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Artistic
Anatomy is thought most effectively
in 3D by the construction of an Ecorche or flayed human figure.
Because the human figure is a three-dimensional reality, the
construction of it in its closest detail enables the student
to develop a profound understanding of it as a complex and
beautiful form within space.
The exercise consists
in the construction of an aluminium armature in the exact form
of a human skeleton on which the bones are modeled in plastalina
or oil based clay. Once the skeleton is completed and exactly
proportionate to the model, the muscle groups are applied one
by one from origin to insertion with the aid of a skeleton, anatomy
books, large Ecorche model and life model. Combining all four
sources of information one develops a profound understanding
of the human form in space. Special emphasis is placed on the
bones and muscles that influence subcutaneous form so as to aid
the student to recognize these landmarks when working from the
model. |
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| Figure Structure is based more on the architectonic structure of the human body. The
emphasis here is on abstracting the form into a combination of
large solid planar sections which are further worked into smaller
planar sections, which clarify the direction, and shape of each
form in space. This adds great power, three-dimensionality, presence
and dynamism to ones work. |
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| Cast Drawing is
the best introduction to the figure because it consists of drawing
from plaster casts of sculptures with fixed lighting conditions.
The combination of fixed form and fixed lighting makes it easier
for the student to study the forms and how light reveals them.
The student starts with the simplest of forms such as plaster casts
of the eye, nose, mouth and ear of the statue of David by Michelangelo
and works there way up through the full head to the full body.
The sight size technique, which enables the artist to replicate
exactly the form before them, is used. Only then is one encouraged
to work from the life model with its subtly changing forms and
light. |
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| Life Drawing forms
the basis of all study of the human figure and we encourage students
to bring what they learn from Artistic Anatomy, Figure Structure
and Cast Drawing into their life drawing lessons. There are a number
of drawing techniques that we teach and one is the sight size technique
which enables the artist to replicate exactly the model before
them. These techniques are only thought as a means of understanding
visual reality and not as ends in themselves. We hope that the
students would mature in order to liberate themselves from pure
technique to authentic artistic expression, making informed visual
decisions. |
Life Sculpture lessons emphasize
the use of internal structural elements such as the skeleton and
the muscle groups to confront the complexities of proportion by
the understanding of fixed bone lengths, gesture by the interplay
of larger masses and surface tensions in relationships of the subcutaneous
forms. Exercises range from bozzetti (small clay sketches) to life
size work while always putting into practice an understanding of
artistic anatomy and figure structure. It is the aim that each
student would complete a sculpture, make a mold and cast it for
the last lesson. |
Life Painting lessons deal with
tonal values, grisaille, limited palette and unlimited full palette.
All that can be learnt from the above lessons prove invaluable
when composing a painting with figures. The students are encouraged
to work either from preparatory drawings or directly on the painted
surface. All aspects from preparation to completion are covered. |
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