Sunday, August 29, 2010

Coming into the Home Stretch

The Dolls' Black-and-White Party, Part 4

Today I am going to introduce the final four outfits in the series.  Poor Dharma and Innuendo.  They are displayed near my sewing machine, and so have watched me sew sweet little black-and-white dresses for the other girls, all the while looking at me as if to say, "When will it be my turn?"  Now, my darlings, now.

I went all out in this round and tried three new patterns, all from MHD Designs.  The first is Plaisirs D'Ete, designed for Ellowyne Wilde.  I made the short halter dress for Goodreau vinyl Innuendo.  (The pattern includes instructions for a long version as well.)  I made the bloomers, but not the bolero.  I couldn't decide whether to make the bolero in black or in white, and ended up not making it at all. 

Looking at Innuendo in the dress, I decided to change her wig and eyes.  First we tried Monique Gold's Roxy in bleach blonde, which I paired with dark brown eyes.  Here is the finished look:

After a week or so, I decided the bloomers made her look egg-shaped, so I substituted black-and-white stripe thigh-high stockings.  I also changed her eyes to a lighter shade of brown and the wig to a blonde faux fur that came with one of my U-noas.  Her off-white shoes are from Dale Rae.

I like this look, but I need to buy different eyes.  Innuendo's eye sockets are round and both sets of brown eyes I have are almond-shaped.  None of my round eyes will fit because the wooden ball inside her head interferes with the stems on both acrylic and glass eyes.  She needs half-round eyes.  I debated buying Eyeco eyes in her size but they are quite flat.  It's hard to drop an eye into her eye socket as it is -- that wooden ball leaves little room for my fingers to get in and move around.  Both Pabol and Safrin make half-round eyes.  As soon as I decide which ones I want, I will order them and change her again.

Dharma not only got a new outfit, she got a whole new body!  It was the only way I knew to give her the mobility she lacked.  I chose an Islanddoll body, 41 cm, in normal resin.  They had a bewildering number of resin colors to choose room.  I lucked out with a very good match.  If I thought I could match Limhwa's resin colors as well, I would order Islanddoll bodies for them too.  Dharma's gray wig is also from Islanddoll.  Her red shoes are from Goodreau Doll Company.

Dharma's new outfit is Palazzo! from MHD Designs for Ellowyne Wilde.  I actually made this one thinking it would be for Innuendo, but her torso is longer than Ellowyne's and it didn't fit.  It barely fits Dharma.  I should probably try it on the U-noas, as I suspect that they are shorter in the torso than these two.  One of these days, I might actually make one of these patterns for Ellowyne.  Once again, the pattern included a jacket that I didn't make.  It's really sweet, with a large sailor collar; there is also a matching hat.  The dress is supposed to have a large bow on the front.  These bows look great on the pattern's cover page; when I make them, they look like inverted rabbit ears, so I substituted a flower bow made from black flexi-lace hem tape.

I went back to Fletcher Pattern Company's Shining Hour shirtdress (designed for Ellowyne) to make a party dress for Iplehouse Tania.  I had made it before for SoulKid Linn and found that it also fit Tania.  Well, this time it didn't fit Tania.  It has been three years since I made Linn's dress.  I still don't remember making any pattern adjustments and my paper pattern shows no alterations.  Why the first one fit Tania and the second one didn't is a mystery.  I almost didn't finish it, but I'm glad I did.  Linn not only looks lovely in it, but she doesn't seem to mind that it is the same style as her Halloween dress.  Linn's red wig is Reiya by Jpopdolls.  Silver sandals from LeekeWorld.

That left me with Tania.  I could have let her wear Linn's Halloween dress, but I thought she deserved something new.  I turned to Fleurette, a pattern for MSD from MHD Designs.  Because Tania has a broad back, I made a mock-up of the bodice to see how it fit.  It's a good thing I did, because it needed extra fabric across the back.  I added an inch, figuring any extra would allow for a comfortable overlap for the snap. 

The skirt is made up of twenty panels sewn together (and twenty more for the lining!).  That's twenty panels more than I was willing to make, so I redrew the panel pattern piece to incorporate two panels in one.  I didn't subtract the seam allowance in the combined piece.  I figured the extra fabric would offset the extra width in the bodice.  Another change I made:  I can't turn tiny straps, even with the rods and tubes that are supposed to simplify the process.  I substituted ribbon instead.  (I did the same in the Plaisirs D'Ete pattern above.)

