Adding Details To Your Sculpture

(Vivaldi’s ‘Four Seasons’ plays to :20) (IMPORTANT: Please read lesson text first before watching video) OK this is Kent Kidwell with Renewing the
Renaissance and the Beginner’s School. We’re going to go through and watch this video
at five times speed. The reason we’re doing that is it will give
us a chance to see the details being developed in the piece. And that way you can… you don’t have to wait
the six hours through the whole video to watch the piece being developed. So right here we are again going through the
geometry of the piece, where we’ve… done the measurements. And I’m just double-checking the measurements
on that. Remember the width of the nose there, the point
of the eyes, the width of the nose at the nostrils is the same as the width of the eyes… So I’m making those measurements down through
the center of the face again , so that as I start to develop the details, those things
will be all aligned, and my symmetry will be correct. (sculpts to 1:41) Like what my tool is doing is actually pulling
away material. You can kind of see that as it starts to hang
off the tool. All that’s doing is just scratching away small
amounts of material, and then it’s also leveling the surface because I’m using the flat side of the tool, so that I can create a smoother surface and remove any bumps and texture that
is on the surface of the piece. Go heavier in areas where I want to remove
your material and all. I can add a little bit and pull back away
again and you know, add the fatty tissue and in the different spots that create character,
and make the face a little bit more realistic. And use my finger to smooth out the textures
on it a little bit as I go. You can just.. so you can just see how the piece
is starting to refine itself out a little bit. You get the little bit deeper lines and creases,
and I’ll bounce around a lot in this. You’ll see me going– from the nose,
to the mouth and to the eyes. I like to develop a piece as a whole not so
much sticking with one part individually and focusing on that one part, because I believe
that all parts of the face kind of tie into each other. As you develop one part, it’s better
to, it’s good to keep an eye on the other parts as well, and move along the entire piece if
you can, at the same time. (sculpts to 4:21!) Also want to make sure that you’re taking
the time to look underneath the nose, to make sure your nostrils are shaped properly, and
I’ll be doing that soon. But basically, you want to make sure you’re
seeing everything at every angle, because at some point when you .. cast a piece,
you’ll see those little flaws, like underneath the chin. So don’t forget those spots. There we go. The notch of the lip right above the
top lip, just not forgetting those little teeny details that really make it super realistic in the end. (sculpts to 5:16) Let’s start working on the eyes soon. I’ll start to define the sockets out, and also define the shape of the eyeball itself
and how it sits .. into the head, especially from a profile side. If you look at a lot of profiles, you’ll see can see
how far the eyeball extends out. And you can look at the angle of how that
eyeball sets in the .. eye socket, and super important especially if you’re trying to create
a look of intensity, or whatever, to know how far to make the eyeball set in the head And …really watching also around the eye. When it comes to the cheekbones and the eye
socket area, and the bones around the eye, to make sure that they’re symmetrical on both sides. And if the eye is turned to one side or the
other, left or to the right, it’s going to also change the symmetry a little bit, of the tissue around the eyes,
like the eyelids and stuff, so.. as we get going through this, we’ll see
if we can develop the eyes to show that (sculpts to 7:32 !) We’re finding the nostrils out, making sure
I use my reference material, if I have some, for creating the nostrils. Making sure that the rounded portion and the
lines around the nostril, are correct as well, so looks accurate. And adding some depth
underneath the nose, and the crease around the nose. I’m shaping out the nostril. (sculpts details to 9:21 !) Now you can see that the neck area on my piece
originally was a little thin, so I’m going to add some muscle structure and thickness, a little fatty tissue underneath the chin. Again, as you’re developing a piece, you’ll
notice that there’s a… you get into a rhythm and… the character starts to develop. Sometimes it’s good to just experiment.. and
find different ways of making the character look more interesting. And that’s really the fun of sculpting, is
creating a character that has … character. And.. as you can see, I wanted to have a little
bit more shoulder space, but also I wanted to have a little bit more, a little bit more ..muscle texture, and also just a little thickness to the neck. (sculpts details to 10:36) As I was developing this piece, I hadn’t come
up with any kind of theme or anything at this point. But as I… as I saw the countenance of the character and I decided that I was going to make the Roman senator. So you will see that start to develop later on, but.. Yeah.. the reason I did that is just it just
eat the character just looked that way, so.. That’s again part of the.. fun of sculpting,
it’s coming up with different characters and doing whatever you feel inspired to do. (sculpts details to 12:04) The tool I’m using right now, if you can see
it, is a is a loop wire with a scraper surface on it. Basically what that is, is just a sharpened
kind of flatter surface, and it helps me get rid of the bumps and lumps, and takes away quite a bit of material
as well. Since I.. added material around the neck area, I needed to refine that a little bit so.. that’s a quick way to get a lot of clay off the piece. And we’re finding the jawline.. and taking away
extra fatty tissue around the cheeks. Give him a little more gaunt.. look. But.. also refines and defines
the musculature of the jaws. (sculpts details to 14:15) Also important too– as you’re developing your
