setting up studio?

[classicalsculpt]

Have a number of models who are coming in a few weeks for a series of torso studies.

I am originally a painter who is now turning again to sculpture to help with anatomical studies of the human figure. I may just stay! Looking into some specs for making my own modeling stands for the clay figure that i found in books in the library.

Does anyone have information on dimensions that have worked for them in using a stand for the living model? I understand it must have wheels so I can constantly rotate the person. But outside of that, I'd be guessing how to do it.

Am reading from Edouard Lanteri's book as my guide to classical sculpture studies, so that is my bent.

How far do I have to be from the model, to work half life size and how high to construct the clay model stand as well?

I have a large model base who are working for a sculpture cast in return for their work, so my hands will be very full. Any help is greatly appreciated. The studio must be ready by mid-January.

[sculptor]

¿ yer gonna put the model onna wheeled cart and spin it?
Wheeeee ...that oughta be a hoot--
it's a question of balance

--seriously, i did a double stand(one for model and one for life clay) based on 32inch circle with 5 (200# rated) wheels each. this derived from the model's stance where feet were spread a tad over 26"----------26" + 20% provided adaquate stability.

personal preference is to have the model at eye level----or at same level as clay---i'm nearsighted so move in (<3 ft, no glasses great detail) and out from model (glasses and good overall view)normally about 6-10 ft from model.

then lighting to control shadow

do you prefer to work seated or standing?
I stand mostly so have the clay set up at table height to eye level

I rarely work in 1/2 life
macquettes at 18-26 inches
then life or heroic size where I'll have the clay base at 6-10 inches from ground(easier to work on a ladder than laying down)
.........1/2 life clay and armature should weigh in near 40 lb ...build accordingly
----tools on wheeled cart usually off to my left, smaller tool-holder on clay stand

trial and error and you'll adjust things to your own comfort level

happy modeling

rod
sculptor (http://sculpture.alturl.com)

[fritchie]

class... - Rod's covered the basics quite well. Here's my view-- It's probably best not to rotate the model stand, but have it in the middle of a large space so you can move around the model. Don't want your people getting dizzy and falling over! The school I attended used a large room, about 30 feet square, to accommodate many students and to let sculptors get pretty far back for perspective. I find the clay tends not to reflect the overall view if you work too closely.

The general idea is to keep both the model's midsection, or a point a bit above, such as the base of the ribcage, at about your eyelevel, and to keep the corresponding point on the clay at the same level. That way, you can look from model to clay and back without shifting your eyes up and down. Also ideally, when working, adjust your distance from the model and the clay so that both the model and the clay look the same size. For example, with a half-size clay, if I stand back about arm's length, I can reach the clay while seeing a good bit of it. The model's distance should be set accordingly.

If you're not lucky to have such a large room, put the model near one end or close to a corner, so you can work near the other end or corner. In this case, you'll have to ask the model to turn a quarter circle about every 15 - 30 minutes, while you move more often yourself. It's a good idea to mark the model's foot positions for repeatablilty. I use large pieces of denim for this, a different piece for each model, and wash them regularly

So, to recapitulate, put the base of your model stand about 6 - 8 inches from the floor, just high enough to add wheels to the base. The wheels to move it out of the way, and not to rotate the model. It should hold 200 - 300 pounds, in case you use heavy models, for accessories such as a chair, and for safety. Clay stand also should have wheels, with top adjustable in height, say 3 to 5 feet, in case you later want to use a smaller scale. It's easiest if your stand has a vertical rotation axis independent of the wheels, as it's easier to rotate the clay. A further point, the clay stand ideally will have a triangular base instead of square, because 4 wheels on a real floor generally will find a way to teeter. The model stand is easiest with 4 or more wheels. Good luck, and let us hear how it goes!

[BMBourgoyne]

I've always had very limited space in my studio (at least air conditioned space), so I have always used a rotating platform for my models-- though I make a point to warn the model before rotating it. I also move myself rather than the model as much as possible (working in about a quarter circle area) to minimize the frequency of the rotations.

