Scratchbuilding Figures
By Paul Vickers
Part 1: The Basic Figure
Other articles in this series:
(Articles originally published in the BMSS Bulletin magazine)
Above: Two of the author's figures under construction using the
techniques described
Below: "Lost and Found", a vignette by Paul Vickers
Before starting the construction of a scratchbuilt figure, it is essential that the modeller has some grasp of the basics of the proportions of the human body, and at this stage it is strongly recommended that a book on figure drawing is studied, as most of these discuss the various proportions of the figure in some detail. Also useful is a book giving an outline on human anatomy, particularly the bones and the muscles, and again probably the most useful are those books on anatomy for artists.
In order that all parts of a figure are correctly in proportion to each other, no matter what scale is chosen, it is usual to use the length of the head as a standard unit against which to measure all other parts of the body. Thus we find that the whole figure is 8 head-lengths high and 2 1/3 heads wide at its widest point, and having determined this all other measurements can be related to it. For example, the legs from the sole of the foot to crotch are 4 heads; the knees are 2 heads above the sole of the feet; the waist is 2 heads below the chin; etc. It is useful also to note some other points of reference which help in determining proportion, such as the elbows being level with the waist, the figures reaching to mid-thigh, etc. The proportions of the face will be discussed in detail later.
Having gained an understanding of these principles, decide on which scale is to be used for the model, and produce a diagram of the figure in that scale. For an example see fig. 1. This diagram need not be a great work of art - indeed, it should be kept as simple as possible for the sake of clarity - but it is essential that all proportions are accurate. Having once drawn this diagram, it can be used as a reference for the building of any figure in this scale.
It should be noted that the assumption of a ratio of 8 head-lengths to overall height is an ideal only, and slight variations are possible. For example, a ratio of 7 1/2 heads to the body can be used, giving a rather 'dumpy' figure, which is thought by some to be more realistic. This could not only be used for single figures, but also in a group in which both 7 1/2 head and 8 head figures are used together, so achieving slight variations in build and preventing the artificial uniformity of figures so often seen in models. It is also possible to increase the number of head lengths to 8 1/2 or even 9, giving a long, slender figure. This is the type used in fashion drawing, but it is difficult to model a figure using this ratio and still produce a realistic human. In addition, remember that the relative lengths of head and body vary with age. So far it has been assumed that the figure is a fully grown adult, whereas a young child has a relatively larger head in proportion to its body, and, as it gets older, the body and legs grow faster than the head. All these variations are, however, mainly something to be borne in mind for the time when you are confident of being able to build a basic human without too much difficulty, and for the beginner it is best to stick to the 8 head figure, in which the relative lengths are much simpler to calculate.
Similarly, the beginner is well advised to attempt a male figure first, since this is much easier to model than the female. The difficulties with the female arise not at this stage, since the differences in proportion can easily be noted, e.g. the relative narrowness of the female figure (2 heads at its widest point); the narrower shoulders, wider hips and shorter legs, and a proportion diagram, such as that discussed earlier for the male, can be drawn for the female. The problems occur later with, for example, the need for much greater subtlety in the features, and great care is required in the animation, since the way women move differs in many small details from the movement of the male and these details have to be accurately reproduced in order to give a feminine look to the finished figure.
After this slight digression, let us return to the task in hand, i.e. the building of a model of an adult, male, ideally proportioned figure. Having drawn the proportion diagram, the next stage is to make an armature, or, 'skeleton' for the model, which will give it strength and provide a firm basis on which to build.
A thin, fairly soft wire is used for this purpose, thin enough so as not to protrude at the wrists and ankles, and soft so that during the animation many small adjustments can be made to the position of the limbs without too much difficulty. Measure off a piece of wire with a length of twice the overall height of the figure, and ensure that it is reasonably straight. Then bend it exactly in half, and lay it on your proportion diagram (Fig. 2). Mark the point at the base of the neck, and bend the two ends outward slightly from this point, see Fig. 2b. Then mark the position of the hips, and bend the legs vertical again from this point, so the shape is as in Fig. 2c, and mark the position of the knees and waist. Take a second piece of wire, which is twice the length of the arm from shoulder to wrist plus the width of the shoulders. Measure off one arm length and bend the wire to almost a right angle at this point. Do the same at the other end for the other arm, checking all the time with the proportion diagram to ensure that all measurements are correct, since it is easy to add the odd millimetre or two when bending the wire. Again using the diagram, mark in the position of the elbows and the point where the wire for the arms is to join the wire through the body. The two pieces can then be joined together using a suitable epoxy adhesive (Fig 2d). Figure 3 shows the completed armature compared to the same grid used for the scale figure diagram to show how the two relate. When the adhesive has set hard, the skeleton can be animated to the desired stance. If this is your first attempt at scratchbuilding it is advisable to keep the animation simple, but at the same time it should look natural. Avoid having any limb dead straight unless there is a particular reason for it to be so, such as being braced to take the body's weight; pushing against something; or carrying a heavy object, and remember that it is likely for all of a limb to move together, not just part of it. So if a hand is to be raised, not only the forearm, but also the upper arm and possibly the shoulder as well will all have to be moved.
