther rod ona the font By rellng i hack and foc ome or ro times. Thi stp crs the erg th ankles, and aligns the sbinbone clive tv the surface af sah leg ce against ve work TIPS Once the cores ace onthe rod, talon them to re of your sculpture, not the pattem. For average or lean figures, screzch or the thigh cores to equal the Gitance om tho fork of che body to she vace 4 the pectoraa, or head lengths. You may have made a taller or shorter figure, and cratting cones that suit the stature lo more important than folowing the pattem exact For fat figures a high storter than normal. rh head length, wil emphzeize the bas plump appearance rto — A Leg to Stand C THIGHS THAT FIT THE TORSO Step 6—Irsuve a got it of the thigh 1 he buy. Wich re bagh cre om the tviporty tad, inert the rd ta veh Lighsly press she eigh against re ip joint to inset ft he body sn the tera BAKING THE CORES Step 7—Baske al four res ena casio of feild in gla ran lng package amsactions. The ches will be thickest and that ticks decrmins the bakios toe depend ing ont cay. frame T1017 burs. While hae coves thigh oon nfSHAPING THE BASIC FOOT Step 8—Wirk sop yap trate pase of fr. ue 8 Baw Bisits fac soma’ fat, 1%, Ba reas foot amd 1 Yet0 2 Bas Units or the fat foot. Ti ind. the slat yor sab tester xd. ald soggy the 2 "ha eld kenge the fot a ieee the ts, tn flat the tha | bead length REFINING THE WEBBING Step W0—Use ths lence tapestrs male o round ons the tas amd ohne the cil. ov webbing, beicen cach tor the eat tee eer ORIENTING THE FEET AND MARKING THE TOES Step 9—Caroe veh fen ican farang raphe Sf ft cad Split she new hoe “tes” with rae be th the if 0 muck fr szller tet and ome Big te 08 REFINING THE TOES Step 1—On the bation of tbs fot, pst tov engl pimives inte ‘the slay—one belse the smh! et. Cool the eal Jes 96 the nl for om orate titSep Pha MARKING THE NAILS Step 15—Ure 2h ad grwor blow the big 10 A tip 10 imprint baie af the mad tol canved tip 0 print the mals tbe FORMING THE ARCH Step 13—Create the arsh om th sich the Lange tapesoy ele Roll 1 back and font bit 1 forms a sath a DETAILING THE SOLE Sep 14—With some pos, the Boeunof th Fi i viable. Por a ceing or swat fire, ad rwedle ad rhe nse the large mdi Bniting nade 1 pos «onal indemation bs ch oe y. FINISHING THE NAILS Step V6—Dafi ab sider of the wil wath se veal pers mle; ' ed 4 COVERING THE CORES WITH CLAY cual sheet of cay. Form the clay ite a shape reeabig the cr Floton with a volley wcll is 3 tens a8 wide ond 2 than the coe, Use 4 Ys Base Units tn case each mule igh. 3 aud 6 Base U Uae 2 Base Units to eser op cach male le. an units for exc fsuae tht ts fr eat fat thigh 1% Base Unis 10 ctor ext fama lg, Use 4 Base Units for sah fat beg. Coser nc coe ciple MODELING THE LEG AND ATTACHING THE FOOT Step 18S fut. Pras she hase f the lg nun the hey fos, Thea the covered high avide ute yu asa th tod into thet aed piste ft, Secs the fot a Aonsal ans cen 8 tea appligne made off a Base Veit. Blond ‘th cms by fire voi cay fru tel wp ese eae fos the ds of tbe fo vate the leg, Blend the applique by sobs fran hs ppligns up ata thsi aad dau oto te fot. Rab sae eth your Pinger amd rent the arch am te ace if nessa MUSCLES OF THE CALF ‘THE ACHILLES TENDON Step 19— Build up the masts of he calf. the Gasirnnonins. Step 20—Serake npc oe sac ide of the back of the eg. Bag with am wal applique Uses of Base Unit om a foal tag. % a sb ast ace the bo This spears be Ahir aid Bare Unit on male leg, and Yo 19 1 amis wna fete, Blond foo hee clay t 8s maces ofthe (Be align oni te eg, Legs the ser aly of the gastrin i undo nest ese center with «fger see on weber sdAWELL-TURNED ANKLE ASSEMBLING THE LIMB AND. Stop 21—C vane slighlly flared ral of sy forsach NQDELING THE THIGH anble, Use /a ofa Base Crit for a worse anes aad Step mut’ aubles, The base of ner aale ‘od wath she ret of the thigh om the wide Pra bs wal th 109 puts ofthe eg reget Te ene should sp upuied witb lap th bas of tbe thigh, Blond the sur Bid se oe and up fea BUILDING UP THE HAMSTRINGS ‘THE HOLLOW OF THE KNEE Sip? with vn on | —Svcue oh jit ad bald ap the Hamstringt Step 24-—Strabo ee dau of cpplrgus, Woe Bare Unit a wimart ty create the tendon and the ball of the bre, Wie 17, Base Ung wa tts abo jana re ter tam one firm sre, Pin fa Hin, Press fem im psiton su that it errs pie igh pila the todo tear each other haf th bs, Bled cd dw onte 1 sare onthe applique ab‘THE QUADRICEPS AND THE KNEE Step 25—Byild 4p thy ku and uadrneps witb oo otal appligae Use 1 Base Wits for a man't leg. BY to 2 fr the Ya Bate Lins fora wsan's he 3 ay leg Blend the lrtom sees carfely 2.95 wo 0 lose the sc of he ne. Blend tbe sats by. steskng from the nppligns i flnited. stnke alu th sdge of te apple va the ter thigh, Tit aly made grome ax che latibial bad. mts the thigh, W THE KNEECAP Stepp 27—Sugcert the bras eriange er sbspe wid THE QUADRICEPS TENDON Step 26—Sagisr the Quarieps to seth Ligh prs fom the Large bitin 2 mili th inte amd uid ofthe lin itn scl Se fi madead Usha othe ft jist slace che Bre, On a 0 ‘THE SARTORIOUS THE TIBIAL MARGIN, Step 28 of a bead lenge from te 4p Step 29—Strae be inside ofthe le fart ofthe ner thigh, wre the shaft of te Large Jet bir the aver ae 20th base of th rating mele ta fo sing frm th fadirg at the bip, This 1 the Snrsors. Sifien it with Frosiae, Vie awash provawe 0 vase a ridge te mse edze margin of a dingo wr thighThe Heroic Limb Like the heroic torso, the muscles on the herosc limb stand proud and well defined. This parern wil! help you place appliques on the alrcady modeled leg 10 produce muscles befiting a hero's stature, Each frac- tion is that pan of @ Base Unit Adductors YuB Quadriceps “4 Beach eB Hamstrings YeBeach Gastrocnemius “8 Front Back A Seale B= Base Unit — Base Unit 6) eee BUILDING UP THE HEROIC LIMB Step A—Prss lof the appigns fry in plate Sra alg te want Mord concealing the seams yet snares wal! define DETAILING THE HEROIC LIMB. Svep B—Rel! hair thin vs of slay amd pres in place. The teins oorce aad ut Hike an id iver branching atthe mid-fot toward thesis candi as, Dats the ip if the large bn along the age ofthe veins to Bld. Finis wit -a.0ft brash aud alecbl ait| The Seated Figure a Step AMProsiy the sore tu ths bere. tal potion will suse more sha one ose-utng busing bach om om bls Das the hip joie wud corn nah oe ute, Hold the cs I Position apt eh Sn with your finns an chm with yr ‘pd emes the git the righ prion, Ths ‘ore sul verap the pnt att igs grin, Thee rageive casting, $38 te rig lg with the iene alia Carpal perce all the mie. thread sta ara stud wire shun daring ter shapes ad babe ‘THE BENT LIMB Step B—Micel the eight lg, following all of the eps thas anes the meses and wins, and thos had the "The box wall ine 8 shape and tbe hay say cen tear Repair the misbapen the bar by stroking cay fros whe hace doves ar te bs Repair 3 cay sae of of a Bae Urit ad lord Suep © appliques as if NOTE The seated pose is @ sup- ported pose with the body resting on the buttocks and thighs. For that: reason, you can use a lighter weignt metal rod in the limbs. 7 inch orass. rode are ideal. Theyre eturdy, easy to bend, and available at most. hobby shops. The rod doesn't need to extend deep into the body or beyond the sole of the foot, but ft should extend into the foot. Don't Forget: to model the bottom of ‘the foot with as much care a6 you mode! the top. Atuach the lege ning the same techniques yw wold ae to vcurea sond- Ing eg, Ball up che buttocks with oral ere a sanding fig. Use % Base Unit for a male figure. Youf 2 Base Unit fora fouae Unit onthe fat gare, Add fl made of hf a Ba inguinal line. Bled th sss ve} Base snd rade Unie along theSuep CP fon cd flare the thin MODELING THE THIGH TO SUIT THE POSE Step A—To adel the sbighs. cover th thigh ever wing the sane real wrapping technique, bat ne these amanetr: 4% Base 1 fomale high core and 6 sc mae ich cane. Rub tbe wed attach the day sa unin, Secure 8d del she buttocks. wing she sate eign 4s if for seated figure up abe batacks with eval appligaes of Lite 1A Base Unit each, 1 foe max and TY, fora womans. Noel the ingiual fold with flattened rs ade of Vu Flation the babi of the thighe by prasing the figere down against the carb snrfce, This will sei th exterie tighs MODELING THE LEG TO SUIT THE POSE Seep Boner th lg cones using 2% Bas deg, and 3% Ba leg. Thi isa thicbs cap, bur hove are no pligat, Blond thc sos. Sswe the clay from te hace of the ap cote the calf. Meal the fnibad five ose attach and sear with an applique msde of of a Base Unit copes by bigh — dons bail wp ‘he Gasnrsencmiue on the hack of te eal wild it up on the enter lf nah a oval applique made of cof a Base Unit and Blend. Made oe abs. ang ips made sf Yo aba Base Ut foreach ankle, Wnts fa ach fomate its for eat mat Remeber tbe le Fe weght SITTING BACK ON ONE’S HEELS With a pose so compact and self supporting, you dors need metal rode, but you wil have to make some changes to model this pose realist! cally. D0 inoure the thigh cores 10 fit the pose using ‘same technique you woul use for a sitcing figure, The ‘high i smooch ar unifor there are no sppliques, but you'll use extra clay when you cover the thigh core. Step D—Pras the vealed bene te againnt the huss of ‘he thighs. Fill 2 hat ths hae joins swith edger made sf Base Unit exch, thee blend and drach aeToo Tall for the Oven? Baking Techniques for the Standing and Sitting Figure Too tall 10 stand in most ovens, the 12 inch tall hero will bake laying on a cushion of fiberfill. Laying down distributes the weight more evenly and prevents cracking at the joints. pdhoard box provides a temporary chair for the seated lady ‘The dark brown lady illustrates * another seated pose and how to bake her, In ail of these figures, the clay in the foot is the thickest unbaked component, almost a half inch thick. These figures will bake for 49 t@ 50 minutes and cool for 2-4 hours hefore they're moved. A blanket of