Description
Book SynopsisMastering Sculpture: The Figure in Clay is a comprehensive workshop on sculpting the human form from head to toe for ceramic artists.
Trade Review“Readers of this book will discover that Cristina is an alchemist, mixing accuracy and instinct in perfect measure to bring clay, slip, and glaze to life. As an artist, she translates the human form with sensitivity and expression. As an instructor, she articulates complex information clearly and deliberately for sculptors at any level of experience. Cristina’s fascination with the human form is infectious; her commitment and attention to detail are constants throughout the book.” * Leslie Noell, creative director, Penland School of Craft *
“A wonderful resource for anyone who wants to gain a deeper understanding of figurative sculpture. It is hard to imagine anyone better suited than Cristina to offer this expertise and experience as she is a gifted artist and generous educator. I highly recommend this book for artists or enthusiasts of any skill level.” * Steven Young Lee, resident artist director, Archie Bray Foundation *
“This is an exceptional book by an exceptional artist. Cristina Córdova has delivered a rare document that reveals highly useful information in a refreshingly smart, concise, and elegantly organized way. In so doing, she has also captured a deeply felt regard for the poetry and beauty of the human figure and the power of clay to render emotional depth.” * Wayne Higby, professor of ceramic art, director and chief curator, Alfred Ceramic Art Museum, Alfred University *
“Cristina Córdova’s unique multicultural education and perspective has given her an unmatched combination of academic rigor and unfettered creativity in her approach to sculpting the human figure. This book is a road map to acquiring a skill set that is rarely taught in art schools anymore… and an incredible gift to those on a quest to master figural sculpture.” * Garth Johnson, Paul Phillips and Sharon Sullivan Curator of Ceramics, Everson Museum of Art *
“Creating figures and narratives that spring from her ongoing exploration of the human psyche and existential pathos, Cristina Córdova is a super talent whose sculptures, full body or fragmented, single figure or installation, contain the whole history of art in every pose and gesture, at once strikingly contemporary and timeless. Her imagination is matched by her skill and by her generosity in sharing her craft.” * Annie Carlano, senior curator of craft, design, and fashion, The Mint Museum *
“This book is a testament to Cristina’s beautiful work as well as the clarity of instruction on how she makes it. She is a wealth of talent and integrity. She makes figuration look so seamless and easy. I might try coiling the figure now!” * Tip Toland, acclaimed ceramics artist *
“Cristina Córdova is unquestionably one of the most talented, rigorous, and artistically ambitious artists working with the figure today—period.” * Tony Marsh, professor emeritus, California State University Long Beach *
"Exceptionally well organized and presented making it an ideal DIY instruction guide and manual,
Mastering Sculpture: The Figure in Clay is an especially and unreservedly recommended as a textbook for art class curriculums on sculpture, and an essential, core addition to personal, professional, community, college, university, and art school Sculpting Art & Techniques collections." * Midwest Book Review *
"Whether you're a beginner or an experienced artist, this book is a valuable resource for enhancing your sculpting skills. The author's expertise and generosity shine through in her writing, making this book a must-have for any artist's collection." * CitizenSide *
Table of ContentsForeword
Introduction
1 PREPARATION
Studio Setup
Finding Inspiration
Simple Armature Construction
External Supports
2 GETTING STARTED
How to Make a Slab
Using Patterns
3 ASSEMBLING LOWER BODY PARTS ON ARMATURE
Preparing Your Armature
Joinery
Footprint and Lower Leg
The Foot
Upper Leg
Pelvis
4 ASSEMBLING THE UPPER BODY
Getting Started
Attaching Torso to Pelvis
The Neck
Breasts
Arms
5 THE HEAD
Using a Pattern to Create a Head Shape
Adding Facial Features
Refining Features
Fleshing: Creating Flow and Continuity
Hair
Attaching Head to Neck
6 HANDS
Forming the Hands
Attaching the Hands
7 FLESHING OUT CORE FORMS
Venting
Reading Contours with Additional Photographic Views to Achieve Accuracy
The Process
Artistic Considerations
8 SURFACE DEVELOPMENT, DRYING, AND FIRING
Surface Development
Drying and Firing
Appendix A: Four Cardinal Views
Appendix B: Model Reference Photos
Appendix C: Illustrative References
Appendix D: Templates
Acknowledgments
Resources
About the Author
Index
