(Vivaldi's 'Four Seasons' plays to :20) (Part A) Well we're (here) again with Renewing
the Renaissance, and starting the bust that we've been working for or working towards with the other studies. Right now, I just got to build up the body
of the head. Before I do that, I wanted to show you what
we have here. We have two 45-degree angle half-inch pipes,
and then two 2 inch pipes, and then one 4 inch pipe, I guess that's what that is, and then
a flange. So as you're preparing your materials, you
want to make sure you get two of these 45-degree two-inch pipes and one 4 inch pipe and then a flange (see text). So you can mount this up. And there's a reason I’m doing it like this. It's so that the skull and the head, where
you have access to a neck portion, where the pipe is, it's coming straight down out of its
chin, so that's why we're doing it like that. But it will make more sense as we get going. So right now what we need to do is build that
skull shape, that we covered in the.. in the short video or... the drawing video that we did. Now we just get..a large bulk of clay on there. And try and shape that in, so we
can get our skull shape going. (shapes to 1:56) This was a little warmer before but.. now it's
a little, a little tougher. So, almost there. Just kind of loosening it up a little bit. This isn't going to be a one-to-one ratio
bust, it's just going to be about three-quarters (size), to save on material costs and.. it doesn't really necessarily have to
be 1-to-1, which means life-size, a hundred percent. We just need to get it close, so that we can ..you
can see the details, and it will make sense. So.. in the video where we talked about the shape of the skull, that's what you really want to focus on right now, is capturing that sideways egg shape.. and making sure that's close to where you want it. So right now we just really want to make sure we're capturing that sideways egg shape right here ..and then we'll work out the jaw section. But for right now let's just get this shape in. This is really important that you go back
to your.. the older studies on this one, so that we can get the shape accurately depicted. Need more height to this. (shapes clay to 3:36) And I’m going to add
a little bit of neck to this piece. And I’m going to also add (clay), as it goes down past the... the clavicle, which is the two bones that are at the bottom of your neck there. We're going to go ahead and pretty much stop at that point. There may be a little bit after. Now I haven't… I’ve just been thinking, you know what, I would determine.. the sex of this
person after I get it rolling. And … make anything you want. …It seems like bad planning. So really why, the reason I’m doing that, is because I want you to focus more on getting accurate human measurements that we've gone over several
times (in other lessons) now. It's more important than that right now, just making sure that the head shape is correct. Making sure that the face has that shape that
we're looking for, that's typical of a human being which is that kind of oval egg shape. So you'll start to see as we.. as we get the
shape.. developed, that it’s.. very similar to the (Loomis) drawings that we went over. And.. then we can start to ' kick in' the face
if we want to add, make it a male, or thin it down if you want to make it.. a female. And those are just subtle changes. But the basic.. measurements are almost
always the same. (shapes to 5:37) Now we're just trying to rough in and shape in a..become a head shape. (shapes to 6:43 !) (Aside:) Covered (the camera view) with my forearm too much.. OK.. you'll recall in our discussion of the earlier.. measurements of the head, we learned
(in) that study that the top of the head is.. also needs to be shaped kind of like an egg from
a top view, rounder in the back, slimmer in the front. And then--also from the front--rounder in the top, slimmer at the bottom. And from the side, that egg shape, like this. So.. like I said, not everybody's head is shaped
like a, like ...an egg. But it's pretty close to everybody has at
least that rounded form inside of their.. structure of their head, so. Now I’m trying to work on the symmetry a
little bit to make sure that my jaw and my face lines up correctly on this thing. So I’m slowing it down a little bit. And a.. lot of times, because a lot of the work
that I do, a lot of the busts and things that I do are..you know, are produced as I go along. In other words, I don't really... I don't necessarily have to
stick to a specific thing, especially if I’m doing work for my own studio. So I can… I can just start to sculpt and create as I go. And I kind of want you to be able to do that
with this video as well, because I want you to feel.. the...you know, the creative process. So you can…you can say, 'oh you know what, I think I‘ll make this a female face or
I'll make this an older woman or an older man.
