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but I like what you're using. I've melted a lot of faces off lots of sculpts using a strong torch.

No it's like jesmonite.

You're very welcome 🙂

Whatever kind of acrylic resin you can get your hands on! Usually there are local brands. If you're in the US I suggest Aqua-Resin.

Thank you 🙂

The basis for the things you ask for are there. Since everything is comparative I don't need the arms or the legs to build the torso. They can be added later and built to fit what is already there. The composition is worked out in smaller scales and there is a model. If you have doubts about this way of sculpting I suggest you check out the final result.

​@@EirikArnesenArtwhat do you mean its there? end of video. no arms, no head, legs. nothing. You say its comparative. Yes it is. but in your case comparative to nothing. Because there is no arms, legs, head etc to compare it to. So how to you imply the basis is there? Sure you worked out a composition in a smaller scale. Which is great. But that doesn't mean you can skip the basics for the large scale. You simply don't sketch out a full body figure by drawing one part into detail before even starting other parts of the composition. "Since everything is comparative I don't need the arms or the legs to build the torso. They can be added later and built to fit what is already there." Who teaches that? Everything is part of the composition. the thickness of the ankles in comparison to the the wrists in comparison to the neck. All matters in regards to the piece as a whole. Structure as a whole. not in isolation. Adding detail in isolation is very strange.

In comparison to the torso of course. When I add the legs and arms I'll compare them to what is already there. I'm using the torso to set the scale essentially. That's how I'll determine the proportions. We teach that at the Florence Academy of Art. It's seems strange but it works well and we have a very good track record teaching this way. I don't really think the breasts, the abdomen and some ribs count as detail. But opinions will vary on this. Perhaps there is more than one way to sculpt? Feel free to send me some of your work and tell me how you made it if you think you have a way that's superior and leads you to better results.

​@@EirikArnesenArt sure there is more then one way to do something. I can't see how this method is any good though in it most basics. "In comparison to the torso of course. When I add the legs and arms I'll compare them to what is already there. I'm using the torso to set the scale essentially. That's how I'll determine the proportions." You restrict yourself so much by locking one area in isolation. Even if you were doing a sketch. Also this strange separation. the leg movement is impacted by the pelvis. the arms are impacted by the position of the rib cage and shoulder gurtel. To isolate and separate make no sense anatomically either. you make up borders in the composition and this case the body. Why? What are any positives to sculpt in isolation? or draw in isolation? or paint in isolation? or 3d model in isolation? or texture in isolation? It doesn't apply anywhere. starting with one part and then be restricted to by that one part is very bad practice. I wouldn't recommend it for absolutely anyone. The problem is always the same. You put in too much work in isolation while being blind on how the piece is constructed, looks and feels as a whole. Then you will have to change it later because you worked blind. but you already put too much work in so you will restrict yourself in changing the torso. nor can you change it easily because subconsciously you will tend to keep what you did. again simple blackout minimal restrictions. by working in isolation you shackle yourself and work blind. That applies to anything. Draw a plane? sketch the entire plane. Draw a landscape? sketch the entire composition. sculpt a head? sketch the entire head. not facial features with no ears and no neck. The whole composition is key. How everything relates to each other in proportions, scale, flow, connections and structure. Having blackouts of the entire piece allows you to change and explore the piece as a whole. probably the most important part. sure ribs and abdomen count as detail. for this piece. how you can think of ribs with no leg, arms and head? doesn't that sound backwards? Sadly in western schools its a pretty sad state. Russian art schools tend to be far superior when it comes to sculpture and drawing education. I would like to hear what is the negative of blocking out the entire piece versus sculpting in detail in isolation. Aware that youtube comments tend to come across as rude and brash. This is not a critique at you but at the method. I appreciate your thoughts about the method.

Thank you 🙂

I use water-based terracotta clay. I don't know much about painting unfortunately. Sorry, you're gonna need to find a painting channel for that.

Glad it was helpful!

Thank you! I'm glad you like the video "style".

I'm an academic sculptor at heart so there will always be dense theory in these videos. Communicating theory well is a good way to provide value in my opinion. Too many artists claim to teach but teach nothing. I hope I can provide something concrete for people to apply.

You're welcome!

I make a mold so I don't have to remove it. There is a full video series here on RUclips for the mold making on this sculpture.

Coming soon 😉

@@EirikArnesenArt Awesome! Have a resin 3D printer I would like to make molds of for a board game.

It's a long journey but stick with it! Patience is key.

Water-based terracotta clay.

​@@EirikArnesenArtThanks 🙏

You're welcome 🙂

You're welcome!

Thank you!

Thank you!

Thank you Andrea!

You're welcome 🙂

That's just practice! You'll get better for sure. It's not rocket science and doesn't require something special. Just many many hours of practice. You can do it!

This is true and I agree with you. This video is a little old and I don't glue the armature into the base anymore.

Thank you! Aqua-resin is its own type of material. You can use plaster to make mother molds as well and I have several videos on how to do just that.

Thank you 🙂!

Thank you!

Thank you!

Thank you!

A single piece being more masterful has more to do with marble than with cast pieces. They didn't have modern welding or modern mold making materials so making single pieces when casting probably meant less work but also something you have to consider when designing your composition. The Laocoon is three pieces of marble put together and is (and was at the time of the renaissance) considered a masterpiece. The Greeks often welded or pinned their bronze statues together from pieces.

@@EirikArnesenArt Yes, that debate was about carved works - marble, alabaster etc. Interestingly pieces were also sometimes made from cast stone and made in parts, assembled much as would do with a carved work. Using cast stone seems to make good economic sense as corrections could be made and that would also be suited for e.g. church monuments as the client might want to make changes - that could be accommodated with a clay or plaster master. Wall monuments could also be lighter as they could be hollow if cast (something sometimes seen in the Renaissance). Even experts can have difficulty recognising cast stone and mistakenly assume a piece is carved stone when it isn’t. My project is trying to reverse engineer the techniques they used. Your videos have been a real help.

From what I understand latex shrinks too much to get accurate results. I have to admit that I'm not 100% sure why, but nobody I've seen (who's work I respect) uses latex and everyone uses silicone. So I just use silicone.

@@EirikArnesenArt Many thanks for this very helpful reply. Yes, following up on that and looking into technical data, it seems that latex is more prone to shrinking and so RTV silicone is best for accurate reproduction. For garden ornaments that shrinkage won’t matter, but for fine art sculptures, it does. Also perhaps silicone mould properly cared for might last longer.

Good tip! Thank you! I'll give this is a try in the future.

Probably 5-10kg.

Thank you 🙂

Thank you!

Thank you 🙂

You're welcome 🙂

🙂🙏

Thank you!

You're welcome 🙂

Thank you 🙂!

I'm not sure. I don't know much about ceramics.