Sculpture Process (Stages up to the wax finished figures)
Step 1
Mould/carve figures onto a framework, which is constructed using a wooden MDF base with wires drilled into place to act as a guide to construct the clay around. I then sculpted the free marching figures, which was taken from a previous drawing, of a study of Salvation Army.
Mould/carve figures onto a framework, which is constructed using a wooden MDF base with wires drilled into place to act as a guide to construct the clay around. I then sculpted the free marching figures, which was taken from a previous drawing, of a study of Salvation Army.
Step 2
I added/took away and vice versa, until I was happy with the finished details.
I added/took away and vice versa, until I was happy with the finished details.
Step 3
Next, I took each figure, and detached from my wooden base, I trimmed down the bottom wires and placed onto a flat surface, lying down.
Next, I took each figure, and detached from my wooden base, I trimmed down the bottom wires and placed onto a flat surface, lying down.
Step 4
I built clay around the figures along the halfway line around their bodies. I then constructed a clay wall, to act as a barrier, to secure the liquid rubber, which was then poured into the clay mould. It was then left tot set for 24 hours.
I built clay around the figures along the halfway line around their bodies. I then constructed a clay wall, to act as a barrier, to secure the liquid rubber, which was then poured into the clay mould. It was then left tot set for 24 hours.
Step 5
The next day, I was left with a rubber casting, concealing the figures. I gave each figure a light coating of Vaseline over the surface, in order to prevent sticking. I then folded a plastic sheet around the walls of the clay to act as a holding point, to which I would pour my plaster of paris.
The next day, I was left with a rubber casting, concealing the figures. I gave each figure a light coating of Vaseline over the surface, in order to prevent sticking. I then folded a plastic sheet around the walls of the clay to act as a holding point, to which I would pour my plaster of paris.
Step 6
I mixed the plaster of paris, ½ bucket of water, and sprinkled the plaster powder, till the water could not hold any more substance, then mixed and gently poured into the centre of my mould, it was then left to dry for a further 3 hours.
I mixed the plaster of paris, ½ bucket of water, and sprinkled the plaster powder, till the water could not hold any more substance, then mixed and gently poured into the centre of my mould, it was then left to dry for a further 3 hours.
Step 7
I turned the dried plaster of paris around, for each figure, and then repeated the process on the opposite side. This was then left to dry for a further 3 hours.
I turned the dried plaster of paris around, for each figure, and then repeated the process on the opposite side. This was then left to dry for a further 3 hours.
Step 8
The two connected plaster of paris sides were now dry; I removed the clay sculptures from the moulds, which revealed the imprint of the figures.
The two connected plaster of paris sides were now dry; I removed the clay sculptures from the moulds, which revealed the imprint of the figures.
Step 9
I then melted and poured wax into each of the moulds and clamped into place. The wax was left to cool.
I then melted and poured wax into each of the moulds and clamped into place. The wax was left to cool.
Step 10
After all the wax figures had dried, I removed the figures from there moulds, revealing replica figures, now in wax.
After all the wax figures had dried, I removed the figures from there moulds, revealing replica figures, now in wax.
Step 11
Using small carving knifes, by heating with a heat gun, I was able to carve into the wax surface, added further details to the figures, including the instruments and the music book. The surface of the wax was then smoothed for a fine aesthetic finish.
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