Modelling waxes, plasticines and polymer clays all come in different hardnesses .. at least, certain brands do. Mud is lumpier and when mixed with paint or glue, creates thick areas of texture. background-color:#6ea996; The method is suitable for any number of form variations. An alternative would be to use the more familiar method .. the beloved ‘balloon pasting’ one .. of papering the inside of the mould with small pieces of newspaper and glue.

I buy large tubs from hardware stores and apply generously with a palette knife onto the primed surface of the board/canvas. Just for the heck of it, out of interest and for those of you who are really price-conscious here is a comparison I put together earlier this year.

Below is an example of a small fish form I had to make in Sculpey which needed to be baked and fitted into a curve, so I had to rig up a curved cardboard support for modelling it on. It’s expecting rather a lot of a theatre designer to be a good sculptor too, especially a good sculptor of miniatures! I use soft sheet foam to make them. Milliput is the next best alternative material to use, and some might prefer it.

The Pebeo ‘Touch’ relief paints are more like a liquid plastic, so one can ‘draw’ with them very evenly, and there are various colours including good metallic such as gold or pewter. where you want your paint raised or bumpy. .drawingctabutton:hover { They also include flat plates (in brass shim) representing torso and pelvis, which although not strictly necessary for support, are invaluable for keeping the sense of the shape of torso and pelvis while modelling. It’s cheaper than texture paste and does the same job. But for this reason I don’t like it as much as it sticks to the fingers and makes detail modelling sometimes difficult. Take this old leather Chesterfield as an example of perhaps the most ambitious, alongside something simpler.

Pricewise they are very good; after natural clay some are the cheapest clays around! This would be fine if the curves and slopes of the shape were that simple. These are not things one can buy but they can be easily made.

text-align:center; width:250px; Below is the fire part for the fireplace mentioned earlier, modelled in Super Sculpey. As it loses water it firms up, allowing more detailed modelling, and even fine carving at the so-called ‘leather hard’ stage.

For more information on Milliput, there is quite a long entry in the alphabetical Lexicon. Milliput is a 2-part epoxy putty, and the parts need to be mixed in equal amounts before use. For more on this and how to make a round-topped alcove shape as an extension of this method see the article mentioned. As I see it, ‘modelling and shaping’ encompasses the making of any element in the model that cannot be achieved by methods of construction. Other useful texturing tools can be made either from natural forms such as this portion of nectarine stone or modelled and baked in Sculpey itself. The big advantage here is that the drawing imposes clear limits i.e.

Some of these things can be bought, including figures or trees, but usually the likelihood that these are ‘just the thing’ is slim. //-->. -webkit-border-radius:3px; If you want more of the surface to be textured you could use the heavy gesso by Liquitex which can be sculpted using a palette knife or brush. I include them here because they are more important as examples of the type of thinking that one should do .. thinking in terms of templates which control the material and limit the ‘damage’, but also ‘thinking in negative’ which there will be more about later. background-color:#a7c8a8; } Enter your email address to follow this blog and receive notifications of new posts by email. color:#ffffff; These two photos are enough to illustrate the method. But just as much can be achieved using tools which are not meant for modelling, especially when it comes to surfacing effects. Unfortunately I didn’t take a photo in between the two here in this case, but the best next step would be to shape down the top surface on each block first before doing anything else, because this slope can be easily compared.

Are hands bigger than faces, is the length of a nose roughly the same as the distance from it to the bottom of the face, is the space between the eyes the same as the length of an eye? It hardens with heat, which means that the usual way is to bake it in a normal oven (130 degrees centigrade, c.15 mins for each 6mm of thickness used), but it can also be hardened quite well using a hot-air gun, which is better for the task here. ‘Thinking in negative’ or approaching the form as a void to be filled. google_color_url="0033CC";

Because Sculpey really doesn’t want to stick to styrofoam, it was important to work it in thinly at first to ensure a stable coating before adding more. After some basic volume has been roughed in using coarse plaster, a layer of finer plaster is shaped by dragging a cut metal profile along it which collects and removes the excess. Remember you will be putting. It’s ideal for small tree forms, for example. Most often we only need one, and we know that ideally it should be as thin as possible, so our thinking is automatically channelled in the direction of trying to construct the shape in a thin but bendable material. I have been using it successfully for years and my artworks have taken many knocked and bumps without the texture paste even chipping or lifting off the canvas. width:auto; As explained above the armature supports the material but it should also serve as a modelling guide. The mould surface would need to be Vaselined first though.

Normally a sculptor builds up a modelled figure on an armature, which is a skeletal support for the figure usually out of wire, and it makes sense to do that even at this small scale. plaster in your paintings. margin:auto; For deeper texture, you can apply more layers. The Pebeo ‘Cerne Relief’ glass-painting outliner is a thicker medium and the small tube comes with a much finer nozzle, so very detailed effects are possible.

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