Aragorn Finished!

At last! The final images of my new Aragorn model. If you have been keeping up with me on the "Re-making of Aragorn" posts, thank you.

All said and done, it took about 2 months of work (4 hours a night - give or take) to take this model all of the way from the ground up. Be sure to check out the VR turn-around posted at the top of the page.

Next up, I'll be working on my final LOTR model (and final model for a while), Gollum! See you next post!

The Re-making of Aragorn (Step 17)

Well, you've made it this far, let's see this model finished! Welcome back to my "Re-making of Aragorn" model-making series. In this post, I will assemble the final painted pieces and mount the model to the wood base.

I chose to paint the model in a completely unassembled state for a deliberate reason. Due to Aragorn's dynamic pose, with many overlapping pieces, in was easier to get paint all around the model with the pieces loose.

Before I can assemble the model, I must scrape any paint from the surface of the joints.










I need to get the areas where the glue will go back to bare resin. With a little fore-thought, you could always mask over these areas. I find that with the area a little scratched and roughed-up, I get a better adhesion with the glue, so I don't mind scraping the paint.










This time around, I chose to use a resin-based "gel" glue. This glue has a little body to it and is great for filling in gaps and gluing hand-made parts that loosely match. Apply generously.




Drum roll (bum bubm bubm)... And the finished Aragorn! I mounted him to the final wood base using the foot pattern (from earlier) and re-using the same wood screws I used to mount him to the temporary base. I will finish the model with self-adhesive black felt on the bottom of the base and set him in a nice place on a shelf with the other characters.












I'll be taking my VR photos soon and will add Aragorn to my links at the top of this page. Check back soon for news of my next character... Gollum!

The Re-making of Aragorn (Step 16)

Oh, There you are! Welcome back to my "Re-making of Aragorn" model-making series. Short post this time. During coats of paint (last post) I prepared the final wood bases.

I don't use anything special. I buy simple pre-cut wood from my local craft shop. I inspect them for flatness and for the fewest defects (knot-holes, sap, knicks...etc).

I sand them and pre-treat them with a wood conditioner (helps the wood absorb an even stain)






5 - 15 minutes after applying the conditioner, I apply the wood stain (Cherry Wood). It is the same stain that I have been using for this entire series.





After allowing the stain to set overnight, I wipe off the excess stain and applying a polyurethane gloss sealer. 2 coats works best and makes this cheap wood look great!





Ready for final assembly!

The Re-making of Aragorn (Step 15)

Thanks for dropping by again for my latest installment in my "Re-making of Aragorn" series. We're in the home stretch now! In this step, I take the finished resin pieces and wipe a little paint on them.

First, I need to mount the body to a piece of wood so that I can hold and turn the model without getting my grubby fingers all over the paint job. For this, I re-use the wood base that I sculpted him on (something I don't mind getting paint on).



Since I will need to drill and mount a second Aragorn and the final wood bases, I need to take a pattern of the feet and mark the drill holes.





I keep the drill level and drill about 1" into the legs.







I use 1 1/2" wood screws drilled up through the bottom of the base to mount the models to the temporary bases.










Resin can be easy painted, but it is preferred to use an oil-based paint as a primer coat. Oil-based paints adhere more firmly to the resin and will not easy peel off. It also helps to seal the resin from moisture. In this case, I will be using darker colors for Aragorn, so a gray primer will work super.










For my paints, I have specifically designed a limited color pallete that I have used for every one of my Lord of the Rings models. Any and all colors that I need are mixed from these same colors in order to create a sense of harmony (oneness) with my set. They "feel" like they belong together and look great on a shelf together because the colors belong to the same family.

For these models I am using Liquitex acryllics:
• Cadmium Red Deep Hue
• Yellow Oxide
• Ultramarine Blue
• Emerald Green
• Burnt Sienna
• Ivory Black
• "Apple Barrel" Antique White (off white)

For an easy paint job, you have to start with the lowest areas (areas lower than surroundings). I start by laying in deep base tones and build colors up in layers. Paint the pink of the eyes. Then the yellow/white. Then the pupil. Then the eyelids (building in layers).


Then I paint on the deep base tones for the face...






...then the highlights.







For small details, I use a technique called "scumbling", or dry-brushing. It is where you wipe off most of the paint before you start applying it. This helps prevent the paint from entering the crevices and allows you to brush over just the top of the details. You can create varying degrees of contrast with deeper undertones and lighter dry-brushing.










