​I started making this video in August, thinking I'd use it to review and assess my sculpt before going on vacation. I was imagining plugging the sculpt into my subconscious this way and mulling over it while out in the woods camping, returning to it inspired and reinvigorated. That's not what happened, as you might guess. I started flailing in the middle of this video, sculpting and resculpting the area around the eyes and the top of the nose, but not making any significant improvements. I think this flailing happens when the subconscious realizes something is off but conscious awareness can't yet put it into words and express it clearly as a problem to solve. 

I've been flailing with this blog post too, working on it on and off since August. I kept thinking I'd found The Problem with my sculpt and wanted to unveil The Solution here with great fanfare, along with the clever thinking that led to its discovery. But every time I set out to write this post I only found myself with more questions. Soooo.... I present to you here, The State of The Problem at this Moment, and The Steps I have Taken to Solve It So Far. I leave the Grand Conclusion for another post, hopefully one that I will write in the Near Future. Right now I feel like I just need to get something written!
​
​The common wisdom is that a sculpt, simply put, starts by establishing the relationships of the largest, most basic shapes to each other, then progresses to defining the relationships of smaller and smaller shapes within those big ones. The most common mistake a beginning sculptor makes, according to this wisdom, is working on fun little details before correctly establishing these big basic shapes. I wondered if this could be my problem.
Three dimensional art can be slippery though, as the points of reference that establish where those shapes begin and end can seem to shift in relation to each other, especially as the sculpt is viewed from different angles. So I tried to find reliable, easily reproducible viewpoints from which to establish my points of reference, one being a 90 degree side profile, and others being straight on from the top and  straight on to the underside. I might go into the latter two views in another post, but in this one, I'll stick with the 90 degree profile.

Wow, placing that ear at the back of the head would make that muzzle look short and the forehead **really** long!! Now here's the point at which I second guess myself  and wind up running and screaming back to the drawing board!! Away I go!!!
​
Stay tuned!!

It's been a while since I checked in about my paw project! My last update was in March, when I finished building my most recent Foam Foot from which to make a pattern. Since then I've sewn up Prototypes #4 (with pink beans) and #5 (with red beans) and hopefully have made some progress. As I've mentioned before, I have fantasies of selling this pattern as a download, and maybe actual finished handpaws too. I have been told that the furry world could use another good feral handpaw pattern and that there's probably untapped market demand there.  

Above, Prototype #4 (I think?? I'm losing count.) My big problem here is the overly long toes and overly short palm/back of hand, most visible in the second picture from the right. Looks more like a lizard hand than anything canine. 

Above, Prototype #5. I still think the toes are too long, but I'm pleased with their overall shapes and that of the hand in general. 

Side by side comparison of the changes between #4 and #5. I've lengthened the palm in #5 and smoothed out the juncture between that and the bottom of the toes. IMHO this curving, regular line is much more aesthetically pleasing than the previous version. I hadn't actually shortened the toes between the two versions, thinking lengthening the palm would be enough, but I can see that still needs tweaking.

Another side by side comparison of #4 and #5. The seam going straight across the knuckles on #4 seems to flatten out and lumpify the paw. The scalloped seam on #5 in my mind is a great improvement.

There are lots of other differences between the tops of these paws. I made an attempt at tendons in #4 (those vertical seams on the back of the hand) and a more detailed attempt at knuckles in #5. The jury is still out on where I'll go from here. One question is, how much does this add to the aesthetics vs how much work does it add to the project? Also, it remains to be seen if I can actually make tendons/knuckles **work** in this context. IMHO neither #4 or #5 is there yet.

Onward! At least I have plenty of moral (and adorable!!)  support!!

As you may recall, in December, we took on Gilligan, a third Feline Studio Assistant. Unfortunately due to coworker Trixie's constant workplace harassment, he has been very reluctant to even report to the studio, contributing instead by sleeping on unmade beds and freeing up valuable studio time that way.  But finally he has checked in! And what a spectacular studio assistant he's turned out to be! 

I can say that he has blazed paths in the studio that have never been explored before. Literally.

Gilligan surveys the studio scene. He's not sure what he thinks about Arnold.

​First, painting! Taking airbrushing to new heights. Perching on top of the spray booth. 

 Daring self expression I must say, especially since the top of the spray booth is not at all firmly attached to the sides. I was holding the spray booth together and waiting for one of the kids to come home to lure Gilly off, braving taking my hands away only for a few seconds to take this picture. I must have stood there for a half an hour.

Next, sculpting! A work table, tools, mixing buckets, decent lighting, clay and an armature... A launch pad into artistic exploration. Or into something anyway.

