Insider 4/8/2010 - Brian Dugas

Today we will pick up where yesterday's blog left off.

Here I attach the armature to the cork/base. Again, I do this for stability and to keep the feet from extending past the inside edge of the base. I’ve removed the lip from the base so it doesn’t interfere with my reach. Most sculptors attach their armatures directly to the cork, but because I’ve had some catastrophic results working that way I sculpt on top of the bases instead. It’s hard to say which might work better for you. .

After attachment I tweak the pose a little more. Some of the nuance of the pose has to wait until it’s attached so you have enough resistance to give the pose that final “oomph.”

The bulking process! Here is where you want to make a solid, stable form to strengthen the armature and lock the pose in place. Make sure you’re careful not to bend or kick out the pose while you’re applying putty. I tend to work in sections. I’ll get a ball of putty and cut it into quarters for both thighs and calves. Then I’ll get another ball and cut it in half to make the back, and so on. This will help keep symmetry, which is very important! Adding blobs of putty here and there is for veterans only. You want to have a final form that resembles a very thin person. You don’t want too much bulk. You want room for clothes, armor, muscles, etc. I leave the arms bare because you’ll probably be moving those around a little to get them out of the way while you work.

I haven’t mentioned what putty you should use, and everybody has their own preference. P3 modeling putty is an excellent place to start. As your skill progresses you can begin experimenting with different mixtures by combining various putty to find what works best for you, but for your first couple of attempts keeping it simple is key.

That’s all for this time!