See the full process
The pose is determined. The model, Tony, is placed as the artist would have gravity effect his body. A vertical sculpture requires a vertical pose. The selection of the model and pose is arguably the most creative and artistic part of the process.
Ordinary eyebrow pencil serves as a guide for the artist in determining where the mold starts and stops. These lines happen to transfer onto the alginate!
Cold water is sprayed on the model. It a) puts him on alert that the process is about to begin, b) lowers the skin’s surface temperature, slowing gel time, and c) minimizes the formation of bubbles between the alginate and the skin.
Philip Hitchcock mixes the alginate. He uses a 6-8 minute formula.
Alginate is applied directly to the model, who remains focused on his pose.
Hitchcock covers the mouth last.
An even coat of alginate covers Tony’s torso and lower face.
Cotton is pressed into alginate. Since nothing sticks to alginate, a mechanical bond is required between the alginate and the plaster gauze mother mold.
The cotton is left in place until the alginate thoroughly gels.
At this point, all the excess cotton is removed, leaving only a fuzzy nap, just enough to catch the plaster gauze.
Plaster gauze is applied
Ridges in the gauze create greater structural integrity for the mold.
The plaster sets.
The mold is carefully removed from the model.
Model and artist show off the mold.
An illusion of reverse 3-dimensionality is created. The negative mold appears to be in positive!
Ultracal-30, a US Gypsum cement product is layered into the mold.
Hemp is used to reinforce the second layer of Ultracal.
The hemp and Ultracal mix is carefully applied. Upon set, a third layer of Ultracal is applied.
The mold is broken away from the sculpture. The mold is used only once.
The artist continue to de-mold
Hitchcock displays the “raw pull.”
Tony poses with his matrix.
These are the raw materials that will become the sculpture base and pedestal.
All hardware has been aged and oxidized using a reactive acid.
The “boxes” are glued, nailed and assembled.
A worn look is created on the pedestal by beating and scratching the wood with hammers and files.
The box base, by contrast will be smooth. Here it is shown in primer gray.
The first layer of black paint is applied at the edges before a dark stain and resin mix is applied. The effect will look like a worn, old trunk.
The pieces are placed to check fit. Hardware is attached.
The hardware receives some final “antiquing!”
Mounts are sculpted on the back of the trimmed and refined sculpture. Imperfections have been re-sculpted.
The first layers of metallic paint are applied.
Additional colors of metallic coppers and bronzes are sponged onto the sculpture.
35- Color details are added.
Color details are added.
A wash of “Liver” and “Verde” is applied. Highlights are pulled back out with dry brushing.
Nine colors are used in this finish. 3 coats of satin varnish seal the deal.
The finished statue of “Tony.”
The finished statue of “Tony” detail.