Track number 57 in the London series shows four digits. The first three digits are deeply impressed with nice striations showing either the grabbing action of the toes, or the pull out as the creature lifted its foot upwards out of the substrate. The fifth digit, though possibly seen in the photograph taken of the print before it was cast, didn’t seem to show up in the cast itself. The first digit impressed quite deeply, pushing into the substrate 1.9 cm.
The heel is nicely rounded and very natural looking. Its lateral edge is deeply impressed with a rounded side wall suggesting a living, maleable foot rather than a wooden cut out.
In the mid part of the footprint are two features of interest. First is a small snail shell, which was picked up by the casting process and is evident in the cast itself. Second, and of more anatomical interest, is a clump of hard dirt or clay that can be seen in the photographs of the print before it was cast. This feature also is shown in the cast as a large hole protruding upwards into the cast itself. Could this shed some light on the bottom of the sasquatch foot? If this clump of dirt was present when the bigfoot made the print, then it was not broken apart by the weight of the creature. This would hypothetically be because the fat pad on the bottom of the sasquatch’s foot, yielded around the clump and didn’t exert enough pressure on it to break it apart (though the clump is visibly cracked along the left side). If the bottom of the sasquatch foot is this forgiving, so forgiving that it didn’t break apart a hard clump of clay, then it sheds some light on how these creatures can walk over rocks and other unpleasant things without causing themselves pain or discomfort.