Basic skull features and eye-sockets marked out.Marking out the sweep of the temples and jawline.Positioning rudimentary ear shape and defining the profile.Tidying eye-sockets and mouth.Neck and jaw structure work.Adding facial clay mass over
the skull base.Side viewDefining ear and cheek featuresBasic smoothing and consolidating of all muscle masses.Eye-lids added, nose and lips definedAngle viewSmoothing out.Addition of superficial vein features.Left isde full viewRight viewFull profile complete.
Click on images below for detailed views.
Sculpting a human face and head
My absolute favourite subject for sculpting is the human face. It is a natural everyday canvas encountered constantly in our day to day lives and it never ceases to fascinate me. I love the complex configuration of  certain features like the eyelids and ears, the latter being very shell-like and replete with fissures, folds and fleshy pads that are pleasing to the eye. The experience, for me, starts with establishing the skull basis first, which is basically egg-shaped. The rudimentary symmetrical skull aspects are marked out of the oval such as the flat planes and the sweeping curves at the temples and cranium, the cheekbones and brow and then the jaw mass: consolidating it all together as one flowing confluence. The facial muscles are built up next with subtle nuances of the fat and skin folds and creases added later when all skull and feature proportions are satisfactorily established.

Pores and skin texture can be simulated with brushes, cloth, sponges and myriad other implements.

I always feel relaxed and at ease when sculpting a generic human countenance out of a mass of inert clay. Such is the pleasure of  coaxing out this unknown, 'buried' anonymous visage from the material.
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Copyright © 2011 by Martino Catalano