This is the overflow of older unfinished projects... You can never have enough unfinished projects going on at one time.

4/24/97- This is some other stuff that I've been doing: Two busts and a base.


04/19/97- I'm applying the lessons that I learned from Barbra Underwire: Start with the head sculpt & fire it. Next, put the torso together and design your pose. I don't design poses on paper because this feels more natural to me. Once I've gotten a fairly good idea of the pose and mapped out which will be separate pieces, I reinforce sections of a piece (like legs, neck and torso) with 12 gauge wire rods. They're easy to insert and it keeps them rigid for for firing. At this size, you don't need a complete armature since the clay itself is fairly rigid, and it doesn't collapse under its own weight.

04/23/97- Next I work on fine tuning the sculpting, not worrying about fingerprints too much. The finishing step should take care of that, and with this stuff (Promat) it's much easier to get smoothness when you're sanding than when you're sculpting. I keep having problems with lumps which don't budge smoothly. This could be due to my impatience with clay conditioning.

The sculpture is too developed & heavy for firing on a cookie sheet. It will develop a flat plane where you lay it down for firing, and that is not good. Therefore, I fired this at 200 degrees Fahrenheit on a small pillow of polyfill fiber, and it worked like a charm. None of the fibers fused to the figure, and no flat spots. My big lesson from Barbra Underwire is


When it falls over, you will be heartbroken.

The creature is an extra bit of fun for me. He could be part of the base or maybe I'll use something else. Here, he helps to define the scene and genre. With the creature, her costuming probably should be something from the realm of fantasy, not sci-fi. (Although the creature's head design was based on a larger version, pictured elsewhere in this site.)

Next: The costuming?

Last modified: Saturday, January 6, 2001 6:20 PM