For­est Rogers

ImagineFX - - Imagine Nation -

From con­cept to com­ple­tion: the US artist on how she sculpts

1 Pro­duce ini­tial sketches

I like to go to a cof­fee shop in the morn­ing and scrib­ble out de­signs on an 11x14in pad of heavy trac­ing paper or draft­ing vel­lum. You can make quick over­lays on translu­cent paper, and it has a re­laxed feel­ing to it. It en­cour­ages lots of fast sketch­ing, rather than one more ‘se­ri­ous’ draw­ing.

2 Move into 3D

From scrib­ble I go to ar­ma­ture, which I think of as a 3D scrib­ble, giv­ing core di­rec­tion, mo­tion and com­po­si­tion. I use alu­minium ar­ma­ture wire – some­times with brass rods and tubes if the piece needs to be cre­ated in sec­tions. I may fill out the ar­ma­ture with hot-glue and alu­minium foil, to keep it light and to en­sure my clays have a rea­son­ably strong thick­ness.

3 Build up the sculp­ture

If the piece is in poly­mer, I’ll mix coloured clay; I get a jump­start on the fi­nal colour that way. I might paint the poly­mer with Gen­e­sis Heat Set Oil Paints: these bond well to poly clays. Or, if I want to use reg­u­lar acrylics on cured poly­mer clay, I may mix some Golden GAC 200 medium into the paint. That helps it to ad­here. The GAC 200 makes the paint glossy, but once a good coat is down, it’s much eas­ier to lay a matte var­nish over it, such as Win­sor & New­ton’s matte UV acrylic var­nish.

4 Cast­ing con­sid­er­a­tions

If you're plan­ning to cast your piece then be aware that Kato Poly­clay ap­pears to pre­vent the sur­face of plat­inum-based mould sil­i­cones from set­ting up prop­erly. It seems to do fine with tin-based mould ma­te­ri­als. I’ve found that test­ing is al­ways a good idea!

Colorado-based For­est stud­ied stage de­sign at univer­sity, be­fore de­vel­op­ing her free­lance sculpt­ing ca­reer.

www.fore­strogers.com

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