Torso Modelling

Arrived late.

Started with checking measurements to get back into the torso, then quickly moved back onto back to back modelling. Kim spoke about the finished surface of the clay, thinking about what lies under the skin, whether it’s bone or muscle or fat. She said to keep this in mind when applying the final surface, for fleshy spots just thumb on clay, whereas to pack on clay by tamping it with wood over boney areas. Kim spoke to me one on one about different ways of applying clay, while I used my claw tools a lot for the relief project, due to the abundance of drapery, I should now try applying clay with my thumb to give a natural and fluid feel.

After doing some back to back modelling and some other intuitive work, we moved back onto measuring, working out key points around the hip.

After these measurements, and the model had spun round to the point I couldn’t see the area we were measuring, I did some back to back modelling between profiles I had previously applied. Filling out areas and joining up these planes.

Kim mentioned again (not sure if I’ve written about this before) the use of the ruler to find planes of movement. Where the ruler leaves the flesh, make a mark. Between these two points is a flat surface you can model between, the closer these points the more energetic/steeper the curve.

After measuring the area around the hip more we moved onto modelling this, it was very difficult as it is such a complex area. The hip crease and the joint itself coupled with the seam line and profiles we had previously put on. I struggled with this as it was late in the day and I was tired at this point.

Overall happy with todays modelling and the progress I’m making, my eyes are getting better and I can feel Diane’s teaching is helping me a lot.

“ ‘Art’ made with no analysis, to be sold, is commodity production, not art. Art with no analysis, but not made to be sold is as a valuable reflection of society and the person who makes it as [any other form of culture].”