Tips for infusing The Goo Factor
Ok, so now we know about goo, let’s get it into our clay, and here are some tips:
We should know our anatomy.
Goo can distort or hide anatomical structures, so if
we’re going to learn about goo, we have to first know
about anatomy, otherwise we’ll get confused. We have
to learn the rules before we can break them!
Life study is a must.
We cannot learn about goo by simply studying photos
or anatomical diagrams. We have to seek out the living
animal and spend a lot of focused time observing how
living flesh behaves.
Don’t overdo.
The sculpture will look odd if we make the effects too
extreme by getting carried away. The trick is to find
an interpretation that gets the point across that is both
technically accurate and artistically pleasing.
Know our goo.
Work to identify the different types of goo and under
what circumstances they appear. For example, wrinkles are always present in one place or another while
amebic goo mostly occurs around areas of flexion or
extension. Also, several types of goo may happen simultaneously, such as wrinkles, with concavities and
distortions, so also pay attention to cumulative effects.
Remember what goo is.
Always keep in mind that goo is pliable flesh with a
squishy, soft, warm quality. It is seductive and alluring
Are those wrinkles...
on my hocks!?
and begs to be touched. So we need to keep the goo in
our sculpture fleshy and soft looking, avoiding methods that would make it appear harsh, regimented, or
mechanical. That is to say our goo shouldn’t look like
joint wrinkles on an artificial limb.
Preplan our goo.
Because goo is an integral part of our finished sculpture, it is important to consider how it is applied. For
example, large bundles of rippling muscle on a Quarter
Horse are fun, but aren’t accurate on an Arabian. Jiggling muscles on a standing sculpture will look strange
as would static goo on a moving sculpture. So identify
the appropriate types of goo and the necessary degree
needed for it to complement our sculpture.
Think in terms of curves.
Avoid straight lines and straight planes when sculpting
muscle masses. Horses are made of flesh, not polished
sheet metal.
Details count.
Veins and moles contribute to the illusion of fleshiness,
so instill them when appropriate.
Study other artists.
Taking note on how other artists sculpturally express
goo will help us decide how we wish to approach it
in our work.
Excess: So much about recreating convincing goo is
knowing when to apply it and when not to, and in which
areas and why. If we don’t apply goo, our sculpture will
appear too static whereas if we apply too much, it’ll appear lumpy and odd. Goo is a very powerful element to
our sculpture, so be clear about how to apply it.
KATHMAN
How to Study Goo
14
Field study is ideal for studying goo! Watch horses in person during motion, and the lunge-line is a good starter by
creating a focused situation. Pay particular close attention
to the shoulders, throatlatch, forearms, elbow area, hindquarter, neck, ears, lips, chest, genitals and barrel. Look
for the wrinkling, wiggling, jiggling, rippling movement
Equine Collectibles – Winter 2015