damp paper towels 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 sculptures, Polymer clay. baked or unbaked, expande and softens with heat. in the oven and while 1> cools, your sculpture needs adequate propping againet ‘the effects of gravity, especially at The neck, hipe, knees, and ankles. For figures this size and weight, almost a pound, the clay in the limbe can and will crack if the figure bakes in a standing position. Compressed by its own weight, the ‘softened clay will slide down the smooth arma- ‘ture rode in the legs. That's why laying the figure down '6 80 important.PART SEVEN A Show | of Hands ‘Our arms and hands have set us apart. Other creatures possess more powerful limbs, arms that sare pound for pound far stronger. Other creatures possess hands, other primates an opposable 2 thumb, but no creature has changed the world as we have. Offset by an arm of adequate strength is the human hand capable of the delicate maneuver. Because of that bulance of adequacy and delicacy, we possess an unparalleled dexter- ity. Celebrate that distinction with wire and clay.Part 7 ~ A Show of Ha Mapping the Landmarks of the Hand and Arm Deltoid wn) Biceps Elbow | “| th Ulna Female Arms. ———— Male Arm Thre exes of te fanale arm om the lft aed one af the mister nthe right show you bow similar, amd ys singular the tea ave. Prove shoalder 1 finger tp a woman’ arnt 3% bead lengths lone. while a man’s a0n is longer alast 3% bead larg. tn bth, the disanse fos she aps tthe elbow is 1 bad fat, and 1 baad lonsh from te ella ta ju above the wrist bane, Fes re wviet Bonet 286 tip of ee wile finger a man's Sand i 1 red length long nd wona’s of bad lemerb. The fingers are slighly es than half be lem of the band bef YOU'LL NEED THESE SUPPLIES + Wine cutters or nail clippers + 10-12 Base Unite of clay + Ten cloth-covered florist wires + Straight blade for cutting clay Ving glue : + Gage oF dividers + Small ceramic tile + Large and small tapestry needle tool (page 15)» Sculpting Stand (page 16) «Large ana medium aluminum knitting needles « Large baking dish or cerarrig tie & cotton fiber # Curved Tip Tool {psge 16) cor batting + BladePart 7 ~ A Show of Hands wrist to fingertips */st0 Vhead length “M nat BUILDING THE HAND Use this pettre a guide jor modsting ue lund, beginning with the armarone aud endiog sith fished bard and abit of paticey Noi that ee wade the fnger fit al shan Bald the bard. ava ths the aro This 419 won't hana —sbe urs 1s Is of « ad length foo the Fingrige U2 a's a he seis bad logis from te fingrtps Armature Techniques a ‘THE BASIC ARMATURE Step This in the basic urmature hin, chebowvnl flvise wire. Far cach aan ent five wines 4% bask lage ong Mark the serit. 1 bed lesgth from one end cand 1st the wires reer thevash 10 the lr ee. Trim the fears and toil, 8 oat linger or saa? swore wks bet, THE STRONG ARMATURE Step Loo the fge ard am wins For figures woe come are rane this with vinyl gle Sil, Ges Ta, Jaci) Lange et ce floral wine ad lt dry. Apply sod ia ad let serapped aro a inch eich brave ad cy ait For cath are cat fee wines 4% baad ets Bong. ie with foe be finger tis ct the wives tga ies and ‘eu wrap bent aan be ed Use rad 3 % ead henge sar & ad est fora ea a og fora woteas's NOTE Remember Modeling Lrise? Made by cutting % of a Base Unit into fourths, theyre easier to make than cutting clay into Ys and ii. Youll need B 2010 euch unite to model the fingers, more to build the, knuckles arid flesh out ‘the palm. Step 3—Uie a Madeline Crit for te index, midland ing igen on a woman's ‘ana, ightly tes for the lite ager ad sir for ecb hum. Bor a's hand we 42 Bladeg Unis, mre for he shane and Jes fo he tre fg ‘tt plump forges, Form a tapered she aids tong, Flaten aid prs Fray aod the ie, een the ip Vik? YaniStep 4—One finger at a ime gently ral ‘he clay sath. Fold the aber ings ut fe way ad work om a iat, ead surface A cis desk works wel. Step $—Tet sh ip by Lightly tues it swith your finger Vou shuld fad resistance of the armatare wire, but nit th wire tall If there's 09 mic clay 1 the Hp of fioger: fold it bak oF pinch it ff. and t= rll th finger clay. If there's too lie arse ty finger ts cos mare clay se he sip of he wire sile sea sal bis 98 MODELING THE NAILS Step Toth stbe the tp of the inser: later sigh Ce the small tare tp tol ts frm the wil ed at det at fg he ior i wis Step 8—tler the fine mee to marh she sis and 9p of cach wail. For a emowth appearance me presi from the sha? of ol, nee she pot Part 7 A Show of Hi Step 6—On he palo side of eh fi st Hb cranes of te joins ust ne ule Th jvimas divide obo fing into tid, Each thind is evaghly egal to ce the width rage Measure fot the tip ofthe Finger to mark these Divide the thm ball Step 9—Gently cares enh fogensuggs Jig. laed state. Fram tb grand asp shart sligh beg of ts thd ares depoed m msesonts a) the wri sll ed cede to mabe the pomShep 10—Cevipare he bah sas of for syn. Da this mirror cach wher? Wan bake fr 20 minutes oma cushion of feel fat. mabe cere WORKING WITH WEBBING Step 13—Use the adn kuin mule or the taney mle ts parte the finger cond model the sing. The lomgot finger va dighely lessee bal thy le Daan. Wirk alernatly on the palin and ch of the bad, Sip wi aa cs Ded slay nan the bud and oe the withthe Sarge tapes msl, Ya edt pent thi top Jo poi Us band. ides of te BUILDING THE BASIC HAND Step V-—Place a flattened avul of cay sn the pal, Pres firmly and place a esol sal the a of th ham sad fe wire, Wie gf Base Unit for cach oval 2 seman’ and. eof Base unit for wich om a suas band, und tw fina fa and BUILDING UP. ‘THE BACK OF THE HAND Step 14-—Puvk term doen blo te bocaon ofthe band, Plas a Lahapod Fost rad made of st % of Meling Unis on te bac ofthe hr aft of she fnges of the end onto the fger from tb palo ants the fe MODELING THE KNUCKLES Step 15—Add steal! halle 1 aed Ienuchle amd @ flatten rd tothe bel of the thumb. Ure Yo 10 eof & Medeing Unit for each amd Bld the sans szomg to often the haces of a fa| a FINISHING THE FINGERS Step 46—Pose the fingers by bending hem at the bawchles, mat at the juin fie paste fg, ae bone to corse the bach ofthe band srt MODELING THE HAND THAT HOLDS: Step A—After mavbing 1h dri of 16 joints, bend re fingers to match the objet «hands will bob fingers ard the obj, bat do it wish tare: Masel he juims ta FLESHING OUT THE PALM Svep 17 —Plove a flaeinad rat. eof Ye of a Madoting Ue, once the pales of the bar atthe het of the fingers. This is the etl of the Uae Pinger Use a hare faitng mle to Mond 1h ‘coms and rca his apie’ dps Fart / — A >now OF ran ALITTLE PALMISTRY Step 18—U'e re all tapestry meet define the Ties of the pute. Hold the ele aint parallel 10 the clay 0 yo score thee ovis. Gre yor ne bud he ifuaraton om the att gue ‘Sep B—Mocl th and ama hin 5s frip_aiing the objct she Dard wil id Tbe band holding thie wizards staff may sed. miner npuaies after adinting the Yor ow mold the Prgers and the thumb, The jrims ray i marb the sails and then babe for 20 mas ‘rac, but thy cand rpunrad.; Part 7 - A Show of Hands MODELING THE FIST Step A—The clench ad bags wath a differs errant — ees wir, cach 9 Brad lengths dang. tniized +0 leave a op approsiaately (ste midesideof the bad im lease, Cust the loops 2th vinyl glne and ler dry Coat agai and it dy Step C—The past of the angle ix te dace ofthe inde ger. Tarn te hand fa Har the pan am te righ or Ueto sate right band oa if band. Forma stsiy flames vod and place 1 flab sith thang lee Thier all pros the lay for ths fart. Use 2 Madeing Unis es eons hand. 3 Madieg Unie fora aac’ band. 3164 983 fat ‘hon Bld all ba tet oa 92 Suep B—Por w weir’: fst, nadicis the Lip within two fs ened ovals made of 3 Modeling Waite, For a man’ ft, we 4 Modeling Unies fr tach. Die 5 on a fat hand. Bload be sens wasting 2 flattens with the mall end atthe weit, Pla yur inde: finger at owe side ad sao the tp of te egg sean yur inks ng, forming tn flav edge, ome testa ad saga at 43 degre. Step DLs the tpored ond of the Step B—Snyot she indivi fogs ‘rodinay Exiting wedle pao the Title wa he large eapry mle Sette pat fing” eek ina a sibs angle, revealing of male of te bala he che the al ofthe band es where the wing begins and po the mudle dee ta evt2he clay, The egualy sped mse cute make four fgStep F—With th tapestry nels, round hj weber obs fingers id agoiesr Step G—Bnpha the fisers dou shen: sight Shep I—-Boild 3p 0 trad balls of day, Use of @ t woman’ bard ied Vf a anit foreach band of the band and then onto th Vea sai knife to pana am Hlended regetber Sep K—The inde and the pinbie wl speial atenion: they'1e sie frame ths ip hoof the inde fg ade from sof Modddig Unit for a aa, a ltteer for e wovaan, and more for ths fat aud Bletse tle of the he ng— A Show of Hands Part 7 Step L—Adil che tip to he le finger veith small 9g made forme He of Mdiing Unit, fx for woman and wore for a barcier hand. Bled. th retain the wating ofthe f Step O— Mark the joins and bend the thao tothe heard po Step M—As the fingers fend, the skin folds in chenastviet tay. The folds the branches nd ess of the 1 bags the pars, Use the small sapsiey nel ty draw te folds ‘nthe ides and litte fingers Step N—a) Roll} Mudeling Unit form am exg. ) Platten ths bate of te buon sists, 6) Madel thy nail. Use of a Mudeling amit for a woman's hand sand | fora beaver hand. Step P—Place the haw of the thumb bli the index fog sd justin tbe thaw, Blond tbe hae ofthe thud only. Fish the fit by suggesting the dof the hieine naar te base ofthe putA Pattern for the Female Arm Arm Core Forearm Core nit B = Base Unit Thi the pa ond follow many ofthends A Pattern for the Male Arm 28 to cover “AB “B Arm Core “eB Forearm, Core % Seale Base Unit US UR & at the ded fla fe mudeli ary manera. bere aan, agit B = Base Unit Lang mare olay recover she same cree edad muscle If ya wast 0 orate Larger wale ane. Uring additional appliques gees yu the is pattern aed ardd om itPart / — A show of na Modeling the Arms Step 20—Begin with she ovcarm, Sandwich the twist seins ithe split lay rad just Ide the wrist aad Hend the seams, Do the same with the spper arm, luce ail gap Ieee the forearm ancl arm, Crafting the Cores Step 19—For cach arm. mab tug ely cans. Use ofa Bas Unit foreach frcar, Fara a tapered vod 1 bead lenge long. Use } Bare (Unie forthe npr arma amd fora saered rod ¥ head lent. They should match the cares in the pase guide. Split each ere almost in half dougie. Step 22—Tie expel wire at the banter sald bet Tad width lye, Bond tat stright angle the arm Step 21~—Flasien both clay armatures slightly, Tey sbould raat ‘coe nthe pater om page 95. NOTE Youll have no trouble modeling the arms once the core covered armatures have been baked. When you bake them, lay them ara fiberill cushion paim side up. Bake for 20 minutes ab the recommended ternper- ature. Let them cool completely before you add muscle and flesh BUILDING UP THE ARMS Step 23—Add sssle and fsb 19 he forearms with ofa Bow Uns for each wou forcarn. 