- Lesson details
Join internationally acclaimed artist, David Simon, as he teaches you his approach to modeling a three-quarter life-size portrait in clay.
You will learn how to build your armature, take measurements of your model, block-in the facial features, hair, and neck, and how to build relationships between them. David will also cover the materials and tools he uses, and demonstrate his finishing techniques.
This course is a comprehensive representation of the sculpting process from a few blocks of clay, a pipe, and a wire, to a finished portrait.
In the second lesson, David lays in the sculpture’s profile in between the measuring nails. He starts to block in the facial features and gradually adds more visual information. By the end of this lesson, you should be able to roughly pull all the forms together.
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all of the nails are in place, and the next step
is that I'm going to lay in the profile of the model in between those
nails and then I'm gonna continue around the entire head.
So Paul is ready, we're gonna start a timer
and I like to work in 20 minutes increments when
the model is posing he'll set the pose for 20 minutes and I'll take
a break and check the work every 20 minutes from a distance.
Okay, so you ready Paul?
thing I'm going to do is check the angle
antitragul notch to the tip of the nose, make sure
that the entire piece is set at the same angle as the
model. Which it is right now. And then I'm going
to begin, doesn't really matter,
where. Right now I'll begin between
and the nose.
And you do need to
the sculpture as you built. So my left
hand I'm using to make sure nothing is moving as I add
I'm also being as careful
as I can to
not move the nail as I build out
I'm building out very thin
and that will allow me
to change the profile really quickly
and easily as I go along. If you try and build out
the full volume
all at once, it makes it much more difficult
to make small
changes so I'm gonna keep it very, very narrow.
And I'm gonna come all the way out to the
tip of the nail.
although I am working on the
profile, I'm gonna keep turning and checking to make sure
I'm right in the middle.
Coming down. And remember that
nail is the very tip of the nose.
And as I cover it up, I'm
not covering up the tip of the nail because I'm looking from the profile it can be hard
to recognize where it is so I'm gonna make a little bit of a line.
and I'm leaving that for
just a second, primarily
because I want to
make sure the nail
is very stable.
Once I've covered the nail
will come out
from there continue
that nail is at the very
top of the chin
because the furthest point out on Paul
is pretty high on the chin.
So every time I cover it up
I'll put it back.
And I'm just cleaning
up the interior
to make it easier for me to figure out where I am.
So now I'm gonna pull this entire
There I was checking where his nose
is meeting the
upper lip in relationship to
this point of the brow.
So I just held the straight line up
compared it to
where I think it is on the model. And it's right about there.
And from there it's
coming down a little bit outward.
Here's the lower lip.
And now I'm gonna come back up to the
hairline. And usually I'll do
of passes through the area.
My first one is to make sure every
stable. You know the nails are not moving around.
The profile is getting
built out to roughly the correct level
everything is staying pretty
centered and then I'll come
back and refine everything. I'm gonna have to
check the angles a very times to make sure if he
moves his head slightly that I'm following that.
if that is where his hair
meets his forehead and the hair
got a little bit more warm clay
and out quite a bit from that point.
I'm gonna make a mark there.
So as I cover it I can see clearly.
then ideally I really want to focus
profile at this point.
So as I go I'm going to try and blend
everything on the interior.
So that it's easier to see
the angles of the profile.
This needs to come
quite a bit higher.
Should bend here and then turn
From there just back
to here. So I'm
using the antitragul notch
a center point and almost looking at it like
a clock. And what I'm looking for is where
the hair stops moving upward
front of the head and begins to move downward.
Gonna get more clay.
to about here.
And then it really drops
And the low point
right about here
and then back out.
I'm gonna clean up the interior a little bit
because I know the ear will be here.
Roughly the earlobe here. The ear
back here just based on where the nail is.
The tragus will be here, top of the ear
be around here.
of that needs to come pretty far out.
So whereas the initial
observation of going around and looking
very carefully at where everything was changing
needed to be done
relatively slowly and carefully. Once I know
the rough outline, I can build quite quickly
the volume in between
because that nail here is telling me how far out
I can come and I'm not gonna come all the way out
to where the nail is yet
but I was maybe 2-3 inches in
from the nail in a lot of spots so I know I can come out
you know pretty quickly without running the risk of getting
too close to the final
surface. So when I'm roughly at this stage I'm going to
rotate this around
so I can see the other profile. I'm gonna rotate the model around.
And I don't wanna get too far on
one side without getting the other side caught up.
Paul can you just tip your head slightly toward me. Not rotate, tilt,
Now again from this side I'm gonna check
the angle, which is just about right.
I'm going to
mark with a little line
where the nails are because it can get difficult
for me to see them when they're
buried in the clay and only the
very tip of the nail
So once again I'm going to
come around and
clean that interior
to make it easier for me
look at the edge.
