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...

First wax pouring of miniature fox sculpture

This is my first time pouring wax in preparation for the lost wax bronze process. I have an old crockpot that I'm using to heat the wax. This wax is something I bought an embarrassingly long time ago and can't remember what kind it is. Karen, at Sculpture Depot, assured me that pretty much any wax will work and different kinds can be intermixed. I thought I'd be really smart and put the block of wax in an old metal can inside the cooker to keep the cooker from getting wax all over it. Nice idea, but it dripped and got wax it it anyway ;-)
I'm using the pour mold (commonly called a dump mold) that I made of my miniature fox (you can see on earlier posts). After melting the wax, I took a small cup, dipped it into the melted wax and poured into the mold. Then swirled the mold around and emptied the wax back into the pot. A layer of wax remained inside. I did this several times to build up layers.
1) crockpot with melted wax in can
2) wax in the mold (I tried tape to secure the mold but it didn't stick very well - rubber bands worked better)
3) the wax mold of the fox - it has flaws and the base would need to be trimmed.
4) I was anxious to see the wax and demolded too soon - the wax was still quite warm and broke.You can see how the swirling of the wax creates a hollow casting.
5) I figured it would take several tries to learn the process enough to get good results. Luckily I can simply melt down the rejects to reuse the wax.
6) Back into the pot for remelting. I tried again that night - but the wax wasn't hot enough so it was a tad lumpy. The results were another imperfect casting so will try again later.

Miniature Fox Sculpture with New Patina

I wasn't satisfied with the first casting and patina of my miniature fox sculpture, so try, try again. This one came out much more to my liking and I earned a good lesson: solid colors show texture and form much better than variegated colors. Especially in such small scale (about 3"). I have a base that I'm preparing so when it's dry we'll see how it looks on a solid wood base.

My next endeavor will be to cast this fox in wax and chase it. I have an appointment with Art Casting Foundry in Loveland, where I'll be having this little guy bronzed!

I'm quite excited about that - I sculpted him with mold-making and bronzing in mind as I want to learn both processes.

Since this patina came out much better, it gave me the urge to work on some of my other sculptures. There were two in particular that I didn't care for how the original patina came out. Since I wasn't happy with the over all look, I decided that I could risk ruining them further by removing the patina and trying a different. It was a good choice - and I will post new photos of them soon.

Lastly, I've been struggling with my photography. On a shoe-string budget, I've been trying to outfit my photo area and have been making loads of test photos. Thank goodness for digital! Back in the day you could photo for a show, send the film off and not find out till a week later that they were awful! But now - Bam! upload the photos and see how bad they are instantly! ;-) Actually, I made real progress this week in getting white balance and lighting to agree - so new photos will be up soon!

Miniature Fox Sculpture mold making

I took the miniature fox that I sculpted in December and made a mold (often called a pour or dump mold). I used Dragon Skin mold-making products by Smooth-ON.

 1). Dragon Skin is a 2-part silicone mold - you mix equal parts of A + B. I also used Liquid Gloves - it forms a barrier to protect your hands from absorbing chemicals or paint - it feels nice, goes on like hand lotion.
2)  I cut the bottoms off of two plastic cups to form a cylinder around the fox sculpture. I put a small bit of clay on the bottom of the fox sculpture to help it stay in place, then put the cups over it and sealed the bottom of the cups to the base to keep the silicone from leaking out.
3)  I also put the whole thing on a small tray in case it leaked - but this time I sealed it well and nothing leaked out.
4) Mixing Parts A + B
5) Poured into the cylinder and curing (left it over night)
6) I took this to class and my instructor, Rik Sargent, helped me to cut the cured silicone on two sides on a diagonal to get the clay out.