Anatomy: Attach the Head

Using the armature map measure out a piece of 11 Gauge wire that goes from the apex to about one quarter inch past the top of the head.

Place the piece of wire in front of the shoulders (this is important because the head should beable to move forward).

Measure out a 6 to 9 inch piece of 16 gauge wire. Hold the head wire in place against the shoulders and the torso and wrap tightly. Make it neat like a "slinky".

Use the plyers to make a small brain cavity as shown in figure three.

Now using the armature map as a guide, bend down the arms, and bend up the feet. If your armature can stand up by itself it has a perfect center of gravity.

At this point adjustment may be made to the length of the arms, or legs if it is necessary.

Anatomy: Making the Arms for the Armature

When making the arms for the armature the first step is to trim back the shoulders and open up the torso into a "V" at the top. Trim the shoulders back so that they are no longer than just about one eighth inch inside the line for the arm on the armature map.

Next, using 16 gauge wire, measure out about fourteen inches of wire. Using the armature map extend the wire about an inch above the head and an inch below the bottom of the feet. Make a loop and go back to the top of the wire, then loop again and again until there are two hills and one loose end of wire at both the bottom and top (like a zig zag). Gather the "zig zag" together and place it in the drill and twirl it as shown in figure 4.

Fold the now formed wire armature for the arms in half and mark the middle with a piece of tape. Unfold and place on top of and across the shoulders.

Measure out about nine or ten inches of 16 gauge wire. Center the wire on the armature for the arms and the shoulders and wrap the wire around the shoulders and arms to hold in place. As shown in figure seven.

Anatomy: Making the Armature for the Body

It is important to draw an armature map before beginning an armature for a sculpture that includes the whole figure. This is an example of an armature map for a twelve inch sculpture. Measure out twelve inches and draw a figure that is seven and a half heads high. Mark the chin, apex (nipple), navel, crotch, just above the knee, the mid calf and the ankle.

Next, use 11 gauge wire and place the wire upon the armature map. Using plyers, bend the wire at the clavical (the shoulder bone) out to just inside the shoulder (about one eighth of an inch). Go straight down the center of the armature map past the bottom of the feet by about one to one and a half inches. Loop the wire back up to the apex. Use the wire as a model make one more piece just like the first. Now there are two legs, a torso, and two shoulders. See figure number two.

Make sure the two pieces are even. Take the looped end of each "leg" and one at a time place into the chuck of a drill. Hold the loose ends together with plyers, and after tighting the chuck of the the drill,twirl the wire, as shown in figure 2. Cut about nine inches of 16 gauge wire and use this to wrap the two pieces together in the middle between the navel and the apex. Make sure to keep the wrapping neat and tight (like a "slinky")

Set this aside and get ready to do the arms.

Muscles of the Face

You can find this and other images for the muscles of the face at the link below.

MUSCLES OF THE FACE

Nose and Hair

To begin the Hair it is a good idea to draw a line in the scalp for the hair line. Roll out a slab and cut the curve of the hairline in the opposite direction of the line drawn on the scalp. Place the cut slab on the hairline backwards. and blend it into the skull. Flip the slab over and notice that the hairline is established. Use the wood and wire loop tool to go into the newly formed hair line to make marks that depict the hair as it grows from the roots. Smooth the slab back and begin to form the locks of hair. Add sculpey as needed to complete the look desired.




It is a good idea to have the primary forms pre-baked. To do this use a heat gun.

When building the forms for the nose make sure that the spheres are in proportion to the face. In other words if the sculpture is not supposed to look like Pinocchio the spheres for the nose should not be too big. Also remember the nostrils usually sit just inside the two inside corners of the eyes. Make sure to look for relationships of parts to whole this will help keep the sculpture looking more believable. If there are exaggerations make them as believable as possible.

Place a strip of sculpey across the larger sphere to act as the nasalis muscle, but also to hold the sphere in place. Then add the two smaller spheres to depict the nostrils. Once these are in place is it necessary to begin to model and carve the nose to reflect the contours and details that are in the drawings or that which you see in the mirror.

Keep the face clean and smooth so that it contrasts with the hair or other textures that will be added. If the character is scarred, or a Zombie it is particularly important to keep the areas that are smooth "really" smooth so that the scars or other surface treatments "POP".

