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PUPPET MAKING
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STEP 1: CLAY SCULPTURE
The Profs head was sculpted in
pottery clay mixed with a high
volume of water until it was
the same texture as mousse.
This soft, airy texture helped
create the exaggerated
eyebrows and haggard texture
of the skin. The Prof's head is
the same size as an average
adult males. Behind the head
in the profile picture you can
see a 30cm ruler.
A polystyrene ball was inside
the head to reduce weight,
and to help remove the clay
from the plaster mould.
The plaster was applied to the
clay sculpture with the glass
eyes inside the clay. They were
removed with the clay after the
plaster had dried.
The Profs head was sculpted in
pottery clay mixed with a high
volume of water until it was
the same texture as mousse.
This soft, airy texture helped
create the exaggerated
eyebrows and haggard texture
of the skin. The Prof's head is
the same size as an average
adult males. Behind the head
in the profile picture you can
see a 30cm ruler.
A polystyrene ball was inside
the head to reduce weight,
and to help remove the clay
from the plaster mould.
The plaster was applied to the
clay sculpture with the glass
eyes inside the clay. They were
removed with the clay after the
plaster had dried.
STEP 2: PLASTER MOULD
It is important that the clay head not be allowed
to dry out before casting in plaster, but clay that
is too wet can lose its form under the weight of
the plaster. Prof. Clochard was left to dry out for
24 hours before casting.
Prof. was cast in a cellar with stable cool, dry
conditions. The plaster mould used 6 kilos of dry
plaster and took 15 minutes to dry.
I use the splatter mould technique. You begin by
finger flicking drops of plaster onto the concave
areas of the sculpture building up layers as the
plaster begins to harden. You should end up with
a smooth, warm plaster mound - and a mess
It is important that the clay head not be allowed
to dry out before casting in plaster, but clay that
is too wet can lose its form under the weight of
the plaster. Prof. Clochard was left to dry out for
24 hours before casting.
Prof. was cast in a cellar with stable cool, dry
conditions. The plaster mould used 6 kilos of dry
plaster and took 15 minutes to dry.
I use the splatter mould technique. You begin by
finger flicking drops of plaster onto the concave
areas of the sculpture building up layers as the
plaster begins to harden. You should end up with
a smooth, warm plaster mound - and a mess
STEP 3: LATEX SKIN
If the puppet head is very smooth I make the
splatter mould one half at a time, separating
each half with printers plate inserted into the clay
(another reason why it shouldn't be too soft or
or if it will be covered with hair or fur, I'll make
one mould and saw it in half. When the mould is
in two, it needs to be cleaned of all clay, a soft
toothbrush can be very helpful. Put the mould
back together using clay to cover the joins, and
some string to secure everything. Once it's
stable, pour your latex.
Prof. took 7.5 litres of latex to fill the head cavity
and half the neck. This picture is of the second
mould, where the latex is .5 cm thick and the
mould was left full for 1h 45mins.
At the bottom of the photo, you can see his
lycra neck. The lycra sleeve was sewn into the
latex mould and the foam filling before painting.
The neck was painted with the same colours and
layers as the face - not the grey base coat.
If the puppet head is very smooth I make the
splatter mould one half at a time, separating
each half with printers plate inserted into the clay
(another reason why it shouldn't be too soft or
or if it will be covered with hair or fur, I'll make
one mould and saw it in half. When the mould is
in two, it needs to be cleaned of all clay, a soft
toothbrush can be very helpful. Put the mould
back together using clay to cover the joins, and
some string to secure everything. Once it's
stable, pour your latex.
Prof. took 7.5 litres of latex to fill the head cavity
and half the neck. This picture is of the second
mould, where the latex is .5 cm thick and the
mould was left full for 1h 45mins.
At the bottom of the photo, you can see his
lycra neck. The lycra sleeve was sewn into the
latex mould and the foam filling before painting.
The neck was painted with the same colours and
layers as the face - not the grey base coat.
STEP 4: LATEX PAINTING
I chose to paint the Prof's head
all in charcoal grey as a base
colour, before building layers of
brown, orange, green, blue, red
and yellow. This base layer and
all subsequent paint is mixed
with a small quantity of latex.
'curdle' in the paint if too little is
added.
After the base coat had dried
and cured for 24 hours or more,
I created one dark skin shade
with which to begin painting the
skin texture. For each
successive layer, I changed and
brightened the tone, constantly
adding to the original dark skin
tone. When painting in this way
you have to work damn fast
because paint (acrylic) mixed
with latex dries quickly.
I almost never use white and
black paint, but for the grey in
the Prof's hair (on the back and
sides of his skull, eyebrows and
beard) I mixed some white
touches before applying the final
highlights in orange and yellow.
I chose to paint the Prof's head
all in charcoal grey as a base
colour, before building layers of
brown, orange, green, blue, red
and yellow. This base layer and
all subsequent paint is mixed
with a small quantity of latex.
'curdle' in the paint if too little is
added.
After the base coat had dried
and cured for 24 hours or more,
I created one dark skin shade
with which to begin painting the
skin texture. For each
successive layer, I changed and
brightened the tone, constantly
adding to the original dark skin
tone. When painting in this way
you have to work damn fast
because paint (acrylic) mixed
with latex dries quickly.
I almost never use white and
black paint, but for the grey in
the Prof's hair (on the back and
sides of his skull, eyebrows and
beard) I mixed some white
touches before applying the final
highlights in orange and yellow.
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