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*The work shown is that of the artist All Rights Reserved ©

Cover photographs by Karen Riposo

Expressive

Hands Illustrated©

by

Lillian

Alberti Copyright 2012

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Table of contents

1 Artist Statement .………………………. 3

2 A little background info .…………….. 4

3 A word about paper clays ….…………. 5

4 Sculpting tools and supplies ………… 7

5 Doll photographs ……………………… 8

6 Getting Started ...……………………… 9

7 A few things to consider ………………. 10

8 Creating the hand armature .…………. 11

9 Painting techniques ….………………… 18

10 Wrapping it up …………………………… 25

11 Doll photographs …………………………. 26

12 A final word ...…..………………………. 27

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Artist Statement

instead, I try to let the individual

“personality” of each character I

create determine the doll’s

appearance. I enjoy seeing rough

textured skin, sagging eyelids or a

prominent nose, those characteristics

that, though not always considered

“attractive,” are the essence of what

makes us individuals. That said,

expression is not solely captured

on the face. Hands suggest a multitude of emotions, and wonderful

expression can also be attained through them…holding an object,

bringing the hands to the face to show surprise, the soft wrinkled hands

of the elderly. They are also among the toughest challenges for an artist.

Over the years, I’ve often been asked, “How do you make such

whimsically expressive hands?” It is with this question in mind that I

decided to share the techniques I have personally developed specifically to

create the hands for my 20”dolls. I hope you will find my suggestions

useful as you pursue the goal of making expressive hands!

To me, my dolls faces are like a painter’s canvas and I treat them as such,

layering paint and adding shading and highlights where necessary, trying to

capture the real “twinkle” in the eyes, etc. I do not strive to achieve realism;

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A little background info

Years ago, as a young fashion student

in New York City, I happened upon the

craftsmanship of a doll artist in a store-

front window. That chance discovery, as it

turns out, made an impression on me. I

was instantly drawn to the art of doll

making. Little did I know that it would

lead to years of great joy! After graduating

from Parsons School of Design with a

BFA in Fashion Design, I worked in the

fashion industry as both a designer and

illustrator but after sixteen years, I decided

to stay at home to raise my two children.

During this period I dove head first into

the “Art” of doll making. Using the skills I

gained in the fashion industry, I design

and sew all of my dolls’ clothing and make

many of their accessories to ensure that

“personal touch” that collectors look for

and appreciate. In the last few years,

I have seen my Art Dolls evolve quite dramatically. The array of new paper clays

available to the contemporary doll maker has inspired me to push my imagination

even further. In the past, I focused on coarsely-textured facial surfaces and larger

heads. My pieces now, while no less exaggerated in detail, have smoother surfaces,

delicate hands and enormous feet. Throwing caution to the wind, I now favor

richer, textured fabrics and layer sumptuous patterns with reckless abandon; the

result, I feel, is elegant opulence. The excitement in discovering a new medium, the

thrill in creating and the joy of teaching doll-making workshops across the country

has made my doll making journey more fulfilling than ever!

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A word about paper clays

Over the many years I have been creating Art dolls I have always used the same

armature technique for hands and the same clay…Cellu-clay. My philosophy was

simple: “if it ain’t broke’…don’t fix it!” After all, I had always been pleased with

the results. But a few years ago I decided to investigate the wonderful array of new

air dry paper clay compounds available to the contemporary art doll maker. This

introduction has led me to finally “cross over” and I’ve been using them since as the

final layer on all my dolls and for creating the hands. They are fun and easy to use,

air dry quickly, and offer superb surface texture to boot! While I continue to use

Cellu-clay as the primary clay on my armature, there are many new types of clay

available on the market. Below are just the few I’ve tried that I can highly

recommend:

Cellu-clay Instant Papier

Mâché: I have been using this clay

for years but only as the first layer

of clay on all my armatures. Its

durable, almost indestructible

quality makes it highly reliable. It

air dries but can also be lightly

“baked” in an oven for quick

drying. It dries rock hard and can

be drilled, sanded or carved as

needed. It also is available in

white. I do not use it for creating

hands as it is too heavy, instead, I

use it to bind the completed hands

to the armature.

