Adam's Custom Models

Announcing "A Boy's Best Friend... is his Zombie!" kit release

noreply@blogger.com (ADAM) — Sun, 14 Feb 2010 16:54:00 +0000

Finished at last!
Kit is 1:6 scale in 9 white resin parts.
Zombie measures 12 inches tall (once assembled).
Kit comes unpainted and unassembled.
Contact me for details: adam@adamscustommodels.com.

Fido and Timmy finished!

noreply@blogger.com (ADAM) — Sun, 03 Jan 2010 06:35:00 +0000

Here are shots of the finished sculpt! I was able to wrap up the last of the details this weekend and I just couldn't wait to get the images on here!

I plan to have a painted prototype ready by end of January, more later.

More detailed shots of the Timmy figure:

The base is a plot of grass from the park scene with grass and rocks and leaves and stuff:

The sculpt includes Mrs. Henderson's chewed arm as a separate piece that can be optionally placed on the base anywhere:

Enjoy! Later - A.

Boy and Zombie update

noreply@blogger.com (ADAM) — Wed, 23 Dec 2009 22:53:00 +0000

Hi everyone! Just a quick update on the Fido/Timmy sculpt. I've finished the Timmy portrait and both of his hands (holding ball and glove). I've finished the sneakers also.

The basic body is ready.

All that remains is to sculpt his pants and shirt and attach the hands. I'll be finished very soon!

[Here the ball is sculpted in 1:6 scale (tiny!) and I've done all of the stitching:

The glove is still WIP. I have a few more details to carve after the epoxy dries:

Thanks for looking!

Something new in the works for this next year!

noreply@blogger.com (ADAM) — Sat, 12 Dec 2009 06:15:00 +0000

Some slight changes to my model site are coming for those keeping up with me. You may notice that I have taken down the kits section for now.

I have a ton of new and original kit ideas (sci-fi and horror stuff) that has been jumping out of my head and onto my sketch pad of late. And I'm real excited about these new ideas! My site will soon become a place to showcase and offer these new kits as soon as I can get them out of my head and into clay.

In the meantime, I present the last of my borrowed ideas that I am finishing up this month in hopes of a January release date. This will be a 2 figure kit of a boy and his zombie friend. The zombie (pictured here) is completed and the boy is already well under way. This kit will come with both figures and the base, with an option of each figure separate. (more on this kit in January).

Enjoy...

Gollum is complete! I'M DONE!!!!!!!

noreply@blogger.com (ADAM) — Fri, 20 Jul 2007 04:02:00 +0000

Well, at long last, I have completed my Lord of the rings model project! Thank you for hanging in there and reading my blog of the progress.

All said, it's taken me about 3 1/2 years to get to this moment, and "whew!" I'm tired. Heh heh. The journey has just been slow, with many delays along the way, but I stuck in there determined to see all of my models finished.

This is the end of the Lord of the Rings series, but not the end of my modeling "career". I have lots of new ideas and things that I would like to try molding and casting. I have just made my mind up that I will not "plan and attempt" ten models all at the same time. Heh heh. What was I thinking??? No, I think from now on, I'll plan, design, and complete one at a time so that I can stay fresh and not get overwhelmed by the project (like I was on this one).

So what we have here, is Gollum. Clocking in at 7 inches tall (from rock bottom to head), which is about the height of one of the standing hobbits. Gollum is, of course, hobbit scale, just seated. The rock helped me get him up to about the same height as the others so that Gollum would not appear small.

I decided not to cast the hair into the resin and, instead, chose to glue individual strands of a very fine doll hair (that I got from one of my daughter's old dolls that had a head scale about Gollum's size). The strands were first attached (after sealer) with light drops of a white glue, then sealed on with a glaze of white glue. I achieved the "greasy" and clumped look by combing the hair with white glue, and I finally re-sprayed the acrylic sealer over the dried glue to bring back the luster and make the model's polish consistent.

I hope you like him as much as I do. Gollum is now my favorite of my LOTR models.

I made 5 complete Gollums, in all. I'm keeping one (of course), stay tuned as I decide what to do with the others. I might try one or two on Ebay at some point. Maybe look for him in a couple months.