And so you can get into the creative process a little bit, and then you can start looking
for references (ie. Loomis), of the age group of the person and the sex of the person that you're looking at doing. And in that way, again you're just creating, you're
taking elements off of them and putting them into your, into your sculpture. It's just a lot of fun and that's where the
joy and pleasure comes into sculpting, in my opinion, is having the freedom to kind
of create however you like. So I’m starting at this point now, as I’m
working out the symmetry, to look at the jawline and stuff. But what I’m going to do with this piece,
you can see it's starting to become a little bit more.. accurate to the human head. I’m going to draw a line and I'd like you to also do this, because I think it will help you.. keep that symmetry going. (Add) right down the center,
just a nice vertical line, right down the center of your bust from top to bottom, just like that. Now I want you to work off that line, to make
sure that your symmetry is correct on both sides. So if you see it needs more clay on one side
then the other, you can go ahead and add that clay, and that center line will help you to accomplish that. That will be one of the first of the measurement
lines that we're going to use as we start to move through this bust. It's a little bit better now. (sculpts to 10:20) Need to add a little bit of clay here, on the jowl. Move things up a bit. (shapes to 10:40) Alright... little bit closer now. So we have... once again the angle of the head, an egg shape right here on the side, your side view, an egg shape. And then the jowl, it comes down. And then we have the neck.. (gets clay to 11:21) I'm going to go ahead and start
building that neck up there a little bit. Right now it looks like it's really slanted back, so I’m going to be adding more material.. in the front of that. (adds clay to 11:59) I'm kind of pinching a little bit, going to
get this structure of the chin, you can see that. (sculpts chin to 12:15) Kind of thicken that neck up, so it's realistic and matches the piece a little bit. I have an idea of where I’m going to go
with this piece and I think that the direction of, I think it'd be fun to do. I think I’m going to go in the direction of a ... the older gentleman. Just because it has more character, it's more fun to sculpt.. so… But again, feel free to go in any direction you
like on yours. You can do a lady face, male face. Because I’m only doing one here. It’s kind of hard to choose between them,
so it's really your choice on who you want to sculpt. But you know it's going to be, it is going
to be challenges, regardless on any direction you go. And.. just make sure whatever you choose, you
go ahead and get as much references as you can, that effectively helps you develop this piece
in the direction you've chosen. So... (shapes to 14:10 !) Just kind of correcting the symmetry on the
back of the head here. Shaping the back of the skull. The back of the neck, just for quick reference, kind of drops down to a pinch point when it comes down to the back of the skull. If you...you'll notice in the back of
your own skull.. that you have a... I‘ll try and do this in a kind of geometric
form, so you can see the angles I'm talking about here. Kind of comes together like that, like an oval,
and this being the thinner portion of the oval in the back of the neck, so. And then also just making sure your symmetry
of your head is correct. Mine's a bit off on the back here,so... I’m just trying to correct that as quickly
as I can. Just going to add a little bit of clay on the other side. (sculpts to 15:15) This is really the time to just make these
little corrections, because you don't want to have to go back and worry about symmetry
later on, when you're adding eyes and ears, nose and all that stuff. You want all this stuff to be handled in advance. It's kind of like building a good foundation
and that's what we're doing right now. Just building that foundation for this head. So that all the aspects of the head will be
even and correct as we move into the next phase, which is detailing and placing features
on the face, so. (sculpts to 15:58) I’ve noticed I’ve taken off that
line in the center. Must draw another one. And... as I banged it up a little bit. So fairly quickly, I’ve been able to kind of develop a skull shape. It's hard to see this when somebody has hair,
so your model, if she's got a lot of hair, it's really sometimes difficult to see the natural
shape of the skull. So that's why it's just better to go off reference material, because the skull is so similar, one to another. Sometimes you get radical differences, but
for the most part.. it's pretty close. And..so.. again, here we go. I’m going to draw that line again on the
