- Lesson details
Set-up and Block-in
In this lesson, discover what materials you need and how to build your sculpting armature with detailed references. Learn how to begin, including key concepts like the “box and egg,” contrapposto and gesture.
About this Course
Depicting the realistic human figure in clay is one of the most complex challenges facing sculptors today, and one of the most respected.
Robert Bodem makes it as simple as possible with a powerful method he developed over 20 years called Drawing in Space, recorded for the first time for this online course.
In this course, you will learn a systematic and easy to follow approach to realistically depict the human figure in clay, while expressing your artistic intentions.
An impressive number of Robert’s former students who learned this method are now world-renowned artists – and now it’s your turn.
Discuss this video in the forums!Discuss
Space. One of my main goals throughout this course is to be able to give you
the vocabulary and the mindset that I was instilling into students over a three year
period at the Florence Academy of Art.
I work hard on making sure that is present in my work is the concept of
internalness with the idea of external chaos. Over the past 20 years what I've been
developing is a unique curriculum called Drawing in Space, which is what I’m gonna introduce to
you throughout this video series.
The first section that I'm gonna introduced to you is how to structurally block in a pose.
The second is about the rendering of the figure.
The last section of Drawing in Space is modeling.
That's how to resolve your figure.
No one has ever seen me sculpt before to the effect that you are about to.
So I hope you enjoy it and I hope it's educational.
and before I get involved in what we're doing here today
I want to tell you a little bit about myself
if you don't know me. 20 years ago
I moved to Florence, Italy and had the opportunity to start a sculpture program at the
Florence Academy of Art. And the reason that was so important to me at the time
was because as a young art student myself,
it was so challenging to find good quality traditional education and particular in sculpture.
And what my hope was was that I was going to begin a program that was
going to allow people more choices to come and study at a high-level figurative sculpture. Over
the past 20 years in Florence
what I've been developing is a unique curriculum called Drawing In Space which is what
I’m going to introduce to you throughout this video series.
I learned more about how to manage the human body through drawing and despite the fact
that I wanted to be a sculptor
I applied a lot of the principles
I was learning and drawing to the concepts
I was learning in sculpture. And what became of that was a way in which to
use a construction method in order to develop
what I think is one of the most essential concepts of figurative sculpture, how to keep
a sense of internalness within the work or inside the work and also be
able to execute the figure and render it to a highlevel for the sense of
naturalism. Over these past 20 years,
the curriculum at the Florence Academy of Art has evolved under my direction. Throughout this course
I'm going to be introducing to you essentially all of the curriculum and the vocabulary and the
mindset that I was instilling into students over a three-year period at the Florence Academy
of Art. Drawing in Space is something that a sculptor learns to use and develop contours as
a principal source of information and how relevant it is to the subject.
I've spent a career working with painters who take drawing very seriously and I've spent a
lot of time with sculptors and students who feel that though
that's not something that's associated with actual sculpting and what I would tell to a sculpture
student, or for that matter of painting student, is there's more drawing principles in a sculpture
than there are that a painter is dealing with. And if I was to explain that a
little bit, what I would say is one of the major concepts and the reason Drawing
in Space was named Drawing in Space was because of the concept of three-dimensional contour. In
other words when you're looking at a particular vantage point of the human body from a
distance, you're seeing a certain amount of contours. External contours.
What we've done at - what we've been able to do in sculpture is
I've been able to try to locate and show people how that these these contour edges,
how they move throughout the figure. To me
it's a very important part not just to get a contour working from one perspective for
the sake of expressiveness and description of body type and description of pose,
but it's also quite important to understand how spatially contours are located because they are also
an added gestural element to the figure.
One of the things that I was trying to make a point about is the idea
of what is drawing for a sculptor?
What does that mean? Essentially what occurs when you compare this with a painter, everyone
understands if you're drawing on an easel, meaning your job you're setting up in a model
room, you're drawing on an easel,
you're standing at a natural distance from your model.
And so largely what you're confronted with are the large gestures and proportions of the model
in pose, the contour edges that you're seeing from that particular perspective, and internal shapes often
recognized through shadow and light. When you're a sculptor and you stand back at a natural
distance from a model, you are viewing the same things. And that's why I encourage people
to understand and take seriously drawing.
I think one of the bad habits that sculptors often display, and students that I'm trying
to teach the subject to, is you get too close to the sculpture.
So sculptors work right on top of their work modeling forms or clay around,
it's at that point that they're unable to kind of see what they're actually executing.
So one of the principal theories that I'm going to be showing you is not only
how to understand three-dimensional contour, not only understand how to make those expressive, not only understand
how to also understand three-dimensionally how they move through the figure, but I'm going to teach
you the respect for working from life of standing back at a distance. How I will -
to me there's the beginning and a middle and an end to a sculpture and the
Drawing in Space book that I've written also is broken up into three sections.
So this video as well will be. The first section I'm introduced you as how to
structurally block in a pose, which is going to be the concept of using the box and
egg which will reference the pelvis and the rib cage and the connection of the spinal
column and then how to execute that into pose and then use a concept of blocking
in legs to then understand how to see the whole pose.
The second section of Drawing in Space is about the rendering of the figure, how to find
external contours, how to introduce external contours, how to find and locate internal shapes of shadow
and light that you're seeing on the figure.
This is the long section of sculpting because there's an enormous amount of human error unfortunate
that occurs in the stage.
So there's also one of the main crucial aspects of Drawing in Space is learning how to edit
your work. The last section of Drawing in Space is modeling and that's how to resolve your figure.
How to understand, how to turn a shadow and make it convincing, and more than at
this point than just fully focused on observation as a technique in which to help you
understand how to model your figure,
I'm going to show you the setup in order to give you guidelines that will
help you understand how to model better. Modeling as well. like line contour or shape
design, I think is one of the things that bring out the expressiveness in a figure
and are some of the most crucial aspects of how to resolve the sculpture.
So as I talk to you about the idea of breaking up Drawing in Space in
the three major sections or that it is broken up into three major sections,
I'm gonna introduced it to you on that level. The other most crucial thing that I’m
going to try to play on the video and make clear is how they flow from
one end to the next so making a sculpture doesn't have to be you do this
at this point, then you go on to that, then you go on to that.
One could learn how to execute within these three major sections of Drawing in Space how to
just execute a section better and how they can be used unto themselves as an execution
of sculpture, how they can be useful to a sculptor.
But what's really crucial to understanding in Drawing in Space is how it flows together.
I will introduce people to Drawing in Space like learning a foreign language, that as you -
and I've spent a lot of time living abroad and learning foreign languages,
I know the complexities of it - when you learn grammar,
you learn certain vocabulary words,
you're still limited in speech.
You can't communicate, you may be able to say a few things
but you won't you won't be able to get your point across.
So I think I'm Drawing in Space is it's important to learn some of the adjectives and
nouns and adverbs and verbs of what's actually in front of you and the hopes of
as you become a little bit more fluent with how to use those that you can
construct sentences, hopefully evolving into paragraphs and hopefully I think of making a sculpture like writing
a book and that's what I'm hoping that you're going to be able to understand from
this. So the three major sections they flow from one into the next and this is
how I work. I don't work in this rudimentary way of doing one thing, moving to
the next, to move to the next, I float in and out of the techniques of Drawing
in Space which I think is off with a degree of fluency that allow me as
a sculptor to feel that I'm always working very freely.
The second section of Drawing in Space is the longest section of what a sculptor needs
to do, which is evolve the body type of your mode. That involves developing contours and
locating internal shapes. Unfortunately, there's a lot of human error involved with this element of the
process. And so one of the most important things that I think a sculptor needs to
learn about is that is editing your work and this is something that you're going to
see me be do throughout the video.
If a piece of clay doesn't wind up in the right spot or doesn't express what
I'm hoping it - I’m going to move it around and I think that once again editing
is something that I don't find sculptors or.
students of sculpture do enough of. Yet again
if you were a writer jot down your main thought on how to write a paragraph
for a short story or for that matter a novel but it would go through multiple
editing and this is, once again, a crucial crucial aspect to Drawing in Space. Despite the
fact I'm not directing the Florence Academy of Art sculpture program anymore,
teaching is still a crucial part of my life.
And this whole project is about me not only realizing 20 - 2 decades of my experience as
a teacher and director and offering it to you,
but as a young art student the arts is a difficult profession to get
involved with. I knew that I wouldn't be here today talking to you about these things
unless I had good teachers and so teaching is something that I've taken very seriously over
the years and probably also put more of my time and energy into. Inevitably
if you're practicing sculptor of figurative sculpture exhibiting, your could be doing that exclusively,
but teaching has been once again a extremely important part of my career and something that
I always enjoy and look forward to. My work as a professional sculptor,
which generally I execute my work in bronze.
Drawing in Space has been a crucial part of you know,
just how I work and the evolution of Drawing in Space has occurred when I've had
my own creative needs to develop sculpture.
As a young professional I was reliant on kind of working with model and pose.
I wasn't able to understand how to break from the realm of using observation skills to
to study something static in front of me.
I think the most important thing of Drawing in Space and the one in which I use
as a professional sculptor to be able to allow me to freely express with the figure
is how to use these techniques to basically create anything that you could creatively think
that you would like to. This has been a truly interesting experience for me with the
New Masters Academy. Not only did I realize some things about education and it was fantastic
to work with a group of highly professional individuals,
but I also realize something as I was doing this video.
No one has ever seen me sculpt before to the effect that you are about to
so I hope you enjoy it and I hope it's educational.
before we introduce the model, I want to introduce you some of the equipment
that we work with here.
This is an armature this been evolved over time like Drawing in Space and I think
there's some crucial factors, one of one of which is I think everyone should be aware
that this is an armature that you can actually use,
you know, if you took care of it a hundred times. So you could do a
3-day study, tear down the clay, you can do a 5-day study, tear down the clay,
and that's really an appropriate way to you know,
start learning about Drawing in Space do multiple studies.