1 Base Unit foreach ma’ forse. andl 1% Unis for 1 Deavor arm. Form a tapered rd 1 bes length ans and flatten wit a wll Use 1 Base Us for eat eso’ upr ar, 2 sis fo each mare's, 2 Ye forth fa figure’ Forse a vad 1% bad longus long and flatten witha riveMODELING THE FOREARM Step 24—Wiret he forsorm sore co tha eer tide of the sem rite ofan tbe lengsh of Pras jist assonig it ligt (Blond elay mts the snd. MODELING THE UPPER ARM Step 27—Cave Le noper arm with the yon ated om the fora nd sore al ‘arm with emagh presen 4. Blond to the visible weir bn. ad the males of the ater frcare with av elongated egg sap apgliqe V bd wid “of a Base Pe end af a Be ce the muse af he arm wi toe oma THE ELBOW seep atyligae Place @ mall egg-shaped muchd the lbw tse bead he tip of te mile finger Ya of a Base Unie for a weinan clon ana Hof for the sty a hi FURROWS OF THE FOREARM Seep 26—Use iting a te sgt the Ulver fav, re fom ease of the eis bam 20 the eho Ce rhe ning fn the ase of the pad ed vanivhig at che id Step 29-—Blond he san 1 heb eit by ping te shaftkwon’ arte, a man's arm hat grate lenge and sve clay tt finger and hand, mor lay eter ares ad mane clay 1» the appliques i only the begining Nive hu adsniona applique 1 grup, matte a8e mle iy mire nasnlar tn the fale arm arm ot the top borg and 0 alae it POSING THE ARM AND HAND Step 31—Gulky theese adc il for sup ove. Yor sane bod aad ture thea, but uth th forsarm aid the tend chen you Support she allow when Revue any a ratisr thn pat! Step 30-—Burll up the Trveps on the oer are sand Biss oa the inmer rie witb tun wal Bild ap the inno forearm wit a ta rad placed fnst cow the bite of the themed, Use af a Base Ut a portal forex asplrgve 0 appliques ca soars by Blend Use the sap shape jonas, Repro olde ito skin a te oePart 7_- A Show of Hands A Pattern for the Heroic Arm Extensors of the Forearm Use thot deawing at guide for charging the asrape mae arm inte the horde arn. Busld she Deltod with apie ct ata ligne. Baid up the Trias with av seal applique I baad length lng. Mel the Brschisls with a lst rad I bad wills Joos ced we am aval applique 1 ‘aid Length lng te ald #0 the Bice Enphesize she Estonors of te fovcore sith o facto ra lightly more thaw 2 ‘ad fog long. Nore ove the Teer sad Buesps unsaved the ce and the sin as cure of th Extensor Ye Scae Base Unit B = Base Unit 100 MODELING THE HEROIC ARM Step A—Atta all of he hes Bled the esos img the same tebe igus ya ac 0 the roi ln Sore salon soam less with our finger ‘After blending, pose te ar, making any cesar cometion Step C—Ard sir th hall 9f the tu DETAILING THE HEROIC ARM Step B—Use sh tip of the arg tine, wallet saage wile onde on le sideof te focarm mar the wr Step D—Ting thre of clay, Highly dad with the finger or the Farge bie ing mele snygect te prominent eins of He forearm and band,Attaching the Arm TIP Before you attach the arm, consider two thingo—it’s easier to design a shirt or bodice on a torso that has no arms and easier to dress an unattached arm ifthe gem has been baked. Mate eure It fits smugly. if you do choose ta hake IR separate fram the body Before baking burnish with tale of brush down wich alco- hol. Wait 30 minutes and then bake for BO to 40 ‘minutes, ‘Thoroughly cushion and prop the figure. Watch the thermostat and the dlock. Don't move your work util it's coo! to the touch Step 38—Pres a gone V ithe cry twit the base ofthe V tard abe front of the are. This ic che Datoed sce. a0 saya ora hack and bey ma a soft defined ferns, Safin with your finger Step 33—Place a ftir wal made of of Buse Cinit on the chanlder jm Blo rhe vera aed pose re soc. uth a owl tting mle Or & mae. erage fori, the Detad suey prominent eyo ota Step 34-—Irver eerste wie inte the sth a pat finan sont th a positing. Secure the arn with « flatenad vad. Thi isthe Detail apptiqae mate of 94 of @ Base Unit om a worsens arn, 1 Base Unis oe man's arm ata 4 beasir an, Blend sams ATTACHING THE RAISED ARM Step A—Cener the shonder sucker wich (a ts Base Unis val apple, bend amd Dine che chet, Ir the trustee in Be wks and cat the am in poston Place recentsbaped rd unde of of a Base Unit neath the arm. Briss firmly Plc the Deltod applique slay she Blend the sams. Ut added presnre fs oor fingers to made he deed arm pitPART EIGHT Measure — for Measure You've been modeling in the 1:6 scale, 4 the size of a life size 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- using the day, Once you've measured the clay, forget about inches or centimeters. Think in terms relative to the head and Tana Wsthe qengament hak mates, 105 he ive. ne half he mid-width is still one half the width, and the width of the head is still % its length, a; { Modeling in Miniature Good miniature modeling is al) about the details. In the scale, the miniaturist’s scale, those details re Very small. so use a good light source. Use a bright light that casts shadows, In those shadows. you'll be able to see the details, Don't be surprised if you tind yourself lost in the details, Modeling, in minianure is 2 delight: geting lost is easy. Sizeof Size & Shape Beet of Fil Core OC % Seale sie —— of —O 6M xa" Eye 35mm O O Ey) Yo Seale ° syne 3mm oO yg ye e 25mm 4x3 MODELING THE SMALL SCALE HEAD {his diagram will belp yur ananee th clay afr the right foil one, erate eet tue 1 ze fr hme mar sles Fa. ad Ys. U9 te rad mtb to seas the chy. The nares Bae te fol cere telly bone much ful tne Po pater ealed tse, py tbe wii! patter fr ths baad on page 22 and then sede itt» 735% fw the scale, 60%, for the Voseae, and 505% for the Yc sale he rchnignes remain the san Fron fot cone 1 fish fae aloft page aw abe ame, a Af you have trouble with 2 misshapoe ed adel seed shew bake the bask of rhe boad fies. Cur only half the sre with slay cd Ligh Mond shat vy m 2he fl Buildup ts crc and Herd aed shoe shape and pinch the chin (page 28). Mock ake jay on all sides (page 25) ned wnkrnoatb (page 43). Pre the ave ofthe bead. Buse fir 10 rete Ler vod, A halfomedeled, half-baked ‘ad will bold ite shape while sou smal he ft.MAKING MINIATURE FOIL CORES TECHNIQUES FOR TINY EYES Wie yar shar ta wal tiny fil snes back and forts im your core The two ees ms he eft a lars “Quiltrs Pin” bu 2S up 263.5098 Theta omaler eps ae mala youl ave nn rouble mucking th a oul fd mange of ze from Lethe eres bua to ait the iris. Only ering wedle 15 make a Set in Urceyes with a hard clean rar, bat th ba Step a en Rotating. o sandpaper a grinding whe, oa ea the tol, Let the pain dy, Dip tb gina works well bn this Brifeo taper te rar 90 ca ew narnish, When dy, ae the tapestry mele saul spac sone da, te pine the pupil. Nernvh aga SOOMMUININTINTES BOT LWT wh et 1 you tse mall tol 0 pate The hare coresip tal still the ol of oie for mcding the ge fo sep Hl later allow your instincts, For exe Vidi, Work frst anti r th jsie. Use the Je ale to mark ile cod cn ma the sti amd refine the mane. Model the care a delve at a guide for ecg the tol im place, calier yn attach the ead 10 the body vr wadelng n6 — Measure for Measure Modeling the Small-Scale Torso Remember. size doesn't matter: proportion does. Creating the torsos in varying scales uses many of the same techniques, For the very small figures, there are even a few shortcuts, THE ‘% SCALE TORSO Wish ip and chase wits roar ste Unc the sale Jody the lft a 2 fll ore similar ts te cake bay oe she right, Made in the sane way, 21 25% mall: Basan fe eng aad ea od this sie weds a fll cone ‘THE '% SCALE BODY CORE “The came ental ave pater radu forthe sale figure, wes ter neaurenents:) Pole am 18" 9° long ser of fal im lf to make 9" quae. Crease te ful parallel the fold 3% ince fam one ond. the waistline, bb Bold ear 1 inchs of the bap evhes inches ofthe cht seven, 6) Fald ener Ys inc om tbe cbse hp ection amd 1 inch on the lger cht setion. Th folded she ual meas- sre machly 9° 30%. Gardorperpendinlar te the fold aad tot ome at the wast. Wrap the ne with sbrae 9” 9" bets Gator a et tn she length of tbe eieal cae ad wrap ea teThe % Scale Basic Body Pattern Uncovered Foil Core Core Covered with Clay a 10-14 Base Units to Cover | Front Side Front Side Alter yee wrapped the antral cov, fared he ip joints, heeled tb sds, and ard the bach, te ont sald match thu patcn To tr dy, 12 fra average bad, and 14 fora sucky body, bat don't exe the cre, fallow the saps in Bart 6, Ue (Q Buse Ua for Jorge to rade the Bae Unt tte right size Back Shoulders BUILDING UP “peer THE BASIC BODY Bac Bud up the basic bud sith the come ale igure bs win the sale Ysae Base Ueto ten br Front SideModeling the Miniature Torso You can model the Mis and vis scale bodies without a foil core by NOTE replacing the core with clay. It takes 14 % Base Units to replace the || foil core and 17 units to ereate a built up woman's body, 19 Visto 72.622 a torso without a build up a man’s body, and 20 4 to build up a stocky body. With a fall core use the following