Oct 25, 2009
Stargate Commissions
Oct 21, 2009
Sculptor Highlight
I've never really felt this strong to highlight a sculptor before, there are many great ones out there. but i was looking through myspace (best place to find sculptor IMHO) and i stumbled upon this wonderful artist.
her name is Virginie Ropars, i believe from france.
Her pieces have the most sensual expression and natural gestures i have ever seen. the lines a complimentary and her clutter is stunning and full of detail.
a sample of her work to convince you
heres her myspace, you can see her impressive work there.
her name is Virginie Ropars, i believe from france.
Her pieces have the most sensual expression and natural gestures i have ever seen. the lines a complimentary and her clutter is stunning and full of detail.
a sample of her work to convince you
heres her myspace, you can see her impressive work there.
Oct 20, 2009
Aimee Man
Listen to this, may it connect to the deepest part of your soul. And after that maybe we can sing it together in a garden of magnolias.
Thank you youtube user Elenita Rodrigues for making this video available.
Oct 16, 2009
Less sculpting = sad
Oct 7, 2009
Part 1 Conceptual Sketch and Mood Board
All artworks come from an idea. I sat down and wrote a short list of things i wanted to see in my sculpture. I was also strongly inspired by beautiful horse anatomy work done by Caryln. in fact, her sketches will be very useful during the sculpting process.
I worked with a prismacolor marker and worked pretty quick. just sketched it out and decided to go with a rather helmet tipping pose.
The key words i worked with were
- quadroped
- flesh
- cape
- hollow torso
- manly face
Next was to come up with a quick mood board or reference sheet, i looked up on some male anatomy, horse anatomy, so elven armor for texture, and other misc pictures.
The goal is to have quick visual cues for yourself to inspire and to visually develop your concept. My mood board is very very loose, so you can make your as expansive as you like, just make sure all the items fall together harmoniously.
Its worth to take your time at this step, but dont necessarily overthink things. Just bear in mind that they are visual ques, not in depth descriptions or a biography of your concept.
Cheers!
Conceptual Figurative Sculpting Mini Course V.1
Conceptual Figurative Sculpting Mini Course V.1
Ok. so i have given this much thought. To come up with a basic outline for a subject in traditional sculpting, that is not only efficient time wise, but also beneficial and compatible in a modern day industry.
SO for the next few weeks, i will update this blog as diligently as i can, highlighting the workflow and steps taken in this pseudo online tutorial/course.
I feel i should start with the core outline of this course by explaining this point,
"why even bother to learn traditional sculpting?"
My Answer
Sculpting in general, is the art of rendering a sensual concept ( your mind, idea, soul ) into a physical artwork that stimulates your senses and enter your walking, living space.
No other physical matter based artform present, can grant such the viewer such an experience.
But sculpting like many artforms is a broad subject, with many respective sub styles. They branch out from visual sculpting to audial sculpting.
Conceptual Figurative Sculpting is created to bridge the past and the present. To use the practice of traditional sculpting as a conceptual and artistic aid in the development and improvement of an artist and his work.
Practicing traditional sculpting teaches you form through touching, through feeling, it teaches you light and shadow by giving you a tangible item to reflect light from and to cast shadow from more importantly, it gives you the feeling and experience of being in presence with a tangible and physical artwork. To understand what gives a concept presence and to understand how an interesting form can breath life.
Course Guide
Conceptual Figurative Sculpting will start of with a loose sketch of a concept, preferably a figurative concept, example a character, a creature an entitiy. The sketch should be intentionally loose, as the intention of the course is to use the sculpture as a creative fallback in creation of the final piece. I would try to keep the flow as non-linear as possible, jumping occasionally from sculpting to referencing ( texture, look, pose, etc ) without sacrificing too much time, I believe an artwork should be as fun and organic as possible, but also not a waste of time.
So here the general workflow
- 2D conceptual phase
rough sketch
mood board
- 3D conceptual phase
clay prep
armarture build
blocking
- 3D execution phase
ribbing and raking
texturing/ detailing
- 3D Presentation phase
priming and painting
Basing
Tune in soon for updates, if you want to join me in this project or have any questions, just drop me a line on my gmail jaroldsng@gmail.com, msn jaroldsng880@msn.com.
Oct 6, 2009
Oct 5, 2009
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