forum.ww1aircraftmodels.com
WW1 Aircraft Modeling => WW1 Aviation Figures => Topic started by: kellerkind on June 20, 2020, 05:42:12 PM
-
Hi Folks, perhaps some of you have seen this pics the last weeks at my FB account, I will show the process of sculpting a 1/32 pilot here in this forum too. I hope, you enjoy the show.
The whole project is a collaboration between Kellerkind Miniaturen and Flugzeugbau Fokker, alá Engels - zum Mitmachen. / Private Sammlung - Wäschenbeuren
Let's start:
"Corporal Engels"
Among the flight enthusiasts who are reading here, there are certainly one or the other who - like myself - also tries to approach the subject of "flying in the First World War" from a model-building point of view. In the past few years, countless kits from a wide range of manufacturers have come onto the market and the range of figures that can be placed next to the model planes has also increased steadily. I myself have been making figures on this subject for a good 10 years and would like to show in this small, continuous series what steps are required to create such a figure. The whole thing is the result of a collaboration between Kellerkind Miniatures and Achim Engels.
The aim is to model a seated pilot of the Imperial German Air Force from around 1918, who sits on his machine with a casual smile (I do my best to make it halfway). The scale is 1:32 (54mm) so that the figure can later be used in a model kit.
The materials used are as follows:
1. BeeSPutty- this modeling clay that hardens in the oven is used for almost the complete modeling of the figure
2. Green Stuff - this two-component modeling clay forms the base of the figure and holds the wires together. Later, some details will be designed on the figure (recognizable by the green color)
3. Aluminum wire - it forms the basic structure / skeleton of the figure
4. Iron wire - it is used exclusively as a support wire for the valve and is later removed
5.Some of the tools, some of which were manufactured in-house and otherwise come from various sources (e.g. dentist's cutlery, etc.)
And let's go ...
-
pic 2
-
pic 3
-
pic 4
-
pic 5
-
Thank you for sharing your technique and process, Martin. It is most fascinating and informative. I have many of your figures and they are wonderful. Just received the latest MVR figure a few days ago. Thanks for sharing this information with us. The photos are very good and demonstrate well the artistic effort required to create a top notch figure.
Best regards,
Bob
-
I always enjoy seeing the "Processes" in Modeling. Thanks for sharing your sculpting techniques. I also will add it is great to see you here on the Forum Martin!
RAGIII
-
Very cool 8) I‘ll have a seat in the front row to watch.
Andreas
-
Hi Folks,
thanks for you interest. If there some questions, feel free to ask. I can't have a look every day into this Forum, but I will try to answer within 1 or 2 days.
Anyway,
here comes step 2:
After the "green stuff" putty has hardened, the fitting is brought into the desired pose. The break points are transferred from the template to the wire with a pair of compasses and then bent with pliers. In this step it is advisable to work as precisely as possible, since mistakes are difficult to correct afterwards (an arm that is too long remains an arm that is too long. No modeling skills, no matter how great, help!). Finally, the palms flattened and swoosh, ... the pilot is sitting in the machine!
In order to be able to work properly on the figure, it is inserted with its extra-long legs into a wooden base (balsa). Because our figure (later) has free hanging legs, the wires don't need to be inserted too far. Since the wire is only a thin 1mm aluminum wire, you run the risk of constantly bending the figure back and forth while working. If this happens too often, the wire breaks at some point. Then you have a problem! In order to avoid this as much as possible, I use a 1.5mm iron wire that is glued in at one end in the base and at the other end in the back of the figure (a drop of superglue - alternatively you can do it yourself help with some "green stuff").
That's all for today,
Martin
-
step 2 more pics
-
This is fantastic, I can't wait to see the finished product.
-
step 3
The first layers of BeeSPutty are applied with the modeling tool. I.e. first roughly pressed on, if necessary rolled on with a thin round wood (or the brush handle) and then slowly brought into shape. The putty adheres very well to the surface, so that you can do without solvents.
In between, I smooth the faces with a small brush from time to time to better see where it is going. The nice thing about this oven-hardening mass is that you can take your time and determine the time when you want to let the mass harden. This is an invaluable advantage over two-component materials, especially when it comes to heads or complicated clothing folds. With these you only have a limited time window and at the end it gets "hectic" sometimes. Even after years, you often mix too much modeling clay and then throw away the remains.
