Body, with pre-made head
would do under these circumstances -- with the head and hands already
done -- is take some heavy duty aluminum foil and twist it into a rod
that would be the base of your torso. Are the hands attached to wire of
any kind? You need to create arms and legs. Some people use pipe
cleaners if they don't have regular wire hanging around. I would be
inclined to wrap the arm and leg wires the rod of foil in the right
position, and then sculpt the body over the foil torso. Before I baked
it, I would press the head and breastplate into the top, to make an
indentation that matches the breastplate form. After baking I would glue
the breastplate where it's supposed to go with epoxy or another strong
glue. If anyone else has ideas, please jump in! I've never done this
kind of doll.
Diana in Canada
Great question, Dale, as always! The Premo color is called Beige, and
the ProSculpt is Caucasian flesh. (ProSculpt also comes in an ethnic
brown.) I don't paint over these colors, but I do add depth and blush
with dry pastel, dry-brushed on and into crevices. I do not know about
the availability of these clays in the US, but I believe ProSculpt can
only be ordered through Jack Johnston's website. It's a bit more
expensive than the others but a joy to work with. Premo, Sculpey and
perhaps even Fimo are probably available through your Michael's (which
are no doubt better stocked than ours.)
Diana in Canada
Iím the one that mentioned liking clay shapers. The are rubber tipped
sculpting tools . they come in, I believe 5 different shaped. They come
in 3 different degrees of firmness. Hard ( I use this) medium and soft.
The also come in 3 different sizes big , med. And small. I get them at a
local art store, Charretes. What I like about them is that you can create
with one swipe of the tool things like the whole shape of the eye
socket, a sleeping eye, a smile or the shape of a nostril. They donít
make sharp edges that have to be rounded over. When you make an
impression with them the edges are smooth and curved in . I hope this is
a clear explanation of clay shapers.
best clay and freshest and prices I have gotten are from
you do have to ask for puppen fimo as it isnít listed on the site but
she has it. You can call them (free) or buy through the internet with
your credit card real good service so far. and hereís the site for
http://www.artdolls.com/ and some
of you may be interested in these tools
|Clays - Types
CERNIT -- many
larger-scale doll artists have created fabulous dolls with this highly
translucent clay, but I have not had success with it in miniatures. Tiny
features seem 'lost' in the translucency and the clay is highly
susceptible to heat...it almost melts at your touch. A doll I sculpted
in Cernit looked sickly in every photograph I took of her.
SCULPEY: (also Super Sculpey) Many artists love this soft clay, which is
available almost everywhere, but I find it's like trying to sculpt with
chewed gum. For me, the clay doesn't have enough 'resistance' so that
when you get to the little neck, for example, there isn't enough
strength to hold the position of the heavier head.
FIMO: (also Puppen Fimo) Fimo crumbles into a maddening powder as you
try to soften it from the brick, but eventually it can be worked back
into a clay. People with arthritis or weakening hands do not like it
because it does take a lot of 'working' to become soft. Also, there is
no translucency, which can make the dolls look very matte and ...well,
doll-like. However, I like to use it as part of my 'recipe', because of
that matte quality, and for the 'resistance' it gives the clay. The
dolls I sculpted exclusively in Puppen Fimo resemble porcelain more
closely than any others.
PRO SCULPT: This clay developed by Jack Johnston is excellent for doll
artists. The Caucasian color is very realistic, almost eerily so! It has
more resistance than Sculpey, and a good translucency. I use it as part
of my recipe but not by itself -- I found that most dry pastel color I
tried to blush into the skin was absorbed by the clay and lost.
PREMO: I really like this clay, which is made by Sculpey. The color and
translucency are both very good, but I especially like the resistance
and 'elastic' quality of the clay. Parts are not as likely to break off
before you bake, such as when you pull clay to lengthen an arm or create
fingers. It's an important part of my recipe.
My Recipe: 1 part Puppen Fimo + 1 part Pro Sculpt. Mix well. Add 2 parts
Premo and mix well again.
