Crazy Critter Creatures Cute collectable sculputures and sculpting advice, tuts and tips

so everyone has been loving the tips post of my blog and searching it out…so i thought a great idea would be to make a tips repository for all my tricks and ideas for sculpting and creating so here it is. i have added the original tips post to this page as well as i have updated this page with even more helpful tips. enjoy!!

hi everyone!!!! well today i have some sculpting tips. these apply to anything you would choose to sculpt using polymer clay and are very general. the best part of sculpting with this clay(in my opinion) is that it is so versatile and fun to experiment with, it is virtually filled with endless possibilities!!!!

• keep a wet washcloth or wet wipes (baby wipes) on hand to keep you hands clean while sculpting. any little piece of dirt of pet hair (pug hair seems to always be flying around here) that your hands pick up will stick to your sculpture.

• get a lazy susan, it’s a simple thing but being able to turn your sculpture easily is really helpful.

• mirrors are awesome. no, you don’t have to look at yourself in them, but it is a  great way to tell if you have something lopsided by looking at it reversed in a mirror, it really brings out any problems.

• smooth out your polymer clay using isopropyl alcohol, us chemists refer to it as IPA, see this blog is also scientifically relevant, i am one awesome multitasker…giving sculpting tips and teaching chemistry hehehehe j/k. 90% will smooth more aggressively than 70%. i keep both on hand to use depending on what i need.

• get a pasta machine. they are the perfect tool for mixing clay and of course rolling out sheets of clay. mixing clay by hand takes forever and leaves your hands too sore and tired to actually be able to sculpt.

• i make heads, bodies, arms, legs, and tails seperately and allow them to rest for a minimum of a half hour before attaching to the body
• use a moist finger to rub out finger prints and blend seams before baking, if you plan to attach nonbaked clay with baked clay; however if you will not be adding any additional clay after baking then use ipa to remove seams, finger prints and smooth. i like to use this method for most of my work, i think i get a smoother final product as opposed to the water method. remember if attaching unbaked and baked clay do not put alcohol on it because it will break down the bond between the two.
• in addition to using the ipa  to create a smooth finish, coating the sculpture before baking will also help acrylic paint adhere
• if you desire an ultra  smooth finish after baking, scrub sculpture with hot water and a fiber scrubbie pad. be careful around fingers, toes etc. if you will be painting after scrubbing the sculpture allow it to dry, then paint it with a coat of alcohol and allow to dry before painting for the best paint adhesion.
• for clay that is too soft leach of wick it. roll out thin sheets of clay (1/8 in thick) using a pasta machine or non-stick rolling pin and sandwich between white untreated typing paper and place a book on top of them. allow them to sit for 2-3 days,  then check consistency…if still to soft change papers and allow to sit for a few more days. keep checking until achieve desired texture.
  
• polyester fiber fill makes an excellent support for delicate pieces while baking and it does not leave impressions on the clay.
  
• using a deep pyrex dish during baking helps avoid scorching clay while baking

common painting techniques: three painting techniques, dry brush, wash, and detail, will heighten the beauty you’ve created with shape and texture. each technique has a special effect on the clay.by using them prudently, your sculptures will come alive.

• dry brush: means just that, painting with dry bristles barely dipped in paint. wiping the brush on a paper towel dries the bristles even more. brush strokes should be light, grazing only the surface of a sculpture to enhance textural details, letting no paint to flow into crevices. dry brushing softens the texture of fur or feathers because the brush only leaves a gentle dusting of pigment.

• wash: a wash is a thin, transparent coat of paint that stains the dry brush coat and flows into the crevices, slightly darkening both. the underlying color of the clay and the effects of the dry brush coat will shine through, creating depth.

• detail painting: means using a small brush and paying attention to small things. if the dry brush and wash coats have covered the eyes, use the small brush to paint them black again. creating markings specific to an animal, such as the spots on the fawn’s back, are details more easily done with a small brush. use it for final dry brushing if a figure or area is small. special washes in small areas, such as the ears, nose and mouth, are another job for the small brush. varnish on the eyes, mouth, and sometimes on the nose, is another reason for detail painting.