The day starts with enforced ‘non-touching’ of their sculptures, again. They always moan at this. ‘But I neeeeedd to start sculpting’ they whine. This makes my resolve even stronger. In fact I decide to make this last thirty minutes. My mean streak emerges. But as soon as they start to focus the room quietens and their focus kicks in. They are now looking at their sculptures from the other side of the room. They are drawing. They are peering. They are writing notes on what they want to be tackling in the coming morning. Half of this time is spent looking at profiles – not just the side-profile and front-profile, but every other profile. I get them to stand by their sculptures while I turn Dave. Eight small turns make up the full rotation. Each turn means they also have to rotate their own sculpture and look at the profile presented. When you are starting to deal with the cheeks, the muzzle and how the eye socket cuts back at the sides of the face, these mid-profile views are essential.
Finally I allow them to touch their sculptures and get on with their list of things to tackle. Again, the sculptures are progressing rapidly yet surely. Structurally they are looking quite strong – you get a sense that there is a skull structure supporting the clay. As a reminder of the importance of the skull we do a ‘walk’ around the skull. Everyone stands in a circle with eyes closed as I get them to touch their own heads and feel for the different undulations of their skull, feel the roundness of their brow, the bony edges of the eyes sockets, feel the orbs of their eyeballs, and the cartilage of their noses and ears.
So – overall the sculptures are lookin’ good. Saturday’s session? We will be ensuring the necks look like they can support the average size head (around 4.5kg). And more focus on the location of features before moving on to the detail of features.