From live Model

DURATION:   3 days course from 9 am t0 5 pm.
A maximum number of students 10-12.
Materials and stand supplied. You must bring your own tools.
If you are interested in this course pease find more info about new events and how to enrol in Classes

In this course, we work with Sight-sized technique. In this technique, the model sits behind your sculpture so you can trace the contour to build your work. We do this 360 Degrees so you can get a close look-alike of the model by the end of the course. Even when this is not my favorite technique to get a proper understanding of the geometry of the body, it is still a stepping stone to the next level that we cover during the course, which is more about understanding the structure of the body and how to approach it. This requires a lot of study, observation, and practice, but in this course, we get an idea of how to get there creating good habits and philosophy of work.



The courses are generally structured in a 3 days format, from Friday to Sunday from 9:00 am to 5:00 pm with a 1-hour lunch and a tea break. This is expected to be the format Unless a different schedule has been proposed Also please check out Conditions at the footer.

To find more about new events of this workshop and  sign up, just scroll down to “Events” in the Classes. Sometimes after the course, I organize a Practice session, where you can join me for a good price and do your practice with a live model for about 5-6 hours a day, for 2 or 3 days right after the course. These sessions are untutored. We only provide the stand, the model, and the place so you can work on your own piece.



How to approach the volume
It´s important to break the body into different volumes, simplifying into a basic structure so you can play around with it and make it look more flexible.

Having a better understanding of the muscles and bones and learning the landmarks of the skeleton will help to keep our work into the proportions reach gesture, weight and the energy contained.

There are many ways to approach sculpture, like subtracting and adding clay and materials to use, for instance, oil or water-based clays. All of them are good, but I think understanding what you can do with them and the results you can expect help you to make choices. Furthermore, we speak about casting and molding materials, as this is a common interest that people seem to ask.

Learning from other artist’s work is always good because it gives you some guidance and understanding of what you are doing and where you want to go.

The goal
Getting a closer idea of the forms and the function of the body. LEarning to keep the proportions and print energy and movement into your work. Also, getting a broader understanding of sculpture, not only in practice but also the methodology you can use to upgrade your skills.