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In the making |
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Due to the nature of the clay, accessories, materials used and every single model being completely made by hand, the models are not intended to be exact duplicates of the subject but to be a collectible which in itself becomes a unique and distinct piece of art. It is the artist's interpretation and intention that the finished model is a recognisable caricature of the person it is meant to be. The models are made from polymer clay which is similar in texture and colour to modelling clay used in schools and hobbies but the main difference is that the polymer clay can be hardened by firing in the oven. The polymer clay is available in many different colours and can be mixed together to create new colours and different effects such as marbling. Every model created uses polymer clay throughout the whole process including all the features of the face - there is no painting involved. On the rare occasion where a gold, silver or bronze effect is required (see Russell Crowe) then enamel paint is used on top of the original colour to further enhance the detail and accuracy. All the clothes to dress the model are created in the same process but occasionally a figure may require a glittered dress (see Barbra Streisand) and this effect is achieved by varnishing the required area and then sprinkling glitter. Some models may require some ornate form of dress such as a feather boa or fur edged coat (see Gloria Swanson) and although the clay could be formed to create the effect the use of trimmed marabou is far more effective and realistic. Many of the models wear jewellery (see Shelley Winters) and specialist glass, diamante and beads are used. The artist creates every model purely by hand and uses no moulds or artist tools with the exception of three items - florist's wire to provide a frame for the body, pliers to cut the wire and...a safety pin! Detailed here is a unique opportunity to see a model being created throughout the entire process including the use of the aforementioned safety pin! |
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The colours are selected for the model along with the wire for the limbs.
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The body of the figure is formed by creating the legs first.
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The wire is threaded through the shoe and into the leg. Depending on the model, the end of the wire protrudes and the heel of the shoe is moulded around it.
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When the legs are finished they are placed into the oven for the first firing. The figure is standing with the feet and legs positioned correctly for the final result.
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Whilst the leg framework is firing in the oven the torso of the body is created. Depending on the posture of the figure and how the arms are to be positioned a wire is inserted at shoulder height to provide support for the arms which will be added to the torso later. A piece of wire is also inserted in the neck area to support the head when it too is added later.
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When the leg framework has finished firing and cooled down the torso is added and shaped to the correct posture of the final model.
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The figure is now ready for the second firing and returned to the oven.
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Whilst the framework is firing in the oven the arms and hands are created. This is where the safety pin now comes into use. By making a pad for the four fingers the pin then slices 3 cuts into it. The thumb is created separately by stretching it out from the original pad for the hand.
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The fingers are then made from the four strips and stretched finely. Following this, a fingernail is used to create the contours of the palm of the hand and the bends in the fingers. The nails are made from tiny pieces of clay and placed carefully onto the tip of each finger and shaped to look as realistic as possible.
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When the figure has finished firing and cooled down the arms are added by threading them onto the wire and then positioned to the correct posture of the final model. Normally at this stage the sleeves are added to the arms and shaped to demonstrate the natural curves and folds of clothing.
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The figure is now ready for the third firing and returned to the oven.
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Whilst the framework is firing in the oven the clothing is created for the figure by mixing the correct colour together and stretching it flat, as thinly as possible.
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When the figure has finished firing and cooled down the clothing is now draped onto the figure and the creases and natural folds are done here by further stretching of the clothing clay and shaping it on the body by using delicate fingertip manipulation and a finger nail for fine delicate markings. Any fine details, such as buttons, are added at this stage and the pin used to create minute buttonholes.
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Whilst the clothed figure is firing in the oven for the fourth time, further clothing is created in the same process as stage 12. This stage is continually repeated until all the clothing is done. The only area left is the area where the head is attached to the rest of the body by the neck.
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The head and neck are prepared by rolling a round ball and stretching one end and thinning it to form the neck.
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Grooves for the eye sockets are indented with a finger nail and also to make a small slit for the mouth. The nose and cheeks are added separately and blended so no joins to the ball of the head are seen. The pin is used to create the nostrils and the holes for the eyeballs.
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The face is a very intricate process requiring constant referral to the photograph of the subject. The pin is used to create the inside of the mouth. The mouth walls and tongue are created by introducing the correct colour of pink and spread around the mouth interior with the pin. The teeth are laid in position with tiny strips of white clay. The lips are added and shaped with the pin.
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The eyes are added by placing two white balls of clay into the eye sockets and the pupil is laid on with a small circle of clay with a minute piece of white clay for the eye highlight. Once the eyes are completed, tiny arc shaped flesh strips are added on top of the eyes for the eyelids and then threadlike strips placed for the eyelashes. The eye area is finished with the eyebrows shaped and moulded into place.
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Once the facial features are finished, the chin is added and moulded into place and any wrinkles and skin folds created with the pin. This is the final stage of close referral to the photograph in order to obtain the artistic impression of the subject's face.
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The head is now added to the cooled body framework by carefully pushing it onto the wire support. The base of the neck is then blended to the body. Any collars on the clothing are now added to further support the neck and strengthen the join to the body.
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Whilst the figure with the head now securely attached is firing in the oven, the hair is prepared by rolling and flattening out the correct colour. Two small round balls to match the skin colour are prepared to add on for the ears.
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The figure is removed from the oven and once cooled has the hair added. Care is taken to refer to the photograph to ensure the correct shape and style. The layers of hair are created by marking and cutting with a fingernail. The ears are added and blended to attach seamlessly to the head and the contours of the ear are made with the pin.
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The figure is now placed into the oven for one final time. |
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After the model has been removed from the oven and cooled it is glued to the base in the correct position as recognised from the photograph. The entire process takes on average 24 - 48 hours from start to finish.
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John Travolta in Saturday Night Fever!
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