[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-1-en-105":3,"doc-seo-175070-105":53,"doc-detail-175070-en":127},{"code":4,"msg":5,"data":6},0,"success",[7,14,19,24,29,34,39,44,49],{"id":8,"doc_module":9,"doc_module_name":10,"category_name":11,"show_sort_weight":12,"slug":13},11,1,"Template","Presentations",90,"presentations",{"id":15,"doc_module":9,"doc_module_name":10,"category_name":16,"show_sort_weight":17,"slug":18},12,"Resumes",80,"resumes",{"id":20,"doc_module":9,"doc_module_name":10,"category_name":21,"show_sort_weight":22,"slug":23},14,"Invoices",70,"invoices",{"id":25,"doc_module":9,"doc_module_name":10,"category_name":26,"show_sort_weight":27,"slug":28},15,"Posters",60,"posters",{"id":30,"doc_module":9,"doc_module_name":10,"category_name":31,"show_sort_weight":32,"slug":33},16,"Social Media",50,"social-media",{"id":35,"doc_module":9,"doc_module_name":10,"category_name":36,"show_sort_weight":37,"slug":38},17,"Forms",40,"forms",{"id":40,"doc_module":9,"doc_module_name":10,"category_name":41,"show_sort_weight":42,"slug":43},18,"Letters",30,"letters",{"id":45,"doc_module":9,"doc_module_name":10,"category_name":46,"show_sort_weight":47,"slug":48},21,"Paper Templates",5,"papers-templates",{"id":50,"doc_module":9,"doc_module_name":10,"category_name":51,"show_sort_weight":4,"slug":52},158,"General","general-158",{"code":4,"msg":54,"data":55},"ok",{"site_id":56,"language":57,"slug":58,"title":59,"keywords":60,"description":61,"schema_data":62,"social_meta":120,"head_meta":122,"extra_data":124,"updated_unix":126},105,"en","making-of-gallipoli-the-scale-of-our-war","Making of Gallipoli - The Scale of Our War","","Making of Gallipoli documents the production of large-scale figures created for a Gallipoli exhibition, where each character is built at 2.4 times life size. The build required more than 24,000 labour hours, with the machine gunners triptych taking nearly 9,000 hours. It details technical workflows from 3D sculpting and milling to hand sculpting, mold-making, silicone skin, hand-painted realism, and the careful scaling of 1:1 replica uniforms for believable materials, weight, and install constraints.",{"@graph":63,"@context":119},[64,80,102],{"@type":65,"itemListElement":66},"BreadcrumbList",[67,71,74,77],{"item":68,"name":69,"@type":70,"position":9},"https://docshare.wps.com","Home","ListItem",{"item":72,"name":10,"@type":70,"position":73},"https://docshare.wps.com/template/",2,{"item":75,"name":11,"@type":70,"position":76},"https://docshare.wps.com/template/presentations/",3,{"item":78,"name":59,"@type":70,"position":79},"https://docshare.wps.com/template/making-of-gallipoli-the-scale-of-our-war/175070/",4,{"url":78,"name":59,"@type":81,"image":82,"author":87,"headline":59,"publisher":90,"fileFormat":93,"inLanguage":57,"description":61,"dateModified":94,"datePublished":95,"encodingFormat":93,"isAccessibleForFree":96,"interactionStatistic":97},"DigitalDocument",{"url":83,"@type":84,"width":85,"height":86},"https://docshare.wps.com/thumbnails/making-of-gallipoli-the-scale-of-our-war/175070.png","ImageObject",442,249,{"name":88,"@type":89},"Terk","Person",{"url":68,"name":91,"@type":92},"DocShare","Organization","application/vnd.openxmlformats-officedocument.wordprocessingml.document","2026-10-26","2026-09-02",true,{"@type":98,"interactionType":99,"userInteractionCount":101},"InteractionCounter",{"@type":100},"ViewAction",9,{"@type":103,"mainEntity":104},"FAQPage",[105,111,115],{"name":106,"@type":107,"acceptedAnswer":108},"How large are the exhibition figures, and how long did construction take?","Question",{"text":109,"@type":110},"Each figure is 2.4 times larger than life. Building and installing the eight large-scale figures took just over 24,000 labour hours.","Answer",{"name":112,"@type":107,"acceptedAnswer":113},"Why was mold-making challenging at this scale?",{"text":114,"@type":110},"The size required breaking sculptures into multiple pieces to fit within the exhibition space. The senior mold-maker joined from the conceptual phase to plan feasible production steps.",{"name":116,"@type":107,"acceptedAnswer":117},"What materials and processes were used for the skin and hair realism?",{"text":118,"@type":110},"The heads, hands, arms and legs use silicone skin, hand-painted and completed with hair. Nearly every pore and hair detail is hand-sculpted or hand-punched, with facial hair and eyebrows made from specific blends of natural and synthetic sources.","https://schema.org",{"og:url":78,"og:type":121,"og:title":59,"og:site_name":91,"og:description":61},"article",{"robots":123,"canonical":78},"index,follow",{"doc_id":125,"site_id":56},175070,1791736393,{"code":4,"msg":5,"data":128},{"doc_id":125,"user_id":129,"nickname":88,"user_avatar":130,"doc_module":9,"category_id":8,"category_name":11,"doc_title":59,"doc_description":61,"doc_content":131,"file_id":132,"file_url":133,"file_type":134,"file_size":135,"view_count":101,"is_deleted":4,"is_public":9,"is_downloadable":9,"audit_status":9,"page_count":76,"language":136,"language_code":57,"site_id":56,"html_lang":57,"table_of_contents":137,"faqs":138,"seo_title":139,"seo_description":61,"update_tm":140,"read_time":9},1099525198933,"https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d","Making of Gallipoli: The scale of our war\n(Photos on the making of are available on request)\nLarge scale models\nEach figure is 2.4 times larger than life.