I tried two different wigs on Tania and couldn't decide which one I like best.  The one above is Monique Gold's Pretty Girl in brownblack/blonde.  The one below is Reiya from Jpopdolls in pearl.

It's a good thing I have just about everyone dressed in black and white, because I am heartily sick of the color combination.  Did I say "color"?  What color?  I am so in need of real color that yesterday I cut out a dress for Sooah in red.  But that is fodder for another post.

Sunday, August 22, 2010

The Dolls' Black-and-White Party, Part 3

I have already discussed the white corset and plaid pleated skirt for Mirren (U-noa Lusis) that started me on a black-and-white sewing binge.  In case you have forgotten it, or are new to Resin Corner, this is the outfit in question:

McKenna, my second U-noa Lusis, likes things frilly and girly, so for her party look I turned to the Adams-Harris pattern Romantic that I have used before.  I used one less bow on the front than the pattern called for; otherwise, the dress is pretty much as Adams-Harris designed it. 

Before BJDs, I never would have mixed stripes and florals in one dress, not to mention lace AND trim AND bows.  Thanks to the Japanese Gothic Lolita look, now anything goes.  I added a man's top hat to the outfit, trimmed in embroidered trim and a big tulle bow with streamers down the back.  The tulle barely shows up in the photograph unless you enlarge it.  McKenna's wig is from LeekeWorld.

This is my fourth time around with the Dreaming pattern by Adams-Harris.  I made it first in all white, then in yellow, and again in pink with an organza overlay.  I thought it would look cute on Chloe, my first U-noa Sist.  I did vary it somewhat this time, removing the sleeve cuffs and gathering the sleeves before adding the lace. 

The embroidered ribbon at her waist is a piece left over from a project so old that it now qualifies as vintage.  I couldn't find any other use for it but it was too pretty to throw away, so I held onto it for years.  Another change I made to the pattern was the addition of a self-ruffle in a coordinating fabric.  I also substituted parallel rows of lace for the galloon called for on the bodice.  Chloe's wig is from LeekeWorld.

Reese is my newest U-noa Sist.  She is wearing my second attempt at the Kimono Lolita pattern from the February 2007 issue of Haute Doll magazine.  The pattern is supplied in sizes for both SD and MSD, and the first time I made it, I mixed up pattern pieces from the two sizes because the MSD bodice pieces didn't look big enough.  Then I wondered why the neckband didn't fit!  This time I used the right pattern pieces, even if the MSD bodice did look small.  It fit Reese to a tee, and I am thrilled that I was able to use my Geisha girl fabric, which was too small a piece to use for anything else. 

The pattern calls for the obi to lace up the back.  I always have trouble setting eyelets, so I fastened the obi with snaps.  I found some Chinese coin charms in the jewelry-making section of JoAnn Fabrics.  They were perfect for weighting the ends of the ribbon tie around the obi.  Reese's wig is Pretty Girl in brownblack/blonde from Monique Gold.  All four U-noa Qu'luts girls wear high heeled shoes designed for them by Jpopdolls.

Last, but far from least, among my U-noa girls is Fiona, my little Chibi Lilin.  Serendipity provided the beginnings of her outfit.  At some time (I have forgotten when) I started work on a variation of the Notorious pattern from Adams-Harris.  It was meant for one of the MSDs, but for some reason I did not pursue it beyond making the bodice.  I found the sad little remnant in my scrap bag.  I had to cut the bottom off the bodice to make it fit Fiona's shorter waist, then I trimmed it with a remnant of beaded lace.  Again a piece left over from another project -- too short to use on another dress, too pretty to throw away.  I had just enough for the neckline and cuffs.  I added pearl beads for buttons, and the bodice was done.

The skirt was made without a pattern.  It's a simple rectangle of fabric, hemmed on one long end and gathered into a waistband (another simple rectangle) on the other long end.  Sew the short ends together, add a snap, and voila!  A skirt.  The red shoes, from Dale Rae, are designed to fit the first vinyl Goodreau Innuendo.  They fit U-noa Chibis without stockings.  Fiona's adorable wig came from Luts (CDW-26 for Honey Delf in Smoky Black).

Okay, I admit it, when it comes to my U-noa boys I cheated.  I made the vest from the Adams-Harris Classic Blue pattern for IpleHouse SooRi (same pattern I used for the Limhwa boys).  SooRi is SD size, so I reduced the pattern to 75%.  The pants and shirts were literally taken off the backs of my Tonner Matt O'Neill dolls.  The shirts are tight at the cuffs, but otherwise are a good fit.  I especially like that the shirts are attached to a pair of boxers in a nylon mesh fabric, so they don't pull out when I pose the doll.  The pants are a perfect fit.