I tried to put a smile on the face according to the template, which hopefully can at least be guessed in the pictures.
As the last step, put his ears on (always make sure that they are at the same height - seen from above and from the front - we don't want to sculpt a Frankenstein!) And then baked in the oven for the first time. This is not absolutely necessary, but it is safer for my head. He does a lot of work and it does not help if you accidentally crush him again when you later work on the figure.
That was all for today
Martin
-
step 3 more pics
-
This is a brilliant tutorial on figure sculpting. One of the truly artistic aspects of our hobby.
Cheers
Syd
-
I am absolutely loving this!
RAGIII
-
Step 4
After the first baking, you can now start to build up the volume. You don't need large quantities for this scale and it is sufficient to roll a small ball of BeeSPutty between your fingers and then put it on your thumbnail. You can get by with this small amount for a while and if the mass is no longer usable due to the constant immersion with the modeling tool, you simply roll it again to a new ball and have a clean, smooth amount again. The placement on the thumb nail has the advantage that you don't lose focus all the time (after all, we're all slowly getting to the age where we're completely stuck without a headband magnifier) if you take new modeling clay out of the pack and always slightly warmed it, i.e. has softer mass available. I generally prefer soft masses. I am more of a “stroker” than a “carver” and like to work with a small, soft brush to smooth out details or to shape them at all.
At the same time as the volume is built up, you also start modeling the figure's clothing. Here, at the latest, you should have made a decision about what the figure should wear later. So what comes next is a boring, but at least lengthy process of applying - see if it fits - and reapplying modeling clay. Again, you should always check whether the proportions are not out of control. Unfortunately, this happens faster than you think and nothing is more frustrating than scratching a beautifully modeled part off a figure and having to make it new just because it has become a little too thick!
BeeSPutty adheres wonderfully to surfaces, but problems can occasionally arise with the smooth wires of the arms, as the mass does not want to hold up. Here you help yourself with some turpentine substitute, which you spread on the wires, then apply the modeling clay and then, after everything is completely covered, wetted again with the solvent. Then you should let everything air out for a day, otherwise the mass would be too soft to be processed further. Fortunately, there are enough other construction sites that you can dedicate to.
Something else about the tool used:
If you model a lot, preferences for certain tools will emerge over the years. That was also the case for me. I have always used hooks and blades. Both dentist's cutlery and correspondingly good quality. It is not advisable to save here. No one who wants to work even halfway professionally should work with inferior tools. Nowadays it is easy to get such things online. When I started years / decades ago, you still had to rely on flea markets and your luck.
For a while I held modeling courses with a good friend (Dennis Zarnowski), in which we developed a tool for the participants, and which I have been using myself ever since: the "Mass Shifter MKI" or, lovingly called "Captain Hook“. For me, it combines all the advantages of different tools. The small blade is perfect for removing material or smooth edges, such as To model belts or sharp incisions on the figure. The hook also allows me to reach unfavorable locations and makes wonderful folds with its curved shape.
For our second course we then developed another tool: the "MKII mass shifter". Again, two useful things have been summarized: the kinked flat round tip for removing and applying modeling clay, and the end with the loop for smoothing / leveling surfaces. Since both tools have a wooden handle, they are extremely light! An advantage that should not be underestimated when working on small objects.
In addition, there is a cheap school brush for "gently stroking" the modeling clay (with and without solvent), as well as some rubber brushes, so-called clay or color shapers in different degrees of hardness. In a few exceptional cases, additional tools are added, but they are not used permanently.
There is nothing more to say for today ...
Martin
-
step 4 more pics
-
step 4 more pics 2
-
Really interesting to follow! I'm still amazed by what can be done! 😮👍
/Fredrik
-
Step 5
And it continues with the "Private Angel". One or the other may remember last week. I was going to build the volume of the figure step by step. This continues today. So I take a little BeeSPutty off the thumbnail with the tool and attach it to the appropriate position on the figure (I usually use the blade for this, with which I cut narrow "slices" and then lay them flat). Then I have the opportunity to press the whole thing in with the tool or alternatively roll it carefully onto a thin log / brush handle. This is always recommended in places where you can only work with little pressure (e.g. free-hanging arms, or something else that would otherwise be destroyed by too much force). I also like to start putting on the first folds of clothes at this early stage. These are made from small modeling clay "sausages" and "melted" with the environment, that is rolled or carefully pressed on (there are modeling tools that have a small metal ball on each end and that is wonderfully suitable for this!).