The Fimo provides strength and matte quality, which helps show up any
blushing I apply. The Pro Sculpt is for general color, translucency and
softness of the clay. The Premo adds resistance and elastic qualities to
the unbaked clay. I also find that the finished doll is not quite as
brittle as those without Premo.
Baking: I found that the suggested baking times were far too much for
little dolls, and I was always in danger of burning or discoloring the
clay. Now I bake a head and breastplate for 10 - 13 minutes (depending
on whether it's a child or adult) and limbs for about 7 minutes.
Handling the clay: I've found that the less I touch the clay with my
hands, the better! I get the clay up onto foil, or a foil-wrapped wire
and try to touch it only with tools after that. To keep dirt and dust
out of the clay, I 'clean' each tool when I pick it up by rubbing it on
a mound of clay for the purpose. Many people have asked me about the
smooth skin of my dolls. That effect is achieved by patiently rolling
thin knitting needles over the surface. To first position or move the
clay into place, I love those cheap wooden manicure implements, with a
point on the end. Other tools I wouldn't be without are tiny crochet
hooks and double-ended styluses.
Diana in Canada
1/2 c. water
3/4 c. Elmerís Glue
1 t. glycerin
1 t. Ponds cold cream
Heat the above ingredients in a non stick pan and cook till bubbly.
Add 1 c. cornstarch. The mixture will be lumpy so break up lumps.
Cook 1 min. Take from stove, place a damp cloth over it and let it cool.
Then kneed 3-4 min. Wrap in plastic wrap. Do not refrigerate.
Ears nearly drove me to distraction! Trying to sculpt those delicate,
complex little things made me swear like a sailor. I finally came up
with a system, which is perhaps not very anatomically accurate, but
seems to work. First of all, ears are the LAST thing I do before I put
the head in the oven. They are so easy to squish that you will save
yourself much grief by doing them last. And this is my technique:
1. I 'mark' the ear hole on each side of
the head with a beading needle or similar... leave both sticking out
while I check to make sure they are aligned, making any corrections.
2. After removing the needles, I make a small kidney-shaped indentation
into the head in that spot with my tiny crochet hook, with the two
'ends' of the kidney pointing towards the face.
3. I roll out a thin 'snake' of clay, chop off a length and apply it to
follow the outside curve of the kidney. I repeat for the other side.
4. I apply a second layer, slightly longer, behind the first ridge I
have created, repeating for the other side.
5. I roll out a slightly thicker 'snake' of clay for the very outside
edge of the ear, trying to give myself a little loop or bulge at the
bottom to suggest the earlobe.
6. I take a stylus or any smooth end and 'shape' the ear more
accurately, pushing in just before the earlobe.
7. To make the ears stand out naturally, I use my x-Acto knife and
gently pry the back edge of the ear away from the skull. Yes, the ears
are delicate and I'm careful of them even once baked, but the system
works for me.
Diana in Canada
think if you blend the Cernit and fimo, you'd get a very workable
mixture...so there's no excuse, LOL. The Cernit would add softness and
translucency, which the Fimo lacks.
For eyes, I have used glass eyes in the past but found it very difficult
to position them so the irises are correct. Also, because the eyes are
hand-made, it was not easy to find two with irises that were the same
size. What I have been doing lately is pre-making eyes out of clay, just
right-sized balls of clay, and baking them in advance. I insert these
into the clay once the face is 'blocked out' and add lids around them.
Once the piece is finished and painted, a drop of Fimo gloss or Future
floor wax will add sparkle to the eye.
Diana in Canada
I did this on my Uncle Sam and really liked the results. I took white
Sculpey and made small (1/4") half circles. (mashed 'em down on the
table, then reshaped them). Then I took two matching glass beads and
pressed one into the center of each eye. Take a minute amount of black
clay with a toothpick and fill in the pupil. Bake for 10 min in a 265
degree oven. After they cool, glaze. I use Gallery Glass Crystal Clear
for all my glazing, wet lips, etc.
part of the face that grows the most is the jaw. An infant is born with
a tiny, rudimentary jaw that continues to grow until adulthood, so this
is the part of the face that lengthens and develops the most. This
principle was made clear to me when I drew a portrait of my niece at
eight. It wasn't a bad likeness but something wasn't 'right.' Two years
later, I noticed she looked exactly like the picture!! I realized that
originally I had made the jaw too long for an eight year old, but she
had 'grown into' her portrait.