I actually made only one vest for a U-noa boy, the one Elliot is wearing on the left.  Brodie, on the right, wears a vest borrowed from Limho Mono Olivier.  The hats are also borrowed.  I don't know when Olivier and Heath will get them back -- right now Mirren and Emilia (Supia Yan) are wearing them.  Neither girl shows any sign of intending to give them back.

Wednesday, August 18, 2010

You Did WHAT With That Pattern?

The above title is a regular feature of Soft Dolls &Animals magazine. I thought I would use it here because it fits so well with the way I work with patterns.  When I find a dress pattern that works for me, I tend to use it again and again.  This could become boring, both for me and the doll residents of Resin Corner, so I try to vary the pattern each time I reuse it.

Take this pattern for instance:  #20 Lilac Afternoon for MSD from Gracefaerie Deisgns.  I first made it for Narae to wear to the dolls' black-and-white party.  It worked up like a dream, fit like a glove, and both Narae and I were very happy with it.  (See my July 4, 2010 post for more on this outfit.)

When I needed a pattern for Supia Yan for the same black-and-white party, I turned to Lilac Afternoon again.  How to vary it?  Narae's dress was made with a fun fabric, what fabric stores call a novelty print.  I had plenty of fabric left over from Hazy's long dress, so I planned the new dress around it.  Seeing as it was a dressier fabric than Narae's, I made one of the skirt layers from black lace and the other from gray tulle, then embellished with faux flowers instead of bows.  There are shiny beads in the center of each flower, but they are almost impossible to see in the photos.

Here they are side-by-side for easier comparison.  Narae wasn't quite satisfied with her look.  The infamous too-tight black-and-red wig popped off and wouldn't go back on her head.  She demanded her blonde Yuri wig by Monique Gold and white stockings and shoes.  Whatever Narae wants, Narae gets.  Yan's wig is Elle by Jpopdolls.

I turned to Lilac Afternoon a third time for Soul Kid Mayu's outfit.  I wanted to dress her like a ballerina, so I used the bodice pattern pieces without the sleeves, then made the skirt entirely of tulle.  In order to keep the lighthearted feel of the party, I chose a black-and-white stripe print for the bodice.  It's the same fabric that formed the top layer of Narae's skirt, except that the shorter length of Narae's skirt made the fabric look like piano keys.  I trimmed Mayu's bodice with black organza flowers and tied her hair back with a small piece of tulle and a faux flower.  Her black ballet flats are by Goodreau Dolls.  Her wig is Pretty Girl by Monique Gold.

Will I use the Lilac Afternoon pattern again?  It's a great little pattern, so most likely I will, but not for the black-and-white party.  I think the dolls will revolt if I don't come up with something different next time.

Sunday, August 15, 2010

A Face-Up for U-noa Sist

Now that U-noa Sist is all assembled, it is time to give her a face-up. 

But before I can do that, I have to remove the thin film of resin that covers her eyeholes.  For this delicate operation, I use a craft knife and proceed with care.  The last thing I want to do is cut into the faceplate itself.

Much as I love the look of air-brushed face-ups, I don't own the equipment so that is not an option for me.  As a sometime artist, I have other materials on hand; it was simply a matter of trying different media until I found one that works for me.

I start by preparing my work surface, which includes protecting my table with a large sheet of paper.  I lay out all the materials I will need, so that I won't have to hunt for things when my fingers are full of chalk dust.  The materials I am using are:  SuperNail professional pure acetone, Holbein artist pastels, Mr. Super Clear, a craft knife, Derwent watercolor pencils, a kneaded eraser, 3D Crystal Lacquer, Aleene's Tacky Glue, and a variety of cotton balls, swabs, foam applicators and mini paint brushes.  I wear an artist's apron to protect my clothes, and for spraying Mr. Super Clear I also wear disposable vinyl gloves and face mask.

Because Sist is brand new, there is no old face-up to remove.  Even so, I wipe the resin with acetone, using both a cotton ball and a cotton swab to get into the crevices, to remove any residue from the molding / unmolding process.  It's a good idea to wash the resin in warm soapy water to remove any acetone.  Rinse and towel dry.

At this point I put on my vinyl gloves and face mask, pick up the faceplate and the can of Mr. Super Clear, and head outdoors.  MSC gives the resin a nice matte finish with a bit of "tooth" so that the colors adhere better.  I can always tell when I have missed a spot, because the pastel slides right off.  I will be applying MSC again later, to keep from disturbing my pastels when I switch to watercolor pencils.

