Sketching in clay to warm up or study

Most people think of pencils when they think of sketching, however you can sketch 3d too. It's really cold and snowy so I didn't want to drive to my cold studio today so I grabbed what I had handy to do a little clay sketching as a warm up before getting to work today. This study was sculpted using Chavant Clayette Soft and as most of my tools are at the shop I used a flat stick and an old paintbrush and of course, my hands.

The great thing about 3d sketching is that is warms you up, allows you to work on problems and you can leave it on a shelf to reflect on for future works or recycle the clay and make something else. It is the act of the motion, the thought that was the journey and reward - the destination and final results aren't important. That's the beauty of sketching!

This is a great way to loosed yourself up and allow you explore without the commitment of a full piece of work and no worries about whether you are creating something wonderful or ruining things by making changes....you know that it temporary and can let go of the anxiety - something you can't always do if you are working.
I enjoyed this 30-45 minute study - it gave me time to reflect on the forms without over-thinking things and I realize how much I miss the freedom of that. Note to self- take more time for these sketches and warmups - it just may be the faster road to improvement of your work.

Scupting the skeleton

Now that I have completed armature it's time to block in the bony structures. The goal here is to claim the anatomy space and landmarks. I'm not displaying a skeleton as my final art so I'm not concerned with making a complete replica of a skeleton, nor will I sculpt every knob, spur or fossa. The purpose of this is to very sure of my proportion and to control the overall line and movement of my sculpt. Tedious though it is to sculpt a plate and a ball and socket, it will pay dividends later.

Using my proportional calipers I am able to compare relationships between skull and other parts of the anatomy to be sure the piece is working in harmony. I may choose to take liberties but these are conscious design choices and not guesstimations or accidents.

This time I also did an additional step of creating removable forearms. I used a rotary tool to cut square brass tubing and then cut the forearms up near the elbow joint. I used a two-part epoxy to secure the square tubing by inserting the upper arm into the tubing 1/2 the length of the tubing. Once the epoxy set I was able to put the forearm in the tube until it meets the upper arm. This will make it easier to remove the arms from the body to sculpt the hands.
 Once I finish blocking in the skeleton, I'll start massing in the muscles and flesh.

For this sculpt I'm deviating from my usual jmac classic clay and trying out Chavant's Clayette in Hard. I love Jmac but it's always nice to try new things. Many clays are good for different reasons - some work better for small works and other for large works. I've used JMac as my go-to clay for a lot of my work and while I liked Chavant's Le Beau Touche but found that it was too soft for my smaller work. That doesn't mean that it's not a great clay - it just means that I may have a heavier hand, or that it is better suited to larger works where the softness is an advantage.

When it comes to clay, you can read reviews and see what other sculptors are using but ultimately it comes down to personal preference and you'll need to get your hands on some to try out for yourselves. And, like me, you will probably find several that you love and have specific applications for.

Introducing the Proportional Caliper- my new BFF

 The proportional caliper is an amazing tool and I'm not quite sure why I didn't start using it earlier. Stupid stubbornness perhaps, but likely I felt like my eye was pretty good and I didn't want to mechanically tie myself down to tedious measurements. Most especially since I tend to work loosely from the model and create what I see in my own mind more than what I see before me.

However - I can thank John Sherrill Houser for recommending this tool for his class and Victor Issa for for catching some proportional mistakes that weren't obvious but were nonetheless there.

I got my calipers at Sculpture Depot and they reduce to 1/5 or enlarge up to 5 times. I got the metal ones because they would fit into my luggage for the plane trip to Brookgreen, but I like the look of the Polycarbonate ones and will likely get them soon.

In a nutshell - you set the calipers for the scale of enlargement or reduction you need - you measure your object with one end and the opposite end will have the proper change of size. For instance, "Waiting on the #9" is a 1/4 scale sculpture. I set the sliding bolt at the 4 mark which allows me to measure the length of the back of the model's hand and the flip the tool over and use the corresponding 1/4 scale size to check the size on the sculpture. In this case - it was from the bend of the wrist to the first knuckle of the middle finger.

I also measured from the ankle bone to the middle of the knee and the width of the ankle bone. Constantly checking in this manner is a wonderful way to keep things in check and to identify an area that may be out of proportion. I'm in love with this tool and it's my new BFF of my studio and use it for many measurements throughout the entire figure.

That said - the caliper is a mechanical device and won't dictate exactly what I do. There are times when  deviating from the model's measurements is an artistic and deliberate choice made to enhance the figure, make the pose more dynamic and interesting or to make an artistic statement....as long as these choices are made by the artist and are not a product of accident or laziness.

Re-sculpting the figure

 Well, I had my time to pout, eat chocolate and have a glass of wine. Then it was off to the hardware store for supplies and home to start re-sculpting the smashed figure.

First I had to fix the armature base and reassemble the rod. Next I cut the clay off her legs from the knee down where I found that the wire was badly bent and rounded. Then I took pliers and straightened out the legs.

Then I cut her head off at the clavicle. The entire neck region had smashed and reworked the armature there before putting her head back on and lengthening her neck back into proportion.

Overall the entire figure rolled around in the box, so everything was a bit compressed, so I spent some time getting her stretched back out a bit.

Finally, I put her back onto the armature stand and started to put the clay back on her and begin the process of resculpting the figure. I started with giving her new feet and legs, then pulling out her right arm and working it and finally, starting to give her a face again. I'll try and get a little more done today and tomorrow but then will be out of my office for the holiday.

I'm still very unhappy about the shipping accident, but it feels good to start making the repairs - I was very excited about this sculpt and am looking forward to continuing the work.