Another thing that defines an infant's face is the undeveloped cartilage
of the nose. That's why they have those 'button' noses and no bridge.
Human eyes grow very little over the course of life, compared to the
rest of the body, and that's why babies seem to have huge eyes. A
memorable characterization of a baby's face is Tweety Bird, with his
huge cranium, big eyes, and the remaining features squeezed together.
Forget the beak, though!
2. The jaw usually defines masculinity or femininity in a face. In men,
thanks to testosterone, the jaw is noticeably larger and squarer than in
women. Testosterone also squares the forehead and brings the brow down
lower over the eyes. Tom Cruise is a perfect example of these features.
Many, many 'leading men' in movies have these features because we
instinctively associate testosterone with strength.
3. A woman's face is defined by the smaller, more delicate jaw (not
proportionately shorter, though) and often by the roundness of the
features, which is indicative of estrogen. Fashion models aside, men are
attracted to estrogen and the subsequent curves it creates all over the
female. Women's facial features -- nose, chin -- are often more delicate
and subtle than men's... (except for those of us with a lot of the 'old
country' in our genes, and our potato noses, lol!)
A woman's neck muscles are also not as large or developed as a man's.
4. As people age past the prime of life, the jaw begins to deteriorate
(oh goody) through the loss of teeth and bone mass. So if you are
sculpting an elderly person, you can reduce the jaw slightly to
accentuate age (in addition to the wrinkles.) Also, the nose continues
to grow throughout one's lifetime, and coupled with the shrinking jaw,
the face of an old person can look 'squeezed in.'
5. Although the definitions of beauty are endless -- including DaVinci's
brilliant system of ratio -- the short answer to creating an attractive
face is symmetry. If your doll's face is correctly proportioned, and one
side of the features is balanced to the other, chances are you'll have
something you like.
An easy -- and startling! -- way to check for symmetry as you sculpt is
to hold the head-in-progress up to a hand mirror. Does one half of the
face seem to slide upwards? Probably! Why didn't you notice it before??
This happens because one of your own eyes is dominant and automatically
'corrects' the distortion in its favor...until you look
at it backwards in the mirror. Most artists face this difficulty and all
you can do is to keep checking the mirror and re-aligning the features
until they are more symmetrical.
I'll be glad to hear any questions you have -- although I might not know
the answers! I hope some of this information is of value, even if for
your own interest. Also, I've picked up a few tidbits of information
about people through my fascination with anatomy...which probably won't
help you sculpt, but are just kind of interesting:
- in the first few
months of life, a baby most resembles its father, Nature's way of trying
to ensure he doesn't reject the child.
- ever wonder why
your teenage son drives you CRAZY? Testosterone again. As an adult
female, you have a testosterone level of about 6. A teenage male can
have a reading of 1000! If you didn't have to manage him with a whip and
a chair give yourself a pat on the back.
- one of the
things that truly separates women from men is (this will be a shock)
...fat. The female body accumulates and stores fat in different and more
places than men. Forget the temporary fancies of fashion -- the male
creature is genetically designed to love fat on a woman. Really!
- Although every face is different, there are certain 'classic' facial
characteristics of various races. Asian faces, for example, have eyes
not set as deeply into the sockets, and also lesser development of nose
cartilage. This gives the face a flatter, smoother appearance. Classic
African features can include a receding jaw (where the mouth and lips
jut out farther than the jaw) and tiny, delicate ears. What are
Caucasians renowned for? Big noses! (certainly true on my side of the
Have a great day,
Diana in Canada
Often the eye sees
what it expects to see or has been taught to
see rather than what is actually there. Make
some copy machine copies of the
photos-full face, profile, 3/4 views- and use a
ruler to draw lines through all the major
features... though the eyes are
generally just about the middle of a young child's face,
each one is different... the lines will let you
"see" the actual difference from
the "norm" for the placement of all the features
and how they relate to each other. It will also
help with the "pout".
