Posing a 1/32nd scale figure armature part 3

[Ray]

Guys,
Here's the promissed head sculpt SBS, the third part of my figure SBS.

With the pose now locked in it’s time to start work on the head/face. I’m going to do this part first because so much of the clothing depends on the final configuration of the neck, and head, and also because I plan to remove the head from this figure for casting each part separately for possible reproduction.

In the first picture the eye sockets are quite deep and completely empty, these were drilled out to accommodate 1/32”diameter aluminum balls I am using as eyes. Fortuitously the human eye is .98” diameter which works nicely for our purposes as a 1/32” diameter aluminum ball is readily available in reasonable quantities, and as you know this diameter is exactly one inch in 1/32 scale. Adding an actual eyeball may be unnecessary for figures of this scale, however, as this is such an easy thing to do, and also, since it makes sculpting the eyelids much simpler I would recommend this addition, if asked. Recall in the first set of posts, those concerning attaching the wire long bones to the castings that I am also using 1/32” diameter wire, so needed to drill holes with a #67 drill bit, the same size drill is used to create the empty eye sockets here. Carefully locate the center of your figures eyes, and holding the drill bit in a small pin vice drill shallow depressions to receive the eye balls. Don’t drill the eye sockets too deep, the balls are very difficult to remove once pushed too deeply into an over deep eye socket.

The following link is one possible source for metal balls, (this is the place where I got mine); http://www.mcmaster.com/

With the sockets drilled carefully place a ball into one of them and press it gently into the skull being careful, as previously noted, not to press it in too deeply. Once satisfied that the eyes are set deep enough in their sockets for the character you intend to create put a very tiny drop of the thinnest super glue into the outside corner of the eye, which will be enough to hold the thing in place while sculpting the lids. Repeat the proceeding on the other eye and you’re done. You’ll notice when sculpting the eyelids that the silvery gray of the eyes contrasts nicely with the epoxy putty, which is an additional benefit of their use. The second picture here shows the head armature with only the eyeballs added, ready to start sculpting a face onto, which soon follows.

Ray

 

[Ray]

In the first photo some putty has been added to approximate the cheek bones, this putty hasn’t been shaped or smoothed yet, it’s shown this way to give an idea of what it might look like to start. The second photo shows the brow and forehead built up, as previously mentioned this head armature is intentionally small for the scale so it needs to be built up on all its angles. Keep in mind when building a head that the human face is roughly the same height as the same individual’s foot is long. Also recall that the overall height of a human male should be equivalent to approximately eight of his heads stacked one on the other. It has further been said that a mans torso is approximately the mass of five of his heads stuffed into it, however as must be obvious guys with an excess of beer and sausages to carry might well accommodate an additional head within the mass of their torso (hopefully not more than six heads).

The putty being used here is Magic-Sculpt (with a bit of red modeling clay added for color, and contrast), which I chose by preference it being of a smoother texture than A&B and a lot more forgiving when altering its shape, plus it’ll give you a much longer working time than A&B. For those who prefer Green Stuff, sorry I can’t say much about it other than that it works well rolled thin for belts and stuff, which is about as much as I’m able to accomplish with it. Too bad for me because I get the idea from seeing what others have accomplished with the medium that I’m missing out on something.

Ray

 

[Ray]

The photographs in this installment show the same mass of putty shaped and smoothed. This might be a good time to have a word about smoothing the various epoxy putty’s. Though it is true that saliva works well I avoid using it because it is kind of gross and then it doesn’t seem a good idea to get the putty anywhere near ones mouth. Alternately Quang’s suggestion of lip balm, (Carmex for those who’ve seen it) works very well as does petroleum jelly. For putty that is getting stiff, and especially for A&B acetone works very well if applied with a brush only as if the figure was being dry-brushed with paint. Because acetone is a solvent to epoxy putty it is necessary to avoid flooding the putty with it, or you’ll end up with a mess of small clumps of putty on your figure. For anyone interest I always apply putty with talcum powder on my tools dipping the tools frequently in a small bowl of the stuff, and whenever the putty starts to adhere to the tool.

Note that the cheeks and forehead are nearly complete though there might be some touch-up necessary later should any unsightly flaws be found in the work. I’ve also taken some time to lengthen the jaw bone slightly at the back corner on each side, this because the cast jaw was, again, cast intentionally short. Forward of this as the jaw approaches the chin there is still some putty to be added, but I’ll do this when working on the chin.

It occurs to me now, (should have right away) that some of you might not have a head armature to work with. As an alternative, if working in 1/32 scale, the heads from Airfix Multi-pose figures are a very good place to start, the problem being that you can cooked the putty between steps with one of these as an armature. Another alternative is to scrape the detail from someone else’s cast head and create your own from it.

