incredible design. is there a name for the kind of joint that connects the pointer to the boom and can they be bought or do they have to be made? many thanks for the wonderful video
@TheosResearchDiary4 ай бұрын
Thanks for sharing this series Michael. Amazing
@michaelkeropian29544 ай бұрын
Thanks
@cornpop780 Жыл бұрын
Great thank you
@DesignEcologies Жыл бұрын
Thank you
@hailbows Жыл бұрын
looks fun! I like the texture of the needle tip on the Pantograph machine. it looks like skin which is raw. Id love to see some closeups of this texture
@michaelkeropian2954 Жыл бұрын
Some enlarging machines can only point, my machine can point, scrape and mill foam. The tip of the working end of the pointer is fitted with a wire loop tool. This creates the texture on the clay while tracing the model and creates the gully effect. Various styluses can be used depending on what sort surface you are after or how fine a scrape you wish. Sometimes I just scrape several inches apart and use my hand held rake to connect the scrapes if I wish to move faster or the form is simple. Or I may scrape a whole area to copy the detail of the model like the face or more complex surface detail. The stylus I first use is a pointer to find the location of my armature, then I change to a loop tool to scrape the clay to the surface of the model. I have another film that was recently made in 2022 of Sachem Daniel Nimham (4' to 8') that shows more detail of using the same pantograph go to Episode #2 vimeo.com/527608162 and Episode #3 vimeo.com/532740130. Other films showing the process/project can be found at keropiansculpture.com/daniel_nimham.html
@hailbows Жыл бұрын
This is a great video highlighting a process I never knew existed. I want to try to work for a fine artist in a studio who has this and many other sculptural tools. Are you a professor or a mentor? I have heard you mention students or kids
@michaelkeropian2954 Жыл бұрын
m.kzread.info/dash/bejne/n4ebpZqlm5urqco.html The above link also discusses the process of using the pantograph for enlarging the Sachem Nimham from 4’ to 8’. I have been teaching for many years. I am currently writing a book about the enlarging techniques of the past and the pantograph in detail.
@hailbows Жыл бұрын
@@michaelkeropian2954 wow. I am working my way through that video now, and it is highlighting both the process and your thinking behind your actions well. Thank you for the response, time is limited so I appreciate you sharing some of yours with me. The seven foot runner statue you built for your home town reminds me of the bronze sculpture of terry fox which resides in victoria, bc canada
@TheosResearchDiary4 ай бұрын
How's the book coming?@@michaelkeropian2954
@JohnTriano Жыл бұрын
Still got it.
@sandrajohnson2489 Жыл бұрын
I just came across this video. I am currently working on my very first sculpture about the same size as the one you have in this video except my sculpture is an alien. Different proportions of course but same principle. I twisted my wire as you suggested and attached the legs to a piece of wood with glue. It's pretty secure at the moment. My question is this, how do you get a smooth looking surface? This is what I was searching for on KZread and can't seem to find the answer. I am using Sculpey clay.
@michaelkeropian2954 Жыл бұрын
there are a number of videos on smoothing sculpey. i have only used it on small sculptures. to smooth out plasticine I often use a fine grit screen like 320 or 220 . this helps put the forms together. Todays sculptors in general omit a stage when making their sculptures. That stage is working in plaster. Figurative sculptors that wanted a smooth surface would have a waste mold made of their clay. they would sand or refine the forms in the mold then add a separator and cast a plaster. this too they would rework and smooth. once the plaster was completed they would have the foundry make a mold from which a wax would be cast for bronze. Today there are many clays and polymers used and there are few sculptors using this technique or sculptors working in plaster as a finishing stage.
@michaelkeropian29542 жыл бұрын
My email has changed [email protected] No longer using the verizon .
@Ibaneddie762 жыл бұрын
I often find myself having more fun building armatures than doing the actual sculpture. I've been batching out a bunch of medium to large armatures lately to see how many rough sculptures I can finish in a month.
@michaelkeropian2954 Жыл бұрын
in the past I would hand out 9” armatures to my students in life class. working with just the armature I would have the model take numerous poses from 1-3 minutes the students would try and match the poses. very much like a drawing class would croakiest.
@lorenzogarcia20122 жыл бұрын
Can u make me a American pitbull terrior articulate movement on it please!!
@michaelkeropian29542 жыл бұрын
If I understand you completely. In the end credits of the armature video, I posted a couple pictures of a 12" armature for a horse. To get proper proportions of a dog I would find an image of a dog in profile and adjust the armature accordingly. Study animal anatomy. Im sure there are online sources showing a pitbull maybe anatomical sketches or better yet skeleton. Then adjust your armature accordingly. The armature is constructed basically the same as a human you just need to likely make the legs shorter etc. Remember that the fore legs on an animal are basically arms. Man is erected upright by his Gluteus Maximus.
@mimili16433 жыл бұрын
Wow! This is so helpful. If you don't mind, I have a few questions as a beginner sculptor. I intend on buying JMac soft tan clay, which is a clay that doesn't dry (so no firing), and am wondering if you could be more specific on the part of how you get the armature to stand vertically (I got lost when you said small threaded rod haha sorry). Another thing, if it's not too much could you explain how you do the thing where you twist the wire with a drill? I'm not the best with tools like these so I get lost. Thanks a bunch!
@michaelkeropian29543 жыл бұрын
Send me an email at Keropian.com I can't post pictures here.
@michaelkeropian29543 жыл бұрын
Keropian.com
@aditisuneja53293 жыл бұрын
Sir can you please tell some other way, than drilling, to fix the armature to the wooden base ?
