YOSHIDA Translation

8/10/2019 YOSHIDA Translation

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An English Translation of

YOSHIDA STYLEBALL JOINTED DOLL MAKING GUIDE

by Ryo Yoshida

This translation was crat! for "s #$ thos who ha% alra!$ &"rchas! th

YOSHIDA STYLE' Ball Joint! Doll Ma(ing G"i!B"t who r)"ir a translation of its t*t+ for ,a*i,", co,&rhnsion-

No co&$right infring,nt or a#"s is intn!!-

Published by Hideo Yamagushi (Hobby Japan Co., Ltd.)First published in Japan, September 2!

Se"ondpublished in Japan, #o$ember 2!%%%.hobby&apan."o.&p

Copyright 'yo YoshidaS# *+-*2+*!+/

Translated by:

CAMBIRDwww.denofangels.com

With additional translation by:

S!A""# B.www.denofangels.com

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Pg.

MATERIALS

Bamboo S$at%laThe commonly sold bamboo s$at%la is the same as the one in the to$ of the $ict%re. &owe'er( it is best toc%stomi)e yo%r s$at%la in a way that is easy for yo% to %se( shown in the bottom of the $ict%re. A bamboo

s$at%la on its own sho%ld be ade*%ate( b%t it is also a good idea to ha'e a metal+handled $lasticines$at%la and,or a sc%l$ting s$at%la a'ailable. If yo% choose to c%stomi)e yo%r own s$at%la( sha$e bothends differently so that one is long and shar$( while the other is more ro%nded li-e a cylinder.

Art nifeThe handle is slim li-e a $en( which ma-es it easy to %se and gri$ in yo%r hand( as well as c%t aro%ndtight corners. It resembles a design -nife( howe'er larger art -ni'es are %sed more often than c%tter-ni'es for the $%r$oses of molding and sc%l$ting. The blade is remo'able from the handle( so it is a goodidea to set aside se'eral re$lacement blades beforehand.

C%tter nifeAlong with the standard si)e c%tter -nife( it is con'enient to also ha'e a larger( ind%strial+si)ed c%tter -nifea'ailable. &owe'er( it is bes$ to a'oid %sing handle or ratchet $arts( since these are %nreliable in %sing

with resin( which is easily changed with too m%ch $ower,$ress%re. /0#R1 ro%gh translation here.2

Drill and drill bitsThis will be %sed for o$ening %$ small holes at s$ecific si)es by hand. After caref%lly inserting the drill bitinto the drill( t%rn the handle slowly while caref%lly $%shing down to o$en %$ a hole to the desired si)e.The drill itself is sim$ly a holder( and will not be any good on its own( so ma-e s%re to ac*%ire yo%r drilland drill bits as a set to wor- with and to achie'e ma3im%m res%lts.

4+Clear adhesi'e /clear+drying gl%e 5 r%bber cement62A r%bber+ty$e fast acting adhesi'e. This can bond many ty$es of materials( incl%ding solid $lastic andelastic items. This is the ty$e of adhesi'e that m%st be a$$lied to each side of the ob7ect to be gl%ed( andheld together for abo%t 89 min%tes to set. Ma-e s%re yo% $%sh the two sides together as strongly as$ossible to ma-e s%re the adhesi'e sets.

Car$enters 4l%e /Wood 4l%e2A water+$ermeable( 'inyl+ty$e adhesi'e that can be %sed for gl%ing $a$er( wood( fabric( and other similarmaterials. Its white when wet( b%t t%rns clear as soon as it sets. Beca%se it is water+based( it will not stainor damage yo%r materials( which is the strong $oint of this adhesi'e.

;ast+setting gl%e,S%$ergl%eA chemical+based adhesi'e. The gl%e reacts chemically with moist%re in the atmos$here in order tosolidify almost constantly. It can *%ic-ly and strongly bond together many ty$es of materials. &owe'er( itis wea- against strong im$acts( so there may be cases when it is necessary to add reinforcement.

Com$o%ndAn abrasi'e material %sed for erasing small chi$s or fine damage( as well as $olishing and cleaning %$the s%rface. It can be %sed in either li*%id or half+solid form by a$$lying to a soft cloth. This can also be%sed to $olish and finish off glass and acrylic eyes( as well as re$airing small chi$s and damages to bothsides of the eyes.

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Pg.0, 00

DRAWING A SKETCH.- Ma( a ro"gh s(tch/- Draw a &a&r &attrn

When undertaking a project like this, first we will make a life-sized sketch. This is veryimportant ecause the core will e carved on the asis of this sketch, and it will determine the

degree to which it has a doll image. The joints will e made at a later stage so please concentrate

on drawing the ody line without thinking aout the joints. !ven efore the e"pression of theface, hands and feet, the most important thing is a figure with alanced ody proportions. These

image-making dolls can e real, distorted, slender or glamorous etc. # think it will e easy to

draw if you decide on the doll$s age. The ratio etween head and ody proportions changes with

age. #nfants are %&' head lengths to ody height, older children are (&) and adults are )&*. #nphysi+ue also, children$s shoulders are narrower, and as age increases shoulders ecome roader

and sturdier. #t would e good to consult sketches of people in art ooks. ee pg. 1% for

references/ 0lease find the image that you want to make and decide on the proportions to matchit.

1aterials34raughting paper3'uler35riting e6uipment37ra"ing paper3S"issors

.00 Ma( a ro"gh s(tch8. Decide on the head,body ratio for the doll that yo% want to ma-e. &ere( the head will be ?cm tall yo%ng female doll.@. Beca%se this is a D s-etch we are going to draw it from the front and side. ;irst( draw thefront mid+line.. Draw hori)ontal lines to match yo%r chosen head,body ratio.?. lease ta-e care to draw each $oint /chin( sho%lder( crotch( -nee( elbow( wrist etc.2 at thesame le'el on the front and side 'iew.

/00 Draw a &a&r &attrn8. When the s-etch is finished( o'erlay tracing $a$er to ma-e a $attern for the core. Start bydrawing the mid+line.@. lease draw the core line aro%nd >mm inside the finished body line. This >mm ga$re$resents the thic-ness of the clay.. Draw half of the front+'iew head and body with the mid+line on the tracing $a$er o'erlaid onthe mid+line of the s-etch.

?. ;old the tracing $a$er in two along the mid+line and c%t o%t. When yo% flatten it o%t this willma-e a $attern with left+right symmetry.>. Its if yo% only draw one side for the front+'iew arms and legs and all of the side+'iew$arts. 1o% can t%rn them o'er to ma-e $atterns for the o$$osite side.=. lease arrange it so that the thic-ness of the clay is thinner at the wrists and an-les.&owe'er( ens%re that its no thinner than @mm.. Draw the arms to one side( so they dont o'erlay the body. Theres no need to ma-e a $atternfor the hands beca%se they will be modelled on wire and wont ha'e a core.


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E. Beca%se it will be a n%isance if the core stic-s o%t onto where the front of the face will besc%l$ted( ma-e the clay thic-er here to ma-e it easier to sc%l$t.


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Pg. 02, 0/, 0*

MAKE A CORE OF THE DOLL.- 1"t th st$rn foa, into #loc(s/- 1"t th st$rn foa, o"t 2following th &a&r &attrn34- Sha% th cor

arve a core to use in making the clay ase. se a general-type soft styrene foam for making the

core, which will e removed at a later stage. #f you use hard styrene it will e more difficult to

remove. 3ou should make the styrene core at a smaller size than the final measurements. sing astyrene core will make it easier to get an even thickness when applying the clay. 4lso, removing

the core after the clay is dried is an easy way to make the doll hollow. #t is a it difficult to carve

accurately, ut it is 56 to carve a it too much off. 7owever, please try to concentrate8 Whencarving styrene foam you$re going to get small its floating around and sticking with static

electricity. 9ake sure you have a vacuum cleaner on hand efore you start.

1aterials /Right hand side of the $ict%re with the tools in23 Sa%

3 8eyhole sa%3 Cutter 9ni:e (Stanley 9ni:e in the ;8, Cra:t 9ni:e in ;S, thin9)3 5ood%or9ing rasp (See page *0)3 Copying e6uipment (< pen and pen"il)3 Stainless steel :ish s9e%ers3 'uler3 Styrene :oam

.00 1"t th st$rn foa, into 5 #loc(s8. lace the $attern $ieces on the front and sides of the styrene bloc- and mar- o%t the c%ttinglines.@. 1o% sho%ld ha'e mar-ed o%t = bloc-s for the head( torso( the two arms and the two legs.

. C%t o%t the bloc-s %sing the saw or c%tter -nife.oint: se the a$$ro$riate tool for the thic-ness of the bloc-s. Its to %se a styrene c%ttere'en here.?. 1o% ha'e c%t o%t = bloc-s.

/00 1"t th st$rn foa, o"t8. se a mar-er $en to transfer each of the $atterns onto each of the bloc-s. Start with the side$atterns first.@. When yo% ha'e mar-ed o%t the sides( c%t them o%t.. "e3t( co$y the front $atterns on to the styrene yo% ha'e 7%st c%t.?. When yo% ha'e mar-ed o%t the front lines( c%t them o%t.oint: &old the -nife 'ertically whilst c%tting. If yo% hold the -nife at an angle the sha$e will be

distorted.oint: It is easier to c%t aro%nd c%r'es %sing a -eyhole saw with a shar$( narrow ti$. Itses$ecially con'enient when ma-ing larger dolls.>. The body is now c%t o%t. In the same way( c%t o%t the head following the $attern.=. There is only one $attern for each of the arms and legs( so re'erse it to ma-e left and right(and c%t them o%t.. Reinforce the easily+brea-able arms and legs with fish s-ewers or thin bamboo s-ewers.

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400 Sha% th cor8. &a'ing c%t o%t the styrene according to the $attern we will now refine the sha$e. 4rad%allysha'e off the corners with a -nife.@. Refine the sha$e by remo'ing the corners and ro%nding off( remo'ing any %ne'enness.. Its fine to do this with 7%st a -nife( b%t I %se a woodwor-ing ras$.?. se a ras$ to e'en o%t the whole of the front of the body as well.

>. In the same way( yo% sho%ld refine the arms( legs and head.=. Car'e the head. The dee$ hollow where the eyes will be becomes one $oint. /i.e. one longhollow2

The core of the head

If yo% want to ma-e a c%te( yo%ng face the $osition of the eyes is below the halfway $oint of theface. ;or older faces( in contrast( the $osition of the eyes is abo'e it. Beca%se the eyes( noseand mo%th will be made of clay( theres no $oint trying to ma-e any fine details at the styrenestage.

. There is more detail to ma-e on the face than on the other $arts( so the clay will be thic-erhere. Ta-e care while car'ing the c%r'e of the forehead and the c%r'e from the chee-s to thechin.E. The finished styrene core. Test it against the $lan and ma-e s%re that the thic-ness of theclay will be correct.

Ad'anced methods: Re%sable cores

There is also a way that yo% can remo'e the core witho%t destroying it by %sing a hardermaterial /li-e styrofoam for e3am$le2( so the core is re%sable.

