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.
Please find more info about new events and how to enrol in Classes


If you are new on this or you don´t have much experience, my suggestion for you is to follow the steps!… I know it could be a bit too technical and boring at the beginning and to be honest, this is not my favorite way of working. But after tutoring many students, I realize that it is important to make a difference between working in a more organic and emotional way, and the knowledge you need to have tools to develop your work. To give you an example, it is like if you try to speak another language without learning the rules. You can make people understand you by improvising words or mimic, but you can not have a conversation. Only when you know how the language works is when you can start using it and even improvise with it.  This is why I think it´s better to understand things before you move forward.

I found the best way to start is making a sketch with basic forms. These can be achieved by the following methods, and there are many ways of doing so, depending on the level of the students. But measuring and double-checking help to continue building  up correctly and develop a more complex work while getting familiar with the forms of the face and the elements: Eyes, mouth, nose, and ears, will increase your chances to make a more solid work.


DAY 1:  Blocking out the forms.

The first day I will give a brief description of how to measure and block up the basic volume. In this part of the work, concentrate on measuring to have a good base to start with. Once this is ready we can adjust it to get closer to the general forms of the model or as close as we can. This will require to add or remove material, depending on the case.

Learning proportions of the head and the neck, how to use the tools and materials, measurements.

DAY 2:  From the outside to the inside

By the second day, we should have already the volume ready so we start adjusting to match the model´s face and from there we learn to identify bones and flesh, lines of direction, connecting parts. It really helps if we have an idea of how to sketch the elements, it makes the job easier to not spend much time doing these parts and focussing more on distributing them around. We keep in mind the general view of the subject, rather than the close-up work.

Learning to connect points, the sketch of the elements: eyes, nose, mouth, and ears.

DAY 3:  Adjusting the work

On this third day, we can spend time adjusting the work spending more time on the elements and everything that helps to identify the person. Let´s say for example the sharp angle of the back of the jaw, big and beautiful eyes, a smaller nose, and a lot of volume in the hair with the fringe… If we are successful getting to this point, here we can spend a lot of time until we get the subtle features that highlight the things that make the person unique.

Some anatomy concepts and finishing up the work, dynamic poses, talking about sculpture art and the industry..



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.