two questions

[JAZ]

I'm a neophyte at figurative work, but giving it a shot, just because. I did this study months ago, but there was a problem with the proportions - torso too long, shoulders too wide and head too small - and recently decided to work on it some more. I cut a slice out of her middle and put her back together, adjusted her head size, etc. but I don't have the model to refer to. This is a rough - I haven't even put her face in yet. But do the general proportions look okay?
Also, I'd like to try to make a mold for this one, just so I learn how it's done and I have the stuff, but I have a question. If I cut off the rug-like thing she's sitting on (which I'd love to get rid of) and just have her sitting there, a full figure complete on the bottom, would that be a problem for the molding process? I've seen some gorgeous stone Aztec sculptures of the feathered serpent where the sculpture was completely carved underneath so beautifully that the museum had it displayed on glass with a mirror below so you could see it fully 3D. But it seems to me that if the bottom were curved, how would you fill it with plaster or whatever?
JAZ

[GaryR52]

Well, I had thought your thumbnails didn't load (actually, they didn't, until I hit the refresh button).

Given the pose, I would think you could cut off the base, complete the figure and have it remain capable of resting on a flat surface without being unstable. Afterall, if a real human can do it, why not? Of course, one thing about the real human is that her ass would compress from her own weight, rather than remaining rounded, thus accomodating her sitting posture without the tendency to roll over. I think, given that, you might want to model her tush so as to make it flat, as if she actually has weight and her buttocks are compressed, as they would realistically be. That way, it's not only a more realistic depiction, it also is capable of resting without the need for additional supports.

Gary

[Blake]

Jaz
I think that the proportions are rather good, the hands may be a little small but generally you’ve natural talent. You can cut out the rug and finish under the legs and the bottom but then you would have to cut the piece in two in order to pour the wax/plaster in and then weld it back to together again in bronze/plaster. This should not bother you as we can weld them back together easily. The difficulty I see is that you have no armature, therefore, it will be difficult to turn the piece up side down in order to finish underneath without damaging the parts that you have already worked.

On a seperate point I find the smaller the work the harder it is to get the details right, also I need a model, my imagination or memory can not render a form nearly as beautifully as nature can so I tend to try to copy nature directly as I see it in the model.
Hope this helps
Blake

[sculptor]

alternately

go ahead and cut off the "rug" and smooth down to the wood----then, using a spatula-pancake flipper whatever loosen her from the wood and try working the edges of the bottom--
if you've a rather stiff clay, you should be ok with this
--if the legs seem to want to warp off, just cut them off ---left mid thigh and right below knee---you can reattach and repair later----also the lack of the rug will make the legs lie slightly differently

as Gary said there will be flattened areas on the bottom so filling the mold ain't much of a problem---due to opposing undercuts breasts and left calf,
you'll probably want to do a rubber mold-----if in plaster, you can always sand and reshape the bottom edge after the casting.

On such a small piece, for fingers and toes, I cut various sized small pipettes at an angle, then polish and reshape the edges and counter curve them to draw out the details

not to worry I've done several small pieces sans armature, but it ain't usually an easy solution so I generally try and include one
on some, I've slit them open and installed an armature after the initial work
------(2 steps forward and one step back)----(The Nelly was done like this.)
the only places yours seems to need one in in the legs through left arm to shoulder and maybe up through the neck to mid head

nice to see the work

rod
ps
Blake knows:
get the model back for atleast one or two sittings
beg cry plead offer money whatever it takes

[JAZ]

Thank you all for your input. Blake, I am grateful for your compliment and your good advice. I'm not crystal clear on the necessity of cutting the piece in half, though I wouldn not hav ea problem with welding it back together again. I may try a simpler piece first with a rubber mold, and cast it in plaster, then try this one. But in the morning I will go ahead and trim the bottom.
And Rod, thank you for your useful tips. I had not thought about needing an armature sine the piece is so small, but I see what you mean.

[Blake]

JAZ
I am sorry I was not very clear. I was thinking that if you finish the bottom of the piece you would have to make the mould in two halves as you need to be able to pour the plaster or wax into the mould through some sort of opening, then you would paint the plaster or wax into the two halves of the mould and put the two halves together and then repair the seam. However, thinking about it you could also just cut a hole in the mould somewhere and use this to pour the wax or plaster into the mould. I look forward to seeing the piece progress please keep us posted.
Blake

[fritchie]

JAZ - Sorry I didn't get to this for a couple of days, but I'm still dealing with Katrina almost daily. You've gotten good replies. I don't think you will have trouble cutting the rug away and finishing the bottom, depending on the hardness of the clay. The spot where you cut her in two may open again, but clearly you could repair that.

If you want the figure finished on the bottom, you will need an opening somewhere to insert and later remove the internal molding material. In larger figures, cutting the piece in half might be necessary, but with a small one, you could cut a reasonable-size hole in a place easily welded and chased, such as the back or the bottom. Some section reasonably flat and easy to match later in the bronze.

One thing to consider when you do this is that the molding material, even with investment, becomes quite hard after pouring the bronze, so it may require substantial poking or scoring with a rod of some sort to remove. I often bend a length of stiff wire into a hook with whatever curves are necessary, to reach the various nooks within the piece. As much of the internal mold as possible should be removed to avoid longterm corrosion from retained or absorbed moisture.

On proportions and so on, the piece has excellent overall proportions, but I find the upper arms a little thick, and I think the cut or fold at the inner left knee is perhaps a little too sharp. But people will vary quite a bit, and artistic license is part of the creative process.