MAKING OF
THE FIGURINES
See how the unique figures are made by hand and how much love and passion we pay to each of our items.
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Questions? +49 (0) 36762 - 32310
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ASSEMBLAGE
OF THE FIGURES
In the assembling process the poured and pressed parts of the figures are put together, smudged and grinded.
These stepf have tob e repeated several times, because small cracks occur through the drying process.
Only when the surface of the figures is perfect, they will get painted.
As well the bottom of the poured (i.e. hollow) figures is covered with cardboard.
PAINTING
HANDICRAFT
The large areas and usually the faces are airbrushed with airbrush guns with a nozzle size up to 0.3 mm. With these guns even fine demarcations between the colours are possible. All other areas oft he figure are painted by hand with brushes, pens, sponges etc.
PATINATION
SCULPTURAL EFFECT
During the patination process a liquid dark patina is applied on the whole figure with a large brush. After that the patina is wiped off with a soft cloth. The patina stays in the indetations and gives the figure the unique plastic and also nostalgic effect the MAROLIN®-figures are known for.
Discover something about
Production of the figures
The production
Cast figures
manufacturing
For the production of the figures in the casting process so-called working forms are needed first. These are made of plaster, which is poured over the housed with a plastic band mother mold. After some time you can separate the mother form and work form.
After drying the working forms, the actual figure casting can begin. This liquid Papiermacher mass is poured into the molds. The gypsum removes the contained water from the mass and a thin layer of MAROLIN® mass is applied to the inner walls of the mold.
After about 20 minutes, the mold is placed upside down, so that the excess mass flows out again. Now the blanks have to be dried in the mold for about six hours before they can be removed. The now "leather-hard" blanks get their final strength only after drying in a drying oven.
Figures Press
with papiermaché
When pressed plastic papier masseuse is used and pressed into mostly two-part molds. In the pressing process both neck parts and whole, mostly small, figures are made.
Inserted in the lever mass copper reinforcement wires provide the necessary stability of the part.
The dried pusher parts must be deburred, especially at the seams. This is done by hand after the parts have been dried slowly.
Assembly
the figures
When mounting the cast and pressed parts are assembled, plastered and sanded. The steps must be repeated several times, because technologically limited again and again shows a low cracking. Only when the surface is perfect, the figures go into the painting.
In addition, in cast (and thus hollow) figures, the bottom is closed with cardboard or paper.
The fully assembled figure is dipped in a glue-chalk bath to level the surface. This is necessary so that the materials used (casting compound, pusher material, cardboard) later adopt the color uniformly.
Paint
Handwork
Die großen Flächen und im Regelfall auch die Gesichter der Figuren werden gespritzt. Dabei finden geeignete Spritzpistolen mit Düsengrößen bis 0,3mm Verwendung. Mit den Pistolen können selbst feine Abgrenzungen zwischen verschiedenen Farben realisiert werden.
Alle Bereiche der Figuren, die über die Möglichkeiten des Spritzens hinausgehen, werden von Hand bemalt. Dabei kommen verschiedene Werkzeuge wie Pinsel, Schwämmchen, Stifte, Federn usw. zum Einsatz.
Damit bestimmte Teile der Bemalung beim anschließenden Patinieren nicht verwischen, werden die Figuren nach dem Malen teilweise mit Mattlack oder Schellack lackiert.
patinate
plastic effect
When patinating the entire figure is covered with a dark Patinierflüssigkeit. This usually happens with a big brush. Then the patina is wiped off the surface with soft cloths.
In the depressions, the color "stops" and the surveys wipe them away again. This achieves the plastic, but also nostalgic effect that characterizes the original MAROLIN® figures. Finally, various gold decors are applied and certain parts of the figures are "taken down". In addition, loose parts, such as rods, lanterns, etc. must be attached.
Discover something about
Production of the figures
The production
Cast figures
manufacturing
For the production of the figures in the casting process so-called working forms are needed first. These are made of plaster, which is poured over the housed with a plastic band mother mold. After some time you can separate the mother form and work form.
After drying the working forms, the actual figure casting can begin. This liquid Papiermacher mass is poured into the molds. The gypsum removes the contained water from the mass and a thin layer of MAROLIN® mass is applied to the inner walls of the mold.
After about 20 minutes, the mold is placed upside down, so that the excess mass flows out again. Now the blanks have to be dried in the mold for about six hours before they can be removed. The now "leather-hard" blanks get their final strength only after drying in a drying oven.
Assembly
the figures
When mounting the cast and pressed parts are assembled, plastered and sanded. The steps must be repeated several times, because technologically limited again and again shows a low cracking. Only when the surface is perfect, the figures go into the painting.
In addition, in cast (and thus hollow) figures, the bottom is closed with cardboard or paper.
