During the final stages of refinement, I “work the light.” The clay sculpture and the model are positioned in the sun so the light is identical on both. If the shadow is deeper on the model than on the sculpture, I cut into the clay. If the form of the model is picking up more light than the sculpture, I add clay.

Have you noticed that I keep using the word “refine” rather than “correct a mistake?" Creating a 360 degree sculpture requires the form to appear accurate from every conceivable angle. I work round and round and round, keeping an overall perspective.

The clay sculpture is cut apart so the mold will be less complex. This facilitates getting an accurate wax reproduction. A wax is poured for each casting in the edition.

A high strength silicon mold making rubber is brushed on each section and allowed to cure. This rubber will pick up every detail including fingerprints. Thin plastic dividers called shims are placed in the rubber at predetermined division lines.

Plaster is then applied to each side of the rubber coated clay. The plaster and rubber sections are removed from the clay model. You now have a “negative” mold of the “positive” original.

Liquid wax is slushed into the mold and dumped out so that a 1/4” thick coating is left in the mold.

After the wax has cooled, the mold is removed, revealing a hollow wax reproduction of the clay original. Seam lines and any imperfections are dressed. Some of the removed parts such as Pat’s lower legs will be reattached in wax.