watercolors.

laid out flat like a five-pointed star, keeping the joint areas free almost until the last.

But put sculptors aside for the moment .. without doubt, craftspeople are better at coming up with ingenious ways of making their lives easier! I’m sure most people are aware of the principles of it, but almost exclusively in the context of ‘making many copies of something’, which somehow prevents the recognition of it as a solution to making single forms. I then sanded (or rasped) these freehand, but both at the same time .. i.e. This contracts a little as it does so it can be taken out easily. Some people are good at looking at a subject, whether it’s standing before them or recorded in a photo, then looking at the copy they’re making and recognizing how the two differ .. i.e. Modelling is generally additive, usually starting with a support then adding an amount of soft material, then adding more, etc. A recent discovery, and now my current favourite for creating texture is Polyfilla.

When it comes to modelling on a smaller scale a lot less precision is needed .. one can often get away with good ‘suggestion’ rather than realistic depiction. For this reason modelling feels more free, there’s room for improvisation and chance, and there’s room for taking risks and making mistakes because these can be smoothed away if they don’t work.

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. How to use Polycell Deep Gap Polyfilla Difficulty level: starsone stars difficultylevel How to fill awkward or large gaps around pipework or fixings Difficulty level: starsthree stars difficultylevel How to use Polycell Fine Surface Polyfilla

There are the plasticine clays which remain soft and workable almost indefinitely, even after long exposure to the air. color:#ffffff; One major consequence of this difference is that modelling can usually be back-tracked if a mistake is made whereas shaping usually cannot. where you want your paint raised or bumpy. padding:10px 10px 30px 30px; Take a look at our step-by-step video lessons covering everything from the basics through to portraits... I found that only a thin strip of sandpaper was necessary to sand styrofoam (or the polyurethane foam from Kapa-line foamboard you will see later). background-color:#6ea996; For the characteristic ‘quilting’ effect on the Chesterfield, more properly referred to as buttoning I think, I just marked out the pattern before gluing the pieces together and made the indentations by pressing in the corner of a small metal ruler. Make sure to apply a layer or two of sealant (gesso or acrylic primer) over the sand or mud before you start your painting. For the fish shape previously I used one shape template to guide the sanding block, whereas this needs two to establish the limits of the top and bottom of the shape. float:right; The two component parts of Milliput need to be mixed together in equal amounts and the window for modelling before Milliput becomes too hard is 1 – 1.5 hours. Below is a fuller sequence of photos which illustrate the use of ‘controls’ when shaping soft foam and the usefulness sometimes of having a harder ‘core’ shape to model on. GET THE LIST. If you’re using this method for a one-off where you need a permanently hard surface a thicker Sculpey layer (i.e. display:inline-block; Super Sculpey can be easily modelled up in layers, heated in between. It helps a lot to have copies of the drawing close to the modelling, as below, and it’s pretty essential to work out a clear side-view to be able to check the thickness being built up. There are also other types of styrofoam, differentiated by colour. The twisted surface of the wire has an added usefulness in that it gives more ‘tooth’ for the clay to attach itself to. The best solution is to use a very stiff support such as masonite or canvas or paper that is mounted onto a board support. The most common commercial name for the filler is called Polyfilla. .drawingctabutton:hover {

I’ve fixed the base templates firmly to the foam with double-sided tape, but they can be easily detached. This is not an ‘official’ phrase but one I have assembled myself to help me to think about it. padding:10px 10px 30px 30px; Of all the materials for modelling available now, natural clay remains the most reliable and versatile, in addition to being the cheapest by far. not nearer than about 5cm) or dwelling too long on one point. These are simple things to try, you can devise your own questions, and this type of conscious looking won’t fail to improve your abilities if you practise it whenever you have a spare moment. 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? The pink one here is finer and the green one is coarser. color:#ffffff; point or edge to it, such as a pocket knife, metal nail file or the edge of a Either the figure or the heat gun needs to be kept moving .. but slowly, not agitated. Both pieces of furniture were made entirely out of foam except for the legs. Activity 2 Create your own masterpiece using colour and shape - you will need paper, a pencil, felt tips, paints, crayons and collage materials. The metal dental modelling tool to the right of it is an example of a range of fine-modelling tools one can pick up quite cheaply (even in £shops sometimes). For this reason ways have to be found of keeping within one’s ‘comfort zone’ in terms of knowledge and skills. This would be fine if the curves and slopes of the shape were that simple. If however we think of the essential shape as a solid one first, so that we start with a three-dimensional form template in other words, a lot more is achievable. I made the sanding tool to the same diameter, with a c.6mm strip of coarse black sandpaper attached. Ever get stuck for ideas of what to draw next? Because the fish needed to be symmetrical I decided to make the same basis shape for both out of styrofoam, cutting a template shape first out of Pvc for one and using it flipped over for the other. margin:auto; It is much more difficult to model freely with, having far too much ‘push-back’. When I’m modelling in 1:25 scale I work from visual cue sheets such as these ones. padding:10px 16px; For example below I am modelling a figure directly onto a drawing, without using an armature.