Gilligan achieves heights never before reached at Sans Souci Studios.

Gilligan is very pleased with his accomplishments.

And now, photography. Gilligan is ready for his closeup.

Paint me like one of your French girls.

Here we have Sans Souci Studios' armatures and Best Boys, Arnold Full Armature and Arnold "Han Solo" Half Armature. (Seriously, his name is Arnold. That's the name of the person from whom this was live-cast.) Other than being a handy place to put clay while sculpting, Arnold provides valuable points of reference. Especially Half Arnold. While building a sculpt on Full Arnold is a good way of seeing what a sculpt will look like in motion on a real wearer, Half Arnold provides a perfectly flat plane from which to build a system of reference points and angles. Invaluable, as otherwise reference points have a maddening way of seeming to shift on a 3D sculpture.

Above, finding the center of the sculpt, and making sure it's at a 90 degree angle to the armature back. I measure to find the center of the armature, mark the line on both the top and bottom of the head, and trace the center line around the sculpt, as shown above. At any point where the sculpt doesn't meet the armature back (here, at the throat)  I mark the center on masking tape and then extend a line up the tape onto the sculpt. I use various measuring tools to keep the line as perpendicular as possible to the armature back, but there's always a certain amount of eyeballing and guesswork involved.

Above, creating a "template" of sorts for the back of the sculpt, to help ensure its symmetry. First, I lay down that good old patterning material, duck tape over aluminum foil, on the armature base under the sculpt in progress. Then I trace on the tape along the edge of the sculpt, mark and fold it at the halfway mark, and trim so that the two sides of the template are symmetrical.  Then I lay the template back down on the armature and clay up the back edge of the mask along it. There's still a certain amount of eyeballing and guesswork involved, as the template can shift and stretch, and little bits of clay on the armature can put it out of whack. But still, it makes a pretty good guide.

Now I have a sculpt with a symmetrical back and a centered and perpendicular nose. Getting the sides of the sculpt to match is a lot trickier. Each side can cave in, bow out, or do some evil combination of those things in its own special way. The back template can help  address this by placing "landmarks" on the sides, to make specific areas on the sides easier to compare. For example, I can mark where the cut out is for the lower jaw on one side of the template, then fold the template, mark the same spot for the jaw cutout on the other side, then transfer the mark into the clay. 

Once I've placed the landmarks I can make a gizmo to compare the angles at specific points of each side of the head. Here, I have cut out a little piece from a cereal box, preserving one original corner so that I have a handy 90 degree angle for reference. Then I carefully cut a thin slot into the sculpt, press one edge of the box in, and trace along the side of the sculpt to get the angle of that specific spot, making sure one side of the 90 degree angle is flat on the armature back. I trim along the line I've traced and then compare the angle of my gizmo to the angle of the sculpt on the other side, again being careful to line up one side of my 90 degree angle with the armature back. Then I adjust the sculpt as needed. I don't have too long to play with the gizmo though, as being made out of thin cardboard the edges start squishing down and losing their shape fairly quickly.

And here we have my Glorious Goggles, my Reference Point Piece de Resistance. The goggles will help ensure that the eyes will be equidistant from the center line of the head, lie along a line that is at right angles to the center line of the head, and are both set back the same distance into the head. They will also help ensure that the eye bed I sculpt on my head will be parallel to the back of the mask and not tipped forward or back. Plus, if I'm fairly certain that my eye placement is accurate and even, I can use the eyes themselves as further reference points for sculpting the head.

How I made the Glorious Goggles. I've traced the backs of correctly sized eye cabochons onto a piece of thin craft plastic and cut the circles out. I've measured the distance between the eyes on my original resin head, cut down a disposable chopstick I got from Chinese takeout to that length, and carefully hot glued the plastic circles on the ends, lining up the outside edges of the circles with the ends of the chopstick. Then I marked the center of my contraption with a Sharpie. Next, I measured the distance from the armature back to a point a little bit in front of its eyes and cut two more pieces of chopstick to that length, thus making the "arms" of my goggles. I hot glued them on as well, taking care to hold the arms at more or less at a right angle to the front of the goggles until the glue cools. 

Above, beginning to set the glasses into the sculpt. I've started carving out holes into which to insert the arms of the glasses. These holes need to be pretty roomy so they don't force the arms out of their proper alignment. 

Adding a slot to the sculpt, into which I'll set the bridge of the glasses. I insert a skewer through the bridge of the sculpt's nose at the inside corner of each eye, keeping the skewer as perpendicular to the center line as I can. Then I cut a slot into the sculpt by pulling up on the skewer and removing clay along its path as needed with clay tools. 

