Appearance

Do you want a portrait that is a true likeness, accurate in every detail? There are a variety of alternatives.  An idealized portrait emphasizes favoured characteristics, and reduces unfavourable ones: straightened nose, wrinkles smoothed over, a mole removed, a more youthful look, etc. Such alterations could be subtle or dramatic.

On the other hand, emphasis could be placed on the most interesting features of a face, such as an endearingly crooked smile, deep laugh lines, high forehead, etc. These, too, can be subtle, or played up into a caricature.

life-like

idealized

caricature

Placement

It is wise to consider where the portrait will be displayed before it is made. You may want to see it from a distance, and up close as well. It will need space around it so that people and things don't bump into it. On a wooden table or bureau it mustn't be too heavy, but outdoors it must have a good weight, be well-secured, and be able to withstand all kinds of weather. All these factors will determine the size and type of sculpture, the material used to cast it, and the way it should be mounted (see Mounting, below)

Process

Before I begin sculpting a portrait for you, we discuss what kind of sculpture you have in mind. We look at the type of portrait you want, the size, cast material, how it will be mounted, and the finish, e.g. tint, paint, patina.

If your choice is a relief portrait, it is possible for me to sculpt it using just a photograph for reference (see relief).

For a sculpture in the round – a bust or a mask – a good likeness is best achieved by meeting face-to-face several times in my studio. If the person who is the subject of the portrait is not available in person, please see other options, below.

I will give you a comfortable stool or chair to sit on, so that you are relaxed while posing for the portrait. It is not necessary to remain stock-still during the sitting (about 2 or 3 hours per sitting). Because I am working in three dimensions, I will need to see your face from different angles.

During our first session I will make a maquette, or miniature of your portrait. Once that is done, you can look it over and let me know if you prefer to change some aspect, such as a different posture. These decisions are best made at this early stage, before I begin the full-size portrait in clay (see How It’s Made).

Other options:

If you are unable to come to my studio, the next best option is to meet in another place where you can sit for me, and I can make a maquette to work from (see How It’s Made). Another possibility is to have a photo session, in which I photograph you from a variety of angles.

If meeting face-to-face is simply not possible, e.g. if the person who is the subject of the portrait lives too far away, or is no longer living, we can consider what kind of portrait can be made from whatever photos are available.

These “other options” require extra work. I will need you to check my progress from time to time, to see if I have captured a true likeness. I can do this by taking photos of the work at several stages, and sending them to you by mail or e-mail. Improvements to the work will require specific comments from you, such as, “make the cheekbones more prominent”, or “the corners of the mouth should turn up more” – that kind of thing. Because this process is more time-consuming, you should expect to pay more than you would for work done with sittings in my studio.

Pricing

The prices of individual portraits vary widely. The main factors that determine the price range are:

• type of portrait
• size
• materials used
• availability of the person to pose for me

Other cost variables include the finish on the piece (patina, paint, etc.), and how the piece will be mounted.

Size

A portrait bust includes head, neck and shoulders, and some portion of the upper chest and back. You may be content with just the head, or head and neck.

head and neck

wall mounted/flat back

A wall-mounted piece - flat in the back - may be like a mask, or like the front half of a bust.

Another option is a relief (see Relief, below).

Relief

A relief is usually carved or sculpted on a flat or gently rounded surface - a sort of 3-dimensional picture. In bas-relief, or low relief, the image is raised only slightly from the background. Haut-relief, or high relief, is either deeply carved, or sculpted so that the image projects outward from the surrounding surface.

One reason for choosing a relief portrait may be that it uses wall space rather than floor space. Also, like a picture, a relief can include more than one image, such as several faces, or other images in the background.

If the artist has only one or two photos to work from, a relief may be the best way to get a good likeness, similar to the photo.

bas relief	haut relief

Material

The original work is formed in clay. From that, a plaster or rubber mold (a negative, or reverse of the original) is made. Then the work is cast in a chosen material such as hydrocal, ciment fondu, or bronze.

clay	ciment fondu

Casting in metal, such as bronze, is by far the most expensive because it can only be produced in a foundry. The casting process alone will be in the hundreds of dollars.

Ciment fondu, or casting cement, is similar in weight to bronze, is extremely durable, and can be mounted outdoors. The colour is a mottled grey, and it requires some kind of finish. It can be darkened to a matte or shiny surface, or it can be polished with a patina that resembles bronze.

Hydrocal is a very strong plaster, with a smooth, almost porcelain-like texture. It can be left white, or painted.

Mounting

Whereas a plaster head or bust is normally secured to a wooden base, a ciment fondu cast that is to be placed outdoors may need to be secured to a heavier, more waterproof base, such as concrete.

A wall-mounted piece, such as a mask or relief, can be made to hook directly onto a wall surface, or mounted on a backboard to 'frame' it on the wall.

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