Clay sculpture tumbler manufacturing method

Abstract

The invention relates to the technical field of tumbler manufacturing, and discloses a clay sculpture tumbler manufacturing method which comprises the following steps: step 1, preparing materials: preparing a clay sculpture material and a fixing material; step 2, manufacturing a prototype: using mixed manual white glue and white latex, obtaining an ultra-light head of the tumbler through methods of clustering, pressing, kneading and kneading, and manufacturing a semicircular base of the tumbler through pressing, pressing, kneading and molding of a wet mud block; step 3, optimizing a prototype: kneading and molding arms and cap ornaments of a tumbler by using resin clay; 4, reinforcing the prototype: brushing the surface of the tumbler base with super glue, and bonding the head with the mud base; step 5, coloring treatment: mixing pigment and water according to a ratio of 2: 1, so that the colored mud blank is flat and smooth; 6, detail processing, wherein an artificial chemical fiber material is used for simulating traditional hat ornaments in the North Ruhu region; and step seven, drying and storing: coating a layer of protective agent on the surface of the tumbler, and then putting the tumbler in a shady, cool and ventilated place for natural drying.

Description

Technical Field

[0001] This invention relates to the field of roly-poly toy making technology, specifically a method for making a clay roly-poly toy. Background Technology

[0002] Clay sculpting is a folk art with a long history in my country. It uses clay as its raw material, shaping it by hand, sometimes painting or sketching, primarily depicting figures and animals. A roly-poly toy is a toy, usually made of rubber or plastic, with a brightly colored surface and patterns. Its characteristic is that it can be rocked on a table or floor, but no matter how it's tilted, it always returns to its balance, hence the name "roly-poly." The principle behind the roly-poly toy lies in the stable fulcrum formed by its center of gravity and contact point at the bottom, allowing it to maintain balance at any angle. Currently, the mainstream method for making clay roly-poly toys relies on firing the base, while using quick-drying clay and paper pulp to support the head. Although this method is low-cost, the head is prone to blurring.

[0003] To address the shortcomings of existing technologies, a clay sculpture product and its preparation process, currently disclosed in patent publication number (CN 110156433 A), involves mixing red pearl clay, red clay, and water, and then firing the mixture at room temperature. This produces a product with moderate hardness and a surface with absorbent micropores. After coloring, the clay sculpture product exhibits a natural flowing texture effect, enhancing its artistic value.

[0004] This process involves mixing red pearl clay, red clay, and water, pouring the resulting slurry into a mold, demolding it, firing it at high temperature, and then coloring it to obtain a clay sculpture. However, clay sculptures made using this method cannot be modified or processed a second time, and facial features made using molds are still not three-dimensional enough. Summary of the Invention

[0005] (a) Technical problems to be solved

[0006] To address the shortcomings of existing technologies, this invention provides a method for making clay roly-poly toys, which has the advantage of diverse clay modeling and solves the aforementioned problems.

[0007] (II) Technical Solution

[0008] To achieve the above objectives, the present invention provides the following technical solution: a method for making a clay roly-poly toy, comprising the following steps: Step 1, preparing materials: clay sculpting materials and fixing materials;

[0009] Step 2: Making the prototype: Use polymer clay mixed with white glue and white latex to make the ultralight head of the roly-poly toy through various techniques, and at the same time use mud to make the base of the roly-poly toy.

[0010] Step three, optimization prototype: use resin clay to make the arms and decorations of the figurine;

[0011] Step four, reinforcement prototype: use strong glue to brush the surface of the figurine base, sprinkle lime powder on the glue surface, and bond the soft pottery super-light clay head with the mud base. After drying, the bottom of the figurine prototype is reinforced;

[0012] Step five, coloring treatment: adopt the way of fading, and achieve the transition between colors through the ratio of color and water;

[0013] Step six, detail processing: use artificial fiber materials to simulate the traditional hat decorations in Lubai area, and use scissors and cutting tools to trim the overall figurine;

[0014] Step seven, dry preservation: apply a layer of protective agent to the surface of the figurine, and then place it in a cool and ventilated place for natural drying.

[0015] Preferably, the clay material is soft pottery super-light clay, hand-made white glue and white latex, and the fixing material is resin clay.

