The clay sculpture is an indispensable step in sculpture:

First, the preparation of mud will first remove the impurities directly from the underground mud, use wood rafts, wooden sticks to knock the raft for manual smelting, and conditional mashing machine can be used. Too wet mud should be placed in a ventilated place indoors to allow the soil to dry to a suitable humidity. Too dry mud should be smashed in a container, placed in a container, immersed in an appropriate amount of water, and then smelted.

Finally, it is better to make the soil soft and hard and not sticky. The processed mud should be placed in the tank or other utensils, covered with a damp cloth or plastic cloth to maintain a certain humidity, and spare. Or buy the sculpture red mud directly.

The large clay production process

The large clay production process

Second, small sample production

1) The sculpture is based on the design drawings confirmed by the owner to make a sample model of less than 1 meter.

2) On the premise of respecting the manuscript, the production of the sample is re-created from the three-dimensional structure and artistic shape on the basis of the comprehensive effect of the main body, the feasibility of the processing, the rationality of the structure, and the artistry of the craft.

Third, the internal skeleton of the skeleton is commonly used wood, wood, wire, steel, nails and so on. The skeleton of clay sculpture plays the role of support and connection like the human skeleton. It is the basic condition of clay sculpture and cannot be ignored. Pay attention to the skeleton:

<1> The skeleton should be firm to ensure the stability of the clay, not tilted after the mud, and does not collapse.

<2> After the mud is piled up, it should not be muddy or exposed.

<3> To reflect the general shape of the sculpture.

<4> The skeleton to be taken is simple, easy to change and disassembled during molding.

4. After the large mud and skeleton of the large mud pile are prepared, the mud can be applied. First, spray water on the skeleton so that the mud and the skeleton can be firmly combined and not easy to fall. When you are on the mud, pile the mud on the skeleton one by one, press it tightly by the hand, and shoot it, then add the mud layer by layer, and stick the mud with the raft or the mud board. When you are in the mud, you should focus on the big picture, start from the whole, avoid shrinking your hands and feet, and fall into the shaping of local details.

The sculpture is a three-dimensional entity. Each piece of mud must take care of the relationship between the various perspectives. It is necessary to turn the sculpture table frequently and continue to observe and compare. Don’t pile up the mud at once, just stack up the big shape.

Fifth, in-depth shaping on the basis of the large form and proportion is accurate, you can enter the stage of deep shaping.

With the deepening of the local and detailed parts, the volume of the clay sculpture is gradually in place. Do local parts often with the whole, so that the parts are subject to the whole. In the process of in-depth shaping, we must constantly adjust and grasp the relationship between the whole and the part, deal with the relationship between the local and the detailed, and also repeatedly think about it, and always grasp the principle of “whole-part-to-integration”.

As long as the overall grasp is accurate, the local can be done correctly, and the local is accurate, and the whole is more complete. Often concentrated in the deep description of the local, often on a surface to shape the time for too long and forgot to turn the sculpture table, so the more carefully done, the easier the volume is flattened.

Therefore, we must pay attention to always maintain the overall observation and shaping. In addition, pay attention to the symmetrical relationship, you can draw the centerline on the clay to check, compare and correct.