For a decade, Irish sculptor Kevin Francis Gray has worked with a Pietrasanta-based family of marble artisans with a long history of replicating iconic Vatican sculptures.
- For someone who only got into sculpting roughly eight years ago, Adam Beane sure knows how to work it well. Wanting more than the usual materials u...
What a graceful sculpture, don't you think? It is one of the stunning creations of Coderch & Malavia, Sculptors. . . . #beautifulbizarremagazine #sculpture #figurativesculpture #femaleform #coderch...
Andy Martin Illustrated Aliens is a year long project culminating in 12 different groups of aliens, planets, posters and videos.
All words and pictures Andy Bergholtz. First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the warm Castilene to the sculpture (Fig. 1) After I achieve the basic form using just my fingers, I'll then heat my sculpting tool and smooth the surface (Fig. 2, Fig. 3) I will continue to heat the tool during this process every few seconds, holding the tool very briefly over the flame. I will continue to refine the surface with this tool until I get a basic flow of detail that I like (Fig. 4, Fig. 5) Next, I will gently heat a small loop tool over a flame (Fig. 6), and will use this to carve some deeper detail into the form (Fig. 7). I will do this briefly, just to add a bit more depth to the form (Fig. 8) Next, I will very briefly heat a sanding pad over the flame (Fig. 9), and use this to smooth the surface a bit (Fig. 10). For this stage, you must heat the pad over the flame for only a half-second or so each time, VERY quickly or else it will begin to burn. You'll need to do this every 3-4 seconds while you work, and lightly drag the heated pad on the surface of the Castilene to smooth it. It sounds tricky, but it's quite simple. I'll do this until the hair is generally smoothed and ready to begin detailing (Fig. 11). For detailing, I heat my metal tool over the flame once again (very very quickly this time, only to warm it up a little... you don't want it to be too hot, only warm enough so it doesn't "stick" to the Castilene). Then I will use the edge of the tool to "press and roll" detail into the surface of the Castilene (Fig. 12) This "press and roll" method is the most important step in my detailing technique. I will continue doing this until I've achieved the level of detail that I want (I try to avoid dragging or 'scribing' detail in this stage, as that is what often causes the unwanted "crumb effect"). For smaller curves, I will use a smaller tool and even a round loop tool sometimes, but the "press and roll" method still applies (Fig. 13, 14, 15) Finally, sometimes I will lightly brush down the surface with lighter fluid (Fig. 16). I do this VERY little, as using too much will make the surface grainy and mushy, so use it sparingly (Fig. 17) Just make sure to only brush lighter fluid on Castilene when you are completely finished with the sculpting, as it's very difficult to re-sculpt any area that has already been brushed. The hair is finished! (Fig. 18)
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All words and pictures Andy Bergholtz . First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the wa...
All words and pictures Andy Bergholtz . First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the wa...
