This subject presents an introduction to volume, to the understanding of the three-dimensionality and the space of the sculpture. Modelling exercises are proposed to permit students understand and represent the observation of the volume in an experiential way and thus to acquire the knowledge for the third dimension that can be applied later in virtual environments. This subject will allow students, on the one hand, to deepen and enhance their perception, and on the other, to gain an introduction to human anatomy.
Titular Professors
Professors
No prior knowledge is required.
The course aims to introduce students to the concepts of volume, three-dimensionality, and space inherent to sculpture through practical modeling exercises. It seeks to foster precise observation of the body and volume, encouraging a direct experience that enables the understanding and representation of the third dimension. Students will expand their spatial perception and ability to interpret complex forms while being introduced to the fundamentals of human anatomy. Furthermore, this knowledge will establish a solid foundation for applying three-dimensional principles in future digital and virtual environments.
Lesson 1. Introduction to volume: Analysis of volume, structure and shape of solid geometric shapes. Study of form through observation and construction of three-dimensional models. Clay and paper will be used as materials to create the volumes.
Lesson 2. The foot: volume, structure and shape. Study of the form through observation and three-dimensional models. Water-based clay will be used as a material for volume modelling
Lesson 3. The hand: volume, structure and shape. Study of the form through observation and three-dimensional models. Water-based clay will be used as a material for volume modelling
Lesson 4. Face and portrait: volume, structure and shape. Study of the form through observation and three-dimensional model.The complexity of the shape and expression of the person portrayed is added. Water-based clay will be used as a material for volume modelling
Lesson 5. Sketches on human figure. Capturing shapes, proportions and rhythms. Metallic structure and oil-based clay will be used.
Lesson 6. The human figure: contraposto, balance, harmony and proportion. Carrying out a 1/3 natural size sculpture through observation and the natural model.
The course employs a predominantly practical methodology, centered on learning through direct experimentation with volume and materials. At the start of each project, the relevant theoretical concepts are introduced. Students develop their skills through various modeling and observation exercises designed to enhance their tactile, visual, and analytical understanding of form. The studio-classroom serves as a space for continuous work, where guided practice is complemented by individual and group critiques. Furthermore, reflection on the creative process is encouraged, fostering the students' technical autonomy and independent judgment in three-dimensional construction.
Standard Evaluation
Since this is a predominantly practical course, the evaluation is based on the punctual submission of the assignments corresponding to the topics covered.
Practical component Seminars/Workshops + Continuous assessment: 100%
Exercise 1 (10%) + Exercise 2 (10%) + Exercise 3 (10%) + Exercise 4 (20%) + Exercise 5 (10%) + Exercise 6 (30%) + Continuous assessment (10%)
* The course team consists of one professor, Felipe Ignacio Herrera, and one workshop technician, Ferran Regas; ongoing evaluation is carried out by the entire team.
Extraordinary Call Evaluation
In general, this course does not include an extraordinary call due to its predominantly practical and in?person nature.
Exceptionally, in duly justified situations (illness, accident, or other force majeure causes), the student may request an extraordinary call authorized by the degree coordination.
The recovery will consist of completing or submitting the practical activities not passed, or an equivalent practical test that allows the student to demonstrate the acquisition of the pending learning outcomes. The teaching staff will determine the specific activities to be recovered based on the unmet evidence.
Use of Generative Artificial Intelligence (AI)
The use of Generative Artificial Intelligence tools in this course will be governed by the AIAS Scale.
Exercises 1 to 6: Level 1 (No AI). The student must complete all activities entirely without using generative AI tools at any stage of the process (idea search, writing, image generation, or any other assistance).
The student is responsible for ensuring the authorship of the submitted work and compliance with academic integrity standards.
If the conditions are not fulfilled for passing the convocation, the maximum grade will be a 4. The student will have the right to review the exam grade (evaluation) on the day assigned by the professors. Upon this revision, the student’s grade may improve or decline.
Faraut, P., & Faraut, C. (2015). Le modelage du corps humain (Vols. 1–2). Paris, France: Éditions Eyrolles.
Lanteri, E. (1985). Modelling and Sculpting the Human Figure. New York, NY: Dover Publications.
Lucchesi, B. (1979). Modeling the Head in Clay. New York, NY: Watson-Guptill.
Lucchesi, B. (1980). Modeling the Figure in Clay. New York, NY: Watson-Guptill.
Rubino, P. (2012). Modelado de la figura humana en arcilla. Barcelona, España: Drac Editorial.
Zarins, U., & Kondrats, S. (2014). Anatomy for Sculptors: Understanding the Human Figure. Anatomy Next.
Goldfinger, E. (2000). Human Anatomy for Artists: The Elements of Form. Oxford, UK: Oxford University Press.
Additional bibliography or complementary material will be provided for each topic when necessary.