A delicate balance exists between the sculpted details and the organically engineered articulation in our dolls' minds, inspiration, and creation process. With delicate and graceful articulations that permit natural range of motion without detracting from the sculpture, twigling attempts to convey realistic surface detail that places an emphasis on character rather than ethnicity or gender. Even though they appear to be soft, ball-jointed dolls have rigid parts. As the doll is posed and her parts repositioned in relation to one another, this restricts the range of motion and the apparent visual realism. During the design process, it is difficult to strike a balance between these elements while still achieving a natural appearance and the illusion of grace, even when the anatomy is not 100% accurate.
Edelweissday have a distinctive aesthetic and a dynamic vibe that resulted from the fusion of various ethnographies. They balance stylized characteristics with relatable realism, allowing you to empathize with their apparent humanity despite the fact that they can never really be anything more than simulacra of real people.
The goal is, at its core, to make the world a more beautiful place. This means not only creating figurative representations of what is considered beautiful, but also pushing the boundaries of what we are taught to consider beautiful, going beyond the purely aesthetic aspect and the binary concept of gender. We want to make something that is more than just a fashion doll—it should be a tool for empowerment, fulfillment, and success. We work to be conscious of not simply representing the body as an object to be desired, but rather as something to be admired, and we are inspired by nature as much as we are by real heroes.
Trying to think outside the box is what makes great design. We try to come up with solutions that are ahead of the curve rather than copying what our peers and rivals do. We also work to constantly improve the products and services we provide as well as the methods and materials we use.
Two-part epoxy and air-drying paper-clay are used to construct the master parts. A structure is roughed in with clay before being carved into shape once it has hardened. During the construction of the piece, material is then continually added and removed. Each of the materials is suitable for the process of creation and destruction because of its limitations and characteristics. Paperclay is lightweight, affordable, and simple to carve. As a result, it is used to add volumes in situations where changing the shapes will require removing material later. Epoxy clay is heavier, harder, and more expensive; best suited for use in areas of friction, fine details, and thin parts where greater resilience is desired.
We are slowly moving into digital sculpture and using 3D modeling, scanning, and printing as tools in the construction and editing process. We are doing this by combining new technologies with traditional hands-on methods. Reproducing finished dolls using current 3D printing technology is neither feasible nor cost-effective. However, 3D proves to be a very useful tool for resizing or changing proportions, making the ball joints and sockets uniformly round, or making theoretical changes to a sculpture with the option to easily save repeats or undo without compromising the original sculpture. However, working with one's own hands cannot be denied the pleasant imperfections, subtle asymmetries, and tactile control maintained. Before reaching the final stages, even printed pieces frequently undergo cutting, carving, sculpting, and reconfiguration processes.
The parts are polished with fine-grit abrasives and coated with grey primer as they get closer to completion to bring the surface together and improve it. The original parts are sent to one of our seasoned manufacturing partners when they have been finished to our satisfaction. There, molds are made and each piece is made of polyurethane resin. Molds are made of synthetic rubber, and they can only hold a certain number of hand-crafted replicas before they become worn out and need to be replaced. Polyurethane resin is made up of two liquids that, when mixed correctly, harden in a chemical reaction. Before it can become solid, the liquids must be poured into a mold.
The BJD dolls are primarily made by hand using high-quality materials and traditional manufacturing methods. They are produced in relatively small batches, allowing us to easily make adjustments and improvements between each production run and keep a close eye on their quality. We are currently looking into the possibility of reproducing with resins that are less harmful to the environment and more long-lasting.