Tuesday, April 10, 2012

04 Modeling Nº 19

According to Pountney, the most logical place to start modeling the figure is the pelvis. That is because the pelvis is the part of the armature that is connected to the back iron armature support. I can move up and down from the pelvis because I can move the armature of the legs, rib cage and head to suit the pelvis, but not the pelvis to suit the head. That makes good sense.

The up and down measurements should be considered from the start, and the figure should be kept on the slim side, building up slowly to the correct size. Modelling is a process of building up, and if too much clay is added, early on, it will have to be cut down again, below size, then built up to the correct size.

DiValentin says these are some measurements that can be taken before starting to model: from the base to knees, from knees to crotch, from crotch to navel, from navel to the arch of the ribcage, to the pit of the neck, to the chin, and to the top of the head.

In the following I have sketched a couple of ideas for making small armatures for the hands. The cyan lines are about where I think the hip bones and the top of the thigh bones are. The pelvis is like a basin, and the hip bones are at the top and in front of that basin. The thigh bone has a ball that fits in a socket in the pelvis, and opposite that ball and socket, the thigh bone sticks out before it goes down. These boney places can be felt on a real human.

I still need to make hand armatures, and model the hands in oil-clay. The first stage of the hands will look like mittens, and they will not be very detailed. I am going to try and make the hands removable from the arm armature wires. That will make it easier to model the hands if I can hold them in my own hands and turn them all around while working on them.


Modelling A Figure In Clay.
Albert Pountney.
London: Alec Tiranti, 1951.

Sculpture For Beginners With Clay & Wax.
Maria and Louis DiValentin.
NY: Sterling Publishing Co., 1976.
ISBN: 0806950722

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