Your browser indicates if you've visited this linkBooks and Media - Sculpture. Everyday low prices and free delivery on eligible orders. More results Figure Sculpting Volume 1: Planes and Your browser indicates if you've visited this linkAbeBooks. Your browser indicates if you've visited this linkReference books on sculpting tools, materials and techniques within clay modeling, Your browser indicates if you've visited this linkFigure Sculpting:VI The traditional clay sculptor, as well as the digital sculptor, will find information on structure, planes, Figure Sculpting Volume 1: Planes More resultsfigure sculpting volume 1 planes and construction techniques Your browser indicates if you've visited this linkfigure sculpting volume 1 planes and construction techniques in clay Download figure sculpting volume 1 planes and construction techniques in clay or read online books in PDF, EPUB, Tuebl, and Mobi Format.
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In their third book on modeling techniques in clay Philippe and Charisse Faraut present a comprehensive approach to the complex subject of the human figure. Over photos and illustrations are used to demonstrate series of exercises for the head, torso, arms, hands, legs, feet and full figure that promote rapid progress while learning the anatomy specifically relevant to the 3D artist.
None of the great! My personal block was coming when turning a figure on the table and thinking "ok, how do the muscles I know to be here really look in this position?
The statues were anatomically correct but there was something missing. This book opened my 3D eye and gives me a lot of useful info and tips about working with this medium. I really appreciate its content; you can take a look I hope the video will help you understand how detailed and well organised it is. Keep your fingers dirty and make beautiful art!
The best book available; a must have By alex heveri I am a figurative and portrait sculptor. I often use a model and review anatomy books. The last two toes seem to be grouped together as well. When viewed from above, the big toe is obviously the most important, yet the other toes may not seem to be as separable as when viewed from below.
In that sense, just draw the delineation between the big toe and draw the other four toes as a group. This will reduce the complexity of the task at hand. If you have time, and if it is necessary, then draw the delineation between the smaller toes. Color is often the most efficient way to create mood and painters will leverage their knowledge of color to create it.
The artist working only with charcoal or other monochromatic medium will have to indicate mood by relying upon their knowledge of rendering form with gesture, proportion, value, anatomy and tying it all together with an effective composition. Indicating mood in a drawing is not an easy task. Use creative shading or enhanced gesture to create more mood. Some simple eraser work to pick out areas of light above a persons head can imply meaning.
Drawing the eyes looking up, down or sideways will each indicate a different mood or emotion. In this drawing, we have chosen a sedentary pose with the model seated and leaning forward. The mood of this scene is perhaps more inward reflective. In this case, the artist Juan Cbbos has left in remnants of the early phases of the drawing and alternate poses of the same model. Drawing like this can reveal a series of moments in time.
Many of the Old Masters renaissance would leave remnants and contour lines of other poses in their drawings because it was part of the process of studying the figure. This is a topic concerning the philosophy of drawing and is a segue-way into discussions about style preferences. The drawing at the top shows a minimalistic naturalistic representation of a woman on her side. The contour line of her shape is emphasized and works in concert with the contour line of the surface she is laying on, creating a sense of harmony.
The drawing on the left has the seating surface omitted and the external geometric shape of a circle is integrated into the scene. I used reconstructive realism to manipulate her left leg so its contour aligns up with the circle.
The circle and the woman work together and create a composition. The lower right leg extends outside the confines of the circle and provides a counterbalance to the otherwise contained feeling. In this drawing I have used the natural transition that occurs between the pelvis and legs as an opportunity to crop the drawing in that region in a way that feels natural.
Some heavier shading around the figure with some eraser work to pluck out a hint of a halo and the drawing becomes slightly angelic. The sculpture is not moving and there is no rush to draw it. The drawings on this page present various styles of drawing, all of which were done of sculptures throughout Italy. On the right is a drawing of Young David, after the sculpture by Donatello.
For this reason, conceptual drawings are usually less academic in nature. The gesture and composition of the drawing usually dominate the eye. Conceptual drawings are often done to help generate ideas for a longer study or project. Clothes will be pulled along or form fitted over the body, respectively. The larger masses and bony projections of the body will push at the surface of the clothes.
If any of the bony landmarks of the body are visible, then take advantage to render them accurately and sharply: knees, ankles, elbows, wrist, hands, clavicles, jaw line. Not all clothing is equal and we notice the boots on the woman in this drawing have a much more rigid feeling than the other clothing present.
