This course provides a foundation in anatomy, traditional sculpture and 3D modeling. The course shows an evolution in the representation of references and traditional procedures towards the definition of a representation of free creation, and fantastic elements, depending on criteria of each student. This course focuses on the construction process of the human figure in three dimensions using clay. This process, combined with different methods of observation, allows us to be aware of the proportions, movements and internal structure of the human body. Lately, the student will be able to reproduce the real space into a virtual environment, like professional digital artists, using digital media. This subject begins with a strong basis for drawing the space, understanding volume representation of a physical space, to be able to reproduce this physical space on a virtual reality.
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- Understand the proportions and movement dynamics of humanoid or animal bodies.
- Acquire the skills necessary to create sculptural representations of humanoid or animal figures.
- Learn the process of designing and modeling characters for a 3D audiovisual production.
- Design characters according to defined psychology and archetypes.
- Create digital 3D models based on character design and movement dynamics.
- Develop a personal artistic criterion through observation, analysis and sculptural practice.
- Integrate knowledge of traditional sculpture with the tools of professional digital modeling.
Semester 1 — Traditional Sculpture
- Course introduction: objectives, exercises, materials and tools.
- Introductory volume exercise: clay approximation (pepper).
- Hand and/or foot structure: basic volumes, structure and form.
- Introduction to portraiture I and II.
- Anatomy I: skeletal system.
- Anatomy II: muscular system.
- Human figure modeling with life model — Sketches I, II, III and IV.
- Anthropomorphic character in oil-based clay I, II and III.
Semester 2 — Digital Modeling
- Digital modeling I–XI (ZBrush).
- Final project I, II and III.
Seminars are delivered for each of the different specialisations covered during the course. Guest professors and subject-matter experts present theoretical content through masterclasses and supervise a final practical exercise related to the topics covered. Practical application and cooperation among students are encouraged through group presentations of completed works. Assessment is formative and continuous: students receive feedback on their work and progress, with opportunities for correction and improvement. Self-criticism and peer collaboration are also actively promoted.
Assessment is continuous and formative. The final grade is derived from the weighted sum of all submitted exercises. It is mandatory to submit all coursework each semester. In exceptional circumstances (accident, illness...), students who do not pass the standard assessment have the option of sitting a special extraordinary evaluation.
- Technical and artistic quality of submitted work.
- Understanding and correct application of anatomical proportions.
- Evolution and progress demonstrated throughout the course.
- Ability to translate physical volume into a digital environment.
- Coherence between character design and sculptural execution.
- Participation and attitude in class, dossier presentation and personal appreciation.
- Presentation and defence of work in group exhibitions.
Speed, Harold. The Practice and Science of Drawing. New York: Dover, 1972. Cole, Rex Vicat. Perspective for the Artist. New York: Dover, 1976. Boisbaudran, LeCoq. Training the Memory in Art & the Education of the Artist. London: MacMillan, 1911. Vanderpoel, John. The Human Figure. New York: Dover, 1958. Hale, Robert. Drawing Lessons from the Great Masters. New York: Watson-Guptill, 1964. Henri, Robert. The Art Spirit. Basic Books, 2007. Lolli, Zocchetta & Peretti. Structura Uomo. Vol. I. Neri Pozza, 2009.
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