piece– to try and look at it from all angles. Because although you might have what you want
from the front angle, the side of the piece may not be
as developed as the front. So watching your profile and really catching
the piece from all angles, it helps to.. develop the piece on all planes and all sides. And.. so as somebody is walking around the piece,
they’ll see.. little details, but also they’ll see that the piece is… it’s got character from all angles. And that’s important when you’re dealing with sculpture. It’s also one of the great parts of sculpture,
is the fact that you can see it from all angles. One of the things that I like about sculpting
is that I don’t have to try and create perspective, like you would if you’re doing a painting,
working on a two-dimensional surface. Sculpting is a 3 D art, and so you get to see
it from all angles, and develop the piece from all angles. In some ways it’s easier, but in some ways
it’s also harder because you’re having to pay attention to all sides. (sculpts details to 15:39) So really enjoy sculpting eyes because there’s
so much going on there. You me it’s the focal point of any face , and it.. it’s where so much character is developed, and also mood and disposition. And everything can be developed through the eyes and the mouth, the two most expressive parts
of the face. And when they work together, you really see character develop and… So paying attention to, not only the bone
structure of the eye, but how the eye is showing emotion and.. is also important. Instead of just doing an eyeball with a lid and with the eyebrow, you really just have to focus on.. you know,
if he was looking at you how..what is his expression trying to portray. What is that look trying to say to you? Because as we know, there is so much… there’s so much information given
to us from just a look. You can sometimes tell somebody’s angry, happy, frustrated, whatever just from the look on their face. So.. And then also that’s how that plays into other
parts of the face as well, like the mouth… (sculpts details to 18:23!) If you’re new to sculpting and you’re
watching this video, maybe for the first time seeing a sculpture developed, you’re probably wondering why there has to be so many pass overs from my tool. But it really is just refining.. and just making, pulling away with material and .. softening and smoothing the surfaces. And that’s so much of what you wind up doing as a sculptor, is going over the piece many, many times. As you can see I’m trying to develop the brow line, and because they’ve got that kind of stern look on his face, I’ve decided to.. to carry that also into the eyebrows, which again is part of that (stern look). Everything works together on a face, so matching
the mouth and the eyes, and the eyebrows and how the face is, during any kind of a specific
emotion, is so important. You can see I’ve pulled the eyebrows down
a little bit to kind of create either concentration or..a stern look. I suppose you could interpret this one a couple
of different ways, but I think it is starting to develop itself as more of a.. firm or firm look or one of deep concentration. And I liked the way that was.. that was looking,
so I went ahead and developed the piece in that.. in that way. (sculpts to 20:08) Also when you’re learning your anatomy, super
important to remember that there’s.. there’s more than just one aspect of anatomy. It’s not just the musculature, it’s really
you have to look starting with the bone structure, and then from the bones to the musculature
and how the muscles play, how thick they are, in the face or in whatever part of the body you are sculpting. But also, as you’re developing a sculpture,
whether it be a figurative work or a portraiture like this, that you remember that there’s
the bone structure that moves into the musculature and the fatty tissue and then the skin itself. So those four layers, you have to be thinking
about those as you develop your piece, because the skin of course is going to be most affected
by age and weight. And then some of it’s going to be texture,
but mostly age and weight. And.. so this being a fairly lean character,
I don’t have a lot of saggy skin or anything, but do have.. it does pull closer to the
musculature.. and also.. the skeletal structure– because he’s not got a lot of extra tissue,
extra fatty layers or anything like that. So.. But it’s important as you’re doing these kinds
of studies, to try and take on as many characters as you can. And some of them having extra
weight on the face, (or) super-thin. .. maybe sagging flesh, aged flesh, all those are important
to practice. And it will give you a chance to learn.. how the
.. how the face universally plays out. Or even body, when it comes to sculpting. That
you know some areas… the fat just tends to pool up around the cheeks,
next to the sides of the nose. Even though this is a lean character, he will still have those pockets of tissue. And it plays pretty close on just about everybody. So getting used to those kind of subtleties… will make your characters more developed. So… this is a, definitely an art form that requires
a lot of repetition to get good at, and to have successfully dynamic pieces.
I think it’s important that you plan to do many portraitures and work on certain areas,
like the hands. It’s also a very difficult area for a lot
of artists, is doing hands, because they’re ever changing in their ..their form. Draw them out a lot. (sculpts details to 23:32) You know what I would say, the most important
thing for sculpture and preparation for sculpture is to do a lot of drawing. It gives you a chance to learn anatomy
and stuff from all different angles, as you’re drawing them. So that when you start to sculpt, it becomes
easier to develop the pieces. (sculpts details to 25:03) I’m starting to develop the ear.. or refine the
shape of the eyeball.. and also the skin around the eyeball, the lid and how those play into
that. So I’m.. trying to.. to keep in mind that there are two spheres, and that
