When you’re sculpting, there are essentially two ways to approach the work: from the inside out or the outside in. In simple terms, that means either adding material or subtracting it.
Most of the time, you’ll find yourself adding material. When you begin with an armature or framework, you’re starting from scratch—you build volume up bit by bit until you reach the form you’re after. This process is a kind of dance. It begins with building, but eventually, you must also carve and subtract to shape the final forms with clarity and purpose.
Some sculptors prefer the opposite approach. They begin with a solid block of clay and carve into it, much like a traditional wood or stone sculptor would. There’s no single right way—go with what feels natural to you. Personally, I work mostly by adding. It gives me more control over the process, allowing me to move forward step by step, adjusting proportions, establishing key anatomical landmarks, and following the gesture of the figure as it evolves. It’s a rhythm—a kind of sculptural choreography—where each movement builds on the last.
This additive method works equally well with oil-based and water-based clay. The only practical difference is that water-based clay can be softened and smoothed with water at any stage, which adds a bit more flexibility to the process.
From Simplification to Form
Once I’ve laid out the basic structure—often a simplified block-in of the figure—I begin adding material based on anatomical reference and intent. I start by applying clay in rough volumes. Then, using a spatula, I “draw” the anatomical shapes or profiles I’m aiming for directly onto the surface. Once I’m happy with these outlines, I move to a hack blade rake tool to begin refining.
The hack blade removes the high points and helps level the surface. It’s a rough but effective first pass, giving the early forms a solid starting point. These initial shapes can later be subdivided, redefined, or adjusted to better fit the overall figure. But at this stage, it’s about establishing a base to work from.
Cleaning the Surface
Raking the surface creates a lot of visual “noise”—clay residue that obscures the real form. This needs to be cleared away so you can properly read the surface. I use a rough sponge, like Scotch-Brite or a wood-finishing sponge, to clean up the clay bits left behind. Once clean, the sculpture reads more clearly, and you can better see what’s working and what needs refinement.
Refining the Forms
Next, I use a guitar-string-style rake tool, which works similarly to the hack blade but allows for a more delicate and controlled pass. At this stage, I’m being more careful—I’m shaping the forms I intend to keep. It’s also the moment where you start seeing more clearly what’s missing or needs adjustment, so adding and subtracting continues in a back-and-forth rhythm. That’s the whole point of the process: being able to see what’s happening so you can respond to it and refine your work.
Final Smoothing
Once I’m happy with the sculpture, I use a sponge to smooth the surface. I usually cut the sponge into smaller pieces using scissors or a blade so it’s easier to control. I work carefully to avoid flattening the forms I’ve already established. Once the surface is clean and consistent, I often take it a step further by lightly torching the surface with a flame. This melts the outer layer slightly, removing the remaining visual noise and giving it a unified look. It might sound excessive—but it works beautifully, and it leaves the surface ready for any final texture work.
And Yes—You Can Add Texture
What’s that? Add texture at the end? Absolutely.
Texture can be introduced at any stage—but applying it at the end lets you make an intentional decision about what the surface should communicate. In an artistic context, texture is not about faking something (like stone, wood, or skin), which is common in the film and effects industry for realism. Instead, it’s about enhancing the character of the piece. You might choose to add areas of contrast or rhythm that help guide the viewer’s eye, highlight the forms, or emphasize the emotion of the sculpture.
I’ll explore textures more deeply in a future article.
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Until then—keep sculpting, and enjoy the process.
