The Museum now also has a part dedicated to construction of the wax figures.

PHASE 1

THE MODELLING

After acquiring all the iconographic information regarding the subject to be taken, with pictures and measurements of the person himself if still alive, the first phase is the MODELLING. We choose the character to represent through photographic material that pictures him through various profiles. On a polystyrene head we spread out a layer of clay. The polystyrene is used as a base while the clay is used to model the somatic features. To shape the clay we use sculpting tools. This phase is carried out very carefully in order not to get the eye used to the sculpture and improve the various parts of the face. Once stopping the sculpting it is good procedure to cover it with humid clothes to keep the caly constantly wet and prevent it from getting dry.

PHASE 2

THE MOULD MAKING AND CASTING

After obtaining a refined well linked to its inner structure model we can carry out the second phase of the sculpting process which is: "THE MOLD MAKING" We now build out the shape dividing the head in two, using copper sheets inserted within the clay. We place silicone rubber first throughout one part then the other one. Once dry we reinforce the parts with alabaster plaster and live it to get dry. We now have the negative clay models made of one outside layer of plaster and one inside layer of silicone rubber which has all the details of the somatic features of the character. At this stage opening up the two half parts we can take out the clay and close up the two halves tiding them up very tight to obtain the cast to pour in the mould.

PHASE 3

SLIP CASTING: THE ULTIMATE SLIP CAST MODEL

After removing the mould and cleaning up the stamps we now proceed with pouring and spreading the material to get the ultimate model. There are several polymer blends used for the slip casting and painting. They are layered within the closed stamps. They are basically made of polyurethane and silicone material pre-pigmented with extreme attention to the right colours and transparency characteristics. After drying out internally with the help of mixed materials we can proceed with removing the cast.

PHASE 4

COATING AND APPLING THE BODY PARTS

The final model is finally REFINED and COATED with the addiction of body parts such as eyes and teeth. The final model will be properly milled and cleaned off from eventual residuals of slip. Micro painted glass and Epox ocular prosthesis, Epox blended dental implants will then be applied from the inside and definitely fixed. At this stage we proceed to the "HYPERREALIST" colouring work through soaking the model with pigments and inorganic acids used to fix the colours and keep the transparency. In some cases, the characters make up will demand a second phase of permanent make up.

PHASE 5

HAIR, EYELASHES, EYEBROWS, BODY HAIR APPLICATION

Having created the resemblance and skin definition we then apply hair, eyebrows, eyelashes, eventual moustaches, beard or visual body hair are applied to the model. In this phase we proced with implanting hair, eyebrows, eyelashes, ( moustaches and beard if the character requires that). This very delicate procedure is carried out with a special needle with open end that allows to tread in little tufts of hair in the wax head. The decorating phase is also quite important. That is achieved by specialized make up artists. They use oil colours to give the face a plain colour, create expression winkles, veins, mole, shades of light.

PHASE 6

FIXING, DRESSING UP AND POSITIONING OF THE STATUE

At this stage the statue can be assembled with all the components, dressed up, finished with the right accessories and placed in the museum. Once the statue is assembled we proced with dressing it up. The clothes are made by our designers, in the case of contemporary characters they themselves can provide them. Finally an iron support is inserted in the leg which is then attached to the floor.

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