Above, the glasses have been added. Now just to fill the clay back in around them. It's already easy to see adjustments I need to make to the cheeks and brows, with the right hand brow being raised higher and there being more material on the outside edge of the right eye. 

And, here we have the goggles completely clayed over, with a pair of acrylic eye cabochons resting on top of them, and a more developed sculpt in general. I'm happy to have this pretty solid point of reference in the sculpt, though it also makes me think how sculpting software makes symmetry so effortless!

Here is my progress so far. The white mask on the left is a resin cast of the original wolf head base, the tan one on the right is the resculpt in progress. I learned a lot from making four different masks from this original head, and I want to apply what I learned to the new sculpt. 

Tangentially, I must say, using the stacked yogurt containers to support the masks on the armatures was a stroke of genius. I have a zillion of them that I've been saving to mix resin in, and by adding just one more yogurt container to the stack I can adjust the support by just fractions of inches. I can make the support pretty much exactly the height I need. 

Anyway. I have several objectives for this new sculpt. One is to lengthen the area under the lower jaw. It's already easy to see how much longer this area is on the new sculpt. I found I had to build this out with foam on the original so it would rest properly under a wearer's chin. The jaw of the mask won't open and close properly if it doesn't,  plus it's just more comfortable and secure that way. I can save time (and potentially, earn more money per hour!) if I eliminate the extra step of having to build this out on each individual mask. 

Another objective is to build back the crown of the mask so it balances on the top of the wearer's head better. I had to build up this area on the original with foam to make it do this. If I didn't, the balance of the mask would shift forward, making it more likely to slide  down the wearer's face. Another extra step to get rid of! If you look at the pics above, you can see the top (the area between the eyebrows and the back of the mask) of the resculpt is longer, although the two masks appear to rest on the same place on the armature. That's because the clay is built up an inch or two thick inside the resculpt to keep it from squishing, and the face on the armature doesn't entirely fit into it.

A third objective is to build up a flat area on either side of the mask onto which to attach the hinges. My original sculpt didn't have this, and the hinges would pop out at all kinds of crazy angles unless I built up said flat area out of epoxy to prevent it. I bet you can guess what I'm thinking: Get rid of that extra step! Again, the flat area I'm developing is pretty easy to see in the photos.

It all started with these pictures, my favorite reference pics out of stacks and stacks of pics for dog feet. The pic of the tan dog foot is especially useful as it's relatively easy to see the bony structure underneath the skin.

Using my handy dandy Artograph projector, I enlarged tracings of these two pictures, one for the bottom of the paw and one for the top, to the size I wanted my finished handpaw to be. These would be my "master patterns" and I would use them to trace out smaller parts of the pattern....

....like so Here are patterns for individual toes and pads, traced from the "master patterns" using the light table and cut out.

I had actually started using these patterns before I started the clay feet I blogged about earlier, but I then I hit a snag and at the time couldn't figure out how to get around it.  

Yuck. This looks more like a hoof than a paw. There's the question, what to do with the space between the fingers? How to make this work as a glove? The fingers here are all separate pieces but they're all attached to a one piece underside. How would the fingers move?  (I could figure this out now, but this doesn't change the fact this paw is just plain old ugly.)

That's when I switched over to making and taking patterns from the clay feet, coming up with this "tubular" style of toes in the process. Here we have our friend the foam foot from my previous post, made from the enlarged and refined clay foot pattern, along with a selection of unattached toes and toebeans, showing off their tubular style. 

But then, as it so often happens, just as I was ready to tweak the sizing a little bit and then call it done, I got very excited about how cool the palmar pad for this foot looked, carefully carved and patterned the way it was. Then I got the itch to do the fingers that way too. I could carve knuckles! And tendons! How cool would that be??

 Here, the foam foot with the original tubular toes torn off and replaced with carved toes. The potential  is clear, but at least for me, carving each toe out of a single piece of foam made it easy for proportions and proper placement of various parts to get out of whack.

​I decided to try out a combination of carving, using the "tubular toes", and tracing and cutting out parts from my original patterns, thus coming up with this most recent foam foot. Here's a little demonstration of my method, making a random toe.

 First, using the patterns pictured at the beginning of this post and a sheet of 1/2" thick foam, I traced and cut out out two finger pieces and one knuckle piece and glued them into a stack. I inserted a claw shaped piece of cosplay foam in the end of the finger to mark the placement of the nail. I then used a pattern piece from my previous foam foot attempt and glued it underneath my finger/knuckle stack for the "tube", leaving an opening for the toebean. I then started to give the whole thing a little shape with scissors and an Exacto knife.  

