In this illustrated case study, I will take you through the making of “Rachel Rocks”, a club singer holding her microphone stand at an angle, and belting out a Rock 'n Roll tune. Besides Fimo and Sculpey, I have used wire paperclips, a wooden skewer stick, and thin black wire from a scavenged computer. I often find things lying around the house that are perfect for improvising - after all, every project has unique challenges.

Although I don't expect anyone to use this study as a step-by-step lesson, perhaps you will pick up a few tips & techniques as you read on.

Legs & Torso

Fig. 1	Fig. 2	Fig. 3	Fig. 4

The legs and torso are extremely important; as they set the pose, and the body language of a figure. For Rachel, I started with the two legs, shaping each one accordingly. (Fig. 1) I didn’t bother with her feet at this stage, since it’s easier to add them on later. Using the rounded end of an old paintbrush, I smoothed the connection of the legs and torso. (Fig. 2) Fimo was the best clay to use here, since it’s harder, and holds it’s shape better in the tricky, initial stages.

Next, I added wires (straightened paper clips), to help connect the head and arms, which will be added later. A rigid internal structure helps both to strengthen the finished figure, and keep things from collapsing during the critical re-baking process.

After adding a few wrinkles on the legs and hips to imply fabric, I was ready for the initial baking process. (Fig. 3) I placed the very pliable clay carefully on a metal tray covered with baking paper, using rolled up bits of paper towel to keep everything in position while it hardened. I pre-heated my oven to 250 degrees F., and left it there for 15 minutes.

When the baking was done, I give it 20 minutes to cool down completely. (I have learned from experience how fragile polymer clay can be while it’s still warm.) From this point on, I had a hard surface to add on to, without worrying about things falling apart!

There isn’t a set order for a lot of this, so I arbitrarily chose to paint on her leather pants next. (Modesty, perhaps?) For this I used Acrylic paint. Since there should be a certain sheen to the material, I used an iridescent, or pearl black. Several coats were necessary. (Fig. 4)

Head & Arms

Fig. 5	Fig. 6	Fig. 7	Fig. 8

I made Rachel’s head next, and this is one of those pivotal points in any project. Awhile ago, I made myself a series of molds from successful faces, using polymer clay. You can buy faces for molds, but I preferred my own.

I simply pressed a small amount of clay into the mold, and then pulled it out slowly. Next, I trimmed off the excess material, and placed this onto a waiting head and neck. Then I smoothed out the seams, careful not to distort the face or head. (Fig. 5)

To make her look like she’s really belting out a song, I opened her mouth, and shaped her lips. (Fig. 6) When I was satisfied with the expression, I carefully pushed her neck down over the protruding wire, and into place. I twisted her head to one side, and then I smoothed the clay seamlessly onto her shoulders.

The arms started out as rolled clay, similar to the legs; the difference being that I didn’t do much shaping until I’d threaded them on the wires, and smoothed the material to each shoulder. (Fig.7) I kept the wrists tapered, and left off the hands. (Fig. 8)

And it was back in the oven for another 15 minutes.

Okay - Put Some Clothes On Her, Already…

Fig. 9	Fig. 10	Fig. 11	Fig. 12

Her body was basically completed at this stage, so I decided to apply a shirt, knowing that a few of you out there would be worried about her being topless… I rolled out some clay; Sculpey this time, since it’s softer, and flattened it into a very thin layer. I cut out a rough shape, and offered it up to the front of her body. (Fig. 9)

After marking the neck line, I cut away the excess Sculpey carefully on the desk. I then put the material back into place. Since the torso was hard, it was quite easy to shape the new material, including folds in the cloth. (Fig. 10) I decided that the T-shirt she’s wearing was going to be very old and worn. To help this along, I cut out bits, and created tears near the bottom. (Fig. 11)

I actually applied, and baked this shirt in 3 separate sessions, but it could have been done carefully in one. Since I wasn’t in a hurry, I baked the front, then the back, and finally, the sleeves. (Similar to saving a computer graphics file when you have it just right, I like to bake the additions on my figures when they look just right.) (Fig. 12)

Some Painting Skills

Fig.13	Fig.14	Fig.15	Fig.16

This was the point when I got my tiny brushes out, and turned on my magnifying light. All I can tell you about this part of the project, is that I have a steady hand, and years of painting experience as an artist. Her eyes are closed, however, and that saved me some extra work. (Fig. 13)

After the initial painting, I added in her tongue and teeth. Again, once you have a ridged surface to work on, detailed work like this is far easier.

