Sculpt Arms or Legs - SculptUniversity.com

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Table of Contents
Yes! You can share this book!
Feel free to pass along to a friend or send them to StartSculpting.com so they can
download a copy as well. This book may be shared as long as it kept in its entire form.
Letʼs explore the art of sculpting OOAKs together!
© 2013 Apryl Jensen All Rights Reserved. Printing for own use is allowed.
MakingFairies.com
© Apryl Jensen 2013"
SculptUniversity.com
About the Artist
Apryl Jensen began working with polymer clay in 2002 and has been sculpting One of a
Kind Figures since 2004. Her pieces can be found all over the world in private
collections, and now number into the hundreds.
Apryl, or aprylian, as she is known on eBay, learned to sculpt at home using books and
videos that were available. With practice and determination, she gained the ability to
make lifelike figures, fantasy creatures, and miniature babies. She shares:
“I really had no more experience than a drawing class here and there, and some
raw talent I must have inherited. I had no idea I could sculpt well. I remember
sculpting heads and faces in the sand at the beach, but I didnʼt know I was doing
something unique. In fact, I considered my sculpting talent to be no more than
average. But when I found One of a Kind art dolls, and fairies in particular, I fell in
love in an instant. I had to learn how to create these amazing sculptures. I was
enchanted, and I was determined to learn. Iʼm happy to report sculpting is indeed
an art you can master, with only a little talent, some good instruction, and a lot of
tenacity.
“I love teaching sculpting because I feel like I have a unique viewpoint to offer. I
never considered myself an artist growing up. And I was over 30 before I even
learned I could sculpt well. When I teach, I teach what I learned as someone who
wasnʼt an artist. My techniques are very detailed and full of step-by-step
instructions. I know what itʼs like to feel like your blob of clay looks more like an
alien. But I also know the joy of learning the art of sculpting, and I know the path
that takes that “alien” to a work of beauty.”
Apryl keeps very busy as a mother of 6 children, one daughter and five boys. She loves
to write, play tennis, go rock climbing, make gourmet food, take trips with the kids, and
dabble in web design. She holds a Bachelors of Science degree in Human
Development and has written several books including Everyday Manifesting--Finding
Joy Through Creating Consciously and I Create Vitality. She also manages her online
inspirational site and newsletter at CreatingConsciously.com.
Aprylʼs teaching materials can be found at MakingFairies.com, and her collection of
streaming videos, articles, and sculpting helps can be found at SculptUniversity.com.
Her completed sculptures can be viewed at her online gallery, aprylian.com.
MakingFairies.com
MakingFairies.com
MakingFairies.com
What is an Art Doll?
An Art Doll or One of a Kind (OOAK) doll is
made from mixed media and incredibly lifelike.
Usually sculpted from polymer clay, paper
clay, or epoxy clay, the doll is then painted
and blushed for amazing realism, and given
hair and often clothing as well.
Art Dolls are created by artists and intended
as unique and expressive works of art, rather
than a childʼs toy. Many art dolls are posable,
containing a soft, batting and wire body, with
sculpted head and hands. This baby doll has
sculpted hands, feet, and head, but the body
is weighted and posable for a life-like feel
when she is held. I gave her mohair and
lashes that make her look real.
The One of a Kind dolls (OOAK) I create are typically more like figurines and stay in one
pose. I love the human form and like to sparsely clothe my dolls so their “human”
features--the muscles and beauty of the body--are sculpted as well and showcased,
rather than hidden by clothing.
OOAK dolls are often sculpted in polymer clay that is flesh colored. When combined
with a skilled hand and blushed and painted, these sculptures look amazingly lifelike.
Most OOAK dolls--mine included--are sculpted entirely
from scratch, without the use of molds, and each one is
truly unique. Part of the wonder of an OOAK piece is that
the beautiful fairy before you was once just a ball of clay.
A skilled had can nearly bring the doll to “life.” People
often half-wonder if the fairy will awaken and fly away!
One of the latest trends in sculpting OOAKs is to give the
doll life-like eyes as well. The eyes are often made by
the artist with mixed media, and the result is a wetlooking, wonderfully realistic eye that seems to bring light
into the whole doll.
OOAK dolls can be sculpting in any pose you choose. This gives the artist a chance to
truly express his or her own version of what a fairy or other fantasy creature would be
like to them.
MakingFairies.com
One thing I enjoy in particular is the ability to create a scene with more than one doll.
You can create dolls that interact with each other, show emotion on their faces, and
draw the audience into the presence of the piece. Creating OOAK dolls is great fun, and
very rewarding!
MakingFairies.com
What is Sculpt University?
SculptUniversity is an online learning resource focusing on the art of sculpting One of a
Kind Fairies, Babies, & Fantasy Creatures. Through years of learning and research, I
realized Iʼd collected a vast amount of knowledge and skills that could be easily shared.
I remember being a beginning sculptor myself, at it was, at times...a bit overwhelming. I
had so many questions, and so much to learn.
As a sculptor, we often live a bit of a solitary existence when it comes to associating
with other artists. SculptUniversity gives you a chance to connect with other artists who
are also learning to sculpt One of a Kind pieces.
The main focus is of SculptUniversity is to teach you the skills you need to sculpt
beautiful fairies and the human form as you desire.
Once you master the skill of sculpting the human
body, the sky is the limit. The many types of fairies
and creatures you can make is limited only by your
imagination.
With hundreds of articles, videos, and photo tutorials,
SculptUniversity can help you learn and refine your
sculpting skills. The materials are easy to
access...only a mouse-click away.
SculptUniversity has something to offer everyone, and
every level of sculpting skill. There are many articles
to browse through, and a search box to help you find
just what you are looking for. Premium members gain
access to HD videos and intensive tutorials that are
filled with detail and took hundreds of hours to put
together. Whatʼs even better, is that SculptUniversity
is continually growing in learning resources, with new
articles and videos added often.
SculptUniversity was created to support you as you
learn the sculpting process and teach you the special
techniques OOAK dolls require. It is geared for
people comfortable with learning over the Internet and
intent on acquiring sculpting skill. You can check it out
for yourself at SculptUniversity.com.
If you prefer learning through DVDs and video, many
sculpting resources as also available at
MakingFairies.com
MakingFairies.com, as downloads and shippable DVDs. Full details can be found in the
Resources section of this guide as well.