8. Wra$ the styrene in $lastic or 'inyl wra$ and sec%re it tightly with ta$e. Co'er it with clayand mo%ld it to sha$e.@. When the o%tside of the clay is dry and the inside is half+dry( mar- the center line of thesides of the $iece.. C%t with a -nife thro%gh the de$th of the clay only( following the line( se$arate the frontand bac- into two $arts.?. To $re'ent war$ing( allow the clay to dry whilst still on the core( then yo% can remo'e thestyrene.>. A$$ly soft( -neaded clay to both of the c%t edges( and stic- together to ret%rn it to itsoriginal sha$e.=. When its dry( chec- the $arting lines for ga$s and crac-s and firmly re$air.&owe'er( it is im$ortant to st%dy the ro%gh s-etch before yo% car'e the styrene. The styrenecore is the fo%ndation of the dolls $hysi*%e( $ost%re and mo'ement. If the core is not made$ro$erly( then the a$$lied clay will also not loo- li-e a real h%man. If yo% re%se a badly madecore( then yo% will get a badly made doll( so if the first core is a $roblem $lease car'e onefor each body yo% ma-e.

=d$i"e

5hen it "omes to the "ore, you "an ma9e it "are:ully :ollo%ing the rough s9et"h, but it>s only%hen the "lay is applied that the true shape is "reated. 7his method o: brea9ing the %or9 do%n

pie"e+by+pie"e ma9es it, in the end, 6ui"9 and easy. Ho%e$er, %hen it "omes do%n to it, this isonly the "ore. : you o$er+"ar$e the "ore slightly this "an be "orre"ted at the "lay stage, but i:

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the "ore is too big, the "lay %ill not be thi"9 enough %hi"h %ill "ause a problem %hen it "omesto moulding.

)


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Pg. 0Styrene foamThis indicates a general white material. If yo% %se adhesi'es or mar-ers incl%ding organicsol'ents it can melt and corrode( so $lease ta-e care. If yo% c%t it with a bl%nt blade yo%ll getterrible static( so always %se a new blade in yo%r c%tter.

Styrene ballA styrene foam ball. Its hard wor- to car'e a ball from a c%be( b%t com$anies li-e To-y% &andssell ready+made ones in all si)es. Its m%ch easier to %se these.

Fa DollThis is the best modelling clay to %se for doll+ma-ing. Its a standard clay with a good balance ofmo%ldability and strength. Its water+sol%ble and sands well. It is also a$$ro$riate for ma-ingbis*%e dolls and the li-e. 1o% sho%ld -nead well before %se to soften %$ the clay fibres.

Fa Doll remierThis is also strong( and is slightly more light+weight and has a finer te3t%re than Fa Doll.&owe'er( care m%st be ta-en as it doesnt ta-e f%rther a$$lications of clay well once it has dried.

It is also wea- with water so ma-e s%re yo% %se it thic- eno%gh. It is a clay that is often %sedmi3ed half+and+half with Fa Doll /reg%lar2.

Artista ;ormoThis modelling clay has more fibres and the te3t%re is coarser than Fa Doll( b%t its chea$er tob%y and easier to car'e so lots of $eo$le %se it for ma-ing the core. There are three ty$es:white( brown and green( and yo% can mi3 any of the colo%rs together. There is also Wood;ormo that loo-s li-e wood.

Wood clayMade of a mi3t%re of nat%ral wood $owder and chemical gl%e. 1o% -nead the $owdered woodwith water to %se it. This clay is light and strong( so its good for %se in large dolls. Beca%se

when it dries it shrin-s *%ite se'erely and crac-s a$$ear( it is mostly %sed mi3ed with /stone2clay.

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Pg. 0!, 0?

MAKE A BASE.- Strtch cla$/- 6ra& th cor in cla$4- 7"t th final to"chs on th #as

:rom here on we will e getting into more and more clay modelling. :irst we will make a clay

ase which will ecome the foundation of the doll. #t will take some practise to get the hang of

wrapping the clay neatly. 3ou will get a good, neat shape to the ase if you don$t rush and if youwrap the clay tightly so it doesn$t slip and lose its even thickness. 4 it of slippage will e offset

y shrinkage when the clay dries, so there is no need to e nervous. ;ecause the styrene part will

e removed later, try to ensure that the clay remains uniform at its thinnest. 5n top of this,

gradually adjust the rough sketch. 4s far as possile, try to get the proportions right at this stage.

1aterials3 Clay (La 4oll)3 Clay rolling pin (e.g. some plasti" pipe)

3 Clay board (Something the "lay %on>t sti"9 to easily li9e a plasti" board or a $inyl sheet)3 Splittable "hopsti"9s3 Clay modelling tools, bamboo spatula3 rush, toothbrush3 u"9et (:or the brushes to go in)3 S"issors

.00 Strtch cla$8. re$are yo%r clay board( and roll o%t 8,@ a $ac- of Fa Doll to an e'en thic-ness.@. 1o% can %se some s$littable cho$stic-s or some thic- wire as a g%ide to get an e'enthic-ness.. ;ill the b%c-et with water and wet yo%r b%shes.

?. To ma-e the clay as stic-y as $ossible( br%sh the s%rface with the wet br%sh to smooth it o%t.oint: If( when yo% wra$ the core in the clay( they dont stic- together and a layer of air isformed( it will ma-e it harder to model.

/00 6ra& th cor in cla$8. As soon as yo% ha'e smoothed the s%rface of the clay( $lace the core on it.@. Wra$ the clay aro%nd the core.. C%t off the o'erla$ at the seam with scissors or a s$at%la,modelling tool and then r%b theedges together well.?. If there isnt eno%gh clay and some of the styrene is stic-ing o%t( add some new clay.>. Ta-e care at this $oint that the clay on the seam is well r%bbed together and that the edgesha'e become li-e one $iece.

=. Remo'e a circle of clay so that yo% can see the styrene at all the $laces where 7oints will becreated later /sho%lders( hi$s( wrists( nec-2.. Wra$ the arms and legs in clay in the same way. They will be less li-ely to brea- if yo% wor-with the s-ewers still thro%gh the core.


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When yo% are 7oining bits of of clay together( ma-e s%re that there is $lenty of moist%re in the clayand it is soft. nead it well and the bits of clay will become li-e one $iece. If a layer of air getsbetween the bits of clay this will ca%se crac-s later and ma-e it brittle. If both the bits of clay ha'e

been moistened when they are st%c- together it will be m%ch harder for a layer of air to get in.

=d$i"e

7he "lay, %hi"h %as rolled out to an e$en thi"9ness at :irst, %ill be too thi"9 on the %rists andan9les. @radually stret"h and thin out the "lay to%ards the ends o: the limbs and then it %ill%rap %ell. 'ub the seams together so that the "lay be"omes li9e one pie"e. (7he leg says Aleg"ore> and the grey line says A"lay "ross+se"tion> underneath. 7he red %riting says Agradually thinout to%ards the an9le> AapproBimately mm2mm>. )

400 7"t th final to"chs on th #as8. Chec- all the $ro$ortions against the s-etch again( now that the styrene is wra$$ed in clay. Ifthe clay is wra$$ed too thic-ly( it will end %$ loo-ing b%l-y.@. It will be clearer if yo% assemble all the $arts. Ad7%st any $arts where the clay has been o'er+a$$lied. Try to get the $ro$ortions right as m%ch as $ossible at this stage of the $rocess.. When this stage of the $rocess is finished( let the $ieces dry o%t once. Dont worry abo%tsc%l$ting all the detail in one go.

=d$i"e

e:ore you let them dry, be sure that ea"h part is stood up and "an get the air all the %ay round.Letting them dry on their side %ill lead to distortion.

1=


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Pg. 2, 20, 22

MODEL A FACE.- Ma( a fo"n!ation/- Mo!l a nos+ $s an! ars4- 8g"lation th !tail 293

When faced with a doll, everyody unconsciously looks at the face first. The face can e called

the life of the doll. The important thing in modelling a face is alance. 4s with the ody, the

proportions of the face change with age. To make a cute, young face you should model the faceelow the halfway point of the head. :urthermore, whilst the ody, arms and legs are all

e"pressive, the e"pression of the face is the most important. 7uman e"pressions ecome doll

e"pressions. There are many e"pressions outside of the ovious smiling and crying. !ach

sculptor can make an individual doll ased on their own thoughts.

1aterials3 Clay modelling tools, bamboo spatula3 rush

3 Copying e6uipment3 Clay, %ater

.00 Ma( a fo"n!ation8. Try drawing the general image yo% wish to create. Its also if yo% 7%st start b%ilding %$ theclay witho%t drawing( if yo% $refer.@. Wet the s%rface of the dry clay and %se well+-neaded clay to b%ild %$. R%b it firmly into thedry clay. lease do it so that the wet and dry clay become li-e one $iece.. ;rom the side( the 7aw line is abo%t halfway from front to bac-. Ma-e it three+dimensional. 1o%sho%ld ma-e the o'erall mood of the face first.oint: There is a tendency to concentrate on one area at a time( b%t ta-e care o'er the bonestr%ct%re( the $osition of the eyes( length of the nose( si)e of the mo%th etc. to ma-e s%re the

face is well balanced.

/00 Mo!l a nos+ $s an! ars8. When the o'erall $ositions are decided( model each indi'id%al $art. ;irst( ma-e thero%ndness of the eyes.@. Fater we will $%t artificial eyes in( b%t first we will model the eyes closed.oint: The eyes /artificial2 are s$herical( so $lease gi'e the eyelids a s$herical feel.. Sc%l$t caref%lly %sing a s$at%la and a br%sh. The br%sh is more con'enient for sc%l$ting $artswith ro%ndness or de$th /li$s( inside of the ears2.?. When %sing a br%sh( %se a oil $ainting br%sh loaded with water on clay with a wet s%rface.oint: ;or a child+li-e face( ma-e a short( %$t%rned nose( and a small( $o%ty mo%th. In ad%lts(the nose is longer and the mo%th is larger.

>. When each feat%re is finished( %se a s$at%la to o$en the eyelids and ma-e the eyeballs.&ere( as before( ta-e care to ma-e the eyeballs s$herical.=. This is when yo% ma-e the fold in the eyelids.. Model the inner corner of the eyes /inner canth%s2.E. Ma-e the corners of the eyes contin%o%s with the lower eyelids.


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attaches is higher than the chee- bone.88. Attach the clay firmly and ma-e the o%tline of the ear.8@. Sc%l$t the details %sing a s$at%la and br%sh.

400 8g"lation th !tail 2&g- //38. Rechec- the balance of the entire head and each of the indi'id%al feat%res as yo% fine+t%ne.

@. Ad7%st the eyes( bridge of the nose( ti$ of the nose( ro%ndness of the li$s( sha$e of the mo%th(chee-s etc.. 1o% sho%ld %se the right tool /bamboo s$at%la( br%sh or finger2 for each area.?. The final ad7%stments will be made with a file and sanding later on. /See $g. ?92

=d$i"e

#e%"omers to s"ulpture tend to ma9e the :a"e too :lat. t>s no good i: you only loo9 at it :romstraight onDD Please inspe"t it :rom le:t to right, up and do%n, diagonally and :rom all dire"tions,and "he"9 %hether it is symmetri"al or not. ;sing slight eBaggeration %ill gi$e it a more three+dimensional :eel. 7hat is to say, rounded eyes, nose and mouth o$er a rounded bone stru"ture .