we’re only seeing a portion of those spheres, so you have to imagine how that ball shape
will travel inside of the head, how the shape will ..will round. If it’s too small or the, the
diameter of this, the circumference of the ball of your eyeball, is too small, it’ll, it’ll make the character’s eye sockets
look too big for the ball itself , and it gives you that kind of beady-eyed look. So it’s really important that you match the
shape of the eyeball to the shape .. of the socket and the .. bone structure
around it, so. And then you can also, as you get through
that part of it, you can start to develop the fatty tissue and the age marks that will
also get developed around that,so.. (sculpts details to 27:01) What I’m doing right now, you can see, as I have developed the eyes out
a little bit more, being a more serious look. I’m now going back to the mouth area and
I’m drawing out a little bit more line around the expression on his mouth , to match the eyes a little bit closer, because I want to bring out that impression of serious attitude, or stern look so. (sculpts details to 27:58) So I’m bouncing back and forth from one
ear to the other. I’m doing that to make sure that
my symmetry is correct, that the top of the ear is in line with the… with the eyes and where they sit. And although we already covered the geometry
of that, it’s really important to make sure that you’re doing things like the eyes, the
ears, things that there’s two of, and making sure that your symmetry is correct– the distance
from the eye to the tip of the ear, the distance from the top of the ear to bottom of the ear,
all those different things are important, that they match equally on either side. And you can add character to a piece, but
you have to do it on both sides with those duplicative parts, like the eyes and the ears… the eyebrows. (sculpts details to 30:19!!) Again, you can see how I’m bouncing from place
to place in this. A lot of times you’ll see sculptors that start
this process. They..they tend to focus really hard on one
or two areas and then the..the composition as a whole kind of.. is slightly degraded
because of that, because you’re not developing the piece all at once. A lot of times-in Michelangelo’s work,
if you’ve ever had a chance to look at his sculpting- you’ll see that he develops a block
of granite, or ..excuse me..of marble he develops the piece on many angles and tries to.. to
look at the composition as a whole block, and pull away that material until the piece
starts to develop all the way around. And then he’ll– once he gets .. the
general shape of it–then he’ll start to refine it down. Well this is the same processes as is here. We’re trying to pull the whole piece together
as a whole and not just one individual section. The whole composition will look better if
we do that. (sculpts details to 32:05) Fairly soon we’ll be able to– after we get
.. the eyes done and the ears done– add small wrinkles and textures to the skin. This .. particular piece was intended to
be more fine art and not so much a.. like a wax museum type piece. It just was designed to be a fine art representation .. of a head. And a lot of times a little bit of texture is OK, especially if it’s going to be cast in say bronze, or even other kinds of materials. It’s not necessary to make the piece, you know
so refined that you’re getting skin texture. You know, like the small pores and things like that. We’re just trying to… to develop this piece out, so that you see a really cool representation of a human head, an interesting .. form. So I’m not going to take it down to that 2%. I’m going to try to leave know, the
..the essence of sculpture were there, so you can see that there’s lines and things in there. So it’s not so necessary that I bring it down
to that level. (sculpts details to 34:14) Go ahead and grab a really fine-tipped tool,
scraping tool that I have there. It has a flat surface in it, like a flattish
blade on it. It’s really good for making little details and
creating smaller, thinner lines and creases. Also to smoothing out planes, like the eyes. As I scratch those away, I want them
to be nicely rounded. And even on both sides. But you can also see how it…. I’m able to get it in underneath the eyebrow,
and create a sharper line there… using that tool. As a sculptor, you start to recognize
discretionary spending. A lot of hours sculpting, you start to become
very attached to specific tools. So as you start to sculpt, you know, have a
… have a good group of tools that you use. And then you’ll notice.. you’ll start to wander
back to the same tools– the ones that you really are getting the kind of look you want from. So you can see, I skipped to more of a scoop (tool) there, to pull away material. But it also has a sharp angle on the tip. But I’ve had some tools.. like the one I was
previously using, for 20 years plus. And it almost feels like an extension
of my hand, you know, if you’re using it for so long. And if I lost it, I would be in a real panic, so she is something you kind of, grow close to. (sculpts details to 36:39) I added a little bit of clay there, you can see. Because I want to develop the eyelid, and also that
little bit of material that hangs down, a little bit of tissue that hangs down over
the top of the eyes, as you get older, that adds a lot of character
to the eyes. (sculpts details to 37:41!) As you can see, I’m back to that
one tool again. Again it’s really good at drawing out lines,
and creases… and refining. (sculpts details to 38:07) Adding a little bit of the fatty tissue
underneath the eyes. Trying to place this character (age) somewhere in the late thirties, early forties maybe. Which means that he’ll have a little bit more of those kind of… age marks and a little bit more defined bags under the eyes. As you get older, it becomes more refined. The lines of the forehead, the creases, smiles, and facial expression get more dug in. And.. they stick around, whereas if you’re
younger, of course your skin is more pliable and flexible. You.. Those lines don’t usually stay