Now...on with the ebook!
MakingFairies.com
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Basic Supplies:
Floral Tape, Wire cutters (purple in photo), flat head wire pliers (pink), floral wire or armature wire, foil. All can be found at any craft
store.
Other Supplies
•
•
•
•
•
•
•
•
Orange Goop (pictured at left)
Fabritac Glue
Pearl Ex Powder or Pearly Acrylic Paint
White Maribu Feathers
White Flat Feathers
Tibetan Lamb’s Wool for hair—or your choice of hair
Scraps of material for costume
Toothpicks
Copyright Apryl Jensen 2013
www.MakingFairies.com
www.aprylian.com
Page 2
Here is a picture of the clays I use the most. I use a mix of these.
The two at the bottom are both Premo—Beige and No Pigment Base. These can be found at www.polymerclayexpress.com or
www.clayalley.com .
www.aprylian.com
Page 3
Here you can see the type of paint I use. It can also be found at www.polymerclayexpress.com . It’s called Genesis and it is like a
heat-set oil (though they aren’t really oil paints). They are wonderful! I just bought the sample packets (years ago) and still have
plenty—it will last you forever. I use Flesh 06 and just add in red to make my blushing color. Just use the colors you prefer. For the
eyes in this booklet I used a teal color I made from a blue and green and then lighter versions of the
same, created by adding white (or rather, a bit of the teal to a lot of white).
I also have the Genesis Heat Gun and a regular embossing gun as well.
www.aprylian.com
Page 4
Brushes: These are the brushes I use for painting. Really, I’ve found you don’t have to be specific, but I do prefer FILBERT tips. This
refers to the cut of the brush tip, not a name brand. Notice they are pretty small tips—size 20/0 on two of them. I found these at
the local craft store. The Dry Brush is from www.micromart.com, though I’ve since found any dry (not wet) brush can achieve the
same effect—just helps to blend the paint better.
On the right end is just a cheap mop brush I use for doing fimo wings. On the left are some for blending body shading.
www.aprylian.com
Page 5
All my sculpting tools (a picture of must-have’s is next)
From the left: Two X-acto knives—one is dull, one sharp, Creager Tools www.creagers.com , dental tool from Jack Johnston
(www.artdolls.com) shaper tool (craft store) Wipe-out tool (similar ones can be found at
http://www.thechinacorner.com/catalog/product_info.php?cPath=22&products_id=323) compass for measuring, wood tool (can’t
live without—can be found here: http://www.baileypottery.com/potterytools/sculpturetools.htm --I use C-092-010 fine modeling
tool. Then we have a few brushes for smoothing, and several sizes of stylus tools—all found at nearly any craft store. At the top is
not scissors—it’s a hemostat for holding items. I use it more for soft-bodied dolls. I got it at www.artdolls.com.
www.aprylian.com
Page 6
I asked myself, if I had to pick only the tools I use the most, it would be these (all from the last list).
One I neglected to mention is a pottery knife tool. I use it for cutting fingers, and it can be found in most craft stores as well, or
online at Baileypottery.com.
www.aprylian.com
Page 7
And last but not least, Sandpaper. This is the superfine Automotive Sandpaper—for wet use. I have it in 250 grit, 320, 400, 500, 800,
1000, 1200, 1500. I bought it at an automotive store in Montana. Look for it online— www.amazon.com has it!
I also use Aves Apoxy Sculpt—a two part clay you mix together. A chemical reaction causes it to harden—rock hard—with no baking
involved. It’s available at http://www.avesstudio.com
www.aprylian.com
Page 8
My Favorite Clays
One of the aspects of your journey with sculpting is to find the right clay. How do you
know which is the right clay? It will be the one that works for YOU. Does that mean
different people use different clays? It certainly does. The right clay is the one YOU fall
in love with. As sculptors, we all have different qualities in how we sculpt and
preferences in how we want our clay to respond to our sculpting. Polymer Clays also
have qualities that vary from clay to clay.
In this article, Iʼll share my own favorites with you and help you become more familiar
with the features of these favorite clays, so you are armed with information as you find
what works best for YOU.
Iʼll let you know right off though...Iʼm a mixer. I have not yet found all the qualities I
adore in a clay in one single brand. Some come close, but I still prefer my own special
recipe. Iʼll share a link with you at the end of the article to show you just how I make
mine.
First, letʼs get familiar with the clays.
Premo
One of my first favorites is Premo clay. Itʼs like the big sister version of the colorful
Sculpey clays you might have seen children playing with. Premo is a strong clay, less
prone to breaking than Sculpey was. Many artists use the colored versions in beadmaking as it is similar in quality to Fimo, or
Fimo Soft especially.
I use Premo beige as a main ingredient.
Often a 1/3 to a half of my mix is just Premo.
The reason I donʼt use only Premo is
because itʼs a little shiny and itʼs too hard...it
doesnʼt
respond
“Seaming” is how well your
quickly to my clay blends together. Take
gentle clay
a ball of clay and cut a line
strokes. I
down it, just scoring the
like my clay
top. Then see how well
to have more you can make that line
give and to
disappear (or “seam”).
“seam” well.
Premo takes
more work than I care for.
MakingFairies.com
© Apryl Jensen 2013!
However, it is one of the stronger clays and has a rich fleshy tone. It is also more firm
than soft, and this firmness is also a plus. You will need to find the right firmness that
you like sculpting with. This will vary with each individual. If you want a firmer clay,
consider adding more Premo to your mix.
ProSculpt
.
Next is ProSculpt. Jack Johnston, from ArtDolls.com, is the creator of ProSculpt, and I
know he and his son, Jared, well. They are both amazing sculptors. But a lot of their
work is with art dolls--which tend to have larger, stockier fingers than wee fairies--and
life size babies, which also use a considerable thickness of clay.
ProSculpt comes very close to being the ideal clay for me, except for its one drawback.
It can break easily. I donʼt think it was intended to be used for fragile fairy fingers. Most
fairy makers that use ProSculpt also are mixers, and add in a stronger clay to help
correct this weakness.
I know some people have used ProSculpt alone and bake it a little higher than it calls
for, so it becomes stronger. However, this also tends to make it “moon” more, so that
becomes another drawback. (Moonies are explained later in this article).
Other than that, it rates excellent on color, sculptability, feel, and seaming. It also is a
main ingredient in my clay mixes because it has very many of these qualities I adore.