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Things you should know:

Before making your purchase, do some on-line research on the ingredients in each

of the clays to be sure there aren’t any you might be sensitive or allergic to

Working with these clays will require using some small amounts of water, it is

important not to use too much as it will render the clays useless

When sanding or filing the dried clay, please make sure to do so in a well

ventilated area as to avoid breathing in the dust

For quick drying, set toaster oven at 175° for about 8-10 minute monitoring closely

to avoid scorching or use a heat gun for best results

La Doll natural stone clay: This

clay is the Doll artist’s choice for

excellence with its mixture of pumice;

talc; small amounts of paper pulp and

additional binders. Extremely pliant,

it can be mixed with Premier clay on

the same piece. It dries rock hard and

has a good dense weight to it.

Premier light weight stone clay:

An excellent paper clay also made by

La Doll. Premier has a marshmallow-

like consistency, goes on smoothly

and dries rock-hard yet very light. I

use this as a final skim coat over the

La Doll clay for each of my dolls as it

takes paint readily.

Creative paper clay: A basic

air- dry clay. I use this to teach

simply because it’s very affordable

and comes in small, travel size

packages. It’s great starter clay for

someone who is just trying out the

medium.

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Sculpting tools and supplies

* Tip: using small amounts of water with a paint brush is very

effective in getting the clay into hard to reach areas. That said,

it is also important to mention that too much water will

eventually render the clay ineffective …proceed with caution!

While there are a wide variety of sculpting

tools available on the market, I prefer using

Loew-Cornell’s wooden tools. I like the

smooth feel of them in my hands. There are

metal tools available that I believe are

considered top of the line, but, personally, I

find them to be somewhat clumsy to use.

Last on the list, but certainly not least, are

less expensive plastic ones. I recommend

trying out each variety by swapping with

other doll making friends and see what

works best for you.

22 gauge floral wire: used in

making all the hand armature

demonstrated in this booklet

Alene’s glue: but you may

used what works best for you

Masking tape: 1” wide

Paper towel: for drying

fingers

Small water dish: for

moistening fingers

# 2 paint brush: * very useful

when used with small amounts

of water for pushing clay into

tight spots

Ex-acto knife: great for

chiseling away dried clay

Needle nose pliers: for

manipulating wire

Wire cutter: for cutting wire

Hemostats (5” or 7”): also

used for manipulating wire as

well as sewing muslin in tight

spots

Emery board or other filing

tool for lightly sanding the

clay

While I may not use all of these tools on every project,

having them in my “tool box” has always proved to be

very helpful!

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all compliment the

expressions on each of

the dolls face!

The hands shown here all

compliment the

expressions on each of

the dolls faces

“Snow White”

“Frida”

“Alice”

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Getting Started

22 Gauge Wire: This is the best wire I’ve found for constructing my hands.

It’s pliable and sturdy at the same time lending itself to graceful shapes

Masking tape: I use masking tape in all my doll making to cover wire on the

armature and hands. This binds wire and cloth together while providing a

place to layer the clay

Alene’s Craft Glue: This happens to be my glue of choice. I find its

consistency just right and it also dries pliable not brittle

Small water dish: This is used to moisten my fingers in order to help smooth

the clays and to keep the clay soft as I sculpt details

Paper towel: If my fingers get too wet, a folded paper towel takes care of

any excess

Sculpting tools: You’ll only need a few to start. Be sure to include one with

a curved end as it would be essential in pushing the clay into tight spaces

Wire cutter: Necessary for cutting wire

Needle nose pliers and/or Hemostats: I use these interchangeably for

gripping and twisting wire

Air-dry Clay: Choose an air-dry clay of your liking

You will need only

a few of the tools

pictured here:

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A few things to consider While starting each hand with a well proportioned, well-constructed

wire armature is essential, over the years I have found visual observation

to be equally as important in capturing expression. I watch carefully as

my children laugh or express surprise. I notice the movement of their

hands as they tell each other stories. While these gestures are nothing out

of the ordinary, each movement does, however, tell something. It is in

observing what is clearly visible that allows you to take license in

creating the “whimsy.” Now you are free to exaggerate what you

observe! Elongate the fingers, make the knuckles oversized, curve the

fingers… remember: we are not striving to capture realism!

