Page 20 - Plasticos-magazine-7

The delegates work directly from observation of
a life model head. Transferring their observations

to their growing ball of clay. The methodology
while being artistic, also combines a high degree of
the science in its measuring and cross referencing.
Delegates report that they are able to quickly

enjoy the process, despite having not touched
clay since their pre-school years.

The first stage is to build a wooden armature

and add a small ball of clay. The armature will
support the weight of the clay. The second stage
are learning to identify the 10 key points on the
face and skull that are used to take measurements

for sculpting. These are carefully measured using
calipers. The tempero-mandibular joint is the key
reference point on either side of the skull. All
measured distances are subsequently transferred

to the clay. This creates an architecture of points
in space that begin to give a likeness. The work
progresses in much the same way as a large
jig-saw puzzle. One accurate piece at a time.

Observation and measurement are the key and
training the eye to see the spatial relationships as
the clay grows.

While delegates want to quickly make the head
look recognizable, they are encouraged not to
model any detail such as eyes or nose until the
structure and form of the head is understood.

Demonstrations are given to show how to use
modelling tools and how to approach the task of
understanding the specific shapes of the detail.
For many delegates it is their first experience of

artwork. By the end of 3-days each has a life-size
clay sculpture, which thereafter can be fired and
retained as a reminder.

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