Enlarging the clay maquette

A few weeks ago I sculpted a small maquette (clay sketch) that was inspired by my daughter. She's never, I mean never, without a book. She reads constantly and often absently fiddles with her necklace while absorbed. The sketch was originally titled "The Pageturner".

I have have decided to rename the piece "A Good Read" instead and do a similar piece featuring a boy and used "The Pageturner" for that one instead. I'm looking forward to that one, but for now I have decided to enlarge this one.

While I plan to cast the maquette as a small bronze edition and perhaps in resin later on, I also wanted to work larger for a change. I could make my own armature, like I did for the maquette, but I have been wanting to try the Truform armature, so I picked one up at Sculpture Depot and got started on working at 1/2 life size.

The Truform armature is very lightweight and the hard foam has good 'tooth' to grab the clay. I warmed the Jmac in my elcheapo hotbox and started working. Here you can see the original maquette and the first stages of laying on the clay. I'll post photos throughout the process to show the progress.

Beginning State of Grace final

     Starting the final clay for "State of Grace". This time I'm using Jmac Classic clay - medium for the body and firm for the head and hands. I did the maquette a while ago and now that I've finished a few things, it's time to start this one. I'm using the 1/4 scale (16") Truform armature for the first time. So far it's going pretty well. It's nice to have the hips and torso blocked in with the Truform, but I did find I had a few problems with the placement of the support bar. After working on it for a while, the weight of the clay pulled down on the lower part of the body and elongated it out of proportions.

Using my calipers, I was able to tell it was quite distorted, with the upper torso much too long. The weight have pulled down on the wire spine.

So I cut her up and removed her, shortened the spine wire in the torso and re-bolted her back into place. Hopefully I have it tight enough now that this won't repeat.

Because she's floating the weight is more of a factor - if she where standing and supporting her weight it wouldn't happen as much. But I won't be sculpting the fabric support until later. You can look back into earlier posts to see the maquette that I'm working from.

I'll be taking time on Friday and Monday to chase the waxes for my bronze Harriet Tubman and Waiting on the #9 - then back to working on this pose on Tuesday.

Finishing "Waiting on the #9"

Sorry for the poor photos - I was rushed and simply threw a spotlight on this and grabbed some shots before the sculpt went out to the mold-maker this morning. I had a bad sculpting day earlier this week and over-worked the piece. It went from nice and fresh to stilted and posed. Part of if was the softness of the clay for such a small sculpt and part of it was me rushing because time was running out to get this into bronze in time for the show.

I also noticed that as I overworked, I ended up pressing on her neck a bit, causing it to shorten and thicken. So I cut off her head and neck and sculpted a new one. This time, I added flowing hair to add to the breeze that was ruffling her dress. You'll notice that her hand and purse are a different color. I used Jmac Classic clay for the purse, as it is a harder clay for the tiny detail. Then, since the fingers were too soft to hold their own form with the Chavant, I added 1/2 Classic to the Chavant and mixed together. I could have used straight Classic, but was concerned that the difference in clay would impact the surface of the clay and not hold the marks the same way - to be safe, the mixing of the two clays gave a better transition from the arm to the hand. There is armature wire (22 gage braided) that is poked through her index finger to give enough strength for holding the purse and also in the blowing sections of hair.

This sculpt was a big learning process and I struggled a lot with it - which is good - from adversity comes improvement. I learned that every clay has its own strengths and weaknesses and it's very important to choose the right clay for the scale and style of subject. As I stated before, on a larger scale piece I think I would enjoy the soft, buttery feel of the Chavant Le Beau Touche a great deal - it would be easy on the hands and effortless to apply - it just wasn't the right clay for a full sized sculpt with a 1.5" face ;-) I also learned that it would be a good idea to bolt the armature wire of the feet to the board to stop any lateral motion or shifting, which causes cracks in the ankles and also can lead to minute twisting that you don't notice till later.

I enjoyed this sculpt - even the several times that I had to rip off and re-do sections and I liked the attitude and pose. This is one that I may come back to and enlarge to a bigger scale for bronze at some point. For now - it is off to the mold-maker who will chop her up and make the mold and pour the wax - until then - time to clean the studio and get the next piece started...

Refining the pose

 I've been a bit preoccupied with the High Park Fire near here. It's been very smokey and some of our friends were evacuated. The fire is over 50,000 acres but the firefighters have been amazing and we're at 15% containment - if we could get some rain and a break from the winds....

We've spent the past two years renovating a little log cabin by the Poudre river in the mountains. We only just got the new well, pump and bathroom installed, not to mention all the work re-chinking and a huge amount of overall repair. Hoping it survives this fire.

So - on to work. Have I mentioned I'm not in love with this clay? Chavant makes wonderful products and Le Beau Touche is one of them - however it takes the right clay for the right job and my opinion is that this clay is wonderful for larger scale works. At 1/5 scale its too soft and creamy but I can see how those attributes would be delightful at a larger scale and much easier on the hands. I'm sure that I'll enjoy using it again when I work larger. For now, just trying not to squoosh all the hard work.

I've been refining all the areas that I had to recreate after the shipping disaster. You can see that I have taken her hand off to sculpt separately. I added a bit of wax to the clay to resculpt the hand to make it a bit firmer. Still working out some issues on the dress wrinkles and need to get her other sandal sculpted again. Have fallen way behind. My original goal was to have this finished and in bronze for the Loveland Sculpture Invitational, however with the major setback of having the resculpt without the model, well, that's simply not going to happen. Moldmaking takes several weeks and bronze another 10-12 weeks. How disappointing.

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.

It's a matter of balance...

 I let this piece rest a bit as I finished up my latest book, "Bully Goat.". I'm glad that I did too. There was something about the piece that wasn't quite what I was looking for and needed the time and distance to mull it. I am trying to achieve the same sanguine feel of "Ascension" but there is a fine line between calm relaxation and stagnation of a pose. I came to the conclusion that the the pose was looking a bit too much like she was levitating instead of rising...there wasn't the balance of dynamic tension that I needed.

So I began to smush, cut, twist and turn until I got a pose that still is sanguine and relaxed, but now has some forward energy. The woman is leaning slightly forward as she ascends and the fabric that will be her support is going to trail backwards, giving a bit more movement.

I'm very glad that I decided to do this maquette (clay sketch) before going to final art, as it gave me the opportunity to practice and work out some problems, which will allow me the pleasure of pure sculpting on the final piece next week! I am going to take "State of Grace" down to my foundry and base shop tomorrow to have them verify that the balance of the sculpt will work in bronze and get some base ideas too. I'll also have the pleasure of picking up my first two finished bronze "Ascension" pieces!

Next, I'll be off to the hardware store to get a few odds and ends to finish up the armature before starting the final 18" version of "State of Grace".

Below is the newer pose with more dynamic tilt to her body and flow of fabric behind her:

Here is the original pose. While I liked how quite and relaxed and in repose she was, I was concerned that the overall feeling was more of stagnant levitation instead of active ascension. What do you think?

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.