Scratchbuilding Figures
By Paul Vickers
Part 2: Heads and Hands
Other articles in this series:
(Articles originally published in the BMSS Bulletin magazine)
Above: "Singing her praises", figures scatchbuilt by
Paul Vickers using the techniques described
Below: A detail of one of the figures from "Singing her praises".
The figures in the vignette are 70mm
Of all the parts of a figure it is the head, and in particular the face, which is the most daunting to the modeller attempting scratchbuilding for the first time. The reasons for this are not hard to find, for it is the first feature of any person we notice, and it is largely from the face that we ascertain the character and mood of that person, as well as using it as the main source of identification of the individual. So a modeller is keenly aware of the importance of the head to the success of the finished figure, and feels afraid that any imperfection in this area will mar an otherwise excellent model. Coupled with this is the infinite variety of human faces and expressions, which make the task of choosing one to model even more difficult. However, these fears are largely exaggerated in the mind of the modeller and a careful, systematic approach to the head and face, like that already applied to the basic figure, will allow even the beginner to produce a good result.
When starting a head for the first time, the first thing to do is to forget about different facial expressions, racial characteristics, and all other minor details. What one should initially aim for is solely to obtain a recognisable human, by which is meant simply a head with all the features roughly the correct size and in the correct position. The intricacies of expression and character will come later, as the modeller tries more faces and gains confidence in his ability to model them and so starts to experiment. But for now keep things as simple as possible.
Start by establishing the length and width of the head. As we have already been using head-lengths as the guide to overall proportions, this measurement will already be known, and the width can be taken as approximately 3/4 the length. Add some Milliput to the head of the basic figure (constructed as described in part 1) and make a basic shape which is roughly oval at the front, but slightly wider at the top than the bottom, rather like an upside-down egg. The sides are rather flatter, and the back rounded, (see Figure 1). This can then be left to set. Measure down the face to the half way point, and carve in two fairly large indentations, one either side of the centre line. These will form the eye sockets and it is always advisable to establish the position of these as soon as possible as the central features on the face. The other features can then be positioned relative to them. Now measure half way between the eyes and the bottom of the chin and mark this point, which will be the lower edge of the nose. The nose itself can be added from another small piece of Milliput, extending in a ridge from the centre of the eyes to the measured lower mark. Do not worry too much at this stage about shaping of this, or any other part of the head, since at this stage all that is required is to obtain some idea of where the features are, detailing can be done later. Measure half way from the bottom of the nose to the bottom of the chin, and mark a line for the mouth. The ends of the mouth are approximately in line with the centre of the eyes, so this will act as a guide to obtaining the correct width. Once this has been done the head should look as in Figure 2, and should be left until the Milliput has thoroughly set so that it gives a solid basis for further shaping.
The easiest way to shape the face is to reduce it to a series of flat planes which can soon be understood and worked onto the model, and then round off the edges to give the correct soft lines. The planes are shown in Figure 3 from which, for example, it can be seen that the cheek consists of two basic planes. The first extends from below the eye, down the side of the nose to the nostril, its shape being almost triangular with the flat edge at the top and the apex pointing downward. Butting onto this is a second triangle, one edge of which follows the first plane, one edge following the line from the nostril to the tip of the mouth, and the final long side running down the side of the head from just below the eye to the tip of the mouth. This in turn joins the plane forming the side of the head, which is a large, flat, almost vertical plane. So the face gradually begins to take shape. Points to notice particularly are the lines from the mouth to nose, the deep indentation immediately below the lower lip, and the size of the eye sockets. Once all the planes have been carved to their correct size, round off the sharp edges and a recognisable human head should result.
Detailing can now begin, using a sharp knife blade, a scriber, and small pieces of Milliput as required. Let us take each feature in turn and see some of the ways to make them look natural and convincing.