Teenagers are much closer to adults than babies, so I would scale down
the jaw from an adult's size. One thing I do is collect photos from
magazines so when I begin to sculpt, I pull out several reference photos
to work from ... and also hold the head up to the right figure in the
proportional charts I sent the first Friday.
Diana in Canada
burning to me thin, thin pieces will burn ( brown ) quickly if under 1/4
inch that is why directions are 15 min for each 1/4 inch but if it isnít
that thin and it started to burn (white does this the easiest ) then I
would bet your oven temperature is off I have a brand new stove and mine
was off 50 degrees (too cold) also you should be aware that the clay
does stay somewhat soft and pliable while it is still hot not as good as
when it is un-backed but not hard like the finished product like you
would think let me know how you make out ( do be careful you
donít want to breath all the fumes form the burnt clay)
Sculpey flex is great fun but don't try to bake it a second time like
you can rebake Fimo, the other poly clays... it doesn't work.. cracks
and breaks and generally goes crumbly. got this info from a clay list I
am on and they have no solution to the problem
green porcelain was Seeley's Jasper Green that I poured on the outside
of a large mold until it absorbed some liquid and then I worked with it
until it was sort of clay like. Not too easy, lol!
There are a few different methods for sculpting. One is the Push in,
pull out. Another is the add on sculpting. Lips were also very
frustrating to me until I found I could use a bit of both these methods.
I use a sculpting tool (primary) to make a line that marks where the
lips will join in between.
Then I smooth the clay upwards to form the upper lip.
Then I smooth the clay very gently up to form the upper lip. ( I love
tiny crochet needles for different areas).
Then I smooth upwards and downwards until I create a tiny ridge for my
Then I add tiny rolls of clay to form the bottom lip and I smooth these
into the face and upper lip.
Then I turn the head upside down to make sure it looks good from all
directions and looks natural.
I then insert the tool slightly into the join in between the lips and
pull out the top lip slightly for a very natural look. Smooth
You can take your primary sculpting tool and pull the corners of the
mouth ever so gently up or down to make her smile or frown depending on
what you want. If she is smiling you will want her eyes to "smile too".
But that is a different question. lol
Gosh I hope I made a little sense. I am terrible at describing anything.
But hopefully you can get a little from my ramblings. One thing I do
know is this, everyone has different little ways to sculpt. When you
find a technique that works for, that is the right way!
When you cut a piece, just dot the end with glue and let dry. Then as
you roll the clay it will stay put inside. You could also build up
layers of Liquid Sculpey, by doing several bake and paint on another
coat to get the size needed. It will need to be painted the color
needed afterwards since it is translucent.
Oven baked clays/fumes.
sent a letter from the president of Sculpey to assure us that there are
NO fumes from that product and he listed all the agencies who tested it
for fumes and found none. I personally, have never been aware of any
fumes and have never taken any precautions against fumes.
this really bothered me as I try very hard not to give adverse advice so
I have been looking in the poly clay guild and at there recommended
sites and this is the info I have found now it is up to you. this is
what the clay makers say and as it seems to read some clays differ so
mixing of clays may be a problem and so may be the brand that you use
and this does include some of the Sculpey products
page shows all )
here are some other clay sites you may want to check out just for
the fun of it
sculpting class, Jack Johnston who has developed his own brand of
polymer clay says it's basically pvc (plastic) but we don't process it
the same to get the hardness. I've never to my knowledge had any problem
baking without baking without proper ventilation, but you can't really
tell on small amounts! LOL Ė Karen
sites. Overheating causes poisonous gases! And take the clay and pan
with you to the hospital! Interesting. Small print.
Also interesting is that you should not eat, drink or smoke near this
product. We are learning a lot these days.
eat, drink, smoke using ANY art materials... and wash your hands
immediately afterwards. Many pigments used for years are now considered
hazardous to your health. Most people know about not using white lead
paint (actually you have to sign a release form if you can find an art
store that sells white lead paint) but the real cadmium colors are also
toxic... permanent light green is toxic... and the list goes on... the
pigments and dyes used in the craft paints are supposed to be non-toxic
but what will
they discover in a couple of years? Better to be safe than sorry.