\nIt took just over 24,000 labour hours to build and install the eight large scale figures in the exhibition.\nThe triptych of machine gunners Carkeek, Hawkins, and Warden took the longest to build, requiring nearly 9,000 labour hours from early creative inception to completion.\nThe other sculptures took significant amounts of time over the past eight months to bring them to life:\nSpencer Westmacott – 3,300 hours\nFenwick and the unknown dead soldier – 3,000 hours\nJack Dunn – 3,200 hours\nLottie Le Gallais – 2,040 hours\nCecil Malthus – 3,400 hours.\nThe poses of some sculptures present significant technical challenges and all required a high level of planning and problem-solving from Weta Workshop’s 3D sculpting and milling phase, through to fine art hand sculpting and mold-making.\nThe challenge of mold-making the sculptures at this scale meant that they had to be broken down into multiple pieces to fit inside the exhibition space. Weta Workshop’s senior mold-maker was involved from the start of the conceptual phase. Actors  were cast as the figures and posed in replica uniforms, with real weaponry and equipment, to establish the best way of producing each figure at scale and within the limitations of the exhibition space.\nScaling up the fabric of the models’ uniforms to make them believable to the human eye was another technical challenge to overcome.\nEach sculpture has a fibreglass body, built in sections that bolt together. This allows Weta Workshop’s install team to fit each model into the exhibition space.\nEach sculpted figure is between 90 and 150kgs in weight.\nThe skin covering the figure’s heads, hands, arms and legs is made from silicone. It has been further brought to life with handpainting and the addition of hair.\nEvery pore you see on the surface of the skin has been hand-sculpted.\nNearly every hair you see on the figures has been punched in by hand.\nTo produce the large scale models, Weta Workshop has:\nCreated approximately 150 molds for the sculptures’ bodies alone.\nUsed approximately 400kgs of silicone to create the skin .\nUniforms\nThe uniforms were pattern made from both original and other replica 1:1 scale uniforms and then scaled up to be 2.4 times larger.\nA mixture of materials matched to the original uniforms were used to produce them, including wools, cottons, hessian, metal, leather acrylic and urethane.\nThe combined weight of the sculptures’ uniforms is over half a tonne!\nHair/eyelashes/eyebrows\nEach weft of hair weighs about 110 grams. Each head used somewhere between 4 and 8 wefts. So there’s anywhere between 500gms and 1kg of hair on each head!\nHuman hair was used on the top of the heads.\nFacial hair is a mix of human, horse mane, horse tail and yak tail hair.\nAll hair is a blend of three or four colours (including the stubble) to give the hair the depth and reflection of natural hair.\nEyebrows are made of human, goat, and yak hair.\nEyelashes are synthetic. Two tapered hairs have been glued together by hand to make them thicker.\nPeach fuzz on the surface of the skin and hair is mohair and each hair has been individually punched in.\nNose hair is made of yak hair.\nBody hair is human.\nEach head of hair took between three and six weeks to install, depending on the nature of the model’s hairstyle.\nEyebrows took two days per brow, with each individual hair punched in by hand.  Fenwick's moustache took four days to create and the facial stubble on all the faces took approximately six days.\nWeta Workshop had a team of seven people devoted to punching in the hair on the models.\nFenwick has one of the largest toupees Weta Workshop has ever made. The top section of his hair is removable so that the top of his head is accessible. The toupee has a hand knotted crown and sewn on weft. The hair below the toupee is hand punched.\nPlinths\nEach large scale model stands on ","cbCaidzpYqTDebIc","https://ap.wps.com/l/cbCaidzpYqTDebIc","docx",389472,"English","# Making of Gallipoli: The Scale of Our War\n## Large scale figures and labour hours\n## Sculpting, molds, and technical challenges\n## Uniforms and materials\n## Hair, eyelash and facial detail\n## Plinths and structural armature","[{\"question\":\"How large are the exhibition figures, and how long did construction take?\",\"answer\":\"Each figure is 2.4 times larger than life. Building and installing the eight large-scale figures took just over 24,000 labour hours.\"},{\"question\":\"Why was mold-making challenging at this scale?\",\"answer\":\"The size required breaking sculptures into multiple pieces to fit within the exhibition space. The senior mold-maker joined from the conceptual phase to plan feasible production steps.\"},{\"question\":\"What materials and processes were used for the skin and hair realism?\",\"answer\":\"The heads, hands, arms and legs use silicone skin, hand-painted and completed with hair. Nearly every pore and hair detail is hand-sculpted or hand-punched, with facial hair and eyebrows made from specific blends of natural and synthetic sources.\"}]","Making of Gallipoli - The Scale of Our War | DOCX",1788318088]