Okay everyone … grab a cup of coffee or some other stimulating beverage to keep you awake … here goes my photo explanation of how I did it. Sounds like a line from a Frankenstein movie. Come to think of it, that might be appropriate.
For those of you already familiar with Sculpey products, please bear with me when I give a few tips to those who haven’t played around with it yet. Also, I will deal primarily with how to put these heads and other parts onto sculpey figures. If you only want to put them on resin figures, all you need to do is bake them first, then glue them on.
My own figure-making method is primarily based on techniques I learned from an outstanding on-line figure sculpting clinic by Chris Walas on the myLargeScale web site several years ago. I have supplemented the process somewhat due to the fact that: (1) I have little, if any, artistic abilities, and (2) I am lazy and always looking for a quicker and easier way of doing things. His on-line clinic began with the following introduction, which is worth repeating:
“Our large scale railroads are reflections of ourselves. Every choice we make tells us something about ourselves. Steam or diesel locomotives; standard or narrow gauge track; busy urban settings or backwoods branch lines … all reflect what appeals to us most. Hundreds of little choices bring our railroads into existence.”
The figures we use on our model railroads are one of those little choices we make. As with any other kind of model railroad activity, creating figures has its own special requirements. However, we need nothing more than a few simple tools and materials to get good results with a minimum of effort (and with a minimal outlay of cash.) Before I go into the details, let me give you my basic philosophy on the subject, which is equally applicable to other aspects of model railroading as well.
There are those who might insist that you need the best quality tools and materials in the hands of the most talented artists to get the best results. Hogwash! Museums are full of great masterpieces created from common materials by common people using common tools. Think about that the next time someone says you only get what you pay for. The key is technique, and that only comes from knowledge and practice. This post will give you the knowledge; the practice is up to you.
Making or modifying a figure involves several steps to achieve pleasing results. This post contains material gathered from numerous sources in order to give you a starting point on which to begin your own activities. You will find that making or modifying your own figures is not really all that difficult. Like learning any other new skill, it will take a bit of time and effort on your part. Take it slow and you will find that the end, in this case, justifies the means. A little practice and experience will have you turning out credible figures in no time at all.
I could compile an entire book about using polymer clay for model railroad figures, and still not cover everything. After you read this post and (hopefully) view Chris’ on-line clinic, you will quickly realize that there is no single correct method to make a figure. What works for me or him may or may not work for you. But, in any case, you will be amazed at what you can do if you are willing to try things, play with the materials, and practice the techniques. The Internet is a wonderful resource for information and inspiration. Check out web sites on the subject or just search for “polymer clay” or “miniature figures.” You will find a lot of technical data as well as an opportunity to see what others are doing.
I hope this information will be helpful in getting you started or at least provide you with a solid reference point to experiment. Use your imagination and get creative. Figure making and modification is a continuing evolution, just like most model railroading activities.
Above all … have fun. That’s what model railroading is all about.
Sculpey Products
Just what is this magical stuff called polymer clay? Well, polymer clay, sometimes called polyclay, is a sculptable material based on polyvinyl chloride (PVC) used by artists, hobbyists, and children. It usually contains no actual clay minerals, and is only called “clay” because its texture and working properties resemble those of mineral clay. It is sold in most craft, hobby, and art supplies stores like Hobby-Lobby or Michaels.
Polymer clay can be put into a conventional oven to harden, as opposed to typical modeling clays, which require a much hotter oven, such as a kiln. There are many brands available, but I prefer using Sculpey brand materials made by Polyform Products.
My heads and other molded detail parts are made with Sculpey Premo!™ It is available in individual two-ounce packages in assorted colors. I particularly like to use BEIGE (5092) and ECRU (5093) for my figures since they form a very realistic base color for skin tones.
I use Liquid Sculpey to add the heads to my polymer clay figures. It is a bakable transfer and color medium that also happens to be a terrific adhesive agent. Its adhesive qualities are activated only after baking. It increases the clay to clay bond between raw layers of clay, and when adding raw layers to previously baked layers. I use it for gluing clay heads, hands, and feet to clay bodies, and for fixing broken clay figures. Sometimes, if I am unhappy with a figure’s pose, I will simply cut it apart, rearrange the pieces, and glue it back together again!
For adding a polymer clay head to a resin figure, I bake the head first and the attach it to the resin body with any suitable adhesive (ACC, etc.)
RTV Silicone Mold Putty
I make my flexible molds for detail parts from two-part RTV (room temperature vulcanizing) silicone putty. It is available from many on-line sources, and from many of the same craft stores that sell polymer clay products. I have had great results from a brand called Amazing Mold Putty made by the Alumilite Corporation.