I've been thinking about this discussion
and decided I couldn't hold back my thoughts. I don't know what a court
would decide, but I know, as a sculptor, I would be furious if someone
were to make a mold of anything I had sculpted and passed it off as
something of their own. Sculpting takes not only the many, many hours of
sculpting but also the time it takes for researching the subject. Not to
mention all the time it takes to get good
sculpting. I think it would be unethical to make a mold of someone
elseís horse (or whatever) and then make duplicates of it, especially if
it were for profit. If you made just one for your
maybe that wouldn't be so bad. (I wouldn't be happy if I found out) Even
re-sculpting someone elseís horse, without their permission, I think
would be unethical.
After all, the
sculptor created all the proportions correctly, the re-sculptor would
merely bend the legs or change the position of the head. If
I were the sculptor, I certainly wouldn't want someone else messing with
my creation, whether I got some credit or not. In fact, I might almost
prefer that no credit be given, depending on how good the re-sculpting
turned out. This is precisely why I don't sell my molds. Once you make a
mold to sell commercially I think you have pretty much
given up any say in
what the end
result will be. If you put yourself in the original sculptors position I
think you can probably see what is right and what is not. Iíll get off
my soap box now. :-)
you wrote: "I keep trying to do my kids grandpa but they
end up looking more like Santa." When I sculpt
a portrait doll it takes on average 30 hours. If your doll is looking
like Santa, at least you are on the right track...he looks like a man.
Take time away from the doll for a while, come back to it, make
revisions, go away etc.. For some reason, when you sculpt for several
hours at a time, you stop being able to see what is
wrong. When you come back to it, it is obvious
what needs to be done. He will gradually start looking more like
grandpa. A silly aside: perhaps unconsciously you think of grandpa as
being like Santa and so that's how you sculpt him. :-)
Bev, agreed, some discussions go on too long.
One reason for this is that some of us are on the digest version and
only see 25 messages at a time. From the 1st message to the 25th more
than 10 hours may have passed. We can't see what others have posted on
the subject and it may get a bit redundant. Sorry.
~~ Debbie Olsen ~~
I'd pop in to comment on my experience with poly clays. I currently use
a blended mixture of Cernit and Promat for Caucasian figures and Cernit,
Fimo, Promat for ethnic figures. I really do not enjoy sculpting any
ethnic figures, but especially African Americans since I have to blend
so many different colors of browns to get a realistic shade for my
African-American figures. The Browns available in the Fimo and Sculpey
lines and not geared for creating complexions which contain a
translucency and varying tonal qualities. To create this requires a
blending of clays. When I blend, it breaks down the clay and makes it
way to pliable to maintain the sculpt and leaves a lot of fingerprints.
It takes much longer and a lot more patient than my mixture for the
I have tried blending the clays, and then freezing the blend to work
with later. This has not been too successful since it tends to warm up
very quickly. Once it warms, the problem returns. I will try to order
some ProSculpt, perhaps this will help me. Thanks Diane!
When sculpting the head, I start with a small oval on a toothpick. This
way you have control of the piece without smashing the head as you add
the features. I use many tools to sculpt but my favorite is a small
crochet needle and a toothpick. My fingers and fingernails are also my
I use a
polymer clay it calls Creall Therm I buy it in the Netherlands the clay
is softly (however as softly as Cernit), after baking firmly ,strong,
and has a beautiful flesh tone. I have also still Puppenfimo and Cernit
now I will try to mix it. A good tip to mix clays
super Sculpey (not Sculpey 3) matches flesh pretty well.
toaster oven is the preferred method of cooking polymer clays in this
house. we set it near an open window or just under the exhaust fan of
the regular oven to take care of those pesky fumes (no boys but plenty
of cats, ferrets and a dog, y'know).
we went thru this very question about using a toaster oven, indoors or
out..... ad nauseum(sp?!) The final consensus from our Fimo queen, who
really does know her stuff, and (lovingly known to many here on this
list as Wolfie) then some (she kept us on a two week 24hr. buffet
schedule) tells us there is no need to use a special oven, or to go
outside! Personally, with two little ones, if you have a toaster oven
why not go outside, especially if it's a nice day. The boys would love
to make Fimo trucks, etc. And watch the magic!
