Category: Materials

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Materials

Make your own plasticine.

Oh, this is such a good topic. You can’t imagine how much time and effort I’ve spent trying to wrap my head around this. In my studio, I use my own plasticine recipe—one I developed after countless hours of research and experimenting with different methods to achieve the results I needed for my work.

But first, you might be wondering: why would anyone want to make their own plasticine?

Well, there are two main reasons. First, I use a lot of it, and the more I teach, the more I need. Second, here in New Zealand, where my studio is based—and really, in most parts of the world plasticine, good quality plasticine, is expensive. A 900g (2 lb) block of NSP ( Chavant) costs about NZ$46 ( US$24 or €21.)  It used to be $32-$40, but tariffs have driven up the price. In the U.S., the same product is about half that price. If you’re not familiar with the price of this product, let me tell you, NZ$46 (US$24), is expensive, very expensive.

By producing my own plasticine, I gain full control over every aspect of the material: price, quality, quantity, and even color. It makes total sense for someone like me, where this material is such a vital part of my practice. If you’re curious about making your own plasticine—whether for fun or out of necessity—I hope this article helps you to make your own home made oil based clay.

What is Plasticine?

Let’s begin with some basic research. According to what you’ll find online:

Plasticine is an oil-based modeling clay that stays soft and malleable without drying out. It’s widely used in sculpture, stop-motion animation, and education. It was invented in 1897 by English art teacher William Harbutt, who wanted a non-drying clay his students could reuse. He patented it in 1899 and began commercial production in 1900.

The original formula included calcium salts, petroleum jelly, and fatty acids, making it non-toxic, reusable, and easy to shape. It became a staple in schools and was later made famous in animation, especially by Aardman Animations, creators of Wallace & Gromit. Today, “plasticine” is often used generically for all non-hardening modeling clays, though the original brand still exists.

Historically, natural waxes, such as beeswax, were used in a similar way to how we use plasticine today—though they weren’t as refined or chemically stable as the versions we have now.

A First Formula

The traditional formula (calcium salts + petroleum jelly + fatty acids/wax) gives us a generic but useful foundation. Essentially, it combines:

  • Thick fats at room temperature (like petroleum jelly),
  • A powdered filler (such as calcium carbonate, talcum, or plaster), and
  • A binding agent (usually a type of wax or oil, natural or mineral-based).

This basic formula is well-known in sculpture circles and popular culture. It’s easy to replicate with materials found at most hardware or grocery stores, and it’s relatively inexpensive.

My First Workshop Formula

My first attempt at homemade plasticine was in 2021 during a 10-week workshop at the Wellington School of Drawing, right after COVID. The workshop, “Figure and Écorché,” involved weekly sessions with a live model, where we sculpted the human figure and exposed one side to reveal the muscular structure. It was the first course of its kind since I opened my Wellington studio in 2018.

For this course, I produced about 60 kg of plasticine in 10 kg batches using the following base formula:

Binding agent: Beeswax + Thick fats:Vaseline (Petroleum Jelly) + Mineral Oil + powdered filler: Plaster of Paris

It was affordable, relatively easy to work with, and got the job done—but it had a few key issues:

  1. If overheated, the plaster reacted and made the clay crumbly or too dry.
  2. The mix was sticky and didn’t flow well.
  3. Large sculptures developed cracks from internal tension—something that doesn’t usually happen with high-end brands like NSP or Le Beau Touché  (Chavant).

Improving the Formula

I continued researching, aiming to create something similar in quality to Chavant. Through experimentation, I discovered that the type of wax, oil, and filler made a huge difference.

Types of Plasticine: Wax-Based vs. Oil-Based

Plasticines vary by brand and formulation—some are oil-rich, others are wax-heavy. Oil-based versions are softer and feel more like clay, great for gestural work. Wax-based versions are firmer and better for capturing detail.

Generally, the softer the plasticine, the stickier it tends to be due to a higher oil content. Both types have their place depending on the work.

Waxes and oils are not the same. Waxes are solid at room temperature and provide structure and binding. Examples include beeswax, paraffin, and microcrystalline wax. Oils, like mineral oil or organic oils, are liquid or semi-liquid at room temperature and provide softness and workability. Petroleum jelly and lanoline are two examples of mineral and organic oils that are not fluid, rather thick paste like.

