Created for Best of Artists and Artisans Website.
By Bridgette Mongeon © 2009

When apprentices enter the studio it’s not long before they gravitate to my bookshelves searching for resources on further education, or books that will inspire. I am quick to pull a couple of favorite sculpture books from my bookshelf and comment, “You must look at this book,” or “Every sculptor should have this on their shelf.” Though I never have enough art books and am always open to reviewing new books, I thought I would take some time to share with you a few of my favorites, those that I share with my students and apprentices.  

Modeling and Sculpting the Human Figure by Edouard Lanteri
Amazon $10.17

It is my opinion that no sculpture studio should be without Modeling and Sculpting the Human Figure by Edouard Lanteri. The author, Edouard Lanteri was a British sculptor 1848-1917. “The book is a gold mine of technical information, the kind of reference work that should be a lifelong studio companion to the figure sculptor,” as described in the introduction by sculptor, Nathon Cabot Hale.  The first of the Lanteri volumes was printed in 1911, my copy is a reprint with a copyright notice of 1965. 

Using this book as a study guide will offer the sculpting student a wealth of information that would only be attained in many years of study. Modeling and Sculpting the Human Figure covers portrait busts, full figures, measurements, building of armatures, scales and proportions, poses, and much more.  I have especially appreciated the section on draping cloth.  We all know that muslin, velvet and silk look different, but how does a sculptor portray the material in clay?  No beginning sculpting student or established studio should be without this book.

Modeling and Sculpting Animals by Eduard Lanteri
Amazon $11.65

Accompanying Lanteri’s book on Modeling and Sculpting the Human Figure is another book that was an original part of the 1911 edition—Modeling and Sculpting Animals. This book, with a forward written by friend and fellow sculptor Augusta Rodin covers what is in the Modeling and Sculpting the Human figure but in association with animals.  Comparative measurements, construction, anatomy, armatures, and much more are featured with a bull, lion and horse as the subjects. Modeling and Sculpting the Human Animals is another book that should be on every sculptor’s shelf.

Modeling the figure in Clay by Brunno Luchessi
Amazon $14.93

For another self-taught study on the human form, a book that can’t be beat is Bruno Lucchesi’s Modeling the figure in Clay.  In this book master sculptor Bruno Luchessi takes the artist through the entire process of creating a human form from skeleton to skin. Building the sculpture on a wire armature with bones, and then adding on the muscles and skin.  I have often thought that this type of book and training would be of considerable importance to massage therapists as well.  What better way to learn the anatomy and muscles of a client then to create the form from inside out in clay.    A student wanting to hone their skills in artist anatomy would find this book a valuable resource.

From Clay to Bronze by Tuck Langland
Amazon $21.45

For those sculptors who are working toward casting their artwork in bronze, and who may want to understand the process of bronze casting, Tuck Langland’s book From Clay to Bronze is another essential reference book for every sculptor’s bookshelf. Tuck takes us through every portion of bronze casting and even includes a section on the history of bronze casting.  The idea that bronze casting has changed so little over such a long period of time, never ceases to amaze me.

Though Tuck does designate some chapters to such things as materials, armatures and modeling, most of the book focuses on the process of reproduction. In-depth segments on making molds, casting, and even using other materials besides bronze for casting your artwork are covered.  Then Tuck takes the reader through the entire bronze process of waxes, investment, burning out, chasing, and even patinas and mounting.  I especially appreciate the color pages on the process of creating patinas.  Coloring a bronze using chemicals is called patination and is a true art in itself.  With a copyright of 1999 you know that the resources that Tuck lists are problaby still available and his suggestions of further reading are a way to continue your sculpture library.

For the small investment of $60.00 from Amazon (this could be less if you are buying used books), and the commitment of time and study of these materials, a beginning sculptor could, upon completion know that their study was at the same level as working under a master in a four year university. The only thing missing is the feedback from the master. 

Created for Best of Artists and Artisans web site
By Bridgette Mongeon © 2009

Camille Allen from British Columbia, Canada loves babies. She learned the art of making dolls from her husband’s grandmother, Clara Allen. Though her dolls are life-like, they certainly aren’t life-size. Instead, they are miniature babies created in clay.

Her first creation was so small she found it would fit inside an egg and now she has a line of “Egg Babies.”  She says, “I think the fragile newborn baby is complimented by the egg shell, reminding us of how fragile new life is and how gently they must be treated and cared for.”

Later she put one of her miniature babies in a sea shell. “The shapes of and textures of different seashells either echo the soft curves of babies, or they provide an interesting contrast to emphasize them. Some “Shell Babies” have pearls in their navels or are holding a pearl, like two little treasures found in one shell,” states Camille.

The miniatures babies are made of polymer clay. Camille explains, “It is soft, but it can hold the tiniest detail, even fingerprints. Once I have completed a sculpture, I then fire the clay with heat to harden it. Sometimes the babies are cast into a mold and made into other materials like Resin or Porcelain or Silicone.”

Camille does not take commissions, instead shesculpts limited edition or one of a kind miniature babies that come from her heart instead of a photo. She has sold to people all over the world, and has even had her babies featured on the Montel Williams television show.

Some babies are available for sale on her website: www.camilleallen.com. All babies vary in price, but here is a rough estimate of the price ranges: Resin Limited or Large Edition Babies: $99 – $400. One of a kind: $1500 – $4000+ (US dollars). She is expanding to different lines of babies that will be available in more price ranges. She also has an email list for anyone who would like to see photos of new babies as they are created.

I asked Camille for some tips on sculpting as well as more about the process.

“Starting from a lump of clay, and tiny tools including toothpicks, sculpting a life-size or miniature baby begins.  It takes many, many hours of patient concentration to form a realistic baby and finish with fine details – including wrinkles and fingernails. The babies have soft English mohair to imitate fine baby hair and are blushed with paints for realism to enhance their tiny wrinkles and creases. 

A life-size baby takes me months to complete. Miniature babies take several days to several weeks, depending on how complex the sculpture is. It depends on how patient I am feeling, and how long I can concentrate at a time. Sometimes my eyes get tired sculpting in miniature, so I take many breaks. It is very time-consuming work.

I work with “Prosculpt” almost exclusively now. It has a good consistency and blends well. I try not to overwork the clay’s “skin,” trying to push the masses instead of dragging the skin layer very much. This helps keep a nice smooth outer layer. I use a 3 in 1 tool from www.artdolls.com for almost everything, except the baby’s nostrils, which require a toothpick or a needle if the baby is very tiny.

Troubleshooting babies faces: If the baby looks “old man-ish” the eyes are too high up in the face, also probably the upper lip is too long. If it looks like an alien, the eyes are probably too far apart, or too big. If it looks like an animal/dinosaur – like it has a muzzle/snout – then the nose/under the nose area is too big or protruding.

That is the process in a nutshell or should we say an eggshell or seashell.  Her work touches the heart and fascinates the eyes while evoking an element of awe.