My platform is composed of a stack of wooden boxes 32" square and of various heights (between 2" h. and 16" h.) so that I can adjust the height. The rotating base is about 4" high, made with 6 casters in a circle around a central pivot. I generally work with the model about 16" high, and 8 - 12 feet away, though it varies according to need. I also have a step ladder and various wooden boxes for me to stand on for higher viewpoints. Make sure it is all absolutely stable (no wobble) and the model has an easy step up and down. A foam pad for standing poses also helps reduce the model's fatigue.

I also installed a full length mirror on the wall behind the model for setting the pose (though I cover it for those models find it disconcerting to watch themselves), as well as a roll of white backdrop paper for a clean silhouette and for photos.

I personally like a lot of light, with the room well lit overall and a main bright floodlight to show form-- lighting the model and the sculpture in as similar fashion as possible. Avoid working with completely frontal lighting, as well as harsh lighting with deep shadows (except perhaps when reviewing details).

A small space heater and/or fan is also good to have for the model, though take necessary precautions.

The main thing is to be able to move about the model as much as possible, and have the capacity to move both the model and yourself up and down as needed. The high and low vantages really tell you as much (if not more) about the form as the level view, and yet are overlooked by many.

good luck,
Brad

[Merlion]

I haven't seen it done, but I understand for well organised life sculpture classes with a number of people sculpting at the same time, the platform for the model is rotated at 45 degrees every 15 or 20 minutes. The platform is sturdy and stable. And when rotated, it is done slowly.

With this arrangement, the sculptors do not have to move around which is very helpful when there are more than say six sculptors in the same room.

And the class has to be for sculptors only, not mixed with people doing life drawing.

On the other hand, I myself prefer taking a number of photos around the model and work from these photos. If the model is not happy having his/her full nude photos taken, I would suggest these photos be taken with a mask over the face. And if it is important that the specific model's face be part of the sculpture, separate photos can be taken of the face only.

[Merlion]

The rotating base is about 4" high, made with 6 casters in a circle around a central pivot.

I agree with using six casters, or at least five, instead of four, to give stability. To make it easy to turn the platform in a circle, the logical solution is to use casters that has a fix axis and arrange them, as mentioned, in a circle.

On the other hand, for ease of rolling the platform away when not in use, out of the six, have two of them next to each other the common type that rotates also on a vertical axis.

Of course, check that the six casters are of the same height, otherwise the platform will wobble.

[classicalsculpt]

Wow, thanks everyone for your generous help. It is much appreciated!
It took me a while to digest the various options...

The room in our home I have to work in is 11x12 with 8 ft ceiling- very small for a sculptor, but what I have. There is a large 6 ft square wall mirror near the corner of the room near the window. It worked great as a still life painter's studio with a modest north light window. Just cleared the room for sculpture work taking the lead now, which is not so portable as painting.

With these given circumstances It appears that I must use the rotating turntable idea for the model stand to be put in a corner with me at the other corner. This means there will only be about 8-9 ft between the model and myself. So to get the model and the clay figure to look the same size from my viewpoint, will ultimately determine the size of my clay figures I am guessing. I don't want them to be smaller than say 20-32 inches or larger than 1/2 life size, not yet a welder of robust armatures.

Will be working exclusively from life with a great degree of realism, no photos,
and lighting that will serve obervation of form best.

I imagine my clay stand must have a good degree of height adjustment too for stooping to see the planes underneath, and standing on a step ladder for top view, still being able to work easily at eye level.
Will try to move myself, but don't think there is much leeway, so will be rotating the model on the turntable every fifteen minutes after the model returns from break with position marked.

For the model stand, toying with the ideas of two options:

Using a 12 ball-bearing turntable disk with a pipe axis in center sandwhiched between a base with locking caster for moving later, and a top for standing on, (saw this in the Louis Slobodkin sculpture book)with a few latches on top to keep the thing from rotating inadvertently.

Having a disk with 6 or so caster wheels with pipe axis in center, some locking to keep it in place as well, on a base with locking casters.

All taking into consideration, the models safety of course.

Various height adjustment boxes may be incorporated into this later, for when the model may be lying down curled, sitting, standing and for varying height persons. Only thing is 32" base seems kind of small, so I may go larger what will work with the room size and keeping eye level.

[fritchie]

class... - Sounds like you have found a good solution for the "necessary space" we all have to deal with.