MakingFairies.com
Cernit
Next, we have Cernit. Cernit is an amazingly strong clay and I add it to all of my clay
mixes. However, I add only a small portion because it is also a very soft clay (ironic,
isnʼt it?). Iʼm amazed that people can sculpt with only Cernit because I think it would
melt in my hands. However, this softness is what makes it an excellent clay for my
smoothing techniques.
More than any other clay, Cernit reacts perfectly to the Orange Goop Cleaner I use as a
smoothing “oil” in tricky places, especially the face. Iʼve mixed clay before without the
Cernit, or used only
ProSculpt, and the Orange
Goop does not have its
magical effect when itʼs time
for brushwork. Cernit is a
must for using Goop to
smooth, and using Goop is a
must for me.
So Cernit is ALWAYS an
ingredient in my clay mixes.
ALWAYS.
MakingFairies.com
Super Sculpey
Lastly, we have Super Sculpey... a clay thatʼs
been around for ages. Itʼs popular for
children as well because itʼs incredibly soft
and easy to work with. Itʼs a bit too soft for
my taste to work with alone, though I do use
it to fill in mermaid tails especially. Itʼs very
easy to use in layers, where I have a baked
surface beneath and then am only adding
extra clay to smooth or fill in any pits or low
spots, (again, typical with mermaid tails).
Super Sculpey has a beautiful, rich color that
I love to add to many of my mixes, the babies
in particular.
However, this clay is also very weak and
brittle, so it breaks easily, and it also often
bakes with “moonies”, the little pockets of air
that show up as whitish circles or moon-shapes in your clay. Not good. So if you do
use Super Sculpey in your mix, be sure to add a stronger clay like Cernit or Premo.
Premo and ProSculpt help to add more opaqueness to the clay, and therefore are less
prone to showing moonies. Iʼve known some artists to use a mix of Super Sculpey,
Cernit, and a white ball of Premo, to help counteract its weakness and translucence.
Places to Purchase Clay
Some of my favorite places to buy clay are listed below:
Artdolls.com (for ProSculpt)
Morezmore Estate (a store on eBay)
PolymerClayExpress.com (an excellent Internet Store)
ClayAlley.com (another excellent Internet Store)
Amazon.com (often the best prices)
DickBlick.com (art supplies galore!)
MakingFairies.com
Here is a link to an article on my recipe for clay.
http://sculptuniversity.com/index.php?option=com_content&view=article&id=6:mixingclay&catid=29:general&Itemid=107
Well, thatʼs clay in a nutshell. There are certainly many other options and other clays,
such as Fimo and the newer Kato clay. The secret is to try it out. The more you sculpt,
the more you will find what you like and what you donʼt. Itʼs smart to get a few different
kinds of clay so you can play around with them. Give them a baking test. See what
they are like before you invest hours in
sculpting with them, only to find they moon
How to do a Bake Test
easily or are brittle.
Use the article Iʼve linked to above to learn
how to mix your own clay. This mix is a typical
one that I prefer.
Remember, any time you invest in finding a
clay or clay mix you love, is time WELL
SPENT. You want your clay to be your friend
and have it work with you in progressing your
sculpting abilities...not against you because itʼs
a hard clay to handle.
Select a few different clays and/or
clay mixes to test. Shape them
each into a long cylinder, thick as a
fairy arm on one end, and thinning
to a fairy finger on the other. Then
bake these and test your results
once they have cooled. Do you like
the color? Can the “finger” bend a
bit before it breaks? Or does it snap
in two? Does it make a difference to
increase the temperature or bake
time? Play around with these
sample pieces so you know what
works for you when itʼs time to bake
your masterpiece!
aprylian
~
MakingFairies.com
Sculpting Clean
One of the best tips I could ever give you for sculpting is to help you keep a clean work
environment. Does this mean your craft area must be neat and tidy? (If it did, Iʼd be in
big trouble...Iʼve nicknamed myself “the hurricane”!) No, but your work surface should
be.
Clay is a very sticky substance. Itʼs almost a magnet for dust and lint or any loose
particles. A tiny bit of lint baked into your doll can be near impossible to remove and
you may have to resign yourself to her strange “birthmark”.
However, there are many things you can do to minimize this happening, and this article
will leave you well-informed and ready to create a near lint-free environment.
First, make sure you have some old or dirty clay on hand. If you donʼt, you can use
some new clay and donate it to the purpose. You donʼt need a lot...just a ball the size of
a quarter or 1-2 inches.
Each time you sit down to sculpt, make
sure your hands are freshly washed. Be
sure to use a light colored cloth to dry
them. Light colored lint isnʼt much of a
problem. Itʼs the dark fibers that get you.
Wear light colored clothing when you
sculpt. Or if thatʼs inconvenient, wear a
white smock over your clothing. I have an
old, thin dress shirt that belonged to my
husband that I use. I cut the collar to
make it more comfortable, and the
material is so light I hardly notice it.
Whatever you choose to wear, realize that
much of the lint you find in your clay is
coming from your clothing or the towel
you dry your hands with. So be aware of
your clothing and towel choices when you
are sculpting.
If youʼve ever spent an hour picking little bits of lint out of your doll before you could
bake her, youʼll know how valuable these tips are!
MakingFairies.com
So, you are ready to sculpt, have used light-colored materials, now what? First thing
you do is pick up your ball of old clay and rub it through your hands. You want to let this
old clay pick up any lint that you are bringing to the table...literally.
I often repeat this process every 15 minutes or so. It can be relaxing anyhow, but it also
ensures that any lint that might have fallen on my hands gets embedded into the old
clay, not my precious masterpiece.
I also take this old clay and rub it over my sculpting surface. I have a laminate desktop I
use, but a smooth glass cutting board is also a great surface.
Another item I keep handy at my desk is a box of wet
wipes. If Iʼve used microbeads or flowers or other tiny
items, Iʼm also sure to take a few wet wipes across my
surface before I even sit down to sculpt. Ideally,
moving to another area or desk would be best for
using hair, beads, glitter, etc. But I often find myself
working in the same two-foot area, often with tons of
items out around me, and these techniques work to
keep it clean.
When you take a break
from sculpting, wrap your
doll loosely in Glad Cling
wrap (a plastic wrap) or
use a plastic dome from a take-out meal, or even a cake
cover. This helps to keep the lint in the air from landing on
your creation.