Following these steps each time you create a figure drawing will dramatically increase your success rate for depicting the person in front of you. Step 1: Carefully block-in the contour of the figure from head to toe. Use mostly straight lines and or large swooping lines. This is often referred to as the Envelope Method. Optically measure and compare the distances between the lines and resulting shapes. This is referred to as Relative Comparison.
Step 2: Continue refining step 1, while at the same time begin blocking in the shadow borders. Add some slight value darkness to the shadow areas to begin the process of Shadow Mapping, which is simply separating the light and dark areas into separate pieces of a jigsaw puzzle. At this point it would still be completely appropriate to make another pass as the entire contour of the figure for more accuracy to give a sense of flesh and bone, as well as refine the line quality to be heavy or light.
Step 4: The final step of the drawing is to really push the low values as dark as they can go as appropriate and erase out any areas that you want to be the lightest higher values. If you have mid toned paper, you could put subtle highlights in with chalk very sparingly.
If all the steps in this sequence have been done faithfully, then the artist could spend many hours on the final step by continuing to refine the subtle shapes of the shadow borders to indicate the anatomy of flesh, fat, muscle and bone. Additionally, the artist can add a slight background value surrounding the figure to reduce or minimize the contrast of the contour line of the figure.
On the far left is the initial block-in. When drawing standing figures, it is recommended to make horizontal lines on the paper to indicate the bottom of one of the feet, the top of the head and also the exact optical center of the figure. Standing figures present an especially difficult problem of vertical proportions that must be overcome.
Making horizontal ticks on the paper to indicate the vertical orientation of key landmarks will aid the artist in finding correct vertical proportions.
The second and third steps in the drawing encourage more refinement of the initial block-in. A ground shadow is added in order to give the figure a sense of existing on a solid surface. The goal is to capture the gesture and in this case the most highly gestured region of the figure is the lower body.
The second step is a restatement of the highly gestured legs and the upper portions are blocked in. The third step is the beginning of a long refinement process. As the shadows are blocked in, it is possible to use the shadow borders as anchor points to check the proportions again. Notice also the ground shadow is added. In a drawing that takes the artist 2 or 3 hour to complete, it is a good idea to take a long break half way through.
This will allow the eyes to become fresh again. On that note, it is also recommended the model not stand for more than 20 minutes at a time, as the pose will become labored. Even as the drawing is seemingly progressing, the proportions are constantly checked for believability and the drawing is constantly scanned for odd or deformed looking areas.
In the case of this drawing, the foot on the right has been fidgeting around and it is decided to go with a more frontal and almost completely foreshortened version. Manipulating the shadow borders to maximize the soft and sharp transitions that exist between light and shadow will increase a sense of volume and reality. The head is casting a shadow onto the upper part of the chest and shoulder.
The border of this shadow will be mostly sharp, as are the shadow borders below the breasts and under the knee on the right. We leverage off our knowledge of anatomy and articulate the form shadow that occurs between the division of the sartorius muscle and the rectus femorus muscles on the leg on the right. The belly button is a well-defined small crater in the lower abdomen and in this case there is a slight depression above it that also falls slightly into the shadow region.
Your knowledge of anatomy and optics should work together cohesively to produce form that represents the human figure in front of you. In the example on this page, the model was sitting on a tall chair and her legs were braced within the legs of the chair to appear is if she was floating. At the second drawing shown above, much attention was devoted to mapping in the shadow borders. At this point, you should not worry about obtaining correct overall values.
Your focus is on the shadow borders, which help convey how form is turning in space. On the left is an enlargement of the lower legs in the finished state. Study the different levels of value. This is simply a value scale being applied to a living object. The woman is seated with legs crossed and the weight of her torso is resting upon one arm while the other is outstretched holding a sword.
The first few lines I used for the drawing were large sweeping lines that indicated the angle of the top of her shoulders, the arc of the center of her torso, the line going from the ground up to the shoulder with her weight on it and a line down the center of the face. After these lines, subsequent lines are made indicating the boundary of her cranium, an arcing line connecting her nipples and an arcing line connecting her knees. Once confident of the angles and sweeping motions the forms made with respect to each other, I began to block-in the contour and shadow shapes.
Contour line and shadow shapes are continually refined while checking to make sure her proportions are convincing. Several soft layers of charcoal are applied in crosshatching motion in the shadow shapes to darken the value of those areas. The hilt and blade of the sword are drawn in. In the final version of the drawing we can see a full value scale has been used for the mid toned paper and a ground shadow has been drawn in.