I do hope that you've enjoyed my blog. Check back later (might be a while , as I take a break and do some other things) and I'll start working on some new model ideas (This isn't just a blog for LOTR models after all, heh).

- ADAM

My Gollum sculpt is done, at last!

noreply@blogger.com (ADAM) — Fri, 02 Mar 2007 02:04:00 +0000

I was a little lazier than I wanted to be on my Gollum sculpt. I should have had him finished a couple weeks ago, but nevertheless, done at last! And he's my best and favorite of them all!

I need to get the ball rolling on getting my molds done so that I can finally complete my LOTR model project!

Gollum will cast in 4 pieces (lower body and rock, upper torso, and 2 arms). Unlike all of my other models, Gollum is not wearing any shirt/coat where I could have hidden the seam between the pieces. I'll have to putty the seam on the arms when I assemble the pieces.

Aragorn Finished!

noreply@blogger.com (ADAM) — Sun, 19 Nov 2006 01:05:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:40:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:40:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:35:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:34:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:32:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:30:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:28:00 +0000

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)

noreply@blogger.com (ADAM) — Fri, 03 Nov 2006 02:16:00 +0000

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)

noreply@blogger.com (ADAM) — Thu, 02 Nov 2006 00:57:00 +0000

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.

.

Now lets's create the mold casings!

The Re-making of Aragorn (Step 8)

noreply@blogger.com (ADAM) — Wed, 04 Oct 2006 02:15:00 +0000

Welcome, once again, to my sculpting series "The Re-Making of Aragorn". In this post, I complete the sculpting of the model and have it ready for molding.

Now that I have the hardened shoulder key and hand, I rough out the arms.

I verify the arm positions a lot during the sculpting to make sure that I like where they are and to get the proportions correct.

I hardened the arms and went in to carving the small fabric details.

I sculpted the bed roll and quiver onto the back key...

And finished the sword hand.
Item to note: The sword hand is the only piece that I had to completely sculpt and leave wet. During early trials, I found that the clear casting resin that I used for the weapons will melt (or get really, really sticky) if I bake it in the oven. So I'll have to be careful not to damage the hand until I can get it into the mold rubber.

Viola! The completed "New" Aragorn model (some assembly required). I have mold supplies on the way and look to get these pieces in the mold early next week! Check back later for the mold making steps.

The Re-making of Aragorn (Step 7)

noreply@blogger.com (ADAM) — Wed, 04 Oct 2006 01:41:00 +0000

Not far from done now! In this step of my "The Re-Making of Aragorn" series, I am preparing the joints and keys that will allow me to easily assemble the model parts once I have cast them.

With the body hardened, I now need to get an exact impression of the "key" that I pressed into the sholder joints. Use wet Sculpey that has been lightly powdered (prevents sticking) and press firmly into the socket; making sure to get the full area around the key.

I do the same for the registration holes on the model's back (or anywhere else).

I harden the impressions and sand/grind them into the shape that I need (maintaining the impression face) and then drill holes into the keys for the adding of the wet clay to finish sculpting the parts. I must harden the key first to prevent it being warped out of alignment during the sculpting of the part onto it.

It was also necessary to sculpt the hands/wrist joints before I could add the wet clay to start sculpting the arms. I start by roughing out the hand, hardening it, carving out the details, and drilling the holes.

The Re-making of Aragorn (Step 6)

noreply@blogger.com (ADAM) — Fri, 15 Sep 2006 03:40:00 +0000

Thanks once again for tuning into my series "The Re-making of Aragorn". I have the nearly completed body up to this point and will be concentrating on his hair in this step.

I start by adding fresh clay to the head; making sure to push firmly to get the clay to enter the holes that I had pierced all over the top of the head. This technique works great even if you have already hardened the head clay. In this case, I have deliberately kept all the Super Sculpey clay "wet", so I will have even better adhesion to the head.

Next, I lay on sheets of clay in the rough shape of Aragorn's hair, and using my trusty toothpick as a carving tool, I start adding the individual hair details. I work "shoulders up" and in layers (just like the clothing).