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13/61

Pgs. 2*, 2, 2!

MAKE A BODY.- A!:"sting th &ro&ortions 28g"lation3/- Ma( th !tail

5f course there is e"pression in the ody, just as there is in the face. >ecently it has een saidthat the e"pression of the ody comes from the ody language used in dance and drama etc., ut

dolls have e"actly the same degree of e"pression as humans. 4 good posture with a puffed out

chest will give a completely different impression to a stooped or slouchy posture, andemphasizing the muscles will give a feeling of tension. The volume of the chest and hips is also

important. 0lease think aout the face and the whole ody image together as you make it.

1aterials3 5ood%or9ing rasp3 Cutter3 1odelling tool, bamboo spatula3 rush, %riting materials

3 Clay, %ater

.00 8g"lation8. Fets e3amine the dried o%t body from bac- to front( %$ and down( left to right( and from alldirections. Its easier to ma-e s%re that yo% ha'e good left to right balance and symmetry if yo%loo- at it in re'erse %sing a mirror.@. Chec- the bac- and sides too( and ro%ghly mar- areas that need ad7%sting in $encil.oint: Its easier to %nderstand the twists and distortions of the %$$er and lower body if yo% loo-from abo'e and below.. Ad7%st any distortions by filing with a metal woodwor-ing ras$ /See $g. ?82.?. ;ile and sc%l$t any $arts where yo% added too m%ch or too little clay( and any distorted $arts.>. Also file and sc%l$t the stomach.

=. Ad7%st any distortions while loo-ing from abo'e.. "ow yo%'e smoothed o%t any distortions on the body and itGs nearing the finished image.

Re$airing crac-s

When yo% lea'e the clay to dry a few crac-s will a$$ear d%e to the contraction. ;ine crac-s canbe re$aired by sim$ly adding more clay( b%t( beca%se the clay wont reach to the bottom of thecrac-( widen the crac- with a c%tter -nife first. After dam$ening the crac- with water( $ress well+-neaded( soft clay in to fill. It is best to $re$are the clay in ad'ance( ma-ing it softer and wetterthan %s%al. A'oid %sing wood gl%e or similar $rod%cts to re$air crac-s. The gl%e is harder thanthe clay and will create a raised seam when it comes to sanding.

8. ;irst widen the crac- with a c%tter.@. After wetting the crac- with water( fill it with well+-neaded( soft clay.

/00 Ma( th !tail8. When yo% ha'e filed the body so the final sha$e is 'isible( add clay and sc%l$t the details.@. 1o% m%st moisten the s%rface of the dry clay and r%b the wet clay in well so as to ma-e agood bond and a'oid creating a layer of air.. n $arts that yo% wish to a$$ear soft and ro%nd( yo% can *%ic-ly get a bea%tif%l finish by%sing yo%r fingers. The fingers s%r$ass all else as a tool.

1


14/61

?. The deltoid m%scles( which r%n from the sho%lder to the arm and attach the arm to the body(are easy to sc%l$t.>. Cons%lt anatomical diagrams of m%scles. The modelling of the sho%lder is determined by thethic-ness of the arm and decisions abo%t balance. 1o% sho%ld aim to get the sho%lder to thisthic-ness /li-e in the diagram2.=. After yo% ha'e sc%l$ted the arm( c%t it off again.

. The modelling of the b%ttoc-s and thighs is determined by the thic-ness of the legs anddecisions abo%t balance. Again( after yo% ha'e attached and sc%l$ted the legs( yo% sho%ld c%tthem off.E. 1o% will ad7%st the details and resc%l$t while yo% do the sanding later. /See $g. ?92

=d$i"e

all+&ointed dolls are made in parts. e"ause o: this, i: you s"ulpt ea"h pie"e in a daEe, nomatter ho% %ell the details are made, the o$erall balan"e %ill be destroyed. Please align and"he"9 all o: the parts together :rom time to time. ( don>t get this line here GG ) Please"onsult anatomy manuals :or artists (See pg. 0/*) :or s9et"hes o: s9eletal and mus"ularstru"ture.

"ote from translator: I wasnGt s%re how to describe the head,body ratios( so bewareH

1%


15/61

Pg. 2, 2-, /

MAKE ARMS & LEGS.- Mo!l th ar,s/- Mo!l th lgs

;ecause regulating the arms and legs is delicate compared to the head and ody, they are difficultparts to understand and model. 5n top of that, there is left and right to consider and you must

take care with the symmetry, making it harder still. Take your time and carefully oserve the

human ody, and with patience you can do it well.

1aterials35ood%or9ing rasp3Cutter31odeling tool, bamboo spatula3Clay, %ater35riting materials

.00 Mo!l th ar,s8. ;irst( chec- the balance of the whole body( and ma-e the a$$ro3imate thic-ness of thesho%lders and deltoids.@. Ad7%st the thic-ness of the $art that attaches to the sho%lder.. Com$are the length of the arms with the body. They sho%ld be slightly shorter than thighheight.?. The $osition of the elbow is below the halfway $oint of the arm. The to$ $art of the arm islonger.

Tendencies with arm length

Arm length 'aries between indi'id%als. If yo% ma-e the legs long( yo% sho%ld ma-e the arms

long as well. &ere I am ma-ing a'erage $ro$ortions. lease ta-e care beca%se the length of thearm will increase when yo% add the ball 7oint at the wrist. &%man circ%lar mo'ement in the armsand legs is go'erned by the m%scles that stretch between the 7oints. This time Im aiming for arela3ed %$right $ost%re( so the elbows are at the bac- and the th%mbs $oint to the front. Inshort( the arms hang slightly twisted from elbow to wrist.

>. Com$are the two arms and ad7%st the length( thic-ness and m%scle balance. ;irst com$arethe length.=. The left arm is longer. Mar- it with a $encil and then saw off the e3cess.. Also com$are the thic-ness and mar- inconsistencies with a $encil.E. Car'e it with a c%tter etc. to ad7%st the thic-ness.

When the styrene comes thro%gh

There are times when yo% will e3$ose the styrene core by car'ing or ras$ing. Also( there may be$laces where yo% made de$ressions in the clay with yo%r fingerti$s and it is too thin. In thiscase( $lease car'e the styrene down and add more clay.

8. Car'e the styrene down.@. Re$air the clay. Ad7%st the sha$e.

1'


16/61

/00 Mo!l th lgs8. Align the legs with the body in the same way as for the arms( and chec- and ad7%st thebalance.@. lease chec- the thic-ness is in $ro$ortion from the waist to the thighs.. "e3t com$are the two legs for length and thic-ness and ad7%st if necessary.?. Chec- both legs from the front as well( and confirm the $osition of the -nees.

>. Dont forget to chec- that the $arts where the legs attach to the body are the same thic-ness.=. Car'e to ad7%st the attachment $laces.oint: Ma-e the shins below the -nee longer to create a slender and carefree im$ression.. Car'e following the line of the sartori%s m%scle in the inner thigh.oint: The line of the legs 'iewed from the front at the inner thigh and aro%nd the -nee createsthe difference between left and right and so is 'ery im$ortant. /Sartori%s m%scle( rect%s femorism%scle( 'ast%s lateralis m%scle( 'ast%s medialis m%scle2E. Chec- that the inside of the -nee o'erhangs and the o%tside is indented. lease ma-e s%rethere is a difference between the lines of the inside and o%tside of the calf.


17/61

Pgs. /2, //, /*, /, /!

MAKE HANDS & FEET.- Ma( cors for th han!s/- 6ra& th han! cors in cla$4- Mo!l th ft

?e"t to the face, the hands and feet are the easiest parts of the ody to make e"pressive. @ooking

at the famous rand anti+ue dolls which history has left to us, we can see that the hands and feet

have een modeled with just as much care as the face. ;ecause fingers are easily damaged wemodel them around a wire core. 4s for the toes, we can model them without leaving spaces

etween them. ;ecause of this, they are less easily damaged and we can use clay with a styrene

core instead of wire. 9odeling the hands and feet, and especially the fingers and toes, is very

delicate work and re+uires a lot of patience, ut when you dress the doll, ne"t to the face, theyare the parts that most draw the eye. @et$s take our time and make them carefully.

1aterials3=luminum "oated %ire (0.mm diameter, larger+s"ale dolls %ill need thi"9er stu::.)

3Pliers3=bsorbent "otton35ood glue3nstant glue37hread (Imbroidery thread, "otton no. :or eBample.)3'asp3Clay modeling tool, bamboo spatula3rush3Clay, %ater

.00 Ma( cors for th han!s8. C%t 89 $ieces of al%min%m wire 8.>3 the length of the face.

@. ;irst $re$are a n%mber of sections of absorbent cotton( by lightly stretching them.. If the wire is bent( roll it %nder a board or some other flat s%rface( %ntil it is straight.?. In order to co'er the wires with cotton( thinly a$$ly wood gl%e.>. Fightly co'er the gl%e+co'ered wire with cotton.=. Roll the wire aro%nd to co'er it with the cotton.oint: This is gro%ndwor- to ma-e it easier for the clay to stic-. lease ta-e care not to wra$ thecotton too thic-ly.

&and cores

The thic-ness of the wire sho%ld s%it the si)e of the doll. 1o% sho%ld %se thic-er st%ff for a largerdoll. Stainless steel wire is also good. lease a'oid %sing iron wire( beca%se in a few years yo%

will get brown r%st s$ots a$$earing on the s%rface of the clay. If yo% are ma-ing e3tremely smallor cloth+st%ffed dolls yo% can sim$ly b%ild %$ the cotton to the right thic-ness and model thehands witho%t any clay.

1)


18/61

. Decide on the si)e of the hands.

&and si)e

In com$aring the hands with the face( the distance from the $alm of the hand to the ti$ of themiddle finger is the same as from the chin to the forehead. The si)e 'aries between indi'id%als(

with age and the image yo% want to achie'e( b%t small children and c%te dolls sho%ld ha'esmaller hands( and ad%lts or dolls yo% want to ma-e loo- strong or forcef%l sho%ld be larger.

E. Ad7%st the balance of the finger lengths. Tightly tie a thread at the wrist $osition.. Attach the hand to the arm and chec- the thic-ness of the $alm. Ma-e s%re it has a goodbalance and isnt too thic- or thin.oint: The 7oint of the th%mb is in a different $osition from the rest of the fingers. The distancefrom the wrist to the finger 7oints 'aries( the little finger is closer than the inde3 finger.=. Ma-e flat $ieces of clay to wra$ the fingers in. If yo% thin o%t the clay at the ti$s of the fingersnow( it will ma-e it easier to get a nice finish later.. A$$ly gl%e to the fingers.E. Wra$ each finger from the $alm side.


19/61

400 Mo!l th ft8. Ro%ghly model bases for the feet in clay. When they are dry( sha$e them with a woodwor-ingor ro%gh metal ras$.@. Draw on the an-le( the achilles tendon( the arch of the foot and the heel with a $encil andad7%st these areas with a ro%gh ras$.. Wet the areas yo% want to add clay to with a br%sh.

?. A$$ly soft( -neaded clay.

