By E. J. Gold
Superbly illustrated with tutorial photos, this guidebook enables artists of all levels to create their personal unique clay sculptures. subject matters lined contain step by step methods on how you can choose an armature, clay software, tips about which instruments to exploit, and recommendations for casting accomplished sculptures.
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Additional info for Amazing Sculpture You Can Do (Gateways Fine Art)
That clay goes back to the Renaissance sculptors in his 450 year lineage. I give my professional students here at The Blueline Academy a lump of my decades-old Plastilina and you mix this into your clay and then someday you can pass this on when you have students of your own, thus preserving the lineage. 50 You will need many hundreds of little lumps of Plastilina the size of garbanzo beans or large garden peas — flattened garden peas — somewhat flat, not tightly compressed, just a bit on the flattish side — 1/6” to 1/8” thick by about 1/2”, which in metrics would be 3 or 4 mm by 1 cm wide.
00 depending on complexity, size, quality and strength, variability and ease of replacement following the "foundry chop". This one is the 24" armature on my Hercules stand. 33 My little Hercules stand, is the stand of choice and costs about $250. It has little adjustments so that it will stay completely balanced and you can raise and lower the height as you wish. You can work down onto your sculpture from above or you can work up to your sculpture from below depending upon how you want to work.
Your job now is to make the big hard brick of Plastilina into small soft blobs of useable clay. 40 Cutting the slab into smaller pieces might require help from a friend, neighbor or fellow artist. You’ll soon find that sharing a studio has many advantages, including sharing the model fees, shipping costs and helping each other with heavy objects. 41 This is about the right thickness of a slab cut. Note that it's best to cut the brick on the short side, not lengthwise. 42 You're starting to get into body contact with the clay, to actually get into one-to-one relationship with the medium to have a tactile relationship with the clay and a tactile relationship with the armature.
Amazing Sculpture You Can Do (Gateways Fine Art) by E. J. Gold