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PHILIPPE FARAUT BOOK

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About Philippe Faraut. Philippe Faraut received his degree in woodcarving and the construction of French fine furniture from Books By Philippe Faraut. Portrait Sculpting: Anatomy & Expressions in Clay by Philippe & Charisse In their third book on modeling techniques in clay Philippe and Charisse Faraut. In their third book on modeling techniques in clay Philippe and Charisse Faraut present a comprehensive approach to the complex subject of the human figure.


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Results 1 - 6 of 6 Discover Book Depository's huge selection of Philippe-Faraut books online. Free delivery worldwide on over 20 million titles. See all books authored by Philippe Faraut, including Mastering Portraiture: Advanced Analyses of the Face Sculpted in Clay, and Figure Sculpting Volume 1: . Philippe Faraut is the author of Portrait Sculpting ( avg rating, 33 ratings, 2 reviews, published Philippe Faraut's Followers (5) Philippe Faraut's books.

This book can help them develop the skills to make lifelike expressions. It is unusual to find a book that so well and matter-of-factly shows how to analyze individuals by comparison with types. In one spread, he explains the effect of the lacrymal gland on the shape of the volume below the eyebrow, with an illustration and six photographs of his work.

Faraut is worth watching in action—he sells videos of his performances of exercises in which he re-works a face with compelling facility into a different face. In this book, ten pages of photographs capture a tour-de-force in which Faraut models and re-models the same female portrait bust from birth to age eighty.

The chapter that explains how facial expressions are achieved at a muscular level is excellent, and the examples are skillful and revealing. It is here, however, that Mastering Portraiture fails to achieve mastery, as classification descends into formulaic simplification.

If we look at the sum of all the portraits left to us from the earliest representation of the face in art history, there is a very small percentage that exhibits an expression of some sort and even less that show a strong, recognizable, unambiguous expression. From these can supposedly be derived all the nuances of the easily recognized, common human expressions of love, compassion, interest, boredom and guilt.

No artist who loves life more than skill should take these categories—or the existence of categories—seriously.

The skills that Faraut has mastered and is sharing lead to one kind of virtuosity, but we do well to remember that the greatest figurative art involves an expressiveness that cannot be easily reduced to expressions. It could be admired for its technical accuracies, but little else.

These faces are not expressing easily describable emotions, but they are expressive and evoke deep and meaningful reactions in the viewer.

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There are a number of sculptures in this book that are inadvertently grotesque, and many that are acutely sentimental. A ball of newspaper is wrapped and taped around the dowel to form the core of the sculpture. The newspaper will absorb some of the moisture from the clay, making the center more firm and stable.

Tape is kept away from the dowel so the sculpture will be able to rotate on the armature. An even layer of clay is built around the paper.

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The ball is rounded with a metal scraper. A rectangular piece of clay is positioned to create the 5. The clay is then pulled back on each side to form the volume of the forehead.

A coil of clay is applied on the top of the head and shaped to define the profile of the cranium. Volume is then built on each side. To build the volume of the mandible, a horseshoe- shaped piece of clay is wrapped around the base and flattened on each side to form the planes of the ramus.

The depression between the mandible and the foundation is filled and smoothed, preparing the volume for the maxilla. The orbital cavities' location is determined by observation of the model and measurement with calipers.

The zygomatic arch is a bone originating from the edges of the orbital cavity, stretching to the external auditory meatus. To define the zygomatic bone cheekbone and the upper part of the maxilla, a depression is created under the orbital cavity.

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The nasal cavity is carved out with a wooden tool, leaving a ridge at the center called the vomer. The width of the ramus needs to be measured and indicated before pushing in the clay on both sides to define the volume in the back of the maxilla. The zygomatic arch is suspended in its center, leaving space for the temporalis which covers the temporal bone and connects with the coronoid process of the mandible. The mastoid process is a projection of bone behind the ear.

It begins to form only after the age of two. The external auditory meatus is a hole in the bone just behind the temporal mandibular joint. The teeth are added one at a time paying special attention to their symmetry.

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The planes of the temporal bone are refined. These also define the temporal lines. After refining all the volumes with loop tools, a bristle brush is used to blend them together. The teeth are first refined with a stiff brush.

A soft brush is used for the final texture. A coarse sponge is used to refine the final shape. A soft sponge is used to create the surface texture.

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The cranial sutures are engraved with a thin metal tool. With the exception of the masseter and the temporalis, most of the muscles of the face have the peculiarity of not connecting one bone to another. Instead, they attach at one end, directly or indirectly, to the skull, and at the other, into the skin or into another muscle connected to the skin.After establishing residence in the United States, he developed an interest in modeling the head in clay.

The width of the ramus needs to be measured and indicated before pushing in the clay on both sides to define the volume in the back of the maxilla. An avid traveler, Philippe's destinations have allowed him the opportunity to study the cultures of many countries in Europe, Asia, Africa and the Caribbean, thus influencing his work in portrait sculpting.

Faraut, Charisse. If we look at the sum of all the portraits left to us from the earliest representation of the face in art history, there is a very small percentage that exhibits an expression of some sort and even less that show a strong, recognizable, unambiguous expression.

Facial muscle functions are discussed in more detail in Chapter 7. The photographs in the book are all grayscale and very high quality. Attention colleges and universities: Quantity discounts are available on bulk purchases of this book for educational purposes. This chapter focuses on this type of exercise.

This minute DVD also includes a comprehensive demonstration on hollowing and firing techniques.

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