As usual this piece has been “finished” several times. I’ve found that when I’m working white on white in the beautiful light of the sculpture studio it is difficult to see flaws that would jump out once I put some paint on it. The soft light and the surface reflection can hide imperfections like candle light at an intimate dinner.
The way I get around that is to bring the piece into another room and hit it with a hard cross light. If there is something that needs fixing it will jump out. I’ll circle it so it will be easy to find when it comes back to the studio and a day or two later when everything looks right I will repeat the process. Eventually I will be satisfied that it will paint well.
Since the piece I going to be painted you might question why this attention to detail is so important at this stage. It’s simple. I learned long ago that you cannot make a good painting out of a bad drawing and flaws in a sculpture cannot be covered up with a layer of paint. The construction and surfacing of these 3D pieces become the skeleton of the final wall sculpture. I cannot fix anything later so it has to be right .
The surface texturing has held up under this harsh light so i can now move on to figuring out how to paint it.
If you compare this stage of Geisah #2 with Geisha you will see that they are very similar but different. Where they will make the complete change is in the palette. I plan to make a radical jump from cool to hot. My research shows that the Geisha costume runs the gamut of colors so let’s see where this ends up.