I am often asked about the practical aspects of being a professional sculptor.
Here are some answers to the most common questions.
If you wonder about anything else let me know and I’ll address it here.

For information about the process of turning my clay models into bronze sculptures see:
Creating Bronze Sculpture

Sculpting Medium

For many years I sculpted in natural water-based clay, the type commonly used by potters. It is inexpensive and its pliability makes it quick and easy to manipulate. The price for those qualities, however, is that it dries out - which means it needs constant attention to keep it moist. No vacations once a piece is started. Oil-based clays which never dry out were available, but their odor made me nauseous and they were not soft enough for my liking. Then about ten years ago I finally came across an oil-based clay that is odor free and, when warmed a little, has a nice softness. So now when I am in the studio I keep a roasting pan full of this clay on warm and the temperature in the room up a bit, and can now leave an unfinished sitting as long as I like without having to tend to it.

Armatures

Many sculptures, particularly larger ones, require some sort of internal structure to support the clay. In years past my standard approach would be to start with pipes that could thread into flanges that were screwed to a flat base. Other pipes, as needed, would be welded to these vertical supports. Sometimes heavy wire would be wrapped around the pipes to help hold the water-based clay as it was layered on. Some of these would be quite large and heavy. For instance, the armature for the Pike Place Market Pig had to support in the range of 500 lbs of clay. I still rely on these sorts of simple armatures for smaller works, but with anything of size I now utilize FORM 3D Foundry, a Portland, Oregon company that can scan a small scale model and produce a dense foam replica of it. I cover the foam with about 1/2” of clay and re-sculpt the surface details. If I want to change things the foam is easy to cut away, or pieces can be glued on. This is a wonderful improvement, with the final works weighing only a fraction of the old system.

 Lift Tables

I have two sizes of hydraulic lift tables that are invaluable. I can position a sculpture at the best height for working on it, and if a piece is to eventually be installed at ground level I can easily lower the table nearly to the floor and view it from the correct perspective. The tables I have are very heavy duty, because when we were creating molds for our unique casting system a large sculpture could end weighing several tons when completely covered in plaster.