Ray

 

[Ray]

For this segment I’m using straight gray Magic-Sculpt thinking the contrast between it and the pink stuff enough to show the work. The first photo shows the upper lip added (no it isn’t a large mustache, and won’t look like one when the lower lip is added), this is essentially a simple wedge of putty sloping up towards its center just under where the nose will be. Having this lip complete allows for sculpting the lower lip and nose once this putty addition is hardened without risk of messing up anything already done. The second shot shows the final shaping of the skull coming together. With the shape and size of the skull completed work can begin on the ears (ugh!). I haven’t attempted a precisely scaled, or proportioned skull as this guy will have a lot of hair as well a hat. Still what is done is probably about all that would normally be needed or expected on a figure of this scale.

Ray

 

[Ray]

Here I’ve added the lower lip and chin, and straightened the jaw, making a smooth line from chin to the jaws corner. I’ve also started work on the ears as seen in the second photo. I despise making ears finding them the hardest of any part of human anatomy to sculpt, and I really admire those guys that can pull off a convincing ear time after time, apparently without the struggles I go through just to make a passably convincing job of it. This time round I’ve decided for clarities sake, and just to try something different, to sculpt the ear in parts, doing the larger part first, as shown in the photo, planning to return and fill in where needed after this first application of putty cures.

Ray

 

[Ray]

The green stuff seen in these photo’s is again simply Magic-Sculpt with colored modeling clay added. I’ve continued work on the ears, filling them in and finishing their shape, the nose has also received some putty to bring it up to size, and I’ve touched up the neck a little to improve its shape and mass. Also note that the corners of the mouth have had a bit of extra flesh added too.

Ray

 

[Ray]

In these final three shots the head is completed with the addition of the eye lids, nostrils to the nose and a bit of putty on the chin to improve its symmetry. Oddly, though the various shades of putty were used to improve contrast and help show the detail of the sculpt it seems, especially with the green to have distorted the appearance somewhat in these photo’s. Despite the apparent distortion in the photographs I’m pleased with the benefits of using the different colors of putty when sculpting as it does help in seeing the work progress better than when using a single shade or color.

As no other explanation, other than the photographs themselves seems necessary I’d say this SBS is now finished. I hope that it was enjoyed by some, and perhaps of some us as well, and am eager, as always, to receive your comments and criticisms.

Ray

 

[quang]

Hello Ray,

As always , a super SBS, articulate, instructive an really helpful.

And IMHO very sound technique as well (I use roughly the same technique myself inc. the moustache tip )

My only remark: the ears appear to be oversized, but may be it's just your style to do it. Anyhow this guy looks like he needs TWO iPods, one for each ear! :lol:

Q.

 

[MAB]

Hello Ray,
it compliments for your SBS
they are interesting and exausted you for all those who enough they want to begin to carve.
Salutes and good job

MAB

 

[Roy]

Nice one Ray...anything that encourages people to branch out and have a shot at sculpting has got to be good...I think there are as many different techniques as there are sculptors...but I gotta say, I have a problem with ears also...I think if I could sculpt them one next to the other, I would have far fewer problems.

All the best..Roy.

 

[Ray]

Quang,
Thanks. Maybe I should have mentioned it before, except that it only just occurred to me that these techniques are really compilations of ideas, some few my own, the rest appropriated from other modelers. One of the ideas here was to chronicle the lot of them in a hopefully intelligible and useful form. I'm pleased to think, that those few respondents, including yourself, seem to feel that the goal has been achieved. As things change and new techniques are developed or discovered it may be well for someone, not specifically myself :lol: , would update these or other SBS' by the addition of these new ideas. For instance, although it is a little pricey, and only really useful for 1/32 scale figures, the Andrea(?) armature is really nice and could easily take the place of all that I've suggested. I know that this isn't really a technique so much as a resource but it is something that might be useful to some. One thing I would add though, is if using the Andrea armature, anneal the brass etch before trying to pose anything with it! Speaking of posing and updates, have you yet seen the addition I made to the 2nd part of this series of SBS'?

Ray

 

[Ray]

Maurizio,
The first thing I want to say to you is Thanks for the approval and encouragement. After that, I really crave seeing some more of your own techniques, and would like very much to have some few of the more unique explained. One thing that springs to mind right away is, what kind of seed or whatever did you use for the beans in your Dragoon sculpt? Finally, if only I had some Italian, ahhh.

Ray

 

[Ray]

Roy,
Thanks for the note. Yeh ears, any thoughts on making these things easier? Probably should have said this in my reply to Quang, but. The ears on this head are probably a bit too large to be considered typical, but I don't really think they're quite large enough for un-powered flight, maybe next time. :lol:

If these things in anyway, offer some encouragement or help to anyone, I'll be well pleased and anxious to know so. I'd especially like to see some work of someone that was affected by these posts, even, or maybe especially, if the posts were only inspiration and the content otherwise disregarded in favor of some other techniques. I'd really like to see these other techniques, I need the help at least as much as any other novice sculptor and wish only to improve, if such is possible given my own peculiar limitations.

Ray