Art Savvy Questions & Answers

SCULPTURE and SPECIALTY CLAYS

Q: What's the difference between stovepipe wire and aluminum armature wire? Can they both be used for sculpture?

A: Both can be used for sculpture.

Galvanized Soft Annealed Stovepipe Wire is made of softened steel with a chrome-colored coating of zinc to inhibit rusting. If used as an armature for plaster or other moisture-carrying materials it will probably not show rust for several years. Used in an uncovered wire sculpture, it will maintain the chrome finish for many years unless exposed to moisture.
Dark Annealed Stovepipe Wire is also softened steel but with only a coating of oil to inhibit rusting. The oil, though harmless, comes off on your hands when you work with the wire. This wire is best used for sculpture in which the wire is intended to show. If covered with anything moist, such as plaster, the rust would "bleed through."
Aluminum Wire is the best choice for armatures when using media containing water. Aluminum is resistant to oxidation/rusting and is easily shaped. It is also a soft metal and is easily formed.

Q: What product should you use to seal papier-mache?

A: Papier-mache does not necessarily need to be sealed. However, if you wish to seal it, there are many products that would work. Acrylic paints and acrylic varnishes/mediums will work as will our Sax Tempera, Watercolor and Multi-Media Varnishes. If you wish to seal a piece painted with tempera, apply Sax Tempera Varnish and make sure there is no water in the bristles of the brush you are using. This will ensure the tempera does not smear. Other products to consider using are Krylon Crystal Clear Glaze in brush-on or spray formulas and other spray finishes. (Sax carries several types of Krylon spray finishes.)

Q: How do sculpture materials differ from one another and how do I know which material is right for me?

A: Here is a list to get you started:

• Modeling Clay is oil or wax based and never dries out or hardens. It is usually non-toxic and easy to work with, softening with warmth.
• Air-Dry Clay like Das, Crayola Air Dry-Clay and Marblex dry when exposed to air. Air-dry clays can be kept moist and workable by sealing in an airtight container or bag. They handle somewhat like ceramic clay though they cannot be reconstituted. They can be painted with temperas but acrylics are recommended. Not food safe.
• Instant Papier-Maches including Celluclay and Claycrete are basically paper pulp with a binder. They are best used over an armature to strengthen and stabilize. They take a long time to dry, though drying time can be decreased by placing in a low temp oven with the door cracked open. They can be painted and /or sealed.
• Enhanced Papier-Maches including Sculptamold and Sax Ultra Mache are very stable products that contain paper, plasters and other hardeners. They can be used over armatures for larger pieces and can be modeled alone if the piece is kept compact. Detail work is difficult. They dry quickly. When they have set up, they can be sawed, carved, drilled and sanded. They also can be painted and/or sealed.
• Polymer Clays (Sculpey, Fimo, Premo) are non-hardening until baked in a conventional oven. They then become "plastic-like." Unused or unfinished pieces of clay should be kept in plastic bags. Care should be taken that polymer clays are not exposed to heat sources or they will begin to harden. They are available in a wide assortment of colors. Because of the cost, they are best used for small items such as jewelry. They are not food safe. Not recommended for use with younger children.
• Crayola Dough is like Play Dough. It comes in bright colors and is soft. It is meant to be reused. (Contains wheat gluten.)
• AMACO Super Dough is also soft and comes in bright colors. It can be reused or air dried to a rock hard state. Dry on a rack that allows air to circulate around the whole piece. (Contains wheat gluten.)
• Crayola Model Magic is unique. It is very soft and pliable right from the package. It is available in white and other colors. Air dries to a semi-hardened state that can be colored with watercolors, acrylics or markers. It is lightweight and dos not adhere to skin or most surfaces. Non-toxic. Not recommended for projects that require great detail. 4 ounces equals 1 pound of regular clay in volume.
• Paper-based clay dries very lightweight but very hard. It is easily worked. It is possible to do detail work with paper-based clay. It air-dries but the drying time can be hastened by putting it in a low-temperature oven with the door cracked open. Final projects can be painted and sealed. Acrylic paints work especially well on paper-based clay. Sax Paper Based Clay, Creative Paperclay, and Pearl Paperclay are available in our Full-line catalog.
• Craft Porcelain is especially suitable for finely detailed pieces. Air dries in 24 hours and can be left white or painted.

Q: How can my students soften polymer clay?

A: Polymer clay softens with warmth and/or with a small amount of lubricant. Have your students put their clay in a plastic bag and place it under their arm or have them sit on it for several minutes. Their body heat will warm the clay to a workable state. (Placing the clay on a heating pad or under intense light from a light bulb is not recommended as the clay may begin to "bake", becoming hard and impossible to work with. Once it is baked it can not be reconstituted.) To lubricate the clay, have your students put a small amount of hand lotion or mineral oil on their hands and work it into the clay.

Q: How can I remove residual polymer clay from work surfaces or plastic rolling pins?

A: Use a small amount or rubbing alcohol on a paper towel and wipe the work area or rolling pin with it. This also removes clay that has been overworked and over-softened from hands. Note: Unless you have tiles that the students can work their clay on, you should cover the work area table with wax paper. Polymer clay has a plastisizer that can eat through other plastics. Store polymer clay wrapped in a piece of wax paper inside a plastic bag. Always wash your hands after using polymer clay.

Q: How can I create very large sculptures with a limited budget?

A: There are three crucial elements when creating large sculptural works: found or created hollow objects, something to hold them all together, and paint. The last and most important ingredient in your sizeable masterwork is a proportionately ample imagination. Working on a large sculpture is a fantastic way to foster teamwork. Work with other classrooms to create a theme piece that could be proudly displayed in the school library. How impressive would a flying dragon be in the school entrance?

Large sculptures are easily made if formed over an underlying structure. That structure is called an armature-the skeleton of your sculpture. Use lightweight items that are hollow to construct the armature. Some suggestions for armature materials are balloons, a wooden frame and/or wire netting. Found objects like cardboard boxes or tubes and large plastic soda bottles also work well. A sculpture with a mostly hollow armature takes less materials to create and is lightweight and portable.

The larger the piece, the stronger the armature must be. The armature elements need to be sturdy and firmly attached to each other. If not, the finished piece will bend and the whole project will be a lesson in frustration. For very lightweight items, masking tape and a tacky glue will work. Galvanized stovepipe wire is a good way to join oddly shaped materials. Just twist the wire and then wrap. A hot glue gun works wonderfully for attaching objects quickly. Hot glue works well on most surfaces. If working with balloons, use a low-temp glue gun. Some materials can be nailed or tack-stapled.

Newspaper and papier-mache paste, such as School Smart Art Paste or Wheat Paste, make an excellent lightweight covering for the armature. Cut the paper into manageable strips on a paper cutter. Mix the Art Paste or Wheat Paste according to the package directions. Dip the paper into the mixture, strip off the excess between your index and middle fingers and apply the paper to the armature. Do no more than 2 layers at a time. Allow layers to dry before proceeding to the next. When the "skin" you have created is firm and dry to the touch, you may begin painting.

Acrylic is the ideal choice for painting because it allows for flexibility. Acrylic will not flake off and will add a semi-waterproof finish. For added durability, coat the entire piece with a polymer medium or Sax Multimedia Varnish. Keep in mind the final destination of the piece. Outdoor sculptures would need many layers of outdoor sealant from a hardware store to withstand the elements. (Ideally, papier-mache sculptures would stay indoors.)