Next, toebeans. Using my patterns again, I traced and cut out toebeans from the cosplay foam and some  1" thick sheet foam. I glued the cosplay foam into the end of the "tube", being careful to check my reference pics to get it aligned correctly and  at the proper angle inside the toe. (Be sure to line up the tip of the toebean wth the claw!) I then  glued the 1" foam toeabean in, using the cosplay foam toebean as a base.  Using a Sharpie, I sketched out the side of the toebean on the 1" foam and gave it some shape with my scissors and Exacto knife.   

Now, to  give the top of the toe a little bit more of a curve. Again I used my patterns to trace out just the half of the knuckle nearest the claw, and just the part of the finger underneath the knuckle. I tapered both pieces with the Exacto knife so they would be thickest around the knuckle and thinnest towards either end of the finger, and glued them into the appropriate spots on the "stack". Then I shaped them a little with my scissors and Exacto knife. 

​Using the patterns like this takes a lot of the guesswork out of the placement of the different parts, such as knuckles and toebeans.

The outline of the knuckle was getting a little  lost with all the layering and trimming, so I made the outline clearer by curving a thin piece of foam around it, gluing the foam down, and trimming the top a little to blend it in.   

Now to give the underside of the toe a little bit more of a curve. (I'm sorry but that first picture looks really rude!) With a Sharpie, I marked where I wanted the curve to be, cut a slit along that line, pulled one edge of the slit under the other and glued it down.  A curve, tada!

And here, our finished demonstration toe. I continued to refine the toes on the handpaw adding little pieces of foam and carving them down to get them just right, but this toe does get the basic process across. 

Now to start taping this foam foot and making the pattern for a fabric foot! So excited!

 As you recall from our last thrilling and chilling adventure! (Trixie can't stand the suspense.) I made a pattern from a clay paw I sculpted, enlarged the pattern with the aid of a projector and sewed together a draft of a handpaw, using the method furry how-to goddess Matrices describes in this tutorial. I promptly discovered that little irregularities become very big and nasty irregularities when they're enlarged like this and wound up with a rather lumpy and misshapen handpaw.  In this episode, how to fix?

One thing I did was play with the pattern on a lightbox, tracing and retracing the pieces to make them more even and symmetrical, and test the revised pattern out by building a foam handpaw. The advantages being that (other than that I could go down a rabbit hole trying something I hadn't done before) if parts didn't work I could rip them off and try different parts, I could be sure all the revised parts would fit together, and I could also retape the foam handpaw for new patterns if necessary.

Left, one of my earlier attempts at a foam foot. You can see the toes are all different lengths, which was actually intentional. Real dog toes are like this. The two outside toes, the ones corresponding to our pointers and pinkies (the pointer being the one next to the thumb/dewclaw), are usually depicted as being the same length, but the "pointer" is actually a little bit longer. Ditto the two inside toes, with "middle" toe being the longer of the pair.   There's not a big difference though, and for the sake of simplicity I decided I'd make the two inner and two outer toes the same length. Right, the foam pattern with the revised toes.

In addition to playing with the pattern on the lightbox, I also did some revising by building some new parts directly on the foam handpaw. Above, the underside of the paw, with foam "toebeans" added, from which to make fresh, even, symmetrical toebean patterns. Carving the toebeans out of foam and pinning them into the ends of the toes was simpler than trying to revise the enlarger toebean patterns with all their accompanying darts. 

Next, taping the toebeans to make the revised toebean patterns. I only taped one inner toebean and one outer toebean, and then flipped the resulting patterns for the other two toebeans. Kitty provides close supervision.

Similarly, I revised the palmar pad by building it directly on the foam handpaw. Above, sketching out the shape of  this pad on top of the pattern for the palm.

Taping up the palmar pad. I wound up cutting the tape pattern apart and re-taping it together a couple times to  to get a pattern with seams I like.

Some finished patterns. Toebeans, left, and plantar pad, right. 

Above, a draft sewn out of felt for this new revised pattern, in contrasting colors to make it easier to see how the beans and palmar pad work. I'm still not 100% sure I'm satisfied with the palmar pad and will probably re-tape the pattern and cut it apart again to get different seam lines.

 Another  view of this draft. The tops of the middle two fingers did not align with the back of the hand properly and left gaps (shown above as green lines.) I hadn't been careful enough to make hashmarks to show how the pattern pieces would line up together after they were cut apart. A total noob mistake.

Back to the drawing board. I retaped and repatterned the foam foot, this time being more careful with the hash marks. (You'll notice that the foam foot is getting more and more yellow. Fun fact! That's not the lighting, the foam will change color like this if it's exposed to light.)  