Love ya, Cheryl
You can put your clay on a tile, whatever in a disposable pan and cover
the whole works with tinfoil, sealing tight... bake an extra 5 minutes
or so... and don't unseal until it is cool... all deposits are captured
inside the tinfoil... and your oven is clean... well, the juice from the
rhubarb pie will still be there but there won't be any deposits from the
is a product called "plasticizer" (spelling is off ?) that you can add
to slip porcelain to make a porcelain clay. This stuff adds strength and
some drying time. Many people who do direct sculpt porcelain dolls use
sculpting/positioning dolls for motion with the torso leaning forward,
the more forward you position the feet (almost straight knees), the more
the entire doll leans forward (motion). If you move the feet backwards
(bending at the knee), then the doll look as if she is sitting. Sounds
counter-intuitive, but try it and you will see what I mean!
I'm very glad
to see this discussion of doll sizes. As a sculptor, it has always
worried me how my dolls would look with other dolls. I try to make my
dolls close to real life sizes. When I first started out in the early
80's there were a lot of dolls that had hands and shoes that were way
too small. I measured one adult male doll's shoe (from another doll
maker) and then went to the store and found it measured the size of a
child's size 3.
size of feet and hands vary considerably, but this was way too small to
look believable. I've read several times that for realistic looking
dolls it is better for the heads to be slightly larger than in real life
rather than smaller. But too large looks funny too. When I start to
worry about my doll's head sizes I look at a TV show that shows the
The difference is astounding. Another thing to consider is the age of
the doll. Menís heads get larger as they grow older as well. I have a
chart somewhere that shows the size of the average mans ear when he is
young and then how much larger it is when he is older. Of course all of
this varies tremendously with individuals. I have tried to vary the
sizes of my doll heads. Some heads just look better larger and others
look better smaller. I've never liked the pin head look that some dolls
get when their heads
are small. I have two sizes of hands for men and am planning on a third
size. One is more rugged, the other younger and smaller. The third will
be in between and the more artistic, longer fingered type hand. I try to
match the hand to what my customers say about the doll or the costume.
Another thing I
discovered about real people is that you can't tell how tall someone is
from the size of their head. You'd think tall people would have big
heads and vice versa. But that's not how it really is. It does look
better that way though. Ladies heads also vary considerably and can be a
good bit larger than a man's head when hers is large and his is small.
As a sculptor I spend a lot of time looking at these things. And large
necessarily mean large feet. I can see how this can be a problem for
people buying doll kits and trying to dress them. But it's not all that
different from real life where you need to alter patterns to fit an
individual. I agree with Sammy that it is more realistic to have dolls
of varying sizes rather than trying to get them all the same size. So
unless a doll is badly out of scale (like a size 3 child's foot for an
adult) you don't really need to worry about their size.
~~ Debbie Olsen
~~ Porcelain Doll Artist
The reason the
feet are much too small is
people never come to terms with the looks of their
feet... so, just as a little child draws a face with
eyes at the top (the forehead has no possible use as far as
is concerned so he doesn't draw it), folks make doll hands and
"forgettable small". Many old dolls don't even have hands or
feet, the arms and legs just sort of stop... Along comes a person
wanting to sculpt a doll and instead of looking at real people,
person will copy a doll they like and perpetuate the small
syndrome. Most folks are not taught in school art classes to
"see" but rather to copy so the chances of them sculpting from an
actual person, picture, etc is practically nil unless they start
questioning the proportions. How many people have a Barbie doll
figure, hand and foot size?
Priska, If you use
that AB=CD height check on any doll to make sure that the height (not
counting shoe heels) is equal to the distance from fingertip to
fingertip...your doll WILL be in proportion. So glad things are moving
smoothly for you. How is everyone else doing? You are free to ask any
question today as always. If you are shy, send me a private message. I'm
here to help.
means is that it's in the scale of 1"=1ft. So, a 6ft man would be 6", a
5ft woman would be 5", a 4ft child would be 4" and a 2ft baby would be
I make my woman about 5 1/4" to 5 1/2".
