Sculpting from a live model is an essential exercise in the practice of fine arts. It allows students to grasp the human body in its three-dimensional form, while simultaneously developing their observational skills, understanding of proportions, perception of volume, and mastery of sculptural technique.
This course offers a progressive approach to the human figure in sculpture, based on direct observation of a live model. Participants will learn to translate the body into space by focusing on its structure, masses, joints, balance, and movement.
The work will begin with the observation and construction of the major masses before progressing toward a more precise understanding of the figure: the relationship between the skeleton and muscular volumes, the organization of the torso and pelvis, the articulation of the limbs, overall balance, and the expression of posture.
Through modeling, participants will also learn to view the material as a means of expression. Adding, removing, moving, smoothing, hollowing out, or leaving the trace of the gesture visible all become ways to build a sense of presence.
Within the context of Campus MaNa Venezia, the program draws on the tradition of the fine arts and Italian figurative sculpture, while placing significant emphasis on personal interpretation and contemporary exploration.
Skills Acquired Upon Completion of the Course
Upon completion of the program, participants will be able to:
- Observe and analyze a three-dimensional human figure.
- Understand the general proportions of the body and its main anatomical landmarks.
- Identify the major structural masses of the figure.
- Construct a sculpture using an axis, a wireframe, and basic volumes.
- Understand the concepts of balance, support, weight, and movement.
- Convey a posture and an attitude in space.
- Use the basic tools of modeling.
- Gradually build a figure based on a live model.
- Understand the relationships between the skeleton, muscle mass, and external volumes.
- Work on planes, surfaces, recesses, and reliefs.
- Develop a sensitive and personal approach to representing the body.
- Use the material as a true visual language.
- Present and analyze a sculptural work based on a model.
The course alternates between observing a live model, technical demonstrations, construction exercises, and modeling work.
Participants approach the figure gradually: starting with the silhouette and general proportions, moving on to the major masses, and then to the anatomical volumes and the model’s individual characteristics.
Particular attention is paid to understanding the body in space. Participants are encouraged to observe the figure from different angles in order to create a coherent and legible three-dimensional sculpture.
The work also allows participants to explore the various surface qualities of the material: taut surfaces, planes, transitions, traces of the sculptor’s touch, and effects of light.
The course does not aim solely for a faithful reproduction of the model. It encourages reflection on how observation can become interpretation, and on how the sculptor can use the material to give the figure a personal presence, rhythm, and expression.
Course Schedule
Day 1: Observing and Shaping the Figure
Morning
- Welcome and introduction to the workshop.
- Introduction to sculpture from a live model.
- The human figure in the history of fine arts and sculpture.
- References to the Italian sculptural tradition.
- Presentation of materials, tools, and fundamental modeling techniques.
- Observation of the model: proportions, axes, lines of action, and balance.
- Analysis of the body’s major forms.
- Introduction to the method of constructing the figure.
- Setting up the armatures.
- Initial construction exercises based on short poses.
Afternoon
- Establishing general proportions.
- Construction of the head, torso, and pelvis.
- Organizing the main volumes.
- Work on the spinal axis and the line of action.
- Establishing the limbs and joints.
- Study of the points of support and the center of gravity.
- Exercises based on different poses of the model.
- Individual corrections and group analysis of the work.
Day 2: Anatomy, Volume, and Movement
Morning
- Review and correction of figure construction.
- Study of the main visible anatomical structures.
- Relationship between the skeleton, joints, and muscle mass.
- Drawing the torso and pelvis.
- Study of the shoulders, arms, legs, and knees.
- Work on the major muscle groups.
- Understanding changes in volume related to posture.
- Observation of the model from different angles.
Afternoon
- Study of the body in motion.
- Sculptural interpretation of the line of action.
- Work on tensions and counter-tensions.
- Study of points of support and weight transfer.
- Exploration of the figure’s overall dynamics.
- Work on planes and changes in direction.
- In-depth exploration of anatomical volumes.
- Individual guidance and corrections.
- Continuation of sculpting from a model.
Day 3: Expression, Surfaces, and Interpretation
Morning
- In-depth study of the figure.
- Checking proportions and overall balance.
- Work on secondary volumes.
- Study of the head, hands, and feet.
- Identifying the model’s unique characteristics.
- Working on the transitions between different volumes.
- Study of surface and light on the sculpture.
- Exploring the relationship between anatomical accuracy and expression.
Afternoon
- Continuation and completion of the sculpture.
- Work on surfaces: smooth, taut, modeled, or intentionally left rough.
- Exploring the quality of the gesture and the tool’s mark.
- Simplifying or accentuating certain volumes.
- Working on the figure’s presence and expression.
- Installation and presentation of the sculptures.
- Group analysis of the works.
- Discussions about artistic choices and different interpretations of the model.
- Review of technical and artistic skills acquired.
- Advice on continuing to work on sculpture and the study of the human figure after the course.