The main thing to remember is that prevention is key. Itʼs your best line of defense
against lint. However, lint will still find you. Hereʼs how to deal with it when it does.
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When you find a piece of lint embedded in your doll--and you will-the best way to remove it is with an X-acto knife. Keep a
package of sharp, new blades and use a new blade with each
doll. The sharper blades can cut into your doll leaving the
least damage behind. Most likely, the lint will be lying
horizontally on the surface of your doll. Simply take the
X-acto knife and slice the lint out, keeping your blade
parallel to the dollʼs surface. Once the lint is
removed, you can then smooth away the cut lines
with your fingers.
I keep my knife handy as I sculpt. When I
see lint, I remove it immediately. If I keep
sculpting with the lint in place, itʼs likely to get embedded into the doll. I might miss it
when I give my doll a final cleaning before baking, and if itʼs a darker colored piece just
below the surface, it will become visible once baked. Yikes!
So, clean as you go, use the dirty clay the
keep your hands clean periodically, as well as
the sculpting surface. Then just before you are
going to bake your doll, give her the once-over.
Look for any bits of clay you might have
missed and make sure they are cleaned out
from your doll before you bake her. Each bit of
lint and clay I cut away, I add to my dirty clay
ball. When it gets quite large, I use some of it
for mermaid tails or any other place that the
clay will be painted and a clean surface is not
necessary.
Thatʼs about it. While lint landing in clay is just a part of sculpting, there are things you
can do to minimize its annoying presence. Armed with wet wipes, light-colored
materials, plastic wrap, and old dirty clay...you have what it takes to keep your sculpting
area clean.
MakingFairies.com
Baking Tips
Iʼve been getting a lot of questions lately on how to go about baking clay...what
temperature, how long, why is my clay cracking, what oven should I use, etc. This
article will answer those questions and many more.
So, letʼs talk about baking, that all-important step that will take your squishable creation
to an amazing level of permanence.
First, some things to remember. As polymer clay hardens, its molecules are in motion.
Not the kind the naked eye can see, but motion none the less. So as you make your
clay more durable through the baking process, it also becomes more fragile until it has
completely cooled and all those molecules have settled into place. Youʼve probably
read about baking elsewhere and noticed all the warnings saying “Donʼt move your doll
until itʼs completely cooled!”. This is why. When the doll is in the hardening process
(which wonʼt end until she IS completely cooled), sheʼs at a greater risk for breaking.
Another thing to be aware of...when clay bakes, it puts off fumes. And it doesnʼt smell
very good. In fact, I had to
stop sculpting completely
one year when I was
pregnant because the smell
made me too nauseous! Of
course, that was in the early
days when I was far less
addicted to the art! Still, this
brings up the point...how can
I minimize the fumes?
Some people use a separate
oven for baking. Myself...I
do have a little glass
convection oven. But I only
use it on small items as Iʼve
found it bakes less evenly
than I care for. Iʼve stuck
with my tried and true method...in my home oven, inside a roasting pan.
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I found my roasting pan at Wal-mart, just over 10 dollars. Hereʼs a link:
http://www.walmart.com/ip/Granite-Ware-15-Oval-Roaster-with-Lid/17193282
What I like about this method is that the lid takes care of most of the fumes. Some
people who bake in their home oven, then need to wipe out the fume residue. I bake in
this pan and the fumes are contained.
However, I still keep a window open. And when my doll is done baking and completely
cooled, I open the pan outside, if I can. There is still a burst of odor when I first open
the pan, and I figure, itʼs probably not good for me. So I open it under ventilation. I
doubt the fumes hurt you...Iʼve only read serious warnings about the fumes when the
clay is baked way too hot and burns. Still, if it smells...Iʼm careful about it.
So, in a nutshell, hereʼs my baking process. I use the clay mix referenced at the end of
this article. Itʼs a combination of several brands, but most of the brands like to be baked
at a similar temperature. I use 270 F. I also start with a cold oven. I get my doll all
situated in the roasting pan over a bed of Poly-fil fiber...the stuff you use to fill pillows or
soft dolls. Itʼs a Polyester Fiberfill and
Iʼm sure any brand would work just
fine.
You can use Poly-fil to support
extended arms and legs or bent knees.
Use it wherever you want the doll to
have a bit of extra support while
baking.
Hereʼs a tip:
Soft bake the back side of your doll
with a heat gun to prevent little bits of
fiberfill from embedding themselves in
the soft clay. Itʼs okay if they do...they
can be pulled out and then any marks
are removed in the sanding process.
However, if you give the back side a
quick zap with the heat gun, youʼll
create a partly-baked “skin” that wonʼt
stick in the fiberfill!
MakingFairies.com
Hereʼs how my doll, Eric, looked when I stuck him in the roasting pan. I actually have a
piece of masonite board lining it as well, but I doubt itʼs necessary. However, I like to
have a little more of a buffer between my doll and the hot metal, so thatʼs why Iʼve kept
it there. Iʼm sure a thicker layer of batting (Poly-fil) would work just fine.
Notice that Eric is not complete...yet heʼs already going into the oven. That answers a
question I often get...do you bake your doll more that once?
Most of the time...yes. On a more complex doll like Eric, and all my females, I bake
them at this stage. The body and limbs are done and they just need hands and feet.
Iʼve tried adding hands and feet before when my doll is completely unbaked. But,
choosing to keep my sanity, I bake the body! Otherwise the arms wiggle around and
drive me crazy.
Some artists bake their dolls multiple times. It really depends on the complexity of the
piece. However, keep this in mind. Each time your doll goes into the oven, the chance
of a moonie or some other blemish...increases.
So, I try to give my dolls as few trips to the oven as possible. Eric only made it in there
twice. Once as he is now, and again once he had hands and feet needing to be baked.
MakingFairies.com
© Apryl Jensen 2013
In fact, I typically sand and blush the whole body (and paint the eyes, if necessary)
before the hands and feet are added so I can have my paints be heat set while the
hands and feet bake. Then when I blush the hands and feet I use a Genesis Heat Gun
to set the blushing, rather than pop him in the oven again.
Each time you bake the doll, the clay will darken in color. So if you bake the body a few
times and then the feet once...just beware that they might be lighter than the rest of the
clay.