From the front as I have "shaped" the hair silhouette.

I add the bangs to the forehead and Aragorn's likeness takes shape!

And (drum roll please......) the finished and hardened, new and improved Aragorn model! All that is left is my fine tuning the details, adding some engravings on the belt, and a little sanding to remove some imperfections.

Now, I just have to sculpt his arms and the travel gear!

The Re-making of Aragorn (Step 5)

noreply@blogger.com (ADAM) — Fri, 15 Sep 2006 02:56:00 +0000

Welcome once again to "The Re-making of Aragorn", the on-going series of my complete re-sculpting of my Aragorn model because I just didn't like the original one very much. Nope. Not at all. But this one is turning out very cool!

In my last post, I got the beginning of the travel coat started and I had removed the arm stubs. I will now stamp my "key" into the arm socket. This is a method that I used on most of the earlier models and is designed to help me align the cast resin parts when gluing.

The key is just a hardened piece of Sculpey that I have carved into the shape of a key. Look... it is shaped like a key!

And when removed from the arm socket, leaves a nice key-socket. I will build a matching "male" socket once I have hardened the body Sculpey.

I then added the coat-tail; making sure to keep in mind how it will be cast in the mold. It needed to be constructed to look cool, but in such a way that I could easily make a 2 piece mold.

Here's the coat-tail from the side.

Still thinking in clothing layers, I begin to buildup the travel gear which overlay the coat and the rest of the clothing, but which must lay under Aragorn's hair on the left (his left) shoulder.

When I am attaching large areas of Sculpey, I will sometimes pierce through the added clay all the way into the model below to help the new clay to permanenetly adhere to the clay below. I do this with a toothpick and a little twisting doesn't hurt to mix the layers of clay together.

I then roll-up small tubes of clay to insert (mash) into the holes and smooth out the seams. This is like making clay nails (when the clay hardens).

I add the necessary details to the blanket that Aragorn has tied around him. This is part of the travel gear that Aragorn is wearing during the timeframe that my models take place (near the beginning of the journey).

And seen from the back, you will notice that I have also mashed three small registration holes just under the blanket. I do this, because Aragorn will be wearing a bow, quiver, and a bedroll which I plan to cast as separate pieces because I want them to have some separation (space) from the model and that would be near impossible to cast. The blanket, however, is very close to the body and wraps around him. This make it necessary to sculpt/cast it as part of the body.

Whew! Nearly done with the body. All that remains is the hair and the final trimming/touchups after I harden the Sculpey.

The Re-making of Aragorn (Step 4)

noreply@blogger.com (ADAM) — Fri, 15 Sep 2006 02:15:00 +0000

Once again, thank you for tuning in to my continuing model series "The Re-making of Aragorn". In this step, I begin working up the basic body details in layers starting with clothing edges and the boot details.

My technique is an additive method where I take the basic body (from step 3) and start layering the clothing edges from the lowest to the highest. I take small rolls of clay and flatten them and lay them in place. I then smooth the non-edge side into the body and work it till smooth. Next, I take my sculpting tooth-picks and finish the edges .

I buildup the leather folds in the boots in the exact same manner.

After I get the basic shape of the folds, I go in and work all of the boot details; including the ties and stitching.

Here, I have completed the basic tunic (vest), pants, and boots. Notice that I still have the hint of the arms which helped me construct the shoulders properly. These will now be removed because I must mold them in separate pieces.

Arms removed with a carving knife.

I then start working out the small details on the tunic (the belt, pouches, and the laces).

And then I add the front layers of the travel coat.

That's it for this post... check back for my next installment where I go for the finished body!

The Re-making of Aragorn (Step 3)

noreply@blogger.com (ADAM) — Sat, 02 Sep 2006 22:35:00 +0000

Thanks for checking back and welcome to the third step in my "Re-making of Aragorn" series. In this step, I take the armature that I have created and "skin" it to get it ready to begin sculpting my new model. I need to build up a basic human form in the proper porportions and attach the new Aragorn head from step 1.