In plasticine, wax gives the body binding all the components, while oil adds fluidity. Getting the right ratio is essential—too much oil makes it greasy and unstable, while too much wax makes it too hard.

Further Experiments

Trying to mimic the texture of professional plasticines, I replaced beeswax with microcrystalline wax. I tested paraffin wax and also the kind used for waxing legs, mixed with Vaseline, natural oils, and plaster. The result was more crumbly than before—paraffin is too rigid. So I combined beeswax and paraffin to strike a balance between structure and flexibility.

This blend improved the consistency, but I still wasn’t satisfied. I learned that plaster, while cheap and accessible, is unstable—it reacts to moisture and temperature. I started exploring calcium carbonate, talcum powder, and clay dust as more stable alternatives. The change worked.

Also, I realized that thick fats improve malleability but increase stickiness. Swapping some fats with fluid oils (like mineral or canola oil) improved texture—but still didn’t match the quality of Chavant.

Eventually, after many tests and tweaks over the years, I found a combination that worked. I refined the formula to the point that I got what I needed, I very high quality product at the same level of Chavant plasticines. I now produce and use my own plasticine in the studio and since I can produce it, I also sell it, A-Series plasticines. I can confidently say that I’ve developed something that meets my standards.

If you’re curious about the A-Series, click here to learn more.

If you’re looking to make your own plasticine, I hope the information in this articles helps. To me,  the learning curve was steep, and there was a lot of trial and error involved. But I started form scratch. This why I know how valuable the information I am giving away here is. Only by following my steps you will get a lot of answers, helping you to get your own version. And once you find what works for you, the satisfaction is immense.

Good luck with your experiments—and if you’d like to dive deeper into materials, techniques, tutorials, and get early bird access to both online and in-person workshops, be sure to sign up for my newsletter.

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Materials

Water-Based Clay vs. Oil-Based Clay: Which is Better?

This is a common question I get during my workshops: Is it better to work with water-based or oil-based clay? The truth is that the answer depends on several factors, as well as your personal comfort with each material.

As someone with a wealth of experience working with various materials throughout my career, I find that water-based clay is often the ideal choice for many projects. Its softness, ease of use, and versatility make it highly adaptable for different techniques. The organic, random textures it can offer are almost unique to this material, enriching sculptures in ways that few other mediums can.

On the other hand, plasticine—when of high quality—can offer similar fresh results, especially in industrial applications. If you’re working in the industry, this is of particular interest to you, as plasticine allows for greater control over surface texture, something that can be more difficult to achieve with water-based clay.

Key Technical Differences

The technical aspects of these materials are significant, so let’s take a closer look.

Water-based clay is what I like to refer to as an “alive” material. What do I mean by this? Simply put, you need to maintain the right moisture levels to keep it workable. If you neglect it, it can dry out, harden, and crack. This constant need for moisture control can be a hassle, but it’s also what gives the material its distinct properties. In contrast, plasticine won’t ever dry out or crack on its own. You can continue working with it for as long as you need, with no risk of it becoming unusable.

Temperature and air moisture are also factors that affect both materials. The temperature is particularly relevant for oil-based clays like plasticine—higher temperatures make the material softer and easier to work with. This means plasticine is generally softer in the summer than in the winter. In places with extreme temperatures, this is something to keep in mind.

For water-based clays, moisture levels can affect the drying process. If it’s too moist, the clay will take longer to dry; if it’s too dry, the clay will harden too quickly and become difficult to work with.

Consider the Size of Your Project

The size of your work is another important factor. In the industry, water-based clay is often chosen for large-scale projects. Why? Because it’s quicker to work with and, importantly, it’s more cost-effective. For example, 10 kg of water-based clay could be the same price as 1 kg of plasticine. If you’re working on a large sculpture, the cost difference can be significant, so this is definitely something to consider.

What Are You Planning to Do?

The type of project you’re working on also plays a role in the material choice. If you’re sculpting something that you plan to fire, water-based clay is the obvious option. However, if you’re using plasticine, you have two main options:

  1. Leave it on the shelf: It’ll last for years without any issues, accumulating dust until you decide to use it again (although accidents could happen).
  2. Make a mold: If you want to create a durable version of your plasticine sculpture, you can cast it in another material.

