When sculpting the human figure, everything begins with a solid foundation — and that foundation is the armature. But before jumping in, it’s essential to understand what you’re building it for. In this case, we’re creating an armature to support a standard-scale figure in oil-based clay (plasticine). The final piece might be molded, or it might simply serve as a sculptural study. Either way, the armature plays a crucial role in supporting your process.
Now, some sculptors choose to work with water-based clay. That’s totally fine, but there’s an important limitation to keep in mind: you can’t fire a piece that has an internal armature. As the clay dries, it contracts — and the wire inside will prevent this natural shrinkage, causing cracks. So if your goal is to fire the sculpture, you’ll need to build it without an armature entirely.
Over the years, I’ve come to recognize a few essentials that make an armature truly functional. It needs to be strong and well secured to its stand so that it holds up under the weight of the clay. But at the same time, it should be flexible enoughto allow minor adjustments as you block in the pose. Most importantly, it must be built to the correct proportions — because once things start drifting off scale, it’s hard to recover.
When it comes to materials, the best option by far is aluminum wire. It bends easily, holds its shape, and is strong enough to act as a skeleton for your figure. Avoid steel wire if you can — it’s far too stiff and makes the process frustrating and difficult. Unfortunately, aluminum wire isn’t always easy to find. That’s why I make it available on my website. But if you’re based far from New Zealand (which, let’s face it, is almost everyone! 😄), you might have luck at local hardware stores or art supply shops. And of course, there’s always the option of ordering it online.
A general rule: the bigger the sculpture, the thicker the wire you’ll need. It’s a simple but important principle that makes a big difference in stability.
To help you get started, I’ve put together a video tutorial walking through the entire process — step by step — to build an armature for a 1:4 scale figure. You’ll see how I set the wire, align the proportions, and attach all toguether. It’s not just about mechanics — it’s about setting yourself up for a smoother sculpting process from the very beginning.
In the next article, I’ll go deeper into the subject of armature stands — how to build them, why they matter, and what to avoid.
Thanks for being here — and see you in the next one.
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In-person workshops are scheduled in different places at different times of the year. Most workshops run twice a year in different locations in New Zealand, Auckland being the most demanded of the locations. Australia and Europe are other locations planned to run workshops.
We are setting up a different challenge with a live model changing pose each time. Plenty of material, tutorials and online courses can help you on this journey and keep you connected with the community. To ensure you get this information, sign up for the newsletter.
If you are missing one day out of 2 or 3, we recommend you to wait until there is another chance as you might be missing quite a bit of information and time to do your work. If this is a 5 days workshop it might be ok.
Not really. Simplified figure is the only workshop we have designed to teach the basics of building the human figure so you have enough knowledge to make the most of a model. So, if you are thinking of joining the five days figure workshop with model, this might be good for you, although it is not mandatory.
Not really. The more experience you have the better. Javier Is an experienced sculptor and can adapt to your level whether you are just beginning or you are experienced, whether you are just looking at learning more anatomy or pursuing a more artistic challenge.
The workshops are designed for:
If you want to learn about the human figure, I would suggest you join the Online courses. Why? There is a lot more information Javier can share with you. You can find your time to invest in your learning process. Head studies online is about six weeks course, and the figure online course is about ten weeks. The more hours you put in, the more you will learn; that´s a rule. And finally, it is more personalized as the progress of your work will be reviewed every week by Javier personally.
If you are interested in doing a workshop but you don´t know which one, get in touch and let us know what is that you are looking for and we will help you. Either if you are looking for some good training, knowledge or just living the experience as a hobby, we can help you.
This book is essential for learning more about the human figure as it is very complete. Includes proportions based on eight heads ( be aware that we are using 7.5 heads), bone structure explanation, balance and range of movement of the joins. The anatomy applied to the figure is not necessarily as accurate as in the Paul Richer book. This book also includes pictures of models for an applied explanation.
This book is excellent for learning anatomy from a medical perspective applied to art. Here we also find his 7.5 cannon explained. The illustrations are accurate, giving the precise location of muscles, layers and mapping of the human body. This book is used in official academies like the Florence academy.
In this book, Michel Lauricella presents both his artistic and systematic methods for drawing the human body–with drawing techniques from the écorché (showing the musculature underneath the skin) to sketches of models in action. In more than 1,000 illustrations, the human body is shown from a new perspective–from bone structure to musculature, from anatomical detail to the body in motion.
This small, portable book presents a unique perspective on the human body for artists to study and implement in their drawing work. In this book, artist and teacher Michel Lauricella simplifies the human body into basic shapes and forms, offering profound insight for artists of all kinds, sparking the imagination and improving one’s observational abilities. Rather than going the traditional route of memorizing a repertoire of poses, Lauricella instead stresses learning this small collection of forms, which can then be combined and shaped into the more complex and varied forms and postures we see in the living body.
This book provides a simplified and practical vision of the human skeleton to help all artists in their drawing studies. Here you will find the most common and useful approaches to the body’s underlying skeleton and bone structure, which will fuel your imagination and enrich your observational skills as you draw the living form. In this small, portable guide, artist and teacher Michel Lauricella focuses on the essentials you need to know.
This book is excellent for the quality of the drawings; very expressive, fresh and accurate. This book is recommended as a reference for the quality of work we can achieve in the art standards mostly applied to drawing. It is also a good source of images of bodies and living anatomy.
