Learning how to sculpt the human face and form. How to work through the pitfalls to accomplish your goal"
Wood carving It is, or should be, one of the many means of EXPRESSION. In this sense, it is the expression of the material form of ideas, the result of personal observation of nature, its lines, its harmony, its structure, its aromas, its colors, its textures, its full and empty spaces and its ability to retain all these observations in memory and also observe and study the works made in ancient and modern times, or what we can see through the eyes of our favorite sculptor in which case, unfortunately, we surrender our own individualism.
Naturally, it follows that any influence affects the mind of the sculpture student, and must necessarily affect his expression, his work and the way his style sees and develops his expression.
Throughout history you can see the influences of the periods, of the sciences, progress, and customs, the conflicts in works of great sculptors.
The materials and their manipulation of different sculptors in past ages can be considered a composite expression of character and expression, as a means of expression, therefore, it is conducive to mental development, and size can claim to be educational only when taught as such; that is to say.
Creating evidence visible in the form of material thought, yet influenced.
This demand on the creative faculty common to all, becomes a direct appeal for mental development, and therefore cultivates the concentration thought of being able to create through memory.
How To Wood Sculpture
The sculptor can see in each block of stone a unique figure, or a group of figures, but it is the concentration of thought in the eye and his mind that allows the group to remove the superfluous, unfolding the stone to see the hidden evidence or the concrete reflection of his imagination is a work that comes out through his chisel in the empty and full spaces that form the image.
Michael Angelo said the object of the sculpture was "to let the angel out." The carving can take a prominent place as a training branch by hand and eyes so simple the student only needs to do repetitive exercises of real objects or living nature. Remember that to develop the art of sculpture techniques you must study real things in relief and in Round shapes such as copies of sculptures in plaster or the students can visit museums and study the great artists, and recreate a piece by his sketch.
when copying photos we enter a dangerous area because we did not discover those full or empty spaces of a model. We need to train the eye to see the different planes of an object or a model, which cannot be obtained by copying photographs you will miss the volume.
How To Wood Carving A Human Head
video classes Step by step Sculping in Clay this is CLASS # 9
Step By Step
Why is best to create a model first using CLAY OR PLASTER
It is best to create a model first using CLAY OR PLASTER with this action, the students will first learn the action of creating volume and shapes in simple and soft materials that will help them develop the sensitivity to see and feel volume in space.
How To Modelin Clay
To develop precision and sculpture through the best practice is to study the classics and the Renaissance periods like Michael Angelo, Canova. From this action the students will refine the artistic eye, the artistic power, of creating by memory and the students will refine, learning and development of better techniques.
The awareness of beauty in nature can be cultivated and developed through observations, study, and practice.
To clarify this generalization term, it is necessary or would be good to ask what is nature?
If the imaginative faculty is not developed, there is little, if any, a good purpose served by being competent in the means of its expression. The real idea expressed by the terrain is, that at the given points, the material that is not required, is cut.
It is to admire nature for our purpose.
How To Study Nature to create Better Art
First, the beauty of the form
First, the beauty of the form; this important, this demonstration is the vital part of a great sculpture.
Second, the beauty of the scheme,
whether seen en masse or, for example, if you have a nice and glorious red apple full of color that fills the space, but if we peel the skin and eat the main part and keep the full lace of seeds with the skin. We lost the harmony and beauty of the shape of the apple, only the glorious apple is preserved in memory, in which case the brain created a file of color, size, smell, mass, beauty, harmony, volume, and composition.
That is why it is easy to recreate the scene because we were there in front of the apple that we touched, it is the action of studying Nature's most details down to the smallest and thus we create those files in memory with the reflection of that object, in the deep observation we discover the shape, volume and when we learn to memorize in detail the hands, eyes and subconscious will reflect that knowledge in the action of carving in wood or stone.
The student too often has no practical object in sight. He may become proficient in handling tools and materials if he is persevering enough, but the realization of an end and a goal in his work may not fall upon him as he gains that technical skill of Wood Carving.
The art of carving is not fully embodied in the production of evidence of mastery over tools and materials: this skill simply constitutes the means to its end; Therefore, to elucidate the principles that underline all good work, the most rational way to approach the subject appears.
WHAT IS SCULPTURE IN WOOD
In pure marble and in the carving process it requires a delicacy of touch, with a full appreciation of its nature, to highlight all its natural beauty, its shape and how its shape dissolves volume in space that is filled with harmony of the beauty found by the sculptor's hands.
It is the same approach when the art student discover the beauty enclosed in a piece of wood the sculptor needs to delight and flourish that scene covered by the Bark of the tree through his knowledge and training of consciousness and the eyes which direction to the hands in the process of discovering the images petrified by time and space.