The Eyes
As stated earlier, the eyes are of prime importance and it is worth taking some time to make certain they are rendered well. Into each eye socket press a small leaf-shaped piece of Milliput. While the putty is still soft, use the tip of a knife blade or a scriber to press into this the shape of the eye itself, leaving two ridges top and bottom for the upper and lower eyelids. When the putty has set, use the knife point to clarify the edges of the lids surrounding the eye, and then smooth out the join between the lower lid and the cheek, thus avoiding the appearance of bags under the eyes. The upper lid should be left as a definite ridge. Any further details, such as pupils, eyelashes, etc. can be painted in later.
The Nose
Again using the process of building up complex shapes from the simple, the nose can be quite easily shaped. Commence with a triangular shape, almost like an elongated pyramid, but with a flattened top ridge. When set, this can be rounded off and the details of the nostrils carved in at the base.
The most important point to remember is not to make the nose too large, as this can very easily cause the face to look unbalanced. Bear in mind that the nose will be highlighted in the painting anyway, so it is better to err on the side of caution rather than making it too prominent. Note also that the only hard edges are at the base of the nose and around the nostrils, the sides tending to curve more gently into the cheeks, and that the top is set further back in the face than the line of the forehead.
The Mouth
As stated earlier, it is fairly easy to obtain a rough idea of the correct size of the mouth by taking the ends as being in line with the centre of the eyes. Each lip has a distinctive shape - the lower is fuller and rounder than the upper, and there is a deep indention below it before the outward curve of the chin; whereas the upper lip is generally narrower and bow-shaped, and the curve above it is much softer.
The mouth can be very expressive of character, and by opening it slightly a much more natural look can be given to the face in some circumstances. For example, if the figure is involved in some energetic action, such as running, a slightly open mouth can suggest the heavy breathing caused by this action. Then again, the ends of the mouth can be turned up into a smile, or down to give a sad expression. If attempting to scratchbuild a face for the first time, it is advisable to exercise some restraint in this area until one is more familiar with facial expressions, since any dramatic work on the mouth, such as having it wide open as in a shout, would necessitate remodelling other features, such as the cheeks and brows, to achieve the right overall effect.
The Ears
The front edge of the ear is half-way between the front and back of the head, and the length is the distance from the top edge of the eye socket to the lower edge of the nose. The detail in the ear is fairly complex, and in modelling it is advisable to simplify it as much as possible. Indeed, in scales up to about 75mm it is not really necessary to attempt to carve detail in the ear at all, since this can be suggested by the use of shading when the head is painted, providing the overall shape has been rendered well. The main points to be aware of when adding the ears is to ensure the correct position and size, being especially careful not to make them too big, and to ensure there is a sharp definition to the outline of the top and rear edges, while at the same time not making them stand out from the side of the head at an unrealistic angle.
Hair
By now the model will have a well-shaped bald head, and all that remains is to add the hair. The quantity and style of hair will vary according to the period being modelled, and this should be determined when researching the figure.
Hair is added by using a very thin layer of Milliput, and texturing it before it sets with the tip of a blade or needle as appropriate. Watch that the hairline around the face is correct, noting in particular the shape around the edges of the temples, and also remember the direction of growth of the hair, which begins at the crown and follows the line of the head from this point.
If all these stages are carefully followed, even the most inexperienced modeller should be able to make a lifelike head. As with all modelling, the most important factors to be borne in mind are to plan carefully beforehand; to take one's time and not hurry; and to be prepared to work (and, if necessary, re-work) each item until it is correct.
Hands
Turning to the hands, which are another potential problem area, the same method of starting with a simple shape and working up to the complex can be used to help produce a lifelike result.
In part 1 of these articles it was suggested that the piece of Milliput which will eventually be shaped into a hand be formed from the same piece of putty forming the lower arm. This avoids the need for a potentially weak joint at the wrist, and provides a solid basis for the carving of detail. This piece of putty should be slightly larger than the proposed size of the finished hand, and arranged at a suitable angle to the arm in keeping with the animation of the figure. When deciding on the angle of the hand, it is important to take into consideration the weight of any object being carried, which will tend to keep the wrist straight so that the weight is taken by the whole arm, rather than the wrist alone. Holding any object with the wrist bent is exceedingly uncomfortable, not to say painful if the object is heavy or the position is held for any length of time. This applies to any object when the figure is taking all or most of the weight, rather than the object being held in place by some external support or prop.