Often when I sit down to make hands, the doll for which they are

intended is already completed. It is important that the expression of her

hands matches the expression I have sculpted on her face. To accomplish

this, I spend time in front of a mirror replicating the doll’s facial

expression while at the same time observing what my hands should be

doing to capture the same intention. I have been making Art dolls for

over 25 years and this observation technique now comes naturally. As I

work, I stop frequently to reposition my hands as I try to replicate them

in clay. This, as you can imagine, can be very time consuming; you may

find it helpful to have someone take a close-up picture of your “posed”

hands, thus eliminating the need for you to be your own “live” model.

You may also want to keep a catalog of your own photographed hands in

varied positions or to keep a file of magazine clippings with hands you

find interesting as these just may come in “handy” at some point…pun

definitely intended…lol!

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Creating the hand armature

fig.1 fig.2

fig.3

fig.4

fig.5

fig.6

fig.7

fig.8 fig.9

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Cut a length of wire approximately15” long. Measure about 5” and

bend the wire (fig.1)

Clamp it closed with hemostats/pliers and twist lightly measuring about 7/8 ” down (fig. 2)

Leaving a space of 3/16” and create another bend in the wire measuring 1” (fig. 3) and twist as before.

Continue in the same manner adjusting the height of each “finger”

in the normal configuration of a real hand (fig. 4)

After twisting the index finger, drop down 1 ¾” from the tip of the

index finger and bend the wire again creating an “L” shape (fig. 5)

Bend it back 1” and twist (fig. 6)

Drop down 1” and join the two wires at the “wrist,” use your

hemostats/pliers to twist as before to complete the hand (fig. 7)

Using the masking tape, wrap a single strip of tape over the front and back of hand. The two sides should meet and stick together to

create the “palm.” Then tear thin strips of tape approximately ¼”

wide and tape between the fingers. This secures the “fingers” to the “palm” (fig. 8)

After taping, hold the glue bottle horizontally and glide the fingers and the thumb back and forth into the tip of the glue bottle. This

simple action lightly coats the fingers with a thin layer of glue, no need to squeeze the bottle….and no mess! Also, make sure to run a

thin bead of glue in between the fingers as well. Allow the glue to

dry thoroughly (fig. 9)

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\

fig.10

fig.11

1

fig.12

fig.13

fig.14

fig.15

fig.16

fig.17

fig.18

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With your hand taped and the glue dry, you are now ready to begin

layering the clay (fig. 10)

Using your pliers/hemostats, place your hand in its desired (and hopefully dramatic) final position (fig. 11)

Moisten your fingers and run them along the length of each individual “finger” as you work on them. This will lightly re-

activate the glue and help the clay to adhere to its surface. Starting

with the pinky, start layering small amounts of clay pressing firmly to ensure contact. You can also add more clay to the finger tips to

exaggerate the length (fig. 12)

Move on to the taped “palm.” Add glue to help the clay adhere

better. I am not concerned with full coverage of clay at this time, just a simple first coat. Drying between layers may be necessary.