Both options work, but if you need a long-lasting final piece, casting might be the better option.

My Formula plasticine A series.

Personally, I enjoy both materials, but I prefer the workable properties of water-based clay.  That’s why I developed my own A1 soft plasticine formula—which mimics the properties of water-based clay—so I don’t have to worry about it drying out once I’m done. This is the A1 plasticine, a formula I developed myself in the studio after years of testing and refining. You can see me using it in the Saturday sessions at my studio in the following videos. Check them out!

Both water-based and oil-based clays have their advantages, and your choice will ultimately depend on factors like the size of your project, your personal preferences, and the specific requirements of your work. If you’re looking for something that doesn’t dry out and can be molded into any texture, plasticine is a great option. However, if you’re working with larger projects, prefer a more organic texture, or need something that can be fired, water-based clay might be the better choice.

For me, having developed my own version of soft plasticine has given me the best of both worlds. It allows me to work with a material that behaves like water-based clay, but without the risk of it drying out.

I hope this article has helped clarify the pros and cons of each material. Whatever you choose, I wish you the best of luck with your creative projects!

A Note for Mold Makers

If you’re a mold maker or planning to use the material for molding, there’s one important thing to keep in mind—especially if you’re using silicone molds: Sulfur.

Water-based clays are usually sulfur-free, but oil-based clays, including plasticine, may contain sulfur. If your plasticine contains sulfur, it can interfere with the curing of silicone molds. To avoid this problem, you need to ensure that your plasticine is sulfur-free—either by checking the label or performing a simple test. If the plasticine contains sulfur, the silicone won’t cure properly, and you’ll end up with a lot of frustration. Trust me, you don’t want to learn this the hard way—it can take a long time to forget that kind of mistake!

I’ll be covering other topics in future articles, including working with textures and exploring alternative sculpting materials that behave like clay—such as polymers and certain types of concrete.

If you’re interested in learning more about these materials, consider signing up for the newsletter to receive updates on new articles, tutorials, and upcoming events, including both online and in-person workshops.

Categories
Materials

How to make your own sculpting tools

If you’re a sculptor or just starting out with clay modeling, having the right tools can make a big difference. But did you know you can create your own sculpting tools using simple materials like brass tubes and guitar strings?

In this article, you’ll learn how to make high-quality, custom sculpture tools tailored to your specific needs—perfect for detailing, smoothing, and shaping clay. Whether you’re sculpting the human figure, working on fine details, or experimenting with new textures, this DIY approach is budget-friendly and practical.

Read on to discover step-by-step instructions for building your own clay modeling tools, ideal for use in professional studios or at home.

Easy, Affordable, and Custom

It’s quite straightforward to make this tool: you just need a thin brass pipe and various guitar strings, which you’ll choose based on the type of work you intend to do. In my experience, the thickest bass string (wrapped with a thinner string) is the most efficient, as it creates an ideal texture when evening out the surface at smaller scales.

  • Cut the Pipe:
    Start by cutting a piece of thin brass pipe at least as long as your finger. If it’s too short, it will be difficult to handle and easy to lose.
  • Choose the Guitar String:
    • Reuse Old Strings: If you or someone you know is a musician, you might already have broken guitar strings around.
    • Buy New Strings: If you’re purchasing new strings, note that you’ll have enough material to make dozens of these tools, and they’re quite inexpensive.
  • Shape the Wire:
    • Round End: For a rounded tip, simply fold the wire into a loop.
    • Flat End: If you want a flat scraper, bend the wire at the necessary angles.
      Cut a small piece of wire according to the shape you need, then insert it into the pipe.
  • Secure the Wire:
    • Insert a small piece of paper inside the pipe first to stop glue from running down.
    • Add a drop of superglue (and use an accelerator if you have one) to set it immediately.
  • And that’s it! You now have a custom scraping or texturing tool for your sculpting projects.

The tool may eventually break over time. If that happens, remove the old wire by using a small drill bit to loosen the glue inside the pipe, then pull out the wire with pliers. You can repeat this process as many times as needed to restore your tool. If you want a larger version, look for piano strings, which allow you to create sturdier and bigger tools.