National Sculpture Society Book Catalog, October-November 1999
The book is the answer to many of the questions he (Mr. Barrie) receives daily about tools and materials used for sculpture. A good resource for those starting out in sculpture or for sculptors who would like to start working in a different media and want a general idea of how to select tools and materials


Book Description
A comprehensive guide for the student sculptor who wants to learn about clay and wax modeling, wood carving, stone carving, ceramics, moist clay products, and mold making, casting, and enlarging. Addresses all aspects of the use and function of sculpting tools and materials used in traditional sculpture. Each chapter concludes with a troubleshooting section which answers questions most frequently asked by the student and those troublesome areas experienced by the sculptor. Also explains how tools are made. Charts on proportional requirements of materials, weights and measures, plus an extensive glossary of terms are provided. A key word technique can be used to easily explore a topic.


From the Author
All of us have had some experience with art. Most people will have at least some knowledge of the art field and the materials used by artists, for example, oil paint, acrylic, charcoal, and canvas, maybe even gesso and turpentine. Most art students will also have a good general knowledge of their specific fields of study, whether it be pen and ink, abstract drawing, painting, or sculpture. Sculpture, one of the disciplines within the art field, constitutes only about three percent of the entire field. Its major categories, such as ceramics, wood carving, stone carving, mold making and casting, vary greatly. And students, as well as teachers of sculpture, may not know all aspects of sculpture; for example, a stone carving instructor may well know everything there is to know about carving stone, where it originates, and the various hardnesses and colors of stone, but might not know at what temperature to bisque fire a stoneware clay. This is not uncommon; the stone carver should not be expected to know all that a ceramist would know about modeling clay and firing, and vice versa. The same would hold true for wood carvers; they, too, would have limited or no knowledge of mold making and casting bronze. This is why I have written this manual. With twenty-five years of experience in the manufacture and sale of sculpture materials and accessories, and having been given formal instruction in all areas of sculpture (stone carving, wood carving, mold making, casting, wax work, enlarging, and pottery) I have acquired hands-on experience enabling me to answer questions in all sculpting categories. I can also identify the sources for those items that may be somewhat outside the field of sculpture. This manual was originally intended for the sales staff of Sculpture House so they could answer questions as they came in to our office, and could provide product information to those purchasing our materials. A second incentive to publish this manual is to support the art stores which sell sculpture materials and supplies. Since trained employees often move on to other jobs after only a few short months, the stores are unable to maintain a solid core of personnel knowledgeable in sculpture. I also want to assist schools and institutions which offer sculpture classes. A reference guide to the tools and materials covering the entire realm of sculpture seems a perfect solution to this problem. Finally, it occurred to me that not only Sculpture House and sales personnel could benefit from this manual, but anyone interested in the field of sculpture.


From the Back Cover
A Sculptor's Guide to Tools and Materials PlastilinaDirect Modeling Materials and ToolsArmatures and StandsMold Making and CastingWood CarvingStone CarvingWood, Stone and Plaster Tools and AccessoriesPottery and Ceramic Clays


About the Author
Bruner Barrie was born in Abington, PA in September 1947. He is a patron life member of the National Sculpture Society in New York and a member of the International Sculpture Center in New Jersey. Mr. Barrie joined Sculpture House, Inc., a leading manufacturer and distributor of fine sculpting tools and materials, shortly after his discharge from the United States Air Force in 1971. He became and currently is its President and Chief Executive Officer.


Excerpted from A Sculptor's Guide to Tools and Materials by Bruner Felton Barrie. Copyright © 1998. Reprinted by permission. All rights reserved
From Chapter 1: Plastilina Plastilina is a wax and oil-base modeling material used by sculptors for modeling pieces. The main ingredients are wax, oil, and clay flour which is used as a binder. All plastilina is produced hot, and then cooled and extruded into the shape that will eventually be available for sale in art supply stores. There are basically three groups of plastilina: professional grade, school grade, and industrial grade. The professional grade commonly contains sulfur, to make the smoother, more homogeneous texture required by professionals. A non-sulfur professional grade material in medium consistency, called Prima, is also available. The school grade, or amateur grade material, does not contain sulfur and tends to be stiffer and harder to model with the fingers. School grade material comes in a variety of striking colors and is used in the claymation field of movie production and advertising. The industrial grade material is usually very hard and needs to be heated prior to use. This type of material is most commonly used by designers in the automotive field for car models and is not available to the retail consumer. The large auto companies use batch lots in large quantities of 2,000 pounds or more, and the material is so hard it cannot be modeled at room temperature. Plastilina can also be referred to as plasteline, plasticium, and plasticine. I imagine there are a few other spellings, but basically all are wax and oil-base modeling materials. Plastilina is used as a modeling material only and cannot and should not be fired in any way. Plastilina cannot be made permanent. A mold of plaster or rubber must be made to obtain a finished piece.

FROM THE PUBLISHER

A comprehensive guide for the student sculptor who wants to learn about clay and wax modeling, wood carving, stone carving, ceramics, moist clay products, and mold making, casting, and enlarging. Addresses all aspects of the use and function of sculpting tools and materials used in traditional sculpture. Each chapter concludes with a troubleshooting section, which answers questions most frequently, asked by the student and those troublesome areas experienced by the sculptor. Also explains how tools are made. Charts on proportional requirements of materials, weights and measures, plus an extensive glossary of terms are provided. A key word technique can be used to easily explore a topic.

FROM THE CRITICS

National Sculpture Society Book Catalog

The book is the answer to many of the questions he (Mr. Barrie) receives daily about tools and materials used for sculpture. A good resource for those starting out in sculpture or for sculptors who would like to start working in a different media and want a general idea of how to select tools and materials.—October-November 1999

ACCREDITATION

Bruner Barrie was born in Abington, PA in September 1947. He is a patron life member of the National Sculpture Society in New York and a member of the International Sculpture Center in New Jersey.