Still working in layers, I paint the inside of the tunic (between the legs), then the tunic and boots...









...then overlapping areas like the coat, then the bedroll, and finally the hair and any small details not yet painted.








With the paint-job finished, I must now assemble the model!

The Re-making of Aragorn (Step 14)

Ah! And here I am again ranting about this "Re-making of Aragorn" model series, and there you are reading it! In this post, I will cover the "crap my model didn't form all of the way" phase of casting. Here, I rescue parts that WOULD be good if it were not for a large bubble or un-formed area.

This part can be very dusty. Dust-mask optional.

First off, that bag of white powder is NOT what you are thinking it is (unless you were thinking it was resin dust and then, well, it IS what you think it is). Make a habit of saving a few small bags of your resin dust as you sand and clean the extra bits and smooth the bottom of the model's feet. Then, get you some liquid resin-based glue (Super glue, or Krazy glue... liquid NOT gel).

Find a pock hole that you wish to repair...







... and pack it with some of your resin dust. Now watch-out... the next part happens fast, so don't blink!





Drop a little of your liquid (NOT gel) resin glue into the hole... and PRESTO! it hardens nearly instantly as it reacts to the resin.





You can repeat the process a few times (as necessary) to fill larger holes and rebuild areas. The final result is firm resin that can be sanded and carved just like the white resin. And you don't have to throw away the part!




*In varying degrees, I have successfully managed to mix a certain ratio of resin-glue to resin that I create a quick-dry resin putty that takes 30 seconds to a minute to dry. It can be sculpted onto your part and used to form larger re-builds (and is VERY sticky... don't use your fingers).

On to the paint job!

The Re-making of Aragorn (Step 13)

Thanks, once again, for visiting my "Re-making of Aragorn" series on model-making. In this post, I will be assembling the molds and pouring a quick-set resin into them to see what I get!

Depending on your "neatness", or desire to keep a clean work area, you may wish to lay a drop-cloth and cover your work surface with something easy to remove and discard. Resin bonds hard and permanent to many surfaces (including clothing). Plus, you may wish to wear protective gloves during the mixing and pouring. As resin is setting, it chemically heats up and could cause chemical burns, or could absorb into your skin (also, don't drink it. I'm sure it is not good for you).

I like to use "Model-Cast" brand resin that I get from a company in California. A 2 gallon kit comes with a gallon of both parts A and B and is mixed with an easy 1:1 ratio (like the rubber). My particular favorite formula is the 43-321 (odorless, white slow). There are a few different ones to choose from, so find one you would like to work with. This resin starts setting in 3 minutes (instead of the 2 minutes for the fast) and fully sets in about 5 minutes for mold removal. It is a nice bright white, and is easy to sand and glue.

Re-assemble your separated molds and use a generous amount of firm rubber bands to hold the pieces together. Try for a firm hold, but not too strong, as you can easily deform the inner cavity and distort your casting (no good). You only need to keep the pieces together firm enough that resin doesn't leak, and you can handle the mold without the pieces falling apart.

I pour the resin through the larger holes (in this case, the feet) and watch that the resin makes its way up through the chase holes and level with the top of the mold. This is usually a good sign of mold saturation and that most of the part has formed (fingers crossed).



After 5 minutes or more, remove the rubber bands and open your mold (you can peek through your fingers if you are afraid of the results), and viola! You now have a new casting that replaces your original clay part that was destroyed. Hopefully, you anticipated all of the trapped air and you get a flawless pull (snicker, snicker). I laugh only because that anything hand-made is bound to not be perfect. But, unless major areas failed to form, you should still be able to make minor bubble and mis-formed repairs (covered in the next post). If you notice areas that air was trapped, you can use an exato knife (and other sharp things) and cut right into the rubber of the mold and carve new chase holes for future castings.


















Now, I have all of the parts that I need to assemble 2 Aragorn models! On to the repair and paint!

The Re-making of Aragorn (Step 12)

Welcome once again to "The Re-making of Aragorn" series on model-making. In this post, I will be removing my clay model from the rubber molds to preparing for pouring the resin.

This is one of the most crucial steps to my two-part molds, as I must carefully cut the rubber open following the red line I drew for the seam. If I make a bad mistake, or damage the mold, then I will most likely have to start over on sculpting the model (as the clay model is destroyed in the removal process).

