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    Katherine Dewey - Creating Lifelike Figures in Polymer Clay. Tools and Techniques for Sculpting Realistic Figures - 2008

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    Katherine Dewey - Creating Lifelike Figures in Polymer Clay. Tools and Techniques For Sculpting Realistic Figures - 2008

    Uploaded by

    Douglas Jesus

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    , Gi. Creating GYfelike Siqures Tools & Techniques for Sculpting Realistic Figures +| Table of Contents Introduction — Page 5 Part | ~ A Medium for Everyone — Page 6 Polymer Clay Fundamentals Part 2 — Figure Fundamentals - Page 10 An Overview of Figurative Modeling Part 3_~ Fundamental Tools ~ Page 13 The Essential and Nonessential Too! Kit Part 4 — Face to Face — Page 20 Modeling the Head and Face Part 5 — The Body in Question - Page 46 Modeling the Torso Part 6 — A Leg to Stand On — Page 70 Modeling the Leg & Foot Part 7 — A Show of Hands — Page 86 Modeling the Hand et Arm Part 8 — Measure for Measure - Page 102 Modeling in a Smaller Scale Part 9 - Costumes of Clay - Page 116. Dressing the Sculpture in Polymer Clay Part 10 — Finishing Touches — Page 130 Adding Details with Paint and Fiber Resources — Page 143 Index _— Page 144 | Introduction Tam an amateur at heart. I sculpt for the love of it. ‘That's what the word “amateur” m¢ loves. 1 cannot resist creating new shapes in wet ns—one who sand, new fallen snow, fresh cement, or cold mashed potatoes. I'm also a professional. Sculpting is my livelihood, and polymer clay is my favorite medium, No other clay is as colorful, versatile, or widely available, No other clay drives me to explore the possibilities. No other clay urges me to ask “What if?” What if T wrote a book about the art of figure modeling in polymer clay? What if I wrote that book with the amateur in mind? The am: sense of the word, has a love of art and seulpture eur, in the truest The amateur is ready to take the fisst step into the artis’s realm, This book is about that first step and those that follow. It will tke you along a different path than other books on the subject of realistic figure modeling. Why? Because polymer clay is a thoroughly modem product, not bound by tradition. Nan Roche called it “the new clay.” Why not use new methods? Taken as a whole, the figure is complex. Why not break it down? Break everything down: proportions, body parts, armature, and clay. Break the body down part by part, and break the paris down form by form. Sep: separate armatures, the bones of the sculpture. Break the clay down, too, into te parts mean measured amounts—so much for each form, so much for each body part. Break it down and then put it back together again. Taken as parts of the whole, the complex figure becomes simple enough for the amateur. 1am an amateur at he Part | ~ A Medium for Everyone PART ONE A Medium for Everyone olymer clay is unique, a P remarkable clay that requires no special tools, not even a Kiln. its wide availability has made it the fi clay of choice for many profession- als—sculptors. who have designed one of a kind dolls, modeled figures for the toy and collectable industries, and created miniatures and masks for the movies. There is no other clay quite like clay for amateurs and the the ‘This man-made clay is a medium for the new millennium, Polymer clay is composed of fine PVC particles suspended in a liquid called a plasticiser. The plasticiser gives the clay its flexibility. Fillers, such as natural earth clays and chalks, add bulk. Pigments add color. Baking the clay at the right temperature (between 200. and 275* F) fuses all of the ingredients into a hard plastic. Polymer Clays are low temperature clays, sensitive to: heat, some more ©H26ifow'll ew aby wert lcs factinn of thelr anata. Mas so than others, The warmth of your erat ant fle Bend ae iy day, Wht oe hands or the heat of a summer day differ in subile ways, all share one important trait—they urge tbe artist r0 can make them softer. Too much — explore she passbilitis heat (above 90° F) over too long a time will partially bake the clay, but don’t assume firm clay has been partially baked, even if it crumbles. Tt may