;oot si)e

Com$ared with the hands( in $ro$ortion to the toes( the foot is bigger. lease decide on the ageand image yo% want. There are differences between indi'id%als( 7%st as with the hands. If thehands are big( then the feet sho%ld be too to create balance.

>. Model each of the toes with a s$at%la( -ee$ing an eye on the balance as yo% do. Fets ma-eit loo- as tho%gh each toe is se$arate.=. Fets try to model the sole of the foot so it loo- as if each of the toes is se$arate from theretoo.

. Fets ma-e some e3$ression by modeling the m%scles and creating soft( ro%nded toes with awet br%sh.E. Model the m%scles and ro%ndness with a wet br%sh on the sole as well.


20/61

Pgs. *, *0

SANDINGMtal ras&San!ing s&ongSan!&a&r

3ou should sand each part of the doll as you model them. ?o matter how neatly you model the

surface of the clay, it will still e essential to make adjustments y sanding after it has dried.

anding isn$t simply polishing the surface, it carves the clay and therefore is part of the modelingprocess. 3ou will get a smoother shape if you use a rasp first. 3ou may think you it will e okay

to go straight in with sandpaper, ut think again...

1aterials1etal rasps35ood%or9ing rasp (hal: round)3Fine+toothed metal :ile :or polishing (hal: round et".)Sanding sponges

31edium (K02K0)3Fine (K2*K/2)Sandpaper3K, K02, K2*

00 San!ing8. When $olishing com$arati'ely sim$le s%rfaces( start o%t %sing a coarse+toothed metal ras$.@. #'en o%t the s%rface.. 1o% can *%ic-ly get a smooth s%rface if yo% %se a coarse+toothed ras$.

The sanding $rocess

Always start sanding %sing a coarse+toothed ras$. If yo% miss this stage o%t and go straight forthe fine sand$a$er( yo% wont e'en o%t the inconsistencies $ro$erly and will end %$ with asmooth( b%t wa'y finish. 1o% will then ha'e to go bac- and start o'er with the ras$( and will ha'ewasted a lot of time.

?. The coarse+toothed ras$ has left scratches.>. Fets e'en o%t these scratches with the more gentle sand$a$er /8@92 and sanding s$onges.

=d$i"e ++MYou should use the "oarse+toothed rasp :or modeling. ;se a $a"uum "leaner and a damp "lothto get rid o: the "lay dust as you %or9, so you "an easily inspe"t the sur:a"e :or s"rat"hes and

parts that still need sanding.

Metal files,ras$s

Beca%se yo% can get delicate files to s%it each $art that yo% are sanding( its $robably a goodidea to in'est in a set with se'eral ty$es in it. ;ine+toothed ones are con'enient for delicate$arts( b%t beca%se the teeth are fine they will need reg%lar cleaning with a wire br%sh or similarto sto$ them getting clogged. When it comes to larger ones( gently ta$ering half+ro%ndwoodwor-ing ras$s are the most s%itable.

2=


21/61


22/61

Pgs. **, *, *!, *?

MAKE BALL JOINTS.- Stting "& an! c"tting th :oints/- 7r&aring th soc(ts4- Ma(ing #alls;- 6rist an! an(l #alls

There are lots of opposing views aout how to joint dolls. !ven in anti+ue dolls there are manydifferent types of ;ABs. #n Aapan, there are the uni+uely-jointed C9itsuori ningyo - three-fold

dolls$, which have een made since the !do period. #n 1*th century !urope, jointed odies were

applied to is+ue dolls, and from then until now they have continued to e made from all kindsof materials. The doll we are making now has 1 jointsD at the neck, shoulders, elows, wrists,

hips, knees and ankles. The neck, shoulder, elow, knee and hip joints will have styrene cores,

ut the wrists and ankles will e solid clay. The clay in the wrist and ankle joints needs to ethick enough to emed wire in.

1aterials3Styrene balls35riting materials3Sa%38ni:e, gra$er"hisel3#ippers35ood%or9ing rasp, :ile31odeling tool, bamboo spatula3Clay, %ater

.00 St "& < c"t th :oints

8. We are going to c%t the center line of the -nee( an-le and elbow 7oints.@. Mar- the c%t lines( ma-ing s%re that the lengths are the same on the left+hand and right+hand$arts.. C%t the -nee at the center line of the -nee.?. C%t the an-le at the center line of the an-le.>. C%t the elbow at the center line of the elbow.=. &ere they are with one side c%t. "ow lets c%t the other side as well.

Choosing the ball si)e

The si)e of the balls is e'en more im$ortant than getting the lines in the right $lace. If the ball islarge( and the soc-et small /a lot of the ball is 'isible2( it will only ha'e a narrow range of

mo'ement. ;or Oballs that follow the line of the body /here thats the hi$s( an-les( sho%lders andwrists2( we %se slightly larger balls( and for Oballs that mo'e towards the inside of the body/thats the elbows and -nees2 we %se slightly smaller balls. This time( for the $%r$ose ofteaching( I ha'e %sed a mi3t%re of both ty$es( b%t once yo% get %sed to them and with a bit ofeffort yo% can choose the 7oint si)e for the image yo% are trying to achie'e.

Feft $ict%re: ;ollowing the line of the bodyRight $ict%re: Mo'ing towards the inside of the body

22


23/61

/00 7r&aring th soc(ts8. ;or the -nees and elbows( yo% want to get the balls in $lace witho%t changing the length ofthe $arts. In this case( %se a ball that is slightly smaller than the cross+sectional diameter of the-nee or elbow. /We will ma-e the balls at the ne3t stage.2@. In short( we are going to set %$ a Oballs that mo'e towards the inside of the body+ty$e ball

7oint.

. ;irst( mar- the center lines of the -nees with a $encil. Do the same on the elbows.?. Draw lines on the cross+section of the -nee between the center lines yo% 7%st drew. /Theorange bit in the $ict%re is labeled The thic-ness of the -nee.N

ositions of center lines

#ns%ring that yo% lea'e at least @mm thic-ness all ro%nd /not incl%ding the thic-ness of the-neeca$2( draw a circle( ta-ing the $oint where the center lines cross as the middle. Thediameter of this circle will be the diameter of the ball.

>. The bac- half of the -nee 7oint will be c%t diagonally( so draw this line on. Draw one on thethigh side as well.

oint: The angles that yo% c%t here will be the angles that the -nee and elbow 7oints can mo'ethro%gh.=. Car'e the bac- half of the -nee %$ to the center line with a woodwor-ing ras$( and followingthe diagonal lines yo% 7%st drew.. Fets ma-e it so that each $art is a ?>P angle( ma-ing


24/61

. Roll the clay o%t flat in the same way as yo% did when ma-ing the body.?. Wra$ the flattened clay aro%nd the styrene balls.>. Ma-e delicate ad7%stments( while com$aring the sides of the ball with each 7oint s%rface( %ntilit a$$roaches a $erfect ball sha$e.=. Ma-e it so that the -nee ball fits the $re'io%sly made inside of the -nee 7oint.. In the same way( ma-e s%re the elbow ball fits the inside of the elbow 7oint.

E. This is the elbow. Ma-e it so the ball is hidden.. Car'e the foot down with a ras$ %ntil le'el with the center line of the an-le.=. &ollow o%t the inside edges with a ro%nd chisel.. Ma-e the an-le ball with 7%st clay.

=d$i"e

7he "enter line o: the &oint is the "enter line o: the ballDD Let>s ma9e all o: the &oints so that, as :aras possible, the "enter o: the ball %ill be"ome the "enter o: the &oint.

E. lease fit to the leg and decide on the si)e of the an-le ball( ta-ing note of the line of the leg

from the an-le.

2%


25/61

Pgs. 50, 51

FIX THE BALLS.- =i* th hi& :oints-/- =i* th l#ows an! (ns-4- =i* th sho"l!rs

We have made alls of the appropriate size for each joint. ?ow we will fi" the various alls into

one side of the joints. The alls for the joints are fi"ed-type, there are also completely unfi"ed

independant-type all joints, ut this time we will simply fi" the leg alls in. #f it$s important tohave movement, you should make slots or enlarge the holes in the alls to loosen the tension of

the elastic threaded through them. #n this case the slots will move in the wrong direction if the

all is not fi"ed. There are 1 joints altogether, ut ecause each one is asically the same, # am

only e"plaining the essential points. 0lease proceed eing consciously aware of where the centerline of each all will come. @et$s do it so that the hip joints$ center line are at the hips, the elows

and knees are on the cut lines and the shoulders are at the point where the side of the ody and

underarm meets.

1aterials3Chiselgra$er3amboo spatula35riting materials3Clay, %ater

.00 =i* th hi& :oints8. Align the ball with the thigh+side of the 7oint( and mar- the 7oin $osition. Fets do it so that thebottom third of the ball is in the soc-et.@. $en a hole in one $art of the ball. lease maintain a >mm o'erla$ where the ball will befi3ed in.. sing a ro%nd chisel( lets o$en %$ as big a hole as we can.?. Dig o%t the styrene.>. ;i3 in the hi$ 7oint ball. Moisten the hi$ 7oint yo% are going to fi3 to with water and then a$$lysoft( -neaded clay.=. Also moisten the hi$ 7oint ball with water and a$$ly soft( -neaded clay.. R%b in to fi3.E. lease neatly remo'e the e3cess clay with a bamboo s$at%la.. R%b soft( -neaded clay on to the $arts to be st%c- together. ;irst( do the lower leg.=. R%b clay onto the -nee ball as well( realign the ball and -nee 7oint center lines and fi3 in$lace.oint: %sh the ball into the front of the -nee as m%ch as $ossible. This is to sto$ the -neeca$getting too thic-.. Remo'e the e3cess clay with a bamboo s$at%la.E. Fets also remo'e the clay from the to$ of the -nee with the s$at%la.

2'


26/61


27/61

Pgs. 2, /, *

MAKE SOCKETS FOR THE JOINTS.- A!:"sting th contact &oints/- Ma(ing th soc(ts

5nce the hip, elow, knee and shoulder alls are fi"ed in place, we will make the sockets theholes on the opposite side of the joints that the all fits into./ The staility of the doll depends on

this stage of the procedure. #f the sockets aren$t a tight fit, the joints will rattle and the doll won$t

e stale. This stage is very important in creating a doll that can stand on its own. @et$s do itcarefully.

1aterials35ood%or9ing rasp, :ile31odeling tools, bamboo spatula3Clay, %ater

.00 A!:"sting th contact &oints

8. Try fitting the $arts with the balls in to the %$$er hi$ 7oint and chec- for ga$s.@. If there are ga$s( the 7oint will rattle and be %nstable( so lets car'e down the sides of thesoc-et holes as thin as $ossible.. This is me car'ing the sho%lder $art. lease remo'e the remaining styrene core.?. Ad7%sting the thic-ness of the the hi$ soc-ets.>. Test fit the hi$ 7oints with the body( and ad7%st them so that the center line of the balls is at thehi$ $osition. /ict%re: the arrow $oints to Center line of the ballsN( and the hori)ontal dashedline is &i$ $ositionN.2

n the si)e of holes and balls.

lease ta-e care o'er the si)e of the holes and balls of the hi$s( an-les and wrists. If yo% ma-e

the holes different si)es on the left and right sides( the ball will go dee$er into the larger holeand less dee$ into the smaller one( and this will be reflected in the length of the limbs.artic%larly in the case of the hi$s( if the soc-ets are different si)es on the left and right( thebody will lean o'er both when standing and sitting. Fets ma-e it so the center line of the hi$s(and of the an-le and wrist 7oints come at the center line of the balls.

