Buzzcock The Punk Alien

(Onyx Fx)

This was a personal Project I decided to make. Buzzcock stands over 60cm high and 40cm wide. My main objective was to create a creature that was original, humorous and possible in natures design. To achieve this I used reference materials such as camels and other creatures based in reality, but adding my own alien humanoid twist to them. I decided to go with an old school punk theme because of my British routes and thought it added just the right amount of character and attitude to the final design. Think Iggy Pop, crossed with a Camel and a dose of alien DNA. I could have problems, the men in white coats are looking into it.

(Left) Pencil sketch (Right) Same pencil sketch but with a little colour added in Adobe

I usually start with an armature to sculpt on, in this case a life cast which I modified. Then using oil based clay I will block out the shape. Once I am happy with a form I will add skin creases, expression and other items like eyes and in this case piercings.

I often find as the sculpture evolves I will change the initial design as I go. It is only a guide for me and you often find when you view something in 3D it looks different to how you envisioned it in 2D.

The next step is texture; this can be done either with texture stamps or by hand. I decided to do my texture by hand, it can be very time consuming but gives the advantage of texture that really conforms to the shape of the sculpture. The photos above are of the finished piece. The wooden pole under the chin is to support the weight of the head and will be removed in the moulding process.

The designs above are Photoshop concepts. I start of by taking a photo of the finished sculpture and art working it. It will give me a good idea how to tackle the finishing cosmetics and painting when the time comes.

The moulding starts. I will use J-Wax to release the oil based clay from the final fibre glass mould. I spay the Clear #1 from U-pol around the edges where the flange wall will lie, this will give a protective layer so when it comes time to flatten the walls my tools to not indent into the sculpture and course unwanted marks.

Now the moulding can really begin. I will cover the first half with gel coat resin, let it go hard and tacky then add chopped stand. The chopped strand allows the fibre glass matting to stick and become part of the gel coat which contains the detail. I would usually do from 2-4 coats of matting depending on how flexible and heavy wearing the mould is needed to be.

Once the first side is dry the sculpture is turned over and the clay walls can be very carfully removed. As it is wed clay I can use water to take the smallest of the muck off without damaging the sculpture. I then remove the wooden pole that supported under the chin and re-sculpt over the area. I also partly cover the eyes and fill in the mouth. The teeth will be fitted later, being cast from a different material.

The mould is complete. I will take my time slowly prising up the sides of the moulds and adding wedges. I personally find patience is the key, just add a little force and hopefully the sculpture will separate from the fibre glass allowing the vacume created to free.

Now I have opened the mould I will clean it with water and white spirit, let it dry and release it with J-Wax. I have then mixed up an FX grade silicon, pigmented it and then added flock. I was unable to find any flock from a supplier so I harvested some red carpet. I will build both sides of the mould up with about 3-4 layers of silicon. On the last layer I add pieces of sponge. The sponge will allow the silicon skin to adhere to the two part foam inner core that I will be pouring in next. I have also made an armature (Skeleton) that will add support to the final piece, the armature is designed to flex in certain places so the final piece will also be able to be positioned and moved, head tilt, mouth open close etc....

Before closing the mould I will smear a mix of thixo silicon on both edges of the moulds and then seal them together using bolts. I then fill the rest of the mould up with a two part cushion foam. Like before I will take my time and slowly prise the mould open to de-mould my first casting.

I have decided to create the teeth and horn membranes separately out of resin. As the castings will be rigid I will mould them with silicon. I then cast each piece out using a number of layers. For example, the membranes are made up off 3 layers of gel coat with no pigment, 1 layer white mottled, 1 layer no pigment, 1layer brown mottled, 1 layer white mottles and then a thin layer of tissue matting. By do it this way you create an effect that you could not create by painting adding more depth, almost like bone.

At this point I have the piece fully seemed and cleaned. I have added the teeth, gullet, horn membranes and piercings. I have also managed to put together a base. All that is left to do now is to paint it and add the punk routes.