So once again, the big advantage I think is to be able to reuse it over
and over again. So this - because it's made out of aluminum armature wire,
this is going to be able to actually bend into almost any conceivable standing pose you
want to produce. Another very important aspect of it is that I want to point
out here is how this pole is being inserted.
Now as we get into the clay you are going to understand better how I'm going to
orient the front plane of the model’s rib cage and pelvis on the armature,
but what's going to occur at this pole is going to be going into the gluteus
area. Now because any sculpture that has an armature in it cannot be fired, what in
order to produce the sculpture in a permanent material would have to be - a mold will
have to be produced. So what occurs when a mold is produced it's going to come
off this armature and this area
that's inserting into the figure is going to be a positive that you're going to be responsible
for refining the form. Why I'm saying this refining a form in a gluteus is a
pretty achievable chasing element. Whereas a lot of time I see people place these are
armatures into the sacrum, into the back, which means that you actually have to kind of
re-sculpt the bone of the sacrum which I find would be quite a challenge for many
people. Couple more things about the armature, this is - there some wrapping wire around it.
So if you haven't work with water-based clay or clay that much,
you know, it is important to get a good core of clay on here that doesn't
slip off. So you'll see that is covered in wrapping wire. Aluminum armature wire isn't available
everywhere, but it is available in most of the art suppliers in America and once again,
and it's a flexible so,
you know can be moving all over. Another little important element is this flange here, this
flange here is actually bound with a hose clamp,
which is been going to allow me to keep the core of the armature, which I
don't want to move around, solid and solidified not moving and then the areas that I
want to be flexible over time to maybe make adjustments to the pose in the legs and
the arms. Over here's an example of a template that we're going to be providing for
you in order for you to use in - to bend the armature.
This template is based on the reshape proportion.
So it's an idealized human body at 7 and a half head lengths.
And so once again, what I'm doing is I'm laying over the armature, over the
bending here. So, you know,
you'll look on the website and you'll be able to find those.
I personally chose from a plethora of models
they offered here and very happy to work with her over the next few weeks.
So please come Aurora. I’m gonna ask Aurora to stand straight. Some of the things I like people
to be aware of when they're looking at a model, essentially what occurs is when you're
drawing a line from the pit of the neck down through the spinal column with - on
the spinal column and then the natural separation between the legs. When the human body stand
straight what we have is the same musculature on either side.
So here we’re in an inanimate position,
there's not much going on.
I choose contrappostos to study and I encourage people to because what occurs is that
when we set model in a pos, that same musculature that is identical twins at one moment,
then becomes quite active. I think it's important,
I don't encourage people to try to make a sculpture and copy a model.
I asked them to get engaged in the musculature.
So in the situation of the model being in contrapposto the musculature becomes quite active, meaning
it's describing this model's body type in pose. A contrapposto is seen through millennia of sculpture,
starting with the ancient Greeks and what essentially occurs is the model standing there placing
weight on one leg and then tipping the pelvis and the spinal column and essentially keeping
the alignment of her weight throughout the center.
But we should probably look at one to describe a contrapposto but to study a contrapposto then
allows us to study a particular narrative of what's occurring with this model's body type in
musculature. And that's the important part
I want to point out.
So Aurora, should we take the pose
we worked out a little bit?
Okay looks good. Maybe if you could put your shoulder maybe coming more over here
a little bit with the rib cage.
Couple things about working from a model that I think that everyone needs to be aware
of whether you have experience with it or not is that there's a certain amount of
range that it is important understand.
It's important to keep our models comfortable.
We don't want to work in a session with these complex poses
and then, you know, your model doesn't want to come back the next day and you
can’t complete the project. So in particularly in a class situation,
if you're in a group of sculptors,
it's hard to to ask model to do too much in,
you know, a painful way.
Actually Aurora one thing I'd like you to do as well is pivot your stand
leg foot. So here we're looking at a variation of a contrapposto. Some things
I also like to point out when you're posing a model,
sometimes the models become aware of it
and sometimes the models aren't aware of it, is actually how the foot of the stand
leg - so what's occurring here on my left is that we have Aurora supporting all
her weight on one leg.
People refer to it as the engage leg, people refer to it as a weight-bearing leg,
I often call it the stand leg because she's using it to stand up there. But
you'll notice I asked her to pivot her foot off to the left, to my left, and
what's happening there is that she's able to actually stand more stable. And I think it's
important, it’s a little tweak to poses
but sometimes if the foot’s moving straight out, if you picked up your other
leg, you're going to have a tendency to kind of waver there.
So it's a little thing to help the model balance a little bit
more. Another think that’s going to be occurring over time here,
I like my models to offer me possibilities within the sculpture
I'm producing. So I don't strictly keep my models adhere to a particular pose, generally
models are, you know, trying to do a good job in keeping within the pose,
but I actually like to watch the model,
how they kinda move around because what I think what's interesting about working from
life isn't trying to control the pose and then kind of copy that but think of
the possibilities that the model’s offering you. When a model comes in on days when they're
tired, their body expresses pose differently. When they come in on days
they've had a good night's rest,
they express pose differently any particularly within the musculature.
So, you know, these are all expressions that I think one can study
and incorporate in their work, it’s very interesting.
slowly. It doesn't get wide very fast.
So when I'm drawing on my clay,
I don't really have to worry about how much pressure I'm putting on the clay.
In other words, if it actually got fatter quicker,
you know the incision and the depth of it is going to grow
and open up. So I'm drawing on my clay,.
I just like to do without worrying too much about things.
So this allows me with the bevel
that's very slow for quite a long time to just kind of go up to my
school and attack it. The third tool is quite simple one, you can get it at any hardware
stores is a spatula. You can - I use a large one or a small one,
but this helps me when I want to draw kind of clear, straight lines to represent
long tips and movement, it keeps everything quite straight.
So I often draw as well with a spatula.
I mentioned the two major angles that I'm going to be looking for when I'm standing
back looking at Aurora. So as we're looking now at the front of the pose,
I'm looking for the tip that's occurring between the pelvic points.
I'm standing back trying to locate the center between those pelvic points and look at the
trajectory occurring along the center line or spinal column up to the pit of the neck.
And then I'm ready to start building a box.
So. You’ll be wondering, I'm not bending the armature too much at this point.
This isn’t a major concern of mine yet.
I'll be manipulating that a little bit later pretty quickly,
but because it's flexible it kind of can move at anytime.
I want to describe a little bit about what I'm doing here in the procedure that
you're going to view. I want to build the initial core structures of the box and
the egg. And as I do that later,
then I'm going to go talk about the theory and the placement of it,
but I wanted to make it simple and I want to try to describe the few
major angles that I’m initially looking for to set up my box and egg and later
on describe the theory of this. The first angle that I'm looking for is the tip
of the box. The tip of the box is the tip that's occurring between her two pelvic
points. So that's the first thing I'm going to construct so… You'll notice that I haven't
spent too much time bending the armature yet.
I'm going to get to that as well.
So if you're wondering if the armature’s looking like it's standing here straight and
I'm not going to achieve this pose that she's in,
I'm going to still want to make this
core structural placement, which will actually then tell me how where I need to place certain
things such as the ankle and the pit of the neck.
An important question a lot of people ask is about clay and people's preferences for clay.
Here we’re using water-based clay,
you know, it's a discussion that we can have throughout the video series.
It's something I prefer. It's something that's always been available to me.
It's what I start sculpting with in college.
It had - it feels real natural in my hand compared to some of the other products like
plastilina. After 20 years in Italy and now living in Greece and before that studying in
college when I've been working with clay,
basically, it's all been about the same different variable colors that I'm color-blind
so that doesn't seem to bother me.
But I do think that sometimes it can be important to discuss short of some of the
disadvantages of water-based clay. Obviously,
we have to wrap it, but the advantages that it gives me I'll be showing you
later about how I work with clay fluidly.
I try to work with clay like a draftsman would use a pencil or painter
would use a paintbrush because I like to pull my clay to make observations.
But later on we'll get into that and I'll show you more about that. And the
harder clays and the plastilinas don't allow for that pull to exist.
Water-based clay is quite readily available almost anywhere.
I'm assuming I haven't been everywhere to sculpt but I feel that it's fairly easily sourced.
So I mentioned this paddle that I like to use.
I'm trying to establish a clear shape of a box.
And once again this - the broader tool is allowing me to kind of form that as I'm
needing to put the clay on with my hands.
I want to check to see if it's biting onto the armature here in the back.
Another little discussion about clay I mean every time I’ve picked up a bag of clay sometimes it's
a little bit harder, sometimes it's a little bit softer. If it's a little bit too
soft, meaning it's quite - you can manipulate me quite easily,
it's helpful that is your building your initial core here that you know, this is an
area of the sculpture that you don't want to move over time
so it is helpful if the clay's quite wet to let it dry to, to kind grip onto
here, it’ll help stabilize everything.
When I go over the theory, if you're interested where I'm placing it,
there is a reason for that and when I get into theory of this box and
egg, we're going to go over all of that.
None of this -none of these are random choices
I'm making right now. I’ve got about as far as I need to at this initial
observation. Once again, I'm just looking for the tip that I was locating between the two
pelvic points here. Now I'm going to turn the model to to the side and we're going to
discuss the second major step to establish this box.
I'm gonna ask Aurora to raise her arm for this observation. The right arm
please. The next major observation I'm making
from three quarter and that's going to be the angle that's occurring between the pelvis and
the back of the sacrum.
You don't often see the the sacrum bone,
but you'll see these passages of light and shadow.
So I'd point out on Aurora here
what I'm looking for. I'm looking for that edge that is discerning or an approximation of
where the back of my box that I'm building or the top of the sacrum
is and then looking for the angle that's occurring here between that and the pelvic point.
Thank you can put that - your arm down.
So this is the second major angle that I'm building into my box,
which is now the relationship that's occurring between the front of the pelvis and the back
of the pelvis. Can you raise arm again
please? Thank you. So I’ve got my initial construction, my box here and before we get up into
the upper sections of the trunk of the body on the next observation is we're
going to ask Aurora to take a break.