When I've finished a certain area (e.g. the pants here), I smooth the surface with a brush to see how it all works. As a solvent, I mostly use “sterillium” (something difficult to obtain in these times), isopropyl alcohol or simply water (turpentine substitute is not used here, as it would dissolve the whole thing too much). I keep the water in a stamp pad - so the brush is only moistened and not soaked. After smoothing, I press in the trouser seams with the end of the blade and go over it again with the brush.
Since the figure is built on an aluminum wire, you can carefully bend aside the part that is disturbing (here the left arm). Just don't do it too often, otherwise it will be gone at some point!
Up soon,
Martin
p.s. many thanks to follow me here in this little SBS
-
step 5 more pics...
-
Superb work Martin !
Very interesting to watch, thank you for the updates.
Luke
-
Lovely Sculpting. I am really enjoying watching this one come together!
RAGIII
-
Step 6
The fur collar is attached to the figure. For this I roll a sausage from BeeSPutty, press it flat on the table and fasten it (by lightly pressing it on with a tool) to the figure. The collar, as it is very thin and will later be folded up, can be made in three ways.
First: You form a flat piece of modeling clay on the figure and bake it out.
Second: You use a two-component modeling compound and wait until further processing after curing.
Third: Do it like I do (laziness wins!): Completely model the collar flat on the figure and then carefully bend it up (before baking).
Anyway, the whole thing happens in at least two steps. First substructure, second fur structure. I manufacture this structure with the hook end of the tool, in which I easily stick many times side by side into the modeling clay and thus create the structure. If the fur should become a bit fuller, you could also pierce the mass with the blade side of the tool and create a slightly more voluminous variant by turning it slightly. But that fits more with fantasy figures or with larger areas. With our little collar, it would be too much of a good thing.
I mark the positions of the buttons with the small ball tip of the tool. In my opinion, it always seems more alive when the buttons sink slightly into the surface than if you just put them on.
After completing this step, I bent the left arm back into position and started shaping it. Again, carefully rolling on / pressing the modeling clay onto the wire and then further processing with a hook, blade and brush. So, everything as usual!
It continues with the hands, since these two lie directly on the figure and do not hang freely, that's not a hit. First of all I take a piece of mass from the thumb nail, press it onto the side of the figure base, cut it to the exact size with the blade (palm including fingers) and then attach the piece to the arm. Now I shape the back of the hand a little and stab the blade three times at the front end to work out the four fingers. Then everything is rounded off. The thumb is placed on the side as a separate sausage and adjusted. The first hand is ready! The second is made in a similar way, except that you start here with a thicker lump, since the hand is clenched. Otherwise as already described: Determine dimensions, press on, insert finger gaps and level everything with a brush - done! Funfact clothes on the edge: You should keep the proportions of the hands as far as possible and also measure! Unfortunately, it happens too quickly that the hands become much larger than they are entitled to. And something like that distorts a beautifully made figure!
I put a pair of gloves under the left hand of our private Engels, which he had just taken off after an exhausting flight. They are made just like the hands themselves. Only that their dimensions are slightly larger than that of the hands.
The next step is the hat. Here we first need a surface on which we can work later. So, rolled a sausage modeling clay around the head and straightened the edges with the blade. I don't do more of it at first.
I can still put the seams on the pilots back. Since this is a thick coat that usually has double seams, you can easily overdo it. Long sausages are rolled again, rolled on at the appropriate point and "fused" to the surface.
Up soon,
Martin
-
step 6 more pics 1
-
step 6 more pics 2
-
Remarkable Talent Martin! I Know I said this before but I Love watching your processes!