When the modeling and carving is complete go back into the sculpture and redefine the edges and contours to make them stand out.

Eyes and Mouth

To begin an eye get set up. Roll out a coil and a slab. The eye fits in the socket like a ball. Remember it goes back on the sides, back into the head rather than resting flat on the face. Use the wood end of the wire and wood loop tool to round the ball into the socket for a snug fit. Make sure the eye ball sits back in the face it should not be bulging out beyond the brow bone. It should sit back under the brow. The brow bone may need to be built up a bit.

Next add the eye muscle. Do not make it too thick. Roll out a slab for the eye muscle and cut a slit into the middle.The muscles of the face are very thin in general. Use the tool to tuck the eye muscle around the eye ball and orbital bone making sure to look at the drawings and in the mirror to get the details or the contours correctly.

Make a small button to depict an iris and pupil. Complete the details and there...AN EYE!

The mouth is a combination of the muscle, the secondary form, for the mouth (the orbicularis oris) and the tertiary forms, the details. The teeth should be the first part of the mouth to go on the sculpture. The teeth are the bones the help the way the lips look on the face. For example, if someone has a little bit of an overbite, then the upper lip will protrude a little bit over the lower lip. The teeth are simple to make: Roll out a thin coil as shown in figure number 2. Cut the length and roll the coil even smaller on one end. This will form the root of the tooth. Then gently apply some pressure between the index figure and thumb to squeeze the other end of the tooth for the biting edge. Make a hole in the gum area of the mouth and insert the root end of the tooth up into that hole made for the tooth. It is not necessary to go to all this trouble for all the teeth, just the important ones or the ones that are going to show.

Next it is a good idea to include some of the basic muscles of the face, for example the zygomaticus or the masseter. Use the face muscle chart included on this blog to help you. When this is done cut a thin slab into a circle for the orbicularis oris. Place it against the area of the mouth to make sure it fits. Cut a slit across the diameter of this form, but leave the edges as shown in Figure Number Four. Place this form over the mouth pulling the slit over the teeth to separate for the lips. Working from the center edges of the slit toward the upper and lower edges gently pull the sculpey upward for the upper lip and downward for the lower lip. Add sculpey as needed to reach the correct contours and details exhibited in the drawings and sketches.

Blended Primary Forms

The blended primary form may start to look something like this:

Building The Primary Forms

Before adding sculpey to the armature it is a good idea to begin by marking the center vertical axis of the head and the center horizontal axis of the head as shown in the top left photo.

Think in terms of building up forms. It is a good idea to begin with the orbitals (eye sockets), nasal bone (nose) and orbicularis oral (mouth). Notice in the photo (top second to left) the area around the orbitals (eye sockets) is built up. The in the next photo to the right the parietal (the top knot on the skull) and the occipital (the knot at the back of the head). Periodically check the proportions.

The proportions are the relationship of the parts to the whole. For example, the eyes fall about 1/2 way between the top of the head and the bottom of the chin. This is a basic and important proportion. There are others. Any anatomy book will supply the proportions of the head.

Continue building up the forms of the nasal bone and the zygomatic bone (the cheek bones) shown in the photo on the top right. Try to notice what forms are projecting (coming forward) and those that are receding (going under or back). Remember, to create a form that recedes build up the area around it.

Add in the esophagus casing and in the back the vertebrae. Make sure to work the whole sculpture all the time - there is plenty for smoothing later. Add in the clavicle (collar bone) and the sternum the bone to which the ribs attach.

Continue to build up the forms until the skull and base are completed to satisfaction.

Set Up Your Workspace

Now that the pre-primary forms are complete sculpey can be added to the armature.

Set up the work space. The work space should include a mirror (for self portraits), an anatomy book, a human skull* (if you have one), and sketches. In addition to these items the work space may include tools: a roller, wood and wire loop tool, Xacto knife, and Vaseline.

Place the mirror on a box to bring it to eye level. Do the same for the sculpture. It is important to have the sculpture at eye level to prevent the perspective from being skewed.

Next roll out a coil of sculpey. Make it about the same diameter as a dime and as long as can be appropriate for the space. Also roll out a slab. Make the slab about 1/4 - 1/8 inch thick, also as large as the space will allow.