The body can bend forward from the hips and the waist, and twist from side to side so that the shoulders take a different line to the hips, and of course there are many variations to the angle of the head. The golden rule with animation is to carefully observe people around you, and watch how they stand, move, sit, etc. It will be noted that the armature does not include feet or hands. There are two reasons for this; firstly, if working in a small scale the hands will be fairly thin, and problems can arise with the thickness of the wire. (It is quite alarming to have successfully carved the palm of the hand. only to find a piece of wire protruding through the knuckles). Secondly, it is easier, again assuming a fairly small scale is being used, to make the minute adjustments necessary to the angles of the hands and feet if they are added later. This is important as the correct positioning of these items can be of crucial importance in giving the figure the much sought-after 'natural' look. The positioning of the feet will determine whether or not the figure appears correctly balanced, and the hands are important not only for holding weapons or tools or other pieces of equipment, but they can be also used in some circumstances to suggest character, mood or emotion. To take two examples; an open hand, palm upwards, often suggests bafflement or questioning, as in a shrug, whereas a clenched first always suggests strong feeling, usually anger or anguish.
Having animated the armature to the desired attitude, some bulk can be given to the figure by covering the wire in whatever material has been chosen for the construction of the model. This can be an air-drying modelling clay, such as Das, which is easily workable but had the disadvantages in that it breaks fairly easily and will not take fine detail. Plasticene can also be used, which can be worked easily but does not set hard, so great care must be taken when handling the finished figure. If Plasticene is used it should be coated with banana oil before final painting since this will dry to a reasonably hard surface, but underneath this 'skin' the Plasticene will still be soft and the figure easily damaged by an accidental knock, or even just excessive pressure from fingers holding it. Probably the best medium currently available for making figures is an epoxy putty, and of these the best is that marketed under the name of Milliput. This is a soft putty which comes in packs of two sticks. When the two parts are mixed together a chemical reaction starts and the putty will eventually set rock hard all the way through. Before it sets it can be moulded and worked like clay, and can even be thinned with water. When set it can be carved, sawn, filed and sanded. The most fine details can be carved into the surface, or it can be sanded to an exceedingly smooth, almost polished finished. The length of time it takes to become unworkable is about 1 to 1 1/2 hours at room temperature, but needs another 3 to 4 hours to set hard. However, this process can be considerably speeded by the application of heat - the more heat the faster it sets. So by using the oven, or a hair dryer, or even the heat from an anglepoise lamp, the setting time can be reduced to about half an hour, which is an advantage since it allows the modeller to complete one stage, have a tea break, then go straight on to the next stage. The only disadvantage with Milliput is that it is difficult to get a perfectly sharp edge in it when set, since its hardness also makes it slightly brittle, so tiny pieces can break away from a straight edge. This is only a real problem with uniform details, and can easily be solved by using other materials, such as 'Green Stuff (Squadron Green Putty).
Apply the Milliput (or whatever substance used) to the wire armature, building up the limbs, head and body to roughly the desired thickness, but leave a little wire showing at the knees and elbows so that the precise position of these does not get lost. Remember that if working on a small scale, such as 70mm scale, two millimetres of Milliput represents two inches which, if over an elbow, could throw out completely the carefully calculated proportions, so exercise care and again constantly refer to the proportion diagram and cheek all measurements. It is optional whether or not to add pieces for the hands at this stage. If they can be added now it is better to do so, as one piece of Milliput can be used for the forearm and hand, so giving strength to the wrist as there will be no weakening join, but sometimes the animation will make it desirable, or even essential, for the hands to be left off until a later stage, and affixed after the body has been finished. The pieces for the feet should be added at this stage, again using one piece of Milliput for the foot and lower leg, for strength. Do not worry about getting a perfect shape at this time. What you should be aiming for is a rough, but properly proportioned, figure which will form a sound basis on which to work up the details later. Once this has been achieved, leave it to set solid, and work can then begin on the next stage, which is making the head.
This article was originally published in the British Model Soldier Society Bulletin, the quarterly journal of the Society. The Bulletin, Bulletin Extra and BMSS Handbook sheets are sent regularly to members. For details of subscriptions see How to Join
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