How to Sculpt a Bust in Clay Michelle Solorzano

Sculpting the human figure in clay provides endless opportunities for expression. In a time in which the conversation around cultural identity is more relevant than ever, Michelle Solorzano uses her ceramic sculptures to build understanding and empathy around the immigrant experience.

Construction Process

I work in various scales, ranging from small maquettes to larger-than-life sculptures. For a life-sized bust, I often use myself as a reference to determine the proportions, using height as my primary unit of measurement. To begin, I roll out long, rectangular slabs of clay, each about ¼ inch (0.6 cm) thick. The key to achieving flexible slabs that can be shaped and pushed in or out is to thoroughly compress both sides using a silicone rib. When not in use, I keep the slabs covered in plastic to maintain their moisture.

For the shoulders, I start by constructing an oval-shaped cylinder from a slab (1), paying attention to the desired width, depth, and height of the form. You can use your measuring tape to measure your own shoulders as a reference. Place the oval cylinder on a flat slab, trace the shape, and cut the base (2). After scoring and slipping the pieces together (3), I apply gentle downward pressure with my hands both on the inside and outside of the cylinder wall to secure the connection, reinforcing the bond with a coil along the inside. To improve airflow, I cut an opening in the center of the base, which will also serve as an access point if needed in the future.

To shape the shoulders, I cut triangular darts from either side of the oval cylinder’s rim and score the pieces back together, forming a gentle curve (4). Coils are then used to close the top of the form, following the natural shape of the chest (5), while leaving a small opening at the top for the neck.

To construct the chest and arms, use a wooden tool to mark the placement of the breasts and arms. Where the arm meets the chest, gently push the clay inward from the outside while supporting it from the inside to create a natural transition. A paddle may help gently pat the arms into place. For the breasts, cut a semi-circle along the bottom edge of each breast (6). Push from the inside wall to shape them into a smooth, teardrop form (7). Finally, seal the base of each breast with a coil and refine the shape as necessary for a seamless finish.

For the neck, I create a tall cylinder that is one-third the width of the shoulders and set it aside to firm up. Once the neck is firm, I slip and score it into place (8, 9). Keep in mind that the neck has a slight tilt forward.

I start the head with a cylinder, roughly half the width of the shoulders, and mark the general placement of facial features using a wooden tool. Note: The top of the head will extend beyond the initial cylinder. Starting from the bottom of the form, cut small triangular darts on either side of the head and gently press to define the jawline. To shape the chin, I cut a half-leaf-shaped dart underneath, creating a concave profile that separates the chin from the neck (10, 11). Next, turn the cylinder upside down to score and reattach the darts more easily. Once I’m satisfied with the facial features, I make precise cuts: one to divide the top and bottom lips, one down either side of the nose, and a semicircular cut below each eyelid. Using these cuts as guides, I push out the nose, brow bone, eyelids, cheekbones, and mouth from the inside of the cylinder, while supporting the form from the outside (12). Remember, we’re working from general to specific—patience is key at this stage. As the features develop, I use an additive technique to fill gaps left from cutting and pushing, refining the facial volumes once I can no longer adjust them from the inside (13).

Once the head has firmed up, I carefully cut the base to fit onto the neck. You should experiment with different placements before attaching it securely (15). Since the top and back of the head are still open, you can access the head/neck attachment from the inside and compress well. Reinforce the connection with coils on the inside and outside, ensuring a smooth transition between the head and neck (16). If the head appears to be front-heavy, it’s a good idea to place a support underneath the chin. Ideally, I use clay for the support so that both the support and the sculpture shrink and dry at the same rate, reducing the risk of cracks.

Then I address the hair. I begin by drawing lines on the form to define the hairline and the desired length of the hair (20). Next, I attach flat coils along the marked hairline (18). These coils are layered to build up the hair, creating an enclosed form that mimics the volume of the hair (19, 20). I often add holes within the hair for both functional and aesthetic purposes: they help the sculpture dry evenly and provide spaces for decorative elements, like flowers, to be added after firing (21).

Finally, I refine the features and smooth surfaces with a damp paintbrush to achieve the desired finish.

the author Michelle Solorzano is a figurative ceramic sculptor from the Dominican Republic, currently residing in California as a long-term artist in residence at the American Museum of Ceramic Arts. To learn more, follow her on Instagram: @michelleisolorzano or visit her website: michellesolorzano.com.