Which at this stage is what should be
So here you can kind of see the edge of the initial ball of clay
that I randomly build up and where I ended up when I began
to look at the model. So I'm gonna clean that
and get a little bit more clay.
stage is fairly
mechanical, you know I'm just
building out a nice, clean
base of clay.
I try more or less these days -
I mean I used to really try and keep it immaculately clean.
Now I don't worry as much
But especially when
you're starting out, when I was beginning, it was really helpful to have
a pretty clean
surface on which to work because what I'm going to be doing
after I lay in a little bit of the volume
on the back of the head, you know what I'm doing right now,
is I'm gonna begin to
use the nails as a jumping off point.
And drawing all of the information,
all the transitions,
and the cleaner the clay is, the easier it is to see that drawing.
So there is the antitragul notch
coming down is the earlobe,
coming back is the back of the ear.
Okay so that area is where the
ear will be coming forward.
As the hair
So again this is a little bit
tedious in terms of building up
And when I
get to the edge of the
head that's where
I really want to slow down and pay attention to where
a skull coming through the hair.
And at this point, you know, a whole bunch of things are going through
my head about how I'm gonna treat the hair
which is always
an interesting challenge. There are so many
different ways to
deal with it and that will have a lot to do
with how I treat everything
else. So now Paul is gonna take a break
I'm gonna just check the work. Take a pause right now.
How is that working
things filled out,
up, and beginning to move.
from being completely flat
to being a little bit
And one of the key
features in doing that for me
is always the ear.
You know I think of the
that I have, particularly the nail
for the ear as almost like the middle
of a radar screen in an old
submarine movie, you know that
dot in the middle and the closer the little blinking dots
are to it the closer they are to the ship or to the
submarine. The closer
the information around that nail is
to that point, the more accurately I'll be
able to understand it.
So something way over here - this nail
is gonna be of limited value in helping me
understand particularly the depth of that. I can find a point
here pretty well using that as
a fulcrum and finding an angle. But in terms of
seeing depth, that point right now is the exact
depth of the antitragul notch.
And it'll be pretty easy for me to see something right
next to it whether it's the same level a little closer to me or a little further
away. So everything around here I'll be pretty
accurate with from this
point of view, meaning looking at the side view
to get more accurate I'm going to shift
to the front and then I'll be able to see the angle from here
So right now I'm very,
very roughly laying in
for the ear.
And I laid in the angle
from the brow to the top of the ear just to
give myself an idea of where the top was and from the chin
to the bottom of the ear. And that just gives me a rough
how big the ear is. And then I use my
knife to give myself a rough angle.
And because I know the hair isn't floating really far away from the head.
I can fill in a little bit
around it. And then when Paul
returns from the break I'll look from the front
to pull the ear out to the correct angle.
But while he's on break, I can lay in roughly
the volume of the ear.
on this side. And again I'm being pretty careful
not to move that nail.
This side I'm a little less
confident of because I've erased a lot of the
drawing when I added some of that volume.
You know I have a general
idea that I'll pull
you're working with the model and not
trying to make a video, it's a good idea
to try and get into the rhythm
of the model, meaning when the model goes on
a break I like to take a break, walk
around, clear my head, come back, look at what I'm doing
And that's much more
the case later in the process. And I'll
try and do that
with this piece as well even though it's tempting always to just kind of keep
working and keep making more and more
Okay. When - so right now Paul
is back - if you could tilt your head just slightly toward me perfect -
and every time a model comes back from the break
I will recheck the angle between the tip of the
nose and the antitragul notch. Just because sometimes a model will
be sitting just a little bit differently
and I wanna make any adjustment that I want to make.
Right now it seems pretty close to where it was.
I'm checking the angle of the ear. Seems
muscle of the neck which is called the sternocleidomastoid.
Here's a big
bump above and behind the
ear right where I'm laying in clay that
and it's called the mastoid process, it comes off
the skull. And that large muscle that comes down
the neck begins at that point.
from the front.
that will come out a little bit.
And I'm going to quickly
pull out the hair as well
to give it a relationship to the ear.
And at the beginning,
which is where we are in this process,
I'm gonna go through quite a bit of clay.
Right now the clay is really
almost too hot. I'm gonna turn off the heater.
And then later in the process
when I'm really dealing with smaller forms and
I don't heat the clay up at all.
I wanna be able to add very minutely but you can see
the clay is sticking to my hand, which is an
indication that it's a little bit too hot.
You know it's sort of a fine line. It can be
definitely too cold
in what I'm doing now - just roughly building up
the shape of the head,
I want it pretty warm. But it can get
pretty hot to the point where
it will begin to burn you. So you wanna be a little bit
Okay now I'm going to
mark where that nail is.
And I can see that his face
is gonna come out almost as far as that point.