The first thing that I must do is coat the "metal putty" armature with a thin layer of Super Sculpy. I make sure to push hard as I do this in order to get Sculpy down into the many holes that I poked into the metal putty. This will allow the clay to adhere tightly to the armature and not slack, or fall off. Notice that I also went ahead and roughed out the basic foot shapes while I was at it.

When I am finished, I end up with a "fleshy" armature and I am ready to begin sculpting!

I stick the head to the top of the armature and work the clay into the torso so that the head will not fall off. I do the head separate because it is easier to hold and sculpt that way, and I am not committed to an entire body, if I should wish to toss the head and start over.

I then begin to add the rough anatomy. I like to work additive this way because I can very quickly build up an accurate body and change the muscle mass until I am happy. I find this easier than just carving into a block of clay.

I finish getting the basic torso anatomy roughed out being careful to use my proportion chart for reference. Notice that I only have nubs for the arms. I only have the suggestion of the arms to help me get the shoulders correct. Once I get the torso completed, I will be removing the arms and making my special "key" joints. The arms will be made into separate pieces in separate molds. This will help me make a 2 piece body mold easier. (see the posts on my other characters like Boromir, Legolas, etc).

After I get the rough anatomy, I then smooth out the edges and end of with a "nude" model that I can now start "dressing" and detailing.

Check back soon for the next step!

The Re-making of Aragorn (Step 2)

noreply@blogger.com (ADAM) — Thu, 31 Aug 2006 00:57:00 +0000

Welcome to the second step in my series on the "Re-Making of Aragorn". In this step, I must design the final pose of the model and build the armature (wire skeleton) onto which I will sculpt the "Super Sculpy". Read on...

I began by searching up images of Aragorn on the net, books, and screencaps from the film to inspire me with a great new pose for my new model. I was looking for something that fit within the timeframe where all of the nine characters were together and felt like a rough ranger (Strider) but would have that hint of regal (Aragorn the King).

The inked pose on the right (above) was the one that felt the most right to me. Aragorn has a defiant, yet regal stature. He has his sword drawn and ready for combat. Since this is early Aragorn (Strider), I will be looking to make him as scruffy as possible with all of his travel gear.

WARNING: A coat-hanger is seriously harmed in the following steps. If you find yourself wrought with emotion over the harsh treatment of coat hangers, please discontinue reading now.

To start the armature, I search my closet for an ordinary coat hanger. I also needed a piece of plaque wood for the sculpting base, machine screws and a power drill.

I begin by straightening the wire, and then bending it around the screws that I will use to secure the feet to the base. Basically making wire feet with loops in them for the screws to fasten through.

I then take the excess wire and bend it back up to the leg and twist it really tight around the shin area. This serves a dual role of making the wire sturdier and helps me make a "foot" shape to ground the model to the base (see right).

Ultimately, I end up with what amounts to "metal legs". I have carefully bent these using my size and proportion chart to make sure that they are the correct size and have the joints in the right places for my Aragorn in the pose that I have designed.

Next, I drill the holes for the feet in the wood base. I make sure that the holes line up with the loops in the wire feet and draw on the silhouette of the model's feet.

I then attach the wire armature to the wood base and do all of the necessary final bending to get the wire into the proper position for the chosen pose.

There are many different methods to start the next step of a Scuply armature (including aluminum foil and more wire), but my preferred method is to use "QuikSteel" which is a fast hardening metal putty. It kneads like putty, but within 10 minutes it is hard as metal. It can be scraped, sanded, painted etc. This can be found in the Automotive section of a store and is most commonly used as radiator and dent repair.

I use the putty to give my armature some substance to build my Sculpy onto and to strengthen the wire so that it flexes less. If the wire flexes after I harden the Sculpy, it could cause cracking and breakage of the legs. Metal putty is also heat proof (used on radiators) so that it is perfect for use on an armature that will soon be baked to harden the Sculpy.

Notice the detail (on the right) to see that I poke many holes into the metal putty with a toothpick before it hardens. This serves the purpose of giving the Sculpy clay something to hold onto and to help it stick to the armature. Poke them in all directions, the more the merrier, so that the clay can make many fingers with which to adhere to the putty.