until you start getting older. (sculpts details to 39:16) Again still .. always continuing going
back and refining the socket area, using the natural form of the muscle and
the bone structure to .. determine the shape of the bags under the eyes, and the lines and the creases. And keep in mind everything works together. Refining the nose down a little bit. (sculpts details to 39:56) Now referring back to our ear lesson, you”ll start to develop that nine shape. and pulling away material necessary to create that look. (sculpts details to 41:01) So I have the ear roughed out. Now I’m going to go ahead and go to the other
side, and match what I’ve done. (sculpts ear details to 41:54) You can see my geometry line there, that
goes down the center, or excuse me, as you’re looking at the side profile of the head, You’ll see that line drawn downward and that
the tip of the curl of the ear starts at that point. Again these are general measurements and they’re
not exact for everybody. Some people… Everybody’s head is slightly different from
one another but ..generally speaking they land somewhere in that region, so
those.. reference points and geometry lines that we’ve.. that we’re showing there really just .. based
on averages. And so you have the power to
adjust those slightly, depending on the person you’re trying to sculpt or your own personal feeling. As long as you stay close to those important points, you’ll have a much more believable.. piece when you’re finished. (sculpts more ear details to 43:19) Also if you remember that the.. ears, if you
follow the eyebrow line back and then (also) the bottom of the nose, that’s the space you’re going to be developing your ears at. So right now, I’m going to get into
doing the hair. And I was able to pull up.. a little bit of
reference material on how Romans did their hair, and at this point I’m pretty much sure that’s the direction I was going to go. So.. This is clay sketching. Really you can see it much faster in this kind of
a setting at five times speed, but it’s almost like you’re just drawing, you’re
sketching in hair. And that’s exactly what I’m doing right now, is getting the bulk of the hair, the thickness
of the hair and the material in there. And then I can start to direct the hair and
how it flows on a head. (sculpts in hair details by hand to 44:42) A lot of sculptors like to just do almost what
I’m doing right now, as being the finished kind of hair, where they just bulk it in
roughly, and to kind of give the … I almost look at it, like in its interpretive,
it’s a.. it’s like an impressionist using a paintbrush loosely and throwing a lot of
paint on, and creating … the blurred look of where these, where the hair would be or whatever. So’s a can see some sculptors
use that kind of impressionistic style when they’re sculpting, where it’s not necessarily
super refined, but you get an idea of what they’re trying to show you. If you blur your eyes.. or just step back, it does look like hair. Where as I’m going to refine this out a little bit. I’m adding a robe.. kind of a toga. (sculpts in toga details by hand to 46:20) Now I’m taking.. my tool and I’m pulling
the hair in the direction I want it to go. Again I’m not creating every ..every individual hair, I’m more working in small clumps of hair. (sculpts in hair details to 49:00–over 2 minutes!) When you’re adding hair as well, you want
to make sure you’re paying attention to how the… you know, how the hair parts, the natural parting of the hair, where the hair follicles direct the hair. You can see that, had he … that the direction
of his hair coming off of his scalp, you can see that how he’s pulled it forward. And.. (sculpts toga to 49:33) So you can see how I’m trying to pull that hair forward from the back of his head a little bit. Create that hairstyle that.. see often represented
in Roman art. (sculpts in hair details to 50:11) Adding a little bit of lines on the neck. Again these are going to get softened, going to use a paint thinner… or any kind of a solvent typically will work. Paint thinner… naphtha… acetone maybe. Just
test it using a soft brush as you… As you finish up your details, you like where it’s looking, like where
it’s going, you can go in and add a little bit of that.. those mineral spirits to smooth
the clay. And we’ll do that in a minute, after I’ve
developed the hair out a little bit more. (Sculpts hair and toga to 54:40– about 4 minutes!) As you can see, we’re starting to come to
the end of this piece. I’m just going to look at it again from
all angles, try and see areas of weakness, make sure that I’m not… missing something. But in general, pretty happy with how it’s
all coming out at this point. Does kind of remind me of a senator guy. So.. I’m gonna go ahead and refine it out, using mineral spirits. And the more you brush this material on, the a..
or brush the mineral spirits on, the more ..the more material you’re pulling away from it. It’s a very thin layer, but it is enough to actually take away details and stuff like that. So you want to be careful. Make sure you use a nice soft brush and … and that you’re not over… you’re not spilling the material on there. You’re just using just enough, to kind of
coat the surface, and then soften those lines and stuff. You can see the details, little scratches
and the neck and stuff, start to get, become a little bit more refined as well, and look more like real wrinkles rather than just scratch marks on the surface of the clay. Some areas will require
more.. brushing than others. Going back and adding the little details, and I’ll
come back with the brush again… ..the lines and things. (sculpts and brushes in details to 56:51) OK there we have it.. Roman senator. Hope you enjoyed our.. study of the human head, and we really enjoyed having you watch this. And we hope you can use it in your studies
and … help you in .. your path to getting better as being a sculptor. Thanks again for joining us with the Beginner’s School and Renewing the Renaissance, and hope you’ll come back again and again. Thank you. (The End)


  • Tugboat Maguire

    looks like revolver ocelot

  • Tugboat Maguire

    young revolver ocelot

  • ROD Sculpture

    Good video. How you took the head out of the pipes

  • Francoise Matthyssens

    LOVE IT LOVE IT… Great teacher thank you

  • Regaljester75

    anyone else see Lance Henrickson in that sculpt? perfect. also, it sounds windy outside.

  • Sr.Kaiman

    Muchas gracias por compartir sus conocimientos señor y muy buen trabajo!

  • Martha Alvarez

    Excelentes vídeos de escultura

  • shane stock

    I can’t get this to play. Was it removed or something? I did part one and would like to follow along with part two. Am I doing something wrong?

  • ROD Sculpture

    I made a face with WED clay and I planing to put on the wood and hanging to the wall. Somebody told me that sculpture will be fall and broke. Is that true? Is so, what can I do? Is there any product to seal the clay and be
    protected for cracks?

  • Laura Cottini

    Non si vede alcun video!

  • Sergio Fernando Galinovsky

    Hay un problema con la parte 2 del tutorial usted lo podria solucionar

  • Eline Hop

    I can't open this video and i would really like to see it. Can you please help me?

  • MrGoatflakes

    It won't play :v

  • Beginner's School

    We are working on a fix for this video–hold tight! Thanks to everyone who alerted us to this issue.

  • Beginner's School

    We've re-uploaded the video to here:
    Sorry for the inconvenience!

  • sandip chaudhari

    Really great

  • Megalon Video

    Once you're done, how do you harden it? Can oil based clay be painted?

  • Megalon Video

    Is that Caesar Augustus ?

  • Sabine Käther

    Thank you, Thank you, Thank you,

  • Elke Weiss

    Amazing! Wow!!!

  • Nick Doe

    Mouth is looked at more than eyes in human interactions – the eye itself doesn't show emotion – the muscles around the eyes do – why such sallow cheeks? I may have high cheekbones but I have well defined lower orbitals

  • Nick Doe

    More mature faces – which your sculpture seems to be going for typically have longer ears that extend down closer to the mouth


Leave a Reply

Your email address will not be published. Required fields are marked *