=. Ma-e the si)e of the holes on the left and right e*%al. Chec- them from the front.. Fets also chec- them from the bac-. If its %ne'en( ad7%st by adding more clay and car'ingaway the edges as on $g. ?=.E. lease also chec- from the sides. lease 'erify the elbow( -nee( wrist and an-le soc-ets inthe same way.

/00 Ma( soc(ts 2sa"crs38. ;irst( lets ma-e the -nee soc-ets. A$$ly a layer of -neaded clay aro%nd the thigh hole.@. Moisten the lower -nee ball. Ta-e care beca%se the ball m%st be com$letely dry and fi3ed infor this to wor-.. ee$ing the a3is central( $ress the ball into the clay while t%rning it left and right.?. Fets remo'e any e3cess clay with a bamboo s$at%la.>. %ll the 7oint a$art while t%rning it left and right on the same central a3is.

2)


28/61

=. It ta-es s-ill( b%t I thin- with a bit of $ractice yo% can do it well. After its dry we will ad7%st itagain.

=d$i"e

: you %et the ball part o: the &oint %ith plenty o: %ater, push it in %hile t%isting it and pull it out%hile t%isting it, it %ill go %ell. 5hen ma9ing the so"9et part o: the &oints, ta9e into a""ountthe

fact that the clay will shrin-. After its dry( yo% will need to add more clay to the $arts that ha'eshr%n-. lease $roceed caref%lly here as well.

. lease ma-e s%re that when the ball is in the inside of the -nee( the c%t s%rfaces fit togetheracc%rately. /ict%re: ;its together hereN2

4etting the 7oints straight

When ma-ing the soc-ets for the -nees and elbows( $lease $erse'ere %ntil the -nees andelbows are com$letely straight when in a stretched o%t $ose. ;or the legs this is an erectstanding $ost%re. If yo% establish the soc-et sha$e by $ressing the balls in with the 7oint in a

bent $osition( yo% will end %$ with ga$s when the limbs are stretched o%t. artic%larly with the-nees( if yo% ha'e ga$s( this is the n%mber one ca%se of 7oints rattling and the doll ha'ingtro%ble standing( so $lease ta-e care.

E. The -nee soc-et is finished. lease ma-e the elbow soc-ets in the same way.


29/61

Pgs. , -

SET ! THE NECK JOINT.- 1ar% th :oint s"rfacs/- =i* in th #all

4ll the ody all joints are finished. @et$s finish the remaining neck joint. We will set up theneck joint y putting a all in etween the head and neck. We will fi" the all to the neck-side of

the joint, making sure the neck is the right length with the all in place. #t$s also 56 to fi" the

all to the head-side of the joint, so # will e"plain how to do that as well. 0lease refer to theprevious section for how to fi" the all in and make the socket.

1aterials35ood%or9ing rasp, "hiselgra$er31odeling tools, bamboo spatula3Clay, %ater

.00 1ar% th :oint s"rfacs

8. Car'e the inside of the head and nec-( which the nec-+7oint ball will fi3 to.@. When car'ing the hole on the head side( $lease ta-e care to do it witho%t losing trac- of thecenter.. lease $lace the ball and head on the nec-( and chec- the length. Fets ma-e the length ofthe nec- with the ball in $lace loo- nat%ral.?. At this $oint( lets chec- it from the side to see if the center of the head and nec- are aligned.oint: The 7oint will mo'e well if the ball is slightly larger than the cross+sectional width of thenec-. Fets mo'e the head aro%nd and chec- its action.

/00 =i* in th #all8. As with the other 7oints( mar- the hole $osition( lea'ing an o'erla$( o$en %$ the hole and digo%t the styrene core.

@. R%b soft( -neaded clay aro%nd the edges of the nec- and ball holes.. ;i3 the ball in( r%bbing it firmly into the nec-. lease neaten by remo'ing the e3cess clay witha bamboo s$at%la.?. Beca%se we fi3ed the ball into the nec-( we will establish the soc-et on the head side. Fetsbe s%re to do this stage after the ball is thoro%ghly dried and fi3ed in. /See $g. > for details2oint: Ma-e the 7oint so that one third of the ball is in both the nec- and head sides. The sco$eof the remaining middle third of the ball creates the range of mo'ement of the head.oint: If yo% hollow o%t $art of the 7aw on the o%tside of the soc-et /mar-ed in red2( ta-ing thethroat area into acco%nt( yo% can create a better nodding mo'ement.

2


30/61

osition of the nec- ball 7oint.

Choosing whether to fi3 the ball in to the head or nec- side of the 7oint will change the o'eralldesign( to some e3tent. If yo% fi3 the ball to the head( yo% can still create a better noddingmo'ement by hollowing o%t the 7aw( ta-ing the nec- area into acco%nt( as with the ball fi3ed intothe nec-. 1o% can also ma-e the nec- as a se$arate $art( with balls fi3ed at both the to$ andbottom. lease choose how yo% wo%ld li-e to ma-e it. If yo% 7oin a circ%lar ring to the ball /a ringwith a diameter smaller than the diameter of the ball2( and gl%e it in so there are no ga$s nomatter what $osition its in( the ball will mo'e freely. If yo% %nderstand this( for ball 7oints( theconnection between a Oro%nd soc-et and ball will ma-e for the most stable mo'ement. The mostcommon reason for %nstable( rattling heads is that the contact s%rfaces of the ball and soc-etare war$ed and there are ga$s at the 7oin. This is %s%ally beca%se the to$ of the nec- has beenmolded into a hemis$here( and for some reason or other this ma-es it e3ce$tionally diffic%lt toma-e an acc%rately ro%nd s$here at the 7oint. Accordingly( here we are ma-ing the ballse$arately( for acc%racy( and fi3ing it to the nec-. If yo% wish yo% can mo%ld the nec- witho%tma-ing a se$arate ball.

8. This is how to fi3 the ball into the head. In the o$$osite way to how we did it before( establishthe ball so that one third of it is inside the head.@. $en the hole in the ball( remo'e the styrene core( a$$ly clay and fi3 to the head.. Ma-e the soc-et on the nec- side( in the same way as for the other 7oints.

=


31/61

Pgs. !2, !/, !*, !

ARTIFICIAL EYES.- O&n "& th ha!/- O&n th $li!s4- 7"t th $s in

;- 1los th ha!

0utting the eyes in rings so much more life to a dolls e"pression. This is an important stage for

reathing life into the doll. The eyes # use are generally foreign-made doll$s eyes, which areimported or sold over the internet. The size of the foreign-made eyes depends on the individual

maker, ut the diameter of the eye, including the whites, generally goes from (mm to 2mm in

2mm increments. #n my e"perience, the size of the pupil in most eyes is around half the width of

the eye plus 1mm. @et$s choose the right ones for the image we$re going for. 0lease refer to thene"t section if you wish to make your own eyes.

1aterials34esign 9ni:e

3Japanese "hisel (Senpan+maru nomi < re$erse tip round "hisel), "hiselgra$er3Pin $i"e, router, ele"tri" drill %ith :leBible sha:t

Ty$es of artificial eye

/ict%re( F 5R2: Silicon eye( blown glass eye( $a$erweight /$%re glass2 eye( acrylic eye

When it comes to the ty$es of dollGs eyes that are c%rrently in $rod%ction( there are silicon(acrylic and glass ones. Aside from the s$herical eyes( yo% can also get almond+sha$ed ones.a$anese+made glass eyes are not something yo% can easily $ic- %$ in craft stores( I thin- thereare $robably only a few ma-ers in e3istence.

.00 O&n "& th ha!8. lease mar- the si)e of the $%$ils that yo% wo%ld li-e with a $encil on to the eye+$art of thehead. Determine the eye si)e from this diameter.

#ye si)e

The $%$il si)e I want for the doll I am ma-ing here is . Dig o%t the styrene from the inside.=. Fets dig the styrene o%t of the %$$er $art as well.. This is what it loo-s li-e with the styrene all gone( and the e3cess thic-ness go%ged o%t.

1


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/00 O&n th $li!s8. I will car'e the eye soc-ets from the inside( b%t first( I ma-e some holes in the target $ositionfrom the face+side.@. Ma-e the holes with a ro%ter. Its $robably to %se a $in 'ice instead.. Car'e the $art where the eyes will go from the inside of the head( so that the eyes will sitsec%rely. 1o% can easily car'e if yo% %se a ro%nded chisel. I fa'o%r a c%r'ed+ti$ a$anese chisel

which is broader than a Western one.?. re$are the o%tline of the eyes( from the front( with a design -nife.>. Chec- how the eyes fit( by $%tting them in the soc-ets. If the eyes dont sit well( read7%st.

=d$i"e

: the eyelids are too thi"9 in pla"es, then the eyes %ont loo9 right. t is easier to "ar$e the ba"9o: the eyelids as thin as possible no%, and then ad&ust the thi"9ness %ith the "lay you %ill use tosti"9 the eyes in later.

Car'ing with a ro%ter

Ro%ters are small electric drills that ha'e lots of ty$es of interchangeable bits( and are %sed fordetailed wor-. s%ally this is s%fficient( b%t when %sing a large( $owerf%l drill or if yo% arecar'ing in a narrow s$ace( attach a fle3ible shaft into the end of the e3tended small gri$( insteadof any drilling or sanding bits. The fle3ible shafts gri$ is smaller then the main drill( and as it isnarrower and lighter it is easier to hold and so 'ery %ser+friendly for delicate wor-.

/ict%res: Feft labeled Main drillN( BitsN and ;le3ible shaftN. Right labeled Ro%terN.2

8. When %sing a ro%ter( d%st is a $roblem( so fi3 the no))le of a 'ac%%m cleaner into a 'ice nearwhere yo% are wor-ing( to ser'e as a d%st e3tractor.@. I %se the fle3ible shaft in class for delicate wor-.. Fets car'e o%t the bac- of the eyelids with a s$herical bit.

400 7"t th $s in8. lease moisten the bac- of the eyelids with a br%sh.@. Fets a$$ly soft( -neaded clay and bloc- %$ the eye.. T%rn the eye towards the front and $%sh it towards the o%tside /i.e. forwards2.?. The e3cess clay has been forced thro%gh to the o%tside of the eye.>. Fets remo'e the e3cess clay with a s$at%la.=. Remo'e the last traces with a wet br%sh( and ad7%st the eye direction from the inside. Stic-the other eye in in the same way.. &ere the left eye is 8Emm and the right is 8=mm. 1o% can decide which yo% $refer. This time Iam going with 8=mm.oint: Ta-e care o'er the eye $osition and direction( and the thic-ness of the eyelids( and getthe left and right symmetrical. &ere I ha'e made an %$t%rned+eye $osition.

oint: The left eye line is croo-ed. The easiest way to chec- the direction of each eye is to loo-from the bottom of the face.E. When yo% ha'e them in the $osition yo% want( let them dry li-e that.