While Sist's faceplate is drying, I take my craft knife and scrape each pastel that I plan to use into a plastic tray.  I want it the consistency of powder.  Then, taking a small foam applicator, I blush the cheeks with a medium shade of pink.  I like to follow the applicator with a clean cotton ball to make sure the color is well blended.  The last thing I want to see is a line where the color ends.  I apply a bit of the same shade of pink inside the ears, using a small brush.  Still using the brush, I go into a darker color (burnt sienna) and apply pastel to the crease on either side of the nose and the dimple above the lip.

U-noas have their eyebrows scuplted on, which removes any guesswork about where the brows should go.  Some artists choose to sand these down to paint the doll's brows with a different expression.  I am happy to leave the brows where Gentaro Araki has put them.  I begin to color them with a light tan pastel.  This makes them stand out from the resin so that I can see better where they are.  It also gives the color some depth when I go over the brows again with a darker brown.

The sienna pastel goes into the crease above the eyelid, even though it may not be visible once I apply eyeshadow.  For the shadow today I am using shades of pink with a bit of violet.  It's like applying makeup.  I add a white highlight under the arch of the brow and in the inside corner.  I also like to add a bit of shadow under the eyes where I will be drawing lower lashes. 

I experimented with Jacquard Pearl Ex powdered pigments on my U-noa Chibi Lilin, hoping that the metallic effects would give the final face-up a bit of shimmer.  The results disappointed me.  After I had sprayed the faceplate with MSC, I found the shimmer had disappeared.  I did not use them on this project.

The last thing that I color with pastel is the lips.  I begin by applying a dark color, either sienna or dark umber, with a small, thin brush into the line between upper and lower lips.  I extend the line into the corners of the mouth.  For the actual lip color I am using two shades of coral pink, a lighter tone on the lower lip and a darker tone on the upper lip.  I then add a bit of white to the lower lip for a highlight.

When I am satisfied that all my colors are as I want them, I go outside and spray again with MSC.  This sets the colors for the next application, which is watercolor pencil.  When I first started doing faceups, I experimented with acrylic paints.  I like the fluid look of a liquid eyeliner.  I like it even better when I can keep a steady hand as I work.  That was not to be, so I switched to pencil.  This, I am happy to report, I am able to control.

(A word about colored pencils:  be sure to use a watercolor pencil, not a wax-based pencil.  I tried using Prismacolor pencils once.  I might as well have used a crayon.  It took only a few strokes before I reached for the acetone and removed it.)

After I have lined the eyes with black pencil, I dip a small, thin brush in water and gently go over my line.  If, as sometimes happens, there is too much water on the brush and I get a blob, I quickly wipe it away with a tissue and smooth out any leftover color with a kneaded eraser.  (I'll bet you wondered when I was going to use that eraser, didn't you?  It's also useful for removing pastel that has strayed where you don't want it.  Just remember to erase before spraying with MSC.)  I repair the line with pencil and re-apply water.  I may repeat this process two or three times to get the look I want.

I finish the eyes with a dot of pink pencil in the corners of the eyes (tear ducts).  I will be gluing eyelashes to the upper eyelids.  For the lower eyelids I draw lashes with a few short strokes of a dark brown pencil.  At this point I may highlight the eyebrows with a few strokes of pencil in a different color than the eyebrows themselves.  When I am happy with the overall look, I go outside to spray a final time with MSC.

I wait until the MSC has dried, and then I apply a small amount of 3D Crystal Lacquer to give the lips some shine.  I also add a tiny drop to the tear ducts.  Despite its name, this product will not give you a 3D effect unless you add several thicknesses of it.  Some artists use an acrylic gloss varnish.  I started using the Lacquer because I was out of varnish.  It worked just as well and without the toxicity, so I have continued using it.

My faceup is done.  All I have left to do is to add the eyelashes.  This is my least favorite part of the process.  The lashes are never the right size for the doll; they must be cut to size.  They are glued to the inside of the package, and the glue must be removed because it is on the wrong side for use with the doll.  I have not found an easy way to do this.  Thank goodness the eyelashes are not as fragile as they look, because I usually manage to manhandle them.  This time I tried using Goo Gone, which worked better than other methods I have tried.  Then a bit of glue to the inside of the eye socket and pop the eyelash in.  Theoretically, that is.  I never get them in straight on the first try.  Tweezers help; sometimes I use a toothpick; I have even used a clay sculpting tool.  The trick is to make the eyelashes stick to the doll's eye socket rather than to the tool I am using.  When I finally get them in place, I secure them with an extra drop or two of glue.

