| |
|
1. CHAVANT NSP
2.
BEGINING A MODEL
3. ADDING THE FIRST CLAY
4.
TOOLS AND CHEMICALS
|
|
this
info © CHAVANT INC
`Handling Tips:
NSP can be warmed to soften but as it softens it also becomes sticky.
Using small amounts of water, citrus-based solvents, lighter fluid,
latex paint removers, turpentine or mineral spirits as a lubricant
on the surface of the clay will help to attain a smooth surface.
Unique Prop's:
NSP can actually be melted and poured as a casting, brushed or sprayed.
The melting point is approximately 175° F.
Softening point:
NSP - Soft is generally used at room temperature. NSP - Medium and
Hard are most often warmed to a temperature of 110° F - 120°
F to soften it.
When it returns to room temperature it also returns to the initial
firmness.
Working Temp:
Room temperature to 105° F.
Cautions:
Due to potential oxidation, if a model is expected to sit for months
at a time, it may be best to keep it out of direct sunlight and
to cover it with a plastic bag to prevent direct contact with air.
Hygiene:
Wash hands with soap and water after use.
|
|
LINKS
Tiranti
ltd UK
Chavant
inc.
|
|
All images
© glen southern2003
|
|
Modeling
with CHAVANT NSP
1.
CHAVANT NSP (Non Sulfurated Plasteline) |
Having
spent a year or two modeling exclusivly with Sculpey products I decided
to branch out and try something a little different. I wanted to experiment
with a clay that did not have to be baked at the end of the process.
I settled on Chavant
NSP made by Chavant inc.
|
| PRODUCT
INFO: The NSP product line consists of clays that contain
higher percentage of wax components making the clays somewhat "tuffer".
Available in Soft, Medium or Hard (terms only relevant to the NSP
product line) these clays have good adhesive qualities, flexibility
and length. Because they are "tuffer" NSP tends to accept
cut detail lines very cleanly, with no ragged edges. The surface texture
of NSP will be somewhat "grabby" when compared to sulphur-based
clays and even the NSP - Soft is rather firm by some people's standards.
NSP is available in Brown or Gray-Green.
All three grades of NSP - Brown are the same shade of Brown color.
The Gray-Green shades are all different. Clients often want to mix
clays. Sometimes clients want the mixed clay to be the same color
other times they want the color to be different.
| NSP
is commonly used by artists for the creation of sculpture and
is often used to fill cracks in industrial patterns or to build
dams when making splash molds. Product designers who freehand
sculpt also use NSP. |
 |
NSP is subject to surface oxidation.
If the clay is in its original package it will have a long shelf
life, certainly months and probably years. If the clay is repeatedly
heated and cooled, oxidation is accelerated. Sometimes this characteristic
is beneficial in handling or mold making since the surface can become
harder
|
2.
BEGINING A MODEL |
-As
with Sculpey projects I start with a wooden base and drill a
hole through the center.
I cut a length of thread to suit the model and attach it to
the board with a nut underneath and one on top.
-For this head project I only needed a basic armature that would
hold the head steady so I use a small amount of galvanized wire
and attached it to the rod with some softer aluminium wire. |
 
|
-Then
using some Aradlite 2 part adhesive which, once mixed dry's
in minutes, I stuck to wire firmly to the rod.
-Just to be sure I mixed up and added some Epoxy putty in a
couple of places.
- I then used tinfoil to build up a basic head and neck shape,
bulking the model up to save on clay where possible.
-Then I began to add the first of the Chavant clay.
|
|
3. ADDING THE FIRST CLAY
|
 |
This
is where Chavant is VERY different from
Sculpey.
To prepare the Chavant to use I sliced several large chunks
off the block and placed them in a microwave-proof dish.
I then Microwaved the clay for a couple of minutes.
This softens the clay (and if microwaving continues it
turns the clay to liquid) enough for me to easily apply
a layer to the tinfoil head. I find that Chavant quickly
turns hard again once out of the microwave so I work quickly
at this stage. |
|
-As
the character I was designing was to be winking I only wanted
one eye. I would normally use Ball bearings for the eyes but
here I simple rolled a Chavant eye and stuck it in the fridge
for a few minutes. I then pushed a resess into the head and
placed the eye.
-I then started to add strips of clay to begin building up the
basic shape of the head, eyebrows, chin, lips and nose. At this
stage the work is very quick and rough |
|
-Once
I had the bulk of the head done I started to use sculpting tools
to rake off excess and begin to refine the shape. (see tools
below)
-I created the ears from two balls of clay and fully shaped
then before attaching them. Onece firmly joined to the head
I worked them over with the rake tools to ensure they fit in
with the design. |
click
to enlarge |
-As
the clay begins to firm up at room temperature it is possible,
with the correct rake tool, to start working in some detail.
I wasn't looking for surface detail at this stage, just overall
shape and correct muscles/fatty tissue.
I carved out a number of wrinkles and grooves on the forehead
and around the cheeks and eyes. |
click
to enlarge |
4.
TOOLS AND CHEMICALS |
The
main sculpting tools I used on this project were two Tiranti
rakes (709 and 710) and a Southern number 1 (ie. a bit
of wire on a stick)
The Tiranti tools are simple metal rods that have different
shaped metal bands at the ends. There are hundreds of different
tools available for this sort of work and it really is trial
and error to see which tool suits your needs.
The Wire tool I made helps to roughen up the clay and get
it into the shape you require. I added grooves on the wire
using my trusty Dremel
and a cutting wheel. |
|
| |
|
-At
this stage I use a brush and a liquid to smooth out the surface
of the model. The Chavant product info PDF states `water,
citrus-based solvents, lighter fluid, latex paint removers,
turpentine or mineral spirits can be used to obtain a smooth
finish`.
Whilst I'm sure most of
these liquids will work I choose to use an Odour free White
spirit and a soft fibre artist brush. Using a small amount
of white spirit on the tip of the brush I work over the whole
model smoothing out ragged areas of clay. Sometimes when using
the rakes I leave rasied edges that need smoothing out to
get the desired result. |
| 5.
DETAILING |
|
|
to
be continued....................Dec 04 |
|
