Yes, Aunt Acid finally has her head together. But sometimes Will Power just isn’t enough, and its smart to know when you need a helping hand. In this case, two hands, two feet, and a body of work (or at least a working body) were required.
A professional performing artist and top notch spokesmodel must make every effort to keep fit and fabulous. Professional Fitness Trainers, Masseurs, Groomers, and of course the Plaestheticians do their part, working as a team to make sure that the busy Star can put her best foot forward. And they make sure that it is sewn to the correct leg, too.
We now continue with the gripping tale of Aunt Acid’s origins.
Body work begins with a brown paper pattern. The roll of masking paper used in making Aunt’s head works well for this. Polyester polar fleece fabric is a very good choice for the body. It is strong, soft, has a bit of “give” and does not fray easily. The pattern is drafted freehand by the intelligent designer using creativity, some measurements, and a marker.
Although previously designed forms indicate practice, this in itself neither proves nor disproves “evolution” as a scientific eventuality, and it is the policy of this clinic and its staff to respect the individual beliefs of our clientele, no matter how ridiculous they may appear.
The brown paper pattern is then cut and masking tape and paper are used to correct the fit if needed. The scale is approximately 1/2 adult female size. Because no commercial patterns are used, copyrights are maintained by the designer.
Arms and legs are intentionally scaled thinner than the normal full human female. The design team agreed that too close an approximation of human norms is “not as funny”.
It is important to utilize some aspects of neoteny, where having a large head, big eyes and smaller limbs can help the big creatures not want to eat the little ones up right away.
All pieces are cut from polar fleece fabric. Seams are sewn using 1/4 inch seam allowances. At this time the head is shown attached to the neck.
Later circumstances required this be removed to allow for free range of motion. The head is a different color as it is intended for use inside the polymer clay head as a lining. Red polar fleece is used to create the lining of the mouth. This design could be used as is for a completely soft sculpture form. However, at this time, Aunt Acid requires a hard head along with a soft body.
The papier mache skull was used t0 help calculate the size of the skeletal structure, which is formed of industrial grade metals. (including several wire coat hangers and two pants hangers.)
These are are bent and attached at shoulders and hips, and at the waist. Hands will extend further, but the feet are already part of the leg design.
Wire ends are bent so that they will not poke through the cloth skin. The wire armature is wrapped with strips of cotton quilt batting, and then inserted into the cloth skin.
The body section is placed over the armature first, and stuffed to fill. The bottom of the torso is sewn shut with the wire leg armatures extending through.
The legs and arm cloth coverings are also eased into place around the armature, and more polyester Fiber-fil stuffing is used to completely fill each limb.
The tops of the leg sections are sewn in place to the bottom of the body, and the arms are sewn to the shoulder.
The ends of the arms and the top of the neck are left open to facilitate the addition of head and hands.
The feet are stitched to create toes, using sturdy Nymo polyester thread.
A very sturdy cardboard tube is inserted down into the torso through the neck opening and allowed to stick out about six inches.
This will act as a spine that holds the head upright. Because of the special needs of this client, the head will remain detachable.
The wire armature allows for positioning and posing that is vital for the client’s work as a spokesmodel and performing artiste.