She's done.  I only need to insert her eyes.  For this the glue must be completely dry, or the eyes will stick to the eye socket.  I gave her soft acrylic eyes from Eyeco.  Unlike glass eyes or hard acrylic eyes they have a flat back, which I prefer.  It is not as critical in U-noa dolls as it is in a Soul Doll or in my Goodreau Innuendo.  They need flat eyes because the mechanism that attaches their heads to their bodies takes up a lot of room in their head cavities.  There is nothing more disconcerting than turning a doll's head, only to watch her go cross-eyed because the stem on a round eye bumped against the big S-hook inside her head.  Again, this is not a problem for U-noas.  I just happen to like the look of the Eyeco eyes.

I will probably replace her eyelashes.  I didn't have black lashes on hand so I used brown; they don't show up as well as I woud like.

Here she is with her eyes inserted (using a silicone putty), wigged and dressed.  The wig is Pretty Girl in brownblack/blonde by Monique Gold.  The dress pattern is Kimono Lolita for SD and MSD, published in Haute Doll, February 2007.

Saturday, August 7, 2010

Assembling (or Restringing) a Ball Jointed Doll

Sooner or later, every BJD needs restringing.  Elastic loosens over time and our treasured dolls begin to flop like marionettes.  Before you run to the dolly doctor, stop!  This is a fix you can do yourself.

Or, if you have been particularly adventuresome, perhaps you purchased your BJD as a kit.  (Think Volks or U-noa.)  I recently purchased a U-noa Qu'luts Sist from Japan via Crescent Shop.  Unless you buy your U-noa from someone who has already assembled it, this is how your doll will arrive:

This scene of dolly carnage would have terrified me when I first started collecting BJDs.  Assemble a doll?  Me?  Are you kidding?  The instructions are in Japanese!!!  Yes, they are, but they are fully illustrated with line drawings that make it perfectly clear what to do and in what order to do it.  Everything you need is in the box.  Well, nearly everything.  The only tool provided is a length of wire.  You will need a dab of epoxy cement, as well as a craft knife.  I also find it helpful to have a hemostat (available online from web sites that cater to doll crafters) to act as a third hand.

The first thing to do is to open the cellophane bags and make sure you have all your parts.  There is an extra part that looks like a lower leg, minus the hole for the string to pass through.  A small piece of paper explains, in English, that this is a test piece for trying out your colors before you paint your doll.  It's a nice touch.  I purchased an optional large bust torso for my doll; the default for Sist is the small bust.  There is also an extra faceplate: a sleep face that Crescent Shop included as part of a promotion.

I like to lay out my pieces in order as I will string them, being careful not to mix parts labeled L and R.  (Apparently I was not careful enough, because I did indeed mix some left and right parts -- and then wondered why the doll's elbow joint was facing front instead of back.)

Next, glue the two ball joints to the upper thighs.  Try the pieces for fit before you apply the epoxy.  You may find, as I did, that there are extra bits of resin adhering from the mold.  These need to be shaved off with the craft knife.  You might also want to remove the seam lines, also left over from the molding process.  I left them alone, but I could have sanded them with an extra fine sanding sponge.  Wear a face mask if you do this, because resin dust is toxic and you don't want to breathe it in.

There are two lengths of elastic cord in the kit.  The shorter length is for the arms, the longer one goes through the legs, torso, and head.  Knot the shorter elastic as shown in the diagram, hook the wire onto it, and string the wire through the torso and out one of the armholes.

I like to hook the free end of elastic over the neck while I string the first arm.  That way it won't work its way back inside as I am stringing.  Alternatively, I could clamp it with the hemostat to keep it in place.

After you have attached both arms, knot the longer elastic cord, fold it into two equal lengths, hook the wire tool onto it and pull it up through the torso and out the neck.  Make sure the knot is off center.  You want it to stay inside the torso, not pull up into the head.

The kit contains three short wire pins.  Two are part of the eye mechanism.  (I don't use this.)  The shortest pin holds the longer piece of elastic inside the head.  It looks so fragile you imagine it couldn't possibly work, but it does.  Pass the pin through the loop in the elastic and place it securely in the space hollowed out for it.