So, thanks, Aurora.
And I’m gonna start to establish the upper trunk of her body.
This is going to involve probably my first manipulation of the armature
and then a construction up to the pit of the neck. So please.
My next establishment, I'm going to be looking for if I can point this out, is
going to be occurring - I'm looking at the pit of the neck right now and I'm
going through the center of her ribcage, down through the belly button into the lower abdomen
in order to start to set up
the center line. This is a trajectory and
this is an angle. So this is the second or the third major angle that
I'm going to start to produce in the pose.
The pit of the neck isn't too far bent over but it's a little offset
from, you know, the center of her box
so who's going to move my Armature a little bit.
Yet again at this point
it's important to try to once again get this core quite quite.
So I'm not going to - in order for me to start to see this angle represented
with the clay, I'm going to start attaching it to the top of the box.
You would have noticed that I spend some time
building the box trying to keep it pretty clear, the clay.
These are guidelines that as I'm moving forward in the sculpture
I want to keep quite concise and clear.
I wasn't trying to keep the clay rough or textured so it might be hard to
read. At this point because I'm just looking for this kind of internal core movement
that’s existing in the center of her ribcage,
I'm not, as I did with the box, trying to pull it out or expand it
too far. So I’ve talked about this angle being -
in some ways it almost defines the sculpture and I find it to be one
of the most crucial are considerations that you make yet again a little bit about why
don't like to try to hold models in pose too much because they might start to do
something better in the in the pursuing days.
So I'm going to I'm going establish it as I'm seeing it today,
but as I as a look at it day after day,
I'm going to track its movements and seeing what's occurring here because Aurora might provide me
in a more natural way something that I prefer better.
This is when I start using my spatula because it keeps these nice clear lines.
Aurora I'm going to turn you to the other plane.
Now the fourth major angle that I'm going to be looking at is to the
side and what I'm going to be looking for now is how her - the front of
her ribcage, also including the pit of her neck - is associated with the front plane of
the box. Let’s see I’m gonna turn you a little. I don't want my arm in the way so I’m gonna
get rid of that.
So basically what I'm looking for - let’s see if I can point this out - is you
know, the front plane of her ribcage
I can see - or the front plane of her pelvic point, that the rib cage below
the breast is a little bit farther out. Then when I go and look for the
top of the pit of the neck,
then I can see actually quite a strong angle moving from the front of the
rib cage below the breast to the pit of the neck and that's what I’m gonna try
to execute. I think it's important to understand that these are pretty -
these are vital first steps,
but they're also quite simple and I think one of the things that I’ve tried to
do as an educator over the past two decades is take a complex subject and try
to, as I'm introducing it to students, to try to simplify as much as
I can. So this is the simplification. And what I mean by simplification action,
once again, I'm just looking at four angles.
I'm not concerned about proportions right now, the angles that I'm looking for are representing the
internal core and they’re representing the internal gesture of this post.
So in it being simplified, you know, one has to be aware that, you know,
obviously there's proportions that a sculptor or anyone working from life needs to deal with.
These come into the sculpture the more things get built.
Because as I work from the side,
I've covered this initial line that I had just put there from the front, the center line.
So this is something I don't want to lose.
So it's important that is I've covered it up with clay that I go back and redraw
it. Because this construction involves me looking at four major angles,
I'm going to ask her Aurora why don't you take a break because I like to
make sure my models are going to be here for the duration.
So I'm going to do some building here,
which doesn't involve me looking too much right now.
So take a break and I'll invite you back when I'm ready to take a look
again. The building I'm doing based upon these four angles right now,
I'm just evolving a little bit some of the the widths of to give myself more
of a unit here of a more recognizable shape of a rib cage.
As I'm expanding it out as we go over the theory,
I'm going to introduce you to the concept of the spinal column and how it can
be thought of and used as a center line.
So as I find some mass either side of it
I'm trying to keep it balanced.
I've asked a question to my students over a 20-year period and
I'm going to ask you the same question.
And like no one's been able to answer it.
I'm going to expect you might have a struggle with this too.
I just talked about the idea of this line that I drew, the spinal column,
the trajectory of the spinal column is a center line.
I've asked my students over the years,
what's the only thing a center has?
And I'll give you a minute to think about that.
The only thing a center line has is two equal sides on either side of it because
if there weren't two equal sides on other side of it, that line will not be
in the center. That's the answer to that question.
Once again, I'm getting to the theory of what I'm constructing here and it's quite lengthy,
but I want it to be here available for us to look at while I'm talking
about it. And essentially what's occurring here,
there's going to be two center lines. One that I've been working now on drawing from the
front, but I'm also going to pull this into the back.
Once again, I just lost a little bit to clarify that plane
so I'm going to keep redrawing that on there.
I'll be adjusting the center line for the sake of gesture with a pose or the
heighth of it over time.
But what I will not do with the center line is from essentially the beginning of
the end of the sculpture
I will not lose it.
This is going to provide me with a wealth of information.
It's going to be a pivotal part of the sculpture.
It's going to provide me with the origin of decision-making.
So that would be part of the theory
I'll be explaining in just a bit here.
One of the last things that I do with the sculpture almost been completely finished is
maybe even just put some notes there to cover up that center line.
It will be with me and I want it to be with me from the beginning to
Mcilvain. And over the six years that I worked with her she imbued me
I think one of the principal concepts of the box and egg and why we use
it. She would tell me - and I believe in this and when you look through the
history of art you'll see that there's this common bond between the periods of great figurative
sculpture. Whether it's ancient Greek, the Renaissance, moving into the French academic period,
is that all good figurative sculpture has a sense of internalness
that would imply that you are convincing the viewers of your work that the forms
that were seen on surface conform to gravity, that they sit on something solid and this
is the box and the egg and once again for 6 years Isabel talked to me
about the box and egg, worked with me on the box in the egg, told me that
my box and egg wasn't working a lot of this time and this is a principal
I believe in. Good figurative sculpture, when you're looking at surface form,
when you're convincing your viewers that it's working well is because they look like they conform
to gravity. So the box and egg are simplifications that we’re using in order to understand how
to incorporate the pelvic area and the rib cage combined with the center line,
which is the spinal column, how these two units are attached together.
I talked to you about the four major angles I use from observation to begin to
set up the box and the egg and they will will evolve over time. They’re generic,
the box. One of the things that you cannot do as a sculptor is you cannot
look at the front of your model and the back of your model at the same time.
Now this is also unobservable, which is the first principle of the box and egg
that when you look down on the box that that angle between the pelvic points and
then in the back of the box where the sacrum lies that they are parallel edges.
So when I set up this box,
I was working on making sure that there was a parallel front and a parallel back.
The egg also took - this does not look like an egg and it's not an egg
is a little bit more of a complex symbol that I've recently made or a complex
object but has the same principles. Once again hard to understand through visual observation,
but they're once again and I try to achieve this in my building, that there is
a front plane and a back plane that when you look down upon it that are
parallel to themselves. This is once again
establishing three-dimensional constants or consistencies in your pose.
And as we get into the theory a little bit more and I talk about how to
use them as the origin of decision-making, you'll understand better how we're controlling the observations that
we’re making from the front and the back and that if we do the step well
and if we keep these theoretical placements as they need to be that the information that
you're gathering on the front and on the back,
the ones that you can observe together should fall into place.
The egg and Isabel as she would talk to me as a student understood that that's
not the best word or object to use to apply rib cage because she also
understood that there were these more of a parallel plane that was existing in the front
and the back of the rib cage. And out of reverence to my teacher,
I wanted to keep the concept of the box and the egg consistent with the terminology
she used. On this armature that we talked about, now you can maybe start to see
a little bit clearer. If we can understand that this box is going to eventually have
a gluteus or the buttocks placed on top of it,
then how that this pole is going to be inserting into that area.
So we can already see that with a box.
Another important concept to understand about the box and egg and how we use it is
the connection, which I often referred to as the center line.
Now for people work with models over and over again would understand it,
you know, you'll have models that may not have the spinal column in the center of
their rib cage. There may be in balances to that. Nature always provides us with these
irregularities that we see. The concept of the center line though also could be an artistic choice
in that it could provide you in your work, if the artistic choice was taken to
be to provide an internal balance that will help a viewer understand that these units
underneath these forms that will eventually be placed on top to help you get that
sense of internalness that we're looking for or all good figurative sculpture has. So here
we’re looking at the back where the spinal column is in the trunk of the body
and the units of the sacrum. What I want to point out
here is this section of the lower lumbar vertebrae.
Because this is where the movements that can occur between the box and the egg because
a crucial understanding for sculptors
is that how this how these units work together. As your model citizens oppose their count -
They’re tipping and turning and moving forward and backward and essentially a lot of that movement’s
taking place in here because the spinal column then becomes fused to the rib cage.
It doesn't allow you too much movement in this section.
So I want to still continue to talk a little bit about the movements that are occurring
here because it's important when you're working with the model.
I hope everyone that understands when they're working with the model that they're going to see
a variety of poses over time.
There's models that look like they don't move from from day-to-day,
they look like they're pretty consistent,
but I'd also referred to it if you took a stop motion film of them of
a model session over an extended period
of time, you may not be discerning that there's that very many movements that are happening
from day-to-day, but your model is always moving, always providing you with choices.
Once again, as I mentioned earlier,
that's not something I like to control.
I like them to move a little bit because maybe they're going to be offering me
something that I didn't see initially.
So there's a variety of movements and now we're going to I'm going to start discussing.
How are using these the box and the egg for observation purposes,
but it's also once again important to understand the variables that can be quite confusing when
you're working from life. The planes that have been established are going to be used not only
to understand the idea of the unit and how it's sitting in space in the model
from front to back, these parallel lines I
mentioned but it's also going to be used for observation purposes.
Drawing in space is a unique approach to sculpture because ironically as we're observing a model
we are going to be flattening our vantage point to it. So over the period of
time this video is produced
you're going to see me always standing back in the front
or the side or the back and other side planes of the box and the egg.
