87. With a wire-end tool, Lucchesi draws in the strong V of the sternomastoid.
88. He starts to build up a hollow shoulder structure by squeezing on chunks of clay, working outward from the neck.
89. He forms the collarbones by rolling two large coils of clay and pressing them into position.
90. He forms the sternomastoid muscles in the same way, positioning them on top of the drawn guidelines.
91. He places another coil of clay on the neck to form the rounded protrusion of the throat.
92. He presses this coil in to show the two separate forms made by the larynx, or Adam’s apple, at the top and the thyroid at the bottom.
93. With a curved plaster tool, Lucchesi depresses the hollow of the neck between the ends of the collarbones.
94. He continues to build outward, adding more clay to the shoulders.
95. Now he builds downward to the bust.
96. He blends the clay of the shoulder with a flexible steel palette held curved to follow the contour of the forms.
97. With his finger, Lucchesi models the sharp definition between the collarbones.
98. He pulls a flexible steel palette over the surface to model and blend the clay.
99. With gentle sweeping strokes of his thumb, Lucchesi blends and unifies the surface.
100. Moving down to the bust, he uses the full strength of his hands to pull the clay together.
101. He draws a flat plaster tool along the collarbones and sharpens the ends at the hollow of the throat.
102. Again using a flexible steel palette, he models and rounds off the shoulders.
103. Here Lucchesi starts to lay the “skin” on top of the underlying structure he has built up. The clay is flattened by repeatedly throwing a ball of clay obliquely against a tabletop on the floor (see above).
104. He gently presses the layer of clay over the sternomastoid and throat.
105. He drapes another layer of clay over the shoulder.
106. Then he presses it down around the collarbone.
107. He covers the other shoulder.
108. And presses the clay into the underlying forms.
109. Now Lucchesi blends the clay together and works small dabs of wet clay into the surface with sweeping motions of his thumb to even out any irregularities.
110. Here he uses a flexible steel palette to “spread” clay over the surface.
