The name already reveals it: Sculpey has been the modelling clay of model, doll, figure and sculpture makers and animation studios for decades. Professionally working and ambitious sculptors prefer to use the very easily mouldable modelling clay. In the USA and increasingly also in Europe it is the standard product for small, delicate and very detailed works. The typical colours of Sculpey products combined with the wax-like, slightly translucent surface are the first choice for the realistic representation of human skin.
Precise work and modelling are of decisive importance in sculpture construction. Facial contours, muscle proportions, small wrinkles and skin imperfections, as well as the hint of eyebrows require a plasticine that is small and precise to work on. Thanks to its homogeneous and even elastic consistency, Sculpey is less porous and susceptible to cracking than other modelling materials. The fact that the material is processed with the hands also has the great advantage of making it warm and thus even more supple.
Comparable to other modelling pastes, it can be reshaped and repeatedly deformed after cooling. If surfaces are to be repaired and supplemented, the corresponding parts and details can be attached easily and without trace. Although Sculpey is generally known for its good formability, it is quite stable. For this reason, even figures or shapes with small wall thicknesses are pleasantly dimensionally stable. In contrast to clay or plasticine, Sculpey can be irreversibly cured. In the oven at 130 °C and after about 15 minutes, the easily deformable dough becomes a solid form.
Sculpey can of course not only be brought into shape with the hands. For more filigree work, we recommend classic modelling tools; knives and cutters ensure straight cuts. The different coloured Sculpeys can easily be mixed with each other and the resulting colour nuances can be incorporated into the sculpture. A particularly smooth surface is obtained with the fingers or with the modelling wood. Cleaning petrol is suitable for the final polishing of the surface as it dissolves it easily. Careful application of the benzine with a brush leads to preferred smoothing.
Ready to harden, the sculpture shrinks slightly in the oven and the surface colour darkens somewhat. With thicker walls, hardening may be uneven. For large models and sculptures, we therefore recommend a placeholder or a support made of wire cloth, wire mesh, aluminium foil or wood.
To give the hardened figure the final touch, we recommend using sandpaper and files. Even when cured, decorations and holes can be added with a knife or very carefully with a drill. All water-based and preferably solvent-free colours such as poster colours and acrylic lacquers allow the contours and shades already applied in the sculpture to be highlighted in colour.