The next step may look subtle, but this technique is good for adding realism to my figures. I mixed acrylic paint to match a darker version of the pink T-Shirt, and covered the entire area with a watered-down wash. I made sure to get the paint into all cracks. (Fig. 14) After letting it dry for a few moments, I used a damp tissue to take off as much of the paint as I could. This has left a dramatic effect, leaving the shirt looking very old. (Fig. 15)

I usually paint on the details of the face before I add the hair, and this is a good example of why. Her hair is an ‘80s kind of shag, and hangs in several strands over her face. If I had saved the painting until afterwards, it would have been quite awkward. (Fig. 16)

A weird, but valuable tip: when you use polymer clay in very thin strands, such as this kind of hair, it will snap off at the slightest excuse. My solution: I dripped Crazy Glue down each protruding piece, and lightly rubbed off the excess with tissue paper. The finished hair becomes amazingly strong. Caution... do not get your fingers anywhere near the hair, glue or tissue for 5 minutes!

Shoes & Shirt Graphics Required

Fig. 17	Fig. 18	Fig. 19	Fig. 20

I wanted to tackle the shoes next, but first I had to add some feet, or at least, enough to properly attach the shoes. With the legs being solid, I could take my time shaping and smoothing the soft clay to form ankles and rudimentary feet. (Fig. 17) Before even thinking about shoes, though, I re-baked the whole thing.

With the feet hardened, I pressed on the top red portions of her converse sneakers. Also at this point, I marked the sides and tongue, as well as two rows of lace holes. (Fig. 18) Another baking made my task of adding the white soles, and shoe laces much easier. A small amount of painting followed, notably, the white toe-tips. (Fig. 19)

While I was I the mood for finicky stuff, I decided to finish off the shirt. I painted a version of the infamous debut album cover from the late ‘70s punk band, The Sex Pistols. Once again, experience with painting small and accurate detail is the only tip I can give you - that, and a lot of patience! (Fig. 20)

The Microphone & Stand

Fig. 21	Fig. 22	Fig. 23	Fig. 24

Luckily, the wooden skewer sticks that I had on hand were about the right thickness for the aluminum pole in my microphone stand. My plan was to rely on the stiffness of the wood to act as the third support in a tripod. The base of the stand was done first, with a hole to glue in the pole. I wrapped clay near the top to represent an extension joint, then added a cap. (Fig. 21) Once assembled, I painted the pole a metallic silver colour. (Fig. 22)

As for the microphone itself, I knew that I couldn't roll out clay for the cord. Again, just looking around provided the answer. I discovered thin computer wires, all attached, but in various colours. I had no problem peeling off the black wire. This may be a little thick for my sculpture’s 6” scale, but it looks pretty good. The handle part of the mic was constructed around one end of the wire and baked. (Fig. 23)

(Oh - I should mention that I tested a piece of this wire in the oven first, to make sure the rubber coating didn’t melt!)

I finished off the mic’s details by using the flat edge of a blade for scoring lines, and the point of a compass for the rough surface. (Fig. 24) I then glued it to the stand.

Putting It All Together

Fig. 25	Fig. 26	Fig. 27	Fig. 28

Okay, Rachel’s feet were done, as was the microphone stand - what I really needed was a base - a stage, so that I could put her into the final position. Black seemed like a good colour for a local area club, so I rolled out a whole block of Sculpey, and trimmed the edges with a ruler. Once this had hardened, I added strips of the pink clay that I used for her T-shirt. This was to elevate the stage a bit, and add some more colour. (Fig. 25)

As I pointed out earlier, the figure's hands were left off. I needed to have Rachel holding the mic stand and the cord from the mic, so I added hands, but no fingers - for now. When this was baked, I glued everything in place; her right hand to the stand, and the left to the cord. (Fig. 26)Then, after careful consideration, I glued the figure, and the microphone, onto the stage.

Finally, I added the fingers. With the cord and stand firmly in place, I no longer had to worry about all those intricate fingers being torn off by shifting pieces.

The finishing touches included 2 beer bottles (one spilling over) and 3 cigarette butts. The bottles were fun, but once again, some patient and intricate painting was involved. (Fig. 27)

As always, I coated the figure with a matte varnish for protection, especially the painted areas, and an even finish that covers up shiny glue smudges, etc. (Fig. 28)

Finally, "Rachel Rocks" was finished! To see the finished sculpture, go to her gallery.