thickness of less than one inch, a miniature body will bake suffi- __ "omer of Base Unite ly to cure completely and at a short enough baking time to Womar’s Body'= 50 prevent scorching, a problem with some clays. The clay should be Matte Body = 34 very firm. A stiff metal rod, long enough to support the length of the body and attach he strength they ne Stocky Body = 45 ie head and neck, will give these tiny torsos The ‘2 Scale Torso dy Pinch the ase 10 form she bips. Pinch she shoulders lightly. €) Arcb the back sc tong im the Yo tlePart & - Measure for Measure MODELING A ‘ToRSO WITHOUT ACORE Step 1—Conin dhe wits ine a seenth, satis a Rolly for slighty apd it 9 Ia gi na Tobin he wai, pave yur Tiehe finger 0 the ile of the red end rll gvely back fart antl the edit 2M ad ones Step 3—tvesbe pales of you band ro gently flac rhe bods. Th vid pts in pele the width of the lad cbc eed fom the Joon bask Sep 5 — Piers she dy at the nck with she large tapestry ele Wak tbe bak antl, mst a 836 vata rd Sg eg 1 support the entire Sy. the wick and the Bead The nd dd ke3 3% bud eng ong 108 aed ard ch Step 2—Softon and refs the sense by seroking foes toe wast nit the bie and tocar the bet and back Step 4—Pins the tarred ond ert the fark of the bly with ‘ae ama At asa ie, ply pict soon witht athe se. Th ss ald macs be sale pater TIP Don't forget that landmarks on the front of the body can be used To place landmarks on the back of the body. For ‘example, the base of the ohoulder blades io in line with the base of the pectoris and the crest of the uvtocks 16 inline with the navelPart — Measure for Meas! Use tbe smal eapesery male to rode the erase ofthe hassahs, but fll up by ans te ma ntti, mule ts rte te medial farm, } 1 Whuteer th sin of te rose tn 5p or meng the lamsars re weal te same. fat yew ry tows sale ois, Te Large ing malle mabes am excelent rll The Imation: huis woude i great for sndelng the much, The tapestry made tel as we sas sll iow 'io ome sent Sold yor wore POSINGTHE MINIATURE BODY Add aid rnd! the oars aor pute sooth Coad Wha yu mel the To poe the miniature beady, mel the atu te bad era, Aad th ead best an advice, sap the hack, xd straight bay ft. Rewer the ip and #0 the Lady with the sane tchnigns yaw sche eel ech capper the cst: ther bend badly, Bend the rad in aed forthe Larger gues Wie so fir Wf the ls fom eh twill ate 4 magchiogron, When yr sae thera Fr ae Ph ao ad aka seeds ad a tapes the shana sbuld rooun tpn. Wk th arg pty mal. Fah ang lol flog yur af fil ei — the same bang and bang abies snes pll be ad 08 ond at nai. — Aerial on pag 8-3. prema nnn ENE meeeModeling the Miniature Limb Sealing down ch all three dimensions—che length, the width, and the depth, Adjust the Base Lit and the tools when you create limbs in smiuller scales, From establishing nd maintaining the in scale means attention 19 det proportions wo modeling the toenails. the art of model % Scale Leg Pattern f {! I 5s head length rod 2-20) nT Base Units to Cover | Armature—'/s" Rod 3-4 (6) } Base Units || to Cover Nr B Thigh Core 9B Leg Core 58 SMALLER LIMBS, SMALLER CORES Pinar hud meas the Yo scale te yee rtd Safe ye Ing. Use the fusceon th fork of the body amd the Bin of the fat fons Tis pavers de your gue fw the ral titans omar at you gauge fre sndeling,te thigh or shots lg at tre, mech and bed shore far thTaking Advantage of the Scale— Limbs Without Cores Why use a core at all for tiny such litnbs? Aren't they small enough t0 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 nevessary to cover it, You can eliminate the Hamstrings applique if you add it to the thigh lay. The same methods prove true for the leg Combine the core clay, the madéling layer and the clay used to model the calf and you've elim nated another applique. Weld the two together with the knee applique. “pe “hy sae lin onthe right is only 29°% smaller thax the tle lib. ith har meiner difference im size, nse the sane tslorgaes seit the cane tvs, Foley ps der Jy Patt 6 ad Bp {yo measuring ete hardy. ‘he Scale Leg Pattern } 5 Yihead length rod NOTE The follewing series of stops happens quickly, but there's no cove to resist a heavy hand, only an armature rod, Hold your work lightly and Bend the seams with care. Pause between steps to let ‘the clay coo! down. When you blend the seats, use the tool that feels most comfortable, That tool just might be your fingers. Armature aise “4s" Rod S148 VAs VB “8 Mis oB “The came paste gain? Nev quite, Thu isa Ys teal ib switbens cers avd with fcer appli, Sacessree on your te Seale esterione with she extn techniques decribed in Pat 6. Base Unit This pation sbrus yom Sw much clay 1 nse. Teste ey = Base Linke Yoel Lim, nage the pattern 120%.THE BASIC LEG AND THIGH Step 1a) Far rat Bicone 3% bead a0 45 degres. Use 20 bibs, mall Cut i oho For matching all edi ‘ord longs lng. Ure a mati ritting nn Cat in ball. Use 11 units fora pir MODELING TINY TOES Step 4—T dl Part 6. tie ne fine eae tot 10 ark ty 1. Use se mal apt male 0 farther separate them. Piva be mee cert ye of eh cfs to adhe tp of hese ALIGNING THE SHINBONE the lg. with Throad onto an armature Step 2—Par Siruke to salt Suep $—Phe sll carved sip tal will cen crate nails scaled t tis onal sie Finih the vides of re mails rool ATTACHING THE FOOT Shep 3— Witt to ad aad Vis sale fa applign: Support the fot while yu Mend te scams, Lightly 0 If ond fon dersal applique emt the theft he fran tbe Del veto deg and ve Step 6D forges to model the sale of the fs, epcially the aac wn the instep she 1 of the fot inSHAPELY CALF Step I—Altor you model tbe ses. sabe be hack of lop a at ie of he eg forte Ais Ton a bilel op the Gestracaeminn, Work rows te able regio sown by call Step 10—Sirske ap toward abe swith yar ngs 10 shen be balla PUTTING THE LIMB TOGETHER Step 8a) Add le abl aed Bead. Ue otf a Base Unt fr naa’ antl aad fea me's ans, b) Wah the fe aud os fused trad thigh nthe arate ‘arene Blend theca the ee Build op tbe Quads and he with an sppbgac adc of Bas Us d) Misel the ine. the Quadbicps Tendon, she Saeco withthe cin Ring wale Ligh parish yn mao 1 Quads Toon ale the bs THE SMALL BENT LIMB. Made! the fg and fat on an areata rad easly bene 10 the deste pose. Bese te gh ond sraad sa the ead, Bled the seams ad model the bnee ith the th gus deste cn pee 83 Fart 6 ~ Mieasure for dteast ‘THE HOLLOW OF THE KNEE Step 9—Porn the Halos ofthe ae th Be Hp of the Large kitting male Rel ond hac ad fers to crcate th bl ATTACHING THE LIMBS Step Mitac the nbs with tbe sme cing jot sed forthe larer sate “Figs ow age 62 of Pa 6. Apply o thin eal df Bae Uri th ip td eas nr th amar ine iss he Bip enn and Hd the oa, srobing rt hig emt tet Sewn bd peat of the acs wth eal spine of 1 Bas Uni avr the fale ure. ech forthe a Sigs For ges ll. hit tight yon’ he, bt on my wis y partly Ske te fre for 20 nates afer yo add t t shew dake aun air yn aed he eed lpPart S — Measure for Measure Modeling the ‘4 Scale Hand and Arm 1M , la \ y/° “aM Va M eM 1B ‘Arm Core 148 wrist to fingertips %4 10 1 head length cover j %uB to %o8 cover Forearm Core “8B Un Compare the sonar seale fingers tothe larger '/ seal st cand yor unrnand the inpor~ tame of msuring according 10 sale, spcally ihn ou vaice te Ys ssale arm ad haved ws ti same gouge cet covered wire rane the fincersips 0 the saul ders, cory ep. sare, and toad srnains the same forthe Ya scale fiend ad ar, Fallen tsps dscribd fx Part 7, ad check unr macsireneets cers sap of “ie way. 4 A Seale Base (eit B= Base Unit “M M= Medsting Unit es the pacern for mang suena binds and arm ride 0 Het nk Te salle Bre Unit anal the ight protons ante ays tating fn that ae the sight sa Ure ier ges 28 a cisweal cow for wootkineg gauichly send ook. Fora mas band (ond ars. rade the atin on aus 8 end 96 0 75% NOTE Whatever the size, hande and arms benefit from a strong but flexible arma- ture. Whatever the size, the artist venelite from model- ing over baked clay cores. Unlike the (eg, this Is not a Tinie to take shortcuts,Part 8 - Measure for Meast The "iz Hand and Arm hae Y i tpte B 2) O cover Heres th utr forming the hands cmd ars in } A Seals miniature. but there is. diferent, The "scale bande | Bace Unit ave so tiny it's easier t0 model tach finger separately, babe . the fnsrt nd them aonb rhe band. Thar be oly Cg pace Aion Sven thie scale ana he scale ot fing pese. AY this scale. dnwbles are an antiaic caice Endsrse this patsom 1205 for or Yo sale reference 24 my 28 Step 1—Use 10 strands of gauge Iuding wine, 45 baad lengiby Tong, Treat se wire with vinyl glue Tout the glue with fleab-clor sry pain, Step 4—Arnsge the fragrs at char. ld forms and nuit the wines 1 at the rote, Now, follow we desetbd Pare tre thy bande td ar Step 2—Duw't tise the wires wgeton Madel each fager cparaely by fuding the lay exer the wie and rll it bwven yon figs ac to om cores le. Repair Aairine racks by Seas ack snd forth ner the rack wit acon Afi he stone dis. apply ath die of cay and Brash sagt wish dilmant Step 3—Use the ust! carved ip tol to sak the mls. Use he fine mle 1 mark the side of te male Bae te fingers and toon om eel for 20) mires When yn at obe aver to the bay. mie our Fingers to blend the detid appli ‘amd feeds with te tvls you fd nforsabe for sis scaleaw PART NINE Costumes of Cla “Clothes,” said Mark Twai ‘make the man.” They also make the mannequin A costumed sculpture makes a statement of time and place. tdeally. creating such a figure is a planned pan of the whole. but some of the best costumes are afterthoughts, ispired by the sculp- tures themselvesCREATING CLAY CLOTH Costamesof clay Segin wir cay tat fast ok 2 cavity of techniques tat are this Had Sprckal onde of slay —poorese oe fr ric hue schema tne: Molde ad eltbeibe texture and psec highighe molded textuns for staring SOURCES OF TEXTURE ith.r ins. Sc alias rs of am bt wiet me a svebhing pod wel De od ec of ea goed wonder Jf fabric pir-nhed cab. The srabing pd mob a bale