Batting
This is the “filler” fabric material used in quilts, pillows and furniture. Batting is made from natural or synthetic fibers. Natural fiber batting is usually cotton; synthetic fiber batting is usually polyester. The synthetic versions may be called poly-fill or fiber-fill. Batting is available at most arts and crafts stores and at general merchandise stores like Wal*Mart®. Use a layer of batting on your baking sheet or baking rack to cushion and support the polymer clay while in the oven.
Modeling Paste
You will probably notice a few nicks, scratches or missing details in your completed figure as you prepare to paint it. There will be an obvious seam where you attach the head or other parts to the figure. You can correct these problems with Liquitex® Modeling Paste. It is made of marble dust and 100% polymer emulsion. Modeling paste dries as hard as cement so it can be used where strength is required. It can be cut, carved and sanded when thoroughly dry. You can mix color into the paste or paint it when dry. It has extra-high viscosity and is very opaque. When mixed with acrylic colors it will act as a weak tinting white, while increasing thickness and rigidity. Modeling paste is great for adding pockets, collars, ties, belts, buttons, wavy hair, and the like to completed figures.
Clay Sculpting Tools
According to Chris’ clinic, there is only one invaluable tool for sculptors … your hands. He said that all other tools were only conveniences and that they only act as extensions and refinements of the actions of your hands. I was skeptical at first and bought a few of the specialty tools for sculpting polymer clay from a local arts and crafts store. I even made some sculpting tools according to the instructions in Katherine Dewey’s book, “Creating Lifelike Figures in Polymer Clay” (see Reference Books Section at end of post.) After experimenting with all of them, I have to admit that Chris was right. The purchased and homemade tools proved to be of limited value and I seldom use them anymore. In fact, the only things I use on a regular basis for raw unbaked clay other than my hands are toothpicks, a sewing needle, a cheap disposable paint brush, and a pasta machine.
Kind of caught you off guard with the pasta machine, didn’t I? Truth is, you can get by without it but it does save a lot of wear and tear on your hand muscles. The clay needs to be kneaded and worked into a smooth consistency before being used. This is called “conditioning.” You can work it with your hands, or with a rolling pin. However, there are pasta machines made especially for conditioning polymer clay. They are inexpensive (less than $25), and available at many of the stores that sell polymer clay.
Thermometer
Oven temperatures vary; use a cheap oven thermometer to insure you are baking your polymer clay figures at the proper temperature. Oven thermometers are available at arts and craft stores, hardware stores, kitchen and appliance specialty stores, and at general merchandise stores such as Wal*Mart®.
Baking Polymer Clay
This section of the post is adapted from Chris’ on-line clinic instructions regarding “Baking Clay”, with a few minor tweaks and clarifications.
Polymer clays are cured (“hardened”) by baking in an oven between 260° and 275° Fahrenheit. Baking polymer clay above 300° Fahrenheit crosses the non-toxic threshold of the material and causes it to give off nasty toxic fumes and smoke. This is the most serious danger when working with polymer clay. Always read the instructions before baking, as some polymer clays require a slightly higher or lower temperature. Oven temperatures vary; use a cheap oven thermometer to insure you are baking at the correct temperature.
Under-baking produces an incomplete cure and a weaker, more breakable finished work. Slightly over-baking will brown the material, but not damage it. Burning, which occurs at around 300° Fahrenheit, blackens the material, causes serious blistering and bubbling, rendering the work, brittle, ugly and useless.
If you use your kitchen oven for baking polymer clay, be aware that an oily residue will eventually build up after baking a few figures and should be cleaned off before food preparation. Any utensils, baking pans, etc. should be designated for polymer clay use only and not used in food preparation. If you have ever read my article titled “Better Modeling Through Home Appliances”, then you know that an upset spouse is your worst nightmare.
http://writers-voice.com/ABCDE/B/Bob_Hyman_better_modelling_through_appliances.htm
A designated oven with its own self-contained baking sheet is preferable. I bought a Black & Decker® combination toaster/convection oven at Wal*Mart® just for baking my polymer clay figures. The cost was less than $30 … much cheaper than a divorce.
Place the raw clay figure or body part flat on a baking sheet or pyrex dish lined with a layer of batting for support. Use extra wads of batting or foil to support raised portions of the figure if needed. The polymer clay will be very soft and limber while baking, so unsupported portions of the figure can droop. Bake the clay for 15 minutes per ¼ inch of thickness. As long as the temperature stays below 275° Fahrenheit, polymer clay can be baked for quite a long time. These clays continue to develop in strength while baking for the first two hours, so if there’s any question, bake it a little longer. It will not burn unless the temperature goes above specifications. I usually bake each stage of a figure about 15 minutes at 225° to 250° Fahrenheit and then when the figure is complete, I bake it for another 30 minutes at 260° to 275° Fahrenheit. After baking, allow the figure to cool slowly. I usually bake plain heads at 260° for about an hour. Polymer clay is extremely delicate when still hot after baking and even slight movements can break the figure. Slow cooling allows the material to temper and even out gently.