And I'm going to stay there and I'm going to build most of my sculpture from
those four principal points. And what's occurring as I am flattening myself to my model.
I'm taking out all conceivable foreshortening that's occurring
So I'm not veering off to 3/4 vantage points.
What that's providing for me is a consistency in the quality of body type that I'm
seeing. So in conjunction with how models move is if I'm standing here what's occurring, I
can turn my front plate of my rib cage away from you, from the viewer.
And that will occur in a model session.
So there's a concept that the box and the egg in a model session can be
turning away from you which means if you're trying to hold on to - and this is
what I'm always encouraging and this is what I do -
that would imply that you're no longer looking at the front plane of the model
model. What I do in these situations is I just adjust my sculpture and then move
over a little bit so that I can keep on top of that.
In other words the model in front of you has moved and pivoted from side-to-side maybe
in the pose. But what's occurring on the outside of the body type if the pivots
aren't too extreme the character of her body whether its contours or shapes are not changing.
So when you keep an alignment with this front plane, even though they're gradually turning maybe
backwards and forwards the quality of her body type
once again will be a consistent that will allow you familiarity with it.
And that's a huge advantage.
As you're looking and getting more deeper and deeper and deeper into a sculpture,
you know, you'll look at things that don't feel right and it's there -
it's hard to come up to it with a conclusion
if you're just looking at it and you’re going geez
it doesn't look like I maybe sculpted this well. Part of that might be maybe
you did sculpt it well
but now the models in a different position,
but you're not allowing yourself this familiarity that the front plane or the back planes are
offering you. I’ve spent a lot of time trying to orient students to this concept and
everyone says well when can I look over here
and when can I look over there?
And yes, there are moments at times that it is -
there's advantages to looking at 3/4 and when we come across them later in the in
the series then you know,
I'll point out on how to use them in and what they can be used for.
But I'm once again more concerned about becoming familiar with the model and their body
type. Everyone's body type is different.
Having sculpted for close to 30 years now and working from life
I don't - before I get involved in a sculpture with maybe a different model.
I don't even with my experience say okay I know it all.
My first goal as a sculptor as
I'm heading off into a project is to get to know what what I'm going to
be confronting, even though body types have consistency but they’re still a little bit
difference. So if I want to keep my sculpture natural,
I'm going to be looking for a naturalistic qualities my model.
But once again, I don't convince myself that I'm with my experience
I'm just going to get it all. Im gonna have to work on it.
So once again is I want to know, develop a consistency so I can become
familiar with this particulars model body type.
It's going to be different from the model
I work with before and different from the model
I work with after. So these parallel planes that are existing within the units of the
box and egg are not only important because this is how they function anatomically but
they are important for observation purposes.
So I want to talk a little bit about how I established these four major angles
on the pose and the purposefulness of where these planes are facing. This armature is designed with
this board. And what I've tried to do is keep the front parallel plane of my
box parallel also to my board. What's going to occur in this situation is eventually then
I'm going to be covering the box and egg with organic forms with lower abdominal
edge with the - with the stomach, with the buttocks.
So I'm going to eventually lose the clarity of my observation point.
So what's going to occur and how this armature is being used at that point,
when we covered with organic forms this box and the egg,
this board is going to help me understand where I still need to pursue my observations
from. So they’re then going to act later on as helpful situation.
So it was a very purposeful
condition that I set up on this pose.
This is also, once again, when you set up the front plane of the box,
this is then going to be the condition that also gets that pulled to run into
the gluteus. Continuing to talk about the movements that occur in the front plane, I talked about
the planar shifts that are occurring.
People that start getting used to the concept in our thinking about how these units are
working together. They all want to incorporate offset planes within the box and the egg.
That's generally gives pose a little bit more of a dynamic but one thing that often
is happening in a pose situation in a model room,
the model’s not doing that.
There may be elements to the pose where the shoulders moving farther forward or farther backward
that start to imply that it looks like there's a certain twisting occurring between the box
and the egg, but that's because there's a lot of flexibility in the shoulder. So when you place a
model’s shoulder behind her and an arm in front of her,
there's going to be an offset angle up in here making you think that that rib
cage is tipped quite a lot.
At this point I invite everyone to stand up for a second.
Because this helps you all - this will help you all understand how these units function together
when it comes to this first kind of plane or movement that you may be thinking
are offset. I invite people to hold their pelvic points
to locate that. The next thing I would want you to do is to place your
your hand on the front plane of your rib cage and with no tension in your
body what I ask people to do is to start turning from side to side.
And what are you noticing? If you're not holding tension in your body,
what's occurring as you turn your pelvis you're going to find that the rib cage is
going to follow it. When you turn to this side of the rib cage is going to follow
it. This is a very important movement to understand because the box and egg connected by
the lumbar vertebrae do not want to pivot off each other.
It's painful. So now I would invite you all to hold your pelvis, put your hand
on the plane of your rib cage and now just turn your rib cage.
And hold it for 5 weeks.
That may be what you're going to be asking your model to do.
There are situations where this occurs, there are models that have quite strong core muscles that
they can hold poses that are quite strong.
As I use the box and the egg and I understand what the body naturally wants
to do in pose there's moments where you're wanting to produce a natural pose,
but there's also times when you feel that you may want to offset these
plans for the sake of opposed.
So I will kind of manipulate these things. What would occur -
there's the idea of a model posing in a comfortable situation in a classroom
and there's another situation where you're having a strong desire to create a specific type of
pose. If these offset planes are being offset
it might speak of a moment, meaning it's not necessarily a posed situation that you're making, you're
making an action occurring. So yes that this can occur but it's once again,
maybe not going to be occurring in a model room
and I think it's important understand that.
The second movement that I want to talk to people about because it's important to learn
how to control these when you're working from a model because if you don't
or you don't understand them,
it's going to lead to confusion that you're going to be making or that you potentially
could be making mistakes based upon confusion of not understanding how these units work together. The
second movement that's occurring
essentially when a model’s posing is that there's a - instead of the planar movement coming off
this way, there's the tipping of a rib cage more or less from side-to-side.
This will also occur in a model room. As a model gets,
you know, spending more time modeling they may straighten up
so this initial placement of that line
may not be consistent. It won't be consistent in a pose that’s
longer than a week or, you know,
definitely two weeks. So this will always also be changing on you.
Now one of the things that makes sculpting hard is when you're merely trying to make
accurate placements. In that I like students of Drawing in Space to understand that these tips
and these movements that are the trajectory of the spinal column are observations
you're making off of model but more importantly than that, they’re choices that you're making for
your sculpture. If I'm working with a group of six people or eight people or 12
people, all 12 students may have a different tip for the pelvis, all twelve students may
have a different trajectory for the spinal column and I would like them
to know that that's a choice you're making for the pose.
Because not only do they have to now control it throughout the remainder time
of the study,
but the model once again will waiver back and forth.
If you feel that you've made a good choice and that this is going to produce
a good pose gesturally, you can keep it there.
You don't have to change it when the model changes, we are going to be using
it to gather information from. Ss I mentioned earlier
this is going to become the origin of decision-making.
We are going to use this from the beginning to the end of the sculpture, which
is why we're not going to lose it.
Essentially, how we’re using it from visual observation is we're going to be locating this line
on the model and that we’ll be seeing how the rib cage runs off of it.
If we're locating ribs over here or over here
we're going to use it to place the naval, we're going to be using it to
place the abdominals so you're going to gather information with this line.
If a model is turning a little bit this way or that way,
which means they're not quite in the pose that you captured or that you're trying
to hold on to, the pectoral muscles, the abdominal muscles, aren't going to run off
this line in a different way just because they happen to move a little bit upwards
and downwards. So once again,
even if your model’s not in the pose that you're capturing, that you've made a choice
about this line that you can still use it over time.
Or if you're working in a group situation,
you can also ask the model if they're coming out of the tip that you’re desiring,
you would need to help your model get back into that. Another establishment that I placed
here on the armature, and I mentioned earlier quite purposeful, is the heighth of this box.
The placement of the height of the box was very purposeful.
I encourage people to place the stand leg or the weight-bearing leg pelvic point about three
fingers above this pole. When you download these templates there will be a specific height that this
pulls welded to so this pole is a constant
if you’ve got that heigth right.
So I purposely, once again, try to place the the stand leg pelvic point about three
fingers above this pole. One of the amazing things that shocked me over time -
and I like to point out to people -
when I was directing the Florence Academy of art sculpture program, sculptures this scale
the students do not measure. There's no calipers in the room.
If you're familiar with the studies that are done there you'll see that
they’re done to a high level and it's I think quite shocking when you realize that
there wasn't a proportional guideline that they were using or checking all the time.
Measuring with calipers is quite a common thing for sculptors.
So once again, I didn't want my students to be measuring when I critique
their work I didn't pull out a pair of calipers to tell them their proportions were wrong.
So there's one proportional constant that I give them.
And this is where the placement of the pelvis, the pelvic height becomes very important because
the proportional constant I give them as they established the box on their armature is from
now until the end of the sculpture this becomes and immobile structure.
It's not going to move.
So what's occurring here is that between the top of the pelvic point or the pubic
area, the distance between that and the bottom of the foot is never going to change.
You have now established a length.
So this is another important concept to understand that there is a proportional constraint that you're
using here that's going to guide you and help you make decisions moving forward.
But as you establish the height of this box, one thing that's forgiving about it that
everyone needs to understand is that your legs will never be too long or never too
short. Once again, when I'm working with a group of, you know,
multiple students and a student has placed a pelvis here, another one a little bit lower,
so there's some variables, they're not all placing them exactly the same spot because if they're
actually measuring with their fingers the width of everyone's fingers are different.
So the proportions you see in the room or the scale of the figures are
also a little - all a little bit different.
But once again, this is a constant in a pose that if I've done a good job in
observing the angle that I'm wanting to use for the tip of the pelvis,
that means that I don't have to raise or lower really from now until the end
of the pose. There are some small variables that may allow this to - that may have
this happen, but the length of my legs once again is never too long.