I start by removing the wooden base from my model. It is secured to the armature in the rubber by four screws. Notice, that I had the fore-sight to install the screws up through the bottom to make this step easier. I simply remove the screws. With a little tugging and hitting the wood base, I manage to pull it loose from the hot-glue and the rubber.

I remove all of the cardboard and contemplate the cutting of the rubber. If you look closely, the red line that I drew on the wood (for the seam) has transferred to the rubber. I know exactly where to start cutting.




I carefully cut using sharp knives and exactos, prying the rubber apart so that I can keep an eye on the red line on the model. This part is a little more difficult than it seems and takes a bit of hand strength as the rubber is firm.



Carefully...carefully. Inch by Inch. * Notice the air chase holes around the top of the rubber. Those reach into the mold to all of those difficult areas that would trap air.




Ahhhh! I now have a two-part mold for the body. Depending on the wetness of the clay, and the amount of detail, you will need to pick and clean the mold to remove small bits of clay that remain in the details and tight areas of the rubber.



Oh, and remember what I said about the original being destroyed? Don't get too attached to your clay model, as they are (more times than not) broken badly while removing them. So, you really get one good shot at making a good mold (major rebuilding work aside). So, be careful cutting. You should definitely make small easy parts to practice on before going into a masterpiece with amateur mold knowledge.

The sword scabbard mold. Notice all of the air bubbles in the rubber, but that the part impression is fine. Smooth-On rules!






Now, let's tryout the molds and pour some resin!

The Re-making of Aragorn (Step 11)

Welcome back to my "Re-making of Aragorn" series on the model-making process. In this post, I will be pouring the rubber into my mold casings.

There are varying degrees of involvment to preparing rubber and pouring your molds, from professional to amateur. You will choose a rubber compound based on the level that you are prepared to put into your molds. Some rubber compounds require vaccuuming (degassing) in a chamber in order to remove the air bubbles, caused by stirring, before you can pour it. If the air is not removed, then you will cause bubbles to settle against your part and ruin your molding. Others, are more amateur friendly (but less durable), and do not require degassing.

I am only planning a very small run of my kits (3-5 pulls), and do not need to have durable, long-lasting molds. Plus, I do not have an expensive vaccuum chamber to degass my rubber. So, I opt for a "knowledgeable amateur" process with an easy rubber.

I have found that "Smooth-On" brand silicone rubber is great and, true to its name, goes on to your part smooth. I use the "OOMOO-30" formula, which is a nice firmness when dry. Since, you do not degass the rubber, the air stays in and can be seen throughout the rubber when you cut the mold open. However, this formula breaks surface tension against your part and forms a nice mold regardless.

It is a two-part rubber (A and B, Pink and Blue), which is mixed 1:1 ratio and turns purple so you can see it visually mixed.










Even though the rubber goes on smooth, you do not want to risk inadvertently trapping air (air is the enemy) on the part as you pour, so DO NOT pour your rubber across and over your part. Instead, pick an area away from the part and gently pour your rubber into this spot. Allow the rubber to slide into the mold and around your part from the bottom, which will increase its chance of traveling into all of the small areas and details.

Continue to fill until you reach your desired level. I like to mark a level line on the mold wall, based on the part. You should shoot for 1/4" around small parts and 1/2" around large parts.





My molds are poured and drying! Next, I remove them from the molds!

The Re-making of Aragorn (Step 10)

Welcome, once again, to my "Re-making of Aragorn" series! In this installment, I am preparing the mold casings in readiness to pour my mold rubber.

In addition to predicting trapped air and making chase holes (last post), I have to consider how the final mold will be divided into two halves for easily removing the cast part from the mold. This can be tricky if you have very dynamic parts that do not seemingly have an easy half point.

I start by examining the part and then marking a seam with a bright pencil. I will later be able to see and follow this mark as I am cutting the Sculpey part from the mold.





I follow the contour of the part and try to make as simple a line as I can, because it is difficult to change directions in the rubber when cutting the mold open.












I try to avoid any fine details on the seem and to make sure that I don't trap too many difficult areas away from the seam.








I mark a base around the model to construct the walls of the mold casing. But, I notice that I don't have much wood beyond the edge of the feet with which to work. I sometimes don't think far enough ahead to plan for the mold walls.






To fix this, I overlay a cardboard base around the model with a cut-out for the model. I generously hot-glue this base to the wood and use the hot-glue to seal the corrugated paper so that rubber will not leak out of the mold casing. I then re-mark my wall pattern around the feet.