My baking regimen goes something like this:
1. First Bake: Body fully sculpted, still needs hands and feet. Backside soft-baked
2.
3.
4.
5.
6.
(typically) Arrange in Poly-fil and place in roaster pan with lid.
Place in oven
Set Temperature to 270 F
Set timer for 30 minutes
Turn off oven once the timer goes off
Leave doll in oven until completely cool (often overnight)
1. Second Bake: Body & Face blushes/painted and sanded, hands and feet
2.
3.
4.
5.
6.
sculpted
Place in oven
Set Temperature to 270 F
Set timer for 30 minutes
Turn off oven once the timer goes off
Leave doll in oven until completely cool (often overnight)
That is correct...I donʼt preheat first. But I figure the oven temp stays high enough to
bake for a while longer, and since I leave my doll in until the oven is cool, it gets the full
30 minutes necessary to bake completely.
But feel free to play around with your clay and see what works best for you. What if you
canʼt leave your doll in the oven until completely cool? Well, that really is the best
method, but Iʼve had to pull mine out early too. You can speed the cooling process by
opening the oven door a bit, and then all the way (this only works if you donʼt have small
children or pets that could get burned by it). Just try to keep the cooling process as
gradual as possible. If you MUST remove the doll, open the roasting pan and put a
dishcloth over the doll so she stays pretty warm as she adjust to being out of the oven.
Still, itʼs best to let her cool...at least until you can touch the roasting pan without being
burned.
MakingFairies.com
Hereʼs another tip:
Donʼt wait to try out your oven/baking techniques on your masterpiece. Just use a piece
of your clay (or clay mix). You can make it skinny like an arm or finger...just go for the
size and shape of what you are sculpting, and bake it that way to test what works best
for you. Oven temperatures can vary, so make sure you like the results with a clay
sample rather than pouring hours into sculpting first. (see How to do a Bake Test).
Another common question: What is Soft-Baking?
Soft-baking is a process of partially baking sections of your sculpt with a heat gun. Itʼs
used for many reasons, but most typically, to make sculpting easier, or to keep the back
side of your doll from flattening or collecting fibers in the baking process.
When you apply heat from the heat gun to raw clay, it will begin to cure. It will cure
enough to form a hard “skin” on the outer layer of the clay. However, it is not cured.
The inside is still raw clay and the outer skin is a brittle kind of clay...one where the
molecules have not solidified into place yet. It is only a sculpting tool/technique and
should never be mistaken for actually curing the clay.
I talk about this more extensively in my video set, Sculpting a Miniature Baby, and I use
this technique to put a skin on sections of the doll so I can hold on to the doll while
sculpting the rest of her. Just beware that soft-baking leaves clay fragile and it can
break easily. The best way to use it is for something simple...like keeping the back side
of your doll from getting squished while baking.
This takes just a minute, and then your doll
How to do a Bake Test
goes right into the oven anyway. Cracking is
more an issue if you are continuing to sculpt
Select a few different clays and/or
that same piece. It can be done, just requires a
clay mixes to test. Shape them
careful hand.
each into a long cylinder, thick as a
fairy arm on one end, and thinning
That brings us to the last couple of topics,
to a fairy finger on the other. Then
issues that baking can bring on. One is
bake these and test your results
cracking, which honestly...I rarely deal with this
once they have cooled. Do you like one. Cracking usually only occurs if the clay is
the color? Can the “finger” bend a
either too thick or too thin. I still see cracks
bit before it breaks? Or does it snap once in a while where my pointed tips at the end
in two? Does it make a difference to of a leg or arm have the clay quite thinned out.
increase the temperature or bake
This is after the first baking when the doll
time? Play around with these
doesnʼt have hands or feet. These tips are going
sample pieces so you know what
to be covered with more clay anyway, so itʼs not
works for you when itʼs time to bake an issue. However, the reason for the crack is
your masterpiece!
that the clay was very thin. The only thing I
have to watch about thinness is to make sure
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my armature isnʼt too close to the surface of the clay. This can happen if you decide to
change the direction of a limb a bit and then the armature is no longer centered in the
clay, but off to one side. To fix this, first, try to plan out your poses before hand so you
can have the armature in the right place. Or adjust the pose. If you absolutely have to
have this position and you end up with a crack, just give your doll an arm band out of
Apoxy Sculpt...or whatever ornamentation suits your purpose. Apoxy Sculpt is
extremely strong, so it will give the doll the support it needs, and conceal the flaw in the
process.
At the other end of the spectrum is clay cracking from being too thick. Again, the cure is
in prevention. This is why my dolls have such a sturdy armature. Clay is rarely over
1/4” thick, unless over a bottom or the breasts. I rarely see cracking at all, and even
more rare is because the clay is too thick...but this is because I sculpt in a way that
circumvents these issues before they can happen.
Lastly, one way I HAVE seen cracking...is if Iʼve had a doll laying around forever and the
clay begins to dry out. Then it can crack. So try to avoid leaving dolls sitting around
unfinished for several weeks (or months!) or you are asking for trouble. Unfortunately,
Iʼve been guilty of this many times in the past. Iʼll lose interest in a doll or have so much
interest in a new one, that many get back-burnered. However, if you get your doll to the
first bake stage, then they are fine sitting for a while. Itʼs just when they are unbaked
that it can create issues.
Moonies
This brings us to my last topic for this article. Moonies are little pockets of air (air
bubbles) in the clay. They can be brought on by rubbing the clay too much, or by not
layering clay on snugly enough, or even because the clay just happened to get air
bubbles as it was being made.
Some moonies are completely invisible until youʼve baked them and they show up. Too
late to do anything about.
Again, the best measure is prevention. One of the reasons I use the clays I do is
because my mixtures tend to not get moonies. Iʼve used other clays in the past and had
moonies galore. So again, do a bake test before you decide a clay is worthy of you
sculpting with it. Super Sculpey by itself with almost definitely moon. That is why I mix
with with more opaque clays when I use it (because I just canʼt resist its color and
softness).
Be careful when you sculpt. Be sure to not leave gaps as you layer clay on your doll.
Donʼt give air a place it can get trapped.
Use good lighting and learn to watch for moonies. They typically look like a round
lighter area in the clay. If you find one, slice it open with an X-acto knife and then blend
the clay together better around it.
