1.1 Introduction and course overview: Resources
When sculpting a highly finished, smooth/skin-surfaced portrait, it is best to apply the clay in a densely-packed way. By this, I mean by either smearing it on, or really pressing in, when you are building up the fullnesses. As I mentioned in the last section, it doesn’t work so well to build up millions of little pea shapes, if you are only eventually going to smooth out the surface anyway. It just means that there are lots of little air pockets within the clay, and weaknesses in the structure which will be hard to smooth out when you are trying to achieve subtle curves, and dink-free forms.
The working process is exactly the same as with a more sketchy finish. Remember to always compare your sculpture to the model whilst standing back to the line you have marked on the floor, and make any decisions from this distance away.
10.1 How to apply clay: Resources
Demonstration videos, downloadable notes and a full set of reference.
You will begin by understanding how to see your model’s bone structure and blocking this out in clay.
You will then build onto this skull-like form the big shapes of the face.
Once you have the whole face blocked out, you can begin looking for smaller shapes, before adding final detail and completing your portrait to a high level of finish.
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