Cult of Doll WIP

Recently I've been working on a polymer clay tea caddy for my submission to the Cult of Doll team project I'm a member of.

The scene I'm creating will be in 1/12 scale. But since I wanted to be able to photograph a close up shot of my character grasping the tea caddy I decided to make a larger caddy and pair of hands.

 I used an antique ceramic caddy as my inspiration. After baking the polymer clay I began painting the caddy in blue acrylic.

The hands/arms were formed of aluminum wire. Then they were fleshed out with cotton, foam rubber, dental dam and liquid latex.

 If you'd like to be kept abreast of the work in progress by the various members of the Cult of Doll stop by the team Facebook page : https://www.facebook.com/cultofdoll?ref=hl

Molding And Casting Rocks

My last post dealt with creating rocks by hand modeling. So this time I thought I'd touch on a couple ways of making rocks by casting them from molds.

Sometimes while walking the beach I'll find a rock or small piece of driftwood that calls to me. I don't know where I'll use it but if it is the perfect scale for using in a sculpture I'll hang onto it.

On occasion I'll make a mold of these found rocks. The rock I'm holding in the photo had barnacles adhering to it which I thought would make an interesting addition to a marine diorama.

Generally the materials I'll use for simple molds are liquid latex or 100% clear silicone caulk. For my mold separator I take a glass baby food jar and put a blob of Vaseline petroleum jelly in it.

To this I add a few drops of Naphtha. I keep adding the fluid and stirring the mixture till the Vaseline is thinned down to a brushable consistency.

If the model isn't too intricate another economical separator to use is neutral colored shoe polish. You apply it to your model and then buff it with a soft cloth.

On rocks I stick with the Vaseline mixture and just take an old bristle brush and apply it directly to my model.

After the separator I brush on multiple coats of liquid latex. Usually about 8 coats though that can vary due to the size of the mold. When the latex has cured I apply a bit of my separator to the outer surface of the mold and make a mother mold which will support my flexible latex mold. Sometimes on small molds I'll use Apoxie clay to make my mother mold. On larger molds I'll use Bondo Auto body filler.

Once the mother mold has hardened it is removed and the latex mold peeled away from the model.

The above photo shows a latex mold of the rock and its two piece mother mold. The rock was cast using a mixture of casting resin and Bondo auto filler.

The yellowish casting in my hand was made using Polytranspar Liqua-Cast from Wasco: WASCO -- Wildlife Artist Supply Company

When I don't have time for the multiple coats required for building up a latex mold I'll use 100% clear silicone caulk.

I'll use the same Vaseline mold separator on my model and apply a small amount of the silicone with a caulking gun.

Using a disposable brush I smooth the silicone over my rock model. Because the silicone is so thick this technique doesn't work well on highly intricate models. But for this river rock it worked fine. I try to get an even application of about a 1/4" thick.

The mold I'm holding is made of silicone caulk with a two piece mother mold of Bondo Auto filler.

When it comes time to cast the molds I'll brush a bit of separator in and use Apoxie Sculpt clay pressed carefully into the mold.

Other times I'll cast a mixture of casting resin/Bondo into the mold to make my rock. This is a picture of a small latex press mold and my cast rock.

In the photo below the lighter colored rock is Apoxie Sculpt while the darker one was made by pressing stoneware clay into the river rock mold. The size difference in the rocks is caused by shrinkage during the firing process.

Another option when it comes to making molds is to use the type of materials offered by companies such as Smooth-On - Mold Making and Casting Materials for a World of Applications!

The photo below shows a mold of the same barncle covered rock made using Smooth-On rubber in a plastic container in one pour.

After it cured the mold was partially cut apart to free the model. This method leaves much less seam line to clean off your casting then a traditional two piece mold would.

The Finished Skull Island Native Puppet

After the head was painted I glued it onto the aluminum wire armature with Zap A Gap glue. The next step was to hot glue foam rubber I had saved from an old mattress to the armature. When I thought it looked about right I used manicure scissors to carefully trim the foam rubber to the appropriate shape.

After test fitting the latex skin to see if it covered the foam rubber properly it was time to glue on the front and back skins. I used the same tinted liquid latex that I made the skins from to adhere them to the armature. I brushed a light coat of latex on the inner surface of the skin and the foam covered armature. Once it was dry I carefully tacked down the skins.

There was a little overlap of skin that had to be trimmed off. Then the puppet got a final thin coat of liquid latex over the seams and where the cast head joined the body.

When it came to dressing the puppet I settled on a straw like material I found at the local Arts and Crafts store. I hot glued it in place and wrapped it snugly around the waist with Dacron line. I applied Zap A Gap over the Dacron to lock it in place.

I made a cardboard template for the shields and traced them out on thin Bass wood. After sealing the wood with primer I painted them with acrylics and top coated them with Testor's Dull Cote spray. The spears were painted metal rods topped with Apoxie Clay spearheads.

Stop Motion Puppet Latex Skin

After the tinted liquid latex dried I carefully peeled it from the plaster mold. Fresh latex will stick to itself so I rubbed a cotton swab dipped in corn starch over the latex skin as I freed it from the mold.

Next using the size of the mold as a reference I began twisting two strands of aluminum wire together to form the torso and limbs of the natives body. Aluminum wire can be bent many times without breaking so it is often used for animation puppets. Using Apoxie Sculpt clay I built up areas of the body.

Once the clay set I began hot gluing foam rubber over the aluminum wire armature. Using scissors I trimmed the foam where necessary to shape and define it. When I was satisfied with the body shape I painted a thin coat of liquid latex over the foam and the inner surface of the natives skin. Then I carefully tacked the rubber skin into place on the armature. Here is a picture of the armature and latex skins fresh from the mold. Next I'll work on the natives head.