I forgot to mention earlier myself the importance of viewing from above and below the horizontal plane. When I do this, I'm not so insistant on viewing clay and model at the same perceived scale. Usually by that time, I have a good hold on the clay, and I'm working with details (but unafraid to make major shifts if necessary). These out-of-plane views really help.

I find the downward-looking views most important, for catching the upper parts of shoulders, neck, chest, and so on. This view also helps immensely with getting the proper roundness throughout the body.

You should have a lot of fun with this, and hopefully the models will appreciate their casts!

[Merlion]

Have a number of models who are coming in a few weeks for a series of torso studies. ....
The studio must be ready by mid-January.

I'm a bit curious. Over at your part of the world, what is pay/hour of life nude models, say the range they are paid?

And how is the studio coming along ?

[classicalsculpt]

$15 is an hour is the going rate for models and up to $20 in the Philadelphia region. A local community college pays life models $12 an hour. Amateur models who are just trying things out, may model for free once or twice. It is nice to at least offer gas money. Then there are those who will do it for $10 an hour to fellow emerging artists, or trade for artwork, and those wonderful nonartist professionals, supporters of the arts, who like to help emerging artists and students and will model for free. I usually try to offer artwork if I cannot afford to pay a model. It is hard work, having modeled myself, so I value my models very highly.

You never know who could be a model. Being open-minded has landed more opoortunity to work from the live model. We never know who is willing to be a supporter of our work if we have a definable vision others can appreciate.

The studio clay turntable stand and model turntables are still in the works. I have considered a number of different approaches, and a few people here have been extremely helpful. Carpenters with theatrical design experience can also be of help with their specialized knowledge to sculptors setting up their studios. Will be happy to post the results when complete from what I have learned.

I have six male models who have volunteered for my anatomical torso study project in exchange for a hydrostone cast. For some reason, I have no female volunteers, though I am a female sculptor myself. I take it this means when I have mastered the anatomy of the male form, the female models will then appear.

For now I am dedicated to the study of osteology and myology of the torso section. I now draw more so in my notebook of studies than I ever did as a painter. Drawings are now a means to an end, rather than the end itself.

[Merlion]

$15 is an hour is the going rate for models and up to $20 in the Philadelphia region. A local community college pays life models $12 an hour. .

Over in this part of S E Asia, it is not easy to get life models. It has been the the cultural climate to frown upon exposing one's body, even for art. So the pay has to be high by local standard, about USD18 per hour.

Individual artists have difficulty getting them. Only art colleges and art studios that conduct classes can do so, mainly female models. Some are migrant workers. Male ones are difficult to find. Again this may have to do with the Asian culture.

For now I am dedicated to the study of osteology and myology of the torso section. I now draw more so in my notebook of studies than I ever did as a painter. Drawings are now a means to an end, rather than the end itself.

I also attend life drawing sessions at a local art college not for its own sake. It is mainly to get familiar with the human anatomy in a variety of poses as they help improve my figure sculptural skills.

For my figure sculptures, I find a book very good and useful. It is Sarah Simblet's 'Anatomy for the Artist' (http://www.amazon.com/gp/product/078948045X/qid=1137642201/sr=1-1/ref=sr_1_1/104-6378505-3909503?s=books&v=glance&n=283155).

I can't explain the book better than this Amazon.com's editorial review. "Anatomy for the Artist is like having your own life-drawing studio in the privacy of your home. Carefully constructed photographs of the human form allow you to see the structure and function of the skeleton and main muscle groups. Six imaginative drawing lessons, each supported with photography, show how to portray the bones, head, rib cage, pelvis, hands, and feet in perspective, from different angles, both in still poses and in movement."

[Merlion]

Other than books with good human figure photographs on anatomy for artists, this [URL deleted - advertisement; Fritchie] is also good for the same purpose.

It was recommended to us by another member here. (But I have not yet made good use of it, as I have recently digressed into making animal sculptures.)

[Orchard]

I'm interested in trying out as a nude model in Singapore. Western Male, solid build aged early 30s. Any ideas how I can get started. Would like individual artist or very small group to start

[Merlion]

Orchard, As this is not of general interest, I have sent you a 'private message' to give you the contact. You can click into it at the top right hand corner of your screen.