I build my clay sculptures over some type of support. In the cas of "Tisha", the support was a metal rod (actually conduit pipe). I attach to pipe to a piece of board which is maybe a foot square. In the case of "Spooning", I set up a support of an old box of some sort (like a cereal box). Over the support, I use newspaper and tape to give me a very rough approximation of my design. I built up a light layer of clay uniformly over this support. Then I add bits here and there, scoop up a little in this or that spot, and just gradually work my sculpture. I usually use my fingers, clay molding tools, and old paint brushes to move the clay around. It is very important the keep the overall thickness of the clay about a half inch, and to make it uniform, without air pockets between added layers.
I usually work on forming the piece over several days. I find if I work for a few hours, stop, and then go back to the piece, I see things much better. I don't use models, but, I do work from photos in anatomy books, photos from magazines, and the like. Between sessions, I cover the entire piece in two layers of plastic, after spraying the clay with water. When I am really satisfied with the sculpture, I leave it open to the air overnight, then cover it loosely for a day with plastic, then leave it open again. When the clay is leather hard, I pull it off my support, and place it on a couple strips of wood...so air can get up into the inside body of the piece. When the clay is really dry, so dry that it does not feel cool to your cheek, I fire the piece in a kiln. In the clays I have been using, I fire to cone 06. The final thing I do is rub floor wax, (Carnuba wax), onto the clay, then, before the wax dries, flick the sculpture with old rags that are full of clay dust. This gives the sculpture a very natural, soft patina.
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