To roll out a coil simply take the sculpey between both hands and roll a hot-dog form. Then put the form on the table and with fingers spread (number ten style) roll the coil on the table until it is the diameter and length desired. If the coil flattens out turn it so that the round end is on the table and tap it gently and then continue to roll.

To roll out a slab place a section of sculpey on the table and flatten with the roller until the desired thickness and size.

*Can be ordered online at places like Shop Anatomical or Anatomy Warehouse.

SKULLS AND MORE
SKULLS

Mounting The Armature To The Base

The diagram demonstrates how to mount the armature to the wood base. Make sure to use wood screws.

The difference between a typical wood screw and a typical metal screw is as follows: A wood screw generally has a pointed shaft to make piercing the wood surface easier. A metal screw generally has a flat end (some have pointed ends). Screws also have different heads. That means that the top of the screw can be identified by a "cross" (Phillips Head) or a "minus" (Flat Head).

Some woods are soft enough that the wood screw can be pushed into the wood where it will stay until it is driven into a secure position.

To drive the screw into the wood an appropriate flat head or phillips head hand held manual screw driver or electric drill with an appropriate driver must be used. Drive the screw into the wood until if fits tightly over the wire of the armature. After this is done use a pair of pliers to crimp the wire tightly around the screw.

If the screw head is too small a washer may be used to increase the area of the head of the screw so that it will fit over the wire.
Simply slide the washer over the shaft of the screw then position the screw through the loop of the armature and into the wood.

Building Up the Pre Primary Form

Begin to add aluminum foil to the armature. Work the whole piece. Try to avoid working one area then going to the next. Do the head, neck, shoulders and base so that the aluminum is unified. Use hands and the roller to twist, press and tap the aluminum onto the armature so that it is compact, tight, and smooth. Avoid loose aluminum foil.

Building up the surface in this way gives the sculpey something to stick to. It also gives the artists an idea on how to pose the portrait for the best effect.

Use the drawings to determine how much bulk is required. Keep in mind the sculpey should be anywhere from 1/2 to 1/4 inch thick over the top of the aluminum foil.

Mount the armature to an appropriately sized board. Place the three loops at the bottom of the armature on the board. Place a screw through the loop and drive the screw into the wood with a drill. Use three 1/2 inch wood screws. Wood screws have little points at the end of the shaft. Crimp the loops around the screws to make sure they are tight and stable.

If the sculpture seems a little unstable add washers under each screw to hold the loops in place more securely. Another option is to use a small amount of well kneaded plumbers puddy (the quick set brand - sets in 3 min.) over the top of the screw. this does two things: it smoothes the top of the screw and adds strength.

Quick Turn Around Sketch

5 Point Turnarounds

When sculpting many artists work from imagination. Traditionally, however, sculptors have used a reference of some kind. A turnaround, along with photos, books, and three-dimensional models are all excellent sources for references.

Here is a basic example of a 5 point turn for a portrait head including the base. This example incorporates a skull reference and a muscle reference called an overlay.

Make drawings of the subject you want to sculpt from as many views as you can. If you are doing an animal you will want to have skeletal and muscular references to help with overall form.

This Is Just One Way to Make An Armature For A Portrait Head

Step 1. Decide on a size that will include the head, neck, shoulders and base. The example here is 12 inches. Fold into a zig-zag with a loose end on top and two mountains and a loose end on the bottom and two mountains.

Step 2. Hold the folds together at about the center and pull one of the loops down, and bend it as shown. There will be one "loose end" and one loop at the top.

Step 3. Bend, like a bow, to create shoulders.

Step 4. Wrap around the bulk at the center once or twice. Pull the rest of the length down and fold up to form a loop. Now there will be three loops at the bottom.

Step 5,6. Pull the top "loose end" down (now there is only one loop at the top) and neatly wrap the "loose end" around the bulk of the wire above and below the shoulders. Wrap tightly and neatly like a slinky.

Step 7,8. Twist the three bottom loops.

Step 9. Twist all three loops together.

Step 10. Arrange the three bottom loops in a triangle.

Now the armature is ready to mount to a board with three screws.