The fully assembled figure is dipped in a glue-chalk bath to level the surface. This is necessary so that the materials used (casting compound, pusher material, cardboard) later adopt the color uniformly.
patinate
plastic effect
When patinating the entire figure is covered with a dark Patinierflüssigkeit. This usually happens with a big brush. Then the patina is wiped off the surface with soft cloths.
In the depressions, the color "stops" and the surveys wipe them away again. This achieves the plastic, but also nostalgic effect that characterizes the original MAROLIN® figures. Finally, various gold decors are applied and certain parts of the figures are "taken down". In addition, loose parts, such as rods, lanterns, etc. must be attached.
Figures Press
with papiermaché
When pressed plastic papier masseuse is used and pressed into mostly two-part molds. In the pressing process both neck parts and whole, mostly small, figures are made.
Inserted in the lever mass copper reinforcement wires provide the necessary stability of the part.
The dried pusher parts must be deburred, especially at the seams. This is done by hand after the parts have been dried slowly.
Paint
Handwork
Die großen Flächen und im Regelfall auch die Gesichter der Figuren werden gespritzt. Dabei finden geeignete Spritzpistolen mit Düsengrößen bis 0,3mm Verwendung. Mit den Pistolen können selbst feine Abgrenzungen zwischen verschiedenen Farben realisiert werden.
Alle Bereiche der Figuren, die über die Möglichkeiten des Spritzens hinausgehen, werden von Hand bemalt. Dabei kommen verschiedene Werkzeuge wie Pinsel, Schwämmchen, Stifte, Federn usw. zum Einsatz.
Damit bestimmte Teile der Bemalung beim anschließenden Patinieren nicht verwischen, werden die Figuren nach dem Malen teilweise mit Mattlack oder Schellack lackiert.
Discover something about
Production of the figures
The production
Cast figures
manufacturing
For the production of the figures in the casting process so-called working forms are needed first. These are made of plaster, which is poured over the housed with a plastic band mother mold. After some time you can separate the mother form and work form.
After drying the working forms, the actual figure casting can begin. This liquid Papiermacher mass is poured into the molds. The gypsum removes the contained water from the mass and a thin layer of MAROLIN® mass is applied to the inner walls of the mold.
After about 20 minutes, the mold is placed upside down, so that the excess mass flows out again. Now the blanks have to be dried in the mold for about six hours before they can be removed. The now "leather-hard" blanks get their final strength only after drying in a drying oven.
Figures Press
with papiermaché
When pressed plastic papier masseuse is used and pressed into mostly two-part molds. In the pressing process both neck parts and whole, mostly small, figures are made.
Inserted in the lever mass copper reinforcement wires provide the necessary stability of the part.
The dried pusher parts must be deburred, especially at the seams. This is done by hand after the parts have been dried slowly.
Assembly
the figures
When mounting the cast and pressed parts are assembled, plastered and sanded. The steps must be repeated several times, because technologically limited again and again shows a low cracking. Only when the surface is perfect, the figures go into the painting.
In addition, in cast (and thus hollow) figures, the bottom is closed with cardboard or paper.
The fully assembled figure is dipped in a glue-chalk bath to level the surface. This is necessary so that the materials used (casting compound, pusher material, cardboard) later adopt the color uniformly.
Paint
Handwork
Die großen Flächen und im Regelfall auch die Gesichter der Figuren werden gespritzt. Dabei finden geeignete Spritzpistolen mit Düsengrößen bis 0,3mm Verwendung. Mit den Pistolen können selbst feine Abgrenzungen zwischen verschiedenen Farben realisiert werden.
Alle Bereiche der Figuren, die über die Möglichkeiten des Spritzens hinausgehen, werden von Hand bemalt. Dabei kommen verschiedene Werkzeuge wie Pinsel, Schwämmchen, Stifte, Federn usw. zum Einsatz.
Damit bestimmte Teile der Bemalung beim anschließenden Patinieren nicht verwischen, werden die Figuren nach dem Malen teilweise mit Mattlack oder Schellack lackiert.
patinate
plastic effect
When patinating the entire figure is covered with a dark Patinierflüssigkeit. This usually happens with a big brush. Then the patina is wiped off the surface with soft cloths.
In the depressions, the color "stops" and the surveys wipe them away again. This achieves the plastic, but also nostalgic effect that characterizes the original MAROLIN® figures. Finally, various gold decors are applied and certain parts of the figures are "taken down". In addition, loose parts, such as rods, lanterns, etc. must be attached.
Discover something about
Production of the figures
The production
Cast figures
manufacturing
For the production of the figures in the casting process so-called working forms are needed first. These are made of plaster, which is poured over the housed with a plastic band mother mold. After some time you can separate the mother form and work form.
After drying the working forms, the actual figure casting can begin. This liquid Papiermacher mass is poured into the molds. The gypsum removes the contained water from the mass and a thin layer of MAROLIN® mass is applied to the inner walls of the mold.
