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THE SCULPTOR'S HAND
The process begins when a Goebel master sculptor studies a carefully
selected drawing or painting by Sister Hummel.
Because the drawing has only two dimensions, the sculptor must be able
to imagine unseen details and execute them in clay in a style consistent
with the Sister's vision. The sculpting may take many weeks, and during
that time, a new and original work of art takes shape. The finished model
is presented to the Artistic Board at the Convent of Siessen.
MAKING THE MOLDS
The sculptor and master moldmaker determine where the figurine should be
cut so the moldmaking process can begin. A figurine may be cut into as
many as 40 pieces for ease of production.
The pieces of the figurine are embedded in clay. Plaster of paris is
poured over them to make the master mold. A series of positive and
negative plaster molds is made, leading to the creation of a durable
acrylic resin working model. From the working model, a plaster of paris
working mold is made. It can be used only for a limited time before
eroding. New working molds are created from the working model as needed.
CASTING & ASSEMBLING
Liquid ceramic, known as "slip," composed of kaolin, feldspar, clay,
quartz and water, is poured into the plaster working molds. The plaster
absorbs moisture from the slip. As the slip thickens, it creates a hollow
ceramic shell of the figurine. The excess slip is poured out, and the
moist shell is removed for assembly into a completed figurine.
The pieces are joined using slip as a sort of glue, then smoothed to
remove all seams. The assembled figurines dry for about one week.
KILN FIRING
Each figurine is fired at intense temperatures at least three times
during the production process. The kilns are heated and cooled
gradually -- sudden temperature changes can damage the figurine.
The first firing at 2100°F transforms the moist figurine into its white
bisque state. The figurines shrink in size and emerge with a powdery
white finish. Then the piece is hand-dipped and sprayed with a tinted
liquid glaze.
The second firing is at 1870°F. The figurine emerges glossy white, as
the glaze has been melted into a thin, transparent skin of glass.
After painting, the figurine will be fired again at 1407°F to permanently
bond the color and create a soft matte finish. Figurines may undergo
decor firings up to three times, depending on the colors used.
BRUSHING ON COLOR
The paints used on each M.I.Hummel collectible are selected from several
hundred hues specially developed to recreate the tones of Sister Hummel's
artwork. The Master Painter prepares a decorated sample, which must be
approved by the Convent of Siessen, to guide the highly-trained artists
who paint the actual figurines.
Since the figurines are painted by hand, each is unique. Paints are
metallic oxide powders mixed as needed with balsam oil and turpentine.
Brushes are made of natural hair.
QUALITY CONTROL
The figurine creation process takes many weeks and may involve over 700
hand operations with many quality checkpoints. Every new M.I.Hummel
figurine is created using this painstaking process, in accordance with
the age-old Goebel tradition of quality handcraftsmanship.
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