With TAG people I got to explain the sculpture's needs at a more fundamental level. Rather than saying, "Make the arm thicker," I said, "Add lots of clay to the top of her upper arm to build up her biceps, then a little less under it because triceps are smaller. For the lower arm make it larger and round near the elbow but thinner and flatter near the wrist." They caught on instantly, giving the sculpture more humanly proportions.
TAG people were the first to add a nylon mesh layer with the Winterstone clay layer. It proved challenging, getting the mesh stay in place while bending around corners such as the elbows but we found success by slicing the mesh at strategic locations and drying the clay to the perfect consistency (wet enough to mold but dry enough to hold its shape). Elissa claimed that, "The elbow began as our nemesis, but I think it worked out." Yes Elissa, I can confirm that that elbow looked great the following day once the Winterstone clay had dried more.
TAG sculptors instinctively knew to look at the sculpture from different angles to evaluate proportions and make corrections where needed. At the end of the session one of them stood back, looked at the sculpture and compared it to the Michael Martchenko picture in the book then said that the sculpture's knees were too low. I looked at them, thought a moment then agreed. "Thanks," I replied. "We can shift the knees upward with subsequent clay layers."