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While they are common, these little air bubbles in the clay, it becomes second nature to
spot them and fix them before they are a problem. That said, even using all
precautions, they can just show up anyway. And there tend to be more if you bake
multiple times. So, if you end up with a moonie...see if you can cover it with costuming,
or at least draw attention elsewhere. Follow these guides to minimize them showing up,
and realize that little blemishes are part of the One of a Kind world. They also make
your doll more unique.
Well, I hope thatʼs given you a good background in baking your doll. All of this is so
second nature now, I really donʼt worry about it much. So while it may seem like a lot of
things to keep in mind at first, itʼs pretty easy to shift your sculpting habits and
incorporate these ideas. Then youʼll just be doing it without thinking about it as well. =)
Here is a link to an article on my recipe for clay.
http://sculptuniversity.com/index.php?option=com_content&view=article&id=6:mixingclay&catid=29:general&Itemid=107
More articles and tutorials can be found at my websites below.
Aprylian.com (my online gallery)
MakingFairies.com (downloadable videos, booklets, and tutorials)
SculptUniversity.com (an on-demand learning center with streaming videos and step by
step tutorials on all aspects of sculpting and fairy making)
aprylian
~
MakingFairies.com
The human eye is incredibly beautiful. When you create your own eyes for your
dolls with paint or clay, be aware of the
following guides:
When you create eyes, keep these ideas in mind. •
•
•
Seeing all of the iris makes your doll look surprised or scared. Trying to place the pupil midway between the top and bottom lids isn't
realistic (it's usually towards the top a bit). The iris is always perfectly round (as is the pupil), but the top of the
iris is usually covered by the upper lid.
These are the secrets to creating beautiful eyes!
To learn more about creating eyes, I recommend the two following DVDs &
Booklet Sets:
Sculpting a Fairy Face includes Making Glass-Like Eyes and Painting
Eyes, so you can learn both methods and is for Sculpting Female Faces.
Sculpting the Male Head includes information on Glass-Like Eyes as well
as a section of the female fairy face too.
Stages of Painting the Face
Now that youʼve read how to create amazing eyes, itʼs nice to put those skills into
action. Here are some photos I took while working on my latest doll. Notice how I
follow the guidelines weʼve just talked about, and how by the end, this face has really
come to life! She still needs her lashes lined and painted in and some brows, but notice
her iris...its shape and contrast within. Full instruction on Painting the Face can be found
in the Sculpting a Fairy Face Video & Booklet Collection.
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The Sculpting Process
Now that you know the basics of sculpting One of a Kind Art Dolls and have a good
background of all thatʼs involved, itʼs time to walk you through the process of putting
together an OOAK doll.
While the entire process in much more complex, Iʼll show you the basic process. To
learn more about sculpting a mermaid, see the full video set, Tails and Torsos or go to
SculptAMermaid.com.
To begin sculpting the head, I begin with some “Glass” like eyes I created using the
techniques taught in Sculpting a Fairy Face. I want to create a Golden Mermaid, so I
make a set of Golden Eyes. I used some mica powder to get that shimmery effect.
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The I begin with a basic face shape on a piece of wire. This time Iʼm using a thicker
copper wire I purchased at the hardware store. But you can use regular armature wire
or floral wire instead.
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Once I get a basic head shape, I insert the eyes and the start building the face up
around them. Itʼs very important to get the eyes are straight as possible and make sure
they are looking in the same direction.
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I then build up the clay to a face shape and start blending it all in. I have a basic eye
shape around the eyes and Iʼll refine it much more at a later stage.
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I add the nose and you can see sheʼs really starting to come along. I check the profile
often to make sure it looks how I want it to. I want her eyes to be deep set and her lips
more prominent, so I make sure her face structure is following that idea early in the
sculpting process.
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I use a tool to cut in some lips and then blend the top lip up and the bottom lip down.
Pretty simply, and it makes a world of difference.
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With some refining, and shaping the chin and jaw, she is looking like the sexy mermaid I
imagined.
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Once I sculpt the ears and smooth her face, Iʼm ready to bake the head. I wonʼt need to
paint her eyes, but I will line them and blush her face and lips a bit.
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Here she is all prettied up with her make up on. I gave her a little golden eye shadow
as well. I use Genesis Heat Set paints for blushing and painting the face.
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Now itʼs time to start the body. First I create an armature out of wire and then wrap
aluminum foil around it until it looks like a very skinny version of the body I want to
sculpt. Then I wrap the foil with paper tape. Itʼs a tape thatʼs coated with wax. You can
find it in the floral section of your craft store. It helps the clay adhere to the foil armature
and it keeps the foil held well in play while I add the clay on to her body. See the next
picture to see her wrapped.
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Next I begin adding sheets of clay to her body and make sure they are sealed well, so
there are no air bubbles.
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For now, Iʼll just focus on the torso. Iʼll give her tail clay later, after Iʼve baked the top
half. She will be easier to hold after sheʼs baked. Once the clay is in place, I begin
sculpting in landmarks and features, like her rib cage and belly button.
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Just a ball of clay cut in half gives me the basic breast shape. Then I blend them into
the rest of her body. You can make them look as real or doll-ish as you prefer. I tend to
go for realism in my sculpts. After the chest, I turn her over and fill out the back. Notice
I begin with basic shapes, and then blend them together.
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I sculpt in the back, shoulders, neck, and arms, and now she is ready to bake. Then I
can work on her tail.
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When I do a mermaid tail, I use a cheaper clay, like Super Sculpey, or even some old
clay that has gotten lint in it. This is a good way to save your premium clay for the body.
The tail will just be painted anyway, so if there are little imperfections in the clay, thatʼs
okay.
I shape the tail and make it very smooth with my hands. I want this mermaid to be
kneeling, so I bend her tail upward.
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I bake her tail and then sculpt her hands. Full details on sculpting hands can be found
in Hands, Feet, and Painting the Face.
I bake her again, sand her body, and then blush the body for realism. I paint her tail and
add a fin, following the techniques used in Tails & Torsos.
For her hair, I use some angora mohair I found on eBay. Its golden shimmer inspired
this whole project! I used the techniques I teach in the booklet, Great Hair Secrets. Itʼs
a free download you can find here.
Ready for the big reveal?