simply be old. As polymer clay i ages, fillers absorb some of the plasticiser and the clay loses some of its pliability. Clay softeners such as Sculpey Diluent, Kato * Liquid Conditioner, and Fimo Mix Quick can extend the life of these “advanced” clays, but often they just need to be kneaded. Once kneaded, they become pliable, Part 1 ~ A Medium for Everyone The Perfect Polymer Clay? For the artist who sculpts, the perfect polymer clay blends, tasly, It’s firm enough to hole its form, yet soft enough to model and drape. The perfect clay has a long ‘working time, remains color faithful after baking, and! resists breakage. That's the perfect clay for ‘modeling, but, no brand has all of those qualities. ‘he clays easiest to blend, Super Sculpey, Sculpey land Premo, tend to scorch if baked too long. The ‘os flexible clays after baking, Cernit and Moclelene, are difficult to blend. The same is true for the ficmest clay Greal-Theim. The most color faithful clay, Kato, has a short ‘working time, Because no clay has all of the qualities artists desire, artists adapt. They choose the clay that suits the way they ‘work and work in ways that give them the control they need Gernit—A German clay prized by doll artists for its porcelain texture and durability, Cemnit responds: quickly 10 the heat of your hands, becoming, very soft. Many artists mix this clay with a more blendable bbrind to improve its workability. Available in 27 colors. Greal-Therm—A very firm clay, this Dutch product requires substantial kneading before it will blend. A ‘very durable product if baked as the manufacturer directs. Available in 28 colors. Di-Kit—A clay from New Zealand, Dukit has a nice firmness, smooth texture, and blends beautifully. Divkit has a long working time. After baking it remains flexible, making it a durable clay. Made in 25 colors Pimo Classic—A German clay prized by jewelry designers for its firmness and color faithful quali Fimo is flexible after baking andl resists cracking. Made in 24 colors, Fino Soft—As soft as its name implies, this sister to Fimo Classic is not as flexible as the original. “Available in 48 colors, Fimo Soft also comes in Stone, Glitter, and translucent hue Kato Polyclay—Designed by Donna Kato, this clay handles extended baking times without changing ‘color A day with a shorter working time than others, it requires additional kneading during the moclel- ‘ng process. Afier baking, this blendable clay is very flexible and resists cracking, Available in 17 colors, Modelene—A clay from Australia, Modelene blends with ease, but has some of the heat sensitive qualities of | While it darkens slightly on baking, Modelene remains flexible afterwards. Available in 27 colors. Super Sculpey—Made in America, this clay is ideal for the sculptor more concemed with form and texture rather than color. Available only in beige, Super Sculpey blends effortlessly, but can darken if baked too long, Prema Seulpey—This clay blends effortlessly and has the longest working time available to the artist “Though it tends to darken when baked too long, it remains my favorite clay. Most of the figures in this ‘book were made of Premo Sculpey. Available in 32 colors. ProSsulpt—Designed by a doll artist for doll artists, this clay is available in three colors—Caucasian Flesh, Bihnic Brown and Translucent White, A variety of realistic flesh blends are possible with this soft, blend: able clay. imo rs, they add it, Premo, Fimo, and Kato metallic and pearl clays shine like satins and “GELS) and Kato Sauce are liquid polymer clays. Translucent Liquid ‘matte finish, 10 i$ thin and clear as water before and after baking, Mix them with pigments t0 create polymer paints; or use them as polymer vanish. ative well Part | — A Medium for Everyone Flesh Blends Every brand makes a variety of flesh toned clays. Most are translucent and produce a realistic impression, but that same quality, translicence, can cause problems, The sheen of unbaked clay, especially translucent clay, makes it difficult to detect seam lines, finger prints, tool marks. These flaws become noticeable after baking. Wet sanding, scraping, and wiping the surface with acetone will eliminate most fingerprints and tool marks, but not