Table Of ContentThe
Technique
of
W
John
Mill
*
This completely revised and upd
ofthe classic THE TECHNIQUE S 1 5.95
SCULPTUREcask most
technical advances in tfw field. Wh/*r pf^
depth coverage is given to traditional
techniques, thetext now also includes
methods and materials used by contemporary
sculptors. The photographs showtechnical
processes and methods ofworking by such
present-day masters as Pablo Picasso, Henry
Moore, Alberto Giacometti, Reg Butler and
Barbara Hepworth. Ofgreat instructional
value, these illustrations and diagrams
provide all thetechnical information
necessaryto the student or practicing
sculptor.
Individual chapters are broken down
according to the various materials used bythe
sculptorand thetools required to sculpt in
each medium. Afteran introductory chapter
on sculpture as an art form, the authorcovers
thefollowing importanttopics: stone; wood;
clay; terracotta; firing; casting-molding
techniques, filling methodsand materials,
and foundry methods, welding and brazing;
constructions; armatures; direct media;
finishes; and presentation. Theclearand
concisetext isfurtherenhanced by a
comprehensiveglossary ofterms, a list of
suppliers oftoolsand materials, and a
recommended reading list.
John Mills is a Senior Lecturer in Three
Dimensional Studies at the Hertfordsmith
College ofArt and Design. He has held
variousteaching posts including that of
visiting Associate Professor at Eastern
Michigan University. His works have been
widely exhibited in the United States, Great
Britain and Canada.
1 60 pages 7^" x 1 0". 1 55 black and white
illustrations. Bibliography. Suppliers List.
Index.
WATSON-GUPTILL PUBLICATIONS
PhotographbyErro/Jackson
THE TECHNIQUE OF SCULPTURE
The
Technique
JOHN
W. MILLS
New
Watson-Guptill Publications York
/
of
Sculpture
\
SAUSALITO PUBLIC LIBRARY
Titlepage
'Two Piece Reclining Figure' by Henry Moore in bronze
showing the texture ofthe tools used on theplaster
original The TaleGallery, London
Firstpublishedin the United Statesin 1976 by
Watson-Guptill Publications, a division ofBillboard
Publications, Inc., One AstorPlaza, New York,
New York 10036.
Copyright ©1976byJohn W. Mills
Firstpublishedin 1976in GreatBritain
All rights reserved. Nopartofthispublication maybe
—
reproducedorusedinanyform orbyany means graphic,
electronic, ormechanical, including photocopying,
recording, taping, orinformation storageand retrieval
—
systems without writtenpermission ofthepublisher.
Manufacturedin GreatBritain
Library ofCongress Cataloging inPublicationData
Mills,John W.
The technique ofsculpture.
Bibliography: p.
Includesindex.
—
1. Sculpture Technique. I. Title.
NB1170.M53 1976 731.4 75-19461
ISBN o 8230 5210 9
1
Contents
Acknowledgment 6 Constructions 131
Introduction 7 Armatures 135
Sculpture 9 Armatures for brittle materials, plaster of
Sculpture relief 15 paris, concrete and resins 139
The materials ofsculpture 18 Direct media 140
The studio 24 Finishes 146
The maquette 26 Fake metal patinas for plaster ofparis
Stone 32 and concrete 15
Practical points 36 Miscellaneous thoughts on
Wood
47 patination 155
Treatment ofwood 5i Presentation 156
Clay 53 Glossary ofterms 159
Terracotta 63 Suppliers oftools and materials 161
Firing 66 Some recommended books 162
Casting: moulding techniques 68 Index 163
To make a mould with brass fencing 73
1Master bandage mould from life 77
Flexible mould using gelatine or
vina mould 77
Wax moulds 82
Casting: filling methods and materials 83
Plaster ofparis 83
Cements 86
Polyester resins 93
Waxes
97
Parting agents 100
Casting foundry methods 102
:
Sand moulding no
Melting metals, furnace and
equipment 122
Welding and brazing 124
Equipment 124
Acknowledgment
I would like to acknowledge my debt to all those persons who so far
have afforded me every help and encouragement.
My motherforhertaithin my choiceofcareerand my wifewhogives
me now both the criticism and devotion necessary to me and to my
work. The teachers and tutors who taught me so much, so well, I am
greatly indebted to; particularly Keith Godwin, Jack Matthews,
Robert Carruthers, and Mr Davies, casting instructor at the RCA
Sculpture School, who taught me in passing so much about sculpture.
ToHenry Mooreevery English sculptorowesa great deal, forblazing
such a trail and setting such a high standard; I would like to
acknowledge this, and his generosity and hospitality to me when I
visited him at his studios, armed with a camera.
The debt to history and to museums, for what we can learn in them is
obvious too, and I am grateful for their very existence.
Theartistsand collectors who have allowed me to use pictures oftheir
sculptures, and the photographerswho supplied mewith thenecessary
M
prints, I would like to thank. For Thelma Nye ofBatsford, whose
gentle guidance in putting this book together in the form from which
a printer can work, I have nothing but admiration. I hope that this
bookwill prove,insomesmall way, theworthofthetimespenton me
by those who taught and encouraged me, and will in turn be
encouraging and useful to others.
JWM
Digswell House 1965
Sincethisbook wasfirstpublished I havehad thepleasureofextending
my learning of sculptural techniques through discussion with other
sculptors, and with industrial craftsmen, particularly foundrymen.
My
experiences in the United States working withJohn Pappas and
lay Yager at EMU, Michigan have resulted in a greater involvement
in bronze casting, experience which I am pleased to pass on to my
students, and to my readers.
My position at The Hertfordshire College of Art and Design, has
allowed me a degree of research time, and I am grateful for this
continued encouragement.
JWM
Hinxworth Place 1975
7
Introduction
( )ne must have ii consummate sense oj technique to hide what one knows
Rodin 850-191
1
The sculptor must at all times be free to manifest his ideas. To be able
to do this his understanding ot the means available to him should beas
great as possible, otherwise the inevitable compromise between idea
and material will be of the wrong proportion, and in consequence,
what may be a good idea, is inhibited by a poor sense oftechnique,
resulting in a poor image.
Studentsshould make themselves conversant with many processesand
techniques to be confident that the image finally realised allows the
idea maximum impact and is in the material best suited to it. It should
be stressed that methods and materials should be taught and sought
after as early as possible in training, and this knowledge absorbed in
order to avoid the danger of the means becoming more important
—
than the idea becoming in fact a kind ofreligion. That the technique
:s the means to the end cannot be too greatly emphasised. The means
should be so understood that the end is a hundred per cent the
sculptor's intention.
Accumulative technical thought should not be the sole province of
industry and science, but oftheartist, too. The confidence that greater
understanding of the craft of any art gives is such that absolute
freedom andcommandenables the progressand maturing ofideas and
images to develop without compromise. Also with such deep
knowledge oftechnical means, the possibility oftranscending known
techniques is greater. Thus the rules are broken, and the means and
range ofexpression ofsculpture are extended.
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