[0016] Through the above technical scheme, soft pottery super-light clay (Air dry clay), also known as soft pottery clay or air dry clay, has very soft texture and is easy to deform plastically. Due to its good softness, it can be easily adjusted in shape and carved. Soft pottery super-light clay does not need to be fired or dried, but is dried and hardened in natural air, which is convenient to use at home or in the studio without the need for an oven or special equipment. By using soft pottery super-light clay, various shapes and textures can be easily formed. In addition, soft pottery super-light clay has good plasticity and repairability. White latex and hand-made white glue are strong adhesives that can quickly bond various materials. In addition, the adhesive effect is durable, environmentally friendly and non-toxic. Resin clay has good ductility and elasticity, can be rolled into thin sheets without cracking, and will not dry out.

[0017] Preferably, the amount of soft pottery super-light clay is between 1.8-2.2 grams, the amount of hand-made white glue is between 0.8-1.2 grams, and the amount of white latex is between 0.4-0.6 grams. The super-light head of the figurine is formed by kneading, pinching, pressing and compressing.

[0018] By using the above technical solutions, and mixing polymer clay, super light clay, handmade white glue, and white latex with different weights, the material of the roly-poly head can be made less prone to cracking due to its toughness, and easier to shape without collapsing. By using various techniques when making clay roly-poly toys, different effects and textures can be created. Using various techniques allows for a more flexible expression of the artist's creativity and ideas, making the works more vivid, realistic, three-dimensional, strong, and durable.

[0019] Preferably, the mud is made of red clay, cotton wool, white clay and water, and the ratio of red clay, cotton wool, white clay and water is 10:3:2:4. The base of the roly-poly toy is shaped by kneading, pinching, pressing and pressing the mud.

[0020] Through the above technical solutions, adding clay to the slurry can increase its viscosity and strength. Adding fine sand can increase its toughness and hardness. When making complex clay sculptures, cotton wool can provide better support and structure, preventing cracks or breakage during drying or use. At the same time, cotton wool can also increase the toughness and ductility of the slurry, making it less prone to breakage during the shaping process. The surface of the clay sculpture is smoother and more even. Adding white clay can prevent the slurry from separating or settling. White clay can also improve the slurry's load-bearing capacity and lubricity. Adding water during the shaping process can prevent the clay sculpture from cracking due to slurry shrinkage during drying.

[0021] Preferably, the resin clay is made of epoxy resin and epoxy resin hardener, and the ratio of epoxy resin to epoxy resin hardener is 1:0.5.

[0022] The above technical solution, by using epoxy resin and epoxy resin hardener to mix resin clay, can withstand greater pressure and impact, and can produce works with high strength and durability. At the same time, it can withstand high temperatures and has good thermal stability. Using epoxy resin and epoxy resin hardener to mix resin clay can produce works with smooth surfaces that are not easily worn.

[0023] Preferably, the polymer clay head is bonded to the base and then dried naturally in the shade.

[0024] The above technical solution allows the roly-poly base to dry evenly by using natural air drying, avoiding external force that could cause temperature differences that could lead to cracking and deformation of the roly-poly. The roly-poly clay sculpture is 10 cm long and 6 cm wide.

[0025] Preferably, the raw materials used for the roly-poly toy painting are latex paint and color paste, and the ratio of latex paint to color paste is 5:1.

[0026] By the above technical scheme, the colored drawing raw material is latex paint which can be well covered on the surface of the clay sculpture and form a protective film, so that the colored drawing of the Tumbler is more durable, and the latex paint can form a waterproof film on the surface of the Tumbler after drying, which can not only protect the color of the colored drawing but also facilitate cleaning. The use of color paste to adjust the depth of color can make the color of the Tumbler more uniform and full without color leakage. The use of different colors and color steps can create more vivid and realistic color effects, making the clay sculpture more three-dimensional and natural. In addition, the color paste can effectively prevent moisture penetration, and the use of color paste can better protect the surface of the clay sculpture.

[0027] Preferably, the step six of making the hat decoration comprises the following steps:

[0028] S1.1, selecting suitable artificial chemical fiber materials for making hat brims, such as polyester and nylon;

[0029] S1.2, using paper and pen to design suitable hat brims according to the head of the Tumbler;

[0030] S1.3, using scissors to cut the artificial chemical fiber materials into suitable shapes and sizes according to the design, and using scissors to finely trim the cut materials;

[0031] S1.4, the total length of the made brim is 7 cm, and the length of the brim is 1.5 cm.