front of the face. And then I want to start working on the geometry
of the mouth, and the nose and the eyes. And..we'll work out the order as we go here, so.. I hope that looks a little closer and..establishing the jawline a little bit. (Part B begins at 17:38) Part B OK..so remember the four quarter rule that we
use on the face: first just draw the line on. Make sure that line is crisp and clear on
your sculpture. There it is on mine, right up the middle. I think that's pretty straight. Maybe a little bit off
on one side here, so let me just correct here. Alright. Now.. what I want you to do is, draw in
the halfway point from the top of the crown to the bottom of the chin. Or the halfway mark is. And you can do this
by eye. I almost prefer you do it that way. Because, like I said, the human head is got
small variations. And so that actually makes it more realistic
in my opinion. Since it's just not being 'super anal' about it, but
let's just go ahead and draw the halfway point. I think that's about right there. That halfway point right there is actually the pupil line. So .. if your subject is looking straight
ahead, that's where their pupil is going to be. Alright, the reason why I want you to do that,
is because we're going to remove this material right across here at the pupil line and slightly
above it. So we need to get a tool that will help us
to do that. I have this tool right now that I’m using,
which is kind of a scoop. It's got kind of sharp edges on it, so we're
going to use that to remove this material, right at this pupil line, right here. You want to go out to the edge of the socket: in other words, the edge of your eye, to feel your socket. That's what we want to take this pupil line
to, where the halfway point right there. And we want to go ahead and dig that out,
to where it's almost a hundred percent flat. In other words, from the edge
of the eye socket to the edge of the (other) eye socket, we want that to be a straight line and we
want no impediment. So I’m going to push in there.. just like that.. And I’m going to just take my tool here, I’m just going to pull this down. Alright. You're probably thinking wow, that seemed like a very dramatic change in the face. But really, it's .. what you got to do. So right now it, seems like wow there's a
big flat spot right here. And you're right.. that's going to get filled
with nose and the fatty tissue around the nose. And then it'll all start to make sense. Just remember these two points here and here,
which being the ... that pupil line. Making sure that's horizontal and level, right
there, like that. And then we can draw that line back in again, making sure our face is level, and that this vertical line is straight. OK so drawing that line across again. Alright, so kind of like we're just doing this,
almost like we're doing it in geometric segments, and then smoothing them and rounding them. So.. there we go. OK so now we've got that. Now we know from our prior measurements that
we did on the earlier (Loomis) studies, that the top of the brow right here has gone up above that center line. And the top of the brow right here is where the eye brow would be, for the hair on your eyebrow. So I’m not going to accentuate that too
much, because we're still sculpting the face, making details and stuff. But I’m just going to put a little eyebrow there. That.. is the.. one of the four quarters, or the three segments, of the head starting at the top of the .. hairline. I’m putting the hairline about right here,
that's about right.. right there, two and then three, which is right at the bottom of the nose. You want to keep them all the same length. So... we can pretty much just use this tool right here, just to measure off with that is, (from) there to there.. to there. OK so I need to add a little bit of chin to this piece. And it seems kind of obvious when I turn it
sideways. So..that's the good thing about these measurements
is, that they really help you keep things straight, and help you work
out your dimensions. And I use them all the time and I really am glad
I know them. But it really didn't take a lot to learn them. It's just the.. just recognizing points of reference. Like just below the nose, the nose, and that
the eyebrow, and the bottom of the chin-- those being really important reference points. So... that looks better already, just adding that little bit of length. (sculpts to 23:42) Make sure my symmetry is not too screwed
up by my changes here. Kind of..working those in. (works clay in to 24:13) OK, let's see if our measurements are closer now. Bottom of the nose, just underneath the nose
right here, to the eyebrow, to the hairline and then to the bottom of the chin.
