In this Fiber Clay Sculpting Class, you’ll learn to make a bird out of Fiber Clay, an easy to use medium that doesn’t have to be fired. I use only four shapes, a ball, snake, potato, and pancake, to teach you to create sculptures you’ll be amazed you built.
For plaster of paris, we use two parts plaster to one part water. We’ll just do it that way. Let’s just regular plastic. Regular plaster paris. You can get at a home Depo or a hardware store or a craft store. Two parts class, or one day. Part water, two parts plaster, one part water. By volume. Get it in the mold before it sets up too much.
“What we’re going to do is take one of the leaves and just place it on the clay. Actually, you know what, I’m going to place all of them right now. And I’m going to apply some pressure to the paper. No idea why, but lately my lifts have become kind of crunchy. I’m afraid that when I tried to take them off the clay, they might break now. I really hope it will happen. But, I know it might, so I’m going to apply, some pressure on the entire leaf and then I will just take them off the clay.”
We’re playing leap frog. So you have two friends and yourself, and you’re playing leapfrog where you jump over the people in front of you. Typically, you can only play with two people where you leap over, but we’re going to pretend like you’ve got really long legs. So I’m going to leap over these two and under this one. Okay. Now I like to teach with different explanations, different analogies, so that if you didn’t understand that you can understand a different way. So we’re going to play the train game. So we have a train here and this one is the engine. This middle one is the dining car, and this one is the caboose. So poor caboose always wants to be the big engine because the engine gets the most attention. So he’s going to jump over the dining car and that one in there he is. He’s now the engine.
I’m going to put a little bit glue down, trying to get it as flush to the face as you can. So what I mean by that is it’s not bubbling up off your face. You just want a really thin layer. This is where that nozzle comes in useful, and you take your nippers. Let’s see if I can get this up here to take your nippers, find your edge, and then just cut off some of that for. So with fur, so you don’t have to cut a ton. I cut a little bit more than I normally do. I usually cut about this much, just so I have a little bit to work with. If you have a straight edge, great. If you don’t cut a straight edge and you can feather it too, if any of you have done Cedar makeup or anything like that, what I mean by feathering is you’re going to put your thumb. You’re going to slide it back a little bit. So what it’s doing to the fur is it’s taking this top layer and it’s scooting it back, but the bottom layer is still on this finger. And so it’s staying forward. So now I have a little bit of variation in where my foot is going to end up. So it’s not a straight blunt line. It’s more feathered.
Anytime you put into your armature, it’s always going to pay you back in dividends by just making it so much easier. Taking the test scope. I know when I first started, sometimes it was recommended to just use skinny little wire with no padding or anything underneath it. And I think a lot of people had trouble with that method because the clay needs to have something to press against. Otherwise, if you’re just pushing into it, there’s nothing to stop that pushing. And it’s just going to keep going. So if it has something underneath it to press against, then it’s much easier to get the shapes that you want without having to push so hard in. And it just makes the doll a lot more customizable. So it’s not because it’s a small that it shouldn’t have an armature because it has a, another purpose. It does exactly control more.
To get started here, we’re going to just make a simple flour. And when you roll the clay out, it’s really important to always lift it first, before you start doing anything, because it’s so sticky that it’s going to want to stick to this plastic piece. And if you start cutting things out and you haven’t lifted the clay, they’re going to be stuck. So you want to always pull the clay away from the plastic. I’m just going to use a little, a little box top here to cut a circle, and I’m going to make a little flower shape out of this circle, going to actually do two. I’m going to take the top of, of a glue stick, which just happens to be about the right size for a smaller circle. It’s going to go inside. So there we have these two little pieces.
You don’t have to worry about air bubbles. You don’t have to worry about slipping score. All those things that you will know about. And another thing is we can fix anything. And so that’s one thing I really want to impress on you. And I’ll be talking about it throughout the class, because if you don’t like something, we can fix it. If something cracks, we can fix it. It’s not like regular clay when you’re scoping. And if it dries out, you’re done, you can’t eat. You don’t, you can’t use it anymore with regular clay. When you’re sculpting, after you get your piece done yet the hollow it all out and make sure that there’s air holes for the air to escape in your fire. Right? Because we’re not firing. We don’t have to worry about that. Plus even if you were firing it. So it’s nylon fibers are burning out, it’s leaving air holes for the air to escape in the piece and you don’t have to worry about hollowing it out or air air holes or whatever. It just fires up just fine. So, those are some of the things I love about this play, and we’ll talk about it more as I go on, because there’s so much more, that I can tell you.
One thing you should keep in mind when cutting your clay is that, your polymer clay cover should be just a little bit smaller than the actual, notebook. And that is for multiple reasons. The most important is that, on this side, on the left side of, to the spine, the notebook needs to stay uncovered so it can open properly, which is why I suggested to, spend some quality time with your notebook, play with it and, see how it works. See how it looks when it’s open and determine how much space it needs, next to the spine in order to be able to open properly. So you can actually write this side of it because I get as a point of a notebook to actually have something. I mean, to be able to, write or drawing side of it, preferably without damaging the cover. Right? Other than that, I’m also going to need some extra space on all the sides of the notebook. And that is because I like to add the upgraded a border. So basically my notebook, we have two border. One that will be placed inside of this polymer clay background that we are cutting right now and the other one will be placed outside of it. So this is why I need, enough space on all sides. Moreover, because we need to leave that, uncovered space, on the left side of the notebook, I guess it’s more aesthetically pleasing to have the same amount of free space on all sides. Learn more about the course here: https://www.curiousmondo.com/dragonfly-notebook-cover-course
I used two firing schedules. I used a slump schedule. And a slump schedule is hot enough to take a bottle from this to this. So that is, it’s hard enough to bend the glass based on gravity and heat. It’s going to get a little, a little squishy and gravity is going to pull it flat, But not hot enough to go all the way flat. So let me show you, this is a fuse schedule and this is the other one I use frequently. Okay. So that same bottle, that’s the difference between a slump and a fuse. And interestingly enough, that is only 150 degrees difference. So a lot of stuff is happening in that 150 degrees.
So you start with your elbows and this is the trickiest part because you’re first going all kinds of directions. You make sure to pin the elbow first because these parts lining up is the most important. They are not actually elbows. They look like elbows and that’s why I’m saying it. And you want to make sure both first your edges are right next to each other, and then I’m just working that fur down. So it’s not going to be in my seam. And just make sure when you’re pinning you pin on the same side. And now you can start working your way down the legs in the belly. I usually pin the belly next, just because it’s usually a little bit cleaner. You just make sure you’re first going down on this body part. I usually pan a little bit more than I need to just to make sure that they’re all gonna stay where they’re supposed to go when you’re sewing. So the reason I trimmed that one little piece is because I have a seam right here and that for that was showing is not going to be inside the scene. So I just wanted to trim it. So it’s out of my way.