@michaelkeropian29543 жыл бұрын
Depending on the size of the sculpture you are making would determine the type of armature to use. The one in the video is very small so I didn't really need a larger support. I can't add images here so difficult to show. My go to armature for a standing figure is a series of threaded pipes made into an upside down (L). Straight pipes of various sizes, and elbow and a T- pipe. The lowest straight pipe is threaded into a flange that has four holes. I figure where I want it to be placed on a board and drill the holes for the flange. I bolt not screw the flange to the wood board using nuts and washers. If you send me an email I can draw it out for you.
@aditisuneja53293 жыл бұрын
@@michaelkeropian2954 thank you so much for replying back. Will you share your email id ?
@shannanqualls97703 жыл бұрын
You are awesome! I am making a very long legged female. First guy I came across was 40 min. Ty for getting to the point!
@michaelkeropian29543 жыл бұрын
I am glad that my short film was of help to you. It certainly doesn't cover very much in the way of armatures. As scale will dictate the size and choice of materials.
@veroniquefortin67463 жыл бұрын
pouvez-vous activer le sous titre pour lire la traduction en français.merci
@forestfruits13 жыл бұрын
This is so helpful and you explain the process so clearly- thank you!!
@RostislavLapshin3 жыл бұрын
Mr. Keropian, what is the maximum enlargement factor of your pantograph?
@michaelkeropian29543 жыл бұрын
1:.25 to 1:6
@RostislavLapshin3 жыл бұрын
Mr. Keropian, thank you for your quick response. Did you have an interest to the history of first 3d-pantographs? I am searching for a literature where the most ancient 3d-pantograph (used for enlargement) was described.
@michaelkeropian29543 жыл бұрын
@@RostislavLapshin Actually when time allows I have been compiling a history on the 3d pantograph machines (pointers and tracers). Every time I think I have as much info as I can collect I find more. From what I have gathered the first machines were reduction machine to reduce a larger medal to a smaller size or correctly to create an accurate die for stamping coinage. 1700-1800. Eventually the 3d pantograph came into being. The Colas Machine can be found in books and online pretty easily. There are some patents online as well. Prior to "a Machine". Sculptors have been using various methods to enlarge or reduce their work for centuries. The use of calipers and triangulating points was used primarily as well as a system called the Egyptian Box. There have been many variations of design based on the same concept. Some machines are only used as pointers and some more current machines can be used as pointers, tracers and routers.
@RostislavLapshin3 жыл бұрын
Mr. Keropian, thank you for your valuable short introduction. I see I met the right person. I have an idea related to a 3d-pantograph application in the past that requires a short opinion/reviewing from an expert like you. I think it may be interesting for you to participate as a sculptor, as a 3d-pantograph practitioner, and as a historian. I am currently working on a short description of the idea. After completion, I will contact you by email.
@raymondscott84993 жыл бұрын
Wow superb .So helpful. Thanks.
@justeda91573 жыл бұрын
Are there armature materials you can use when you want to burn water clay?
@janmalin40253 жыл бұрын
I assume you mean metal as an "armature material" and I assume you mean by "burn" you mean "fire" or clay that requires you to put in a kiln in order to make it hard. This is ceramic clay or natural clay that you find in the ground that is cleaned and can be purchased in powder form (just add water) or already in working condition. It is not recommended to fire the above clay with an armature for a couple reasons. Water based ceramic clay shrinks when it dries. Any thing that is in the clay like metal does not shrink, so naturally the clay may crack around these materials. The clay also shrinks when firing the clay in a kiln. You can expect about 13% shrink in your ceramic or sculpture, from the drying of the clay + the firing of the clay. Now with this said, I have seen sculptors fire ceramic clay with armatures (steel) and a mix of fiberglass in the clay with pretty good results. However these were large sculptures and there was some cracking but because of the fiberglass and rebar 1/4" to 3/8" it resulted in pretty good results. Hope this answered your question. If you have a specific work of art you want me to look at I can better troubleshoot and give you better advice.
@justeda91573 жыл бұрын
@@janmalin4025 Thank you so much this helped me a lot!!! I just need to figure out how to stabilize the sculpture so it doesn't break...
@cliffdariff743 жыл бұрын
My problem is with the BASE of a figure sculpture.
@michaelkeropian29543 жыл бұрын
Cliff you're giving me no info here. Let me know what you are working on.
@jeremiahteutsch37533 жыл бұрын
Who is Berthold Neville, and where can I get plans for one of these things?
@michaelkeropian29543 жыл бұрын
patents.google.com/patent/US1714984A/en
@michaelkeropian29543 жыл бұрын
Berthold Nebel was a sculptor and refined the design of the pantograph see the patent above. He made the prototype then created four machines that were sold to different sculptors. I actually have the photo type machine featured in the patent. It is only 5-6 feet long but the larger machines he made were based on the same bed system. My large machine is based on his design.
@lllllREDACTEDlllll4 жыл бұрын
Pose seems somewhat static still for some reason... Maybe slight rotation in the neck or shoulders could help. Nice work!
@finster1014 жыл бұрын
Thanks for outlining how to use these machines. About the math, why do you subtract 1 from the ratio?
@michaelkeropian29544 жыл бұрын
It is basic algebra. No one has ever given me a clear explanation for it. So I have followed the formula like l x w. However if you don’t take 1 away your set up will be wrong.
