The back flower can have the near petals modelled, while the
distant ones can be just indicated on plaque with incised lines. Don't
attempt to copy every petal in clay, which is an impossibility, but try
and get the general effect of the flower in your modelling. Take the
prominent petals first, and put them on in their proper positions, and
the less important petals can then be filled in in the intervening
spaces. This is the plan to adopt in all intricate work. Put down your
principal forms first of all, and you will have little difficulty in
getting in the less important ones, for the principal forms act as
measuring points to the rest of the work, and enable you to preserve
that proportion between the various parts of the design which is
essential in all good designs. It is necessary in modelling to simplify
nature somewhat, for we cannot imitate nature in clay. What we have to
do is to seize upon the principal points, the curves of the stems, the
position, form, and characteristics of the flowers and leaves, and put
them down intelligently and in as telling a manner as possible.
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