So let's see if that's close. Right there.. right there, it's 'right on the money'. Right there to there, it's 'right on the money'. So now we have those three lines worked out,
and that makes it easier for me to start the next process of adding a nose. Now we're going to work on..we're going to work on the thickness of the cheeks and the cheekbones and all that stuff in a little bit. But right now I just want to make sure we're getting the placement of the nose, where exactly is the mouth going to go Just so you know, from the bottom of the chin to the bottom of the nose, the halfway point is right there. That, that little amount of the lip. So if you take the lip, that line, the bottom
of the lip that's.. that's the halfway point. Slightly above that is where the mouth opening is, and slightly above that is the top of the lip. So that little space between the bottom
of the nose, the top of the lip, is all you have left to work with. That's typically how it is with most people. So once again, measurements helping us figure this stuff out. I might bring that in a little bit, so that the chin
looks more natural. And.. I‘ll give you a.. a side view of it now....OK Then we'll do some measurements on the
side of the head as well, in just a few minutes. But right now. just trying to get the geometry correct for the face. OK..alright so now that we have our three points
of reference, 1,2,3 and the bottom of the chin, now we can go ahead and work out our nose.
So I’m going to get ready. Now the point just below the eyebrow line, right
here, there's the eyebrow line. Right here is where it starts to dip in, to
go to that.. that divot just above the bridge of your nose. So that divot is right here, that also is
on the same line as your pupil line. So when I put in this nose, I’m just forming a simple
kind of , almost like a teardrop shape, to put in here. Not using a lot of detail. I’m just creating a little shape like that,
which is a little teardrop shape , for the start of the nose. And I can add, take away from it as I go. But this at least gets me started, so get
that in there.. and have it working in there. I don't really, I'm not so concerned about the
thickness of the nose or anything at this point. I just want to get the general shape
worked in. I feel this cheekbone needs to be more accentuated, so I’m going to wait a minute and get this nose in, and then we'll start to work that stuff out as well. (molds to 27:50) Now that crux between the eye and the nose
right there, it's almost the exact same as if..if we were
to cut into it, it should be almost the same level as the edge of the eye socket. So..that's going to give you your depth
of the eye, in that little spot. So keeping that clear, it's a good idea, just
really makes it look better. So again I’m just forming in that basic
nose strip shape right now. Just trying to give it a little bit of character but .. Mostly again I’m working on symmetry,
so look at your keys from the front to make sure that you're lining up correctly. OK.. if I was doing a female bust I wouldn't
be so concerned about having a lot of cheek bone to this piece. In fact, I'd be adding very little. In fact, the more subtle, the better. And that the nose would be more of a
slope shape going inward, rather than having an outward shape, like a male's nose. Just a pointer
for those of you doing a female face.So. Now we've got the basic nose shape in there,
but we're thinking OK that doesn't look right. Just looks like a.. just, it's missing something
and what it's missing is this little bit of fatty tissue right here on either side
of the nose. Now again I’m doing an older gentleman just for fun, so I’m going to make that a little more prominent than probably most people. But I want to do it like that, just because
I think it's more interesting face. So... part of the creative process, I guess. Alright so I got that little bit of fatty
tissue in there and the sides of the nose. I haven't added nostrils yet. Once again, I’ve only got the core centerpiece
of the nose done, and a little bit of the front bridge of the nose, and the tip of the nose. But I haven't started working on the nostrils
yet. I'm going to hold off on doing that for a
few minutes here, until we have this, the face structure,
kind of worked out. And that will be part of the detailing. So..there we go. Alright.. so now we can go ahead and start on... For me, I’m going to add a little bit on
each cheek bone. Now I like it when the cheekbone is prominent
to the side right here. So I’m going to go ahead and, and add a
little bit of cheek bone right here. Now right now you're probably thinking , gosh
where am I going to put the ears and how is that all going to work. We need to go over some of those measurements
for the ears. But if you just hold off a little bit on those,
we’ll get that done little bit later.. in this video. So once again.. cheekbone. After you've done a lot of faces, I think
you'll start to recognize why I’m doing a face that has more texture and a little
bit more angles to it. It just makes it a lot more fun, enjoyable to sculpt. (sculpts to 31:42) OK so now we have a bit of a nice profile going. The forehead is pretty much rounded. So I’m right now what I’m going to do,
is go ahead and push back some of the material right here and create a brow. Make it more interesting. So I'm kind of pulling some material forward and
creating a brow line. And then I'm going to take some of that material off right there. OK.. kind of ruined all my lines, so just for
your sake I’m going to go ahead and reapply those eyes or those lines in their ..oops.. Really off on that line. Going to try that again. (sculpts to 32:38) OK, so now we have that line. Once again, that was
the 50-percent line, 50 percent meaning halfway up the head. And then we have the, we have the nose , the measurements just below the nose, right there. And then to the bottom of the chin, to the brow, to the hairline. OK...now.. just kind of ..making sure that I’m
showing you where that line is. that separates the jowl, the bottom jaw, from
the rest of it. So you can make the jaw a little more prominent. (sculpts to 33:35) OK...I haven't begun lips or anything yet. Like I said, we're still working on the nose
the cheeks a little bit. So I’m going to go ahead and.. add... the nostrils. And all I did was just take a clump of clay and
put it on there. Just line them up, make sure they're symmetrical..
the clumps there. I’ll take a tool that I like using for this
kind of work, which is this one. It's kind of a scoop. So I'm going to go ahead... and shape that nostril in. And on the other side,do the same thing, Always make sure you're checking your measurements. It's really depressing to get all the way through
a bust, and realize that because you didn't build a good foundation in the beginning,
that everything's all askew and your eyes are not level and everything is not working. So, good idea-- to always check to make sure that things are level.. and your angles are right! Because, I hate having to repair later on when
you're moving through your bust.So.. General shape there.. (sculpts to 35:17) Alright.. what I’m trying to do is, just figure
out where his skull is, exactly the shape of it: the cheekbones, the eyes, around the
eyes, the bottom of the .. jaw bone, how that fits in there. Once I do that, once I get those accentuated
a little bit, then I can start add fatty tissue and.. I could make him.. I can, I can adjust the face to how I want
him to look and that's important. That way you get that original geometry down
first, before you start really going crazy with detailing. So... Now the side of the head, if you recall, all
those same lines apply, which was the quarter lines that we did, the hairline.. going back. And I’m going to try and demonstrate this clearly. The hairline going back, the brow
line, the bottom of the nose line, and the bottom of the chin. You can see those-- the line here, line of the hair, bottom
of the nose and the bottom of the chin. And then you go back to the halfway point,
which is between .. from the back of the skull to the front of the brow.. right there. The halfway point, it's an important measurement right there, because that's going to help you figure out where your ear sets. And your ear sets in the geometry between this
part, this line, the brow line and the bottom of the nose. So right in here, is where
your ear is going to be. It's literally going to start at that point
right there. So.. I’m going to go ahead and form in some basic ear shapes. (sculpts to 37:16) Use some of this clay sitting around. Now what I do first is just make two balls
of clay, that are right about the same time..excuse me, same size. So.. that way you're using the right amount
of material for each ear. So that's about..that's about right. I’m going to take those, I'm going to draw my
geometry on this side of the head. Here's that brow line, there's the nose line,
bottom of the chin and the hairline right up here. OK. So I know that the halfway point is right
about here. Alright.. so now I know where I can put my ear. Right there. (sculpts ear to 38:18) Now I want to stay within the confines of that..that line. If I go any bigger than that, then it's..that
detail, that I wanted to add to it. In other words, I want to make it more characteristic
of somebody with really big ears. So..they're just generally shaped into the ear shape. Push a little bit closer to the side of the head. And then the same thing over here on this line... right there. (sculpts ear to 39:05) OK making sure my symmetry is good. And checking the tops of the ears, that's where
the brow lines up, just like that. Making sure that's shaped correctly.. and there we go. Now just in front of ears right here, some
people have actually material on the sides of their heads. I don't know, use another word for it, but. right at that line there, that fifty percent line,
you can sometimes carve that out a little bit, because some people, that's the side of
their face dips in a little bit, and then makes way for the ear at that point. So I’m going to do that a little bit, just
so you can see . It's with some people but not everybody. If they're a heavier person like me, the material
or the fat builds around, it comes forward. So if it's a heavier person, this point will
stay almost the same where it connects with the ear , and then it will start to come out for
a heavier person like myself. So. Alright so anyway, a thinner person doesn't have
so much of that, goes right into cheekbone. You actually see the cheekbones there this way, so... So behind the ear, we discussed this before,
has two little lumps. I like to add them because it really does
kind of change the shape of the ears, which is the mastoid process. Right here behind the ear. I’m not trying to get too technical on this
piece, I just want it to be a pretty accurate head (going) forward for you as you're working through
this, so you have a good starting point. So I’m building that lump there behind the
ear lobe. And there we go. Not much, just a little bit. Alright... OK so now I’ve got pretty much a .. pretty close to accurate general basic head shape
to work with here. There's a few little things I'll do on
this piece, just to make it look more realistic which I’ll add a little bit of .. material
to the top of the .. lip here, and build out the lip a little bit. (sculpts to 41:39) Now I'll push that down a little because I want there to be some fatty tissue on either sides of the chin. So.. now we're starting to move towards the
detailing of this guy, of this piece. And so, if you've been following along and
sculpting on your own piece, this is where in my opinion it starts to get more fun. So there I’ve added some texture to
his lips, a little bit thickness there. Made them poke out a little bit..give some character. Alright..Now we can start figuring out how we're going
to work the eyes. This being so ... (sculpts to 42:31) Fix this chin. (sculpts to 42:45) Now with the eyes, make sure that you have
your...your eye socket defined. So what I’m going to go through and do, is ... because I’m doing this person almost like
he's younger before he's older. I do that for a reason, because I don't want
the tissue on the face to throw off the natural shape of his skull. I want to see that, so that I can I can make
sure I get the eyes, the eyeballs in the right points, in the right measurements. And I can get the cheekbones in the right
point, and in the right measurements. All these are building blocks to push towards
that final piece where you're going to add thickness and fatty tissue, and all that stuff to it. So don't let, don't let your desire to move
into the creative part of it take away from the geometry part of it. That's so important that you have that foundation
before you start that. So.. there I’ve built in or I know now, I've clearly
defined the socket shapes. The edge of the socket right here, the edge of the socket here and.. good. Those look pretty good to me. So now I can take a little bit of clay, just a small amount, because I want this guy to have kind of deep set eyes. And I want to place those right in the center ..
of the socket shape. This again can be done with measurements, but I'd almost prefer you went, with how you want the piece to look. So.. Again halfway between the edge of the socket
and the inner portion of the socket, halfway, you want to add that right there. Now.. because the eyeball is actually.. it goes
more into the top of the head than in the bottom .. of the socket, I start building upwards. In other words, I’m taking the material
and I'm pushing it upwards a little bit, to make it look as if the ball is actually
more in the top part. I’m not worried about, I'm not worried about
eyelids or anything else right now. Just want to get the geometry right and get
the shape right of the eyeball in there. I’ll do that step backwards. (sculpts to 46:12 !) OK. Now we can start to see that really starting
to look like a person, but still no details have been really forced into the piece, yet. It's still just structure. (molds to 46:39) OK. So, there we go. (more molding to 46:55) Alright we'll go ahead and pause here. And let you catch up. Again remember the measurements. Remember your symmetry, point of the eyes. And we're going to do some more measurements
in a minute. But for right now, we'll take a break. and let's catch up on all this. And then... that should do it. Thanks again for visiting
us, and going through the process of.. of the introductory to sculpting the human head. I really enjoyed doing this with you and I hope
you learned a lot. (Continues in next lesson...Adding Details)