@finster1014 жыл бұрын
@@michaelkeropian2954 Thanks for the reply. I took your information from the video and worked it out after looking up some pantograph math online. The pantograph ratio is equal to the (distance of drawing point to pivot)/(distance of tracing point to pivot) since you already have worked out the ratio you want and have measured the distance between the drawing point and tracing point. You are solving for the other distance that's where the 1 is generated. So in other words: ratio = D1 + D2/D1 or (D1/D1 + D2/D1) so the D1/D1 is the same as 1. Not sure if that makes sense it's hard to see written this way but at least I understand why you are subtracting 1 now.
@michaelkeropian29544 жыл бұрын
@@finster101 That's how it was explained to me, but I simplified the formula.
@Mary-gz1qw4 жыл бұрын
So when you get ready to bake the sculpture, do you have to remove it from the base stand first??
@janmalin62534 жыл бұрын
I won't be baking plasticine or water based clay with a full armature like this in the sculpture. If the clay were made with Sculpey you could bake it with the armature inside in a conventional oven. So when using a more advanced armature with plasticine or waterbased clay a mold will need to be made and a then a cast in either resin, plaster or wax for bronze. A simpler armature can be used as a temporary support for a sculpture destined to bake in a kiln. The latter armature is removed and the clay hollowed before firing. And armature like this might be silly a vertical rod attached to a board and the clay can easily be slip off the rod before firing.
@asnathazan4 жыл бұрын
What kind of armatures would you recommend when wanting the final sculpture to be tall and to be maid of water clay? Thank you.
@michaelkeropian29544 жыл бұрын
Depends on how tall and what sort of the sculpture you are doing. Too broad of a topic. Water based clay is generally added thicker to an armature thus it will be heavy so the structure and armature beneath it must be strong.
@asnathazan4 жыл бұрын
@@michaelkeropian2954 Thank you.
@kevinreidconrad4 жыл бұрын
Awsome piece Michael I am a sculptor and a guitarist stop by and check out some songs!!!
@MarkMcCluney4 жыл бұрын
Just watching was most helpful. Thank you.
@michaelkeropian29544 жыл бұрын
Thanks. It is just one way simple way of many to make armatures. At some point I will show how to construct an armature for a 2-3' tall sculpture. I.E. Larger gauge wire and piping to support the clay. If you look at my Joe McCluskey enlarging videos you will see how I made an over life size armature using steel, wood and foam.
@MarkMcCluney4 жыл бұрын
@@michaelkeropian2954 I'll certainly look in on those videos, I'm sure I'll find them instructive. This is the first time I've tried sculpture/carving in a more formal way - normally I grab a bit of wood and an angle grinder and hope for the best. This time I'd like to take time and enjoy the longer process. Thanks for getting back to me so quickly, very decent of you. Cheers mate.
@ernestoguevara76244 жыл бұрын
The step of the runner is not with the heel but the tarsus.
@michaelkeropian29544 жыл бұрын
Well I guess all these runners have it wrong. I was following images of Joe in action.
@Socrates...4 жыл бұрын
If you were making a chess set out of self drying clay, would you make an armature to build around?
@michaelkeropian29544 жыл бұрын
Sometimes I just drive a nail or screw a sheet rock screw into a 1/2 -3/4 " board for support so the clay won't fall over while working on it. For example I am working on these 4-5" heads and need to tilt the sculpture to look at it from different angles, having a vertical screw in place prevents me having to hold the clay in my hand. Good idea when traveling with a clay as well. If I were making a vertical water based clay figure (intending to fire it) I can't use and armature that is so involved. So I use a vertical threaded rod thickness according to the size of the sculpture as a temporary support. Once the clay has done some setting it can be removed from the rod.
@a4aartforarchitecture204 жыл бұрын
It looks a very useful machine Michael, I have seen them at a foundry I occasionally go to but always wondered are they cumbersome to use, the foundry often having two guys working on it. Or are they an aid for accuracy aswell as speed and should be utilized ?
@michaelkeropian29544 жыл бұрын
Before this machine a sculptor would have to take a series of points and sort of connect the dots by modeling by eye the remaining surface. The tracer pantograph above is worked by one person. The weight of the boom w/points is balanced so the artisan can feel the model being traced.This allows the artisan to scrape the clay surface of the enlarged sculpture accurately. There are machines that have a boom w/points rotating at 360 degrees. These don't require a large bed of tables the latter cache balances on a tripod. This machine has been called a student enlarging machine, but they work as accurately as any larger version. The machines if set up properly are very accurate. One needs to learn about the machine he is using, i.e setting the model to be traced securely so it won't move, and not to push the model when tracing. As all things it takes some practice and every machine is different.
@michaelkeropian29543 жыл бұрын
There are a number of machine designs out there. The Thomas Payne machine used first in St Gauden's studio then for many of the sculptures for the Buffalo Expo. were basically just pointers. So I believe two artisans worked on the same machine. My machines are tracers and pointers. The goal is to counter balance the weight of the boom so you are not lifting it while tracing. You need to feel the surface of the model as you trace or scrape the clay off the surface of the enlargement. Or reduction depending what table you are working on. So only one person is needed to enlarge a sculpture.
@michaelkeropian29544 жыл бұрын
Here I am scraping the clay of the lower section of the Joe McCluskey sculpture and then welding the pipe armature for the upper body and head. I apologize that part 3 was trashed so I will have to refill that part on the next enlargement.
@malik_alharb4 жыл бұрын
You remind me of a doctor lol
@imwhatim72594 жыл бұрын
From the beggining Almost 2 and 1/2 minutes I saw only a pipe moving up and down
@michaelkeropian2954 Жыл бұрын
The aluminum pipe holds the two pointers. view the first episodes as I discussed the machine in detail.