Hereʼs how she turned out all finished. Scroll down to see several angles:
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Once you understand the wing techniques taught in The Wings Video Bundle, itʼs easy
to adapt them to making mermaid tails as well. Remember to print off the free wing
template included at the end of this book. Itʼs a bonus that Iʼm sure will come in handy.
Creating these One of a Kind dolls is really an amazing experience. The only limit is
your imagination.
I hope you have enjoyed learning about sculpting a beautiful mermaid. See the
Resources guide at the end of this book to learn more about how you can create your
own One of a Kind works of art and about what resources are available to you.
If you have questions or just want to say hello, come and visit me at MakingFairies.com,
or use the Contact Page at SculptUniversity.com and weʼll be in touch!
MakingFairies.com
When sculpting and selling One of a Kind Dolls for a living, it’s helpful to follow a
workflow. Whether your interest in sculpting is purely as a hobby, or if you’d like to
one day see your pieces selling well on eBay, this section will teach you more about the
whole process.
Mix and Condition Clay
Itʼs nice to mix together enough clay for a few
different sculpts, that way you can skip this
part next time. I use a pasta machine to mix
and condition my clay, and I also use a
custom mix of certain clays because I like
their properties. I have yet to find the miracle
clay that combines all my preferences. But
mixing clay is an easy and sometimes
soothing process.
Create an Armature
This usually takes less than a half an hour if I have my supplies handy. I typically use
floral or armature wire, aluminum foil, and paper tape for securing it all together. Now is
a good time to decide on a pose you would like for your doll. And if you want a standing
doll, be sure to incorporate a rod/tube to your armature to accommodate this. Hereʼs a
video on how to create an armature.
Armature Video
Gather Photos
You could even do this step at the beginning, or perhaps a good photo is what brought
you to the sculpting table in the first place. Gather up photos of positions and features
you like, so youʼll have them close by to refer to during the sculpting process. After a
while I was able to sculpt without pictures, but I was amazed at how much better my
sculpting was when I went back to using reference photos. And it made the sculpting
process much easier. I highly recommend it!
MakingFairies.com
You can find tips on finding reference photos here.
Finding Reference Photos
Sculpt the Face & Ears
Sometimes I even bake the head at this point. Itʼs nice to paint it as well, just to make
sure you love her/his look. To make a good sculpt, youʼve got to have a good face. I
know many sculptors that make a few different heads before they move forward. They
decide which they like the best and go with that one. As a beginner, that would have
been daunting. But it is nice to bake and paint, if you feel inclined. When you use inset
eyes, you already have a better idea of the what the finished doll will look like, so you
might just want to leave the clay unbaked. Itʼs up to you. Sculpting a Fairy Face can
guide you through the sculpting process.
Begin Laying out Body
Clay
If your clay is freshly out of a pasta
machine, you can keep it in sheets and
lay it on the body this way. If not, you
can also roll it into a tube shape, then
slice it up, like you would a banana.
The use these “pancake” pieces to
start roughing in your sculpt.
Sculpt the Torso
I start with the neck and move down. The sculpting is still rough at this point, but you
can start to play landmarks and sculpt well enough to only leave refining work. This
photo shows what I mean and is from Sculpting the Male Fairy.
Sculpt Arms or Legs
At this point I just go where the muse takes me. Sometimes I work on the arms first,
and in this case, I keep the lower half of the sculpt covered with plastic wrap to reduce
dust and the oils from my skin, making the clay dingy.
MakingFairies.com
Heat Set Details
This could be the face, the chest, the back...whatever Iʼm done sculpting with and want
to “freeze” in place, I heat set. But you need to be careful with this method, because
this does make the clay fragile and prone to cracks. However, once you learn to be
careful, itʼs really nice to have parts of your sculpt done and not getting squished by
your warm hands.
I always heat set the male torso. Males just require so much clay that if I donʼt Iʼm
always squishing my details (and I hate that!).
First Bake
Once the arms and legs and
body is in place as well, and
you just have the hands and
feet left, bake away. Itʼs
always such a relief to get to
this stage. Most of the work
is done (well, I love hands
and feet, so those are a treat
for me. Follow my tutorials
and practice and youʼll soon
love them too...they bring the
sculpt to life!)
Cool the Sculpt
Ideally, overnight. But at least until the oven is cool. Easy step, but very important.
Warm clay is not cured clay...it actually continues curing until it is cooled. No
kidding...Jack Johnston taught me this. It has to do with all the molecules still moving
around until the clay has cooled. When those molecules are still warm, they havenʼt set
into place yet and you get brittle clay.
Sanding
Sand the body and then rinse and add a few drops of baby oil. It takes a few hours for
this to seep in, so again, itʼs nice to finish this part, then go to work or sleep, and get
back to your sculpt later. Also, itʼs nice to sand in your lap over a towel. That keeps the
water dripping back down into the bowl, rather than down your arms.
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Paint the Face & Shade Body
If you havenʼt painted the face yet, now is a good time. I also shade most of the body
(obviously not the hands and feet yet because they donʼt exist). Painting now gives the
Genesis paints the opportunity to get well heat set when you bake the doll later.
Hands and Feet
I usually do feet first, figuring they
arenʼt as delicate and fragile as little
fingers. So I sculpt the feet, heat set
them, then work on the hands. When
Iʼm done with the hands, I want to
move the sculpt as little as possible.
You can find full instruction on
sculpting hands at feet here.
Second Bake
Yay...almost done at this point. This is usually the end of the sculpting phase, unless I
sculpt the outfit, but I usually do that with Apoxy Sculpt, so baking isnʼt an issue anyway.
Remember to COOL.
Second Sanding
Pretty minimal at this point. Usually just the ankle and wrist areas where the newly
baked clay meets the old clay. Again, I add a drop of oil to get rid of the chalky look, but
the doll is ready to “play” with (a.k.a. decorate) within an hour or so.
Shading Hands and Feet
Most of the time, I just use the heat gun to heat set from
now on. Putting the doll back in the oven can encourage
moonies...so just beware. My favorite way to heat set
now is to use a Genesis Heat Gun. BUT...mine conked
out a while back, so Iʼve been using my embossing gun,
and it works fine. You just need to be DANG CAREFUL
you donʼt burn the fingers or any other features. The
Genesis Gun doesnʼt get nearly as hot as an embossing
gun, so they are way safer. If you use an embossing
gun, just move it around a lot, never staying in one spot.
This creates a cooler air flow, and prevents mishaps.