a phenomenon called *plaquing,” a problem with translucent clays. The surface will feel smooth, but appear pocked with cres- cent-shaped blisters of trapped air. For [7 q these reasons, use’a semi-opaque flesh air of rhe major brands manufacture lb tons ranging from cep cxaa browns tone, Aided by a bright light, you'll see tv ale olin pinks. Most companies mabe cay conto a el, ud tool marks, fingerprints, and unblended see sch as See's Dilnnt or Fines MixQuic Conditioners put now life seams. After baking, glazing with acrylic ino old, dry clay and belp unbaked clay adbere 10 bed clay, « wealudble tch- paints or water mixable oils will create nique forthe figure modelo: the illusion of translucent flesh. TIP. IF youre a begintier or new to. polymer clay, get acquainted with the tech- niques by modeling one or two faces or figures in gray oF green clay, of create ‘the look of bronze with a blend of two parts black and one part copper. When Using these. colors, vioual distrac- tions—such as dirt in clay—wor't laf begins with coor bat caprae the ideal ofthe figare bother you. With experience, youll gain ee ze a po om snag heen Sie confidence and learn to work quickly. oad of rele Beige ad ot leat ne peau clay. a) Asian ; natty 6 part Beige ~ 1 part Bir b) Nerhera European —8 eae en la eae. aris Beige ~ 1 part Eo. ¢) American Indian—8 parts Beige + pln Raler Heat vanes vena eat 1 pert Rate Sieana, pat orn d) African American Hevitege— The other key Is firm, ft clay, 4 parts Beige + 1 part Raw Sienna. 6) African Ancestry —t part Beige +t part Ret Sienna. What brand of lay yon lat, dot de ready made flesh er lini yor ratty. Part | - A Medium for Everyone Fit Clay for a Fit Figure Learning to judge the clay’s fitness for modeling is the single most important lesson you can learn. Compared to clay fresh from the package, clay fit for modeling may feel “hard,” but it will hold the shape you give it and remain blendable without cracking. Firm clay feels silkier, resists dirt and fingerprints, GETTING INTO CONDITION PASSING THE FITNESS TEST MAKING SOFT CLAY FIRMER All ply clays nec conditioning. Begin Test be clay’ lms for madelng. Roll the Mast polymer clays are tay soft for be eh ayvlling the clay in your bands to form x clay into a bal. Ct the ball in half amd’ niques described in shit book. To mabe it ong rod. Pol dist, then roll another then put the balves back together. Blend the firmer, rll it ints thin sbos, sandwich the od Continue folding, isting and raling swam by stroking she surface with your clay shuts betcen clean piv of paper and Jor abou foe minuts until he clay is thumb or finger. Ifyou cam esate oath place a wright onto, Lat it ret for seer sniferly pliable. Use this technique to ball out of the to halve simply by lend- aurs. The paper will draus or “leach ed el, sox Once tbe calor is wvifrm ing the seams, its fic. Ifthe ball Iss ite xcs plastics from the clay. Do th fines Jo koe te clay is conditioned, bs is it shape, te clays foo soft. Make te clay tas, If sill 00 of, leu it again Fit for modeling? Tet it and find ot, From and fit by _ SAFETY FUNDAMENTALS “Before you bean, stop and read the aba. Just do each clay has diferent crate, each clay has afferent: ethuc- - “Hons for use and different pakirg temperatures Look for the AP Non Todc Seal. Make sure the clay meets the Art _ & Creative Materials Institute's. safety standards, e * The AP Non to label daes ince mean powymer clays éafé to emt; fv eane the lay ts roh tone ‘teats fcod containeres resine In baked polymer clay are nat. ee. 2 y ert and may leach into the Food, me Teason. if you work at she kitchen table, protect it from the clay, le might be an old and battered table, | _1¥6 also where you prepare food. Ifyou ase Kitchen utensils as tools, don't: neta them to the artist now, and that: aatic prees, rong pin, baking dich are al artists tools. If you bake your 7 __ S2Me oven you use For cook, clean fe aftervarc. only takeo afew minites to Wipe the walla and celng with 9 arp rag and mic desreacer. ee : 2 Wher'a eculptisre Is ih the oven, use the ventilator Folymer clay releaces fumes when baking, and t unpleasant, may botner some, Use an accurate oven thermometer. Baking above 360: “ eeaseiritating and hazardous fumeee = eae oe a con vil photeck the clay from dust and Abo, the bare of ever plyrer artist ol cleat means parting the clay auay nhen yuo freed —away from the ds, away fom the peta Store the ne Yoole aiay in.a sealed container, and store it with the label. There’ valuable information on that label, + IFyour children war to play withthe clay play with them, Polymer Clay is not toy. Is a creative mec: Trea _ Ibs one ard your children wil, too. Naturally, everyone washes their hands when they're finished. Part 2 10 Figure Fundamentals PART TWO Figure Fundamentals efore you begin, take a moment to learn about the modeling method described in this book. B It’s a modular method , one that focuses on the individual parts of the body and the simple shapes used to create those parts, It's also a measured method, one that assures you'll use the right amount of clay for each body part. Still, the techniques are flexible. You'll find you can make creative choices with confidence. Later, if you want to explore other techniques and other clays, you'll find you have the knowledge to apply what you've learned. Understanding begins here with the basics, the basics of proportion and the basic shapes. A Method for Modeling a TIPS FOR THE MODELER + Stayin etep. Take the time to measure the ry. Let your muscle memory and sense oF scale develop naturally, Soon, youll have the skills to combine steps, create short cuts, and work without: measuring the clay. Always blend ceame with overlapping ‘strokes and alvays from the applique onto the base piece. When you model the features of the face, position matching appliques in pairs. + When you model the limbo, don't nich one leg dr one arm. Model both sete of limbe at the earme time. + Toole are harder than your fingers. When {you use tools, use them gently and with lese pressure. + Don't hold your work too tightly. Better to drop it on the floor than squeeze it out of shape. + Check your work for symmetry. Study it from all angles. Use a micron When in doubt, measure the figure. “This anusual woman illustrates a mathad for madeling the figure “The lf sie of ber by shows te sinple shapes that erate each body art, The areas colored in white represent fully rounded forms. The gry areas illustrate appliques hat crate tbe serface features of the (dy, Tho are patterns for medelimg each bedy part. Drawn to sale, they illustrate te s2e, shape ofeach applique and body part. Mastering the Basic Shapes | THEBALL oor fimdamental frm begins wih a south, seams ball of lay. ie ave presire. Too much pressure with one hand will praduce Bie, smilar toa ty top. If thas happens, nse your fingers to pas ‘tito rawr shape, then reroll gent THE EGG To form an egg, bold. your pals rgebor na V" shape cand roll a ball back and fort ro o three times. THE ROD Slap rc of clay by rolling a ball of clay bac an fort om a flat sac. Exert eon pressare as you move your hands apart. For aniform rods, use 2 shut of plexiglass a ceramic tile intead of jer ands Figure Fundamentals ‘THE SMALL BALL Uae yaur finger 0 roll smaller bls in te bolle of your bard. ‘THE SMALL EGG Shape a small ogg by suring you finger 10 roll a small ball back and fourth in the oll of your pata a ‘THE TAPERED ROD Bot tbe arms and legs use the tapered rad. Roll a rad back amd forth om she work surface wish the Bel of your bud st mar the ‘end ofthe rad, The more presare ye use, the mar tapered the rad. Practice ereating a gently tapered rad Part 2 Figure Fundamentals Measuring the Figure Artists use certain features of the head and body landmarks for creating a realistically propor- tioned figure, one with dimensions correct for its: type. Like the landmarks of a map these features are prominent and fixed. The distance between one and another remains constant. These distances are the keys to mapping and modeling the figure, rules of proportion in every sense of the word. Using the length and width of the head as a measuring gauge gives you a standard for the rest of the figure MEASURED CLAY FORA MEASURED FIGURE Macturing the clay assures yow'll use she right amount of clay foreach bady part, With each scale paitern, you'll find this diagram. Its culled the Base Unit. The