What does this mean? One thing that everyone has to be clear about when they're
engaged in proportions in the decisions that they're making about proportions
is that a proportion is a relationship.
It's not just a length. The relationship that's occurring, which is different from body type to
body type is the length to the width. It’s a combination of those two.
And all kinds of tricky things occur when you're trying to address proportions.
If you produce a sculpture that somehow the widths of your legs became quite broad,
they would look short. If you took them back, your legs would start to appear longer.
But what you're doing there is you’re only actually having variable widths.
I would tell people if I stood in front of this camera and lost 15 kilos
in 30 seconds,
I would start to look taller and it's true.
Can we get that to happen?
The - so yet again, I think the point here that I'm trying to make is
that this is yet again another constant in the pose.
This is not going to change. The small variable that will make it change is going
to occur in the building of the width.
So for all you clever folks out there will understand that
I will be applying width to this given length.
So along this angle if I need to widen it, it is going to raise and
lower a little bit but not too much to make a difference.
One element about this idea of establishing a given length is unusual.
It's unusual to not measure your sculpture in its entirety in many cases the - yet again
in my desire as an educator to provide students with simple decision-making, to take a complex
subject and make it simple which is essentially what I've been trying to do with Drawing
in Space over the years, as they head off into developing their sculpture beyond the
stage and they're given a length that doesn't change,
the only decision they have to make is applying width to it.
So once again as I mentioned earlier, a proportion is a combination between a height and a
width or length and a width. And if you're looking at your sculpture and you haven't
developed a proportional constant and you're saying oh that doesn't look like the right height there -
but you don't know if it's too wide or two short or
It needs to be longer or it needs to be thinner.
That's when the decision-making about your proportions becomes complex.
One thing that I would never ask anyone to do is to measure all the lengths
and widths and heights and proportions on your sculpture.
You could try but I don't think you would work out proportions well in the sculpture and.
you’d probably just confuse yourself over and over again.
I am no longer going to be moving the front plane of my pelvis forward or
backward. Now what I was doing earlier,
I talked to you about the fourth major angle that I was trying to represent in
the pose, which was where is the placement of the lower rib cage and the pit
of the neck? So I was pointing out that the lower rib cage below
the breasts was a little bit farther forward than the pelvic region. Why I was able
to make this placement was because I knew that I wasn't going to be moving this
forward or backward anymore. And I haven't done too much to the back.
As I move forward with the sculpture and I will recognize for example of my boxes
too thin and I need to expand it,
I'm going to still keep the front of this where it is as a constant and
I'm going to be then applying maybe some more with to the back of my sacrum
to adjust proportions. So I want to just kind of clarify some of the elements here that
are now becoming basically immobile in the sculpture.
If I felt that there was a better gesture I could achieved even though I'd
like to keep these tips of the pelvis in the rib cage constant the minute
I see a better pose,
I'm going to start manipulating those but for all intensive purposes in a, you know, in a class
situation, you know, the tip of your pelvis is a constant.
The heighth of your pelvis is a constant.
It's not going to move up or down to establish that proportional length between the pelvis
and the bottom of the foot.
And then from the side, this front plane of the pelvis or box is not going
to move forward or backward.
So this now becomes as we move forward to start to establish you know a body type
once again is going to be the origin of our construction method. A construction method needs
a constant for you to be able to use and it's quite forgiving. You know
as we look at the pelvis and there's going to be, you know, more clarification
about how to establish this to be a clear pelvis that I'll be able to place
contours according to this constant in the pose.
What I'm observing from the side and I'm looking at the front plane of the lower
abdomen knowing that there's this constant that I'm not moving forward or backward.
I will have a good idea of where to place the outer contour edge of the
abdominal wall. If I'm not moving and the constant of my pose of the trajectory of
my spinal column isn't going to move
with the construction method, then I can use it to place the anatomy accordingly.
So I find this to be very forgiving technique in these because as you depart
I've looked at four major angles.
I've established my box and egg, and I have comfort now moving forward where I get
involved more into the construction method that I will make placements
and have a judgment to know if my placements work or not because I've taken these
variables out that are not going to move anymore.
It’s also important to discuss some of the things that we don't know here because there's
elements of the box and egg that we don't know and because it's already up there
it sometimes fools people into thinking that they become constants too. Now this is going to
evolve. So as we, you know, you'll be seeing this over
a period of time. It'll look more like a rib cage,
but you know, I think what's important to point out also at this point in the
sculpture, there's not enough there to make judgments on a large scale,
you know, the sculpture’s still fairly simple.
It's been put together with my knowledge of the box and the egg, how I'm using
the box and the egg, what I'm going to use the box and egg for how,
many is it moving forward.
So with it - within these units that I've sculpted, there's variables that we don't know.
One of which is the eventual width of the sculpture.
And this is important to consider in this I think is an important point to consider.
My job moving forward hopefully is to build width into the sculpture.
So how to set this up unsuccessfully early would be to make it too wide that
you wouldn't have room now to work on the outside of it.
When you think about clay, clay is not marble and every sculptor that you talked to
Is oh my gosh,
you know if you carve marble,
you know, you don't have much room for error and that's true but clay,
you know, can move in or out but yet at the same time
it's basically an additive process.
What are the things that I've often talked to people about sculptures that sculpture takes on
the effect of how you've made, it meaning how you made it at the end is
apparent and one of the things that I would say to people if you can
grow a sculpture from inside to out, that's how human beings have grown from when we
were small little things into big things.
We've grown from the inside out.
So if you can make a sculpture, produce a sculpture, by growing it from inside to out
and it takes on that affect it would yet again kind of relate to how we,
as human beings, have grown.
So it'd be more relationship to life.
Once again so as I move forward trying to still keep my decision making simple,
I'm trying to keep the box and the egg, and I would encourage you to try
to do this, keep it a little bit under sized.
Because I want, as I'm exploring width, I want to be able to add it and
I'm still want to keep my decision making to more singular, in a more singular direction.
Sculpture as you move forward always becomes more complex. In these beginning stages when you're making
these initial judgments you want to take that complexity out of it.
So there's an advantage to that that you’re clarifying these things and not becoming convoluted
with too much information and too much confusion.
So we don't know the widths up here yet.
So this box, if I've kept it under size and if you kept it under sized,
can be added too. Because we don't know the width of the legs yet,
and there's not enough up here to compare yet for us even to be able to
discern this when looking at a model,
we do not know the eventual heighth of the pit of the neck.
So once again, this is a variable that becomes a constant.
What I think is very interesting about making these establishments in the core -
so when you think about this line for the pelvis not moving up or down or
the course movement through of the spinal column or the center line, this is the dead
center of your sculpture. And as - the more and more that you add on to your
sculpture, these considerations become a lot less - a lot more difficult to change.
In other words when you get buttocks on here, when you have a gluteus on here,
when you have thighs on here, when you have abdominal muscles on here, when you have
shoulder girdles on here, when you have clavicles on there, when you have a neck on
here, you do not want to move your box up and down.
So this is why I think it's also important to understand these constants and their importance
is because once again, the more you add onto this, the less willing that you would
want to be to change it.
And yes, I would agree with anyone you wouldn’t necessarily want to change it but in
this system, you will not have to change it.
You're working with factors on the outside and that's where sculpture’s forgiving. Sculptures evolve and change
and edit. So you know, sculptures are moving around quite a lot because there's a lot
of human error involved in the making of it.
But as your exploring contours or the eventual heights of shoulders, there's air on the
outside of it. So, you know,
I asked people and want people to understand that we want to take advantage of that
because it's pretty easy to pull up or down the shoulder girdle, pull out or in
the outside of a rib cage that once again, moving this around later on and moving
this around later on, once again become difficult.
But I also want people to be apparent.
The pit of a neck is a crucial element to discern in your sculpture as early
as you can but it's not happening yet,
but we found half the equation to it.
We found the trajectory that it lies upon.
I'm not sure of this yet and I will get to it maybe the pit of
the neck is going to lie
here as a height. Maybe it's going to lie
here as a height. Maybe it's going to lie
here as a height. Maybe it's going to go a little bit higher where my clay
doesn't know. I don't know that yet.
I am trying to get it into a pretty good ballpark
but yet again, I want everyone to be aware that we haven't planted that yet as
a heighth, that will come in time when we have more of the sculpture to compare
and more relationships to to make.
So that can kind of concludes the theory part to the box and the egg and how we
use it. So now we're ready to use it.
So we're going to invite Aurora back and then we're going to start making some observations.
there's a few things that I want to make everyone aware of, one of which is
that even though we're just starting a sculpture that if you execute your tips and
centering well and you’re satisfied that they're going to produce a good gesture,
I want everyone even though you know,
you're in the beginning stages of sculpting you have now - you have factors here that will
become part of the completed sculpture.
So if this is going to be the tip that will remain from now until the
end and if this is a spinal column movement
that’s going to be retained from now until the end, my job now moving forward with
it, beyond just not losing it, is making sure -
beyond not losing it for me to be able to use but keeping control of it.
So I'm going to show you a couple of things that are helpful to understand how
these areas are functioning and if you’re - ways in which to check if the control of
them you're in control of them.
So here I have some swizzle sticks and a lot of the time
students will place, and even myself, will start to place where the swizzle sticks in the
landmark of you know, where the center of the box is and then where approximately the pit
of the neck is right now.
I can place these in the back as well
on those same points. So what begins to occur -
it's very crucial that this, the spinal column in the front or the centering and the
spinal column in the back are aligned. In other words
if I'm standing here looking parallel front to my sculpture,
if I shot an arrow straight through the - my entering is going to come out in
the back on the same spot.
So in order to check that it's helpful to have these guidelines to help you visually
see it. But what I do - and these are things I check on break to make sure
that I'm in control of them because they're hard to observe as you move forward in
the sculpture and you start to once again bury them under masses of form.
So what I do is I approach my sculpture from the side and I'll put my
fingers on these guidelines to get an idea that if one finger of mine is farther
away than the other that my front spinal column and
my back centering are not aligned. And that would be used also then for the box.