ade 1A rdf he wit dacs apy eth, Molds mae from sch eaf tight vibbing retble miniature Bite, CREATING A CREATING A CREATING A TEXTURE MOLD BY HAND TEXTURE MOLD BY MACHINE TEXTURED PANEL MOLD Supe Files + she bee clay Jor arable Use pasta machine ro captnicimprasions — Panwl molds hare the appearance of testinervkts, bur Kate ced Fay alin of tavilytexturad ot bitte fabrics Rul erie fabric. Lt lee of ws lace es wor el, Roll thin clay shat amd place the clay lightly wicker ham the clever om the clay beet and rp it with pre Fn at evan ile, Sack the felric sample Wet the fabric and lay tom ip ofthe they wat fabri, Pest firmly sad chow voll fin water blot cand pose it fry an the shes, Sethe ates names that tgs carefully eigen bo texts iets os lay set. Roll snie slacly and evenly 1 and fabri, Roll thang the ey. Pad ancy te fb ad lve, Trine Pref aisy she fabric amd take he mold for machina. Pal abe eth fram the clay. Lay the mold and abe: To are w pasia 20 minutes. Moldiag several tint on a the clay ons th era Tisenand —matbine, fe he tin tte fabric wit shout of lay nates tim ad efor. ake for 20 minut Ieiric slue or fusible wsbbing and thea ‘Tuam and bobs for 20 mimnes rete the al,THE FREEHAND EMBROIDERY MOLD Grate the ok of ebro th lay with style a taps sl A dinple rch « floer conte Sarruved it with petals msde of tive 7 wwe is Arasonclocly thor. A spiral will mabe vib fons coming tsb, ar ire Be we MOLDING CLAY FABRIC BY MACHINE old ith thr ts mint, wes nsongely and lay top. Rel ar cog ce pasta machine sat o siting just slgbaly lave than the bes af the mold. Pel of be slay dt ‘sim aed hyo # Bape tm dy. be lay ret MOLDING CLAY FABRIC BY HAND Step I—To wp a fre mld, wees tld 0 pratons rhe nmbad cley from iecking, Rll thinset of lay the ans Lay the clay wth nik, ever stot oF a purr tad Lurmish firmly with yar Fingers. bmpeess etry esp of the mle inte te clay hfe yume wih oral be ond a0 HIGHLIGHTING THE PAINT Yiu caw pint stemil, amp ond eile even wali clay 1 ouske a var subine ot woth tose and cues afi, Use a eves rath serie fae of the lay cath and the oe white pane ox tebite olay. Don't wt the pons st dab i in se po ad Blt, Genily ze te Lanface work the sponge, Whee Lie pater die you'll be able fo urape oF prose the day i place without damaging ts int auto the extn will sand at Step 2—Tide clay will dbo to he turd paper. Use the par to pet the clas leg fri the sole. Bee! the “tab fn the sed per wed lay Ft om a poper Imeel a0 dey fe yu ighlighr wets rit ve pede HIGHLIGHTING WITH POWDER Tis clay clo, 0 Bod of ral aad gold lay, ae the look of atin andthe sexta af tiny flowers mace with the fishand sold Brose tinted mica poder das Iaghtly over the clay adios to th raid rent, but laces the textured lay with Jig wil elor and shee, Like peta lay, yu cam manipulate this et. Yoo am ag flaten is with a ellen The owe Hl ayn in ts original pater, The fini reine pears extrtdrad wih gal brad,Dressing the Sculpture How much Clay? it can take almost as much clay t cost figure as t© model the figure itself, To create & loose fit ig shirt or bodice of a dress, as much clay on hand as you used (0 cover the core. When it comes 1 modeling trous on hand one and half times the amount of clay needed to cover each core. Long skins, and capes can A lot of clay. yes, but ob, so much fie, The Well-Dressed Limb ‘These fellows itl methods determined by th “The fat fellow on work with hard:to-keep-clean, light cok stockings or tights—model the entire fim in the light color and add shoes baking, The thin fellow on the right illu modeled in brown, Note the wrinkles i gnty cloth and the softness of the color, a blend of gray clay and brown Granite. Note, shoe-shaped foot and the creases in the brown clay leather WRINKLES AND FOLDS This detail weds itera ta the sucking mead fag. Pitor the mxdiam or sual Aisin meee in a arcing stn atrese the Lind ang use exh resent raie a urine in the clay: © Pwo to thiee times as much. rate (WO possible techniques, color you choose \¢ leit shows you how to imilar shortcut. Legs modeled in gray and feet ume a have half ers, have . Cots lored ustrates in the 200, the Bein atthe bas, bogin with the secs amd shus, then work yor sway ap and ons, baking co prec your wor as you prec Sate ne ae stops by sing colored clay to vnadel she Him that aa eckinge. tights legging oF tn Leggings snd roses deere extra win ios and fold, Plate rvinbls wire they've init likly te esr, abere the lin bende on vorenced fabs wll sg Nowe the small od piece of clay. Made af Von a Base Un. it ade 9 wecssary tom of rentvm co the male figurePart 9 ~ Costumes of Clay The Well-Shod Foot NOTE These shoes are timeless in design, simple to model, and full of character The pictures ilusteate the basic conatruction, but wait until you've attached the legs snd baked the figure before you add shoes. Wher you madel ‘the foot, don’t bother wich the toes. Instead, work to create a round or square toe suitable ATOUCH OF SOLE . to the shoes you have in mind. or the dainty slip. nie ofa Base Unit for cnc de, Vea 1 Base Lint on ache aah bos ‘a, and full Base Ure make the ‘ick sul of te clog, Roll se cay ta fone ard, hah length of se fost. Roll se wa bnsath one ite Fer to tu te rade dramssich taps eud then floton the dra a rll until the ae ise righ as sb sith yu fi a bod ‘THE SLIPPER THE CLOG ‘THE BOOT “The dsnty slipper bas 3 pees. The uppers The clog bas» thicker dutlf rnd toe bax a) Tho Bowe completely covers ce fo saree thin sys of chay-—the half round anda thicker ioe, Blending ant srimming motel abe foot cing olay the color of the “to Bx” rl a thin strip oes env 10 anon’t maesuory, Use this somne pattere and Bint, Use that sare boot oinad chay to surap arvand rhe length of se foot. The wand grainaal cay tpee® absad tn crafting seer the fort ta the Teg amd ta wrod the sole is thin, a) Wrap the toe tug and wool clay Bair om page 132) 10 miche nodes, ables b) Foaish the bios by wrapping the thy la 4 baton of the Fat, B) Wrap —— ses, Blom te st tbe sl yoo det shat of lay she vs ide ‘ie sii avend the base ofthe it and — mabe when 05 te he) Bled rhe sara prs tbe ‘le it the toe bse and te ata of te ‘ile my place. fins, €) Toe the uppers win craft brie wensite the asl of singer sp wb. and press he le te plat, Al sins fallow tis 120THE HIGH MOCCASIN Step saris of the hat tir seit 0 box, isd & a hat of cay tres ties as wide athe eg. Use the srobiem itting le tv arts fle nthe rah ena of ligt brat clay nd black Grosite. Step 3—Use poser fam the appar steed & pring strip at regular merrols THE GLOVED HAND To model the gloves! hand, use the same method you would use to model stockings and vights. Model a hand using clay the of the glove. Omit the finger nails ard focus on wrinkles and folds, Model the forearm in the same glove color. Step 2 gh oni, Te Bint iting ose to make the moccasin small indetanins along the edge of he vind ie fe fv pre fa Wrap a dom blond the step Step 4Seest.ad opening te eof it with a taper, eal, Pret rss theo tulsa pla tiny flat trips of ay, the as thee ie the tapestey mill n pub the ends oft Lace nt te clay and elt in he lander Burke hfe fully rape frtesey ve ehnty mina. Lat rinats, 7 tue Pat gm for the 0 fig sch crudely bre te mex.Pantaloons, Knickers, Trousers and Leggings — PANTALOONS: all Seep 1—Thir terbmigue, called rod and drape, mashes realnic 10 ssc fra te antalions, Wrap a thin trip arsed th wait, a toast bam, amd iting nel pres 4 thin sip ara each thigh, ea forthe penleens Place gnall she ss aun wor she ad. carefully p rade rand th, long eogh nef rec the wit and east tea as med. Ue treo far the eff. Pros fey int pa ide te seams by fdr te edge of the snip amder. When Jn place th folded edge wil Ik ibe iting ve the gabe cs othe we Band ad thin evangh t Step BT slay ss showe the tape ofthe le, yt thick enoup te evcate wrinble Make gathers by rasing the tip of the Buitting mule rss tbe clay atthe wattand and efi, Beewse of the power pgrerts in the rad cl. this flaw weil! bake asain mins fore TIP Stop and wash your hands quently when working with KNICKERS colored clays. A mixture of Step AA cond posibils for sicohol and diluent brushed on and wiped off with a clean brush or paper cowel will he rea stain law's wiice okings.TROUSERS LOOSE LEGGINGS This andl day shoul abc enough tm adn mane wrinkle iy habe fico, Bu ity for oe ray led mea—sreners, Wrap and) — A secomd pri Tile ere tae testes. teres the leg, ad fos made with ra of ag to extn fram the rp of the hme to the ankle. TBE leggings for 30 mines. by hold 1s shape ad the seas yt pl buch, Add a but o zipper fy front with sietbord and a pects f yun wis. Boke 1 the fo a stip of ears uparate for 30-1540 mies aesing oth THE WEDGED SKIRT Step !