circle represents a ball of clay of a specific tize. The line bensath the circle isthe kay to erating uniform Base Units from rads of lary AMETHOD OF MEASURING Rolla ved of lay wat it's the same diameter as the Base Unit. Set ss divider to match the lie baat the circle. Pres it against the rod saving tos marks in te lay, Continue marking the rad by pressing each mark into the prevons mark. When you cut abe rad, each sie will produce a ball of clay the seme diameter as the Base Unit clay ahead of time. Store the marked — rods ina plactic bag and cub th “youresd them The Proportioned Figure 1 Head Width MEL SPRBH */, i we Mearuring as ye model isthe hey t0 well proportioned sculpture ‘Maas the baad and you cin masa he bady or the Limbs by asing ‘he besa pane, You'll find this bok fled with maps to bel you Jind your tay. This is he first, a figure standing 7 % beads tall FRAOAHENn aS LOR PART THREE Fundamental Tools ou already own the most sophisticated pair of tools imaginable— your hands. But you will need other tools, tools that can reach in tight spaces or ‘manipulate the clay in ways your fingers cannot. While polymer clay is readily avail- able good, suitable modeling tools are not. Making your ‘own tools solves that problem. Making your own tools also extends your knowledge of polymer clay and your abili- ties as an artist. As the artist in you grows, you'll gain an awareness of your needs as sculptor and have the skills to THE ESSENTIAL TOOL KIT Meet those needs by designing These are some of the esentiali—tols forthe modeler and talmater Th acrylic nod rll or adapting the right tool for smth ses of clay. The divider measures the cay and the scupoure. ‘The blade snd eraf Anifs cut clay. Te brash remaves rate edges. Pliers amd wie cnters bend and cat the arma the task at hand, It’s a valuable tare wires te bof oa lpn. The ond plage is senting sand. The tof the skill, one every sculptor Seeder 3 ceen ane TE a vel ela eg iad should have sig ale pp jor bck pr ors fe bis includes tb da assortment of iting and YOU'LL NEED THESE SUPPLIES TO MAKE YOUR OWN TOOLS: * Knitting Needles: one pair of #11 % or #15 standard, aluminum knitting needles, one #7 and one #2 double ended aluminum kribting needle, two to four #7 or #8. alurinum knitting needles (optional) * Sewing Needles: five medium sewing heedles, one #18 or #20 tapestry hieedle, one #13 tapestry needle * Tools for Making Toole: work surface, small ceramic tile; two needle nose pliers, button thread, Yo and Yeinch drill bites" thick wood plaque, sharp long blade (a lags ecraper or clay viade), tube cutter (available at hobby and craft: etoree), stove (for heating and bending needles), pasta machine or roller, large wooden craft ball (or round soup ladle), glass veads or ball bearings sizes 4mm, Gmm, Emm * Glues: vinyl glue, cyanoacrylave (instant) glue, heat resistant epoxy putty (optional) * Polymer Clay: 12-16 ounces of a strong polymer clay (Primo, Fimo) any color or colors Part 3 - Fundamental Tools Making Your Own Tools You'll nod these als to rete she figures in is bok: a & b) the large and medina Auitting nel, €) the cured tip tol d) the fine nose sol &) the apesiry mavdle 10k cand f) the bair seam. Made of kniting sewing, and tapestry wedtes, these tole ad ad fin eis. ‘Step 1—Standard alnminuns hnitting ncdles sizes 10 and larger are hollow. Cut the newdler with a tube cutter. Two sols use the intend ofthe nitting nee: the Large male tal is 6 inces Fo athe Hair Stamp is 4 inches long. Use the vst of he mds 0 make fo strong ales at loa ches Long PREPARING THE HANDLES Step 2—Cover the andes for a beter grip. Make the clay adhere ty coating tach handle with vinyl glas, Stand the handles on end wo dsy Step 3—a) Roll a thin pancake of clay larger thaw the bundle 1b) Trim the clay into a ratanle as Tong the handle na tle more ‘than three times ax wide, e) Pres firmly as you rll tbe tube onthe clay shut. d) Trim the exes clay and rab sath IMPROVING THE GRIP Step 4 depo te grip. Pron 2 to 4 Intima Mo ech ahr te polymer lay to bold tho sid Si the hye bal Np perpen to (he xii ws all the bene bch lining PACKING THE HANDLES Step 6—Roll a rad of polymer clay into along ral and fill each Iandte Tamp it down and add