That's it for step 2. Onto fleshing out the model and adding some details!

The Re-making of Aragorn (Step 1)

noreply@blogger.com (ADAM) — Fri, 25 Aug 2006 01:19:00 +0000

Hello again! Well, through a little debate with myself over how dissatisfied I have been with my Aragorn sculpt, I have decided to start him completely over.

What more, I have decided to more closely document the re-sculpting process as I take him from rough clay all the way through the finished piece. Welcome to the first in my series 'The Re-making of Aragorn".

As with all of the other models, I must first sculpt the head and do a better job of capturing Aragorn's likeness. I will be utilizing "Super Sculpy" clay this time around instead of the white "Sculpy" that I used on all of my others. I used "Super Sculpy" on Legolas's hand re-sculpt and I was much more impressed at the amount of detail the un-hardened "Super Sculpy" clay could hold as opposed to the un-hardened "Sculpy". "Super Sculpy" is much firmer and is flesh-toned, which I am finding cool for sculpting the new face.

My tools of choice have always been ordinary round tapered toothpicks and a small tool that I have built myself (dowel and a curved wire). I also use a small assortment of cutting/scraping tools and a plastic smoothing wand with a pointed end.

With these and my own fingers, I am able to sculpt nearly any shape and edge that I wish and am comfortable using these.

This time, I made sure to get photos of the actor's face in a right-front-left turn around and with as little facial hair as I could possibly find. I took these and scaled them down to the exact size of the model's head-to-be and gave myself a version (seen at the top of the image to the right) with guide lines across all of the features.

*I only wish that I had gone to this length on all my others. I believe it would have helped me be more accurate with the likenesses than just eye-balling photos of different scales. Oh well, live and learn. This web-blog is one of progress and all of this sculpting has only made me better and better.

This new Aragorn is going to rock!

Start by molding a face-shape with a neck; making sure to get the proportion and size right according to the size charts. (I have to be incredibly careful to follow my original proportion chart in order to have all of these models be in the correct proportions to each other and to have all of their body parts to the correct scale to the model size).

I like to inscribe the blank face with the guide lines to match the model head of the chart and the turn-around.

I then begin adding the facial features in an additive method, by following the facial anatomy. I carve sockets and lay in the eyeballs, then add the eyelids, cheeks, lips, etc.

This helps me construct the face anatomically and get a more realistic face that feels like it has volume.

After adding all of the features and smoothing them into the face, I have my new Aragorn head! (Albeit without the facial hair), and bald.

Notice that I am not going to be spending any time sculpting details on the ears. I added them just to be anatomically correct and help me ensure that I captured a good likeness this time around. The ears will be covered over with Aragorn's long hair in the final model and will help to make the hair look like it is flowing over real ears.

Wow! I love "Super Sculpy" and will never go back! In just two nights time, I have the best head that I have ever sculpted and probably the best character likeness of all of my models!

Step 1 is complete. Next, I need to design an all-new pose and start the body frame.

Aaaah! Much better than my original "horse-faced" Aragorn!

Whew! Boromir is FINALLY complete!

noreply@blogger.com (ADAM) — Sat, 19 Aug 2006 03:21:00 +0000

After a week of setbacks on the resin curing, I finally got Boromir finished! He stands 11 1/2 inches tall and is complete with the Horn of Gondor slung around his shoulder.

The trouble I was having was with the resin sweating through small areas of the paint. This happens when the resin isn't thoroughly mixed in spots (my fault) and internal areas stay liquid longer and sweat through the porous material. I had to give the resin a little longer to cure, scrape the damaged paint, reseal the model (primer), and touch-up the paint. Easy fix, just time consuming.

Once burned... yada, yada. I'll be more careful when mixing resin in the future. No permanent harm done and the final result comes in as a tie with Gimli as my second favorite model after Gandalf. On to Aragorn!

It will take a little longer before you see a post for Aragorn. He is the last model I was working on and I was not finished sculpting him. I am also considering taking the sculpture all the way back to scratch. I have had some sculpting setbacks on Aragorn and I have never been happy with the likeness. I think I'll try my hand at re-sculpting his face and decide from there.