—Tapered rod of equal fongths fi place ave the fer spe toe ‘his short bith. This and proved ia seventh as tis Step 2—Use presere from the large and medi nitting mecdle 10 ous a series of pl cotton fp cent of an Egy wha daring 0 af the Ris Republic. AU sie gartent rock i at tiation A twisted step of the same clay cl resp? around the vesst will eiabe the Lil ond, biden the rer ofthe lay. this gars Basaase of he ‘ill bee for 40 minaPart 9 Costumes of Clay [24 Two Simple Shirts FITTED BUTTON FRONT Step A—Begin she ft shine with 109 ‘im ves of lay: ach. cat the tr send the destad ibire leash. Sich one se aos the sts tat Sx firily mains shy Body, Pras to remote aie Iubbes, Doe anata le bak. Ble ibe sums atthe side and win Step D—Uee the isting nosh 1 press asthe fost the eclne to she unis, For add era use she 1p of the batting male erase the placher at ‘guar itrvals. Siply move the mele foe det side paige he odge. Now the ‘shir apse tight i maadsbucns Step B—Trin che machine with 2 craft inf Step Lely Blended balls of brown snd tan cay presed in ple with the end af pains brush fk Tike word barons Poking tun boler iv each ton ie a added detail ety dane with made ee cant in htf. Adding bis arms attaady cewrra with shes, isthe meet stop 18S elie comple rah, one you've ue Step C—AAL gather with rade ond cay dane ain tds rrr, Blend. working te rete a wanes appear ‘THE BELTED TUNIC Wedge comraction aboce and ilo she eget aes isin ofall an Wa. The yoke lie was proved ino the sty with a kiting mele. Strokes with the Iintting mele crested the saller folde and blended the larger wads. boo ‘mae tke simple V apening at te necElneThe Lace and Satin Dress Step A—Rather shan nse 2 single gash er set, ws soya ses to bail ap te dirt in layers with a rebnigue called Draping, Gather ne ond ofthe clay she. Sinech the garland t0 make th eth aioe wb oe will Bend tbe be The folded edges look like natural gathers in th ft ASIMPLE BODICE Step OT lees for sis rs was vt ims te sanvasie lk nf clay lve iden- Weal i che bce pane te front te des. scsi cakes advantage of ihe scalloped alge of the Las. Vent atthe ais, it rll atc te avae Vex om 2b lace paral of ve shit. Lightly scp the bic arand the tno ad con es In plore Step Bhs se hindu lager fabri, When wig tis ebnigne pres tach leer fry an the prvi layer for added rong Step E—On the back. use raf brie to cnt throng the oveloppine pisos. Lift ceed remove the tp ad btu ct ends andl the seams will math ADDING A TEXTURED PANEL Step C—This lass pare! mace fe a mld teas alot 1 actuated the Lae, 1 the shi tm fortis si Ww cand thn V ext at tbe watt 1 prroed he et pattern dat aie dares Nery shins ela lib hit one rsd ad at toe the lay yo l ls tb nodded ptr Step F—Ue the britting and tapers les 10 finish sho wast of he bes Press additional gathers tm the shart, bat rks cave with the Lace panelA SLEEVE IS A SLEEVE Whether it tight cy Leg of Mutton ‘THE LEG OF MUTTON SLEEVE na shee fr barge scale walptore. ere Step J—Ta mse te leg of mation see, rll all of hi fom fora sallr sas figure sess # one Base wit ad ot it bull Each bal attached 1 the baked avd th techaigac ave simile. Se. to ats the imply 601 crm bats the fuarcation for the large p pater fr bat sos Wi 1he teontapsbuad tere cap of the sat nc! om the amelside sf the arm, Bled th tam: fe macdovmn bnittove nodle press wrinkler ond ATTACHING THE COSTUMED ARM. Ue the sapestry male to uae finer wrinkles Srp tases te me ine Ia te soe) and ps the ar cain the body. Accent garbers at the sanders with the Bit cel tapestry movll. Use bieDressing the Seated Figure Step 3—Not al fabrics produce the sam: sl as ok, ba my con amd will plc le texte, Use your fingernail w arbiter wale tro fabric sbrough the senuine din techy Step 1—Suppovt tbe shoe of ca seated figure reith thre wedges of clay one setween the wei and ov each sdeof te bay. Garter an seve 510 8 hie ste of clay fabri. Press in place abive the wast. To ve a futed aipesnane, shave excess clay fom the tore swith a ert hfe ad ah sso he painted finish by ry lath, Brighten the fae rim, Bute at te emsecides operate braching the 6 Sor 30 rina Step 2—irave the baer as yw would a Fited sien, Press svat of sey om the ,roerg ts from aed tort bac Blond rh srs. Trin thea A SLEEVE IS STILL A SLEEVE Boing the stint and tndice reer adding sleces and fond he ne a auch ore shone col. The wie Bln is rad and drape cousrncion and the sees arealiy od and sap. The large amd sonal tapestry wells quick ewok te tad gather atthe sualder scam cand on te baiePart 9 Costumes of Clay The Buckskin Gown Step AF withanX ec eiffner intl with brown arate pine will mabe the already wif chrom durable ensngh to srw as am armatnte fora wind bln ds fn the eater the bwckram i aft wiles. bat you cam play with the drap bade ofa cle Sing sigs sit dis. A soe Baile filled sith waster for sein sores as tbs for for snap th arvuayure, Diffs Goths will crate diffrew draping Yes. Dis erent sand many shampoo butler have chuvders and ake gd form for saat ad caps, Lage sock Barts aks boop sins Step CT slifient les of light rows cay, with Title Black Granitox aad 20 cov, ueki reine buokahin Use a voller ro res tore shat of te ay sngibur. Prise the *buskobin™ ses firmly aginst the ornare cla, mars sere tere a ne wir bbBle, Basin at te bern fine ond work yor way up foam imagi= say mschling, fran 208 with a calmed Blea the ly firly tothe tre, aS Step D—Esehlish ctl with of hay and blond it the wet of te dre uri Step BT sane circle of cloth, eaisd ‘ner the egy amd gl tn the tose with eran gies mow races fread shaping sand ines of vinyl glue so the day will aden The ragged be Une ade wit sell srs suits the windblowe buck sim drs this fe will wear Step B Acs the wind blows lak with long arcing tabs of he waediom ard large kate male. Use yur fingers ‘rah sft the ele efi bythe ita sles. Add fae gather shece gud to make the cay thsever where ou Bled it tp the baie, Lat sume of the ragga es aeStep P—Pres a eros pad agai the lay tn adda Backs Step H—Seal rhe lore sams a regular inners and se carving sorkes ofthe bitin meal tx push clay 10 the sie, highlighting the Lady work dese. Add tris w/lacing. The oar is ae long, tur wrap, fold cd press in ple Step G—Thssr sloees will match the ladder work lacing on te ‘igh moccains, Wrap the slacse so that he seams sat wn the tp of ‘he arm, and pres the clay rly agains tv are. The clay is hi tories easly, wee ofc, ba ely that thin is fragile Pros it fly agains the art and ase the hoiting and tapesry cds 1 wd wiles ad fold, NOTE ‘oo tall $9 stand in the oven, this fagure will bake laying on a thick cushion of fizerfil. Stuffing additional fiberfil between the wind blow dress and her lege will protect the costume and the figure, but this additional Fberfill will insulate the clay. Add another Swenty minutes to the baking time to insure the clay cure. Use wet paper towels to protect the exposed figura from scorchingPART TEN Finishing Touches We're colorful people. We bloom with youth and blush with modesty, simply because we're alive. Make your sculptures bloom. With the first hint of color, the first dab of paint, they will begin to come 10 life. With the last details, you'll wonder if they've entered your world or you've entered theirs.BEFORE YOU PAINT "he fra tubes of pain afon rcaal flaws. Despite care icks and seratbas eur often whore you've worked the barca the fac, Ue thet fires touch of paint as tol for dicoery. Apply a thin wih of ater none als ad iy, Baan ell flow inn thse aes and highlight the Use aetna vie the paint ad the fais, Ut will sft the inked hay. Apply it with a sift bs or soft bape ol, Use adequate ailation, eer prtatioe slit ork sand wpe or brash carfully. Those nicks and vratbes will isa (sr Soto wil! rnc cracks. Delt ty atone pala et ‘the shay ns ang twill etc the ley and you'll ave ree te Whor she atone evsporsts, gree ready 8 bring you sunlprres wife Fart? — Finishing louc USING WATER MIXABLE OILS Use ey Sr clique ated wi soft Dh tae ray af eso hess she oad flow i rick or cose m the surface of skin—the thighs, he ces. the tally, the batch, the ontor aos the elle, th sales oF the fos. ad th nips, Ween the pat tse ts den, dihsly brush the sane with ditune. Dip te tip of te ras im divans aed tas wipe it ow a ser roel? the gs a omg sy, Th ear wal veri ad the brash seks dic as the dilucs sas othe NOTE: BODY PAINTING Acrylics have heen the paint ice for most artists who work in polymer olay, but ‘try water mixable oils. The refined cils are compatible with che clay when mixed with water. They blend beautifully and leave no hard edges. Mix a pallet of flesh tones and blushes. Add a Git of Raw Sienna to White, and the tini- est touch of Crimson to create a range of flesh tones a from siradony to rosy to FACE PAINTING. HIGHLIGHTING cacti he igaine oie Useasinal! beach ro acient shadows avons! DARK-TONED SKIN ik the es an nase, Tig a Bled uf Cobalt — A bie ighebe tis Blue with Crime for a wes tone. For ef sls and soft bs, the paint sould Ye tick eh to castro and thin omngh for painting fine lives, and, of conn ‘match the dsial hai col Native bow the pga cay mae aan trandacont? Coal Bt of Crimson ad) Raw Umber wh ad's cack, while 9 loud of Crimson amd Rave Sictna lar fer ips Sift shades around the eyes come fron Blend of Raw Ur Csinain and tone of your sculpture. Thin the paint with water, not oll and apply it sparingly. Though it takes longer to airy, this paint is forgiving. but once ry, is permanent.Part 10 - Finishing Touches ‘THE PALE COMPLEXION Pale piv a Wend of fs and a bie of Pale hy comparison. sant 3 the oe appli with a cl brash are all thir dads sth. A fine line, cal, pale buch _appliad at ta inside ee of the Ud. bigh= lighted te fasts Crowning Glory CREATING THE GRAINED BLEND Step 1—Craste a grained Meh fel with 3 touch of rasallis lay coo ral vn sealpnd batt. For aac han color, ancgbly smi oe ave a one ight al, Mis iad farts ofthe eo 29 rate mile vas Use seri ely oo erate te lige For example. erste black bate with ae rad of Black, oe ra of 4 ports Black & ? part Copper. and ove red of 2 combinsion of te ten Brust Hair: om ead of Bent Une one od af parts Rae Siemns nel I Part Gol and o tind ond combining the rte Tlean airs woe one vad of Raw Sina, ame vad of 3 parce Yelle and T (ors Gal tad bled forthe third rad White hair it the esep- iow Loevne dof} part Pearl White and I par! Trance, one ro 1 part Toensoccnt aids part gold and 90d of Troma swe aos — isn appidwith a brash aed Bla a paper towed wall ad Bee Fw sharply fied bes nd lis crt ana fm brash te jb. Fata the tewrk with the wit misable vite A Sead of Wu, Raw Sienna, and Atravin Cree Lanta be ip ibe. led of Rae Serna saad Raw Udi ste ber brs. Whar ome to psig bes, pine wes dif cle bre fr Ufo right hende,pies sight Dron: the ane ww as lift asi faces pot. Mf oe Ke Banded pane the ‘ose righ as fies yom Step 2—Srach th threo and all i apy betwwonyuur poles so jira me lng ridStep 3—-Pold sh oud i bel Roll she Led ed be rolling. renee a grained log. ad lak a gist folding 8 times ft dal like ned seep B ven the Lightly sobs frm te concn to ine all aranad the baad son yur fins, Conon