The head neck and shoulder region is shown larger so you can study how I treated the shadow borders. Note the specific shape of the shadow border that appears on the shoulder on the left. The first image shows the important blocking in step that is done in order to obtain the correct gesture and proportions. The second image shows a zoom in of the abdomen and pelvis. Note the importance the shape of the naval plays in conveying the twist. Also note the angled line that appears to the left and above the naval, which is conveying a crease between the lower ribs and the fleshy part of the abdomen.
The last image shows the finished drawing with a value scale incorporated in order to create more volume. See Appendix on Artistic Terminology for a list of all of the principles of design. One of the most common and practical principles of design is to mimic known geometric shapes into the pose of the model. The geometric shape will subconsciously resonate with the viewer and increase connectivity with the image.
The drawing on this page incorporates the triangle and pyramid shapes. It is a canvas on which our lives are constantly being written.
We project our greatest joys and worst defeats for all to see. The terms face and portrait are often used interchangeably. The face is the area on the front of the skull that is bounded by the ears on the side, the hairline of the forehead on the top and the chin on the bottom. The term portrait implies the entire face as well as the entire skull and also the neck, and often the clavicles, upper trapezius muscles and the bony point at the base of the back of the neck called the seventh cervical vertebrae.
By discussing primarily the structure of the portrait the reader will begin to understand the face and the portrait. We will review the facial structure of specific people from various cultures in order to show how there is a wide variation in the appearance of the portrait, yet all of the ethnicities adhere to a set of guidelines that describe the portrait. Every drawing or sculpture shown in this guide is of a real person and is done with the utmost respect for that individual.
Without the skeleton, gravity would pull us to the ground and even the most basic movements in free space would be incredibly difficult. The skull comes very close to the surface of the skin in many places. It protects our brain from being damaged from impacts and hard objects. Four of our senses sight, sound, taste, smell can only be accessed through organs found on the skull. Therefore, protecting the organs in the skull is vital for the human body.
The skull is composed of 8 cranial bones, 14 facial bones and 6 bones of the inner ear. This simplifies the task of drawing or sculpting the skull. Note the downward and outward slanting manner of the bone above the orbital cavity. This almost always causes a shadow in that region, connecting the shadows of the orbital cavities. This effect is sometimes coined the raccoon eyes, because a raccoon has a dark patch of fur around its eyes.
It is bound above by the supraorbital arch, on the lateral side by the external angular process and below by the tear bag. The most important components of the topographical eye region are; superior orbital grove, upper lid palpebrae superioris , lower lid palpebrae inferioris , lateral corner of the eye lateral canthus , medial corner of the eye medial canthus , cornea, iris, pupil, plica semilunaris, lacrimal caruncle.
The eye moves within the orbital cavity with the aid of six extraocular muscles. The muscles are inserted onto the eye in a fashion that allows very precise rotation around all three axii. The extraocular muscles cannot be seen from the external viewpoint, but it is useful to know they exist to better understand how the eye moves within the eye socket. In a normal gaze, the bottom of the iris will just barely touch the border of the lower lid and the upper iris will be partially occluded by the upper lid.
When the eye is looking upwards as shown in the diagram below, the upper lid will fold back and some of the lower eyeball can be seen. The upper lid is the first form found near the eye that has the most impact upon the eye. From the sculpture we can see how it casts a sliver of a shadow along the upper part of the visible eye.
The lower lid also covers a portion of the eye. However, the lower does not open and shut like the upper lid. It is similar to the lower lip in the fact that it rests upon a form that is below it. In this case the form is the tear bag. The older we get, the more noticeable our tear bags become and the associated wrinkles in the flesh along the lower portion of the tear bag.
As we lower the viewing angle we can see how the mass above the eye becomes the dominant form. Our eyes are protected by the bony supraorbital arch from harmful objects falling from above and provide shade from sunlight from directly above.
Just above the nose is a key region called the glabella. The glabella is a smooth area bounded on the sides by the eyebrows, below by the transverse nasal furrow and above by the forehead. The shape of the glabella is similar to an Isosceles trapezoid with the long side on top and will often form a slight down plane, hence when the head is in normal position there will often be a slight form shadow in this region.
The root of the nose is just under the glabella and can be marked by the transverse nasal furrow. In some adults and the young, the transverse nasal furrow will be absent.
Slightly below the root of the nose, the nasal bone creates a convexity and this spot is referred to as the bridge of the nose. As the nasal bone terminates downwards, one can often see a tapering inwards indicated by a slight shadow. At this point, the cartilage of the nose begins to blossom. In the two drawings on the left, the septum dips below the wings of the nose.
The reverse will never be true, though sometimes the septum and lowest point of the wings of the nose may be on the same level, as shown in the drawing on the far right. Between the wing of the nose and the cheek, there will usually be a noticeable furrow that separates these two forms that is called the nasolabial furrow.