Be sure to cover the areas in-between the fingers securing them to

the palm then move along to the next finger (figs. 13 & 14)

When the first full layer is completely dry, use a paint brush to coat the hand with a thin layer of Alene’s glue. This will reinforce the

clay in the unlikely event of breakage and keep the “fingers” from

separating from the hand (fig. 15)

Lightly moistening the glue coated hand will help “fresh” clay adhere better before adding the second layer. Roll a thin “rope” of

clay and line it up against each finger as shown. Begin smoothing

the clay filling in all uneven areas and cracks. A moistened paint brush is great at achieving this (figs. 16 &17)

Roll bits of clay into tiny “balls” to create knuckles. You may choose to exaggerate the knuckles for a dramatic effect. Place a ball

of clay at the center back of each finger and smooth, repeating the

process with each consecutive finger (fig. 18) .

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fig.19

fig.20

fig.21

fig.22

fig.23

fig.24

fig.25

fig.26

fig.27

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All areas of masking tape should be completely covered with clay

at this time. On the inside of the hand, begin adding clay to form

the fatty areas of the palm and thumb and smooth (fig. 19)

After all the clay has thoroughly dried, give your hand the “once

over.” Are the fingers all of equal widths? Are they the appropriate

lengths for the digits they represent? Is the whole hand in

proportion with the body of the doll for which it is intended? Are

you satisfied with the overall look? If not, now’s your chance to

make adjustments. Add a skim layer of clay if needed (fig. 20)

Taking an emery board or preferred filing tool, lightly sand all

rough edges while giving the fingers a rounded appearance. Do not

blow away the “clay dust” (fig. 21)

Follow-up by lightly rubbing the just sanded areas with moistened

fingers. Any remaining surface imperfections will “magically” be

filled in by the moistened “clay dust” (figs. 22 & 23)

Your hand is now finished and ready to be attached it to the doll

you created it for! (fig 24)

Carefully untwist the fine gauge wire at the “wrist” of the hand and

straddle it over the “wrist” stump of the doll’s arm (fig. 25)

Take one wire and twist it clockwise over the stump as snug as

possible (fig. 26)

Take the other wire and twist it counterclockwise, again, as snug as

possible (fig. 27)

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The following steps are the ones I take when attaching my hands to the

20” wire armature I’ve already prepared. You may use your own familiar

method for attaching your hand to your armature.

Wrap the twisted wire with masking tape. This provides a good base

to layer the clay (fig. 28)

I used my usual Cellu-clay as the first layer of clay as it is very

solid and reliable then followed with several layers of La Doll

natural stone clay to complete the entire arm. You, of course, can

use your preferred clays (fig. 29)

After all the clays have thoroughly dried and I’ve done some light

sanding, I paint the hands. For this particular doll, I finished her

hands as “evening gloves” and painted them as such (fig. 30)

fig.28

fig.29

fig.30

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Painting techniques

There are two ways I like to paint the hands I create; Version One

accentuates and elongates the fingers…a cool, dramatic effect when creating hands for a “scary” or “aged” doll. Version Two

accentuates the knuckles and, I feel, gives a more natural, graceful

look to the hands… this is also the version I prefer using most. I will, however, begin with Version One. Also, even though I normally

don’t paint fingernails, I have included that painting technique for

those interested in exploring this option. Before starting, it is important to remember that the hands we are creating are meant to be

whimsical. I don’t really try to paint realistically but I do try to get the

“gist” of what is lifelike so that the overall look and effect of my dolls’ hands is believable to the observer.

Enjoy the process and don’t get frustrated. Each brush stoke will eventually lead you to perfection! I’ve been doing this for a long time

and I still tend to re-work something if I’m not happy with it. As you

study these pictures please keep this in mind: it takes time to develop the subtle shading techniques, but rest assured that with practice, you

will achieve your goal!

