Dramatic Context
Georgia Brown
PHILIPPE | FARAUT
Faraut, P. (2001). The Art Of Sculpting. Volume 2: Expressions and facial constructions. [DVD] PCF Studios
The Art Of Sculpting : Tips
Have a skull and face close by to refer to. There is usually space for three eyes on an adult face, correct proportions '3 eye gap' and the forehead would be shorter for an older person. Check the profile as often as you can and always reference back to the anatomy images, the brow bone is shaped and you can see it, check anatomy books. Check the jaw and profile of the face, making sure it follows the line. Use wire to slice under the chin, choosing your desired face shape by taking out clay and moving the jawline around.
An award-winning figurative sculptor who shares his specialist practise from years of extensive research into the human form and portraiture. This is one of his many instructional DVDs on the human face, I found it engaging and the techniques, utterly flawless. Simple and easy to follow.
Shared Techniques : Notes Taken
Nose
-Start with a basic shape, constantly checking and keeping accuracy, stick to the six planes of the nose. Later, add in the nostrils and define the overall shape
Eyes
-Before giving the sculpture any expression, create a blank look. Create the eyelids and sockets with two round balls and use a flat tool to press the eye shape into the balls, checking the symmetry. When working on the eyes take a step back and work on the angling otherwise your sculpt could look crosseyed. The idea is for your sculpt to be looking through you at an angle rather than at you.
Useful Tip: Use a hairdryer to dry the clay quicker in an area and in this case you can re work an area with a brush and (water for waterbased clay or lighter fluid for plasterline, sulpher free clay), taking away any unwanted texture.
Lips
If the expression is a smile the philtrum will be slightly visible, it will appear flatter due to the top lip pressing against the teeth. The mouth can only be stretched into a closed smile so much before the teeth show. Always alter the eyes according to the mouths smile, keeping it as natural as possible.
Useful tips: Start with a closed mouth and open later if desired. For a smiling expression add more clay to the lower eyelids, smiling with the eyes
Use water and a bristle brush (if working with water based clay, if its plasterline based then use lighter fluid) to even texture around the face. Then smooth out with your fingers over the scratched surface. Dampen a sponge with water and smooth over the entire face, then work into the lips- nose and eyes with a small flat paintbrush.
Gorton, N. (n/a). creating character prosthetics in silicone. Part 2: preparing for and sculpting the prosthetic appliance. [DVD] Neill Gorton Prosthetic Studios
Sculpting Techniques | Modelling With Clay:
NEILL | GORTON
Pro Sculpting Tips | Notes taken:
-Press on clay, roughing out shape in direction, spin the head and keep it on a turntable, keep checking the profile.
-Work in sausages, rough the outine and reference photograph
[PET BRUSHES- PLASTIC BRUSHES- CHEAP, HARD BRISTLES] Slicker brush, tooth pick.
Le Beautouche (no sulpher clay) good for silicone
-Sulpher can inhibite the curing time of silicone
-Freeman sheet wax used 1.5mm Thermo stable. Good for a guaranteed thickness of what will transfer into silicone. If doinga whole head piece the silicone cant be too thin, it will buckle and stretch- can be problematic. Map out the wax and put in areas you need that extra thickness.
Notes Taken: Tips and Tricks, educational advice:
- Follow the natural lines as a guidance, follow natural movements- giving direction and building impression, move the face around. Try to keep the face in symmetry (Use lighter fluid and baby powder to reveal any hidden detail)
- Tie the surface together with a flat wooden tool- cross hatch pattern. Not re-defining the forms of the face.
PRO TIP:
Do not sculpt train track type lines across the forehead- a general mistake that is very common
Tools: Steel scraper- serrated kidney, one side has a jagged edge and the other a straight blade. Acupuncture needles and an old paintbrush make a good loop tool
- Constantly working into the clay with wooden tools and added clay sausages, practise with wet clay and not prosthetics. Use the plastic brushes and dog brushes after dusting and talc over the surface- this stops the clay bobbling and stops any ridges forming (stickyness) creating beautiful texture.
Skin has fine lines in layers, Layering technique:
-Pick lines to sharpen more than others then brush over in different directions to create textures. Use thin packaging plastic with a toothpick for finer lines and folds
- Loop tools can be used for pore texture. The plastic brush gives underlining texture and a plastic sheet with a toothpick can be used to add in pores (follow the direction of the skin).
- Plastercine dipped in lighter fluid and dabbed on over the pores gives a nice lumpy skin appearance. Skin isnt all on one level or just indented.