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@. Fets moisten and a$$ly clay to the to$+$art of the head in the same way.. Fine %$ the mar-s yo% made at the beginning on the head $arts and $%sh them together.?. "eaten with a s$at%la and ret%rn it to its original sha$e.>. &ere( the head is finished.


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Pgs. !!, !?, !

MAKE ARTIFICIAL EYES & TEETH.- Ma( th &"&ils/- Ma( th whits of th $s4- Ma( artificial tth

!yes from foreign makers come in a wealth of colours and irises, ut # will e"plain how to make

simple artificial eyes for those who want a more individual style. Elass hemispheres are the est

thing, ut they are hard to get hold of, so here # will use resin hemispheres. These are foil-ackedspangles that you can get from craft or ead stores. #f you are making an open-mouthed doll, you

may want to have the teeth showing. The teeth are made using the same polymer clay as we will

use to make the whites of the eyes.

1aterials3Polymer "lay (F1N semi+transparent +0*)3@lass or resin hemispheres3Polishing "ompound

3Clay3Clear nail polish37%eeEers3Paints

.00 Ma( th &"&ils8. ;irst( $re$are the resin hemis$heres that will become the corneas.@. A$$ly some fine+grade com$o%nd /for $olishing2 to a cloth and sco%r the foil bac-ing off thehemis$heres.. lease $olish them %ntil they are com$letely trans$arent.?. Trace the o%tline of the hemis$here on to some $a$er.>. aint the $%$ils %sing the o%tline as a g%ide( with whate'er materials and colo%rs yo% li-e.

=. aint the s%btle feat%res of the $%$il and then $lace the hemis$heres o'er them to chec- howthey will loo-.

;inishing the eyes

The hemis$herical lens effect will enlarge the $%$il yo% ha'e drawn( and so the finishedcolo%red $encil( water colo%r( oil $aint etc. colo%rs( thic-nesses and drawing style will change*%ite a bit.

. When the $%$ils are drawn( stic- them to the hemis$heres. ;irst( c%t o%t the $%$ils.E. aint the edges of the $%$il with clear nail $olish.


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@. Roll it in the $alm of the hand to ma-e a ball the right si)e for the $%$ils.. Ma-e both whites of the eye at once by c%tting the ball in half with a $allet -nife or similar.?. %sh the hemis$herical $%$il 8@mm into the clay white of the eye to sto$ it sli$$ing o%t of$lace.>. "eaten the edges of the $%$ils.=. Coo- to harden the $olymer clay. This time I am %sing an electric o'en toaster.

. If its too hot it will b%rn and blister( so $lease first $re$are a test $iece of $olymer clay andchec- the coo-ing time.

Reg%lating the coo-ing

The coo-ing time changes de$ending on the o'en o%t$%t( how long it ta-es to heat %$ from cold(and if the clay carries on coo-ing afterwards. After it has heated %$( coo- for abo%t 8@ min%tes.1o% can also coo- with the waste heat. It will coo- on the waste heat for ? min%tes if yo%lea'e it in the o'en after it has been switched off. If it didnt get hot eno%gh( $lease re$eat the$rocess.

"ote from translator: Coo-ing $olymer clay can be dangero%s( so in case I ha'e got this wrong

/and I might well ha'e2( $lease follow the instr%ctions on the $ac-et.

E. When the eyes ha'e a transl%cent feel( they are done.


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=. If yo% find it hard to control it in yo%r hand( its $robably if yo% $lace it on the edge of thewor- bench.

400 7r&ar th l#ows an! (ns8. Mar- the center line on the elbow 7oint ball in the same way yo% did for the hi$( %sing thecenter of the elbow as a g%ide.

@. Ma-e holes in the ends of the slot %sing a ro%ter with mm bit attached.. As the elbow 7oint ball is small( contin%e to %se the ro%ter to ma-e a few more holes in theslot. The bit si)e is mm here as well.?. Fay the ro%ter on its side and %se the side of the bit to car'e o%t the clay between the holes.>. "eaten the slot line with a file.=. Ma-e the -nee in the same way as for the elbow. Fets mar- the center line %sing the centerof the -nee as a g%ide and o$en %$ the slot.

;00 7r&ar th sho"l!rs8. As li'ing bodies ha'e rotational mo'ement in the sho%lders( here we will corres$ondinglyma-e a large hole rather than a slot.@. As for the other 7oints( draw on the center line( mar- the hole yo% will ma-e( and then car'e it

o%t %sing a ro%nd chisel.

=d$i"e

t>s easiest to do all o: the &obs o: the same type in one go. First let>s mar9 all o: the &oints, thenma9e all o: the slots.

)


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/00 7r&ar th wrists8. Fets ma-e slots in the wrists as we did in the an-les. Mar- the $osition( ta-ing care o'er theslots direction.@. Ma-e se'eral holes along the slot.. Fay the drill bit on its side and 7oin %$ the holes to ma-e the slot.?. #mbed the wire. Ma-e a hole in the side of the ball( slightly abo'e the center line.

>. Determine the length( c%t the wire and then insert into the hole. A$$ly instant gl%e from theo%tside.=. Also a$$ly from the inside. After the gl%e is dry( fill the hole with clay to ret%rn it to its originalsha$e.

400 Ma( hoo(s8. Ma-e hoo-s to attach the elastic to the embedded wires.@. Bend the 8E stainless steel wire into an S+sha$e with $liers.. Fets ma-e @ hoo-s each for both the wrists and an-les( thats ? in total. When they are done(hang them on their res$ecti'e wires.

;00 7r&ar th ha!

re$aring the hole in the nec- 7oint.

We will ma-e a hole in the nec- 7oint. Whether yo% attached the ball to the head or nec-+side ofthe 7oint( yo% ma-e a big hole with a ro%nd+bladed chisel. The elastic will be threaded thro%ghthis hole( so if yo% ha'e as large a hole as the s%rface allows( it will create a wide range ofmo'ement.

8. We will fi3 a hoo- into the head that the elastic will attach to. Mar- a hole $osition on the 'eryto$ of the head where the hoo- will be.@. Ma-e the hole %sing a ro%ter and @mm drill bit.. Bend some 8= stainless steel wire into the sha$e in the $hoto and thread it in.

?. Ma-e it so that the hoo- $osition is aro%nd the front of the ear.>. Mar- the wire at the $oint where the to$ of the head comes with a $en.=. C%t the wire @cm longer than where yo% mar-ed it.. Bend the wire into a right angle 8cm from the end.E. "e3t( bend another right angle at the mar-ed $osition.


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Pgs. ?!, ??

ASSEMBLY.- 7r&ar th lastic/- Ass,#l$

@et$s assemle all the parts and make the doll ale to stand independently. 3ou get asked G4re

there weights in the feetHI, y people who think it$s strange to see a doll standing without a

pedestal. #f the doll has een made precisely to plan, whether it$s fi"ed pose or all-jointed, itwill e ale to stand independently. 7owever, for all-jointed dolls there is an even greater

necessity to make the joints reliale. 3ou can also use stands to help, ut really you need to make

the doll ale to stand y itself. To this end, let$s string the inside of the doll with elastic toassemle it. 4s # mentioned efore, the type of elastic #Fm using here is called C%-strand round$.

>aw elastic will degrade +uickly and soon reak, so please use faric-covered stuff.

1aterials

3Ilasti"3Stainless steel %ire K03Pliers

.00 7r&ar th lastic

#lastic threading tool

Ma-e an elastic+threading tool from the 8E stainless steel wire that yo% %sed to ma-e thehoo-s for the wrists and an-les. lease c%t it abo%t @9cm longer than the length of the body$arts. se needle nose $liers to bend one end into a hoo- which will easily snare the elastic( inthe same way as yo% did for the S hoo-s.

8. ;irst( ma-e an elastic+threading tool as shown in the left+hand $hoto. "e3t( $re$are the elasticwhich will connect the arms and legs. ;or the arms( $re$are a loo$ from a $iece of elastic thatmeas%res twice the distance from one elbow to the other.@. ;or the legs( lets ma-e loo$s from $ieces of elastic that meas%re twice the distance from thecenter of the head to the -nees. This ma-es two long loo$s for the legs( and one shorter one forthe arms.

/00 Ass,#l$8. &ang the two loo$s of elastic that will attach to the feet from the head hoo-. Fets ens%re the-nots are $laced inside the head and arent threaded thro%gh the 7oint slots.@. Assemble from the head to the legs. se the threading tool to $%ll the end of the elastic

thro%gh the body and thigh of each leg.. %ll it thro%gh the shins.?. ;inally attach the loo$ to the an-le hoo-s. Fets attach the other leg in the same way.>. Both arms are assembled %sing one loo$ of elastic. &oo- on the elastic with the -not at oneof the wrists.=. In the same way as for the legs( $%ll the elastic thro%gh the left and right arm $arts with thebody between( and hoo- it to the o$$osite wrist.

%=


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%1


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=d$i"e

#o% all the parts o: the doll are assembled. Let>s try standing the doll up straight. t %ill be asu""ess i: it "an stand and sit %ithout support. : there are gaps in the &oints or sha9iness, thedoll>s posture %ont be stable and it %ont be able to stand alone. =lso, it %ill gi$e a :eeling o:being un"om:ortable and unnatural. Let>s ma9e the :inal ad&ustments be:ore %e turn to%ards the"oating stageDD

%2


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Pgs. O 0

FONDATION COATING.- 6i& with a cloth/- 7r&ar ,o!ling &ast4- 1oating 2#r"sh &ainting3

#n the last chapter we assemled the doll once to check the symmetry and state of the joints.Bon$t you think delicate adjustments are a good ideaH This is where we finish working with the

clay and start coating. :irst it$s important to do a foundation coat. !ven though this is only the

foundation coat, the right materials to use are gofun or modeling paste. :or eginners, #recommend modeling paste which can e easily otained from art shops, is easy to use and

makes a durale foundation coat. 4s for how to paint, if you$re working at home or have limited

resources it$s fine to paint with a rush. The foundation coat will serve to round off the surface of

the clay and conceal any minor lemishes, protect the sculpt and help to make the coloured painttake effectively.

1aterials3Nil paint strainer (Fine straining net, 02 mesh)3rushes3Cloth31ortar, pestle (Nr you "an substitute a bo%l and spoon)31iBing sau"er35ater "olour paints31odeling paste3@esso3Spoon

.00 6i& with a cloth8. Wi$e the s%rface of the clay with a dam$ cloth to smooth the clay fibers down.oint: Wi$ing with a cloth gi'es the s%rface a smooth finish and ma-es it easier to ma-e s%rethere are no cons$ic%o%s sanding mar-s.@. As yo% finish wi$ing each $art( stand them in a wra$$ed straw bale /Ma-iwara2 %sings$littable cho$stic-s or similar. This is in $re$aration for drying after they ha'e been $ainted.oint: If yo% dont ha'e a ma-iwara I thin- it wo%ld also be to hang them from a washing lineon thic- wire.

/00 7r&ar th ,o!ling &ast8. Fets add 99cc of modeling $aste to a mortar. Its to s%bstit%te a bowl and s$oon for amortar.

