#615 In the Studio: Clay sketch of a foal

This morning, I started a clay sketch of a foal.  After several hours work, I'm confident that I like it,  will complete it,
and use it in an upcoming show.  Quick clay sketches can have honesty and vitality, but spontaneity is not possible
without planning and structuring.  Having a good plan and design enable the sculptor to make the sculpture intuitive
and spontaneous . . .  a thorough knowledge of the animal's structure and anatomy is a must when working quickly.

Below, is an image taken this morning after two hours work on the model.  

Note:  The gesture had previously been determined and the armature was built last night.

Typically, when working on a clay sketch,  I establish the design and dynamics of the sculpture in morning light
 as quickly as possible.  Being energized with coffee helps!  I will usually leave the work after the block-in and
 go to other projects and return to the work in the low light of dusk.  

No lighting is as important to me as dusk and evening light.  This time is magic in the studio and I tweak the design
 under a single source, low natural north light with all artificial lighting off . . . careful to retain spontaneity.
 A single light source enables me to see form.  I deplore flooded light when modeling and do not use it in the studio unless I'm building armatures, etc.  If I work at night or if it's a dark overcast day, I work from a single-source, low wattage bulb. . . there's no fluorescent lighting in my design studio. 

Below, I check the silhouette against back lighting and note the arrangement of positive and negative shapes.
I'll live with it awhile and continue making adjustments with closer modeling of the head before going to mold.   

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Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish