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#1
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Sculpture
Ok mostly I make pottery, but sometimes I get inspired to try sculpture. I
especially like using paperclay. I find it very difficult to sculpt eyes though. Having them closed is fine, but open is very difficult for me. I have done one just now with a young woman in a strapless gown, standing on the hem and of course the predictable problem, I have managed the mouth with an O - oops expression, but having the eyes closed made it look like it was on purpose and she was being provocative. I have opened the eyes and it is ok but it was a struggle I must have done them a dozen times and they could still be better. Does anyone else do sculpture and have a secret to making good eyes? |
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#2
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Hi, Annemarie,
Do you have anyplace to post pictures? I'd enjoy seeing your work. I've begun a series of rather weird masks. It's fun. Catherine On Sun, 28 Sep 2003 13:26:39 +1200, "annemarie" wrote: Ok mostly I make pottery, but sometimes I get inspired to try sculpture. I especially like using paperclay. I find it very difficult to sculpt eyes though. Having them closed is fine, but open is very difficult for me. I have done one just now with a young woman in a strapless gown, standing on the hem and of course the predictable problem, I have managed the mouth with an O - oops expression, but having the eyes closed made it look like it was on purpose and she was being provocative. I have opened the eyes and it is ok but it was a struggle I must have done them a dozen times and they could still be better. Does anyone else do sculpture and have a secret to making good eyes? |
#3
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Yes, I too would like to see your work!
I've always loved to paint the human figure, but wondered what it would be like to work in three dimensions. Something magical happens when the clay takes on such human like quality. There is nothing more thrilling than when you apply that last dab of clay to the cheek and you are holding the person's face in your hand. Much more fulfilling than that two dimensional canvas. What I do with eyes is I take a digital picture of the model up close or if working from a photo, scan it in to the computer. I can then change the image from color to black and white so as to get the well-defined shadows. When making the eyes, I pretend the cornea isn't even there and model the iris like it is a concave dish. The pupil is nothing more than just an additional deep concave dish in the center of the iris. The overhanging eyelid is where the drama comes in, casting a shadow over the top of the iris and the pupil. Some, attempting for the first time, make the pupils too deep. All you need is just the hint of the pupil and light and shadow does the rest. Again, being able to see in black and white allows you to capture those shadows. One of the most amazing tricks is when you work with a lighter colored iris, make the dish more shallow, a darker iris, dish deeper. I then attach a little ball of clay right at corner of iris and pupil at a 10 or 2 o'clock position, depending on which direction the light source will best come from for that sculpture. The best light source direction may not be determined until the piece is nearly complete. Forget about too much detail in the brow and lash, the viewers mind will fill that in. One of the most beautiful people I ever met was a woman who was born with a "no hair" gene. Diego |
#4
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"Cee White" wrote in message ... Hi, Annemarie, Do you have anyplace to post pictures? I'd enjoy seeing your work. I've begun a series of rather weird masks. It's fun. We do have a digital camera, and I was setting up a website some time ago, but haven't done anymore. I guess If I took pictures I could email them. |
#5
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"Diego" noone@nowhere wrote in message ... Yes, I too would like to see your work! I've always loved to paint the human figure, but wondered what it would be like to work in three dimensions. Something magical happens when the clay takes on such human like quality. There is nothing more thrilling than when you apply that last dab of clay to the cheek and you are holding the person's face in your hand. Much more fulfilling than that two dimensional canvas. What I do with eyes is I take a digital picture of the model up close or if working from a photo, scan it in to the computer. I can then change the image from color to black and white so as to get the well-defined shadows. When making the eyes, I pretend the cornea isn't even there and model the iris like it is a concave dish. The pupil is nothing more than just an additional deep concave dish in the center of the iris. The overhanging eyelid is where the drama comes in, casting a shadow over the top of the iris and the pupil. Some, attempting for the first time, make the pupils too deep. All you need is just the hint of the pupil and light and shadow does the rest. Again, being able to see in black and white allows you to capture those shadows. One of the most amazing tricks is when you work with a lighter colored iris, make the dish more shallow, a darker iris, dish deeper. I then attach a little ball of clay right at corner of iris and pupil at a 10 or 2 o'clock position, depending on which direction the light source will best come from for that sculpture. The best light source direction may not be determined until the piece is nearly complete. Forget about too much detail in the brow and lash, the viewers mind will fill that in. One of the most beautiful people I ever met was a woman who was born with a "no hair" gene. Diego Thanks so much for your reply. I will spend a lot of time trying things out with your info. With the one I did I made the brow shape, raised for shock. I had the hollow for the eyes and then put a blob of clay in and shaped around for the lids, then pressed very lightly with the blunt end of a bamboo skewer for the iris, then lightly touched my needle tool into it for the pupil. It sure does have a shocked look ) In this case that is what I am after but heck it was difficult. Thanks for your time. You have both inspired me. I really should see about getting my website up and running A |
#6
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On Sun, 28 Sep 2003 13:26:39 +1200, "annemarie"
