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Just Ask
Winter 2005


By Deb Hayes
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The lovely and talented Deb HayesDear Readers,

Welcome to Just Ask. I am here to answer your questions…if I don’t know the answer, I will research it with our team of experts and give you THEIR answers. Email me at: Deb@pcPolyzine.com.

xxxxx

The topic featured in this issue of Just Ask is a good example of how I research a question when I don't know the answer, or parts of the answer, myself. I received a question from Carol about using real horse hair with polymer clay. Jeannie Havel (the pcPolyzine publisher) recommended I contact North Carolina equestrian artist, Linda Douglas for some expert advice. Hopefully Linda's detailed response will answer Carol's question and any you might have about horse hair, too.

Deb

PS - Look for the link at the end of this article to view the polymer clay art of Linda Douglas.


Hello,

I am fairly new to the exciting world of polymer. I have made 3 unicorns to date. The last I did was a bust. I added real horse hair to it. My question is how to add the hair? The glue was messy, hot glue left a residue. I read about folks rooting it. Can the hair go into the clay then the oven? Will it fry it there? What is a better mane and where can I buy the mohair?

Thanks so much for ANY help,
Carol


Adding hair for manes and tails on horses is a little more complicated to do than for human figures. The doll/fairy artists have a few options for incorporating hair, but most make a central hole in the middle of the back of head, bake the figure, then glue the hair into place, then style. Some artists wrap a piece of raw clay over the ends of the hair and place into the hole, baking again, then separating the hair around head as they style. The last option is a true "rooting" process that embeds the hair into the clay. Usually the entire figure and front of the ace w/ears are completed (to the hairline) and baked, so details are preserved. Then the back of the head is added as a ball of raw clay, and beginning at the outer hairline the strands of hair are pushed deep into clay and hair is added towards center. 

Horses however have thin muscles in the neck and the mane grows out the top flowing down (usually on the right side) of the crestline, making it impossible to use the dollmakers options.
 

Many considerations go into sculpting standing animals and I make my armatures of "very" heavy wire to support body weight plus clay on thin legs, then bulk with foil much thinner overall especially in the neck area. I sculpt from the bottom making and baking legs first, then up the body to (the withers) where the shoulder blades meet the neck at the top of back with several bakings, not to lose muscle definition when handling.  I sculpt up the neck to head/ears and all finishing details (skipping both sides of neck just below the mane area) then bake again.

Now we are ready to "root" the hair and I roll two snakes of clay the length from the poll (between ears) to the withers (end of neck). The snakes are the muscles of the mane. I flatten them and set them aside until later. I like to lay out enough mohair (check how long for mane) then cover the entire length of one snake pressing small amounts of hair into the clay and a separate piece for the forelock at the end of the snake between the ears. I use a small scissor to trim the excess hair ends. Next I roll over the snake with a brayer flattening/widening it further which allows a little clay to curl/fold over and encasing the ends of the hairs inside the snake. I do a quick cleanup of loose hairs, then lift the hairy snake and place on the neck, then press it down carefully blending in the raw snake over the baked neck clay.

Next I lay my horse flat on the table with the hairy snake side down, but position the mane away from both sides of the body. This allows me to apply the second snake to the other side of the neck and blend the underside of the mane.  I use a round tool to push the clay back towards the hairs on the top of the neck, closing any gaps. The last step is to blend whatever coloring, which I do as I sculpt and before baking each area, but some artists prefer to paint the entire sculpt afterwards. On the last bake I wrap the entire sculpt in polyester fiberfill and cover the pan with a tinfoil tent. Only a "short bake" -- enough to cure the thickness of the flat snake, since the sculpt has already been baked several times. I have a convection oven that bakes with hot-air and no exposed heating elements to catch the hair on fire.  If there’s concern, the final curing can be done with a heat gun or a hair dryer, but be extremely careful not to get too close to the hair or it will shrivel up to a melted mess if it scorches. Finally, pluck your Wild Hairs!

What materials make the best manes?   I find that the size of the strand in natural horsehair is much thicker for manes on a full body sculpt and is way too bulky much less trying to apply it to a tail. Most of my horses/unicorns are 14" or more and even the natural human hair is a little thick, making it harder to work. Mohair is a thin fiber and allows full coverage without being bulky. 

Mohair can get pricey from dollmaker suppliers, but it is available on-line at some polymer clay supply sites. I get all my supplies from ClayAlley.com and the owner, Karen Rhodes always has "excellent" friendly advice, as well as fast shipping service.  Tell her the NC Horse Lady sent ya and I hope this helps your horses get a handsome hair do!  

Polymer Clay Unicorn by Linda DouglasLinda L. Douglas
http://photos.yahoo.com/artfilly