[0032] By the above technical scheme, the use of artificial chemical fiber materials to make the brim has relatively low cost, and the raw materials used in the production process of artificial chemical fibers are mostly renewable products, so the impact on the environment is smaller. In addition, some artificial fibers also have degradability, and the moisture absorption and air permeability of artificial chemical fibers are very good, which can help maintain a comfortable indoor environment. At the same time, the use of artificial chemical fiber materials can simulate the traditional tiger hat in Lubu area, which looks realistic and lovely.

[0033] Preferably, the prepared brim is coated with white latex and aligned with the inside of the hat edge, and the excess glue is polished flat with sandpaper.

[0034] By the above technical scheme, by coating the prepared brim with white latex and sticking it into the inside of the hat edge, the clay Tumbler can look realistic and lovely as a whole. Using sandpaper to polish the excess glue can further refine the Tumbler and avoid defects that affect the aesthetic degree of the Tumbler.

[0035] Preferably, the protective agent is a varnish or a gloss oil, the protective agent is evenly brushed to avoid being too thin or too thick, the ambient humidity during natural drying should not exceed 60%, and the drying time is determined according to the hardness of the surface of the tumbler.

[0036] By the above technical scheme, by applying the protective agent after the clay sculpture is completed, damage of the tumbler caused by ultraviolet rays can be effectively avoided, oxidation reaction can be effectively prevented, the gloss and color of the work can be maintained, and the protective agent can effectively prevent the tumbler from cracking.

[0037] Compared with the prior art, the present application provides a clay sculpture tumbler manufacturing method, which has the following beneficial effects:

[0038] 1. The clay sculpture tumbler manufacturing method can create different effects and textures by using various techniques during the manufacturing of the clay sculpture tumbler, and can more flexibly express the artist's creativity and ideas, making the work more vivid, stereoscopic, strong and durable. By using soft pottery super-light clay, hand-made white glue and white latex as the material for manufacturing the head of the tumbler, the head is more flexible and less likely to crack, and the features are more stereoscopic and less likely to collapse. After the manufacturing is completed, secondary modification and supplementation can be performed, achieving the beneficial effect of being able to finely manufacture the features of the clay sculpture work.

[0039] 2. The clay sculpture tumbler manufacturing method uses latex paint as the coloring raw material, which can be well covered on the surface of the clay sculpture and form a protective film, making the coloring of the tumbler more durable. At the same time, the latex paint can form a waterproof film on the surface of the tumbler after drying, which not only protects the color of the coloring but also facilitates cleaning. Using color paste to adjust the depth of color can make the color of the tumbler more uniform and full without color leakage, achieving the beneficial effect of making the clay sculpture work more perfect and maintaining the time extension. BRIEF DESCRIPTION OF DRAWINGS

[0040] Figure 1 The present application is a flowchart. DETAILED DESCRIPTION

[0041] The technical solutions in the embodiments of the present application will be described clearly and completely below with reference to the drawings in the embodiments of the present application. Obviously, the described embodiments are only a part of the embodiments of the present application, not all the embodiments. Based on the embodiments in the present application, all other embodiments obtained by those skilled in the art without creative labor are within the scope of protection of the present application.

[0042] Please refer to Figure 1 A clay sculpture tumbler manufacturing method, comprising the following steps:

[0043] Step one, prepare materials: clay materials and fixing materials;

[0044] Step two, make prototype: use soft pottery super light clay to mix hand-made white glue and white latex, get the super light head of the tumbler through various methods, and use mud to make the base of the tumbler;

[0045] Step three, optimize prototype: use resin clay to make the arms and decorations of the tumbler;

[0046] Step four, reinforce prototype: use strong glue to brush on the surface of the tumbler base, sprinkle talcum powder on the glue surface, bond the soft pottery super light clay head with the mud base, and after drying, reinforce the bottom of the tumbler prototype;

[0047] Step five, coloring treatment: use fading method to achieve the transition between colors through the ratio of color and water;

[0048] Step six, detail processing: use artificial chemical fiber material to simulate the traditional hat decoration in Lubu area, and use sandpaper and cutting tools to trim the overall tumbler;

[0049] Step seven, dry and store: apply a layer of protective agent to the surface of the tumbler, and then place it in a cool and ventilated place for natural drying.