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So...there is definitely a trade off. If you are more comfortable with oven baking again,
and would rather deal with possible moonies, that works too. Just remember youʼll
need to wait for the doll to cool again as well.
Costuming
If you plan to sculpt any pieces, like the bodice I made on Tess, youʼll want to do it
before hair is involved. Typically, Iʼll costume the doll first, then do hair. But it really only
matters if you have costume parts that might get squished or damaged by handling the
doll while you do her hair (dried flowers, for instance). So save the fragile pieces for
last.
Wigging
I make sure my desk is clear for this part (well,
most days if I havenʼt cluttered myself into
having just a square foot of space to work with!
You never do that...right?). =) Wigging can be
messy, and you certainly donʼt want to mix hair
fibers and fresh clay. So if you happen to have
another desk for the wigging and costuming,
thatʼs ideal. But if not, just put the clay and
paints away first. Itʼs nice to keep tissue or
paper towels (even wet wipes) nearby for wiping
glue off your fingers. Hereʼs booklet for you on
giving your doll great hair:
Great Hair Secrets
Wings
Really, you could do wings first if you wanted...they donʼt have to be done at a certain
time. Often Iʼll do the wings while Iʼm waiting for the sculpt to cool or for the oil to soak
in after sanding. But if you want to see how the costume is going to turn out first, and
then make your wings to compliment that, go for it. You can make wings at any point in
the Workflow. If you make them last, just remember youʼll need to wait for the glue to
dry thatʼs covering the wire twists before you can put them in your doll. (See Making
Wings Video Tutorial for details).
MakingFairies.com
Photography
Early evening hours give some brilliant light effects,
so you might want to wait and catch those. You can
find photography tips in the photography section at
SculptUniversity.com, but I will say this. Get the best
camera you can afford, and look for ones that have a
good macro setting. Good lighting + Good Camera +
Tripod = Good Pics
Creating Auction or Gallery
Page
Now your doll is done, itʼs time to show it off. Whether you want to sell your doll or just
have a place to share it with friends and family, having some basic web skills and a web
site is key. Remember, you get free webhosting with your membership at
SculptUniversity.com. Take advantage of this! You can use it to create a website or just
to display your photos. You can keep
your photos online and then just link
to them when you make an eBay
auction (called “self-hosting” on eBay)
and avoid picture fees.
Packaging your
Sculpt
This takes me at least a half an hour, but I hardly ever have people complain of broken
sculpts.....maybe twice in 7 years. So, itʼs time well spent. See the Packaging your
Sculpt tutorial at Sculpt University for details on keeping your sculpt safe and sound.
Clean Up
Hopefully, youʼve been tidying up after yourself as you went along. But more often then
not, itʼs now time to tame the hurricane that went on in my Art Room. Return supplies to
their places, clean the desk top, and get the area all ready to begin again.
Well, I hope this has given you a good idea of the Sculpting Workflow.
Many people ask how long it takes to do a sculpt, and really that can depend on so
many things. Iʼd say to expect at least 20 hours. But this can really vary, and be much
longer if you want it to (or if you have details that are taking forever to get just right) or
less time if you make a soft body. However, time spent learning to sculpt well is always
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very rewarding in the end. To watch a new little “person” be created before your eyes is
a magical process. Iʼm glad we can share our love for sculpting together. =)
Here is a collection of resources available for you from MakingFairies.com. These are
DVDs and PDF Booklets that are also available for download. SculptUniversity.com has
streaming videos and hundreds of articles to help support you as you learn to be the
sculptor youʼd love to be.
Resources
Sculpting a Young Fairy Video Collection Includes: •Nearly 4 Hours of Sculpting Instruction
•Detailed video on hands, feet, entire body
•Custom Dress Design & Bouquet Style Wing
Instruction
Sculpt a Fairy Face Video Collection Includes: • Sculpting a Fairy Face
• Sculpting Fairy Ears
• Making Glass-Like Eyes
• Painting the Face
Bonus Booklets: Painting Jessica (face) &
Great Hair Secrets MakingFairies.com
Sculpt a Baby Mermaid
Learn to Sculpt an adorable Baby Mermaid
from start to finish with these HD videos.
Includes:
•How to Create an Amazing, Vibrant
Mermaid Tail
•How to Create Mermaid Scales
•How to Create an Iridescent Orchid-like
Tail Fin
Sculpting the Male Fairy Huge PDF Booklet collection...over 275
pages of pictures and detailed instructions.
Also includes a short video on Tips for the
Male Hand. Tails & Torsos Video Collection
Learn to create an amazing torso for your beauty, and
turn her into a mermaid with the detailed Tails videos.
Includes Bonus Booklet on Creating a Custom Base. MakingFairies.com
Making Wings Video Collection This teaches you all you need to know
about making wings. Features Basic Wings
Booklets, Advanced Wings, and the new
Wings Video. Sculpting a Miniature Baby Video
Collection
Over 3 hours of detailed, high-definition
video taking you step by step through the
full sculpting process to make this little
angelic baby.
Snuggle Babes Video Collection
An excellent beginner series of videos that will help you
create a beautiful baby face. I'll show you how to turn her
into an adorable snuggle babe, wrapped up cozy in her
blanket. MakingFairies.com
Sculpting Hands, Feet, and Painting the Face
Booklet and Video Collection for making amazing
hands and feet.
Includes:
•Videos for both hands and feet
•Several detailed booklets on the sculpting process
•Instructions on painting the face Sculpting a Santa Head Over 90 minutes of high quality sculpting
instruction from a professional doll artist.
Includes: • Sculpting a Santa Head
• Sculpting Male Ears
• Wig, Beard, Costuming
MakingFairies.com
Sculpting the Male Head
Over 80 minutes of HD Video that will help
you sculpt a male face with a sexy jaw and
kissable lips.
Includes:
•How to Use Inset Eyes
•How to Bring out Emotion in the Face
•How to Sculpt Life-Like Fairy Ears
•How to Make “Glass”-like Eyes
Adorable Tummy Pose Sculpting Guide
Learn the secret to sculpt your baby in this
adorable pose without squishing her little
body!
Includes:
• 33 page photo-rich PDF Booklet
• 10 minute video on Sculpting Baby Ears
MakingFairies.com
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Sculpt Arms or Legs - SculptUniversity.com

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