Update on Mystery Sculpt #3 - refining forms and adding arms

 I've been busy teaching a sculpting class and so behind in work and in posting. This is water based clay at 3/4 life size. The stick that you see is helping to support the hand and arm while the clay firms up a bit.

Any guesses as to how this is? I'll be positing more later....

"Eleanor" selected for National Juried Show

"Eleanor" was selected for the American Women Artists 17th Annual Competition at the Addison Art Gallery in Orleans, MA. I'm especially pleased because I really loved getting to 'know' Eleanor as I worked and I am very happy to share her with others.

Accepted to the Sculpture in the Park and other shows

It's been a good week for shows. First, I'm quite thrilled to announce that I have been accepted to the 31st Annual Sculpture in the Park show held in Loveland, Colorado, August 8-10.

Accepted to Sculpture in the Park...

While I have loved exhibiting at the Loveland Sculpture Invitational these past 3 years - I'm very excited to be accepted into the Loveland Sculpture in the Park show this year....it's good to try new things and I wish both shows continued success. You can't go wrong either way - they are both the pinnacle of outdoor sculpture shows in the US!

http://www.sculptureinthepark.org/

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I'm also honored to announce that two of my sculptures are in the Women Artists of the West's upcoming show:

"Fierce & #9 Both Selected...

Both "Fierce and "Waiting on the #9" have been selected for “WAOWed in San Diego”, 44th Annual Women Artists of the West National Juried Exhibition at the Women’s Museum of California, San Diego, CA. The submissions were highly competitive once again this year.

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And lastly,

"Eleanor", "Fierce", "The Orator" selected for show....

Three of my portraits were accepted to the online Portrait juried contest WAOWed by the Portrait and can be viewed on the website.

Eleanor Roosevelt sculpted portrait sketch finished

 Here is the finished sculpt - started as Mystery Sculpt #2. This is a small scale sketch in clay (called a maquette) that I'll use as reference when sculpting a life-sized portrait sculpture later.

This was created using ceramic paperclay, hollowed out and seamed back together, then fired in a kiln. The patina is layers of transparent acrylic glaze and the sculpt is mounted on a double round back wood base.

"Eleanor"
Measures 7.5"h x 5"w x 6" deep.
Portrait sculpture bust of Eleanor Roosevelt

Mystery Sculpt #2 revealed: Eleanor Roosevelt portrait bust

 Mystery Clay Sketch Sculpt #2 Finished.

This clay sketch is about 5.5-6" tall and is a portrait of Eleanor Roosevelt. The clay is a ceramic paperclay called Max's Clay. The paperclay has interesting properties but it doesn't tool very well in a subtractive manner - the paper drags, clumps and clogs your tools - especially rake tools.

It does additive work much better and is very versatile.

This sketch has been hollowed and is drying for firing later - then I will use the sketch as the basis for a larger sculpture - possibly in a porcelain clay.

Mystery Sculpt continued - blocking in the clothing

The mystery person is taking shape. I began to rough in the clothing. The head was quite heave so I cut off the top and did some early hollowing. I will need to hollow much more next week when it firms up. It's tempting to finish more, but I know that the process of cutting the sculpt open, hollowing out and reassembling will invariably lead to some damage, so I'll resist finishing it much more until the piece is leather hard and ready for that phase.
Since I was using us some Slab and Sculpture clay, I didn't have any more of that particular clay to finish the clothing. I was able to get something quite similar called Tile and Sculpture from The Stone Leaf Pottery in Arvada, CO - a bit over an hour drive from my studio. The folks there were very helpful and I was able to get this clay (cone 10) and several other bags to try out on my next sculptures. While the heavy, sandy, groggy texture of this clay is nearly identical, the color is a bit darker red. That won't matter when I do the patina, however so isn't a concern.

Hollowing the clay bust

Good things come to those that wait. While I know this, sometimes I still rush things. Wanting to get the heavy, wet clay out of the portrait and to speed drying in hopes of firing this bust for the Loveland Sculpture Invitational, I proceeded to hollow out the sculpt before it was firm and dry enough. Result? The clay couldn't keep its shape and distorted, warped and cracked/broke in places.

I knew I could fix things, but I certainly made it more difficult for myself and conversely it will take longer to finish than if I had waited another day or two for drying. Note to self- learn patience.

First I took the wire that I had taped to support pole prior to adding clay and pulled it up and through the sculpture behind the ears. Next I pried the back of the head off and laid it on a pillow wrapped in plastic. The I hollowed out both sides of the head, preserving the interior clay of later use.
I did some damage to the face, which is easy to do when the clay is too soft. I also found that there was heavy distortion when I reassembled the clay that required additional work to correct.

The sculpt has been repaired and nearing completion - will post new photos soon.

Sculpting Portrait demo continued

 Today I worked on the likeness more and finally put some hair on her. The clay is very heavy- there is about 30lbs of wet clay here.

This portrait will need to rest and firm up a bit before I can move on. The next step will be to cut her open and hollow her out. There is so much wet clay that it can't support itself yet.

You need not do too much work on it at this point, because the chances of it getting crushed are quite good. Better to wait until it is leather hard.

So now we wait...

Portrait sculpting demo - Daughter

I started a life-sized portrait bust of my daughter this week. Below you will see the progression of where I started and up to this point.

First, I began by by crumpling some newspaper into a ball shape and taping it over a post. Next I added a generous amount of CT3 waterbased clay to form a general starting head shape. Then I made some lines to dived the head into proportion.

After that I began to carve out the eye sockets and refine the head shape and then began blocking the forms of the features.

Once I got that far, I added shapes and continued to refine the shapes. Up until this point I wasn't too concerned with getting a likeness - it was all about forms, shapes and proportions.

 

Now that I've gotten this far, I will let the clay rest a bit, allowing it to firm up. Then I will go back and begin to seriously define the forms, correct any proportion errors that I find and begin honing the likeness.  This portrait is just of 1/2 completed and has used nearly 1 full bag (25lbs) of clay. I will probably need another 1/3 to 1/2 bag of clay to complete the bust.