[0050] Specifically, the clay materials for the head of the tumbler are soft pottery super light clay, hand-made white glue and white latex, and the fixing materials are resin clay. The clay materials for the base of the tumbler are red clay, cotton, white clay and water. The advantages are that soft pottery super light clay can be easily shaped into various shapes and textures, and it will not deform or crack after long-term natural drying. In addition, soft pottery super light clay has good plasticity and repairability. White latex and hand-made white glue are strong adhesives that can quickly bond various materials, and the effect is durable, environmentally friendly and non-toxic. Resin clay has good ductility and elasticity, can be rolled into thin pieces without cracking, and will not dry out.

[0051] Specifically, the amount of soft pottery super light clay is between 1.8-2.2 grams, the amount of hand-made white glue is between 0.8-1.2 grams, and the amount of white latex is between 0.4-0.6 grams. The super light head of the tumbler is made by kneading, pinching, pressing and compressing. The advantages are that mixing soft pottery super light clay, hand-made white glue and white latex with different weights can make the material of the tumbler head not easy to crack, easy to shape and not easy to collapse. Using various methods when making clay tumbler can create different effects and textures, and using various methods can more flexibly express the artist's creativity and ideas, making the work more vivid, three-dimensional, strong and durable.

[0052] Specifically, the mud is made of clay, white clay, fine sand and water, the ratio of clay, white clay and fine sand is 4:3:3, and the ratio of the mixture of clay and sand to water is 1:1. The base of the unbreakable toy is made by kneading, pinching, pressing and other methods. The advantages are that the addition of clay in the mud can increase the viscosity and strength of the mud, the addition of cotton can increase the toughness and hardness of the mud, and the cotton can provide better support and results when making complex clay sculptures, preventing cracks or breakage during drying or use. At the same time, cotton can also fill the gaps and defects in the mud, making the surface of the clay sculpture more smooth and smooth. The addition of white clay can prevent the mud from stratifying or precipitating, and white clay can also improve the carrying capacity and lubricity of the mud. The addition of water during shaping can prevent the clay sculpture from shrinking and cracking during the drying process.

[0053] Specifically, the resin clay is made of epoxy resin and epoxy resin hardener, and the ratio of epoxy resin to epoxy resin hardener is 1:0.5. The advantages are that the use of epoxy resin and epoxy resin hardener to prepare resin clay can withstand greater pressure and impact, and can withstand higher temperature, and has good thermal stability. Using epoxy resin and epoxy resin hardener to prepare resin clay can produce works with smooth surface and not easy to wear.

[0054] Specifically, after the soft clay head and the base are bonded, natural shade drying is used for drying operation. The advantages are that natural shade drying makes the unbreakable toy base dry evenly, avoiding the intervention of external force causing temperature difference, which causes the unbreakable toy to crack and deform. The overall length of the unbreakable toy clay sculpture is 10 cm, and the width is 6 cm.

[0055] Specifically, the raw materials used for painting the unbreakable toy are latex paint and color paste, and the ratio of latex paint to color paste is 5:1. The advantages are that the use of latex paint as the painting raw material can form a protective film on the surface of the clay sculpture, making the painting of the unbreakable toy more durable. At the same time, latex paint can form a waterproof film on the surface of the unbreakable toy after drying, which not only protects the color of the painting but also facilitates cleaning. Using color paste to adjust the depth of color can make the color of the unbreakable toy more uniform and full without color leakage. By using different colors and color steps, more vivid and realistic color effects can be created, making the clay sculpture more three-dimensional and natural. Secondly, color paste can effectively prevent water penetration, and using color paste can better protect the surface of the clay sculpture.

[0056] Specifically, the production of the hat decoration in step six includes the following steps:

[0057] S1.1, select suitable artificial fiber materials for making hat brim, such as polyester and nylon;

[0058] S1.2, use paper and pen to design suitable hat brim according to the head of the unbreakable toy;

[0059] S1.3, using scissors to cut the artificial fiber material into the appropriate shape and size according to the design, and using scissors to trim the cut material carefully;

[0060] S1.4, the total length of the raw edge is 7 cm, and the length of the raw edge is 1.5 cm.

[0061] The advantage is that the cost of using artificial fiber materials to make the raw edge is relatively low, and most of the raw materials used in the production process of artificial fiber are renewable products, so the impact on the environment is smaller. In addition, some artificial fibers also have degradability, and the moisture absorption and air permeability of artificial fiber are very good, which can help maintain a comfortable indoor environment. At the same time, you can simulate the traditional tiger hat in Lubai area using artificial fiber materials, which looks realistic and cute.