I also think ahead that I would like the mold rubber permanently labeled with the name of the part inside. For this, I use a punch labeler. I create a raised label...




...then, I push the label into some clay that I place on the model's base. This creates reversed letters in the mold and reverses back to normal in the rubber that is poured into this mold. Thus, permanently labeling my mold.



Here are some parts prepared for the molding process. Notice, that I have them embedded into some clay. This is to suspend the part off of the base (walls marked) to allow rubber to flow under the part. I'll have to remove the extra clay once the rubber has dried and do a second pour to fill those areas.










My "quick-and-dirty" mold casings are made from cardboard/bristol board, tape, and hot-glue. Mold walls are constructed of bristol board for the small parts and thick cardboard for the body. I use plastic shipping tape to seal the seams and generous ammounts of hot-glue around the wall/base to seal against leaks and glue the walls down.

On to the rubber!

The Re-making of Aragorn (Step 9)

Whew! Welcome back to my "Re-making of Aragorn" series. I apologize for taking so long to post again, but I have been busy finishing my Aragorn model and photographing the entire process! Now let's catch up.

In this step, I will be explaining the things to keep in mind when preparing your model for the molding process. The biggest thing to remember when casting the resin in your mold is that air is your enemy. Trapped air in a mold will prevent resin from reaching into that area and will ruin your casting by causing those areas not to form. This could result in major repair work to fix the casting, or the lost of material if you choose to scrap the piece because not enough of it formed. So you must consider the final negative shape in your mold and learn to anticipate trapped air and ways to prepare before you pour the liquid rubber mold.

A scientific fact (and a neat experiment):
When liquid is poured into a vessel, the pull of gravity will cause the liquid to level. This can be observed by taking two containers (like 2 liter bottles) and hooking them together. Leave the tops off of both and pour liquid only into one container. Gravity pulls the liquid down and allows it to flow into the other side of the container. The liquid replaces the air that was in the container as the air is pushed up and out of the second container and the liquid levels to the same height in both containers.

Now, close the top of the second container. Now pour your liquid... Gravity does the job again, but this time, the air has no place to go. When air is compressed, it builds pressure and can be very strong. the trapped air is stronger than gravity's pull and the pressure of the liquid. this causes the liquid to stop rising in the second container while it continues to rise in the first. this creates a situation where the liquid does not flow all of the way into the shapes and is un-level.


Now apply the above fact to a mold. If liquid is being asked to flow into an area that traps air and does not allow it to leave the mold, then the liquid resin will not flow into that area (see the illustration). Notice that the hand shape has several fingers that extend upward into the mold rubber and are cut-off from the pour spout. Air in the fingers does not have anywhere to go, so resin will not flow into them and will result in a cast hand that will not have any more than the finger used as a pour spout.



To allow air to escape the mold and fully cast the part, we only need to create air shafts from the trapped areas that flow up to the top of the mold. These are called "chase holes" as the resin will chase the air out of the mold. Remember that liquid will level, so DO NOT make the chase holes out of the side of the mold. Doing so will cause the resin to drain off at a certain level and not fully fill the mold (causing a mess and not forming the part). Chase holes always rise to the top of the mold allowing the liquid to fully rise to the top of the mold also. In this verison (see illustration), the chase holes allow air out of the fingers and the resin can flow fully into the mold and you get a full casting. You then only need to remove the extra resin, formed in the chase holes, from the part with a knife and a little sanding. It is vastly better to remove small extra bits, than to have to repair un-formed areas.



Another way to go would have been to cast the part with the protruding areas formed down into the mold. That way, gravity works for you and resin can flow down into those areas and air can flow out of the fingers. If you still have small areas that turn up into the mold (see forefinger in illustration), you only need to make a chase hole all the way up to the top of the mold or connect that area to another area that doesn't trap air (pictured). You can think of the way that plastic model kits are made with "runners". This extra piece can be easily removed and sanded and will ensure that the forefinger will form in the mold as air will be pushed out to the main area of the mold.



So, having the shape of my Aragorn body in mind. I know that I will be pouring the mold through the feet and need to identify areas that will trap air going up into the mold. For those areas, I need to plan and prepare chase holes before I pour the rubber. I know that the bottom of his traveling coat and the ends of the blanket will trap air and cause trouble.




So, I use dowel rods (cut to length) and bond them to those areas and connect them to the model's base (which will be "up" in the final mold). These rods and the Super Sculpey model will be removed from the mold and create the chase holes I need.

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Now lets's create the mold casings!