What I did....and I just made it up myself, I used a cuticle tool that
has a bit of an elliptical shape to it. I shaped the end of my clay to
have the small lump for the thumb and a larger lump for the fingers,
then I wrapped those around the cuticle tool, flattening out and
pinching them until they looked like a hand wrapped around it. Then I
took the tip of tweezers and pinched off the excess clay on the
different fingers until I got the fingers the right length. Then, I
gently lifted each finger and rolled the tip between my finger and thumb
until it resembled a fingertip. Then I gently patted it back around the
tool. once I had the fingers the shape and size I wanted them, I started
working on the backs of the hands...making the different "planes" you
see when you look at your hand. (We are very angular!!) Then the wrist
and so on up the arm. Then you work on the other one, working to keep
them the same size. Hehehehe...when I was done, I had a cuticle tool
with two very small arms attached in a death grip! Too
On Assembly, I
found that my first attempt taught me many lessons!
Number One: I would make the head a bit smaller...because the hair will
increase the size of the finished head! The face size is fine, but the
remainder of his head is a bit big when you account for hair.
Number Two: I would either make the arms MUCH shorter...or form them to
the exact shape I want the finished arms to go. I THOUGHT I was making
arms from the elbow down...NOT! These little arms reach all the way into
his armpits! I can laugh at myself on this one since on this particular
doll and the use I have for it, it is not a problem. But, if I had
wanted one of his arms bent, I should either make short (to the elbow)
arms...or bend them to the shape I want them I the finished position.
this is late but I wanted to mention that I use flex clay to create my
hands. This clay remains flexible after baking so I don't have broken
fingers anymore. It is a nasty clay to work with, though.
reason I don't use wire in my hands is that over time it can have a
chemical reaction and crack open the fingers! This is a ghastly mess and
I believe there is a major doll artist undergoing a backlash of this
phenomenon right now! The only wire that I am aware of that is fairly
"safe " is copper. So if you are using wire...switch to copper.
I've never had a need to use wire when
constructing my hands. It's all clay
carefully sculpted to insure durability as much as
possible. Although there are cases
where I know that fingers can be broken with clay as well as porcelain
Fingers - Armature
Sometimes, I do the hands without armatures, but only use Premo when I
do that. I use a wire -- loosely based on several people's techniques -
I usually use a wire scrub (on a hand held tool) to rough up the wire,
then I use a polyvinyl paint (local hard ware store) and bake that at
400 degrees for 15 minutes to bond the paint to the wire. . Then paint
with very thin coat of Translucent Polymer Clay and back that at 305
degrees for about 15 minutes. I can shape it and work with the hand -
before applying the clay. Ellen's tissue paper and Glue sounds great -
and just as effective.
Fingers - Armature
I stumbled over a tip for wire in fingers quite by accident. My cat
needed support for his tail up in the air for security when mailed. I
had used a #28 with floral tape for his front legs, and wanted something
smaller for the tail. Off to find the # 32 I saw on the flat card, when
waving at me was the #32 paper taped wire that flower makers use. No
matter how well you tape with floral tape you cannot get it as fine
asthis wire is covered.
Fingers - Armature
When sculpting hands I put a wire in the fingers, even in the 1" dolls.
I wrap the wire with a very tiny piece of tissue paper and glue and when
it is dry I add the clay, it sticks to the paper. This method is still a
little tricky but the results are worth it.
Fingers - Armature
In my doll making class, we wrapped the wire with florist tape to make
the clay stick. If you're making a miniature doll, maybe spray painting
the wire with a matte flesh color would do the trick. I haven't tried
it, but I think it would make the clay stick to the wire.
has anyone tried the clay shapers that are the market now. The small
hard black ones are great. There is one that I use a lot and I mean a
lot. Itís wonderful when you can use a tool and make one swipe at it and
its done. The tool dose the work for you.
size: women:14cm, men:15cm heading length ca:2cm Feet with shoe size 37
( German) is 1,7 cm You can measures your parts of your body and divides
this by 12 ( 1:12) Can you read German? Than look here
my sculpting lesson.
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