@. "e3t add >9cc of gesso.. Add abo%t 8>9cc of water and stir well.?. lease mi3 well %ntil smooth and all the l%m$s ha'e gone.>. Add acrylic or watercolo%r $aint to ma-e the base colo%r yo% want. Mi3 each colo%r in a littleat a time. /ict%re: 1ellow ochreN( CarmineN( Terre 'erteN2=. Add watercolo%r carmine.. %t the watercolo%r $aint in a mi3ing sa%cer and dissol'e it thoro%ghly. lease mi3 in thecolo%r a tiny bit at a time. Fets ta-e care not to ma-e the colo%r too dar-.

%


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E. "e3t add watercolo%r yellow ochre( a little at a time.


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Pgs. 2, /, *,

FONDATION COATING #AD$ANCED%.- Kna! th gof"n/- Dissol% th gof"n in a #ln!r> /- Dissol% th gof"n in a ,ortar4- 7ainting 2S&ra$ &ainting3> 4- 7ainting 2Br"sh &ainting rfr to &g- ?.3

#n the last chapter # e"plained how to paint the foundation coat using easily availale materials,

for ease of work in one$s own home. ;ut as for me, # use gofun, and paint with a spray gun ratherthan a rush. Eofun has een used in Aapan from anti+uity to paint dolls$ skin. The makers of

pretty much all dolls, e.g. 7ina matusri dolls, ;oy$s festival dolls, #chimatsu dolls etc, finish the

skin y painting it with gofun fine-powdered shells/ and nikawa gelatine-ased glue/ kneadedtogether. ;y the way, here in Aapan there is also a techni+ue called Cgofun carving$ where the

gofun is painted on very thickly and then the eyes are opened and the nose and mouth carved

with a knife./ # only use gofun for the foundation coat. The top coat needs comple" tints, so # useoil paints for that. There are two ways of dissolving the gofun, either in a lender or a mortar.

1aterials3@o:un35ood glue3Nil paint strainer31ortar and pestle (Nr you "an substitute a bo%l and spoon.) or blender3Painting sau"er35ater"olour paints3rush3Spoon35ater

.00 Kna! th gof"n 2shll &ow!r38. We will -nead the gof%n. Add the a$$ro$riate amo%nt of gof%n to a mortar.

4of%n LU g.


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400 7ainting 2S&ra$ &ainting3

S$ray g%n LU g.


48/61

Pgs. !, ?, -, -0

CREATE THE SKIN.- Mi* th colo"rs/- A&&l$ th fo"n!ation colo"r4- A&&l$ th s"#tl tons;- 7aint th !tails

What colour is skinH #f you take a close look at your own skin, you will find it is complicated.

!ven if you only look at the surface of the skin, there are differences etween sun-tanned places

and places which don$t get the sun. nderneath the skin there are lood vessels and fat, anddifferences in comple"ion, so # think that painting Cskin-colour$ with just one colour of paint is

too simplistic. #f we work on how to make the foundation and top layers of the doll$s skin and

consider how the colours are overlaid, it is possile to create a varying and individual skin. 3ou

can use pastels, watercolours, acrylics or oils on clay dolls, ut here let$s use oil paints to colourthe skin. #n the previous section we painted the foundation, ut the top coat colours will also

change depending on the foundation colour. 7ere, let$s try to make slightly pale, translucent skin.

1aterials3Nil paints3Nil painting medium3Sponge3rush3Paper palette3Palette 9ni:e

.00 Mi* th colo"rs8. re$are a small amo%nt of oil $ainting medi%m /$ainting oil2 in a $ainting sa%cer( and someoil $aints on the $a$er $alette.

aints

The $aint colo%rs I am %sing here are rose grey /dar- and light2( mist green( 8+day dryfo%ndation white /fast+drying oil $aint2( raw sienna( raw %mber and da'ys grey. I thin- thesecolo%rs are right for the image of the $erson I am ma-ing( so $lease consider the colo%rs in the%tmost detail.

@. ;irst mi3 the white with the rose grey to ma-e a strong $in-. We will ma-e eno%gh to $aint thewhole body( so lets mi3 it with a $alette -nife.. Consider how thin yo% want the $aint( and mi3 in the oil $ainting medi%m. If yo% mi3 too m%chit will get glossy and will ta-e longer to dry.?. "e3t( mi3 together the mist green( white and oil $ainting medi%m to create the $aleness /lit.bl%e+white in a$anese2.

%*


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/00 A&&l$ th fo"n!ation colo"r8. As a fo%ndation colo%r( a$$ly the green $aint that yo% made with a s$onge. A$$ly it thinly( bylightly dabbing.

S$onges

I am %sing c%shion s$onge that is sold in craft stores( which I c%t into an easy+to+%se si)e. I thin-ma-e %$ s$onges wo%ld also be .

@. n the smaller $arts( s%ch as the between the finger and toes( and the slots( lets start$ainting with a br%sh.. After yo%'e a$$lied the $aint with a br%sh( $lease %se a s$onge to dis$erse it well.?. In the same way( lets $aint the slots of the 7oints with a br%sh first( and then dis$erse it with as$onge.

=d$i"e

Let>s paint on the :oundation so that the "olours seem transparent. Please ta9e "are not toapply the "olours too thi"9ly, %hilst "reating $ariations in the "olour strength. 5hen o$erlaying"olours, paint them "onsidering the red tones that %e %ill add in the neBt stage. n the end, thisis only the :oundation layer, and it doesn>t matter i: it doesn>t yet loo9 li9e a human s9in tone.

400 A&&l$ th s"#tl tons8. "ow we will o'erlay the red tones that will re'i'e the s-ins com$le3ion. A$$ly the $in- madefrom rose grey and white in the same way as for the green.@. ;or $arts where yo% want a stronger red colo%r( a$$ly $%re rose grey /not mi3ed with whiteH2(thinned with oil $ainting medi%m.. Fets a$$ly the $%re rose grey to the eyes( chee-s( chin( chest( b%ttoc-s( -nees( elbows(an-les( wrists( fingers and toesV all the $laces that we want a stronger red tone.?. n delicate $arts( $lease %se a br%sh to grad%ate the $aint( and gi'e a nat%ral feel.>. Similarly( $aint $%re rose grey on to the $arts yo% want redder( and grad%ate it with a br%sh.

=. Fets $aint the chest in the same way.. Also grad%ate the shaded $laces in this way.E. Fets create the a$$ro$riate loo- for each $lace. Its con'enient to $aint the 7oint soc-ets witha flat br%sh.


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Creating s-in tones

When it comes to e3$ressing h%man s-in with $aints( its really hel$f%l to refer to themaster$ieces of the great artists of history. Feonardo da 0inci( Ra$hael( Renoir( #gon Schiele...I

thin- these artists who $ainted $eo$le( $%t so m%ch hard wor- into e3$ressing the s-in tone foreach indi'id%al. If yo% %se oil $aints thinly( and allow the fo%ndation colo%r to show thro%gh( its$ossible to e3$ress the s%btleties of s-in with the o'erlaying of colo%rs. 1o% can $aint thefo%ndation in whate'er colo%r yo% li-e /e.g. bl%e( green( $%r$le or red etc2 to gi'e a feeling oftransl%cence. With this in mind( let %s as$ire to these great wor-s and create an original s-incolo%r.

;00 7aint th !tails8. When the $aint is dry( we will draw on the details of the face and body. Add colo%r thefingernails with a fine+$oint br%sh.@. Fets colo%r the toenails %sing a fine+$oint br%sh as well.. Fets colo%r the ni$$les %sing a fine+$oint br%sh in the same way. Its necessary to be familiar

with how to $aint with a fine+$oint br%sh( so first yo% sho%ld $ractice $ainting on $a$er.?. We will also $aint the eyebrows and eyelashes with a fine+$oint br%sh. lease match thecolo%r to the hair colo%r. ;irst( mar- the $osition of the eyebrows by lightly shading along theirlines. sing a cotton swab wor-s fine.>. aint shadows on the eyelids with whate'er colo%r yo% li-e.=. A lot of the e3$ression is decided by whether the eyebrows go %$ or down at the o%tside ofthe face( so $lease $r%dently ta-e this into acco%nt. Draw the eyebrows and %nder eyelashes onwith narrow br%sh stro-es %sing a fine+$oint br%sh.. After it has dried( draw on more lines in a slightly dar-er colo%r.E. This is delicate wor-. Fets draw on the lines( t%rning the head in whate'er direction ma-esthem easiest to draw.


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Pg. -*

Acrylic gessoThis is a white acrylic $olymer em%lsion which can be %sed as a base with all sorts of $aints. Ithel$s with the colo%ring and getting the $aint to stic-. &owe'er( if yo% %se it o'er oil $aint or on

oily s%rfaces( it may fla-e off. This is what chea$( commercially+bo%ght can'ases are $rimedwith.

Modeling $asteThis is a water+based acrylic $olymer em%lsion $rod%ct( a white $aste of the consistency ofstrongly stic-y $%tty. It is %sed for fo%ndation coating and for b%ilding %$. It has e3cellent$liability and d%rability.

4of%nA fine $owder made from $%re sea+shells( this is the characteristic $ainting material of a$anese$ainting. Its not only %sed as a white $aint( b%t also for fo%ndation coating. In my wor-( I %sefo%ndation+ty$e gof%n( b%t this is not %s%ally sold in small *%antities. I thin- yo% sho%ld be able

to get hold of I7ir%shi /2 and 1%-i7ir%shi /2+ty$e bagged gof%n in stores that deal ina$anese arts s%$$lies.

Watercolo%r $aintsWith o$a*%e( non+glossy watercolo%rs mi3ed with water( yo% can e3$ress a de$th of colo%r andlightness that a$$roaches that of oil $aints. Also( yo% can b%ild %$ layers of 'i'id colo%rs witho%tit crac-ing and letting the %nder+layers oo)e thro%gh( so it ma-es for rela3ing $ainting.

Acrylic $aintsThis can be %sed when yo% want an o$acity that com$letely co'ers the lower layers of $aint.4enerally( its $robably fine to thin- of it li-e o$a*%e water colo%r $aint. Its water+sol%ble( b%twhen dry it becomes water$roof. It gi'es a non+glossy finish. &ere( I am %sing it for colo%ring

the fo%ndation coat( for the to$ coat and the ma-e %$.

il $aintsThere are 'ario%s colo%r ranges( from trans$arent to o$a*%e. Its $l%ses are that yo% can b%ild%$ layers of $aint to create a de$th and %ni*%ely transl%cent feel. Water wont stic- on to oil( so ifyo%re %sing 'ario%s ty$es of $ainting materials( yo% sho%ld %se oil $aints last of all. se it forthe to$ coat and the ma-e %$.

astelsThese are solid stic-s of $igment that are %sed for finishing the ma-e %$. Scra$e with a c%tter orsimilar to ma-e $owder which yo% can a$$ly with a cloth or br%sh. Its flaw is that e'en if yo%coat it( it still comes off easily( b%t in its fa'o%r( its doesnt ta-e long to reco'er from mista-es

and its easy to create nat%ral grad%ations and li'ely colo%rs.

S$ray g%nThis is a tool for s$raying $aint. It s$rays $aint in a mist( by blowing air from the no))le at the ti$.S$ray g%ns cost aro%nd 8@8(999( b%t yo% will need a se$arate com$ressor to s%$$ly the air.#'en the sim$lest ty$es of these cost se'eral tens of tho%sands of yen and the $rofessional+ty$es are 'ery e3$ensi'e at aro%nd 8(999(999

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Pgs. -!, -?

