Drawing Materials Made EasyWalk into any art store and the amount of materials filling the shelves is overwhelming! The thinking may be involved but the doing of it is relatively easy, and once. Mud is lumpier and when mixed with paint or glue, creates thick areas of texture. The big advantage here is that the drawing imposes clear limits i.e. In other words, plasticines and polymer clays are a little more rubbery, and this can save time if you’re going for smoothness. These two photos are enough to illustrate the method. Use a sponge to create extra texture by If painted with these or very thin acrylic the surface will look matt, even velvety, with a slight tooth to it like upholstery fabric. You could also sculpt the paste with anything from a fork to a washing up brush for a more stippled effect. I include them here because they are more important as examples of the type of thinking that one should do .. thinking in terms of templates which control the material and limit the ‘damage’, but also ‘thinking in negative’ which there will be more about later.

One major consequence of this difference is that modelling can usually be back-tracked if a mistake is made whereas shaping usually cannot. These methods of control all apply to making larger-scale forms and are designed for precision .. whether of line, smoothness or detail. When it comes to modelling on a smaller scale a lot less precision is needed .. one can often get away with good ‘suggestion’ rather than realistic depiction. Using materials you have collected from places you’ve visited gives paintings a direct connection with that place and with nature. padding:10px 10px 30px 30px;

We need to know what the human figure looks like and, just as importantly, what it looks like at 1:25 scale. Super Sculpey can be easily modelled up in layers, heated in between. You can be quite experimental with the way you apply the Polyfilla: there’s no right or wrong way. I prime my board with three layers of gesso, sanded between applications.

The Pebeo ‘Cerne Relief’ glass-painting outliner is a thicker medium and the small tube comes with a much finer nozzle, so very detailed effects are possible. Before one can begin modelling though, an armature is needed. The disadvantage of this method of ‘modelling flat on a template’ is that obviously it works better for forms which keep mainly to one plane, as with this figure ‘standing to attention’. The Origins of Artistic Expression – Part 1 ‘Things looking like other things’, The Origins of Artistic Expression – Part 2 ‘The making of marks’, Full course description and daily schedule, Technical drawing for theatre, film or television designers, Introduction and provisional daily schedule, Figure modelling reference images – caryatids, atlantes and ‘hemis’, ‘quick view’ comparisons of casting materials, Using plaster as a filler in polyurethane resin, Filling polyurethane resin with used tea/coffee, ‘quick view’ comparisons of mould materials, Creating surfaces with Kapa-line foamboard, Making relief patterning tools using Sculpey, Printing patterns for scale wallpaper, curtains and carpets, Pressing decoration into foam, shaping and wire-brushing, Template drawings for furniture model-making, ‘Beginner’s Basics’ – mouldmaking and casting explained, Making a simple 2-piece silicone block mould for a puppet head, Making a small mould for a four-legged animal figure and casting in resin, Making a supported silicone mould for a life-size head and casting in fibreglass, Making hollow casts in open or ‘closed’ moulds, Updated sources/prices of specific materials, Some of the principles of technical drawing simply illustrated – Part 1, Some of the principles of technical drawing simply illustrated – Part 2, Advice for anyone interested in beachcombing or mudlarking the Thames Foreshore, ‘Thames Foreshore Collection’ project log, Deptford: Upper Watergate Stairs, St George’s Stairs, Surrey Docks: Trinity Wharf (Surrey Docks Farm), Horn Stairs, Pageant Stairs, Rotherhithe: Globe Stairs to Pageant Stairs, ‘Faim de siècle’ multiple series 1997-2003, ‘Model-making Basics’ – modelling and shaping. The best way is to fix the larger template to the foam first and sand down to that using a right-angled sanding block (just like the fish). Again this is my term of convenience for the technique of ‘piping’ a liquid material onto a surface, as one might do when decorating a cake, to create the effect of relief decoration without the effort that more conventional modelling or carving would involve. your piece. Nevertheless it is worth knowing what the options are for a number of difficult forms, such as transparent globes or domes for example, because believe me unless you are a highly experienced maker there’s no easy way of making such things oneself. It is easy to model with, although when very soft I find it too sticky .. it gunges up finger-tips and is not ideal when impressing with texturing tools etc. c. 5-6mm) would most probably be ok, because the styrofoam would be partially insulated. Rather than modelling the form of an armchair or a sofa out of clay .. this is possible, especially for broken down old things which are any shape except ‘streamlined’,  but they can end up rather heavy .. More on this is included later when discussing model figures.



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