Confederate Mini Bust in Zbrush

 Here's the start of a small project in Zbrush. I'm still blocking in things, so it'll be a bit before he's done. I'm also painting new things so there's going to be a bit of back and forth for a while.

I'm back...finally

  It's almost, no it is, embarrassing seeing how much time has passed since I last posted anything. It might not be because I have not finished anything since then. I have sculpted newer work; it just never made it to this blog. I've also since painted a few things which for me is a rarity. This past weekend was the Artist Preservation Group's (APG) miniature exhibit hosted by Gettysburg National Military Park. A number of painters came together to display a number of Civil War-themed military miniatures and models. If there were not 200 pieces, there it was close. I was able to complete three pieces and spruce up another two older works for the display. It was a token contribution compared to those with 10+ pieces. The Artist Preservation typically will center its events around sponsoring a project, which more often than not is the restoration of an item of historical significance. The APG is no stranger to restoring a sword, painting, or in this case, the flag of the 2nd North Carolina captured at the Battle of Gettysburg. Here are a few photos from the event.

Painted Irish Brigade Relief Sculpture

I was pleasantly surprised to receive an Email from Bernd Rummelein of Germany. Enclosed was a photograph of the Irish Brigade relief I sculpted for the Artist Preservation Group a few years back. It's really rewarding to see people not only buy your work but paint it as well. Thank you Bernd.

 

 

 



One for the road Part 3

 

 

 

Figures 14 to 19   Show the relief's progress through to completion. Resin copies of this relief are available from The Artist Preservation Group. Enquire about copies by going to the following link.

http://www.artistpreservationgroup.com/APG-Store.html

 

 

One for the road part 2

 

Figure 7   I then placed a sewing needle into a pin vise and proceeded to transfer the subject by poking holes through the major elements that make up the painting. This method gives me the most accurate representation of what it is I am copying.

 

 

Figure 8   I then remove the Wax or Parchment Paper after tracing the entire image by poking through the paper with the needle held by a pin vice.

 

Figure 9     I then go about removing the Sculpey that is outside of the figure. I mostly concentrate on the larger areas surrounding the arms, legs, and parts of the body.

 

Figures 10 & 11   These photos show the progression of sculpting the face and tricorn hat of the subject. I'm always mindful to keep the areas of the subject closer to me thicker and those parts that are way from the viewer thinner. This helps add to the three dimensional effect.

 

Figures 12 & 13   Shows further development of the relief.

 

  

 

 

One for the road

One last post to close out 2015. This relief sculpture is based on a figure study of a Continental Staff Officer by Historical artist Keith Rocco. I have to thank Keith for allowing me to use his painting for the subject of my latest donation to the Artist Preservation Group.

 

 

 

 

The following photos illustrate how I approach sculpting a relief with emphasis placed on how I start such a project.

 

 

 





Figure 1 & 2  I first take a piece of floor tile that will accommodate the size of sculpture I plan to make. The tile is given a very light coat of Vaseline so the sculpture will easily separate from it once it's completed. Two pieces of wood or plastic strip stock is then placed on either side of the tile. It's important that the height of the stock allows it to sit above the surface of the tile. This will be used to determine the thickness of the relief.

 

 

 

Figures 3 & 4   A large piece of Sculpey was rolled out and then press down onto the tile. A piece of Baking Parchment or Wax Paper is then placed over this. A second piece of tile is pressed down onto the Sculpey positioned on the tile underneath. The strip stock on either side will ensure that the Sculpey is flattened to a uniform thickness. The Parchment or Wax Paper prevents the Sculpey from sticking to it.

 

 

 

 

 

 

Figures 5 & 6   I then peel the Parchment or Wax Paper off and replace it with a black and white print out of the subject. Keep the strip stock in place as the black and white image is then pressed down onto the Sculpey so it adheres to it to allow transfer of the image to the Sculpey.

 





 



Recent relief sculpture

Giving some attention to this blog is long overdue. With the exception of the odd figure or bust recent sculpting projects have all been miniature relief sculptures. Most of my relief sculptures have been donations for the Artist Preservation Group. These funds help continue the mission of the APG by providing funds for the purchase of historical property or the restoration/ conservation of historic artifacts and documents. I am currently sculpting a relief of Principal Musician George Williams of the 146th NY Volunteer Infantry. At the time of the Battle of the Wilderness Williams would be serving as Color Sergeant. He would be wounded in that battle and later paroled. Resin copies will be available in August, just in time for the APG show in Fredericksburg, Virginia.

 

 

 

 I'm still roughing out the main forms and applying some finish to others. The head/ face is going to need a bit of tweaking to get a better likeness of Williams.

 

The major forms are mostly blocked in. Some of the final details will be added before and after baking. The rest of the Drum Major's baton/ mace will be added after baking. After the major forms are complete all that remains are the details on the uniform.

 

 

                                      

 

The completed relief