They seem to work out pretty well at this point.
So once again, these can be helpful in and left on the sculpture for a while.
And once again help you check how your centering is relating from front to back. When
you're using the box and egg and
you're placing information according to it particulary the spinal column
in this case, if your back in front centering don't align you're going to be placing
scapulas in the wrong place
according to abdominals in the front and then you're - the use of it once again doesn't -
doesn't pay off for you.
I'm going to start now and Aurora comes back from break to start executing blocking in
for the legs. Before I do that
I want to place some clay there to give you an idea of the scale of
the sculpture and where the feet are going to be placed.
You'll notice that I haven’t done much bending to the armature yet.
Now when the when the - when I'm started to try to place legs and align
them for the pose, this is now where I need to be kind of manipulating
the aluminum in the legs to get them lined up in the proper place.
So what I start by doing is I place
some little plinths around the feet. And there’s gonna be a bend in the
leg so this one's going to have to move more.
So a couple of things are going to occur with these little plinths
now. First thing to be aware of is that there needs to be a bit of
a base underneath the feet also for casting purposes.
It's hard to make free-standing castings when the feet don't have something to it or not
attached to something. So there's going to be a base here
that the feet will rest on so I'm going to establish eventually a clear heighth
for what the feet are resting on.
So this then will speak to a little bit about that length in the legs that
I've been setting up as a fact - as a condition for proportions that I'm going to
use throughout the process. So once again,
I mentioned that the importance of the three fingers above the pole. Now
you're going to get an idea that the bottom of the feet are resting here. The
clay also here as I'm moving the armature around to address where the ankles are being
placed underneath the torso,
the clay is going to help me kind of plant the armature to keep it
fixed and immobile. Scale of study here as I talk about this we’re not seeing the
eventual proportions that the sculpture going to become yet,
but the importance of placing the pelvis quite high is crucial.
When I'm teaching the subject and I'm telling students that when you place the height of
the pelvis that your legs will never be too long or too short,
that doesn't mean when I enter a room and critique them that they're going to be -
that I'm going to be encouraging them to actually move it.
I find a lot of the time people want to place this box lower and lower.
So it’s often the case of students are getting - starting to work with this process
for whatever reason they're being hesitant about placing the pelvis too high - as high as it
should be. What begins to take place the lower you place this box is that this
is going to start diminishing the scale of your work.
Interestingly enough, the smaller your work gets, the harder your job gets. So as one
is learning about sculpting, it is important that the scale of your work be,
you know, as large as possible.
So once again, I want everyone to be aware of the fact that the lower
you place this box, the smaller your sculptures going to be, which means when you get
into the head and you get into modeling and you get into making ribs,
it's going to become more difficult and complex because just all those spaces become that much
smaller. As I start to try to block in the legs,
what I'm going to do is look for eight major angle.
These eight angles there are four here from the front and I will address the ensuing angles
as we turn the model more today.
What I'm looking for is the mid upper thigh and the angle is coming down to
the knee, center knee. Them from center knee you’ll all recognize
there's a pivot occurring on the stand - the leg that’s farther forward - down to the center
of the ankle. Then there's those two angles also then in the other leg
so mid upper thigh looking for the angle to the knee, looking then from the angle
of mid knee to ankle.
So you’ll see as I am now starting to adjust the armature a little bit,
this is going to something I keep doing until I feel comfortable with how I'm planting
the ankles. I want - it’s going to be very important in a standing pose to get the ankles
in a good place for the sculpture to look like it's being supported.
You'll see that as I move this,
you know, the initial clay little wedge there
I put started moving around so and this is what I'm saying about the importance of
them and keeping them separate for a little bit because this is going to once again
be adjusting. You just kinda push that clay down there instead of the armature
keep moving or wanting to go back to maybe where it was,
it helps plants it. I brought a plumb line with me. If people are familiar with
this. It’s used to make sure things are straight and how they're plumb.
Artists use it for drawing and for sculpture,
so it’s a tool to help also you to see the alignment that’s
occurring between the approximation of where the pit of the neck is, where the - how it’s
coming through the pelvis and then dropping down into the ankle.
So this could be a very useful technique for you to use in order to see
how the alignment seems to be working out, primarily the relationship of the pit of the
neck and the ankle. Now one thing I would want to make everyone aware of in
this sculpture. My decisions are still quite simple.
I'm still looking for major angles.
Now my major angles are beyond extending just up from my box into my egg.
Now they're including the relationships that are occurring from the top of my egg down to
the bottom of my foot. And when you're visually comparing, one of the hardest
things to do is compare things that are farthest away from each other.
With my experience I don't use a plumb-bob very much,
but I want to make sure that you all know how to do this.
So I'm going to stand In the front plane of the rib cage, my observation spot.
I'm going to raise this
to look for the alignment of how the middle of pit of the neck is lined
up over the stand leg.
You see that the pit of the neck is just on the inside of the stand
leg ankle. Once again I talked about sculpture being the learning of working from the
life is learning what to look for.
That's one of those moments of learning what to look for, very helpful.
So I’ve got the initial four angles that I've looked for in the legs. Another
thing that I think is quite important right now is that I'm going to continue to
evolve sort of the idea of this,
you know, some people say I have executed these angles,
I can't discern if I need to exchange them or move them around. But one thing that's
quite important to understand is how the leg is tapering.
So I’ve given a little bit of a sense of how the leg is tapering here.
So it's wider at the top and you know coming thinner to the ankle,
but this is going to expand a little bit.
So this is how we're going to start addressing proportions through tapering.
I think it's quite interesting that address proportions through tapering.
In other words does my leg taper enough, how many ankles comparatively fit through my upper
thigh because it's actually using gesture to address proportions instead of calipers and just addressing it,
you know in a more,
you know mathematical way so a gesture’s taper is, for me, a movement
that's occurring. For folks who are wondering maybe what a taper is, a taper is essentially two angles
that are across from each other wider at the top,
turning in to becoming thinner. And everyone's legs, depending on the width of their thigh, their
knee, and their ankle are going to taper more or less.
A question you all may be wondering about is the heighth of the knees because we
are actually discerning if there is an angle break occurring between the upper thigh coming into
the knee then from the knee
into the stand leg ankle or both ankles for that matter. What you are seeing on
Aurora is that there is an angle break occurring at the knee and the
stand leg. And so if I'm looking at this center angle moving down to the knee,
it's changing direction and then dropping down to the ankle.
So there is an importance of trying to understand where the height of the knee
Is yet, but I'm just ball parking it right now,
you know just not trying to make it look too high or too low,
so I'm not overly concerned.
If my - if my angle breaks were occurring too low,
yeah, itt would be a concern for this.
I'm going to continue to evolve
this as a block in from the front,
but I'm going to turn Aurora now to the side and then try to get the
ankle placed from the side.
We're going to be getting more involved in complete full rotations in the planer
system. So when I'm turning a model,
you know, I'm turning the model towards where I'm going to be standing back looking at
the side planes or the front planes and I'm also adjusting my sculpture to accommodate for
that. So in other words what you're seeing in the setup here is that when I stand
back in my observation spot looking at the side plane, in order for me to address
that same side plane in my sculpture,
I actually have to turn the sculpture stand so that they aren't parallel to themselves.
It's pretty obvious where I'm standing back from the distance
I'm away from my model.
You know is roughly 10 feet.
One thing I haven't probably spent enough time talking about up to this point is the
importance of that. I will be making 90% of my sculpture from decisions
I'm making from a distance.
I think it's one of the most crucial things that a student of working from life
needs to develop a good habit with. When you're too close to your sculpture,
which is quite common, you're not seeing relationships and you'll be sitting there feeling like you're
active putting clay on things,
but you're not really seeing where they're going or if they're achieving what you were hoping.
So this setup once again that we’re in here involves me being at a distance from
both my sculpture and my model.
I see people set up a sculpture, they bring it closer toward to them, which means
that they're still looking close to their sculpture
and maybe they're at a distance from the model
but they're still only getting half the equation
right. The importance of standing back is crucial.
You will not be seeing big relationships that are important.
You will not be seeing big gestural considerations that the pose has and you'll be missing
a lot. Over the 20 some odd years that I've been teaching there is - it's one
of my biggest concerns to once again develop good habit building into my students on
this level. And find as I do it over and over again,
it's still one of the hardest things to keep people from doing.
The students were aware that I was paying attention if they were making observations from a
distance. And I used to joke that when I’d walk into a room it would be
like Moses parting the sea because I would walk into a room to start critiquing a
group and the group would all be standing on top of their sculptures, modeling forms,
whatever they're thinking they're doing and as I entered the room they would all immediately rush
back. So one of the things - I’ve thought a lot about this and one of the
things that I've tried to encourage people to once again develop this good habit of observation
is to make people aware of where - if you have a desire to be a visual
artist, where are people going to see your work first?
A lot of the time when a student is done with their studies and they're looking for opportunities
to exhibit their work, a lot of time that's going to occur in a group show.
On a rare occasion I guess you would have a solo show when you finish your studies,
but I don't know too many people that have done that.
When people walk into an exhibition to view your work,
they're always going to be at a natural distance from it.
In other words where people, where viewers are going to see your work
is always going to be at a distance and if I was to tell people the
importance of standing back at a distance is that you are actually making your work for where
everyone else will be viewing it for the first time.
It’s an interesting thought but I think that you know in the forest of
artwork that can be in a potential group show, 50 pieces, 75 pieces,
for viewers to walk into that door, view your work from a distance where they would
be doing that naturally, trying to engage them to come over to it
is important. You want to be the work in that show where you're going to
bring, draw people to your work. Once again that's going to happen at a distance.
So I make 90% of my decisions about my sculpture from a distance.
It's only up until when I'm modeling forms when I need to be closer
because I need to be working on my sculpture for longer.
Now taking a plumb line consideration from the side of the stand leg,
I'm also finding something quite similar that I did from the front.