So I'm gonna pull that out
And you can see on this side I'm way
way out with that nail so I can pull
quite a bit
of the face out to that
point I can,
pull the ear out quite a bit.
It's helpful if you close one eye.
It makes it a little bit easier to see
how far out something is in relation to something
else. I'm trying to turn it more into a flat
at this point and not see depth
and so by
closing one eye I can see the angle a bit more clearly.
That angle comes back
that comes down.
And now from there the hair really comes
Turn it so I can see a little bit more clearly.
Turn it back.
And when the clay gets really hot
you know if it's slightly over
heated, I'll roll it
in my hand and that's because when I heat it
in the over, generally the outside is hotter
than the inside because it's being heated from the outside
and so by rolling it I'm blending the heat from the outside into the middle
and it distributes the heat a little bit
these are the nails
particularly in the brow here.
I'm going to connect one to another
a center line and
begin to build outward.
now I'm going to imagine that the further point out
is the middle,
which may or may not be completely true.
Generally the brow will come out even a little bit further. But I don't really
want to deal
with that aspect right now. I just wanna make sure that
what's very, very collapsed looking,
you know going back that way, begins to come
a little bit further
out in this
direction. And from the
profile I'll be able to
figure out exactly how far out it comes
to the nail. And if I look directly from the
profile and I can't see the middle then I
know that that point comes out further.
But it's gonna be a pretty gentle
and I'm not going to
try and guess at it, looking at it from the front
I pretty much know from here as long as I don't come out quite as
far as that nail I'll be okay.
In addition going to
pull the nose out a little bit.
And then every time I cover up
the center line
I'm gonna come back,
redraw it, and I also
draw a little bit of a
mark side to side.
And I'm just using this tool to
come back, even out
that surface right to the nail.
Now coming out
side to side.
And going to quickly check
from the side view. Now I'm gonna turn to the side view.
Because I don't want this
to end up kind of getting a ridge here. Because everything
is gonna have to move forward and back through here
and I will only be able to really see that from the side view.
Also you can see the head
is getting kind of all the volume here so I'm gonna move
that as well all the way
So I'm filling in the volume
If you could tilt your head just slightly towards me.
Just like that.
And then the eyebrows are below
the highest part of the brow on him.
The cheekbone just wanna
quite a bit. And at this stage
when I'm beginning to build out
I try and blend everything
back from the point that I'm bringing out
meaning when I'm pulling this point out
I'll let it come all the way back in to
Okay can you tilt your head a little bit toward me? Perfect.
And that really gives me a clear
sense of the volume until
I've observed the
is next to it. So for example now I'm adding some
of the brow. So now I'm just
kind of making a relationship between
how far out the brow comes and how far out the cheekbone
Move down to the
And pull out
A lot of times I'll begin by
adding depth so I can see that they're
was lot of depth in that area
right under the jaw line
right here. So I pushed in
quite a bit here. And that
allows me to not come out as far
to create that
sense of depth. You know frequently if this is too far out
initially to get the sense of depth
I'll pull that out too far just because I'm creating relationship between
here and here. So my
initial movement is always push in here and then
pull out here to create relationship. I can always add to both
but I'd rather be a little bit underneath
the volume at this
point instead of having too much volume.
Okay here coming in.
A little bit toward me. Thank you.
Right there is the middle.
I think I need to come down maybe a little bit more.
And ask I work
I get the opportunity to look at the same thing again
and again and again and again
and make more and more
And that I think
helps me be more accurate.
So the model is gonna take another break
and I'm going to
add a little bit of clay back here where I know I have
some big holes, you know pretty
evident areas to fill that I don't need the model
And that certainly comes from experience is knowing
what you can do well without the model and
what you really need the model for. So it's, you know, generally a pretty bad idea
be sculpting the features when the model is on a break.
But if you have a big hole in the
back of the head, or you know it's gonna go from here
to here, those are things that you can
do pretty mechanically without
having the model there and then just
you know check when the model gets back, you know
generally I'll try not to even get
close to the final width
without the model
so you can see, you know, I'm still very, very, very thin here.
But I am adding volume that I would have had to add one way or
the other. So doing it on a
a certain amount a sense. I'm adding material that has to get in there
one way or another. And yet I'm not adding
so much that I'm near the finished
volume. I'll wait for the model for
Turn the head
see how rocky everything feels
So I'll begin to even things out,
just deal with transition
that are caused by, you know there's
a big line through here that was caused by me working only from the
front for a few minutes.
So here I know I'm still way
under the volume, I'm not putting in the cheekbone, I'm just
removing some of the visual
noise that happens when
you add a lot of clay quickly to one area.
you know another little trick
to finding, for example, the
center line in the back of the head
I need a bigger pair of calipers
is to take a measurement
from one ear - and it's not actually even a measurement, I'm
just taking a random distance, putting my
calipers on the antitragul
notch on one side, the antitragul notch on the other
two arcs, which
are this and this. Where those arcs
cross should be the middle of the back of the head.
