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Ceramic Sculpture: Making Faces: A Guide to Modeling the Head and Face with Clay, by Alex Irvine
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Sculpting the human face presents a unique artistic challenge—but this richly illustrated guide thoroughly demystifies the process. Instructor Alex Irvine goes step-by-step, explaining everything from creating basic, rough outlines to surface refinements to finely detailed replicas. Photographs of models and sketches appear alongside the actual sculpture, and a gallery of contemporary work inspires.
- Sales Rank: #69312 in Books
- Published on: 2014-07-01
- Original language: English
- Number of items: 1
- Dimensions: 11.00" h x .61" w x 8.50" l, 1.20 pounds
- Binding: Paperback
- 128 pages
About the Author
Alex Irvine is a working sculptor, instructor, and member of the Clayspace Co-op in Asheville, NC. His work has been featured in numerous shows from SoFA to The University of the Arts to Baltimore Clayworks. He primarily teaches intensive workshops on sculpting the human face.
Most helpful customer reviews
19 of 20 people found the following review helpful.
this book has so many good basic techniques and tips
By James Ziessler
No one book is a complete resource, you always have to add books to get a more complete picture. However, this book has so many good basic techniques and tips, it could stand alone. Very good resource for the beginner and experienced in making sculptures.
14 of 15 people found the following review helpful.
Another Great Lark Pottery Book
By David Gordon Ducker
I am a retired school teacher and potter. I throw (make pots on the wheel) and handbuild. My work can be seen at davethepotter.ca
No doubt because pots often suggests a face, human faces have a long tradition in pottery/sculpture. Whether ugly faces pots and mugs of the American south, or the Martin Brothers, English potters 1870's - 1900's who are famous for the Walley Birds and face jugs the adding or painting of faces onto pots goes back at least 5000 years. This book will help ensure that tradition continues.
Chapter one starts with a brief discussion of the tools and materials needed. Really a minimum of tools and equipment are required, although you will need access to a kiln. Mr. Irvine uses earthenware fired to cone 04. This is clay is very common among sculptors but the techniques are just as useful to potters firing to stoneware temperatures. The rest of the chapter deals with the anatomy of the head, including skull and musculature.
Chapter two is a discussion of building techniques. This book isn't really for beginner potters - some, but not all basic clay techniques are shown and briefly discussed. I'd think beginners, to be successful would find it useful to take a basic pottery handbuilding course at your local community college or potter's guild first before attempting to create these faces. Experienced potter will have little difficulty as they will be familiar with all the techniques used to make the head.
Mr. Irvine uses slab construction as opposed to solid construction or the use of an armature. Only the slab technique is described in detail, and the armature technique is not the standard approach as described in most sculpture books. With slab construction the face is shaped by pushing out from the inside and pushing in on the outside. This is a technique I've used on thrown and handbuilt vases and pots. It is a technique I learnt from Arthur Gonzales in The Figure in Clay, Lark 2005.
After discussing the overall technique, in chapter three we have a more detailed look at the sculpting of the facial features -eye, nose, ear, mouth and chin. This is well done and is sufficiently detailed to create a basic head.
Mr Irvine thinks hair is the hardest part (p62) of sculpturing the head and you will have to look elsewhere for a detail discussion on hair. While there is little about hair there is nothing on facial hair. Maybe not a major concern for you but for someone who has had a beard for 45 years it is a point to be noted. While I haven't made a head yet using the book there is one change I would already make to the basic technique. If I was going to add hair I'd make the head slightly over size so I could push out and shape the hairline and volumes of the hair. This avoids adding large amounts of clay to the top of the head which would have be removed (hollowed out) before drying. I'd experiment and maybe start with a cylinder an inch taller than suggested.
Chapter four covers six expressions: happiness, sadness, anger, fear, surprise, disgust. Each expression is demonstrated and covers changes to the muscles, eyes and eyebrows, mouth, etc. This is all very well done and maybe the most useful part of the book and I'm sure you will refer back to this section often.
The same cannot be said for the section on aging. There is a very brief discussion of aging of the face but no demonstration by author of an older face - there are a few 'old' heads in the gallery.
The final chapter deals with the basic drying and firing techniques. Drying a face constructed using the slab technique is really no different than drying a thick vase and will not present a problem for the average potter. The discussion on glazes is very brief and unlike many pottery books there are no recipes for glazes.
This brings me to the biggest weakness of the book. Mr irvine includes the same male and female white models throughout the book. He doesn't address the child's head, ethnic or age differences. While this might be excusable in a book for potters just starting to try their hand at sculpture I find it harder to understand the absence of female faces. All sculptures demonstrations are male, In fact the majority of sculptures throughout the book are male. Mr. Irvine's male faces are wonderful so it cannot be any lack of ability to create a female face. The book would of been even more useful if Mr. Irvine had alternated between male and female faces, oh well!
Still in spite of this weakness I think this is another great Lark pottery book which deserves a place in any potter's library who is interested in handbuilding. I know I'm going to get a lot of use out of it. Definitely recommend!
Davethepotter
6 of 6 people found the following review helpful.
Wish I'd bought it sooner!
By Dedicated Book Lover
I so wish I'd thought to look for this before I began my first bust. It would have saved me a whole lot of time, and increased the chance that the finished piece will dry evenly enough to remain free of cracks before it goes into the kiln. Fingers crossed! Because I tend towards realism (and being a born perfectionist) it took a lot of time to work and re-work the face until it became real enough, and with the subtle smile that I was hoping to achieve.
This book has excellent photos of not only the work in clay but also of models who offer a good range of expressions for every mood. It's also full of inspiring pieces from a range of different artists.
The techniques are clearly laid out, step by step, and shown in good detail.
The only thing that could have improved this for me would be to see some details of neck and shoulders. My figure is of a woman with her eyes half closed, face tilted upwards and slightly to the side. As is almost always the case, the neck and shoulders are the base of a bust, and I was hoping to see some examples of protrusions of the spinal cord, and the scapulas to help to perfect my piece. It's very hard to find photos that help with something like this.
Overall though, I highly recommend this book. Love it!
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