After about 20 minutes, the mold is placed upside down, so that the excess mass flows out again. Now the blanks have to be dried in the mold for about six hours before they can be removed. The now "leather-hard" blanks get their final strength only after drying in a drying oven.
Figures Press
with papiermaché
When pressed plastic papier masseuse is used and pressed into mostly two-part molds. In the pressing process both neck parts and whole, mostly small, figures are made.
Inserted in the lever mass copper reinforcement wires provide the necessary stability of the part.
The dried pusher parts must be deburred, especially at the seams. This is done by hand after the parts have been dried slowly.
Assembly
the figures
When mounting the cast and pressed parts are assembled, plastered and sanded. The steps must be repeated several times, because technologically limited again and again shows a low cracking. Only when the surface is perfect, the figures go into the painting.
In addition, in cast (and thus hollow) figures, the bottom is closed with cardboard or paper.
The fully assembled figure is dipped in a glue-chalk bath to level the surface. This is necessary so that the materials used (casting compound, pusher material, cardboard) later adopt the color uniformly.
Paint
Handwork
Die großen Flächen und im Regelfall auch die Gesichter der Figuren werden gespritzt. Dabei finden geeignete Spritzpistolen mit Düsengrößen bis 0,3mm Verwendung. Mit den Pistolen können selbst feine Abgrenzungen zwischen verschiedenen Farben realisiert werden.
Alle Bereiche der Figuren, die über die Möglichkeiten des Spritzens hinausgehen, werden von Hand bemalt. Dabei kommen verschiedene Werkzeuge wie Pinsel, Schwämmchen, Stifte, Federn usw. zum Einsatz.
Damit bestimmte Teile der Bemalung beim anschließenden Patinieren nicht verwischen, werden die Figuren nach dem Malen teilweise mit Mattlack oder Schellack lackiert.
patinate
plastic effect
When patinating the entire figure is covered with a dark Patinierflüssigkeit. This usually happens with a big brush. Then the patina is wiped off the surface with soft cloths.
In the depressions, the color "stops" and the surveys wipe them away again. This achieves the plastic, but also nostalgic effect that characterizes the original MAROLIN® figures. Finally, various gold decors are applied and certain parts of the figures are "taken down". In addition, loose parts, such as rods, lanterns, etc. must be attached.
Discover something about
Production of the figures
The production
Cast figures
manufacturing
For the production of the figures in the casting process so-called working forms are needed first. These are made of plaster, which is poured over the housed with a plastic band mother mold. After some time you can separate the mother form and work form.
After drying the working forms, the actual figure casting can begin. This liquid Papiermacher mass is poured into the molds. The gypsum removes the contained water from the mass and a thin layer of MAROLIN® mass is applied to the inner walls of the mold.
After about 20 minutes, the mold is placed upside down, so that the excess mass flows out again. Now the blanks have to be dried in the mold for about six hours before they can be removed. The now "leather-hard" blanks get their final strength only after drying in a drying oven.
Figures Press
with papiermaché
When pressed plastic papier masseuse is used and pressed into mostly two-part molds. In the pressing process both neck parts and whole, mostly small, figures are made.
Inserted in the lever mass copper reinforcement wires provide the necessary stability of the part.
The dried pusher parts must be deburred, especially at the seams. This is done by hand after the parts have been dried slowly.
Assembly
the figures
When mounting the cast and pressed parts are assembled, plastered and sanded. The steps must be repeated several times, because technologically limited again and again shows a low cracking. Only when the surface is perfect, the figures go into the painting.
In addition, in cast (and thus hollow) figures, the bottom is closed with cardboard or paper.
The fully assembled figure is dipped in a glue-chalk bath to level the surface. This is necessary so that the materials used (casting compound, pusher material, cardboard) later adopt the color uniformly.
Paint
Handwork
Die großen Flächen und im Regelfall auch die Gesichter der Figuren werden gespritzt. Dabei finden geeignete Spritzpistolen mit Düsengrößen bis 0,3mm Verwendung. Mit den Pistolen können selbst feine Abgrenzungen zwischen verschiedenen Farben realisiert werden.
Alle Bereiche der Figuren, die über die Möglichkeiten des Spritzens hinausgehen, werden von Hand bemalt. Dabei kommen verschiedene Werkzeuge wie Pinsel, Schwämmchen, Stifte, Federn usw. zum Einsatz.
Damit bestimmte Teile der Bemalung beim anschließenden Patinieren nicht verwischen, werden die Figuren nach dem Malen teilweise mit Mattlack oder Schellack lackiert.
patinate
plastic effect
When patinating the entire figure is covered with a dark Patinierflüssigkeit. This usually happens with a big brush. Then the patina is wiped off the surface with soft cloths.
In the depressions, the color "stops" and the surveys wipe them away again. This achieves the plastic, but also nostalgic effect that characterizes the original MAROLIN® figures. Finally, various gold decors are applied and certain parts of the figures are "taken down". In addition, loose parts, such as rods, lanterns, etc. must be attached.