You can see I was kind of over here. I should have been
So I was over here and I should be over here. So
I'm gonna move the volume
a little bit. And you can make that
X you know essentially anywhere.
All you're doing is measuring the same distance from both sides and
that will indicate the middle.
So I'll go a little
lower this time
I should be
rotating this. A little bit difficult to do.
Okay so our model
is back. Now
I'm going to come around and deal a little bit with this side.
First thing I'm gonna do is check
the tip of the nose to the antitragul notch.
Tip of the chin to the antitragul notch.
If I have any doubt I think
it's back a little bit.
Here is the angle
of the brow. And I do quite a bit of
these sort of draw
through where I'll connect
the antitragul notch to align
through the brow to the tip of the brow. And
see how everything relates to one another.
As opposed to just looking for this
angle I'll continue that angle and see where it would end up if it went
his head. It's a very kind of common
drawing and painting technique
that's very helpful.
I'm gonna clean up a little bit of this area because it's bothering me.
All of those holes
Okay so I'm just filling
here. With the ear I'll tend to keep it
flat shape for a while.
Move it a tiny bit lower.
Again I'm looking for
the angle and I'm drawing that angle through,
you know, kinda comes out over here.
I'm gonna add a little bit of the depth
And then the angle changes
and moves down a little bit
then forward a little bit and then down
and then if that
is the tip of the chin there's
along that line
is where the nostril
Right about here.
There is where I'm gonna put
the nostril. Meaning the volume
goes above that line.
coming out a little bit
this area. And I guess I
don't really have
I stick to really, really
religiously. I do jump around quite
a bit. You know on the other side I pulled out the
cheekbone. And as I was sort of
getting some of that information laid in I thought oh
on the other side I mentioned that I
pulled out the cheekbone first I should pull that out
But the reality is that I do
kind of jump around
and try and establish
a lot of different things.
And not necessarily all
in the same order
all the time, even within the same piece. I might
pull different things out at different times on different side,
based on what is striking me at
as important. You know in some ways I look at the process
less as one of trying to
a consistent product and
as really trying to understand as clearly as I can
what I'm looking at.
And because certain things maybe - if
you could tilt your head just slightly away from me, perfect -
certain things don't seem as important to me
at certain times and I just don't
address them as quickly. Other things will jump out at me
as being very important for me
to understand what's going on and so I'll address those earlier.
You know the, for me the
process of sculpting
is constantly a balance between using a
procedure that allows me to organize the information
and coherently and, you know,
for example, the use of these points, that's something I always
or almost always do.
And I almost always do it more or less
the same way. Whereas
building the volumes out, I feel like I
probably do it differently every time I begin
a head. I'm sure there are
similarities to how it works but
if it becomes too mechanical, I find that the product
that I create becomes too mechanical.
So I tend I think to work more on larger
ideas, like angles and
moving back and forth between
things rather than always build out
one area, then the next, then the next.
even within things that
you know, when I have stepped back and I look seem a
little chaotic, I'm beginning to see a
certain logic emerging.
That's gonna come forward,
that has to come down.
And I know everything that I've done
up to this point is
subject to change and
adjustment, nothing - you know everything is so dependent on
everything else that until
I have a certain critical mass of information here, you know, an
angle that I put in or a volume that I began
bound to change.
That's why I don't get too wrapped up in kinda finishing every angle
clarifying everything. I'd like everything to
stay somewhat open.
As I work until I get
a certain critical mass of information. I'm gonna turn to the front.
everything will begin to tighten at once. So now I've
like to -
I need to pull
this entire ear out, I suddenly realized it's all
way too far in in the back.
this ear will come out
quite a bit more.
the next thing I'm gonna do is begin to pull the
because there's a very clear sort of profile front of the
front view that I'd like to
begin to establish
is a little bit of a weird way to say it because
the profile is the side view. But there's - I guess it would be better to say
there's a silhouette
that I think is very important
with Paul to establish.
Now that there's a bunch of things that are beginning to
get laid in, I feel like I can
with that. So here I'm just
the center line in so that as I
pull out to either
side of that center line
stays symmetrical and I,
you know, I have to do that again and again and again and again and again, you know.
Almost can't put the center
line in too many times. You know it wants to
drift all the time and I'm always covering it up every
time I add a little bit of clay.
Center line dissapears
and so I'll
continually redraw it.
And there will get to a point in the process where
it's so kind of vivid
meaning, you know, really it's beginning to look like him.
