portrait sculpture

10 Day Sculpture Workshop in Italy

sculpture course italy

SCULPT ITALY 2015


CLASSICAL SCULPTURE WORKSHOP: June 26-Jul 6 2015 
Be immersed in the figurative sculpture tradition of Renaissance Italy

  •  Learn to sculpt the human form with clay from a live model in 
  • a traditional Italian maestro's studio (above photo) 
  •  26 hours of instruction with 3 master sculptors 
  •  10 nights accommodation in the historic Pietrasanta, Tuscany 
  •  Visit Italy's famous Carrara marble quarry 
  •  Behind the scenes tours of marble carving ateliers and the foundry process of lost wax bronze casting 
  •  Guided tour of Florence's Renaissance masterpieces 

WITH SCULPTORS: 
**Melanie Furtado** 
A talented Canadian sculptor in the new wave of classical realism with a passion for teaching 

**Gabriele Vicari** 
An accomplished Italian artist trained in the maestro tradition of classical figurative sculpture 

**David Hunwick** 
An experienced UK-born sculptor and teacher working in diverse media with a contemporary voice

MORE INFO ONLINE: www.sculptitaly.com


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Sculpting the Skull- for drawers and painters

Sculpting the Skull Workshop- Vancouver Nov 1, 2: Mandy Bouriscot Atelier

The skull is the single most important piece of anatomy to understand in portraiture. It is what gives the head its main planes and structure. 



In this upcoming workshop we will first learn about the large general proportions and then focus in on some key anatomical landmarks. The image below illustrates 6 of these landmarks on the skull, and then on a clay sculpture in progress: 

1- zygomatic arch
2- mandible / jawline
3- orbit of eye
4- temporal fossa/ridge
5- brow ridge
6- mastoid process




These are key landmarks where the bone structure of the skull is evident on the surface form. By understanding the characteristics of these landmarks, one can begin to look for evidence of them on live models and references to help determine proper placement of features in the overall structure of the head- whether drawing, painting, or sculpting.

We will investigate these key forms by sculpting them in clay, and develop a tactile sense of their relationships and main planes. This will help anyone working in 2D to develop a new framework to analyze the portrait, and be able to render a more convincing sense of volume. 

I look forward to sculpting the planes of the skull with the artists of Mandy Boursicot Atelier in Vancouver BC! Please contact Mandy for registration information.







Clay Portrait Sculpture Process - Father

Last year I began a portrait study of my father. Below are some images showing the progress. This was one of my favorite pieces I've worked on lately. 

Here it is blocking in the main shapes and proportions. It's important that it is already beginning to develop the likeness here, otherwise it never will. I try to keep shapes simple and angular at this stage.

Here the forms are getting fleshed out and more fully described. Now the weight and curve of forms start to come into the composition.

Here is the clay version nearly complete. I use a water-based paperclay that is grey when moist, and fires to a bright white color.

For this piece I decided to make a rubber mold so that I could make multiples. I wanted to be able to keep one for my personal collection!

Here is the first layer of silicon rubber (pink!) with the beginning of a card shim to divide the two halves. Actually the shim is made from Barbie cards.. and in the shape of a tiara! I'm not sure my dad would approve ;)

Here is a finished cast. I used Hydrostone, which is a gypsum product. It mixes similarly to plaster, but is MUCH more durable. I will also make another cast with a variation of patina color, to a darker tone.

This piece is headed to the Sidney Fine Art Show this October.