A 
REPORT OF COMMISSION V GV-85 
error methods. The sculptor of today has the same difficulties as his predeces- 
sor in that he cannot get satisfactory likenesses, and cannot get his subject 
to ‘“pose’’ often enough. 
‘ 
PLASTER CASTS FROM LIFE 
To secure the best possible likenesses, and to obviate unpleasant and time- 
consuming sittings, the sculptor often makes a plaster cast of the face of the 
subject. This furnishes something tangible to copy from, but forces the subject 
to go through a dangerous and disagreeable ordeal. 
Casts of faces are not absolutely correct. The eyes are closed, hair pasted 
down and the characteristic features which the sculptor has to study closely 
for a faithful rendering are somewhat flattened by the wet plaster. Casts are 
valueless for portraits which are not life size, and for relief portraits which have 
their thickness dimensions always reduced. 
NEW METHODS OF PORTRAIT SCULPTURING 
Fortunately, new methods of making sculptured portraits have now been 
developed. A much larger number can now possess sculptured portraits. These 
methods are based upon photography. They allow sculptured portraits to be 
made to any size from the smallest for jewelry, to the largest for monuments. 
Most important of all, these methods eliminate all tedious posing, do away with 
making plaster casts and guarantee better likenesses. 
The sculpturing methods consist of two separate steps: 
1. Recording the form of the head and neck of the subject—the making of a 
“Form and Expression Record’’—and 
2. Carving out the portrait by using this record as a guide. 
Only for the first step is the presence of the subject required. As this recording 
takes less than a minute, sitting for a sculptured portrait is now less effort than 
sitting for a photograph. 
THE FORM AND EXPRESSION RECORD 
This record is a strip of motion picture film showing a large number of 
outlines of sections through the head and neck of the subject. Its purpose is to 
eliminate repeated sittings and to secure a perfect form contour of the head and 
neck. The record is made by moving a motion picture camera together with its 
illumination relative to the stationary subject. Camera and illumination are 
so designed that during their travel they not only reveal the size and shape of 
the subject's head and neck, but also make a photographic form record of them. 
The manner of doing this depends upon the kind of sculptured portrait desired. 
For convenience sake all sculptured portraits can be divided into two groups: 
1. Sculptured portraits in “‘all-around’’; these are free standing and can be 
viewed from all directions. 
2. Sculptured portraits in ‘relief’; these are fastened to a background, or 
in which the relief and the background form a unit, and in which one set 
of dimensions—thickness—is of a smaller scale than the length and 
width dimensions. 
Figure 1 shows a recording device for an all-around portrait. This consists 
of a simple motion picture camera that can be moved in a circle around the 
stationary subject. The camera is fastened to a light holder that carried a light 
source and an opaque light shield. The light source is a row of miniature auto- 
mobile lamps which is fastened to the holder in an approximate semi-circle