Moving onto my process of experimenting in moulding materials like clay or plasticine was to firstly do most sketching in my sketchbook along with most papers of the acquirement of blueprints, needed to build my prototypes through my mix-media technique in manipulating wiring adjusted to main bodies and carefully trimmed off some chunks of overdose clay on separate sections of my leopard models.
Here is just one of my diagrams od leopard prototypes drawn by my pencil technique, that I used my calm mind of patience like I’m thinking a happy place of emotions of what drives my motivation in a safe place referred as a sanctuary from negative influences of the outside world. Furthermore, to truly learn more of animal sculpture I must begin to improve from Nocturnal-Beasts’ stood like state of stage fright by manipulating their skeletal structures next to shaping body joints for more mobility as well of moulding clay textures all around the metal lines surfaces and to gently carve in my own animal patterning within folklore evolutions.
Listening on Nick Mackman’s method of adapting into animal craftsmanship was to involve in what Mackman seen in the animals in real life, for example she has a unique ability of photographic memory which I’ve used all the time in my childhood when I’d played with blu-tac in my own method of sculpturing hybrids. In her technique she’s added in multiple layers of clay to be mixed in paper-fibre which acts like a kind of stronger surface of paper-clay so that helps to blend with air and water can transfer more effectively without any blowouts of cracks or perhaps too many amounts of clay.
Which allowed Mackman can develop the animal’s main bodies more perfectly it can take more than seven or eight days, using kiln props to hold the weight of the models until they were completely dry with an added additional equipment of glaze firing effect and in that result will be permanent once it’s used to harden the clay textures and for the finishing touch was casting them in metal resources like bronze or sliver forging before cleaning up any plates from Saudis-Dust for public expressions.
Watching this video of one of the greatest French-sculptors or referred as animalier named Antoine-Louis Barye, who had learned from all of his career before his death to produce one of his masterpieces is the monumental stature of Lion vs Serpent (1832). That he’d manufactured it’d big hunk of bronze materials like me feel a massive presence in front of people at our reaction of this historical piece it truly takes our breath away just viewing it the Louve-Museum in Paris, France. while designing on the stature’s harden surface of an inside wax and to adjust with outer professional details of why I can reflect in my French Practitioner’s work can impact into cultural effects.
It really shapes my inspiration of memorizing each of the body sections of what this sculpture can tell me not only their rivalry behaviour but with mobility to work in my diagrams to development in my carving improvements.