@michaelkeropian29544 жыл бұрын
It would have been great to sculpt this from life. Sadly he died too soon. My hope is to see this tribute enlarged to life size or larger and funding enough to complete the memorial composition which is more than just the figure with guitar.
@catmask11234 жыл бұрын
I've seen people fill it out by packing on tin foil.
@michaelkeropian29544 жыл бұрын
I think where people have some confusion is where and how do you use aluminum foil if you insist on using it. Use it merely as a filler to take up space as you would foam, not as an armature that would support the figure. The aluminum or steel armature is like your skeleton. Without it all the muscle; no matter how strong you are would fall apart without a proper skeleton or structure beneath it..
@JaimeAmaral5 жыл бұрын
Incredible!
@alanjohnston39365 жыл бұрын
Superb work, Michael! Attention to detail. Frank, would no doubt be pleased!
@tatyanacarpenter99385 жыл бұрын
Great video. What kind of wood do you use for your base? And where my I find it supplied? Now I've made sculptures with armatures similar to that, but I found, even with the little bit of wobble that you get from, not having the back pole can sometimes crack the clay around the bottom (ankles in my case)
@michaelkeropian29545 жыл бұрын
I generally use any thing from 1/2 to 3/4" plywood. The wood in the video may have been a pressboard all can be found in your favorite lumber store. I would not recommend using a larger armature for a runner in the same way I did in the video with no support. Certainly a pipe or similar support would be needed for larger armatures and sculptures. As I said it was one method for smaller figures maquette. Whenever you have one support it will wobble. For example I would not use this method if I were using water based clay since it would crack when drying and too small. Next time I do a larger model I'll video the process of adding an L pipe to the board.
@michaelkeropian29544 жыл бұрын
In regard to the plywood base. I generally add (2) 1 x 2" x 3/4" strips of wood to the bottom of the board. They are called feet and are applied cross grain not with the grain on the board/base. This helps prevent warping. On larger boards for bigger sculptures I use 2x3" and place them vertically (not horizontally). This creates a very flat surface on which to work.
@sunnyhaughey375 жыл бұрын
so water base clay cover armatures slight shrinkage can i fire to cone 6?
@michaelkeropian29545 жыл бұрын
I would not suggest firing any clay in a kiln with an armature inside. The water based clay would crack well before in the air drying process then shrink more when fired. You would be asking for a mess. At KAC where I teach most of the students working in waterbed clay "Make'm and Bake'm". Meaning the only armature we use is a Vertical threaded rod bolted into a wood base. It is used as a temporary support for the clay. We are currently working on a standing figure pose and the rod is used to support the clay while working on the figure. As the figure progresses and forms modeled additional clay is added to support the figure ie legs or hip. Once the clay has been sculpted and has begun to dry, the clay is removed off the threaded rod and is ready for the greenware shelf and can dry thoroughly for firing.
@sonuverma27965 жыл бұрын
sir I want to engraving on iron by model. my model size is 8 inch Dia but my iron mold Dia 32.4 mm so how to engraving on iron, and please. help me how to make machine for sculpture designing on iron
@michaelkeropian29545 жыл бұрын
Perhaps you should look into engraving machines similar to a machine called the Janvier die engraver that is used to make steel dies for medals and medallions
@sonuverma27965 жыл бұрын
Sir can you provide me details of machine how can I make it in india
@michaelkeropian29545 жыл бұрын
@@sonuverma2796 I am not clear what you are trying to engrave. If you are making dies for medals I would suggest you google the Janvier Machine. Which engraves and reduces steel dies for making medals. I can't post a picture but you can find pics online. If you are looking for a basic design look up Berthold Nebel Pantograph Patent and drawings are online.
@brianbentley43865 жыл бұрын
Johnny Kelley?
@michaelkeropian29545 жыл бұрын
Hi Brian, I just heard of Johnny Kelley a couple months ago. Someone came up when I was working on Joe's sculpture, maybe his daughter. The committee that hired me had researched who they thought should be commemorated in a bronze statue. I didn't really know either Joe or Johnny prior to this project, and have no idea why one was picked over the other. I would be happy to speak further with the Kelley family if they would like to create a statue of Johnny.
@michaelkeropian29545 жыл бұрын
www.keropiansculpture.com
@michaelkeropian29545 жыл бұрын
Http://www.keropiansculpture.com
@thomasdykstra1005 жыл бұрын
Clear as mud...
@sapinette5 жыл бұрын
Thank you very much for sharing this !
@malia96755 жыл бұрын
What type of clay are you using? Can you use this armature on air dry clay, I know air dry shrinks a bit so will it be ok to use wire or will it crack? Thank u
@michaelkeropian29545 жыл бұрын
I am using Chavant Classic (w/Sulphur) plasticine. You can certainly use water based clay on an armature like this, but at this size it will dry and crack quite quickly. When I went to school we always used water based clay on three foot tall armatures with no problems. They just have to be maintained and covered when not working on. I have a 30 figure that I used water clay on and it does shrink and crack with the armature inside. But wetting a cloth and draping the sculpture with it will bring the clay back to its former moist state, it just needs to be maintained.
@malia96755 жыл бұрын
Thank you!
