HOW THE MODELS WERE MADE
It often starts with a giggle, a 'what if...'
The BUTLER was the first one. I knew it was the only way I'd ever get a butler.
All the models with a function are constructed so they do serve that purpose - eg a tray bearer will support the weight of drinks.
The PIG as a dinner table companion evolved from 'there's only one pig at my table - and it's not me!'
The constructions are made from a variety of materials.
The basic framework can be of wire, wood, cardboard or scrunched-up paper, depending on the final purpose.
Reinforcements can be made for potentially weak parts, using plaster bandage or fibreglass.
Weight, where stability is an issue, is provided via several means - from lead strips to solid plaster.
Once the shape is formed, the skin and clothing are usually made up of strips of paper and glue.
During this process, the shape is re-assessed, checked for balance, reshaped and carved before the finished details are added.
It is always a relief to get to the first stage of painting, where it is given a coat of white acrylic.
This is when you can see what it looks like - until that point it can be a bit disguised by the newsprint.
After final amendments and finishing coats of paint, it is usually given three or four coats of varnish - gloss, matt or dead matt depending on the finish required.
The whole process can take between one week and three months.
The BUTLER was the first one. I knew it was the only way I'd ever get a butler.
All the models with a function are constructed so they do serve that purpose - eg a tray bearer will support the weight of drinks.
The PIG as a dinner table companion evolved from 'there's only one pig at my table - and it's not me!'
The constructions are made from a variety of materials.
The basic framework can be of wire, wood, cardboard or scrunched-up paper, depending on the final purpose.
Reinforcements can be made for potentially weak parts, using plaster bandage or fibreglass.
Weight, where stability is an issue, is provided via several means - from lead strips to solid plaster.
Once the shape is formed, the skin and clothing are usually made up of strips of paper and glue.
During this process, the shape is re-assessed, checked for balance, reshaped and carved before the finished details are added.
It is always a relief to get to the first stage of painting, where it is given a coat of white acrylic.
This is when you can see what it looks like - until that point it can be a bit disguised by the newsprint.
After final amendments and finishing coats of paint, it is usually given three or four coats of varnish - gloss, matt or dead matt depending on the finish required.
The whole process can take between one week and three months.
Pirate
Pirate 32inches
HOW THE MODELS WERE MADE - Example: The Pirate
I found a chair leg kicking around the studio (I think it came from a Captain's Chair) and after several months (years?) of moving it from one shelf to another, decided to make use of it somehow. What - or who - would have a wooden leg? Thus the Pirate was born! (and his parrot). Surprising it took so long, really.First the wire frame was made for the skeleton and the wooden leg attached. This turned out to be more tricky than anticipated - the join between leg and wire being a potential weak spot (I didn't want to drill into the wooden leg for some strange reason - just in case I wanted to use it again?).
Chicken wire is wrapped around to make the body form.
The crutch was made using old cardboard rolls taped together. Newspaper strips are dipped in wallpaper paste and wrapped around to make a skin and built up for several layers, letting each layer dry.
This is the point at which trials were done to make sure the wooden leg and the crutch were at the correct angles to ensure stability.The head has been constructed separately. Firstly a face was sculpted in clay. A plaster cast was made of the clay face and then small paper strips were coated with glue and pressed into the cast to build up a papier mache head. This allowed some detail to be created in the face, which I have found difficult when making straight in paper (when the paste dries it can leave bumpy surfaces which weren't intentional). After many layers of newsprint for the body, the clothing was added - in the form of copy paper soaked in paste and folded or otherwise 'tweaked' into place.
The hat, pistol, and sword (and eyepatch) were made separately using card. The parrot was made separately out of chicken wire and wrapped in paper and paste in the usual way. This was then attached by wire to the Pirate's shoulder - once on, the parrot was NOT going to get knocked off accidentally.
Details such as the cravat and shirt cuffs (made from paper doilies), buttons and braid are pasted or glued on now.
Once completely dry, the whole lot was given a coat of white emulsion. This is when you can tell which bits need 'adjusting' - building up or carving out until you're satisfied.
Then the painting proper begins with acrylics.
The whole lot is given several coats of varnish. (Use old brushes for this - no matter how much you clean them, or how quickly, you'll ruin your decent brushes).
I found a chair leg kicking around the studio (I think it came from a Captain's Chair) and after several months (years?) of moving it from one shelf to another, decided to make use of it somehow. What - or who - would have a wooden leg? Thus the Pirate was born! (and his parrot). Surprising it took so long, really.First the wire frame was made for the skeleton and the wooden leg attached. This turned out to be more tricky than anticipated - the join between leg and wire being a potential weak spot (I didn't want to drill into the wooden leg for some strange reason - just in case I wanted to use it again?).
Chicken wire is wrapped around to make the body form.
The crutch was made using old cardboard rolls taped together. Newspaper strips are dipped in wallpaper paste and wrapped around to make a skin and built up for several layers, letting each layer dry.
This is the point at which trials were done to make sure the wooden leg and the crutch were at the correct angles to ensure stability.The head has been constructed separately. Firstly a face was sculpted in clay. A plaster cast was made of the clay face and then small paper strips were coated with glue and pressed into the cast to build up a papier mache head. This allowed some detail to be created in the face, which I have found difficult when making straight in paper (when the paste dries it can leave bumpy surfaces which weren't intentional). After many layers of newsprint for the body, the clothing was added - in the form of copy paper soaked in paste and folded or otherwise 'tweaked' into place.
The hat, pistol, and sword (and eyepatch) were made separately using card. The parrot was made separately out of chicken wire and wrapped in paper and paste in the usual way. This was then attached by wire to the Pirate's shoulder - once on, the parrot was NOT going to get knocked off accidentally.
Details such as the cravat and shirt cuffs (made from paper doilies), buttons and braid are pasted or glued on now.
Once completely dry, the whole lot was given a coat of white emulsion. This is when you can tell which bits need 'adjusting' - building up or carving out until you're satisfied.
Then the painting proper begins with acrylics.
The whole lot is given several coats of varnish. (Use old brushes for this - no matter how much you clean them, or how quickly, you'll ruin your decent brushes).