Take for example a sword or axe raised above the head in preparation for a downward slash. Though there may be a slight angle to the wrist to aim the stroke, the overall emphasis will be straight rather than a sharp bend, so that the weight of the weapon when lifted is taken by the arm, and the wrist is also braced for the shock of the blow, this being absorbed up the arm, as it must be to prevent damage to the relatively weak wrist joint. If the model is to be depicted holding a weapon or some other item, the Milliput should be wrapped around the weapon so that when the hand is finished the figure appears to be truly gripping that piece of equipment, instead of it looking too obviously glued to the hand.
A section of Milliput should also be pulled out from the main piece before it sets, to form the thumb. This is particularly important if the animation calls for the thumb to be outstretched away from the palm or fingers, since it would be nearly impossible to add on a small piece later in such a way that the join is sufficiently strong to allow for the necessary shaping and filing. Note that the bones forming the thumb begin at the wrist, so that the whole of the lower side of the hand on that side moves with it. The thumb reaches as far as the first joint of the first finger, and is joined to the hand by skin from a point roughly half way up the palm.
When the Milliput has set carving in of the fingers and detail of the palm and back of the hand can begin. For this it is necessary for the layout of a hand to be understood, and this is shown in Figure 4. Some useful points to note are that the length of the middle finger from tip to palm is the same as the length of the palm from wrist to finger; that the first and third fingers are roughly equal in length, with the third finger a little shorter than the first, and that the fourth finger reaches no further than the second joint of the third finger, and probably a little less. Some of these lengths, such as that of the third finger, can vary slightly from person to person but never too drastically. The third finger may be almost equal to, but never longer than the first. These relative measurements should be sound basis for producing a realistic hand.
One other important point to notice is that the fingers do not bend in a curve, but in three distinct straight lines (Figure 5), each of which is shorter than the one preceding it. This should pose no problem to the modeller as these straight pieces are simple to carve onto the figure, but it is very easy to fall into the trap of rounding out the joints into a curve when smoothing down the lines of the fingers.
Carving in fingers is a relatively straightforward procedure, involving the cutting of three lines into the mitt-shaped piece of putty at appropriate intervals, and then rounding the edges to a suitable shape and size. All that is required to do this correctly is patience to gradually whittle away the Milliput, removing only small amounts at a time until a satisfactory shape results. If a hand is clenched, the knuckles are very prominent, and these must be built up with tiny amounts of Milliput, the edges of which are smoothed into the back of the hand. If a hand is open the palm must be correctly shaped, and this is a little more complex. At the base of the thumb is a large raised area of muscle, extending to the mid point of the wrist. Immediately above this is a deep hollow forming the palm, and above this is a slightly raised ridge running the breadth of the hand below the fingers (see Figure 4). Each of these features moves relative to the others, so the modeller should always carefully observe his own hand in the position which is being reproduced on the model and carefully note all important ridges and hollows.
As with so many other aspects of modelling, observation is the key to rendering hands convincingly. For example, a hand resting on a table is by no means flat, the fingers having a natural bend so that only the tips touch the table. Beneath the fingers is a definite hollow, the only parts touching the table being the base of the palm close to the wrist and the thumb. Similarly, the fingers are not straight but slightly bent when the hand is hanging in a relaxed position down by the side of the figure. The only times a hand is flat are in cases of deliberate actions causing this, such as pushing on an object, and the fingers are only straight if pointing, indicating, or making some other deliberate movement. If in any doubt, take note of the other people around, or try practical experiments with your own hand in the same position as that on the model and it will very quickly become obvious whether or not it is a comfortable one.
As has been stressed many times already, by a careful approach, tackling each problem stage by stage, a convincing result can be achieved without any serious difficulty. The addition of the face and hands marks the completion of the basic human figure. The next stage will be to add suitable clothing and detailing.
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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