Above, the foot with the gaps on the left, and the foot made from the corrected pattern on the right. Getting there. The foot seems to be getting bigger and bigger with each iteration, probably from adding a pencil line's width every time I retrace a pattern. Next issue to address, shrinking down the pattern a little, which will hopefully just involve scanning it into the computer and reducing it a little in GIMP. After that, adding dew claws, carpal pads, and claws. Fingers crossed!!

I continue on my quest to make a handpaw pattern using Matrices' tutorial, in which a small clay model is made, a pattern is taken from the model, and the pattern is enlarged to the proper size with an overhead projector.  I have fantasies of selling said pattern as a download, and maybe any actual handpaws too. Above, my fifth and final attempt to sculpt said model. Now, to take a pattern from the model and enlarge it.

Here we have the paw partially taped up, using white Duck tape over a layer of plastic wrap. I've sketched in lines where I think the seams will be, and registration marks (those little hash mark things) to help line the pattern up again once it's disassembled. I forgot to take pics before I started cutting the pattern off, so there's pieces missing between the middle toes here.

Here, the underside of the foot, again showing potential seam lines and registration marks. 

The pattern cut off the foot, lots of little pieces everywhere, don't sneeze! Then laid out and taped down on a piece of construction paper, to help keep them from slipping and sliding all over the place under the projector lid. 

And my very high tech projector setup in the basement, a piece of paper taped onto the washing machine for tracing out the enlarged pattern. (My daughter says the projector is the most analog thing she's ever seen in her life.)  I rolled the projector back and forth on its little wheely cart until I got the pattern to what looked like a good size, comparing it other patterns such as Matrices' and Freakhound's to get it in the ballpark.

The enlarged pattern, cut out and ready to go.

And, a first paw mockup using the pattern and cheap material. It does kinda sorta look like a paw, but I'm not happy with it. Next, revisions! 

I have two goals in mind here. One to make my own handpaw pattern. The second is to use this really cool technique furry how-to goddess Matrices describes in this tutorial, in which a small clay model is made, a pattern is taken from the model, and the pattern is enlarged to the proper size with an overhead projector. I have fantasies of selling said pattern as a download, and maybe any actual handpaws I make with it too. I have been told that the furry world could use another good feral handpaw pattern and that there's probably untapped market demand there. Charge!

For this first attempt I tried making a rough paw shaped chunk of clay and carving toebeans out of the bottom and knuckles and toes out of the top. This sculpt has a lot of problems but the worst in my mind is that the toebeans and palmar pad all wound up on the same plane, parallel to the wrist, making the paw look stiff and unnatural. 

For this second attempt, I tried to make the angles of the toe bottoms more natural. Closer, but not there yet. The top of the foot also  leaves a lot to be desired, looking like a featureless cube of clay, especially when viewed from the top.

Attempt number three, when viewed from the side, has a little more of that oval shape we're going for. The top of this foot also looks more shaped and natural than those in the previous two. However it also looks a little squished and disproportionate. When viewed from the top, the toes look too long and the back of the paw too short.  

Attempt number four features... an armature! What a concept! Underneath the clay the armature looks like a little wire tree, with the trunk for the wrist and palm and four branches for the toes. The armature helps to hold the parts of the foot in place, keep them from getting squished out of shape, and maintain the correct proportions.  The wire also makes it easier to bend the toes into the proper position without breaking them off.  I'm happier with this foot, but I can't help but think the back of the paw looks a little swollen, like it was stung by a bee.

​This group of photos shows a slightly earlier version of the last paw undergoing some last minute edits. The first photo  shows the foot being checked against a favorite reference pic, and the second photo shows a tracing of this earlier version being checked against a superimposed tracing of the reference pic. (I especially love this tracing as it really shows how the two outer toes on a dog's foot are different sizes, with the "pointer" toe being larger than the "pinky" toe.) The third pic shows the finished foot, after all the edits have ben made. 

Above, a turnaround of this last paw, looking a little worse for wear from the pattern making process. (More on that later!) This paw is also built on an armature, similar to that in attempt number four. ​ Perhaps more improvements can be made on this foot but at this point I was thoroughly sick of clay feet and wanted to get on with it. Charge!

 

And, the palmar pad moves in ways that hurt my brain.  

I'm weirdly into dog feet. I love their sculpted knuckles and long elegant toes. I’ve used the free Freakhound canine paw pattern found here  for my past three partials and really do like the pattern, but I think a bigger paw would look better with the size heads I’d been making. So now I have a lot of clay sketches and an excuse to try to make a canine handpaw pattern of my own! Stay tuned!

(Don't fart Sadie....)