Making Molds
The only difficult part in making an F-Scale figure is sculpting intricate facial expressions and creating realistic hands and feet. I cheat by casting heads, feet, and hands separately and then adding these details to my free-form clay bodies.
I use a variety of toy action figures mostly from Wal*Mart® to make molds for detail parts. For F-Scale, look for figures between 3 and 4 inches tall like Star Wars, G.I. Joe, etc. Do not make molds of someone else’s entire completed figure without their permission. Someone went to a lot of time and effort to create that figure – even if it was made in China. Duplicating it is cheating and could subject you to claims of patent or copyright infringement.
I use RTV Silicone Molding Putty to make molds for casting detail parts. Once you have cast your detail parts, you can bake them separately and add them to the clay bodies later, or you can add the unbaked details to the bodies and bake them together.
The putty comes in two separate containers, consisting of a Part A and a Part B, just like epoxy. To make a mold for head, hand, or foot details, simply mix equal amounts of the putty to form a small ball, about ½ inch in diameter. Insert the part to be molded into the putty, working the putty tightly into all to nooks and crannies of the original. After the RTV cures (usually within 30 minutes), simply remove the master detail and your mold is ready for use.
I usually slice the rubber with a razor blade or hobby knife along one side to make it easier to remove castings. Do not cut the rubber completely in half; just slice it enough to open it slightly. Make the cut along the least conspicuous portion of the detail part so that any seam will be hidden and/or easy to clean-up.
Polymer clay will not stick to the RTV mold, so mold release compounds are generally not required. To cast a detail part in the mold, knead a small amount of polymer clay into a soft consistency and place it in the mold cavity. Squeeze the RTV mold tightly to insure the clay fills all of the mold details. The part can either be extracted from the mold and then baked, or baked while still in the mold. The cured RTV mold will handle the 275° Fahrenheit heat without a problem.
Allow the mold and clay to cool if you are removing the part before baking. This will allow the clay to firm. You can even put it in the freezer for five minutes if you are in a hurry. I usually remove my detail parts before baking so that I can do any required cleanup or make adjustments. Sometimes the fine detail features like the nose or ear cavities in the mold will not be entirely filled with polymer clay. If this happens, I simply re-knead the incomplete casting into a ball, refill it back into the mold and try it again.
You can make the resulting head castings from the same mold look different from each other. For example, you can make a head thinner, fatter, longer, etc. just by pushing on sides of the mold before extracting the clay. You can also take a hat from one mold and place it on a head from a different mold. You can carve different hairstyles into the soft clay.
You can even add different types of hats, goggles, glasses, masks, or scarves made from just about any material (paper, brass, plastic, etc.) Just make sure the material you add is compatible with the polymer clay and can withstand the baking temperature. The following photos will show you the process.
Adding Heads and Other Details to Your Figures
Sculpt your figure per Chris’ on-line clinic instructions minus the head, hands, and feet. During this stage you will bake the figure two or more times as needed. Leave a short length of the aluminum foil armature exposed at the neck, wrist and ankle areas for adding these details later.
I usually make a small hole in the detail parts to stick onto the exposed foil ends. You can make the holes before you bake the details, or drill them after baking. Attach your cast details to the figure with Liquid Sculpey and bake the entire figure again. Clean-up the joints, if needed with a small file or hobby knife. If needed, add more clay to the joints and bake again. Small discrepancies in the joints can also be filled-in with modeling paste.
I usually make the entire body first and then add the head, hands, and feet as a last step. However, sometimes it is easier to add the head after the first baking when only a thin layer of clay covers the foil armature. Similarly, the hands and feet can be attached before the final clothing details are added to the figure. It all depends on the figure’s pose and type of clothing.
Good Reference Books
“Human Anatomy Made Amazingly Simple”; Hart, Christopher
Watson-Guptill Publications; ISBN 0-8230-2497-0
“Drawing the Head and Figure”; Haam, Jack
Berkley Publishing Group; ISBN 0-399-50791-1
“Creating Lifelike Figures in Polymer Clay”; Dewey, Katherine
St Martins Press; ISBN 9780823015030
“Modeling the Figure in Clay”; Lucchesi, Bruno and Malmstrom, Margit
Watson-Guptill Publications; ISBN 9780823030965
“Modelling and Sculpting the Human Figure”; Lanteri, Edouard
Dover Publications; ISBN 9780486250069
Materials Companies
Polyform Products Company
http://www.sculpey.com/Products/products_polymerclays.htm
Amazing Crafting Products, a Division of Alumilite Corporation
http://www.amazingmoldputty.com/
Liquitex® Artist Materials
http://www.liquitex.com/default2.cfm
Summary
Well guys, I hope I answered your questions. If not, let me know and I’ll try to answer them. I sure don’t consider myself to be any kind of expert on the subject, but I’m sure having a lot of fun.
Bob
