Green Man sculpture

For years, my father has been asking me to make him a Green Man sculpture to hang on the eaves of his house. I've done some sculpting, but not a ton, but every time I do I thoroughly enjoy it.

This year for Christmas, I finally had a chance to create one.

If you're not familiar with a Green Man sculpture, I'll let wikipedia do the explaining:

A Green Man is a sculpture, drawing, or other representation of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament, Green Men are frequently found on carvings in churches and other buildings (both secular and ecclesiastical). "The Green Man" is also a popular name for English public houses and various interpretations of the name appear on inn signs, which sometimes show a full figure rather than just the head.

The Green Man motif has many variations. Found in many cultures around the world, the Green Man is often related to natural vegetative deities springing up in different cultures throughout the ages. Primarily it is interpreted as a symbol of rebirth, or "renaissance", representing the cycle of growth each spring. Some^[1] [2] speculate that the mythology of the Green Man developed independently in the traditions of separate ancient cultures and evolved into the wide variety of examples found throughout history.

I was unfortunately out of good clay, so I scoured the local craft stores and was able to track down some Sculpey. I tend to prefer Super Sculpey 2, as it is much more resilient, firmer and easier to smooth and shape, whereas this worked much more like traditional tera cotta clay.

I have a lot of tools I use when I sculpt, but my favorites are a simple roller for preparing the clay and a handful of metal tools and scrapers I received by asking a dentist if they had any old tools they couldn't use any more. He responded by giving me a paper bag full of them, and they're amazing.

 

With the tools in hand, I got out a piece of laminated wood and started shaping out the basics. I had spent a day or two prior sketching out various designs and researching them, and had arrived at one I wanted to go with, so at this point it was just a matter of roughing out the general form to get started.

I kept working on the eyes and brows while shaping the moustache and chin into more leaf-like forms, adding the rest of the beard as well.

Getting the overall shape, at this stage, is far more important than worrying about the finished look. With clay this pliable it is easy to take away shapes or rip them out and start all over.

Next I shaped out the general form for the crown.

Now that the overall form was in place, I added the rest of the details and began smoothing and shaping the details, creating more realistic cheekbones and creating the stylized layering I wanted to achieve, most noticeable here in the moustache. Creating these broad, flat areas overlapping helped create a more stylized look and allow the form to be much more readable from a distance, as it would be hung up at least fifteen feet from where anyone could get close, so fine detail would only confuse the image in the end.

The final steps were to smooth out the clay, add the rest of the vein details and pupils and then bake it to harden. The scuffed areas you see were lightly sanded down to smooth off a little bit of rough area that resulted from the sculpting process.

The piece removed from the board nicely, and was quite sturdy when finished.

The problem that remained, though, was how to actually finish him - I could paint him with acrylic and then seal it in varnish, and that would allow it to weather fairly well, but I was worried about how it would be mounted and what effect it would suffer after a couple years of Washington summers and winters. If it got brittle it could easily crack and fall apart, and if the mounting failed, it would fall and shatter, and was irreplaceable.

I eventually decided that the best thing to do would be to learn how to make a proper mold and make castings of it. I did my research and ended up going with Tap Plastics' Platinum Silicon 2-Part Mold Making compound, as it was extremely easy to work with, didn't require a vacuum chamber or complicated pouring, and was very durable. It also turned out to be very expensive, so I decided that these were going to have to be gifts for more than just my father - I ended up making copies for my brothers, grandfather and father-in-law, as well.

For the casting, I used Tap Plastics 2-Part Quick-Cast Polyeurethane Resin, as it was affordable and extremely durable, and measured out at a 1:1 ratio just like the Platinum Silicon. Nice and foolproof. For the finish, I purchased Bronze Powder, which created a wonderful finish you can see at the end. Beautiful stuff.

In order to make the mold, I first needed a form, so I built one out of a readily-available material.

Lego.

First I built the basic form.

Next, I sealed the sculpture to the board using putty so that the silicon wouldn't flow underneath it.

The Lego blocks were attached to the board using hot glue.

The hot glue snapped right off of the blocks when I was done and worked out very well.

In order to know how much silicon I would need, I filled the form with rice, then poured out and measured the rice. Neat little trick.

Rice removed, I filled the mold with mixed silicon and let it sit overnight. The silicon sets in a couple of hours, but I figured it was best to not rush it, since this was my first time.

I regret not taking pictures of the actual casting process, but it was fascinating, and I learned a lot. My first couple came out okay, but by the end I had the technique down pretty well.

In order to use the bronze powder effectively and economically, I ended up creating what is known as a slush cast. Essentially I mixed up a batch of resin with the bronze powder that wasn't nearly enough to fill the mold, and then ran it around, sloshing it from side to side, to coat the face of the mold as effectively as I could. The sculpture had a lot of vertical edges, however, so some of the parts didn't take as well, since the bronze powder was so much heavier than the resin, but the final product came out great regardless.

When I first took it out of the mold, though, I was pretty disappointed - it looked like fairly matte chocolate, not the shiny bronze I expected. I sulked for a day or two, researched spray paints and other techniques to get the bronzed look I was hoping for, and then came across a tip I missed somehow - I needed to buff it using fine steel wool!

I dashed to the hardware store, picked up steel wool in a number of grades (from 1 to 0000), gloves and a dust mask, then came home and buffed the first one I did. The difference was night and day!

It was actually extremely metallic and looked beautiful! And the parts that the steel wool couldn't get into created a lovely patina effect, making it look aged just as I had hoped. Perfection.

I buffed up the rest and wrapped them up for Christmas, and was very happy that they were well-received. I was pleased with how they turned out, and getting to share them with my family was a treat. Plus it gave me the opportunity to learn more about the casting process, which is something I'd always been very curious about.

Mermaid Progress

The week has been exceptionally busy, as I've taken on the role of Lead Artist and Producer for our recently named Art Team, Hobos of Might and Magic for my CG350 class, where we're creating a game in the Unity Engine. I'll have more to share about this project shortly, but suffice to say it has taken up the vast majority of my time, and has been a thrilling experience so far.

I spent last night re-working much of the model I began for my CG315 class, in which I was modeling a crust-punk mermaid to take into ZBrush to begin subdivision sculpting. I threw out the old head and redesigned it, and am far happier with the results. I'm still not thrilled with some aspects, such as the hat, and need to connect the hands to the rest of the body and finish out the forearms - the elbow joint could use some attention, as well, but I think much of this work will be completed in ZBrush itself rather then struggling to get it done in Max working against deadline when I have other work that needs attention.

Here you can see a comparison of the old head (left) to the new one (right). It is far less flat and much more feminine looking, and fits the character design much better. The ears still need a lot of attention, and the cranium shape isn't quite right, but it is a dramatic improvement overall.


Another shot of the new head. Some of the overall issues are easier to see here, and hopefully they'll be addressed in ZBrush. Since this shot was taken, I've completed the head shape and addressed some of the issues with the hat and cranium, as well as extending the neck down below the shirt and jacket.


A look at the rest of the body mesh. Not perfect, by any stretch of the imagination, but it'll do for now. I wish I had more time, and a lot more experience, but that's how things go with a project of this scope and limited time frame.


The hand, always a difficult model to make. This is severely revised from the previous model shape, and should work well for the purposes I need it for.

I'll be taking the model into ZBrush this week and beginning my first foray into SubD sculpting. I hope I can do the character justice.