[0062] Specifically, the prepared raw edge is coated with white glue along the hat edge of the head of the unbreakable doll, and then the excess glue is polished flat with sandpaper. The advantage is that by coating the prepared raw edge with white glue and sticking it inside the hat edge, the clay sculpture unbreakable doll looks realistic and cute. Using sandpaper to polish the excess glue can further refine the unbreakable doll and avoid defects that affect the appearance of the unbreakable doll.

[0063] Specifically, the protective agent is varnish or lacquer, and the protective agent should be evenly brushed to avoid being too thin or too thick. The natural drying environment humidity should not exceed 60%, and the drying time is determined by observing the hardness of the surface of the unbreakable doll. The dried unbreakable doll is placed in a closed box or cover. The advantage is that after the clay sculpture is completed, the protective agent can effectively prevent the unbreakable doll from being damaged by ultraviolet rays, effectively prevent oxidation reaction, maintain the gloss and color of the work, and effectively prevent the unbreakable doll from cracking.

[0064] Although embodiments of the present application have been shown and described, it will be understood by those skilled in the art that various changes, modifications, substitutions and alterations can be made to these embodiments without departing from the principles and spirit of the present application, and the scope of the present application is defined by the appended claims and their equivalents.

Claims

1. A method of making a clay figurine, characterized by, It comprises the following steps: Step one, prepare materials: clay materials and fixed materials; Step two, make prototype: use soft pottery super light clay mixed with white glue and white latex, get the super light head of the tumbler through various methods, and use mud to make the base of the tumbler; Step three, optimize prototype: use resin clay to make the arms and decorations of the tumbler; Step four, reinforce the prototype: use strong glue to brush on the surface of the tumbler base, sprinkle lime powder on the glue surface, and bond the soft pottery super light clay head with the mud base. After drying, the bottom of the tumbler prototype is reinforced; Step five, coloring treatment: adopt the method of fading, and adjust the color between the colors through the proportion of color and water; Step six, detail processing: use artificial chemical fiber material to simulate the traditional hat decoration in Lubu area, and use scissors and cutting tools to trim the tumbler; Step seven, dry and store: apply a layer of protective agent on the surface of the tumbler, and then place it in a cool and ventilated place for natural drying.

2. The method according to claim 1, wherein: The clay material is soft pottery super light clay, white glue and white latex, and the fixing material is resin clay.

3. The method according to claim 1, wherein: The amount of soft pottery super light clay is 1.8-2.2 grams, the amount of white glue is 0.8-1.2 grams, and the amount of white latex is 0.4-0.6 grams. The super light head of the tumbler is made by kneading, pinching, pressing and other methods.

4. The method of claim 1, wherein: The material for the head of the tumbler is (the scientific name of soft pottery super light clay), chemical fiber material and white latex, the ratio of which is 4:1:

1. The base of the tumbler is red clay, cotton and water, the ratio of which is 10:3:

4. The base of the tumbler is made by kneading, pinching, pressing and other methods.

5. The method of claim 1, wherein: The resin clay is made of epoxy resin and epoxy resin hardener, and the ratio of the amount of epoxy resin to epoxy resin hardener is 1:0.

5.

6. The method of claim 5, wherein: After the soft pottery super light clay head is bonded with the base, natural air drying is used for drying operation.

7. The method of claim 1, wherein: The raw materials used for coloring the tumbler are latex paint and color paste mixed and prepared, and the ratio of latex paint to color paste is 5:

1.

8. The method of claim 1, wherein: The production of hat decoration in step six comprises the following steps: S1.1, select suitable artificial chemical fiber material for making hat brim, such as polyester and nylon; S1.2, use paper and pen to design suitable hat brim according to the head of the tumbler; S1.3, use scissors to cut the artificial chemical fiber material into appropriate shape and size according to the design, and use scissors to trim the cut material carefully; S1.4, the total length of the brim is 7 cm, and the length of the brim is 1.5 cm.

9. The method of claim 1, wherein: Use a graver to cut along the hat edge of the tumbler, apply white latex to the prepared brim, align it with the inside of the hat edge, and then use sandpaper to polish the excess glue.

10. The method of claim 1, wherein: The protective agent is a varnish or a lacquer, the brushing of the protective agent should be even to avoid too thin or too thick, the natural drying environment humidity cannot exceed 60%, the drying time is judged according to the observation of the hardness of the surface of the unclenched elephant, and the dried unclenched elephant is placed in a closed box or cover.

Images