@michaelkeropian29544 жыл бұрын
I use a threaded rod armature for vertical figures in water based clay that I intend to fire in the kiln. Once the clay has hardened enough to support itself then I remove the clay from the threaded rod and hollow where necessary before allowing it to dry to leather hard. If you fire slowly you should have no problem. The problem in firing is many people try and rush it. I do two pre-fires up to 220 degrees with the lid open, then close lid and go up from that to about 1980 bisque.
@MrSargenti5 жыл бұрын
Thanks for showing us how that works! Next do you cover the foam enlargement with Chavant and basically start over capturing the likeness and sculpting in the detail? Or is there something built into the process which helps you get the likeness and detail back without starting over from scratch?
@michaelkeropian29545 жыл бұрын
I have had a number of people ask me about 3 d Pantographs as well as setting up the machine. This and the next couple videos will deal with setting up the machine. Something I have to do every time I need to do when enlarging or reducing a sculpture. Right after this I will have videos showing the process of enlarging/tracing my sculpture of Joe McCluskey. As I said this is a manual machine that Traces the surface of the model and replicates the work larger or smaller.
@michaelkeropian29543 жыл бұрын
The pantograph is a tracer. One point traces the surface while the other can carve clay using a simple wire loop as a stylus. The smaller the loop naturally the smaller and more detail of the "scrape" or removal of the clay. It is also important that the other pointer have a fine tip to trace with. So it is important to have a really nice hard model to use to trace with, resin is primarily what I use. Plaster tends to be too soft, but can be coated to harden the surface for tracing. Some large areas could just be traced every few inches then simply use a hand rake tool to connect the form.
@michaelkeropian29543 жыл бұрын
The machine if set up properly can certainly be very accurate. It also depends on the operator of the machine. I always check my work with calipers at the end of the day. Basically to check if the proportions are in check. What is nice about the machine is instead of foam as a finished surface then having to add on your finished surface more clay, you're tracing the clay to the surface not smearing clay on top. For figurative work I find the machine a wonderful asset. It also points up the armature first then foam then clay so you don't have metal coming out of your sculptures where you don't want it.
@BIJONGIRL5 жыл бұрын
Thanks so much for taking the time to present these videos. They are very helpful. Thanks, MichaelB
@MrSargenti5 жыл бұрын
Keep 'em comin Mr. Keropian! I, for one, am thrilled to see you teaching again. Beautiful work!
Пікірлер
incredible design. is there a name for the kind of joint that connects the pointer to the boom and can they be bought or do they have to be made? many thanks for the wonderful video
Thanks for sharing this series Michael. Amazing
Thanks
Great thank you
Thank you
looks fun! I like the texture of the needle tip on the Pantograph machine. it looks like skin which is raw. Id love to see some closeups of this texture
Some enlarging machines can only point, my machine can point, scrape and mill foam. The tip of the working end of the pointer is fitted with a wire loop tool. This creates the texture on the clay while tracing the model and creates the gully effect. Various styluses can be used depending on what sort surface you are after or how fine a scrape you wish. Sometimes I just scrape several inches apart and use my hand held rake to connect the scrapes if I wish to move faster or the form is simple. Or I may scrape a whole area to copy the detail of the model like the face or more complex surface detail. The stylus I first use is a pointer to find the location of my armature, then I change to a loop tool to scrape the clay to the surface of the model. I have another film that was recently made in 2022 of Sachem Daniel Nimham (4' to 8') that shows more detail of using the same pantograph go to Episode #2 vimeo.com/527608162 and Episode #3 vimeo.com/532740130. Other films showing the process/project can be found at keropiansculpture.com/daniel_nimham.html
This is a great video highlighting a process I never knew existed. I want to try to work for a fine artist in a studio who has this and many other sculptural tools. Are you a professor or a mentor? I have heard you mention students or kids
m.kzread.info/dash/bejne/n4ebpZqlm5urqco.html The above link also discusses the process of using the pantograph for enlarging the Sachem Nimham from 4’ to 8’. I have been teaching for many years. I am currently writing a book about the enlarging techniques of the past and the pantograph in detail.
@@michaelkeropian2954 wow. I am working my way through that video now, and it is highlighting both the process and your thinking behind your actions well. Thank you for the response, time is limited so I appreciate you sharing some of yours with me. The seven foot runner statue you built for your home town reminds me of the bronze sculpture of terry fox which resides in victoria, bc canada
How's the book coming?@@michaelkeropian2954
Still got it.
I just came across this video. I am currently working on my very first sculpture about the same size as the one you have in this video except my sculpture is an alien. Different proportions of course but same principle. I twisted my wire as you suggested and attached the legs to a piece of wood with glue. It's pretty secure at the moment. My question is this, how do you get a smooth looking surface? This is what I was searching for on KZread and can't seem to find the answer. I am using Sculpey clay.
there are a number of videos on smoothing sculpey. i have only used it on small sculptures. to smooth out plasticine I often use a fine grit screen like 320 or 220 . this helps put the forms together. Todays sculptors in general omit a stage when making their sculptures. That stage is working in plaster. Figurative sculptors that wanted a smooth surface would have a waste mold made of their clay. they would sand or refine the forms in the mold then add a separator and cast a plaster. this too they would rework and smooth. once the plaster was completed they would have the foundry make a mold from which a wax would be cast for bronze. Today there are many clays and polymers used and there are few sculptors using this technique or sculptors working in plaster as a finishing stage.
My email has changed [email protected] No longer using the verizon .
I often find myself having more fun building armatures than doing the actual sculpture. I've been batching out a bunch of medium to large armatures lately to see how many rough sculptures I can finish in a month.
in the past I would hand out 9” armatures to my students in life class. working with just the armature I would have the model take numerous poses from 1-3 minutes the students would try and match the poses. very much like a drawing class would croakiest.
