My on-line diary began in the 1990's from my studio in the North of England. After a lapse of ten years, I resumed posting from my present studio on the Caribbean island of Dominica.

From the far beginning, the intention has been to give an insight into my working methods, and to share the triumphs, trials and tribulations of work-in-progress.

My diary pages are followed by thousands of artists, art students and art lovers in over 50 countries.

Friday, May 13, 2011

Mould making…

The seated figure shown in my last entry is part of an ongoing series titled, Daughter of the Caribbean Sun.  The next step towards the bronze cast is to make a plaster “waste mould” from the clay original. 

The first picture shows the brass shims that I have inserted into the clay in order to divide the mould into sections.  It is important to get the divisions correct to enable the mould to be separated.   Over the years, I have spent many sleepless nights trying to work out the best configuration.  

In the second picture, the first coat of plaster has been flicked by hand onto the clay.  The process has not changed since the days of Michael Angelo.  Flicking "down hill" is easy, flicking "up hill" is exremely difficult.  If done correctly the plaster can picked up the detail of a fingerprint.   Successive layers of plaster are then towelled onto the flick coat until the mould has sufficient strength to withstand the strain of separating the sections.  After a full day of flicking plaster onto four life-size figures for Leeds, my right hand swelled to the size of a football. 


  1. Ouch! That sounds painful!

    I've just wandered over from Alan's and need to tell you that, as a boy, you had a cheeky grin!

  2. I came here from your brother's blog. I spent much of my life as an artist, attending shows, having shows, painting, and etc.. Then I got into advertising and ended up teaching commercial art for about 13 years. After owning my own business, I am stuck with COPD at home and enjoy my camera and taking photographs.