Each application will take a few hours to dry after which you should sand it down and, again, before you start painting always apply another layer of sealant. But on the other hand it means that these materials have a significant ‘push-back’, a little resistance to being pushed around, which can make very fine and sharp detail a bit more difficult. Who knew something as simple as plaster Remember though, you may not be able to paint some bits with The principle behind this is that the plaster mould will absorb water from a liquid material filling it, meaning that the material gradually forms a tougher skin next to the plaster. In actual fact, if the thin shell is built up this way there’s no need to make the negative mould at all .. it could be built up on the prototype form, as long as it’s strong enough. Here again are the chairs made from styrene strip plastic from the previous article on  Fine construction. color:#ffffff; 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. But I made a, couple of curved sanders (shown in the last photo), to the same curve as the principle semicircle, in order to sand the foam down to the template ‘stops’ smoothly.

It’s very easy to persuade oneself that it’s a good move if it will save hours or even days of time, so one should guard against ‘cheating’ oneself by compromising on what one really wants. Here is how to apply the plaster to a support and manipulate it to suit your needs. Phil Davies has put together a shortlist of the best drawing tools, surfaces and accessories for every budding artist to stop you from wasting money.

What counts is that you’ve done what you can to make the model look as you want it to look, and it conveys your design intentions, regardless of the means you’ve employed. BROWSE DRAWING LESSONS. The chair cushions are Kapa-line foam and I’ve incised very slight lines with a pencil. The best way is to fix the larger template to the foam first and sand down to that using a right-angled sanding block (just like the fish).

width:250px; Most of them cannot be made hard and durable. So they’re tuned towards the specialities of theatre design model work, but most of the points will be relevant in general terms to model work in other disciplines. For more on working with these see Modelling wax in the Materials /- modelling section. Below is the fire part for the fireplace mentioned earlier, modelled in Super Sculpey. Making a block styrofoam core-shape like this has a number of advantages .. it means that the modelled shape has a more controlled basis as I’ve said, just like the wire armatures; it gives a firm basis for pushing against, particularly if surface details are achieved by pressing or imprinting, without the fear of pushing the overall form out of shape; it economises on modelling material (some, like Sculpey or Milliput, are expensive compared to natural clay); and it reduces weight, without making the form itself much weaker. I use soft sheet foam to make them. margin:auto; I’d advise building in layers rather than a thicker block because a Pvc template can be included on the top of each layer, to further control the shaping as shown below. This helps to create rich and visually interesting pieces – and it is less intimidating to work from than a flat, blank canvas. I’ve written these overviews in preparation for teaching sessions at RADA ( Royal Academy of Dramatic Art ) in London. 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. I have compared the price per kilo even if the materials are not normally packaged in this amount and where there is a price range it reflects the cheaper price for larger amounts: Natural clay £0.47-£1.27 per kg £11.88 per 25kg, £6.37 per 5kg, Newclay £1.19-£1.96 per kg £15.08 per 12.6kg, £8.83 per 4.5kg, Newplast £3.56 per kg £1.78 per 500g 10% off 20, Modelling wax Terracotta Wax or Scopas White Modelling Wax £9.29-£12.72 per kg £46.45 per 5kg, £6.36 per 500g, Milliput Standard £20.10 per kg £2.28 per 113.4g, Super Sculpey £20.64 per kg £9.37 per 454g, Milliput Fine White £44.62 per kg £5.06 per 113.4g, Green Stuff £156.33-£240.50 per kg £4.81 per 20g, £9.38 per 90cm. texture, you can place objects into the plaster for added interest. width:auto; For this task I had to make a 1:6 scale model of an ornamented fireplace, including two large fish sculptures either side.

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