That when I put the plumb at the center of the neck
and get that to stop moving,
it's coming right into the center of her stand leg ankle or a little bit more
towards the back it’s kind of lined up at the bony point there.
As I introduce you to the concept of the plumb line, it's like a caliper. It's giving
you something that's kind of difficult to observe because they're two points that are farthest away
from each other. But I also warn people, like I do with overuse of measurement,
to not keep plumbing your sculpture every hour, every day.
Every model that comes in and that’s standing in front of you as we discussed earlier is
moving all the time, a little bit here a little bit there, and if your plumbing
your sculpture too much, you're going to find that you're going to come up with different
variables all the time. And then think oh
well, maybe I was wrong
I guess you got to keep changing it and you'd be sitting here changing the alignment
of the pose. Continually for too long.
So I tried to - if if I'm going to use a plumb line and I’m gonna use it
once to give me an initial concept about where to place the ankles and then I'm
going to usually put it away.
So I think that's important.
Aurora could you try to push maybe forward a little bit the -
yeah. Now that I'm to the side of the pose,
I'm looking at the two ensuing angles that I'm trying to develop to find the gesture
in the movements that are coming down once again from mid thigh to knee to mid
knee to ankle. So now we're into the six and we can't see these angles that
are occurring on the other leg.
Aurora could I ask you to be please raise your arm here.
Just a little. Yeah, thank you.
And standing over here we're looking at the seventh and eighth angle. Yet again
I'm looking for developing a block in to
have the center thigh, the movement that I'm seeing to the center knee, center knee to
the ankle. It's well within reason that when you're working with a model in the pose
that they're taking in general is kind of covering up some of these important landmarks that
we established, you know asked me to raise an arm for a second so you can get
a quick look at something is well within reason.
Take a break, Aurora.
now. I've established my box and egg, I’ve establishedI my centerline, I’ve established the 12
major angles that help me set this up.
So I have a bit of, you know, generic pose here right now.
There's a way in which to evolve this and you know,
usually right now I would, with a model, take kind of a full rotation to kind
of consider it in the whole. The couple of things that I'm going to be looking
for, if I can discern the there’s proportional discrepancies,
I'm going to address those, if I start to see that maybe I could move things
or tip things a little bit better for the betterment of the pose
I would also do that. One of the principal things I'm going to do now and
I think this is valuable for you,
is to actually see how these block ins that I've now started to produce relate to
the area of the model’s pelvis.
So I'm going to be looking - and I did this a little bit in the last
step that you saw me place some movements that we're coming off the front of the
box out words, and that's because that's occurring with how the upper thighs are related to
the structure of the pelvis or the box.
So I'm going to be learning -
I'm going to be working on once again trying to establish a relationship that my block
in has as I'm viewing it on the model to the box. I'm also going
to work on cleaning it up a bit. Before we get to the next chapter,
which is then how I'm going to use this block and structural set up to then
start to address the body type of the model, then the techniques of, you know,
how I'm working with drawing to locate shape and how how I'm going to begin to
set up contours is important,
but there's a lot of rich, quite vibrant information that’s
going to begin to occur.
I want this to be that information as I start to introduce it, I want it to
be set off from what I've done as a block in so I'm going to once
again and this next period of time work on once again making the block in a
little bit more cleanly. One of the the issues that I've always encountered in trying to introduce
people to the to Drawing in Space
is there's a lot of mark making that occurs that I encourage. There's a lot of
contour edges in a specific way in which I ask people to try to introduce
them and the sculptures after certain period
of time depending on how students are doing,
it can get quite complex to look at. And I’d go up and talk to a
student and they often say to me while I'm just getting lost in all this information
and that is not the desire of it.
Because the next stage is filled with potential human error,
and that could also then be complicated by the fact that your sculpture is difficult to
look at. So in order to clean up my block in,
that when I get into the more rich descriptions of body type it will be set
off on top of them.
Now here's once again as I mentioned earlier, this need to kind of work a little
bit thin in this stage because it's purposeful in order for me as I begin to
explore block in, I want to give myself room to just once again my initial considerations
for that I want to add on top.
I don't want to look at my block in and wonder,
do I have to reduce and or add in order to create the situations that
I'm looking for? So Aurora come back,
please. Something I've mentioned that maybe many of you heard a lot this idea of block in.
It’s used over and over again and sometimes it goes without maybe a description and I'm
realizing that I don't think I’ve fully described it to you. I've mentioned my goal for what
I'm looking for in a block in. So I'm looking for generally a gestural movement.
I'm going to be doing this over and over again.
We're going to be getting into the head, getting into the arms, and
I'm going to mentioning and blocking it in now because there's more to block in. But
I want to describe to you how I ask people to execute a block in.
A block in for me once again is setting up the general angle or movement that's occurring
in that situation. But there's a purposeful under building to it.
Because it's just one of the components that will eventually become the sculpture.
Now when I say that and there's a realization that is important as well to understand
that there's many different types of descriptive qualities that are occurring on the model.
Gesture or movement is one of them and that's once again what I'm trying to achieve
in a block in. The second one are proportions.
I haven't really addressed that yet.
I'm not too concerned about that until I get a little bit more of the sculpture
here. And the third is the quality of body type and we haven't been involved in
that either. And what I would say to people is there's these three components that every
piece of clay must have a combination of them working together.
So in other words, you know a leg can’t be developed while just because it's a
good angle. A leg can't be developed well just because it has good contour edges because
it may not have a good angle and be too straight. And that
goes for proportions as well.
So you can have a leg that looks well close to the models sort of conditions
as far as the outer contours work but yet it could be the wrong angle or
wrong proportion. So what I encourage people to do and this is something I would
like to talk about a little bit more later when these descriptions are occurring on the
sculpture. But once again the idea of a block in is to keep it under sized,
meaning I do not want my block ins to exceed and go outside of any natural border.
Because once again, I'm just trying to achieve the movement that's occurring in these situations.
I know later on I'm going to be getting involved in the description of the situations,
looking for the model’s contours and shapes.
And once again, I want to have a singular response as I get there. So as I'm
beginning to try to render the model,
once again, I want the ability to kind of add that on top of my block in.
So anyway, I think hopefully have clarified the concept of block in.
We haven't been - we haven't even seen yet the back of the model.
This is the first time.
The reason being is I’ve been working frontally because that's where I was mentioning the units
of the box and egg become immobile.
So I'm able to make better decisions with it.
As I come here to the back now
I'm actually looking now at the real movement of her spinal column where I was kind
of hypothetically looking for it by referencing the pit of the neck coming through into the
solar plexus and into the stomach,
but that's not looking at the spinal column.
So here now that we're at the back of the pose,
I'm seeing it for the first time.
I want everyone to kind of take a look at the musculature that's in the
back now. The conditions that I'm seeing and I want to point out to you
in the back here is that I want everyone to be aware of the sacrum.
There's a triangular shape represented by the two points there that are above the - the
sacrum is a bone. But yet literally at this point,
we're actually not really seeing any bon. What we're seeing are,
you know, flesh that is sitting over it.
So we're still not seeing much bone. And then when you actually look at the
spinal column it has quite the strong movement of the lumbar vertebrae turning up and then
coming up into the seventh cervical vertebrae.
What I want to point out here again is because we are now closer to the
spinal column., the spinal column is in the back with the connection between the box and
the egg. That low point that you're seeing has quite an extreme movement to it, quite
nice movement to it. Once again,
I want to draw awareness here because we're still not seeing the spinal column.
We're seeing the musculature that is very close to the spinal column,
but because now there seems to be these distortions that are occurring in
compared to the straighter lines that I indicated for the initial spinal column.
And I wanna kind of clarify the initial lines that I drew up here.
What's occurring here, if I'm critiquing my own sculpture, that there's some adjustments I have to
make to my initial sort of conditions that I set the spinal column up to but yet
again, I think what's important here is that there's the anatomy that’s sitting on top of
the back here. That's also confusing the process of these cleaner straighter lines that I have there.
Because the model’s in an extreme pose
so there's a tip that's occurring and you can see that through the forms that are
bunching up on the right side.
So the form qualities are quite different. Those form qualities are presenting an illusion to what
might look like someone with a fractured spinal column.
I'm going to be faithful to what I'm looking for,
but some of the adjustments that I need to make to my box,
maybe there's a little bit of a stronger tip to my box.
Maybe there's a little bit of a stronger movement kind of coming out of the lumbar
vertebrae, so I’m gonna make those adjustments now and just trying to indicate you this is, you
know, once again the first time that I'm actually viewing the back of the model
or the backplane of the model.
One has to realize that when you're doing a demo sculpture that you're going
to be encountering all other types of conditions with different models different body types.
To kind of fully cover the gamut of naturalistic figurative sculpture
you'd have to do literally 10-15 different body types in different poses to cover all the
different conditions you would come across when you're studying the model but one of them is
is important to point out here.
The box that, you know,
we've discussed and inserted into the pose,
we’ve thought about just kind of the general position of it. The - in setting up this
whole section of blocking in the legs and sending up the box and the egg
is going to be providing me with then the conditions that I'm going to be moving
forward with and we're going to get there real soon.
So something I've done here is modified my box to include, in a bit of
a crude way, the concept of the pelvic girdle.
The corners of the box, if I haven't mentioned it yet, were the pelvic points. And
I want to make that clear because we can see quite clearly on the model the
pelvic points. For those of you that know anatomy and bring awareness to this is that the pelvic girdle
between, you know, individuals but more noticeably between males and females can be quite different and
that's because of the inclusion of the pelvic girdle itself.
So initially, I didn't discuss this concept of the box and discussing the actual full structure
that it’s representing, which is the pelvic girdle to include a concept of the pelvic
girdle. So essentially from the pelvic points the pelvic girdle rises, peaks at a higher point
as the bone of the pelvic girdle and then turns back to the sacrum.
