HOW WE DO IT

A sculpture this size usually requires a good, strong armature.  For this piece the armature was constructed of small gauge poultry wire.  The 'body' was mounted on gray, PVC electrical conduit (5' 4") which had been drilled to accommodate a cross piece of stainless steel rod approximately 18" long.  Each appendage was then individually hand molded into it's initial shape and "sewn" onto the body with 22 gauge wire.

More 22 gauge wire was used to refine the shape of each limb and hold it in place.  Each ear, hoof, and the upper and lower jaws were all shaped from individual pieces of poultry wire - cut to size and hand molded then positioned and secured in place using the "sewing" technique with the 22 gauge wire.

Once the initial shape and pose was securely wired into place the first several coats of papier mache were applied over the armature using the "strips" technique (recycled newspaper) and my "goop" recipe.  With each layer, the direction of the paper "strips" was alternated to add overall strength.  Wide strips were used on the body and thinner ones for around the mouth, ears and other smaller areas.

The 'rump' area was left open, allowing me to reach inside to apply pressure or steady the piece as I worked.

As additional layers of papier mache are added, more paper is used to add details.  Rolled and twisted paper is shaped and taped in place to form bone and tendons.  Eye sockets, nostrils, teeth, and even veins are all added with individually shaped paper pieces, chunks, bunches, twists and flaps.  Again, these were held in place with a piece of masking tape while several layers of "strips", in alternating directions, are added over each area.

The same technique of rolled, twisted, bunched and formed paper is applied on each section as layers of papier mache are added... such as at the knee.

Then finally, the 'rump' opening was capped with poultry wire and the building process was continued to add the muscle and meat structure of the rump itself.

With many, many layers completed over the entire body, it was time to start working on the horse's tack.  The saddle and bridle were built using the same techniques of bunching, shaping, folding, twisting and molding desired shapes, a little masking tape to hold them in place, and then several coats of papier mache.   Each layer of  papier mache was allowed several days to dry, after which the entire piece was lightly hand sanded with fine grit paper, then gesso was applied.

Detail work continued on a light open type bard (of sorts).  On the rump, a 'caparison'  was first added, manipulating the many paper layers to show motion in the leathery looking blanket. The 'crupper' was made from over 150 individually hand cut semi-circles of medium weight card stock (recycled boxes & packaging, unfinished side up).  Each was fitted, trimmed and hot glued into place one-by-one in an offset overlapping pattern, starting a the lowest row of 'scales' and working upwards to the center back of the saddle.

An additional 30 plus 'scales' were hand cut and applied to the breast plate (like a small peytral) and another 37 smaller 'scales' were added to the lower edge of the bridles browband.  

Using paper pulp and molds, additional details were added, such at the adornments on either side of the saddle.

Again, where new papier mache had been added & dried, it was lightly hand sanded with fine grit paper.  Then gesso was applied.  When this dried, it was ready to start painting!

Painting started with two heavy coats of a sandy "palomino" color over the entire body.  I used a large plastic peanut butter jar to mix the colour I wanted - this ensured I had enough and gave me an easy way to store it.  I could simply give the jar a good shake and pour more on the palette when needed. 

Using dry brush and other techniques... aging, antiquing and shadowing details were applied over the course of several applications.

Again, I mixed my own desired colours into a deep, rich, leathery burgundy and strong royal blue.  After applying the initial paint, and after it dried completely, I again used the dry brush, rag-off,  and other techniques to add depth, life and age the piece.   

"Liquid gold leaf" was used to highlight certain details.  

Nearing the end of the project now, each individual 'scale' was given a bare dry brushing of a metallic aquamarine to add a slight luminous touch.  The edge of each was then dry brushed with a small amount of "liquid gold leaf".

Additional "working of the paint" was done to acquire the overall aged look I wanted for this piece.  Several fine coats of sealer were then applied.

At this point the entire piece was lifted out of the "working stand" and placed in the final display stand which was covered in plastic bags to avoid damage.  The mane was built up with long individual rows of synthetic hair, 22" strips that I cut to desired lengths (I believe I used a total of 14 rows in the mane), then trimmed for desired look.  Several rows were "bunched" together to form the tail and a hole was drilled at the rump to affix it. 

Lastly the center pool was painted completely in a fine coat of "liquid gold leaf" and then antiqued.  The top of the pole was finished with a silky-rope covered ball and matching silk tassels.