Step 4—Flaton the rd ralling with the grain, Fla for chic bate sks and a clay, made by strech lays clos 19 the bh tick sip nile THE GIBSON GIRL Stgkly Step A—This simple spe wes wedges of Bair that gra 4 print, Press the weds on the coun, with fas edge jose abr 1 Jia tne, Use the medion iting mle 10 stro the clay tocar th come, Bled vschir and establishing ing the wes A Step C—Use the baie sur to ad fine Step D—Finivh dsailiog the air fine texture Mattes te stave with soaer and texture sith the con. Wate for eros Din 11 acres the bi frm she Piece atch ver and cath theo owt, You'lt daacard the ern, Jind the fine ona beat nese wale work viwy will at tbe bie of te scalp ad mea se carsf Part 10 ~ Finishing Touches I ‘THE ROMAN CUT ‘SHORT, THICK AND BEARDED Shore aor ts close 10 she Bex. bur be Sutton to tbe Raman cut. sbi tapered eobsignes for this cgle howe = lit in rade madite fram the crm ad franc the ‘aro with te Gilson Ged Bail wp the fat fillow’s fase. Smaller ra bulp ro wit thin a tapered at bth cn, eel bit beard. Usb bring male Resists he rads fiom te amcor come eb the ind of clay. Stabe fot oe Bard Loca te ate Tin, a al tne nds tat the fase otha the gre sears fara tbe fe. Soaks with abuing wale natench Finicb wend the sap, the comb 10 establish the wave and syle, and theo and fne ned. Use iy rs fr the os 2 the stamp 2d fiith tee sith the aad te fe nan to add tex, Comb asst of psd bone 185 man ‘has chy hme. me from sy mad af ay. Combining Clay and Fiber Sisal twine, a natural fiber with a lovely sheen can add anew mension 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- ge of matching the DYING SISAL Step 2—Vrn te dyed fers ad ol Step $a) Cut Sifton 0 russ) srands of sal be able tomas sraighe hair sbtt ew ‘er inte ines longs, amd resem topes a ore Baio Hag sks a obs hae om he ead with brim thread, creating a bank of iat, 8) clay. Cr andar with fl. allay 3 textured clay hair ‘Sack in ct to parte be fies amd comb 0) Dye ri of wath to creo sad. Adda created by the stamp te fds with brie dhe re. and ang try, oe send rip of mashing tp sick ike and comb, enabliag you im the Inks between clean paper twvel. Alvobol —— Ieping the ends so the tape say: im place Yo combine: materials be il dy, amb as Dupo work ul. Th ley Pras the ers tothe ick cape al and metieds. lends wore rande 20 match three of thew bunks, the nse with a third piece of masking tape, Titian, Brown, and Blacé. With alittle esperinen- sion, you'll bare na rub evsting lay bled Jor lod baie a ne rat mstcbs navn sc. 134Step Ste sponge ora bras w apply satin ow gloss aurylic vennith toe fils Ti i sicky rene, Sore of te flrs will sack 10 enthuse Comb chravgh api, Bfore the vara de, Pal of th second (sh vicky side up masng tape AU! of the earnshed fiers will stay seme baton tw piece of tobe. Use aatbapin cw a bulldog, lip and hang che bain tobe) Step BUse he stamp 19 begee abi stone A ftv ss wit taps ry ale will ee the pat ner Ba, Step ¢—You'll wane spanare rand cond maven: fiks of straight, ff ba some ng wide as a inh tut mus narrower Ply witht Pel off. lh and enap it around 9 thie misal rod o snpesry mel to tnake a earls, The thie er the rad w ntl te Sindy, 1 las like bake Jr te cd Step C—Courl the fas bar fase whoas fad incsor arare acura, One lack ot ati be srg ends of the Des on te ay. Pras it ine te clay and 1 thin, mall patch of grained ay, Dic @ brining male as 2 ville 20 And te patch of cay 1 te semen el ng Toucl Combining Sisal and Clay LONG AND CURLY LOCKS Step A—Thin strips of rome grad clay are te Nace bin the timer of lay define th ie before abe fier Bas Bezm aed? You Sa dsine airy style with cay. Pat it on the ide im the idle, or vo add haves. boning fortis rap tye Step DUse 00 shred cab 9 ‘sk sal exten tn che hay, Cat thrash the sisal p ruse she clay crown 19 she the fers aig with te fe lives rn the clay, Wink yon waxy around the cron. embedding bait maar thy bas of the sealp and above it. Use all your top the snap. tbe se and he fs wel sto rane a sensisc Mod of hae send fe Pay cxenten 16 te barbie and the har oa the casLONG, STRAIGHT HAIR Step 1—The same tedonignes ased 10 abe curly locks apply to Long saraght air—tmbed, pate, Blond, od texte Afr you've toma the clay nd fier, ws 4 chase brush and diluent 10 often any dst. Brush the olay with the vain of the bar Step B—Wesp long. narrow locks caruud sin rad tcrate along Yon wr mcd ten or mone of te carly Ics Use. taper meter ied te lacks ie The hay every % af am inch oF 0. Lay the ogks in a ramdie sont paeern su thas it es fbe many shunt exis eater thaw 3 Jong on. If you have trouble making, the cal ater 10 sh Jus were in, Add a tony dnp of muons ele 10 the ay ard pr de curl ple with a rooth pik Step 2— When iar bake abe figure rarvisb will sft. Take adventage of bis property to fit the hairstyle and cee aay fy ay lcs tat dew’ a ally, Prats th Lack eer to the nds presi lacs and dy eith sip of alana fel, Babe the gare ft 20 10 50 monster depoing carefully trap 0 on the thick of the wrbabad lay THE GIBSON GIRL AND SHINING GLORY Step !—Yow can ined fiber ita thick psespt style and change the look completly. Renamer the prarm of the clay ‘how detomines how ot ibd the fb Altes vad the Icke with patches ike bison. patches thet flow wy the estab Pid ety SHORT AND CURLY Step A—Thin stripe of day ave the Iyinning of this fair syle. Pros tem hy into the clay and wear rieing rae 2» dean tiny spinals in the ey, st peta ro cosate tiny wispy ene svar the bairine, Werk Step 2—Afier hing. apply varnuh with soft rach amd bea wit the grain, Whole yui'te suisbing. wie the mall raat add ga tothe est and cabot he lips and finger mal.Solid Ground Your work is more than a sculpture, its your singular Vision, Create a world based ‘on that vision, sobid ground for your sculpture. Suggest the fragment of 2 room with 4 wooden plaque covered with polymer clay. A loose and streaky blend of clay, sanded smooth and buted after baking, resembles marble. Dusky colored elay mixed with Granitex or Fimo Sione, textured with crum- Pied foil, looks Tike stone Or stizgest the world where your sculpture resides Step 3A webs of gay clay sarbld leith aranalusnt © whit. Blond a bit of Eom Stone o Granites for re ealtm Lise tapestry mel 9 tuem the gr hay nso ney gre by drsaing a sores mt poral ard imerlching figure eights m the slay, A drawing trbeiens called senmblong. i will ete raid and ragged dees of rece grout Sup i—Crose an suidir virsemest with stacked sats of earthy clay, a Bed of bein ad black. This med lets 900 build wp a fodaron thier whore te figure wall and. ‘of ay inch at the edge. thr is of grand 5 Yo of am ined ick where the care wil stand. That's enaigh doth 00 supp a Iany Bein call figs, Step 4—De this sep on 2 babaable arf Maken the eof the fg ald she fg seating the arson vad pnt the se andthe ft te clay ground. Carefelly rete te igre ond babe the hae for boat an our advent sly. and presi ssh hay, aes Step 2~Peos shin sraps of dark or smsted ea ly wth based se ora Bled ol 20 gee the base a arty text. Step $—When the base is rvonghy Cool, se it 00 a setae tile and apply PVC coment to the foatpint and the fet Stand the fig nthe base ad clap the ficure in place with a any exon bund ‘hat wraps saad the tle at well a te fest and base. Ti glue will st up ia an ‘ou, an cars fly 2 24 aurA Touch of Fantasy The fi sculpture is my hallmark, Fairies are my stock in trade, and here is how J make fury wings. After years of hand drawing and painting wings on velum or acetate. | now use my computer and my inkjet printer MAKING FAIRY WINGS Step A—Uise tar maze to make Monarch Sori or Iucreftie, Uf yun eve slo eon pret te aah 1 apis ow the size yo era ts ariel paper fy ave the sos Ca scaaser, cope, graph fet setting pile witht producing a “pisilata™ image. Save the image as a TIPE. Use graphics ri Phot ts priv program rh ap Pat 8 raat je nell each x Sea Step Be he ink ey for ty bors or tone, Cav ot the wings ad apply @ Step C—Hold.a matched et. wp tothe Highs ign permanent zlve sek tothe migemtd side of ame ofeach wig, Laas hy ebrny of the edges and pest the the wings rgb, the wing leit atavber tthe fry wn.Step D—Make four ev ins mut ofa hin brass exd ws lng fates: tore. Open the wind corner of the (ha small amon rng gle ants one wing Insert the det of the eye pin aad pres the wes seston, scaring the lop in place, Leary Step P—Tern she wing mer replete einyl sea, and noe a large kiting tw watlive the ialed part of the w Work exe te but mat om he vein Tins Finith by embvsing the entne scaled area Use firm, serait cokes and never erst the win lies, Do this om wach wong lle Gees M Step G—Make the wi with Yranstucns Liga Sines ot Clee te Madi. poy bo set petse. Brash bath sides of thee wpe lf he liquor with a eft oust. This wil eave shi bat Jil Sr exe ps tua tbe ye sc amd ‘ake rhe wing fr 15 10 20 minutes s ADDING DIMENSION TO THE WINGS Suep E—Pla ffl paper shut of ole ving 0 minimize scarring, The siayl from a fa storage Bg twinks all. Use the minor kiting avele ro scone allan the ve lest ofeach wing. Dos’ se 800 mach psi, fa rar 0 embos the ween Take srt foes aright td of wine. deg ns sf anon i with vol THE FAIRY Dill. fr baer in te appr back fair, Se Pm na sgh panor we We hase of the V poten dws. Chock cb wing ne a tb ake esta te sure ule is ep enough 103 lang. Addl drop of ics dar into the wing sakes ad inert the ye pia sat se aig, Antort the wigs ow ae sea hen the abr, Legions with the bstraee wing ist. Lr the le ty bf ig ad ng tote exe win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 detail for this sculpture. No eye pins, but instant glue holds all four wings together at the insertion point. The butterfly’s body is a rod of clay, flattened and folded over the hase of the wings, The antennae are beading wire, painted black. Instant glue holds the bitterfly nestled in the gathers on this young lady's sleeve Father Christmas now holds several