Issue link: https://digital.copcomm.com/i/1065626
for the prize itself and were [getting] nowhere," he says. "The first design resembled obstetrical forceps, and the second looked like an ice cream parfait." Harry Medved, the then- director of communications for SAG, learned about the difficulties and asked every illustrator who had ever worked with the union's magazine to send him sketches. "He dropped about 50 sketches on our conference table and we began shuffling through them," Anderson recalls. "When 'The Actor' — a sketch by Jim Barrett that designer Jim Heimann had submitted — rose to the top of the pile, everyone gasped and pointed as if to say, 'That's it.'" The committee members were certain. "That's our award," Anderson remembers them saying. "And forever after, each of us took credit for spotting it first." 1. MAKING THE MOLD The original mold is made of silicon rubber and is then filled with molten wax. 2. OUT OF THE MOLD After the sculpture cools down, it is pulled from the mold and the imperfections are fixed. 3. PIECING IT TOGETHER After the sculpture is cleaned, the arms and hands are attached. 4. ADDING THE SECOND LAYER The statuette is then dipped in ceramic material, which will serve as a secondary mold. 5. BRINGING THE DETAILS TO LIFE Next is the most critical part: applying slurry wax and a layer of silica, which helps preserve the fine details of the statue. 2 5 TH SAG AWA R DS S P E C I A L 57 S AG A F T R A .O R G 2 0 1 9