A lot of figure builders focus on the head first — the sculpt, the paint, the face. I understand why. The face is what people see.
But for me, it always starts with the mechanics.
I come from a background in micro-mechanical work, and the McElroy control system is where I feel most at home. Metal stock, brass rods, small pivot points, levers that need to move with exactly the right amount of resistance — this is the part of the craft I love most.
The floating eye mechanism alone is a small engineering problem worth solving. The eyes need to move freely in all directions, return to center naturally, and respond to the slightest cable movement without sticking or dragging. Getting that balance right takes time, patience, and a lot of small adjustments.
The upper lip sneer is another favorite of mine. When it works correctly — smooth, consistent, with just the right travel — it transforms the figure's expressiveness completely. A figure with a working sneer can look amused, suspicious, contemptuous, or smug, all from the same movement depending on context.
This is what Glenn McElroy understood better than anyone: that expression is mechanical before it is artistic.
I'm rebuilding from the ground up on this new replica. More updates soon.
Alessio

