Sculpting outdoors in one session from a live model can be a rewarding experience, but the situation for the artist is quite different from traditional studio work. The initial challenge is direct sunlight which makes oil-based plastilene clay sticky and difficult to work with unless the air is very cold. I typically set up a portable tripod sculpture stand in the shade, put my clay in a metal bucket, and warm it in the sun. When the desired softness is achieved, I use aluminum foil as a cover. Some plastilene clay will liquefy in direct sunlight. Occasionally, I model outdoors on cold, overcast days and warm my clay before starting the block-in. As the clay cools, crisp, hard edges and a carved-like surface is created as opposed to the soft, juicy surface of warm clay. My favorite times of day to work outdoors are morning and late afternoon when available light reveals strong shadows and form. Every sculptor has a favorite clay when modeling outdoors; mine is Chavant’s “Le Beau Touche” or Jolly King (which was used in this demonstration).

中文翻译：

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艺术与解剖学，第三部分：一次户外雕塑

从现场模型中一次完成户外雕刻可能是一种有益的体验，但艺术家的情况与传统的工作室工作完全不同。最初的挑战是阳光直射，这会使油基塑料粘土变得粘稠，除非空气非常冷，否则很难使用。我通常会在阴凉处设置一个便携式三脚架雕塑架，将粘土放入金属桶中，然后在阳光下加热。当达到所需的柔软度时，我使用铝箔作为覆盖物。一些塑料粘土会在阳光直射下液化。有时，我会在寒冷多云的日子里在户外做模特，并在开始封闭之前加热我的粘土。当粘土冷却时，会形成脆硬的边缘和雕刻般的表面，而不是温暖的粘土柔软多汁的表面。我一天中最喜欢在户外工作的时间是早上和下午晚些时候，此时可用的光线会显示出强烈的阴影和形状。每个雕塑家在户外建模时都有最喜欢的粘土；我的是 Chavant 的“Le Beau Touche”或 Jolly King（在本演示中使用）。