All of his features are there that it will become less
important to have a rigid
center line to guide me. I may keep it
on the nose or on the lips
if I'm trying to deal with
ironically of asymmetry. You know the center line will
help quite a bit with asymmetry
so I measure everything as if it were symmetrical. I measured it
all from one side, not from both sides.
Because I find that when I
start with things pretty
symmetrical if I look at the model and find
that you know one side is a bit higher or lower it's much easier to
begin with it symmetrical and then pull it
slightly off than to try and get it the exact
degree of asymmetry by measuring
it all out.
I don't know if that makes a lot of
sense when I say it but it will hopefully make
a lot more sense when I do it.
But that will, you know, that comes a little bit later right now
I'm pulling everything out.
And the more I do this
specifics I'm able to see.
You know I had the ear pulled out a certain degree as I came up
with the jawline here.
I began to see, you know, that I needed a little bit more
volume on the edge of that ear.
And then definitely quite
a bit more in the hair.
There. The top of the head.
A little bit in to here, now I'm gonna turn
again to the profile.
And I'm going to just fill
the ear to make a simpler
shape. I'm going
to get rid of
some of the holes that are...
Paul is gonna take a break.
I got a ridge
starting here I need to fill back here
so that's something that I can do while he's on a break.
I'm going to
some of the volume in the back of the
ear. And I'm doing this for a couple of reasons. Number one
it's going to stabilize the shape of the ear
you know because I
tend to just kind of tap the clay on because this is not
water based clay and I'm not going to fire it, I don't really need to pack
the clay in to avoid creating air pockets.
because it'll never get fired.
Typically when you're using water based clay with the intent to
fire it, to harden it, you have to be
very careful about avoiding creating air pockets because
in the kiln that air in that pocket will
superheat and expand and blow a hole
through the sculpture. But since
I'm not doing that, I tend to just sort of loosely pack on clay
sometimes and that can be a problem with you're kind of redefining things
will move around. So I just pushed the clay behind that ear in
combine it with everything around it.
You know the interesting thing about these
pieces when they're done is they're really big
blobs of mud, shaped into these
exquisitely delicate and precise forms
but instead they're just all bits of clay squeezed
together. I always find that
So I'm starting to see that I may have a little bit of an issue
You know where my armature is. And I'll check
on that when the model comes back.
Meaning I may want
more depth here and I may run into that wire.
And I can demonstrate
how to get rid of
wire that's in the way. And here I'm not doing anything more than
cleaning. I'm not adding
volume, I'm just taking away
holes so that the
surface of the clay is cleaner.
Same thing here. There's a big
hole here. And holes are
ultimately going to be
Meaning I can't put information
into an area that's just a big hole.
So I try as I work
to eliminate them. You know there's almost no way
not to get them, you know, as you add clay
unless you're really
not sculpting you're just kind of building a big ball. As you add
clay you're gonna be looking at something, saying oh I think
there's a little more here, you add a little bit of clay
to that structure and not to what's next to it and you create a
little bit of a gap.
And it's just important to pay attention to the fact that that's there and that you don't want it to be there.
And that as you move
through it you are filling
those up, getting rid of them so you can begin to add more
information in that area. You know there's another one
here. I try not to just kind of fill them
almost just as bad. You end up with, instead of a hole
just a big lump. So you can see here
I'm pushing clay into it so it's a recess but it's not
a completely closed off
So if it goes in I can still go into an area and draw
a lot of information into that area. When it's a big gap
there's really not a lot I can do with it.
So, you know, here
you can see there's a strange gap
I'm gonna get rid of.
I'm going to come across
from that nostril
and give myself the same
So the other nostril should end roughly here.
I'll pop on a little bit of volume.
And I'm probably right now
doing what I said I wasn't gonna do
which is working on a feature without the model there. So I'm gonna stop
doing that. I'm gonna step back a little bit,
look overall at the shape.
I can see on this side
you know I've got a big gap in information here where here
some clear angles. So when he comes back I'm going to
focus on that and then establishing the width of the mouth
the width of the eyes.
And the width of the mouth
is something that I measured.
So now I'm going to measure the
width of the mouth
and the way that it's really, really
than where I have it.
In fact I
need to add a bunch of clay in here
even to be able to lay it in.
and now looking at it like I maybe have the mouth
a hair too high.
Move the chin down just a tiny bit.
That lower lip down.
Just a little
to come out.
center line I'm, gonna put in again. And I'm really
looking at the interval. If that's the tip of his chin
the shadow is fairly close above it
and then there's another shadow line at the bottom of his lower lip.
Fairly close to that.
now from there
if I know where
the mouth ends, which I do
because I have that line right here.
I can come out
the bottom lip.
Now with the upper lip.
Okay so that gives me a pretty good
sense of the width.
it in here.
covered over my width measurement
relay it in.
Check the angle
from the ear.
redraw the center line, that's telling me
how far out I need to
I'm going to change
from the front view
to the side view.