Can u make me a American pitbull terrior articulate movement on it please!!
If I understand you completely. In the end credits of the armature video, I posted a couple pictures of a 12" armature for a horse. To get proper proportions of a dog I would find an image of a dog in profile and adjust the armature accordingly. Study animal anatomy. Im sure there are online sources showing a pitbull maybe anatomical sketches or better yet skeleton. Then adjust your armature accordingly. The armature is constructed basically the same as a human you just need to likely make the legs shorter etc. Remember that the fore legs on an animal are basically arms. Man is erected upright by his Gluteus Maximus.
Wow! This is so helpful. If you don't mind, I have a few questions as a beginner sculptor. I intend on buying JMac soft tan clay, which is a clay that doesn't dry (so no firing), and am wondering if you could be more specific on the part of how you get the armature to stand vertically (I got lost when you said small threaded rod haha sorry). Another thing, if it's not too much could you explain how you do the thing where you twist the wire with a drill? I'm not the best with tools like these so I get lost. Thanks a bunch!
Send me an email at Keropian.com I can't post pictures here.
Keropian.com
Sir can you please tell some other way, than drilling, to fix the armature to the wooden base ?
Depending on the size of the sculpture you are making would determine the type of armature to use. The one in the video is very small so I didn't really need a larger support. I can't add images here so difficult to show. My go to armature for a standing figure is a series of threaded pipes made into an upside down (L). Straight pipes of various sizes, and elbow and a T- pipe. The lowest straight pipe is threaded into a flange that has four holes. I figure where I want it to be placed on a board and drill the holes for the flange. I bolt not screw the flange to the wood board using nuts and washers. If you send me an email I can draw it out for you.
@@michaelkeropian2954 thank you so much for replying back. Will you share your email id ?
You are awesome! I am making a very long legged female. First guy I came across was 40 min. Ty for getting to the point!
I am glad that my short film was of help to you. It certainly doesn't cover very much in the way of armatures. As scale will dictate the size and choice of materials.
pouvez-vous activer le sous titre pour lire la traduction en français.merci
This is so helpful and you explain the process so clearly- thank you!!
Mr. Keropian, what is the maximum enlargement factor of your pantograph?
1:.25 to 1:6
Mr. Keropian, thank you for your quick response. Did you have an interest to the history of first 3d-pantographs? I am searching for a literature where the most ancient 3d-pantograph (used for enlargement) was described.
@@RostislavLapshin Actually when time allows I have been compiling a history on the 3d pantograph machines (pointers and tracers). Every time I think I have as much info as I can collect I find more. From what I have gathered the first machines were reduction machine to reduce a larger medal to a smaller size or correctly to create an accurate die for stamping coinage. 1700-1800. Eventually the 3d pantograph came into being. The Colas Machine can be found in books and online pretty easily. There are some patents online as well. Prior to "a Machine". Sculptors have been using various methods to enlarge or reduce their work for centuries. The use of calipers and triangulating points was used primarily as well as a system called the Egyptian Box. There have been many variations of design based on the same concept. Some machines are only used as pointers and some more current machines can be used as pointers, tracers and routers.
Mr. Keropian, thank you for your valuable short introduction. I see I met the right person. I have an idea related to a 3d-pantograph application in the past that requires a short opinion/reviewing from an expert like you. I think it may be interesting for you to participate as a sculptor, as a 3d-pantograph practitioner, and as a historian. I am currently working on a short description of the idea. After completion, I will contact you by email.
Wow superb .So helpful. Thanks.
Are there armature materials you can use when you want to burn water clay?
I assume you mean metal as an "armature material" and I assume you mean by "burn" you mean "fire" or clay that requires you to put in a kiln in order to make it hard. This is ceramic clay or natural clay that you find in the ground that is cleaned and can be purchased in powder form (just add water) or already in working condition. It is not recommended to fire the above clay with an armature for a couple reasons. Water based ceramic clay shrinks when it dries. Any thing that is in the clay like metal does not shrink, so naturally the clay may crack around these materials. The clay also shrinks when firing the clay in a kiln. You can expect about 13% shrink in your ceramic or sculpture, from the drying of the clay + the firing of the clay. Now with this said, I have seen sculptors fire ceramic clay with armatures (steel) and a mix of fiberglass in the clay with pretty good results. However these were large sculptures and there was some cracking but because of the fiberglass and rebar 1/4" to 3/8" it resulted in pretty good results. Hope this answered your question. If you have a specific work of art you want me to look at I can better troubleshoot and give you better advice.
@@janmalin4025 Thank you so much this helped me a lot!!! I just need to figure out how to stabilize the sculpture so it doesn't break...
My problem is with the BASE of a figure sculpture.
Cliff you're giving me no info here. Let me know what you are working on.
Who is Berthold Neville, and where can I get plans for one of these things?
patents.google.com/patent/US1714984A/en
Berthold Nebel was a sculptor and refined the design of the pantograph see the patent above. He made the prototype then created four machines that were sold to different sculptors. I actually have the photo type machine featured in the patent. It is only 5-6 feet long but the larger machines he made were based on the same bed system. My large machine is based on his design.
Pose seems somewhat static still for some reason... Maybe slight rotation in the neck or shoulders could help. Nice work!
Thanks for outlining how to use these machines. About the math, why do you subtract 1 from the ratio?
