My sculpture has a skin condition…

I’m submitting art into our school’s student art show and I’m getting my pieces ready. I thought all I had to do was make a mat for my watercolor (and FINISH the watercolor) and put wire behind my canvas, but then I take a gander at my sculpture:

It’s FLAKY. 
I mentioned in another post that I used skim milk. I’m hoping that was my big mistake because I got whole milk to drown my torso bust in. 

I used a soft synthetic goat hair brush to apply the milk. The softer the brush, the less brushstrokes will show. And yes, they might show when you’re getting coats thicker on the plaster. 

And while I’m working on the torso bust, I’m putting in a background in the watercolor portrait.

See how it beads? It’s a pain in the butt. I’m using a Cerulean blue mixed with dabs of Ultramarine blue, but I’m not sure if I’m like it too much. 

I think the background needs to be a little bit different. I think the blue background might start looking like the shirt. So why put in a background? Why not just leave it blank? I think a background is needed to make the left side of her face (or the way we’re looking on… the RIGHT side) needs a background color to show where the cheek ends and where the background begins. There has to be a color in the picture already that hasn’t been used. And that’s when I started thinking about red. Maybe a burnt red that’s really washy, but I think it will work. It’s a better idea than what I’m doing now. 
 I’ll post pictures of the finished project(s)!

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