RAGIII
-
This is an amazing demonstration on the "Black Art" of figure sculpting - said in a way there seems to be stunning magic and class turning into an amazing creation! Well done, and Thank You for explaining the process to us, you have talent indeed! Regards, Marc
-
Thank you for sharing all these wonderful tips and techniques: it's interesting and useful, and also to whom is not attempting figure sculpting it's highly instructional.
Looking forward to see the finished figure.
Ciao
Giuseppe
-
Hello boys and girls, here comes the last two steps at once:
Step 7
The hat consists of a small ball of modeling clay which, after being pressed flat between the fingers, is placed on the head and pressed down. The folds are pressed in with the hook and the circumferential seam is first pressed in with the blade around the cap plate and then baked out. Now you roll a very thin and long sausage (preferably with a steel measure on a smooth surface) and carefully insert it into the "groove". As the modeling clay is very soft, caution is advised and it is advisable to "stroke" the whole thing with a brush moistened with white spirit after the first fixation.
One more thing about the figure's left arm. It may not be noticed, but somehow I didn't particularly like the arm position. I therefore put the figure in the warm oven for a few minutes to warm it up and then almost completely separated the arm from the body with a sharp scalpel and let everything cool down again. Then cut some material on the inside and carefully bent it back to the body in the new position. The use of aluminum wire has already paid off here. Although it is relatively soft when working, it is perfect for such cases. If the wire were thicker and / or made of another material, one would run the risk of destroying the figure when it was bent. I.e. It would probably open up somewhere. And you really don't want that! Incidentally, the gloves were also dropped during this conversion, since they looked a bit out of place.
Now that the figure has been baked more or less for the last time, I have modeled all further details with "green stuff". This mass is a so-called two-component mass. I.e. You mix the two components (yellow and blue) together and you get a (green!) Mass that remains processable for a certain time frame and then hardens at some point due to chemical processes. I like to take this mass for the last details on the figure, because I really appreciate its toughness and stickiness.
As a more or less last step, our private is now being prepared for the molding. Certainly one can mold such a figure in one piece. But the more undercuts a figure has, the faster the shapes wear out. So I decided to pour the right arm separately. And here, too, the fantastic quality of Bessputty helps you to do everything without causing much damage. So, the figure again in the warm oven for a few minutes, with a knife cut the arm on the shoulder down to the wire and let it cool. Now carefully turn the arm and cut through the aluminum wire. To get a good fit later, I use a ball end mill to mill two small recesses in the upper body. I put a little "green stuff" on the matching counterpart (the right arm), coat the recesses in the upper body with release agent (e.g. vaseline) and press the two together. So I get a kind of connector quickly and precisely.
-
step 7 more pics...
-
Step 8
The figure is now ready for molding on the table in front of us. The plug connection to the arm has been completed, everything has been checked again for possible defects and found to be good. In order to be able to cast the figure, she now needs a so-called sprue. The material later flows into the mold through this.
Since resin is quite thin and the figure has very little volume, you only need small sprues. These consist of two 2mm thick round rods, which are glued under both shoes with a drop of superglue. This has the advantage that the material can flow into the mold on one side, while the air escapes from the mold on the other side. This prevents the formation of air bubbles and the resulting misfires. The large sprue block serves as a material reserve through which further resin sags.
Now all we have left is to glue the two parts onto a plastic plate and place four walls around it that form the molding box. Liquid silicone is then filled into this under vacuum and pressure. After a few hours, the mold walls can be removed again and the figure can be removed from the silicone by careful cutting with a sharp scalpel. The mold is now ready for the actual casting and can be filled with resin. Depending on the setting time, the first copies of the original can be obtained in a relatively short time.
The last step would be to paint the figure, which I will not go into here due to the lack of skills.
Thank you for reading, and see you soon,
Martin "Kellerkind"
-
step 8 the last pics...
Thanks again for your interest and your Kind comments.
Best regards,
Martin
-
Very nice of you to post the process. I followed each update and still, the whole thing seems magic to me. Sculpting is an art my brain does not seem to process well, I am just happy the ole noggin can at least appreciate other's art. The hat really finishes the piece nicely. He was starting to look like Uncle Fester before the hat. :-)
sp
-
Fascinating processes and Superb results Martin! Thank You for sharing!!
RAGIII
-
Wow this is fantastic to know about! Thankyou!