It is basic algebra. No one has ever given me a clear explanation for it. So I have followed the formula like l x w. However if you don’t take 1 away your set up will be wrong.
@@michaelkeropian2954 Thanks for the reply. I took your information from the video and worked it out after looking up some pantograph math online. The pantograph ratio is equal to the (distance of drawing point to pivot)/(distance of tracing point to pivot) since you already have worked out the ratio you want and have measured the distance between the drawing point and tracing point. You are solving for the other distance that's where the 1 is generated. So in other words: ratio = D1 + D2/D1 or (D1/D1 + D2/D1) so the D1/D1 is the same as 1. Not sure if that makes sense it's hard to see written this way but at least I understand why you are subtracting 1 now.
@@finster101 That's how it was explained to me, but I simplified the formula.
So when you get ready to bake the sculpture, do you have to remove it from the base stand first??
I won't be baking plasticine or water based clay with a full armature like this in the sculpture. If the clay were made with Sculpey you could bake it with the armature inside in a conventional oven. So when using a more advanced armature with plasticine or waterbased clay a mold will need to be made and a then a cast in either resin, plaster or wax for bronze. A simpler armature can be used as a temporary support for a sculpture destined to bake in a kiln. The latter armature is removed and the clay hollowed before firing. And armature like this might be silly a vertical rod attached to a board and the clay can easily be slip off the rod before firing.
What kind of armatures would you recommend when wanting the final sculpture to be tall and to be maid of water clay? Thank you.
Depends on how tall and what sort of the sculpture you are doing. Too broad of a topic. Water based clay is generally added thicker to an armature thus it will be heavy so the structure and armature beneath it must be strong.
@@michaelkeropian2954 Thank you.
Awsome piece Michael I am a sculptor and a guitarist stop by and check out some songs!!!
Just watching was most helpful. Thank you.
Thanks. It is just one way simple way of many to make armatures. At some point I will show how to construct an armature for a 2-3' tall sculpture. I.E. Larger gauge wire and piping to support the clay. If you look at my Joe McCluskey enlarging videos you will see how I made an over life size armature using steel, wood and foam.
@@michaelkeropian2954 I'll certainly look in on those videos, I'm sure I'll find them instructive. This is the first time I've tried sculpture/carving in a more formal way - normally I grab a bit of wood and an angle grinder and hope for the best. This time I'd like to take time and enjoy the longer process. Thanks for getting back to me so quickly, very decent of you. Cheers mate.
The step of the runner is not with the heel but the tarsus.
Well I guess all these runners have it wrong. I was following images of Joe in action.
If you were making a chess set out of self drying clay, would you make an armature to build around?
Sometimes I just drive a nail or screw a sheet rock screw into a 1/2 -3/4 " board for support so the clay won't fall over while working on it. For example I am working on these 4-5" heads and need to tilt the sculpture to look at it from different angles, having a vertical screw in place prevents me having to hold the clay in my hand. Good idea when traveling with a clay as well. If I were making a vertical water based clay figure (intending to fire it) I can't use and armature that is so involved. So I use a vertical threaded rod thickness according to the size of the sculpture as a temporary support. Once the clay has done some setting it can be removed from the rod.
It looks a very useful machine Michael, I have seen them at a foundry I occasionally go to but always wondered are they cumbersome to use, the foundry often having two guys working on it. Or are they an aid for accuracy aswell as speed and should be utilized ?
Before this machine a sculptor would have to take a series of points and sort of connect the dots by modeling by eye the remaining surface. The tracer pantograph above is worked by one person. The weight of the boom w/points is balanced so the artisan can feel the model being traced.This allows the artisan to scrape the clay surface of the enlarged sculpture accurately. There are machines that have a boom w/points rotating at 360 degrees. These don't require a large bed of tables the latter cache balances on a tripod. This machine has been called a student enlarging machine, but they work as accurately as any larger version. The machines if set up properly are very accurate. One needs to learn about the machine he is using, i.e setting the model to be traced securely so it won't move, and not to push the model when tracing. As all things it takes some practice and every machine is different.
There are a number of machine designs out there. The Thomas Payne machine used first in St Gauden's studio then for many of the sculptures for the Buffalo Expo. were basically just pointers. So I believe two artisans worked on the same machine. My machines are tracers and pointers. The goal is to counter balance the weight of the boom so you are not lifting it while tracing. You need to feel the surface of the model as you trace or scrape the clay off the surface of the enlargement. Or reduction depending what table you are working on. So only one person is needed to enlarge a sculpture.
Here I am scraping the clay of the lower section of the Joe McCluskey sculpture and then welding the pipe armature for the upper body and head. I apologize that part 3 was trashed so I will have to refill that part on the next enlargement.
You remind me of a doctor lol
From the beggining Almost 2 and 1/2 minutes I saw only a pipe moving up and down
The aluminum pipe holds the two pointers. view the first episodes as I discussed the machine in detail.
It would have been great to sculpt this from life. Sadly he died too soon. My hope is to see this tribute enlarged to life size or larger and funding enough to complete the memorial composition which is more than just the figure with guitar.
I've seen people fill it out by packing on tin foil.
I think where people have some confusion is where and how do you use aluminum foil if you insist on using it. Use it merely as a filler to take up space as you would foam, not as an armature that would support the figure. The aluminum or steel armature is like your skeleton. Without it all the muscle; no matter how strong you are would fall apart without a proper skeleton or structure beneath it..
Incredible!
Superb work, Michael! Attention to detail. Frank, would no doubt be pleased!