STICK THE HAIR ON.- 7r&ar to stic( on th rows/- Th first row4- Th scon! an! thir! rows

There are many hair-like products that can e used for making doll$s hair. #t$s fun to dye the hairmaterial of your choosing to e the colour you want. ;asically the way to stick on hair is in

radial layers going from the ottom to the top of the top of the head. With short hair, the skin

colour will show through easily, so stick on lots of layers. @et$s stick on the hair in a way thatsuits the hair style we$re aiming for. The techni+ue #$m using here is one # learned for sticking

the hair on to #chimatsu dolls. The delicate techni+ue of rooting each hair one y one, such as old

makers used on iki ningyo lifelike dolls/ and wa" dolls, will only serve to frighten you. # think

you$d find it interesting to do a it of investigating and try copying how the old masters did it.4nother way of doing it, if you want lots of hairstyles, is to order wigs to use.

1aterials3Hair35ood glue (ui"9+drying stu::)35riting materials3@ Clear (< some sort o: "lear glue in a tube, probably li9e osti9 all purpose)3S"issors3= tile3rush, "omb, mini iron

.00 7r&ar to stic( on th rows

&air to %se for dolls

The $hoto shows hair which is sold for %se in dolls hair ma-ing. ;rom the left: wa'y wefted dollshair( straight wefted dolls hair( mohair( straight sil- thread /blac-,white2( synthetic dolls hair/$olyester,rayon2 and a dolls wig. Recently it has become easy to get dolls hair+ma-ingmaterials o'er the net( by mail order. &ere( I %sed a $rod%ct called dolls hair Oweft. /In a$aneseweft is mino /2( which is the same word as straw raincoat.2 A Oweft is a $rod%ct where oneedge of the hair has been machine sewn. If yo%re %sing loose fibers( yo% will need to ma-ethem into wefts /see $g. belt+li-e rows. &ere I am going to stic- on > rows %$to the center $arting on the to$ of the head.. Fets draw some g%idelines on the head for where to stic- the hair and the whorl.?. Meas%re the length of the weft along the g%ide line.>. C%t two $ieces at this length. It will be too thin with 7%st one weft( so yo% m%st c%t two ando'erlay when yo% stic- them on.=. "ow yo% ha'e c%t two $ieces for the bottom row( lets c%t two $ieces the length of the ne3trow in the same way.

'2


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. C%t two $ieces for the third row in the same way. In this case( I am going to stic- @ $ieces ofweft to each of the bottom three rows.oint: The hair on one side of the machine+sewn $art is shorter than the other. The shorter sideis the bac- of the hair and the $art that yo% gl%e.

/00 Th first la$r

8. ;irst( s$read wood gl%e lightly o'er the row with a br%sh. lease $aint the gl%e on %$ to the$oint where the hair starts at the na$e of the nec-.@. Stic- the first $iece of weft along the line. Fets ma-e s%re of which side is the front and whichis the bac- before stic-ing it on.. &ere the weft is bac- to front and the shorter hair is stic-ing o%t.?. "eaten the flow of the hair before the gl%e dries.>. aint a layer of gl%e immediately abo'e the first $iece and stic- the second $iece /of the firstrow2 on.=. lease stic- it on a'oiding the machine+sewn $art of the first $iece.

400 Th scon! an! thir! rows8. Stic- the second row on. Fets s$read the gl%e as far as the macine+sewn $art of the first row.

@. Stic- the first $iece of weft for the second row on. lease o'erlay and stic- on the second$iece as for the first row.. Fets stic- on the third row in the same way as the second.

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Pgs. -, --, 0, 00

TO! OF THE HEAD.- Ma( wfts/- Stic( on th fo"rth row4- Th &arting;- Th whorl

We have finished gluing the ottom three layers of wefts on. ?ow we will work on the fourth

layer and the fifth layer which is on the top of the head. 4s the fourth and fifth layers are made

with wefts, they will e easy to see through and the machine-sewn edge may stand out. ;ecauseof this, it is necessary to reuild the wefts to make them thicker. We will use these reuilt wefts

to create the parting on the top of the head. The whorl on the ack of the head will e a unch of

hair that we glue on with E clear glue. This is the way we usually do it at the 0ygmalion tudio.

3ou may also make the parting and whorl y making holes in the top of the head. #n that case,mark the parting and whorl and make the hole in advance, then stick the hair unches into the

hole and glue in place.

1aterials3Hair35ood glue35riting materials3@ "lear glue3S"issors3= tile3rush, "omb3Ile"tri" mini iron, soldering iron or similar

.00 Ma( wfts8. ;irst fold a 9cm $iece of weft in fo%r and c%t off the machine+sewn ends.@. Remo'e the shorter hairs with a br%sh or comb to ma-e a %niform thic-ness.. &ere I am e'ening o%t the thic-ness with a br%sh.?. Arrange the front edge of the hair on a tile( and %se a s$at%la to re$eatedly s$read wood gl%e'ery thoro%ghly into the $art abo'e the line /mar-ed in red2.>. Set with an electric craft iron or soldering iron. It will ta-e time( b%t yo% will get the same res%ltif yo% lea'e it dry nat%rally.=. S$read gl%e on to the bac- as well( and set it in the same way. If the gl%e hasnt $ermeatedwell( yo% will get some hair falling o%t. Fets ta-e care.. C%t the edge margin down to abo%t >mm.E. C%t both ends diagonally. If yo% a$$ly the gl%e in a $erfectly straight line( yo% will end %$ with

a neat finish li-e this.

/00 Stic( on th fo"rth row8. Stic- on the com$leted hair wefts to ma-e the fo%rth row.

400 Th &arting8. 4l%e the $arting. A$$ly gl%e to both sides of the center line that mar-s the $arting.@. A$$ly a $artic%larly thic- weft along the $arting line( in the o$$osite direction to that which yo%

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ha'e done so far.. Set the gl%e with an iron( or yo% can let it dry nat%rally.?. A$$ly gl%e to the margin of the weft yo% gl%ed in the o$$osite direction.>. Stic- another weft on to$ of this( in the normal direction.=. ;old the weft yo% gl%ed in the o$$osite direction o'er to the right side.. lace a cloth o'er the folded+o'er $arting and iron. Its to %se a reg%lar iron for this.

E. Fets finish the o$$osite side in the same way. ;irst( a$$ly gl%e.. 4ently $%sh the gl%ed s%rfaces together. "ow( witho%t letting them stic-( $%ll them a$art and

let them dry.=. nce they are dry eno%gh that they wont stic- to yo%r hand( firmly $ress in. After its dry( c%tthe elastic band off and s$read the b%nch o$en.. Ma-e the whorl by $ressing the center of the whorl with yo%r finger.E. Comb the hair to settle it in $lace.

=d$i"e

: you pay attention to ho% hair gro%s and the dire"tion o: the :lo% o: the hair you need :or aparti"ular hairstyle, you %ill end up %ith a more natural :eel.

#mbedded+style

#mbedded+style hair ma-ing is when yo% ma-e a slot and hole at the $arting and whorl$ositions( insert the b%nches of hair and gl%e them in. A$art from the to$ of the head( the$rocess is the same as on $g. . S$lit the inserted hair to create the $arting.=. "eaten the hair to finish.

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Pgs. 02, 0/

HAIR STYLING.- St$ling/- E$lashs

When you$ve finished sticking on the hair, you$re going to want to style it to suit the imageyou$ve chosen. #t$s fine to do it in the same way as for humans as long as you are aware of the

characteristics of the materials you$ve used, such as weakness to heat etc. Take care not to make

the eyelashes too even, let$s cut them a it randomly. #t gives a natural feel to cut the length ofthe lashes to suit the curve of the eye.

1aterials3Hairdressing s"issors37hinning s"issors3'aEor3Comb3Hair iron

3Hair styling produ"ts38it"hen paper holder (to use as a stand :or the head)

.00 St$ling8. ;irst a$$ly a small amo%nt of water or hair mo%sse and neaten with a comb or br%sh. leaseta-e care not to get the s-in dirty.@. C%t it to the desired length.. At the moment the hair is too thic-( so I thin- I will ta-e a bit off. ;irst( cli$ the hair o%t of theway.?. Thin down the hair with a ra)or( mo'ing from the inside to the o%tside.>. Arrange the ends of the hair with thinning scissors.=. This is how it loo-s after being arranged with scissors.

. C%t the hair that frames the face shorter.E. Fets %se a hair iron to ma-e c%rls and straighten o%t any -in-s.


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Pgs. 0!, 0?, 0, 0-, 00, 000

MAKE SHOES.- Ma( th &attrn/- Ma( th &arts4- Ass,#l;- Stoc(ings

The most important thing aout making shoes is to make the toe-part neatly. #f the toe-part is out

of shape, crushed, and covered in wrinkles the shoe will e no good for anything. 7ere # am

making the toe-part out of stone clay and then gluing leather on top of it. This methodautomatically creates a toe-part template, and if you use thin, soft leather, it wont lose its shape.

#f you want to make lots of shoes of the same design, you can make a wooden mold as you

would for making human shoes. :irst let$s decide on the overall design. 7ere # am making short,

lace-up oots with a narrow toe.

1aterialsLeather (.mm thi"9ness bla"9 tanned "o%>s leather 2mm "ra:t saddle leather (:or the sole).2mm leather o: your "hoi"e (:or the lining)3Iyelets (approB. 0.2mm)3Leather "ord (0"m)3Clay (a little)3Pliers3Hard rubber pounding board (:or pun"hing)3Iyelet setting tool3Hammer3S"issors3Cutter 9ni:e

35ood glue3@ "lear glue3Cra:t or regular iron

.00 Ma( th &attrn8. Wra$ the foot in 'inyl and sec%re the end with sellota$e.@. Trace the o%tline on to cardboard. Fets decide on the design of the whole of the shoe.. Decide on the sha$e of the sole and ma-e the cardboard inner sole. Choosing the sha$e ofthe sole a%tomatically determines the sha$e of the toe.?. lace the finished inner sole on the bottom of the foot matching the heel $ositions. ;i3 ittightly to the foot by wra$$ing a t%rn of sellota$e aro%nd the inste$ and arch of the foot.>. A$$ly clay to ma-e the sha$e of the toe.

=. When the clay is dry( neaten the sha$e with a file /or s$onge $a$erH2.. Chec- that the sha$e and thic-ness are the same on the left and right sides.

The sha$e of the toe

The sha$e of the toe is the most im$ortant $oint in the design of the shoe. lease caref%llychec- the line of the toes from %$ and down( left and right. Fets $artic%larly ma-e s%re thereisnt an e3treme ste$ in the line from the inste$ and the toes.

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E. Ma-e the $attern according to the design. ;irst draw on the 'inyl with a magic mar-er. sethis to ma-e the $attern.mm( and a$$ly wood gl%e.


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@E. C%t a $iece of thin leather slightly larger than the inner sole $attern.@. Ma-e and gl%e together a n%mber of $leats on the inner sole. If yo%re %sing hard leather(soa- it in water to soften and it will become easy to eliminate wrin-les.=. Trim off the $a

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