FYI: I use a huge array of different sized paint brushes. I recommend you

choose which ever size feels most comfortable for you as you work. You don’t need me to tell you that crafts stores are brimming with a huge assortment of paint in shades for you to explore, but just in case

you’re interested, these are my favorites:

“Toffee” is the color I use for “Caucasian” skin with “Sable

Brown” for contrast shading. Both by AMERICANA Paints

“Sable Brown” is also the color a like best for a medium shade

of “African American” skin with contrast shading in “Real

Brown” by Folkart Paints

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Painting techniques: version one

fig.31 fig.32 fig.33

fig.34

fig.35

fig.36

fig.37

fig.38

fig.39

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I constructed the hand shown solely for this demonstration. Normally,

at the time of painting, your hand should be attached to the arm and

the doll completed (fig. 31)

Paint the entire hand with two coats of the skin shade of your choice letting dry between coats (fig. 32)

When dry, begin adding your contrast color on the hand, in between the fingers. Paint each crevice completely before moving on to the next, this

will avoid a “blotchy” effect. At the same time or when finished, begin

adding your contrast color to each finger above and below the knuckle. Paint and complete each finger before moving on to the next. The overall

look should be subtle shading. (fig. 33)

The trick to success is working quickly so the paint doesn’t dry before

you’re done. Rinse and dry your brush and, now, using your main color,

lightly blend the two colors fading out as you move away from the knuckle (fig. 34)

If the paint dries leaving prominent lines of demarcation around the knuckles, go back and address each just as you did in fig. 34. by lightly

blending the two colors and gently fading (fig. 35)

Mix your main skin tone with small amounts of white paint and paint your

“fingernail” bed (fig. 36)

Outline your finger nail with your contrasting shade…do not forget to

include the fingertip (fig. 37)

Work quickly to blend the dark color with the your maincolor and gently

fade just as you’ve been doing (fig. 38)

The completed hand! Even though the desired overall look is “dramatic”

the shading is soft and even…there are no jarring lines of demarcation (fig. 39)

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Painting techniques: version two

fig.40

fig.41

fig.42

fig.43

fig.44

fig.45

fig.46

fig.47

fig.48

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Your completed hand in its “blank” stage (fig. 40)

Just as in version one, paint the entire hand with two coats of the skin

shade of your choice letting it dry between coats (fig. 41)

When dry, begin adding your contrast color on the hand, in between the

fingers. Paint each crevice completely before moving on to the next. The overall look should be subtle shading (fig. 42)

Next, add your contrast color directly on the knuckle (fig. 43)

Working quickly, use your main color and soften the contrasting color.

Paint around the knuckle, blending and fading out as you work. Paint and complete each finger before moving on to the next. (fig. 44)

The rest of the techniques is much like you’ve already done in version

one. Mix your main skin tone with small amounts of white paint and paint

your “fingernail” bed (fig. 45)

Working one finger at a time, outline the finger nails with your

contrasting shade…do not forget to include the fingertip (fig. 46)

Work quickly to blend the dark color with the your main

color and gently fade just as you’ve been doing (fig. 47)

The completed hand! Here you can see the overall look of the hand is soft

and gentle and that the shading is even…again, there are no jarring lines of demarcation (fig. 48)

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The inside of the hand

fig. 49 fig. 50 fig. 51

fig. 52

fig. 53

fig. 54

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Painting the inside of the hand is exactly the same for both hand painting techniques:

At this point you will have painted the back side of the hand with your choice of Version One or Version Two (fig. 49)

On the palm, begin painting the crevices of the fingers just as you’ve done on the back of the hand. Again, paint each crevice completely before

moving on to the next. Remember, the overall look should be subtle

shading (fig. 50)

I prefer to have simple shading on the inside of the hands I create, you

may, however, decide on a more dramatic effect. If so, take a moment to do so now before moving on to the next step (fig. 51)

Using a thin paint brush and your contrast shade, paint thin lines in the folds of the knuckles. Use thick and thin lines and feel free to make them

crooked. Exaggerating the lines will make them more interesting (fig. 52)

Move on to paint the life line, and again, using irregular lines will make

the hand more interesting (fig. 53)

Your completed hand! (fig. 54)

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Wrapping it up

Using the same

techniques we’ve just

covered, I placed the

fingers in the desired

final position and

continued the process

until each hand was

completed. As you

can see, all the hands

start the same way:

rough and oddly

shaped. Beauty and

grace develops with

careful observation,

with each layer of

clay and with each

artfully applied

brushstroke. The

results…

Expressive

Hands!