wrote: Ok mostly I make pottery, but sometimes I get inspired to try sculpture. I especially like using paperclay. I find it very difficult to sculpt eyes though. Having them closed is fine, but open is very difficult for me. I have done one just now with a young woman in a strapless gown, standing on the hem and of course the predictable problem, I have managed the mouth with an O - oops expression, but having the eyes closed made it look like it was on purpose and she was being provocative. I have opened the eyes and it is ok but it was a struggle I must have done them a dozen times and they could still be better. Does anyone else do sculpture and have a secret to making good eyes? My wife took a class in making doll heads, and the method they used was to build a little skull first and make little eyeballs to go into it. Then the skin, including the eyelids, seemed to fit naturally. She showed me the technique and I tried it making a little troll head, using "cat's eye" marbles for the eyeballs. I hadn't ever done any sort of figure work before, and I was amazed at how well this method worked even for a beginner like me. Of course, it _was_ a troll, not a figure that had to look like a real person, but I think this is a good thing to try. The cat's eye marbles make the troll look downright scary. I don't know how high glass melting temperatures can go, but I know common marbles are a molten puddle by C/04. So for fired pieces you may have to settle for opaque eyes. Hmmm,,,, maybe there's a way to leave a space for the eyeball, like making it out of wax when you are building the sculpture, and insert a glass one (doll-makers have really good ones available) from behind in the finished (hollow) piece. Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com |
#7
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Have just been on a sculpture course - taught by a lecturer at The London
School of Art. She also does forensic work and approached it anatomically as if dealing with a skull and hollow eye sockets. Equal balls of clay in each socket etc and much the same as already stated. Great attention paid to every muscle. Tips for photography were - use a tripod. Place lens exactly level with subjects nose. Next, place level with each ear. From then on, take shots from every angle, above, below etc. An absolute profile shot is essential - don't forget to draw this as well. Get vital shots blown up to life size. and get sculpting. Thoroughly recommend going on such a 'course' - it was an amazing experience.. "annemarie" wrote in message ... "Diego" noone@nowhere wrote in message ... Yes, I too would like to see your work! I've always loved to paint the human figure, but wondered what it would be like to work in three dimensions. Something magical happens when the clay takes on such human like quality. There is nothing more thrilling than when you apply that last dab of clay to the cheek and you are holding the person's face in your hand. Much more fulfilling than that two dimensional canvas. What I do with eyes is I take a digital picture of the model up close or if working from a photo, scan it in to the computer. I can then change the image from color to black and white so as to get the well-defined shadows. When making the eyes, I pretend the cornea isn't even there and model the iris like it is a concave dish. The pupil is nothing more than just an additional deep concave dish in the center of the iris. The overhanging eyelid is where the drama comes in, casting a shadow over the top of the iris and the pupil. Some, attempting for the first time, make the pupils too deep. All you need is just the hint of the pupil and light and shadow does the rest. Again, being able to see in black and white allows you to capture those shadows. One of the most amazing tricks is when you work with a lighter colored iris, make the dish more shallow, a darker iris, dish deeper. I then attach a little ball of clay right at corner of iris and pupil at a 10 or 2 o'clock position, depending on which direction the light source will best come from for that sculpture. The best light source direction may not be determined until the piece is nearly complete. Forget about too much detail in the brow and lash, the viewers mind will fill that in. One of the most beautiful people I ever met was a woman who was born with a "no hair" gene. Diego Thanks so much for your reply. I will spend a lot of time trying things out with your info. With the one I did I made the brow shape, raised for shock. I had the hollow for the eyes and then put a blob of clay in and shaped around for the lids, then pressed very lightly with the blunt end of a bamboo skewer for the iris, then lightly touched my needle tool into it for the pupil. It sure does have a shocked look ) In this case that is what I am after but heck it was difficult. Thanks for your time. You have both inspired me. I really should see about getting my website up and running A |
#8
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Can you inquire if there is any such course in the U.S.? Did you
receive any written material? Would it be available for purchase? Any video courses offered at that school? Sounds absolutely fantastic! Diego |
#9
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"Bob Masta" wrote in message ... On Sun, 28 Sep 2003 13:26:39 +1200, "annemarie" wrote: Ok mostly I make pottery, but sometimes I get inspired to try sculpture. I especially like using paperclay. I find it very difficult to sculpt eyes though. Having them closed is fine, but open is very difficult for me. I have done one just now with a young woman in a strapless gown, standing on the hem and of course the predictable problem, I have managed the mouth with an O - oops expression, but having the eyes closed made it look like it was on purpose and she was being provocative. I have opened the eyes and it is ok but it was a struggle I must have done them a dozen times and they could still be better. Does anyone else do sculpture and have a secret to making good eyes? My wife took a class in making doll heads, and the method they used was to build a little skull first and make little eyeballs to go into it. Then the skin, including the eyelids, seemed to fit naturally. She showed me the technique and I tried it making a little troll head, using "cat's eye" marbles for the eyeballs. I hadn't ever done any sort of figure work before, and I was amazed at how well this method worked even for a beginner like me. Of course, it _was_ a troll, not a figure that had to look like a real person, but I think this is a good thing to try. The cat's eye marbles make the troll look downright scary. I don't know how high glass melting temperatures can go, but I know common marbles are a molten puddle by C/04. So for fired pieces you may have to settle for opaque eyes. Hmmm,,,, maybe there's a way to leave a space for the eyeball, like making it out of wax when you are building the sculpture, and insert a glass one (doll-makers have really good ones available) from behind in the finished (hollow) piece. Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com glass starts moving around 1100. at 1500 it'll be pretty soft, and at 1650 will be a puddle. |
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I found out about my 'course' by picking up a leaflet at my local college.
Lots of colleges/schools/universities in US and UK hold 'summer schools'. It's great if you can get a good one locally, but I have found out about some super ceramic courses in USA and am hoping to cross over the pond next year to take advantage of this. The info on this was passed to me by a very kind person in our own newsgroup. I have no doubt you will find something not too far away, or you can always come over to this side. The school I attended, gave a choice of being residential and was excellent value for money. "Diego" noone@nowhere wrote in message ... Can you inquire if there is any such course in the U.S.? Did you receive any written material? Would it be available for purchase? Any video courses offered at that school? Sounds absolutely fantastic! Diego |
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