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Sculpting the Figure in Clay: An Artistic and Technical Journey to Understanding the Creative and Dynamic Forces in Figurative Sculpture
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About Sculpting The Figure In Clay: An Artistic And
Product Description A comprehensive guide for sculptors looking to recreate the human body using clay, from the author of The Portrait in Clay In Sculpting the Figure in Clay, acclaimed portrait bust sculptor Peter Rubio teaches a master class in the essentials of figurative sculpture. In this intensive, all-inclusive guide, he introduces students to a natural, straightforward geometry that will help them become masters at forming figures of clay. Rubino’s unique approach utilizes a geometric system consisting of blocks, simple shapes, and guidelines that instruct students in a new and instinctive sculptural style, With these easy-to-follow instructions and informative concepts, students will see figures as the basic shapes beneath the form as well as learn vital approaches such as BLT: Bend, Lean, and Turn, to create evocative expression, and the Three Ps: Position, Proportion, and Plans, for accurate representation. Other topics include: • The Fundamentals of the Clay Torso • Observing the Model • Essential Materials and Tools • Sculpting the Female Torso from the Live Model • Sculpting the Reclining Figure from the Live Model • Sculpting the Hand, Foot, and Lower Arm • Plus Many Photographic Reference Poses for Continued Study This unparalleled resource is the definitive guide to figurative sculpture. About the Author Peter Rubino is an acclaimed sculptor of numerous private and corporate commissions. Among his many works, his piece Mother of Life, a ten-foot historic monument, graces Boyko research center at the Ben Gurion University of the Negev in Beer Sheva, Israel, and Angel, a thirty-five-foot monumental figure, was created for the Walt Disney Company. His previous book, The Portrait in Clay, has been translated into numerous languages, and he teaches annual workshops in both the United States and Italy utilizing his easy-to-follow, step-by-step instructional methods perfected over thirty-five years as an educator at such prestigious institutions as the Brooklyn Museum Art School and the National Academy School of Fine Arts in New York City. He has sculpted portraits of President Barack Obama, jazz icon Dave Brubeck, and sports legend Lou Gehrig. Excerpt. © Reprinted by permission. All rights reserved. Introduction Why the human figure? The figure has been the inspiration of both heroic and sublime artistic creations for thousands of years. The figure continues to inspire and is the subject of choice for many contemporary sculptors worldwide. It is a most fascinating form: available in a variety of shapes and sizes, and in two genders. Perfectly constructed, possessing power and grace, it offers dramatic movements and an endless array of pose possibilities. Ideally suited, the figure features an abundance of volumes and contours, presenting the sculptor with infinite design and compositional options while boasting an unlimited range of emotional expressions. Studying and sculpting the figure can be the gateway to self-awareness, discovery, and expression. Besides, it’s a great way to celebrate the human experience. This is not another anatomy book for artists. The lessons introduced in this book are designed to help sculptors see and think in the round, by providing a fresh and functional sculptural language. These concepts are suitable for the development of both the male and female figures in clay. The focus of this comprehensive instructional guide is on the female figure, covering a standing torso and a full-figure reclining pose, with additional references for seated poses. My step-by-step method of arranging simple block shapes of clay, according to the position proportion and planes of the model, is a quick and easy-to-follow sculpting technique that establishes the foundation of a pose without requiring the use of an armature (although you may use one if you like, as I do on page 30). Once the foundation is in place, the sculpture will begin to take on its final figurative form. My inten