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“Cyrano”

“Life Within”

“Solange”

“Cyrano”

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A final word

Many artists follow some sort of mathematical formula to find the

right proportions for the hands they create. While this may work for

some, it does not, however, work for me and not just because I am lousy

at math…lol! I am a very “visual” individual and gauge whether the hand

is proportionate to the doll’s body simply by bringing the hand to the doll

after each step. I carefully compare the size of the hand to the doll’s face

and body. After years of this “training,” it has become second nature. I

have offered you my method…you will, of course, explore the options

and choose the one that works best for you!

As you progress in your hand-making skills, I’m sure you will see that

it is very important to inject your own personal style in your creations. It

is no secret that Van Craig and E.J. Taylor happen to be my favorite Art

doll artists. Mr. Craig’s style is, in my opinion, over the top, with hands

that are often gnarly and wildly exaggerated…fabulous! Mr. Taylor’s

hands, though no less fabulous, are more realistic and highly expressive.

There is no comparing the artistry of these two artists’ distinctive hand

making styles… each is a work of art! My dolls’ hands have elongated

fingers, one knuckle and no fingernails… I find this extends the illusion

of whimsy I strive to create. The stylizing of your hands must become

recognizable as your own!

Thank you for your purchase …I hope this workshop will

encourage and inspire you in your quest to create

expressive hands!

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A Few Resources

Supplies, Craft & Fabric stores

Hobby Lobby: http://www.hobbylobby.com/

Michael’s: http://www.michaels.com/,

A. C. Moore” http://www.acmoore.com/

Doll Makers Journey: http://dollmakersjourney.com/

Joann’s Fabrics: http://www.joann.com/joann/home/home.jsp

Mary Jo’s Cloth Store, Inc.: http://maryjos.com/

Clotilde: http://www.clotilde.com/

Joggles: http://www.joggles.com/

Cloth Doll Supply: http://www.clothdollsupply.com/

Online doll clubs for networking and inspiration

Cloth doll connection: http://www.clothdollconnection.com/

Clay and Cloth Dolls: http://clothclaydolls.ning.com/

Creative Souls: http://creativesouls.ning.com/

Cloth Doll Artistry: http://clothdolls.ning.com/

Dolls as Art: DollsAsART.com

Recommended reading for inspiration

Art Doll Quarterly Magazine http://artdollquarterly.com/

Dolls Magazine www.dollsmagazine.com

Doll Reader Magazine www.dollreader.com

Contemporary Doll Collector Magazine www.contemporarydollcollector.com

500 Handmade Dolls by Lark publishing http://www.larkcrafts.com/500-series/

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Events & Conventions: Quinlan Artist Doll & Teddy Bear Convention

CREATE

Art is…You

Doll Gatherers

Artistic figures in Cloth

Craft Schools

Chestnut Creek School of the Arts http://www.chestnutcreekarts.org/

John C Campbell Folk School https://www.folkschool.org/

The Fletcher Farm School of Arts & Crafts http://fletcherfarm.org/

Peters Valley Craft Center http://petersvalley.org/

Penland School of Crafts http://www.penland.org/

Touchstone Center for Crafts http://touchstonecrafts.org/

The Clearing Folk School http://theclearing.org/current/index.shtml

Haystack Mountain School of Crafts haystack http://www.haystack-mtn.org/

National Organizations The National Institute of American Doll Artists http://www.niada.org/

Original Doll Artist Council of America http://odaca.org/

Canadian Doll Artists Association http://canadiandollartistsassociation.ning.com/

United Federation of Doll Clubs http://ufdc.org/

International Doll Makers Association http://www.idmadolls.com/

The Doll Makers List http://www.dollmaking.org/