Just wanna establish a little more volume.
To the side
to make sure my angles are correct.
Can you tilt your head just a little bit
toward me - perfect.
And again I wanna get rid of that hole
that I have there.
And now I'm gonna check the vertical, the corner of the
make sure the entire
head is at the correct angle.
So that's about slightly
back, maybe right about there is where I want the back of the mouth
but right now my line is right here.
So that means that the head has to get a little bit
I'm gonna establish also
the back of the
nostril which could come back just a little bit.
Once I have that then I know all
of this part of the cheek can come forward.
the bottom lip
can come up.
I'm gonna come back again
to the front view.
.And a bit here, one more rotation
Went a little bit too far.
Okay I might as well come to this side.
You can see how bizarre it looks here.
I'm just gonna check it from the front
If that's the center line there.
that's about the correct
I can lay in the correct
I'm gonna come right up
under the nostril.
Coming up here.
That's where I have the width of the mouth.
From this side
like it needs to be up here.
So again that means this all needs to come out
to be able to get that width.
That hole here.
That hole here. So I'll begin to
I'm gonna check in the front
the overall width
from back to the side.
That's the width of the mouth. Still
think it needs to come forward.
It's further out
I pull that, the further
out I can get the mouth without it comes
too far back.
So as I do that then I'm just gonna
connect that to the form above it.
obviously all of
needs to come out.
So here I'm going to fill
Good. Now I can see
if that width is correct. Double check it.
So that width is pretty good right there.
That needs to come out just a bit
which means everything
above it needs to come out quite a bit.
At this point I think I'm gonna come out a little bit
the end of the nose. Because I'm beginning to establish
now some of the widths
Overall the nose goes from like very, very narrow at the bridge
to wider at the tip.
So I'm gonna do that
on either side of my
center line. Redraw
my center line.
Continue out and, you know, that's
obviously gonna now force me to bring the
Once I see where the nostril goes and I
turn it, because again I've got
the big hole that I'm creating behind
the nostril I don't want to do that.
So I'm gonna come in and fill.
Then again I'm not really
modeling I'm just filling that hole. Come back to the front view.
And now I can see how far in I am
Now I think I'm going to
lay in the width
of the eyes. So from the outside corner to the outside
And from there the width of
so I just measure from that same line inwards.
And now I'm going to carve out
material in there.
in that point
is where I want the inside of the eye.
And that point where it is where I
want the outside of the eye.
And draw a rough
angle. I think the outside corner of his eye
is a little bit higher than the inside corner. Switch out my clay for some
And now I can see the entire brow needs to come, you know, quite a bit
further out because if that's the outside corner of his eye, the brow has got to come out
a lot more.
So I'm just gonna begin by
So the process, you know,
it's very much like
a jigsaw puzzle. You know the more pieces I
have, the clearer the picture that I'm
Once I lay down more and more bits of this information
so that's the outer corner of that eye,
so I know I need to go out quite a bit on this side as well.
those lines, I'm gonna remeasure
because I'm using, you know, the width of those eyes as a
guide so I wanna make sure that when I
have down is accurate.
So his cheekbone is wider than the eye.
Means I can fill all of this,
you know so the
information that I just put in between
a rough width of the tip of the nose,
the nostrils, which I'm laying down a second one here,
the width of the mouth,
those are all giving me a good amount of
information about how wide
everything can get. I'm gonna lay in
the width of one eye
So Paul is gonna take another break.
And as he does that I'm just gonna kind of tighten up
my measurements, my
lines. So here is the inner corner
of that eye, meaning
all of that
So inner corner,
outer corner, angle of the
eye. Just trying to keep them on the same height for right now.
Beginning of the cheek
some holes that I've created.
Then I'm gonna step back and take an overall look at
where I am.
So while he's on break I'm going to
the center line.
All I'm doing to draw the center line is connecting
each of the nails that I put in at the very beginning.
And from the brow I'm just gonna come across.
This doesn't represent any
anatomical structure, it's like a
nice horizontal that I can
use as a guide to say you know are the eyebrows
below that, above that.
holes that are being created.
All this is where the hair
is hitting the forehead.
It's gonna be some sort of part
in his hair here. Clean up
some of the
holes that are
being created here.
again, cleaning up
some of the uneven areas in the back
to make it easier to see
where I have.
So here should be
Clean up a little bit
the hole that's being created here.
Okay so when he comes back
from break, I'm going to deal with
this profile which I feel like is a little bit
light in the back of the head. So one thing I can do
before he gets back is just check the overall
measurement of the nose to the back of the
head. Which is okay, so
it's probably more an issue of volume and
where I have the volume. And
deal a little bit in here.
And how that moves around.
this area up.
I'm going to check
mainly where that high point is.
Another one almost vertical.
