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Sculpture



 
 
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  #1  
Old September 28th 03, 02:26 AM
annemarie
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Posts: n/a
Default 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  
Old September 28th 03, 03:53 AM
Cee White
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Default

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  
Old September 28th 03, 05:37 AM
Diego
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Posts: n/a
Default

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  
Old September 28th 03, 06:35 AM
annemarie
external usenet poster
 
Posts: n/a
Default


"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  
Old September 28th 03, 06:45 AM
annemarie
external usenet poster
 
Posts: n/a
Default


"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  
Old September 28th 03, 01:17 PM
Bob Masta
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Posts: n/a
Default

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  
Old September 29th 03, 01:29 AM
external usenet poster
 
Posts: n/a
Default

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  
Old September 29th 03, 02:06 AM
Diego
external usenet poster
 
Posts: n/a
Default

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  
Old September 29th 03, 08:44 PM
Charlie Spitzer
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Posts: n/a
Default


"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.


  #10  
Old October 2nd 03, 01:49 AM
external usenet poster
 
Posts: n/a
Default

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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