As eternal a theme as the creature itself, Frankenstein´s Monster has been fascinating me for a long time. This was my first attempt of capturing the head of the monster, but certainly not the last. It is a character so iconic that it allows for various interpretations. Starting out with a portrait bust seemed like a good start.
The total height is 60 mm. It was sculpted in polymer clay. That´s a great material to achieve a high level of detail in a small scale like this. I have used a pine wood plinths and some aluminum foil as a base.
To begin the sculpting, one should always focus on the volumes, main elements and emotions. Ask yourself about the key aspects of the character and identify how important they are for you personally.
I am constantly analyzing the sculpture from any angle and building up the volumes during the sculpting process. I am using an intuitive approach that allows "random" features to be used to generate interesting solutions that help the character.
To refine the volumes I am only using two tools that allow me to revise and control the shapes. However, I have a broad selection of various tools at hand just in case I would like to try introducing some new texture in the sculpture.
In this stage I am focusing on additional details like veins, etc. The texture is still subordinated to the form.
First sections of texturized skin. The texture of the skin is build up in various layers depending on which part of the face it´s located on. In order to create it I am utilizing a handful of basic tools, including many self-made ones.
To add some more interesting details and emphasize the character of Frankenstein´s Monster I am adding some scars and bruises. I am keeping it subtle though, so these elements won´t dominate the portrait. Sometimes, less really is more.
Working out the details it is vital to never lose the character of the topic. Keep in mind that the detail should always be subordinated to the form.
This is a good example of what exactly this means: You got to balance all of the various, refreshing elements like scars, bruises, wounds and artificial elements out with the main volumes. It´s important to think carefully where to put these tiny, story telling elements to achieve the optimal effect.
In the end I am smoothing everything out with a brush. I am not using any solvents like white spirit etc. Solvents will destroy the delicacy of the structure, which I am trying to preserve.
This is what a resin cast looks like. I am always trying to work in the same colour that the final sculpture will have. This allows me to control the shape better and more consciously. A light grey putty is usually best to review and control the form. I am usually working with polimer clay that is either grey or skin tone.
Have fun creating your own, interesting work!