Adding clothes to the female form in sculpture

 The pose was classical nude, but I wanted to sculpt something a bit more casual, contemporary and fresh. When I began sculpting this figure, the attitude of the stance gave me the impression of someone waiting - caught between patience and impatience - you know - when you've been waiting patiently but now are beginning to get just a bit antsy because there is really someplace you want to be....

This summer we took a trip to Switzerland and Italy and I was enthralled by the public transportation there. Buses and trains, in addition to walking and bikes are an everyday mode of getting around and people are so cavalier about getting where they want to go in this manner. As we don't have commuter trains and not a very convenient bus route/time in my town, this was fascinating to me. Especially because we love trains!

So this young woman is representative of that feeling - she's "Waiting on the #9".

The model brought in a beach dress, but I wanted something that looked more like a dress you'd wear in the city - so I created one that I liked and gave her casual flip flops. Next, I'll be adding a sweet and sassy little handbag casually draped from her fingers behind her back.

I never got into dressing up Barbies when I was a girl - I was more interested in making them climb trees, fly like superheros or ride horses - clothes or not! Therefore I'm a bit surprised about how giddy I am at 'designing' outfits and dressing my sculpt...something my 8th grade Home Ec. teacher would be amazed at considering what a total, dismal failure I was (am) with anything to do with sewing ;-) Well - clay is easier in my world so I think I'll stick with that.

Continuing the rough in of standing figure

This is a continuation of blocking in the standing figure on day 3. I'm using my ipad to take quick photos as I go so the quality of photo isn't very good, especially the lighting.
After I took these photos, I raised up her support bar on the armature stand so I could add some additional clay under her feet. I felt it was too thin, plus I had decided that I wanted to have her wearing flip flops and a dress and needed room to put her shoes. Also the slightly larger base will give the piece more support - both in bronze and also when I ship the soft clay across the country back home to continue working.

I find the darker red clays are a bit more difficult to see the form over the lighter tan clays. Not everyone will agree with me on that, but it's a personal preference.
I made many changes as I worked quickly and didn't have the opportunity to photo those changes. I cut her head off twice to raise and lengthen her neck. It was correct by the proportions of the model, but didn't feel quite right on my piece, for the attitude that I was going to convey. So those changes were quite satisfying to make. When sculpting for yourself, you're quite free to change proportions and faces and hair - something I do quite often. That's not the case for a true portrait, of course, where you need to represent the client accurately. However, as I'm deciding the course of this particular piece it's quite liberating to create her however pleases me. Tomorrow I will post photos of the piece as I've started to sculpt her clothes and  shoes - which I enjoyed tremendously.

Standing woman figure sculpture

I'm back from my trip to Brookgreen Gardens in South Carolina where I attended a sculpting workshop by John Sherrill Houser. If you have the chance to visit Brookgreen, the grounds and sculptures on display are lovely and I wished that I had more time to really take it all in. The lighting, however was very difficult to work under, a combination of small spot lights and skylights. When the clouds drifted in the lighting was reduced. We had a week-long pose with a wonderful model that we worked from and the last day, we had the model bring in some dresses. I have been wanting to work on clothing so was pleased that the class agreed to this approach.

 We had and armature and board and were sculpting using Chavant's Le Beau Touche. I've worked with Chavant clay before and it's quite good. Brookgreen had a warming box and when warm, it is easy to manipulate.

I would add, however, for the way that I work, I think that this clay is better suited to larger pieces. Since we were working with a 16" armature, the clay was a bit soft for my style of working. At a larger size, I would think it would be well manipulated by fingers and would work quite well. It did stick to tools quite a bit and I found that I had to keep baby wipes handy to to clean my tools down quite a lot.

The images shown here are at the end of day two and I have probably about 10 hours of work.

Refining clay sketch maquette

I got a little more work in on the clay sketch - refining shapes and forms a bit. This is Chavant's LeBeau Touche' HM (High Melt) plastelina oil based clay. As it's softer than my J-Mac Extra Firm, it's proving to be much easier to work quickly and the softness of the clay (when warmed under a light) makes it much more malleable. I originally started working with Chavant High Melt nearly 20 years ago when we lived in Sarasota and Placida Florida. At that time I was doing a lot of bas relief sculptures for Image Creations of Florida and found that the HM was the safest clay for me to use in my studio and then transport in the high Florida heat to my client's offices nearly 2 hours hot drive from my studio. Other clays would sometimes literally melt in my car during the commute.

So if you work in a high temperature climate I would highly recommend Chavant's HM (High Melt) clays for your use.

Maquette - clay sketch for next scuplture

While I have my 18" Truform armature set up and ready to go, I'm still working out the pose in my head. I decided that some sketching was in order but instead of breaking out the sketchbook, this time I decided to sketch in clay to work out some of the mechanics before I go to finish.


Anyone who know me know that I am an unlikely mix of spontaneous impatience (I want to get started NOW!) and relentless perfectionism (it must be as good as in my mind - no better, Better, BETTER!)


That can make for some frustrating work habits. So I'm killing two birds with one stone - starting work NOW and accepting that it can't be perfect because it's only the maquette (small clay sketch).


I am using an inexpensive 12" wire armature and some old Chavant LeBeauTouche HM plasteline. While this plasteline is perfectly fine, I do like Jmac quite a bit too. Since the LeBeau is softer than my extra firm Jmac, I though it was a good choice for clay sketching - it is quicker to warm up to workable consistency and softer/easier for my hands to manipulate, facilitating a faster, looser approach. Hopefully that will lend more life movement to the sketch and yet make it easier for me to stop at a less-than-finished state and then move on to my 18" final model, using the sketch as my reference.