Now you can thread the elastic through the legs.  The feet take a bit more effort.  What you have inside the foot is a tiny S-hook attached to a tiny pin embedded in the resin.  The S-hook wiggles freely; making it grab the elastic can be a challenge.  I don't know why I attempted this by hand.  I should have looped the wire tool around the S-hook and guided it over the elastic.  Something to remember next time.  Once the feet are on, there is only one piece left to put in place.

I don't know if there is a technical term for this part, but it corresponds to the small of the back.  It serves to keep the elastic cords in their proper channels.  Without it, your doll will jacknife in the middle, unable to stand or sit straight.  You insert it from the rear into the space between the upper and lower torso.  The hook goes uppermost, between the elastic cords, and the part rests securely inside the lower torso.

Properly strung, your doll can stand on her own without a stand or other prop.  Sitting, U-noas get a little help holding their position from a small protrusion at the top of each thigh joint.  (I hope you didn't carve these away!)  These bumps disappear into the buttocks when the doll is standing.

If you are restringing a doll from another doll maker, make careful note of how it is strung before you take it apart.  Not all doll makers bury the knots inside the torso; in some dolls the knot is inside the head.  You may find an S-hook inside the head instead of a straight pin.  My vinyl Innuendo's cord passes through a hard plastic washer and a wooden ball (something I haven't seen in any other doll) before being knotted inside her head.  Draw yourself a blueprint if necessary.  You want to be able to put the doll back together as it was. 

Some doll owners like to body-blush their dolls.  The time to do this is before assembly, when it is easier to get at body parts from every angle.  My personal preference is to leave the body the color of the resin.  I will probably give my girl a French manicure.  I have already given her a faceup, but that is a topic for another post.  I hope you will come back to see how I paint her face.

Sunday, August 1, 2010

A Tale of Two Soulkids

A week ago, Ball Jointed Woman leapt at the chance to bid on a Soulkid Mayu on ebay.  Why leapt? you ask.  Because, when a doll at the top of your Want List becomes available for half what you would pay by ordering her new from the dollmaker, you don't let the opportunity slip through your fingers.

It's true that when I bought my first Soulkid, Linn, about 3 years ago, I swore I would never buy another.  Souldolls are so tightly strung that they fold up on you without warning.  Linn came out of her box in a fetal position, and when I opened Mayu's box, her knees were drawn up, too.  Don't get too close when you straighten a Souldoll's limbs, because you might take one on the chin for your efforts.  Even now, after all this time, I have not had to restring Linn.  Where other dolls loosen up in six months, she is still tight, still kicking.

Mayu's arms are resisting my efforts to straighten them.  The best I can do is try to pose her in such a way that the crossed arms look natural.  I could take her apart and either loosen the knot or replace her elastic; or I can let her loosen up naturally over time.  So far the latter course of action (i.e., inaction) is winning.

A comparison of Linn and Mayu (whom I have renamed Linnea) reveals the stylistic refinements SoulDoll has made to the Soulkid body.  The new body is slimmer, more mature.  Hands and feet show a telltale difference.  In the photos below Linn, on the left, has plump, childlike hands and feet and wide ankles.  Linnea, on the right, has slim, graceful hands, feet and ankles.  Linnea will be able to get her hands through narrower sleeves than Linn can.  They won't be wearing the same shoes.

They won't be wearing the same wigs, either.  Linn's 7/8 wigs are big on Linnea, while 6/7 wigs are small.  I haven't measured her head, but I suspect she is a perfect 7, halfway between the two sizes.  I did find one surprising fit:  the mohair wig that came with Narae.  It looked terrible on Narae, primarily because the color didn't suit her skin tone.  Linnea looks like she was made to wear it.  It could be, too, that I was predisposed to like a mohair wig on her because Souldoll presents her on their website in an angel cloud of white mohair.

Her former owner sent her to me in an adorable cotton dress that also works well with the wig.  I added green glass eyes and cream colored shoes for a perfectly coordinated look.  The shoes are made by Goodreau for their BJDs.

One reason that Mayu/Linnea was at the top of my Want List is her similarity to U-noa girls.  Looking at her photos, I felt sure she would work well with my U-noas.  Here she poses with another recent acquisition, a U-noa L-bi with a faceup by Alisha Boates.  His outfit is from Tonner Doll Company, made for Matt O'Neil.  His wig, like Linnea's, is from Narin Creative.

What will Linnea wear to the Black and White Party?  Oh, goodness, I haven't a clue!  It looks like I will have to construct yet another black-and-white outfit.  As soon as I finish the one I am making for Innuendo.