Hello, my friends. I am starting a new doll - A sassy Russian beauty, inspired by the 19th century painting "At the village outskirts" by the famous Russian artist Konstantin Makovsky (1839-1915). I came across this painting by accident and fell in love with the beautiful girl, her self-assured attitude, and her stunning costume. The doll will be a joy to create, I just know it.

As all the dolls come to this world naked, for anatomy reference, at suggestion of my friend, I took another painting of a nude "Russian Venus" by another famous Russian artist Boris Kustodiev (1878 – 1927).

Here is the result of my research for the costume:

Mom remembered that she had a picture of Russian embroidered boots that she took during a visit to a museum a while ago and she sent me the picture.

The doll size will be in 1:6 scale - 11" tall. Here is the proportions chart, printed in size:

Wire Armature (skeleton):

Brass tubing (to sculpt the doll in modules) - head module, hands modules and legs modules. The brass tubing allows the doll to stand on the wooden plaque - I will take more pictures later. The Magic Sculpt reinforcement of the skeleton:


(If the name of the material or tool is a link, that means we sell them, click on the link to buy, or visit ).

- for armature skeleton;

- for armature skeleton;

Wire cutters - to cut the wire;

Long-nose pliers - to bend the wire into shape;

. For instructions - check out doll #20 Fortuna - I remember I wrote about it in detail during making of Fortuna;

- to make the removable head, arms and legs modules. I think it is easier to sculpt the parts separately, then bake it, then put it on the body, and finish the connections. Brass tube 3/32 fits nicely over wire 17 Ga. It slides on and off easily. To stop sliding (before putting the head on the armature for the final last time), slightly bend the wire, the tube will get "stuck";

- to cut a piece of tube. The cutter cuts the tubing and leaves the opening hole intact. Other tools can be used to cut the tube (like wire cutters, but the end of the tube gets flattened with wire cutters;

polymer clay, color Caucasian Beige (or any kind of polymer clay); - to hold the armature vertically in the oven and for general holding without touching raw clay; (you can use your kitchen oven); - Living Doll needs 275 F (130 C) for curing;

- flexible silicone tips for fine detail work;

- This is an awesome tool - the flexible yet strong needle-sharp fine point of this tool and smooth surface non-porous fine-grade dental quality rubber is wonderful on polymer clay. Inexpensive and durable, with a strong metal handle and replaceable tips. Suggested uses: - make those cute mouth corners - press in the corners of the mouth; - cut delicate lids - will not drag and tear clay; - sculpt wrinkles; - make comma-shaped realistic nostrils; - sculpt all nooks and crannies in the ears; - define a perfect belly button; - sculpt skin folds, armpits and cleavage and buttocks; - trace hand and foot creases; - gently separate fingers and toes; - make indentations between fingers and palm; - sculpt nail beds; - also good for, ahm..., anatomical correctness; - pick up a piece of fiber without doing major excavation on the face; - angled neck for precision (or you can straighten it - I straightened mine); - sturdy fine rubber point; - strong metal handle; - smooth non-porous dental quality rubber;

- a flat oval brush made of natural goat hair - great for smoothing, covering the sculpt with Translucent Liquid Sculpey;

- these tiny polished balls will revolutionize your sculpting;

- another tool from the category "tools to to take to the desert island";

- these tools are created by artist Alex Mergold, tiny spoons and spatulas, instantly became my favorite tools;

- this oil is the base ingredient of all polymer oven-bake clays, smooth the surface, make your clay softer, brush to stick better fresh clay to baked clay;

- a great sanding material (instead of sanding paper). Open mesh abrasives can be used for wet or dry applications. Abrasive material and dust falls through the holes and does not clog the mesh, allowing you more efficient sanding as well as longer-lasting piece of abrasive;

- Translucent Liquid Sculpey is actually liquid polymer clay, it creates a thin smooth coat on top of the baked clay; smoothes and patches tiny imperfections on raw clay, a must have item;

- finished or unfinished. Just ordered, useful thing to have, will be available at the store end of September - beginning of October 2012;

- 5 mm brown;

- to make a hole in the wooden base for the rod which will allow the doll to stand;

- a 2 part epoxy putty, which, after 12 hours of curing, becomes a rock-hard material. For instructions visit any Magic Sculpt listing at the link or check out doll #20 Fortuna - I remember I wrote about it in detail during making of Fortuna;

- for hair;

- to attach the hair to the head;

- for blushing and lips;

- to make the jewelry for Vasilisa, the embroidery on the dress and head dress;

- to set the microbeads in place;

Twigs for the fence, tiny stones (I will collect them outside) and - to make the "natural country road" effect on the wooden base.

Stretch velour (ruby red - I have a piece, will be perfect!), trims and lace (will search my fabrics pile), and for Vasilisa shirt.

- for building up the bulk during sculpting. On the thickest setting 9, it gives pancakes of nice thickness. First of all, it saves time and energy (as you know, kneading clay by hand takes some strengh. Secondly, the pancakes are uniform in thickness and smooth, so they stick better to the previous layer. Useful and recommended.

I think that might be all I will need - we shall see.


A little more. After 3 mornings of struggle (it is always this way), I managed to make a face that is close to what I have in mind. The head is a module on a tube which slides on and off the neck wire. Before making face, I baked the back of the head, so that there is a solid backing when I push and move the clay on the face. And something to hold on to. And the beginning of the torso:

Special thanks to Tatiana Tofaneto's tutorial on making face. I saw the link on Facebook in the middle of my head-making frustration. I bought it and it helped a lot!

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After the face was baked, I sanded it and added a little on the cheeks, and added ears. To add raw clay to the baked clay - brush the baked clay with a tiny bit of polymer smoothing oil, the new clay sticks and blends better. Here is also a couple of useful ear anatomy pictures.

Sanding marks and scratches disappear with the help of Translucent Liquid Sculpey. Brush thin layer and bake.

Time to build up the body. For that I wanted for some time to try the Clay Conditioning Machine (Pasta Machine). So I brought one from the store and set it up on the shelf - a little out of my way. On the thickest setting 9, it gives pancakes of nice thickness, I really like it. First of all, it saves time and energy (as you know, kneading clay by hand takes some strengh. Secondly, the pancakes are uniform in thickness and smooth, so they stick better to the previous layer. Useful and recommended.

All right, here we go - some meat on those bones.

From bones to fat lady. I wanted her to be a healthy 19 century beauty - voluptuous and curvaceous, but this is just too much. Or maybe, I should stop doing it by ear and pull out anatomy reference pictures, like a good girl.

The internet search produced a really nice model photos set - very close in the body structure and the pose to what I need. The free pictures come with the logo of the website - if you pay for the subscription, you can get them without logo. But for my purposes, those are good enough. Tomorrow I will do the liposuction.

Talk to you later - thank you for watching!