The body is positioned as you would have gravity effect it. Therefore a vertically situated sculpture cannot begin with a reclining model. Due to the difficulty of the pose, a scaffold has been built to support the arms during the 25 minute process.
Alginate is applied to the subject. The 4 minute gel time is extended by activating the alginate with cold water. The expression on the face of the model is an indication of temperature!
otton is pushed into the alginate before it gels. The excess cotton is removed, leaving a fibrous surface that will enable the mother mold to adhere.
Plaster gauze is used to give rigidity to an otherwise flimsy mold. Wooden splints add further reinforcement. (Is my model losing steam?!)
The finished negative mold is removed and trimmed for casting. Since the mold is literally torn away from the finished cast, it can be used only once.
The "raw pull" is removed from the mold. Lifecasting is frequently an imperfect process. Red dots show areas needing re-sculpting.
The cast torso has been completely corrected and refined. Note that a portion of a face has been added to give the piece more character and life. The cast is sealed with a primer.
An antique Limestone patina has been applied to the piece aptly titled, "The Cannon of Proportion," inspired by the famous drawings of Leonardo Da Vinci. During this exhibit, The "square in the circle" was scribed onto the wall.