Building up the form of the figure

I'm continuing to build up the forms in this water-based clay sculpture that is based off of my tiny maquette, "Loss". I cut off the arms and removed the wire armature as they were drying out too quickly - that then started to place the arm shapes back into place with toothpicks to bolster them until the clay firms up a bit. 

The clay is old and isn't the best to work with. Seems like I buy clay - then another deadline hits and I store it too long - and it loosed the placsticity a bit. Nevertheless, I will continue to refine the sculpture and add the hands next. On a different note, I've been accepted to the Loveland Sculpture Invitational again this year and will be working hard to have new works for the show in August!

Award winning books and sculpture

Been busy running to Denver and Loveland getting molds made, wax castings poured and bronzes made. The two Ascensions are still having their patina's tweaked before being put onto the bases and I'm working on some new pieces. But I wanted to share a non-sculpting event too - one of my favorite authors, Nancy Lee Mervar, called to let me know our book "Nana's Silly Goats" won first place in the Children's division for the Colorado Independent Publishers Association EVVY awards for 2012! Loved illustrating her two books - Congrats, Nancy!

Will have new sculpting posts soon.

Suit up!

I had loads of  fun sculpting her and even more reaction to her as a nude figure......but I always wanted to do something more with her. So this week I had a ball sculpting a nice swimsuit for her and I think this look 'suits' her very well ;-)

Since this piece was a finished fired ceramic sculpt I opted to created her clothes using an artist's two-part epoxy, Aves Apoxie Sculpt.

You simply knead together equal parts of the epoxy until well mixed. I dampened the ceramic a little before applying the epoxy and sculpting it onto the figure. There is a window of time (1-2 hours) where the epoxy is workable and it gradually becomes stiffer. When it was stiffened up to the point of being quite firm, I pressed textured cloth onto the surface to give it a texture similar to the ceramic.

Once the epoxy is cured (24 hours) I was able to patina it in the same manner as the original sculpt so it looks like the suit has always been there.
This was on my to-do list for quite some time but as I rather liked the nude sculpt and had received a good response from her as is, I was concerned about ruining, rather than improving the piece.

I must say, however, that I'm very pleased with the outcome and I plan on keeping this in mind for other projects!

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.

Correcting a proportion mistake in sculpture

At the National Sculpture Society's Sculpture Celebration Weekend held in Loveland last week, I was so fortunate to meet some amazing, world-class and world-known sculptors. One of them, Victor Issa, generously critiqued my sculpt in progress, "Waiting on the #9".

The original sculpture was in good proportion and I had verified measurements with my calipers. However, with the severe damage incurred in shipping, I was forced to cut off her legs and arms and re-create them, as well as her head and neck.

Here's where the distortion came into play. I was sculpting from memory. I did do a quick measurement of the feet to be sure they were the correct (and both the same) size. But I got lazy when re-sculpting her hands and just set about sculpting them as I remembered them before the accident. That was a rather arrogant mistake indeed!

Luckily, Victor's practiced and keen eye detected what I couldn't see for myself. It's rather like when you write a paragraph and have "...the the" written twice and you can't see that simple mistake. Victor noticed that the wrists and ankles were too heavy (my own are exceedingly small and I think I over-compensate my own wrists and ankles) and that the hand on her waist was too small. He put it nicely and delicately but when I got home and studied the sculpt I found that the hand was WAY to small! So glad he caught that, because I hadn't. So off came the hand for re-sculpting. The hand should measure from the palm on the chin to the top of middle finger 3/4 up the forehead. We have established mine was wrong, so I won't fess up to just how short her hand was when I did the original comparison. Above is a photo of the now-correct measurement. Thanks, Victor, for that and many more lessons!

Shipping disaster - or how to destroy a sculpture...

 How utterly disappointing. I was looking forward to finishing "Waiting on the #9" this week following the National Sculpture Society's Celebration Weekend in Loveland. I had this sculpture professionally packed and shipped from a shipper near Brookgreen Gardens.

When I got the box, all looked great - from the outside. Not a dent and it indeed was carried to my door right side up. When I opened it, however, this is the what I found. The sculpt had come completely off the vertical armature post. The screw was stripped and the sculpture was lying face down, ripped off at the ankles.

Obviously it had rolled around hard because the armature wire from the ankles down was torqued and bent. The whole thing is badly smashed.

The sculpting base had been screwed to the plywood under the inside box (it was double boxed) so the base was secure. I can see that the sculpture stand base is compromised, the vertical support pipe is loose and the bolt tightening it will no longer hold it tight because the board where the pipe fits has been weakened, so the pipe will no longer be sturdy on this armature. You can see the stripped pipe treads and how it has metal burs coming off on my hands.

This is sickening and I can't deal with it today because I'm too disappointed, not to mention behind my projected schedule to finish and get to the foundry. Instead, I'll head to the hardware store to collect items for a new armature and assess if anything can be salvaged tomorrow when I'm not as angry over this $150 shipping nightmare....

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.

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.

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?

Hot Patina on Bronze Ascension

 Nearing the end of the bronze process. The final chased bronze sculpture was attached to a temporary base and washed wshed in a mixture of Potash Sulphurated (also known as Liver of Sulphur).
Then the whole thing was heated in an oven for 20 minutes. Next the patina artist, Chad, layered titanium while and other earth colors and blazed it with a torch.
Once the metal has cooled, it will be sealed with laquer and waxed an attached to the final base made of Nordic Green Granite.I should have photos of the final bronze sculpture soon!