Great video. What kind of wood do you use for your base? And where my I find it supplied? Now I've made sculptures with armatures similar to that, but I found, even with the little bit of wobble that you get from, not having the back pole can sometimes crack the clay around the bottom (ankles in my case)
I generally use any thing from 1/2 to 3/4" plywood. The wood in the video may have been a pressboard all can be found in your favorite lumber store. I would not recommend using a larger armature for a runner in the same way I did in the video with no support. Certainly a pipe or similar support would be needed for larger armatures and sculptures. As I said it was one method for smaller figures maquette. Whenever you have one support it will wobble. For example I would not use this method if I were using water based clay since it would crack when drying and too small. Next time I do a larger model I'll video the process of adding an L pipe to the board.
In regard to the plywood base. I generally add (2) 1 x 2" x 3/4" strips of wood to the bottom of the board. They are called feet and are applied cross grain not with the grain on the board/base. This helps prevent warping. On larger boards for bigger sculptures I use 2x3" and place them vertically (not horizontally). This creates a very flat surface on which to work.
so water base clay cover armatures slight shrinkage can i fire to cone 6?
I would not suggest firing any clay in a kiln with an armature inside. The water based clay would crack well before in the air drying process then shrink more when fired. You would be asking for a mess. At KAC where I teach most of the students working in waterbed clay "Make'm and Bake'm". Meaning the only armature we use is a Vertical threaded rod bolted into a wood base. It is used as a temporary support for the clay. We are currently working on a standing figure pose and the rod is used to support the clay while working on the figure. As the figure progresses and forms modeled additional clay is added to support the figure ie legs or hip. Once the clay has been sculpted and has begun to dry, the clay is removed off the threaded rod and is ready for the greenware shelf and can dry thoroughly for firing.
sir I want to engraving on iron by model. my model size is 8 inch Dia but my iron mold Dia 32.4 mm so how to engraving on iron, and please. help me how to make machine for sculpture designing on iron
Perhaps you should look into engraving machines similar to a machine called the Janvier die engraver that is used to make steel dies for medals and medallions
Sir can you provide me details of machine how can I make it in india
@@sonuverma2796 I am not clear what you are trying to engrave. If you are making dies for medals I would suggest you google the Janvier Machine. Which engraves and reduces steel dies for making medals. I can't post a picture but you can find pics online. If you are looking for a basic design look up Berthold Nebel Pantograph Patent and drawings are online.
Johnny Kelley?
Hi Brian, I just heard of Johnny Kelley a couple months ago. Someone came up when I was working on Joe's sculpture, maybe his daughter. The committee that hired me had researched who they thought should be commemorated in a bronze statue. I didn't really know either Joe or Johnny prior to this project, and have no idea why one was picked over the other. I would be happy to speak further with the Kelley family if they would like to create a statue of Johnny.
www.keropiansculpture.com
Http://www.keropiansculpture.com
Clear as mud...
Thank you very much for sharing this !
What type of clay are you using? Can you use this armature on air dry clay, I know air dry shrinks a bit so will it be ok to use wire or will it crack? Thank u
I am using Chavant Classic (w/Sulphur) plasticine. You can certainly use water based clay on an armature like this, but at this size it will dry and crack quite quickly. When I went to school we always used water based clay on three foot tall armatures with no problems. They just have to be maintained and covered when not working on. I have a 30 figure that I used water clay on and it does shrink and crack with the armature inside. But wetting a cloth and draping the sculpture with it will bring the clay back to its former moist state, it just needs to be maintained.
Thank you!
I use a threaded rod armature for vertical figures in water based clay that I intend to fire in the kiln. Once the clay has hardened enough to support itself then I remove the clay from the threaded rod and hollow where necessary before allowing it to dry to leather hard. If you fire slowly you should have no problem. The problem in firing is many people try and rush it. I do two pre-fires up to 220 degrees with the lid open, then close lid and go up from that to about 1980 bisque.
Thanks for showing us how that works! Next do you cover the foam enlargement with Chavant and basically start over capturing the likeness and sculpting in the detail? Or is there something built into the process which helps you get the likeness and detail back without starting over from scratch?
I have had a number of people ask me about 3 d Pantographs as well as setting up the machine. This and the next couple videos will deal with setting up the machine. Something I have to do every time I need to do when enlarging or reducing a sculpture. Right after this I will have videos showing the process of enlarging/tracing my sculpture of Joe McCluskey. As I said this is a manual machine that Traces the surface of the model and replicates the work larger or smaller.
The pantograph is a tracer. One point traces the surface while the other can carve clay using a simple wire loop as a stylus. The smaller the loop naturally the smaller and more detail of the "scrape" or removal of the clay. It is also important that the other pointer have a fine tip to trace with. So it is important to have a really nice hard model to use to trace with, resin is primarily what I use. Plaster tends to be too soft, but can be coated to harden the surface for tracing. Some large areas could just be traced every few inches then simply use a hand rake tool to connect the form.
The machine if set up properly can certainly be very accurate. It also depends on the operator of the machine. I always check my work with calipers at the end of the day. Basically to check if the proportions are in check. What is nice about the machine is instead of foam as a finished surface then having to add on your finished surface more clay, you're tracing the clay to the surface not smearing clay on top. For figurative work I find the machine a wonderful asset. It also points up the armature first then foam then clay so you don't have metal coming out of your sculptures where you don't want it.
Thanks so much for taking the time to present these videos. They are very helpful. Thanks, MichaelB
Keep 'em comin Mr. Keropian! I, for one, am thrilled to see you teaching again. Beautiful work!