more clay until the handle is fll. Sut the packed bundles aside and prepare the sips ADDING ANEEDLE Step 2—Te insert a mele, add another drop of instant glue to. the Jeno and quickly inset the wwcle ito the clay pachid andl, Add sore clay, pack firmly and rah smooth, Bae for Part 3 Fundamental Tools BAKING THE HANDLES Step 5—Bae the bandleson a cusbion of cotton suffi for twenty minutes atthe eonperture reammonded by or baning ‘aren ofthe clay you're sing ‘THE NEEDLE TOOLS — SECURING A NEEDLE Step 1—o prevent males from palling lose, thread the med with button thread and wrap the trea round the ee forming ‘bnat. Ade a drop of instant glue and trin the exes tread. NOTE The Tapestry Necale-Tool has a large #5 needle in one end and smaller #16 or 18 headle in the The Fine Needle Tool, aleo double ended aight, and bent needle, To bend a needle, with a pliots over a flame heat until the needle turns cherry red. Bend it with a second pall of pliers while the needle is stil hot, Part 3 — Fundamental Tools The Curved Tip Tool Step 1—The Conved Tip tool bas multiple mex: modeling the eye (ids, the nos, marking finger and te nails Begins with a covered and baked bandle. After packing the handle, nse your finger or a large bed 20 create dimple in sac en of tbs tol. Mabe ro smal ys each as wide as the diameter of the tool. One by one, press the lange sud of ach egg int the limples at the ends ofthe tao. Blend SHAPING THE LARGE TIP Step 2—Bevl one end by presing it agains the work surface the scan tee a” Step 3—Muistn th bled end and thon SHAPING THE SMALL TIP Step 5—After baking, exe emery fuaper res api the shaft ofthe large britting Step 4—Lightly strobe the other cud of atl water to ond bath tips Make then nee. The spsaak somble a wide, gently the rol to a point, meister the hay and saath and the dees sharp, Rac the tps U-shape gonge The care mot to damage it them press it gaint the tapered end ofa #2 with talcum poder. Treat with poder n tile you the the small creed tip Initting netle. This tip sbanld rsemble a regia basis tsardrop-haped gouge, braader at the base then at the tip. With boob sis finished, ‘babe the Cursed Talon 2 cashion of etson for 30 10 40 mines. Part 3 ~ Fundamental Tools The Hair Tool ‘THE THREE NEEDLE COMB Step 2—The ober end ofthe baie tod bole a small “om muade of thre medi sexing mele that draw fine casey shed Live in ‘the clay where the stamp is impractical to use. Begin by threading all thro meds sogetber: THE HAIR STAMP Step thir 4-inch-lomg oo uss the point end of «large kiting mde as a feundation fore stamp, The to inthis ltare show he fe ses of constrton. T of clay and bated for 20 nats. he tip ofthe Lighter tol bas en capped with a thin, triangular shet of fresh clay, Drew closely spaced lines in theca radiating from base ofthe cap Lowa the point. Use te shaft of the nde to impress there Liner, nt the tip. I will asa lne the same width at the male, eating a stamp. Take yr te with tis tol ad twill ave you haus of wor Bate fo thirty minutes be ark sol wn te op left has baw covered with a sheet FINISHINGTHE = The Core Tool HAIR TOOL, Step 3—Pack the open end of the air tool with a rad of clay. Hold the needles in a Biers s0 tere aligned dose egetber cd scare ‘the thread with stant lie, Trim the thr, add another drop of give tothe head end ‘pak cathea Gace ts ached day. Secure with more lay and babe again ‘comb into t Bool shaped, thir ol wee almost half pond of ele, bout muah it posse to erste smont foil cores (halls) forthe bad. 14 inces square and ofan ims tick Presta wet wo ball or rd soup ladle inta the clay 1 form a shallow bowl, Remove the ball or Ladle and take for 1 ew Part 3 — Fundamental lools Mal g Tools for Life-Like Eyes THE EYEBALL MOLD The ge mold gins a fas black of clay aprosimately 1* wide, 1 8 ong cand abit mare tha 12 thick. Press ball bearings or glass Pads ranging fram Smo to Sem balf way imo the clay at erm interval Bake the stand for 30 minuces with she Beads and brings in ple When ol, pp te Beads and earings out. The Sculpting Stand ‘Ar your seulpire progress, you'll ead scalping stave fr ies tat stands Drill at leas doen Boles at ivegedar intervals, using

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