Wire Armature Device: When sculpting clay, you often need an armature.An armature is a hidden support, a kind of skeleton, on which the clay will rest. It brings you comfort while sculpting because it keeps everything still, avoids over-manipulation and then prevents dam…
All words and pictures Andy Bergholtz. First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the warm Castilene to the sculpture (Fig. 1) After I achieve the basic form using just my fingers, I'll then heat my sculpting tool and smooth the surface (Fig. 2, Fig. 3) I will continue to heat the tool during this process every few seconds, holding the tool very briefly over the flame. I will continue to refine the surface with this tool until I get a basic flow of detail that I like (Fig. 4, Fig. 5) Next, I will gently heat a small loop tool over a flame (Fig. 6), and will use this to carve some deeper detail into the form (Fig. 7). I will do this briefly, just to add a bit more depth to the form (Fig. 8) Next, I will very briefly heat a sanding pad over the flame (Fig. 9), and use this to smooth the surface a bit (Fig. 10). For this stage, you must heat the pad over the flame for only a half-second or so each time, VERY quickly or else it will begin to burn. You'll need to do this every 3-4 seconds while you work, and lightly drag the heated pad on the surface of the Castilene to smooth it. It sounds tricky, but it's quite simple. I'll do this until the hair is generally smoothed and ready to begin detailing (Fig. 11). For detailing, I heat my metal tool over the flame once again (very very quickly this time, only to warm it up a little... you don't want it to be too hot, only warm enough so it doesn't "stick" to the Castilene). Then I will use the edge of the tool to "press and roll" detail into the surface of the Castilene (Fig. 12) This "press and roll" method is the most important step in my detailing technique. I will continue doing this until I've achieved the level of detail that I want (I try to avoid dragging or 'scribing' detail in this stage, as that is what often causes the unwanted "crumb effect"). For smaller curves, I will use a smaller tool and even a round loop tool sometimes, but the "press and roll" method still applies (Fig. 13, 14, 15) Finally, sometimes I will lightly brush down the surface with lighter fluid (Fig. 16). I do this VERY little, as using too much will make the surface grainy and mushy, so use it sparingly (Fig. 17) Just make sure to only brush lighter fluid on Castilene when you are completely finished with the sculpting, as it's very difficult to re-sculpt any area that has already been brushed. The hair is finished! (Fig. 18)
I thought I had a good way to make eyes for my little sculptures, until yesterday. I would hallow the head out once it was hard enough to do so without collapsing. Then I would smoosh in eye bals f…
Today I want to delve into the topic of sculpting hands. It's one of the hardest things to get it right when making dolls. And I completely understand why! I've sculpted dozens of hands and just about a year ago I finally got it right. So don't beat yourself up if they don’t turn out perfect every t
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Show Time - sculpturesque 3D artwork was created by artist Mariano Steiner. Mariano is a 3D generalist specializing in architecture, products, scenery and
Gosia, a Poland-born, Toronto-based sculptor, creates feminine figures with touches of the surreal, whether reflecting the natural world or expressions that extend from inside of the characters themselves. Each of these sculptures contain both elegance and emotional complexity, often containing a new sense of drama at each angle. The artist was featured in Hi-Fructose Vol. 41, and she was last mentioned on HiFructose.com here.
All words and pictures Andy Bergholtz . First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the wa...
All words and pictures Andy Bergholtz . First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the wa...
By deftly crafting and casting bronze, porcelain, ceramic, and gypsum into metaphorical, fantastical and literal interpretations of the human form, Peruvian born Emil Alzamora's work conjures up that of numerous and varied renowned sculptors such as Brancusi, Botero and Giacometti. The surreal imagery of Magritte and Dali also come to mind when admiring these hauntingly beautiful renderings of the male and female form. The Artist's Statement: The human form is a constant within my work. I am interested in exploring what it means to inhabit one, often exaggerating or distorting different aspects of the form to reveal an emotional or physical situation, or to tell a story about a predicament or an occurrence. The space between limitation and potential is as human as the flesh, yet hardly as tangible. In my works I strive to make visible this interaction. Emil Alzamora was born in Lima, Peru in 1975 and raised in Boca Grande, Florida. There he attended Florida State University where he earned a Bachelor of Fine Arts degree and graduated Magna Cum Laude. Alzamora started his sculpting career in the Hudson Valley working with Polich Art Works as an enlarger in the Fall of 1998. Since leaving P.A.W. in early 2001, he has produced and shown his work throughout New York Boston main and Florida. He currently resides and works in beacon, NY. Emil's work can be found at the following galleries: Divergence Fine Art Artbreak Gallery Lanoue Fine Art David B. Smith Gallery Turner Carroll Gallery Images courtesy of the artist , Divergence Gallery, and Artnet
The Cappella Sansevero, a chapel in the historic center of Naples, Italy, is one of the most awe-inspiring spaces on Earth. Everywhere you look you are confronted by sculptures of astonishing beauty, a bevy of masterpieces from 18th century Italian artists that have left visitors scratching their heads in wonder for hundreds of years: how can such intricate works possibly have been carved from single pieces of marble?
All words and pictures Andy Bergholtz . First, I warm up the Castilene in a microwave and work it in my hands like clay, applying the wa...