scrolls. Liguid polymer clay protects the names of boys and girls, names copied from a baby boot 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 freehand flower texture mold and bronze powder created the cross brace for bis suspenders.Part 9 ~ Finishing Tc A simple addition—swo long strips of brown clay—addi an element of armor and “interest without hiding the muscular torso. The strips cross in the back and join to the ring made of soft brass wire in the front. A thin strip of » clay cloth twisted and wrapped around the top of the kilt make it appear gathered and tied, while thin strips of brown clay and a smaller wire ving added at the side create the illusion of a leather drawstring. Buffing with a cotton ball made the warrior’s skin gleam. The gold “embroidered” sash adds elegance t0 a simple ved dyes made using the wedge and drape method. Made of three sheets of clay, the sash looks like one tong piece of fabric because the edges of the sheels are hidden in the folds.Part 10 - Fi The bear chew necklace draws the eye toward the Large Wind Dancer's face. Each claw was meade of a tiny tapered rod curved wer a large knitting needle and shen baked, Tiveezers held each claw: in place until instant glue took hold. about 20 seconds. Half the size of the original. the minature Wind Dancer wears a buckskin gown cut from the same cary loth, a erown sisal hair ent from the same hank and detailed with she same tols. The only additional tool was a magnifying vio The sleeses were modeled on baked arms. and the arms added to a figure wvaring a fully baked oun, This miniature bas ng bear lees necklace: ber size and the details in the sleeves are enongh 10 draw the eye A dight buffing with cotton highlighted the satin of the Gibson Girl's white dress. For clays such as this, buffing. rather than tiarmish, ie the key to preserving the pearlescent sbeen 142Resources Books Deawinygs and photogeaphs of the human for cover my studio walls. My personal bbeary has grown. These are Sows yore might Find helpful Books on Figurative Sculpting Mullins and Senlpting the Husion Figare, Edouard Lanvess, Dover Publications, 1988. Mong be Hendy Clay, Bruno Liteebesi. Margit Malmstrom (Caneibunen), Watson Gupsil Publi the Pigure ix Ces, Bruno Lucchesi, ations, 1956, it Malstrom_ (Conitsbutor), Watson Gupil Publications, 1996. Books on Polymer Clay Sculpting Technique Fantastic Pears: Ides and Techniques Using the New Clays, Susanna Onovan, © & T Pasi ications, 1994 Pramily aed Friids Palgon Clay. Mausein Carlson. North Light Books, 2000, Hoe Make Chay Characters. Maureen Carlson, Non Light Books, 1997. Books on Anatomy Anatony forthe Arist. Feno Baresay. Metro Books, 2001 rah Simblet, John Davis (Photographics), DX Publishing: (Ist edition), 2001 Ansissc Anatomy, Dr. Paul Richer, Robert Beverly Hale, Watson Gupil Publicstions. 1986, Dyuenic Ansty, Burne Hogarth, Watson Guptil Publications. 1990. A Husudtont of Anatomy for the Art Stadent. Anhuue Thompson, Dover Publications (Sth edition), 1929. An Ailes of Anatiny for Arts, Vo? Schivler, Dover Publications (3rd edition), SL Atlas a) Homan Anais for the rise Steven Roxigers Peck, Oviord University Press, 1997. Anatony forthe Arie, by Supplies When you can't find the clay or tools you want, ry these mail-order anid Inteener supplies of ekty, tools, and other materia + Acct Ipert-Bsport, be. + 925-431-1150 + wave fimozone.com * Fimo prodicis, ols, stamps, powders, finishes, + The Clay Facrny of Eaoide * 703 N. Ciracadlo Phy =21, Escondido, CA. 92029-1030 + 80728-5439 + warw.clayfactoryine com + Pearlex Powders, Premo, Super Sculpey. Sculpey Ill. Liquid Sculpey. tools and tips + Golding Handrapis* PO Box 902, Wellington, New Zealand + Phone/Fax: 041-801-5855 + www goldingerati.com + for Du-Kit and other craft supplies + MiereAlurt + B0-225-1065 + wow.micromtark.com + A source for the fine seale modeler, Miero-Mark otters ans eoxis and small scale sculpting tools, + Pefet Tonch + 909-297-2357 + www perfectouch com + Wellmadle miero modeling tools + The Pobform Prices Coxpany * 1901 Exes Avenue, Flk Grove Village, 1+ 847-127-0020 + wav sculpey.comt * The manufacturers of Prémo, Polyform offers bulk sales of their clays, You ean also find out what scores in your area sell the clays you need. + Praitc Crafi* PO Box 209. Flourissant, CO, 80816 + 800-779-0615 + www prairieeraf.com + Kato Poly Clay and took designed by artist Donna Kato, also books, videos, tools and tips for the polymer clay anist + Polyner Clay Expras * 1307 Wisteria Dr... Box 275, Germantown, MI) 20874 + 800-845-0138 © www. polymerclayexpress.com * A source for almost every brand of clay, variety of tools and supplies + Wee Falé Craton * 18476 Natchez Ave.. Prior Lake. Minnesova.53372 + 8l0wee-folk + www.weefork com + A source for Promo, Super Sculpey, Sculpey IL, Flexiclay. Cernit, Fimo and Fimo Soft; also books, videos, tools, metallic powders, and classes taught hy Maureen Carlson Further Information Spend time on the World Wide Web Youll find information on figure sculpring techniques and polymer clay in news ‘groups and chat rooms where you can ask the expens and share knowledge. Look for work dor: by Jodi and Richard Creager, Maureen Carlson, Kim Jelly, Cliy Moore. Randy Bowen, the Shiflett Brothers. Chuck Needham, Gabe Pema, sey Love, Shawn Nagle, Dan Peres, Andy Bergholtz, Steve Wang, Martin Canale, Pablo Viggiano, Kim Graham, fill Willich, Gabriel Marquez. sind Tony Cipriano —all professional sculptors. all remarkable ants who work in polymer lay. You can even visit my site, Elvenwork Oo Ling at bitp://www.eleenwork comIndex ge fa wanton, $2 Armuties gen, ms. Bake ly cone, as, ake ay cone. less. 73 ind, ead a age. 28 leg coe, 72 sang. 10 Supine. 51 ‘ono, eel ewe. $0 Aros & Hand. genial. ne, kes cy cone 6 aching ams, 104 Fearm, modeling, 8 Herve ara, dela 109 osng ara 99 Upper am modling 8 arachig Bement ‘me 101 Ness, 2 legs 82.5 Sisk, forming Wine i ace Tackbone 68 Buicing we, 86 Pring thes 8 Iannis. Modeling 3 Steer bias 60 Baling ni, Baking, when 8 2 Bahung sanding & sted Fre 88 Bac. 137 Bere, scping. 18 Boxy. pn, (3) reas 58 uring. aos (fans ale, 6.1 Ghee. hes, gone, $6 aang Tooches, chin 38 ist, wee Poser Cle ‘leting 8 eases. gene 17 Deeg igen, 118 abee texte ok, 197 Fees vere ec, 118 Yishiginaa. 1 | Mlseting neti, 138 fone kd Pant 122 ‘Shoes. 120 Sims 12s Sets & Sis, 136 Cola hones. eden 62 cons om * Sale, 14 Sesie LS ay. 06 ingens 88 Fingers Sale 114 Foi 23.50, orc, 97 eee Body. Perc eg. 8 erst) Tee & fo 7 Tim, 50 ply hes 187 Deesy fies 119 Ein, 44 le yarns, bea face 1 5a? ‘ge vanaons, 82 ome 36 Closed 38 Espen 33 tide ri § Socks, 27 Possioning Saag Pang. 25 Refinements §8| Rees, 104 Fe, age vanaons 12 se, ene eanstions, 38 sce, pasting 131 Fria etry, 25 ‘Checks, ling, 30 Guin, shaping 3 Byes ane 8 penoning 28 Frid ange, 28 Facial pine, mapping, 3 ‘Mouth sk Nore, bas 2 Fama, wine 138 Fost mening. % Fong. xing 8.92 ‘aling Frases, msi 1 Fol Cones $0 ley. completed sculguces, 140 Gives, 21 Hie sealing, 132 ea, 134 Fer ely ang 34 itn git (upsegt BSS oma os (seth 18 Hania, ocing & pas. 9 scaling tt vescaling 138 Head, aching 62 Head, pong 0} Head 8 Face, 21 ‘oma cheeks. 38 his 38 ie, modeling. ye. rows. 35 nd 35 ypresions $8 ak 3 Renemenss 58 inne rans. $8 Foal pane 35 Js Misc Squires. 21 South, xpesions,crting. 58 Sam & ngs pen. at Teeth, forming. 4 Nevis maxing 18 Nowe. 2 Modeling 7 esd & fue nose deo on) Proporining 21 skull 21 escaling 108 les Se, 92 Hp 56 be, ping 3 Lndias ‘rs & bas Buck, 49 Hel, 21 ep Fee, Tomo. ching payer by. 9 leg foot fee e676 113 toch To 1.82 1S Coes, kd, 72 Herc eg 8 Lanna 7 onl tendons 74 Peng #8 Sing. 11 Mepping tome. 47 Sines, meeting 18 ‘um 14 Fishing techies, 12 Bead 38 dew 120 Posing, 19 Tone 10? Ming, basis, 19 Mods, fie, 112 Mouth, 2 ovis mein, 36 ipreions, 36 ‘Gre & zh, Open wile, Teeth il Muscles Tedons ep foe, Nock, ming, 13 Setiing pe Nowe, bas 3 Mexkling, 3° arauens, 38 ining ies, 13 Pans, 12 Dee gill Pelyncr ey in. Cenisiening & kha. 9 Mesure 12 sing es ones. 8 se 9 Speci ck. 7 Posie ‘on. ands. 9t Head. Leg 8 Hot Mini ts, 19 Ton 9) Propanioring ‘chy. th gues, fase. 12 Head & fre Mig squares, Head fate, 2 eae ose Saling hases. 105, hes, 108 ed amos, ale. Le Mund ame, sc, 118 Head 103, gun sake US ol cores eer 105 ep sce 110 lege fs vase, 317 spn dling basic. 1 Sy 128 ‘Shoe 12 Seles, baling up, 54 Seu blades, ms fier Sol seping. 24 Sees, 125 Smoothing ehngue, 68 Test 41 ows 76.112 Took ewer 14 kina, 19 Cane ip 19 16 jell al 18 rishing ote 19 Fol coe tok Fie sap 0, 7 Handles, 4 Mosare dig fobs. 109 evde tools (5 Seuptng sind 8 Seenghenmg.1& Tee. se 108 sole, 107 Armature, cel cee SI Rack. Uncnai, 3 Modeling insing Bret pi 38 Suing op. 38 Pt 6 Chest ishing SR ‘Chest abso, rms lar bones 2 ‘Canering wah ly 34 tt, eo i, 64 Lis, ing. Sopoing ons, 108 Pic ie, 57 Pane 9 - Pong, mana, 109 Biap: 62 Shonler blades, 60 Wings. 138 ‘Mtuching 149wii Creating Life-Like Figures in Pol." ‘ou hold in your hands a magical book, your guide co a realm where “anyone can learn to sculpt. Katherine Dewey entered his remarkable world years ago, Her expressive and clegancly deeailed sculpcures enchant all who see them, With the magical medium of polymer clay and chis book, you can follow in her footsteps. Easy to-read maps of the figure illustrate the landmarks of the body. Scale diagrams indicate che simple shapes hidden within che oman form Thorough inscructions describe how co model these shapes and how © combine chem. Practical and ineuicive seeps lead che way co creating strong, realistic and expressive figures. Welcome to Katherine Dewey's world, where magic happens. sus 28-00 This is the barbarian, the gladiator, the dragon slayer, and the ber, Esery muscle is Larger and more sharply defined. Musctes nut apparent on the average body become pooons sible om she bere bay, Oxberssoow tn take aw forms as doger masces exert their sum |