So I need
to sharpen up.
the tragus will be
here. The top of the
ear is coming to here.
That plane back
sharpen up here.
Sharpen that angle a little bit.
Now can pull out
the cheekbone because from the
front view I've already pulled it out.
Now I can connect it here.
Connect that here. And now
I'm going to get an indication of where this
is. I don't feel like I have the angle of the nose
quite extreme enough.
Now from there
to look from the bridge of the nose
which needs to come in
a little bit.
There's a little crease
and then the cheekbone.
And then here you can add
a little bit to the cheekbone.
Now I'm gonna lay in the eye.
I'm gonna go to the front
to get an indication
of where it
begins and ends.
So I know where the
middle should be.
So it's important for me to know
where the middle is because
that's gonna be the highest point.
Obviously the eyeball is round.
So the side view will tell me
how far out it's going to come
and the front view will tell me where the middle of that
roundness should be. Get rid of
the hole here.
Come in a little bit here.
create a shadow here.
That comes back and then comes back
the mouth and under it.
I definitely need a lot
more depth here.
And I like to
use the biggest tool that I can to do whatever
I'm doing early on.
It just keeps me from getting too involved in
little tiny details that
begin to catch my eye.
So I want that big volume.
And then that shows me that I'm missing quite a bit
under the chin here.
I'm gonna turn to the front.
Turn Paul to the front.
So that's good, now I can see
of a few things that I was making notes of
earlier and how these need to be
adjusted. That's gonna get adjusted
that way, that will be adjusted
I'm missing volume here.
Now I wanna balance
all of that that I just did on this side
with what I'm missing on this side.
And so I'm gonna begin
with the cheekbone which I think needs to come out
a little bit.
And then all this volume
needs to come out
as well. The inner corner of the eye
which will need to go in deeper.
Refine a little bit some of those
angles, particularly on
this side of the face. It needs to come
Everything will come a little bit
Now it needs volume.
Chin coming out further.
And I'm just looking at the overall movement
of the jawline.
How that's moving up into
the area around the
Now I'm gonna turn to this profile.
rid of the holes.
gonna check the angle, the overall head
which needs to tilt back a little bit.
Now the back corner of the eye,
bring it further forward.
So I'm gonna move that forward.
Redraw this angle and now I know
all of that can come out.
So I'm gonna lay in.
I want that brow to be
the furthest thing out.
So I'm not gonna come out quite
as far as this but everything is really
so I'll pull
a lot of that out.
Look at the line of that brow, which should be
And then hair
Okay now carefully I'm looking at
the antitragul notch, that nail right there.
And from there
his cheek is very slightly below it.
So I'm gonna let the clay go in
a little bit.
And his cheekbone arcs up
from here and then down
into here, so I'm gonna add a little bit of volume
into that area.
And now I'm gonna create a plane
on the side of the nose.
I'm gonna find a little bit more
Give that a little bit more volume.
And now looking at how
into the eye, which is
I'm gonna come back to the front view.
And I'm going to redraw the center line because
I can see in all the shifting around of things that I've done
the bridge of the nose has really gotten off.
You can see there's more on one side than the other so
I'm going to add just a tiny bit
to balance that out.
Remark the outer corners
of the eye
should be right here. Inner corner
I had there, I'm just gonna check that. Looks like
it could come out a tiny bit.
And now I'll lay in a little volume
to the eye.
the bridge of the nose I'm gonna come
up into the
on either side.
And I'm just trying to keep
everything symmetrical. I know that the brow right on either
side comes out as far as or
maybe even a little further than
the center so I'm bringing everything up to the level of that
And then from
I'm creating that
angle, moving slightly upward
and then the volume of the eyebrow
comes out like two thirds of the way over.
And possibly take another break.
I'm gonna step back
and take a look at where I am
I'm gonna go get
a piece of screen.
So now I'm just gonna use a piece of
to clean up
and pull together
some of the forms that I've been
dealing with, working
And the screen will show me
where things are really jumpy.
Like this forehead.
And I'll add in a little material to
like a broken record I'm
redrawing once again
the center line.
You know especially when I'm dealing with the forehead, I wanna make sure
I know where the middle should be
so I'm pulling some of this round volume here, I'm gonna
add it here as well.
I'll just pull the screen right through.
And you can see as I do that
that center line goes away.
So I'll just keep putting it back
and laying in
more of the brow.
there are a lot of things that I have established
a lot of things left
that I haven't.
kinda important thing for me right now
is to make sure I keep adding
information, you know, the bulk of
what I have down I'm gonna change.