So what I've done here is I've given you - I’ve put on here some some metal wedges
to kind of represent the concept of the pelvic girdle,
but what I think is interesting about it also as a discussion of this concept of symmetry
that one's trying to achieve within these structured internal units,
is the idea that - and it was quite striking to me when I also realize this
that when a model tips their pelvis, and the bones aren't moving obviously,
so that's never going to happen in a pose, that these - the angles that are turning
if your box is tipping in this direction, this starts to become more horizontal while this
angle of the bone becomes more vertical.
It's quite interesting because it's quite deceptive when you're looking at a model in position and
one’s discussing this concept of symmetry.
We think symmetry all angles are straight and - but in here in order to keep the
concept of the box and the egg symmetrical,
we have to understand that the presence of the bone as it moves off the pelvic
points, moving upward, has his kind of variable asymmetry,
but yet at the same time with these angles moving like this,
the pelvis is actually remaining symmetrical.
Now. The reason I'm talking about the pelvic girdle is because I'm working with a female
model and female models in general for the sake of giving birth have broader pelvic girdles.
And it's important early on to begin to include that.
Now I’ve been working up to this point with these kind of big angles and big long
angles. And to introduced people early on into this concept that then now we've got to
also introduce sort of a concept of the pelvic bone because the pelvic bone is it -
it's going to be reaching close to the contour edge that we’re reading off the model
and as we get into the next stage and start to get to the contour
edges and the rendering of the model's body type,
it's an - it would be - it's very important for me and to encourage you to understand
exactly how these bones function in there.
Because I'm going to want to build it earlier on and as I invite Aurora back,
we're going to go back to the front and I'm going to try to do a
little demonstration about how to work and include the small considerations of the pelvic bone.
It's never so - it's never to your advantage to have to make these little consideration early
on in the sculpture. They're quite specific.
But anyway, in this case,
they're necessary because it's the presence of this very important,
you know, bone that we're trying to include in this. So Aurora. Just to make clear
to everyone, I want to show you where the pelvic points in the pelvic bone are
in the pelvic girdle. So if you see here,
here's the pelvic points and that would represent the corners of your box. And you can
see the shape of light turning up going to that contour that I was mentioning also
that once again, we're setting up these conditions of the pelvic point, the box, that are
now going to try to include as a concept of the pelvic girdle because as I
mentioned the next stage we're getting into as we're going to get into the rendering of
the figure which is going to be the development of the contour.
So Aurora if you actually raise your left arm a little bit, yeah.
So you'll see here as she raised her arm now we're picking up this contour so you
can see that's the gluteus medius that’s behind there.
But once again the departure point of these units of structure leading into the rendering of
the figure, once again, it's valuable to include the pelvic girdle because it's getting you right
then next to the next stage.
Okay, please take the pose.
I should mention I'm not sitting here trying to make the quality that I'm seeing in
the pelvic bone. I'm just trying to evolve my box to include sort of a concept
that the bone is rising, which as it's turning back and to get a little concept
there. So - and I'm also trying to keep it balanced.
Also need to put some clay underneath it to kind of support it.
Because these conditions of these bony edges are going to be so crucial to the next
stage, maybe further made like to further describe what I'm trying to attend here, instead
of just getting it to be this movement turning up.
There are visual landmarks that are going to be used to once again render into the
next stage. It's - so it's very clear how to keep your clay quite clear for me
is going to be able to keeping edges fairly sharp.
So, you know, the tip of the boxes are straight edges they’re fairly sharp, the edges
of the box are fairly sharp,
but now I'm including this kind of organic and many people could probably try to
include this in a different way,
but I'm working here on shaping it once again to kind of move in the
direction I'm seeing it. Not creating the bone itself.
But creating a sharp edge,
once again, that is going to be a visual landmark that I'm going to be kind
of working within using into the next stage.
Once again, because the corners of the box in the edges now of the pelvic girdle
that I've constructed here are going to be my visual landmarks moving forward,
I'm trying to also here get rid of some of these clay which are these little
distortions of shadow and light just to keep everything clean.
As I was mentioning earlier, trying to introduce this to the students your clay here when you're
even just putting on pieces of clay to help support things or to connect things meaning
they're not that meaningful as far as the quality of anything goes because they're within the
sculpture, your sculpture can get quite - they can create quite a lot of friction so that
then when you are looking at these landmarks,
there's a lot of visual information around it competing with it.
And once again, it's very helpful to not have your whole sculpture be - create this kind of
this confusion and leading to problems of you being able to pick up your visual
landmarks. Aurora I'm just going to clean this up a bit now,
which means I'm not really needing to look at you.
So if you want to take a break. Okay,
one last thing that I want to conclude with here because I'm getting pretty close to
the end of the stage before I'm going to summarize it and give you maybe some
exercises that you could continue to practice just this stage because there's a lot of interesting
things that you can do
not only to help learn about this but to use it for sculptural practice.
For all of you keeping score out there
and me discussing this concept of foreshortening and you've been looking at the models,
I've been looking at the model, and I've been aware that there are foreshortenings when
we're looking at the front planes of the pelvis and the principal one is what's occurring
in the balance leg. The balance leg is the non weight-bearing leg, the leg up on
Aurora's left, the left leg of Aurora.
Because of the strong angle and because the patella is moving forward and because from the
patella to the ankle it has a strong movement backwards, that leg from the principal vantage
point of the front of the pelvis, is foreshortened.
Now I've turned the balance leg
In your vantage point to now be looking at it to take away the foreshortening.
Now in different situations for the different poses,
there's a lot of extremes that can happen here.
But I want you to notice now when we discuss these major angles, meaning mid thigh
to mid knee, mid knee to ankle,
there's quite a strong directional change occurring through the knee.
This might not have been recognized by looking at the front plane due to the foreshortening.
I'm going to get into later on as we get into arms and the head and
how to manage foreshortenings or how to address them.
But what we're going to do is we're going to break down the pose and there's
going to be besides just the four planes of the box and the egg,
there's going to be multiple vantage points where we're going to be addressing the foreshortened elements
in the pose. One thing I want to ask Aurora to do is to show actually
how also this knee pivots.
Now here's a moment where I'm going to ask you all again to stand up at home.
You ready? Okay. I'm going to take a little bit of a contrapposto myself,
but unlike this pose I'm going to put my my balance like in front of me.
Because in this situation - and I'm talking about other situations that you're going to encounter in
different types of contrapposto poses.
So I'm taking a fairly regular contrapposto right now, I’ve got my weight on my stand leg .
So I want you all to put your weight on your stand like and in
a more simple contrapposto, just placing your balance leg in front of you.
What I like to show people is actually how much movement can occur.
So I would ask you to start moving your patella without actually moving your
foot too much off the ground how much range of motion can occur here?
This is once again important into trying to discern and how to manage this leg
because the weight bearing leg in a contrapposto pose and the knee being locked, it
almost never changes because the knee’s locked. And it's once again,
you know it doesn't raise or lower because the bones don't grow but it's hard
for the model to move in any discernible direction.
Whereas this leg there's some of these variables and so what's occurring when you're looking at
the front plane of the model’s pelvis and rib cage, your model might be just gradually
moving her knee from session to session.
So once again what I'm trying to describe to you here is that there is a
need and it's going to occur as we move forward more and more.
So I think it'll become clear that this becomes something hard to discern. The balance like
in the foreshortening how we been looking at it.
Thank you, Aurora. I haven't looked at this yet on my sculpture either.
It's the first time I've looked at it so,
you know what I've concluded I've seemed to have some fairly well represented angles from the
main vantage points, but what I've got is a kind of no dynamic to the movement
that’s occurring here when you look through the front of the patella,
So I'm going to be looking for that and looking to address it as we move
forward. I'm at the point where I want to kind of conclude the section.
I talked about Drawing and Space occurring in three major sections.
There's this block in, structural introduction section,
which most of what I've done is look for 12 major angles.
And then in executing it I’ve cleaned up things so that the block ends are clear
and then the planar system of the box and the egg.
So on and so forth.
I'm kind of ready to use it.
I have a generic pose up here with an unrecognizable body type.
This does not look like Aurora.
It just looks like some maybe major angles that I've been seeing in the pose.
Conceptually in learning how to understand the theory of the box and egg and I think
one of the most important things about it is learning how it works together as a
unit because this is also a way in which understanding the box and egg that you
can actually and eventually execute almost any pose if you want someone flying through the air,
rolling on the ground or whatever
It may be, the knowledge of this can provide you with an ability that kind
of create whatever you want to create.
Once again, if you're becoming clear about the movements. Some new exercises that I've Incorporated in
recent workshops is conceptually creating pose without a model. This is something I did in college as well.
An exercise - because I believe in these three major sections you can practice them individually without
always having to create a sculpture from beginning to end.
Because as you're learning to develop you know your abilities as a sculptor,
you know, I think it's better to start with brief exercises and just keep pushing forward
and stopping and then starting and stopping.
The exercises that I asked people to do can be done on your own,
which are you know find a piece of sculpture that you admire, the Greek sculpture, Renaissance
sculpture, French academic sculpture. Look at the pose and you know,
if it's an image you're going to be looking at a flat thing,
you're not going to be looking at the sculpture in the round.
So you'd have to conceptualize from one vantage point maybe how the whole box and egg work and
function together. And you can do that by taking the pose yourself, then going and setting
up the box and the egg. And this is how I think it's going to be
important to gain familiarity with it. Andbeing familiar with it
will obviously help you execute a better.
The other thing that I think was just from observation and there's this willful need of
mine and I'm encouraging you to also consider
this is trying to hesitate to keep your your block ins thin and hopefully it'll become clear
in the next stage why this is going to be useful.
So we're soon going to get into the next stage.
Reference Files (1)
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11m 57s2. Instructor Introduces Himself
3m 10s3. The Armature
4m 46s4. Model’s Introduction
2m 13s5. Basic Tools and Concepts
10m 14s6. Basics of the Box and Egg
12m 20s7. Major Angles
27m 5s8. The Box and the Egg II
9m 46s9. Construction Method After the Basics
26m 35s10. Center Line Landmarks
34m 3s11. Relating the Structural Block-in to the Real Model