While detailing the fawn on the modeling stand, I stopped for a minute to take a picture which I’ve shared here. Working on her head and legs with a wooden tool and my fingers I’ve been sculpting the clay surface. This is fun actually, the heavy lifting is done. No more cranking legs around, cutting foam, or moving ears. Now I get to relax. Take a breath and finish the piece.
Light that hits these pieces will define their movement. I don’t make a messy surface banged out to cheat a viewer into thinking I used a light touch, I want the sculpture to be realistic in that the correct anatomy is there but the artist’s hand still shows. A lot of contemporary works I’ve seen try to do this by slinging clay much like Jackson Pollock would hit the canvas with broad strokes of paint. What they don’t know is his marks were very controlled. And still looked effortless. My definition of beauty.
With the addition of blue foam under her hooves to make all four of them level with the base, her feet will be perfectly flat when installed on a flat plinth after she’s cast in bronze. After hot gluing the foam to the modeling base to stabilize the entire model, I buffed out the raw clay scraping marks with water with a bit of dish soap in it and just my hand, no rags. I avoid solvents which make the waxy surface mushy and gooey. It destroys the hand of the artist. I keep notes of all the actions I need to do before I turn them over to the mold makers, checking them off as I go. The clock is ticking.