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Presents techniques used by artist Fritz White in creating an illusion of life in sculptors. Use of the magoo technique; Incorporation of visual elements in give power to sculptures; Difference between sculptures and mannequins; Success of White's sculptures of people from the American West.

The article features T. J. Dixon, an sculptor who uses clay as a medium. Dixon, who has employed a complicated ceramic technique in creating her sculptures, follows an organized working procedure that reduces the risks of losing a piece. The selection of the right clay mixture, the modelling process, the drying of the piece, and the firing process are reportedly the key points of Dixon's procedure.

The article features the views of Oregon-based sculptor Paul Buckner about his creative process and artistic style. He suggests that the process of making art cannot begin with a detailed plan and cites the importance of allowing the gradual unfolding and development of the piece every step of the way. He also explains the need for an artist to recognize the material and comments on related topics such as composition, technology, experience and tools. His works include "Spindrift," "Siren," and "Valkyrie."

The article features James Washington, a Pacific Northwestern sculptor who works in stone. Washington surrounds his work area with animal skulls, stones, flowering plants, and chiming clocks. Starting his career as a little boy in Little Rock Arkansas, Washington was already an established painter when he shifted to sculpting. He works with granite river boulders. He was awarded an honorary Doctor of Fine Arts degree from the Center for Urban Black Studies of Graduate Theological Union in Berkeley, California.

The article discusses a new method of sculpting and the process on how it is done. It states that sculptors traditionally created their work by first creating a mold in wax, covering it with clay, firing and melting the result till the wax melts, and filling the space left behind with molten metal. The process is said to be tedious, difficult and expensive. A new method, called cold casting, involves a substance made of polymer resin mixed with powdered metal, sculpted like clay, and allowed to dry.

An interview with sculptor Oronzio Maldarelli is presented. It is said that Maldarelli's favorite medium for his sculptures is pure white marble. He also does direct carving because he says that he wants to be close to his artworks from start to finish. Some of Maldarelli's works include "Resignation," "Companions," and "The Spirit of Youth."

The article presents a reprint of the article "Art and Science in Sculpture," by Frederick H. Norton and George Demetrios which appeared in "Technology Review." It cites that the clay is the starting point for the use of various stones, ivory, wood and bone. Glass and organic plastics are also used in sculpture. According to the author, the sculptor should control the texture, the color and translucency of the medium.

The article discusses the creation of the bronze statue of champion racehorse Seabiscuit by Israeli sculptor Gidon Graetz who lives at the Vincigliata Castle in Florence. The statue is commissioned by Hap Smith, the builder of a shopping center in San Francisco, California that is the former location of the Tanforan Park Race Track where Seabiscuit won many trophies. Graetz took more than a year to construct the statue at his castle, where he worked from photographs, sketches and a live model to get the precise stance of a galloping horse.

The article features American sculptor John Rogers and discusses his works. Born in Salem, Massachusetts in 1829, he studied engineering in Manchester, New Hampshire, and got introduced to sculpture in Boston. It states that during his day, most sculptors imitated Greek statuary, but Rogers felt such to be out of touch with his times. He created a series of sculptures reflecting the people of his day and their activities, creating a body of work known as the Rogers Groups. Samples of his work in plaster and clay are presented.

The article presents the author's view on the use of wood as a medium for wood carving. It cites his disappointment that wood was not always given its proper treatment and provides the procedures by which he execute his. It refers to wood's capability of stimulating an emotional response that can hold an interest even in its crudest form and notes that the essential requisite for creating a piece of sculpture is the understanding of a sculptural form as it relates to a specific material and the proper technique for conveying it.

The article focuses on sculpture in cement, discussing sculpting technic, form, expression and material, and artistic value. Sculptor Peter Fingesten describes the making of a cement sculpture, including the method of treating cement, experimentation, combination of colors, and clay model for the plaster cast. Fingesten claims he works without preliminary sketches, thinks directly in form, and composes sculpture independent of lead pipes and aluminum wires, which impose rigidity.

The author discusses an approach to art that he termed as Polychromed Sculpture. He relates how he discovered the approach using a gray, weathered piece of wood, an old table leg, that he found among junks, from which he designed a figurine using paint and wood working. After turning several table legs to many figurines, he expanded by turning a Victorian porch pillar to a medieval king. He mentions that his designs followed a plan to approximate the centuries-old polycrhomed sculptures found in English Cathedrals.

Presents answers to questions about art techniques and materials. Best type of permanent ink to use in pen-and-ink sketches; Two types of sculpture technique.

The article presents questions and answers related to technical issues about painting, including the ability of acrylic paint to withstand light, ways of preventing the fading of gouache work and oils, and facts about cold casting.