You know probably not in a major way
but all the elements I have now will get adjusted
again and again. The problem is
I don't have some major elements, like the direction
of the brow here and how it comes
outward like that right now it's very collapsed
here and collapsed here. I don't wanna let that continue,
I wanna make sure that
even though there's a temptation
to get into that eye and begin to lay it in
because it'll go pretty quickly and
add a lot of interest, the much more important thing is the structure
of the head and to get the head structure laid in
correctly and also laid in
well in relationship to
the features that I'm
establishing. Meaning I've
put in the mouth, I've put in the eyes, I've put in the nose, I
want to make sure the structure of the head
has a good relationship to all of those elements.
since I'm right handed I have a tendency to
do more on the
right hand side or my right hand side
and that's always something that I have
to be aware of and try and
but at the same time
I'm not going to
move back and forth, back and forth perfectly
for the sake of balancing
everything. If I have something that I'm very clearly
intent on establishing, I'll deal with it. And generally I'll
usually deal with on my right
hand side first and then I'll just transfer it.
I'm not ever gonna finish anything on one side without
balancing it out on the opposite side but
for example like all this volume that's missing
this side of the head
is going to be much easier for me to
add from this
point of view.
So here's the part
in the hair
here. The angle
this hair comes out too.
That's getting easier for me to
see if there's an arc
with more volume coming up
Can you tilt your head
just slightly that way? Perfect.
A little more right here.
Turn to the profile.
That let's me see all of that
really needs to come forward.
And that volume
is like that.
turns like that
from the jaw line.
there's the front of the sternocleidomastoid which means all of that needs
to go way in.
And the back
of the sternocleidomastoid
A lot of depth.
hair on the end
And now I'm gonna take
a look on the back view.
need to come out
So this all is
going to come out.
And I try as I work
my best not to guess, especially early on
at anything. I'll always turn
my work and the model
to see something. It's tempting
to say like oh I think this should move forward or backward
but this is not the view
that will allow me to see that well.
So I'll always just try and even if it's
just for a second turning the piece to see if I'm far enough forward
and then turning back. What I can see really well from this point of
view is the arc
of the hair. How it comes
up like that. How far
out it comes here.
The angle of the neck.
make the neck a bit wider,
move out the hair here.
The overall angle
of the head is pretty clear in this
point of view.
Back then needs to get wider
here. Probably my
angle could come
down just a tiny bit.
I'm gonna turn
the head to this view.
And one of the things that
I was noticing is it felt like it was very long from here to here.
And now I can see
that the overall angle
through the head needed to come back.
as, you know as I go, I mentioned this earlier, I feel like I'm understanding better
and better what's really happening.
And so the fact that
it looks a little bit - it looks
okay from certain aspects and certain
structures look better than others doesn't really worry me
as long as I feel like I'm getting a better and a clearer
understanding. Because I know that the optical
effect, you know what I
want it to look like will come more profoundly
the more clearly I
understand what's happening, how one
thing is moving into another.
And so that's really where
focus is right now is getting a clear
clear understand of where things are turning,
why certain things are happening
and not really in an anatomical
way. I don't care exactly what muscle is doing what.
I'm much more concerned with what's coming in front of our behind
something else. I just gotta
piece of a difference kind of clay laid in.
So that's what I'm removing.
And periodically, like right now - if you could tilt your head just slightly
that way - I'm going to come
back to like the larger movements.
There's a large movement right through the forehead
coming down on that side.
Coming up here.
Sometimes I'll have to try and look through
the hair to see what large movement underneath
is. You know he has some fine hair
covering this front section
of the forehead. And I want that
kind of that volume and where
the temple is.
that's all in probably a little too
So I'm gonna pull that out.
and then pull the hair out
Check it again.
And then all that volume will come back out.
I'm gonna just sharpen up
the angle of the chin.
Turn back to
sharpen up the hairline here.
And how the hair
and then how the
And the movement from the jawline
Widen the neck
here. Fill in,
And all the while I'm
drawing all the time to better
see those angles. So I'll just
draw the line, adjust it, push in
along that line
come along the jawline.
draw out with a little bit more
refinement. The part
in the hair,
some of the
separations are working.
the hair turns from one plane
And so I've laid in
the bulk of
the major information where the cheekbones are, width of the mouth, width of the eyes, the nose,
still very rough looking but I've
established a lot of important information.
And so from here I'll be refining, adding
information, balancing things out and then
really clarifying where the angle
at the side of the hair is, how it comes out and then changes
and adding information and
balancing it into the overall
movement. I'll also be adding more of the neck,
coming out into the busy and figuring out how
to design for how I want to end everything.
And so that's what I will be doing next. Thanks Paul.
Free to try
1. Lesson overview34sNow playing...
Watch the whole lesson with a subscription
2. Laying in the head and the profile in between the nails27m 42s
3. Blocking in the facial features, the neck, and the hair35m 46s
4. Adding more visual information29m 33s
5. Double-checking proportions and adding more information37m 58s
6. Pulling all the forms together28m 4s