The mouth is bounded above by the philtrum, on the sides by the cheeks and below by the mentilabial furrow. Understanding the shape of the lips at rest is a good starting point in understanding the mouth. The mouth at rest will usually exhibit a slight space between the lips, especially in the region of the upper middle tubercle and median sulcus of the lower lip.
Towards the corner of the mouth the upper corner will always overlap the lower corner, creating a small shadow. In people with thin lips this may be difficult to observe, but it is always the case and is easily observable in those with pouty or pudgy lips and cheeks often found on young children. Between the lower lip and bottom of the chin will be a horizontal crease called the mentilabial furrow. It is often curved convexly upwards.
The purpose of the ear is to funnel sound into the auditory hiatus, so the internal ear can process the sound waves into electrical nerve impulses and send them to our brains to be analyzed. For most practical purposes, the ear can be viewed as an object that does not contort or deform like the other features unless acted on by another body or form. The outer ear is composed entirely of cartilage and as the body ages the ears often appear proportionately bigger when compared to younger people because cartilage continues to grow throughout our life.
The negative spaces of the ear are: triangular fossa, cymba, cavum and the tragal notch often referred to as the ear notch. The casual observer might be convinced that most of the work was done in the third step, when actually the first step took most of the artists skills and patience.
When creating accurate drawings of people, the most important step is to first create an accurate block-in of the subject. Focus on creating accurate gesture and proportions for as long as possible before proceeding with unnecessary details. After accurate gesture and proportions are blocked in, proceed by finding shadow borders and the smaller features.
Each step is a refinement of earlier steps. At the top left is the initial rigorous analysis of proportions. The distance between the tip of the nose and the back of the hair was equal to the distance between the chin and the crown of the head.
After establishing the overall proportions, many of the construction lines are erased and more attention is given to the shadow borders. The final step is a refinement of the shadow borders and modeling of features.
This drawing is a study for a portrait sculpture and hence the bottom of the drawing is cropped, as it will be in the sculpture. The line does not optically separate the mass of the skull into equal left and right halves because the model has tilted her head. Therefore, the line appears further to the left. In the drawing on the far right we can see how much more mass of the cheek and jaw are visible than the right.
This is typical in foreshortening and the artist must be aware of it from the moment the drawing is first started. In order to gain the appearance of more volume in forms, it is necessary to understand modeling. Each shadow and light area has an irregular shape and the where the shadow and light converge; by convention we call this the shadow border.
The shadow border has sharp and soft transitions. Notice how the eye is modeled and how the shadow shapes seem abstract in nature. The accumulation of many abstract shapes arranged perfectly will create a shape we recognize in reality.
Here I have started with a metallic armature constructed of plumbing pipes, elbows, T sections, flanges and bendable aluminum sculpting wire. The armature serves two purposes: supporting the clay for stability and mimicking the gesture of the subject being sculpting.
As you can see, the head part of the sculpture is tilted and I have created two points equidistant from the centerline that will aid in keeping the cheeks symmetrical.
As stated throughout the portrait section of this publication, the most important aspect of creating a portrait should be to obtain the exact profile contour of the model. A metaphoric parallel for the nose of a human face is the rudder of a naval ship.
The orientation of the rudder will effect a ships movement and direction. Likewise, the orientation, size and shape of a nose will affect the accuracy of a portrait sculpture. Shown on this page are photos of the sculpture as it is completely blocked in and cropped. We are only concerned about the gesture and proportion of the forms. A knife or other metallic edged tool can be used to draw directly upon the surface of the clay.
A blown up portion shows the orbital cavity and forms of the eye. When sculpting the eye, you must not think of making just the eye. First create the correct shape of the forms surrounding the orbital cavity; supraorbital arch, nasal bone, upper cheek. Then sculpt the lids of the eye, paying close attention to the borders of the eyelids.
Lastly, put clay into the whites of the eyes, then the iris and then create a small highlight for light that is reflected off the pupil. With a larger than life portrait sculpture, it is necessary to have a special stand to accommodate the weight. The clay weight of the sculpture in this demo is around pounds. Keep your fingers dirty and make beautiful art! The best book available; a must have By alex heveri I am a figurative and portrait sculptor.
I often use a model and review anatomy books. In addition, I have studied several portrait sculpting books authored by other masters. However, there is no other books that compare to this book. This book is a must have for figure sculptors at any level. It is understandable, comprehensive, masterful and sets forth exceptional detail to enable an artist to learn and see how to create beauty in sculpture.
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