REALISTIC SCULPTING RESEARCH / DANIEL ASH SCULPTURE

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Working in Clay

Air-dry Clay

-Dries very quickly in comparison to other clays
-Dependent on the brand can contain fibres that make the sculpture dry looking fluffy
-Sometimes struggles to bond to itself if the bonds are weak
-Once dry you cannot revive it
-Dependent on the brand, is usually more inexpensive in comparison to other clays

Oil-based Clay
-Monster Clay is the clay of choice for many sculptors and professional model-makers as it will never dry if it's oil-based and you can buy different types of density of Monster Clay to suit the purpose.
-Can be dryed by baking in the oven but will not dry in air.
-If you're very careful when moulding, you would be able to cast your sculpture when wet and then reuse the clay for another sculpture.
-Smoother to work with and doesn't give off dust particles which if exposed to for a prolonged amount of time can damage your health
-usually more expensive

How to Sculpt:

https://www.youtube.com/watch?v=CWdBKaP7RKI&list=LLsCXMNLu0bdLZknJINwxlOQ&index=18


Working in Silicone

 Link to Mouldlife website for user guide pdf on the silicone I will be working with

Daniel Ash Sculpture
(Order from bottom to top)
time take: 4 days

I was able to add fine details with a sponge and toothpick which enabled me to create some very realistic skin textures.


The eyes still aren't perfect in shape but I think he looks quite sweet! I'm happy with the progress I've made and will let this dry now.

I took the hair off and  began to thin down the jaw area to round off his face a little bit and add a bit of depth in his cheekbones using the loop tool



I had added hair but I didn't feel like it looked right, plus, if I were to go on to cast the sculpture in silicone, I would have to take off the hair before casting. The hair did, however, for it's short duration that it spent on the sculpture's head, helped me to determine what was wrong with the face shape-I had bulked him out to look a little too square.



Here, I began to block in the face around the jaw and working inwards towards the nose. I found that this method of working helped me to focus on the high points of the face and around the eyes and get these as accurate as possible. I also found it helpful, to reference anatomy books to see where the muscle placement in the face is and place the clay there accordingly as this will help to give a good bass structure for the facial features.


I started by blocking in the side profile first so that I was able to get the correct depth straight away, then I would only have to worry about blocking in the face. I create a stencil from my reference image to help me get the likeness correct and once it fit perfectly, I knew I was ready to move on with the sculpture and begin blocking in the face.
 
My very primitive armature! A Towel Holder attached to a Lazy Susan. It is important for me to be able to rotate the sculpture as I work on it so that I don't have to worry about if I am leaning on my sculpture while I'm sculpting on it. It also gives me a better idea of shape and angles to be able to constantly rotate the sculpture.




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