Beginner’s School: Sculpting the Eye

(Vivaldi’s ‘Four Seasons’ plays to :22) OK, welcome again to Renewing the Renaissance and the Beginner’s School. This is Kent Kidwell. Again helping you with this little… video on the different
elements of the human face. Right now we are working on the eye. I’ve started off with a little two inch ball of clay. Again we are using the same tools as we had last time for the nose video. Not much has changed since then, other than the fact I have torn that nose off (the board) and now we’re going to start on the eyeball. So …to begin with, what I’m going to do is press in. And I’m going to create… an eye socket . Mostly focusing on the one side. This might seem a little bit weird like I’m doing it… I’m not looking at symmetry here so much. I’m just trying to create an eye socket, so that we can begin an eyeball. So I want to make sure that I’m creating the bone structure around the eye properly. So I’m going to just cut this portion off right here, right where I would consider to be the center of the nose. So that’s done. And then from the center of
the nose… we have again, as we learned last time, the bridge of the nose, as it drops into the
eye section. Now coming out a little bit further on this one,
because I want to make sure I have enough depth… to be able to create the eyeball . So… I’m going to build the top section of the forehead piece of bone, that comes down and meets up with that … that bridge. And then I’m going to be building the lower section of the bone, part of your eye socket. And a…I’ll also throw in some fun facts as we go. For right now, let’s see if I can’t give you
kind of a.. the look that you would see underneath the flesh. Again, with all sculptures, you should be considering what’s underneath first, before you start putting
fatty tissue and muscular portions on to your sculpture. So I am going to look at this, especially around the eye, as the skull plays
so much a part in the way .. the eye looks in the end. So I’m going to go ahead and just build
that socket first. And…you can see the.. Almost as if you are starting to see a skull
take shape a little bit. You have… what would be the hole in the front
which is the septum, and the split right there between, and then it just comes down, to create
this lower form around the eye socket. Now…then the upper…make this a little bit deeper here, as it would be. So now I have basically, the shape of a human eye socket that would be…represents part of the human skull. Now when you are sculpting, a lot of times
people don’t go to this level, but I wanted to make sure that I’m showing you what’s
underneath, so you can build out. You can see how it… helps to portray the eye properly. We are not doing a specific person, so
we are just doing a generalized form. So…there we have it. Anyhow, you can see the shape of the eye socket clearly here. Alright…so now what I’m going to do, because the majority of the eyeball stays within the skull, …you only actually see a very small percentage of the eyeball. So I don’t have to make a ball shape like
this and try and put it into this skull. It just wouldn’t be realistic and would bulge out. So I only need is, a small bit of clay and then put it in the right location to kind of represent the shape of the eyeball. So I have shaped this little half… I guess a little disk shaped piece
here, with a rounded surface, and I’m going to put it right in there like that. Now understanding the anatomy of the human
face is really important, because when you do learn these things, you start to understand that the… eyeball actually sits, the majority of it sits upward in the overhang of the eye socket. The rest of it comes down at an angle like this. So we have that part in there. Looking for one of my tools here to get something in there. (looks for tools to 6:08) I keep dropping things… Alright…you know. I’m not sure why I’m not finding it. It must be somewhere. Alright. So anyway… we have again the eyeball that is kinda roughly set in this little half disk shape right in there. And a… that’s good. There is a couple of things that you’re
going to notice about the eye, is you have… right here, the tear ducts. And typically this starts about where the nostril would be, the edge of the nostril. So if we had our nose on here, just quickly going to form that in. So if we had our nose on here like this and our nostril was say, was right…about here. OK the edge of the nostril–and that’s about where we’d want to put… our tear duct, or the tip, the inner tip of the eye. And then … the width of the nose from nostril to nostril is roughly the
same as the width of the eye. So if we were to build the nose completely .. .the nose would be, say roughly around that size. And this is a…not trying to give a nose demonstration here, but you could take the measurement from the nostril to nostril, and that typically is the measurement from the tip of the eye to the outer tip of the eyeball. So again I’m not focusing on the nostril so much. I’m going to cut that off…and again focus on the eye. So… now we have a couple of things going on here. One is… there is a lot of fatty tissue and
muscle around the eye. And we just have the basic form of the eyeball underneath the two bony structures and the bony section of the nose. But we have a starting point of where the eye
tip will be. And that we know generally that the other portion of the eyeball is going to be or the end of the eyeball is going to be right
about there. Now a couple things you can check if you
are trying to duplicate somebody”s face. You can draw a line with a tool like this… Some people they might… the tip of their eye, and the opposite side of their eye, might be slightly at an angle, for
a more cat-like look. Or sometimes they are just completely even, to where the tip of the eyeball… the tear duct, and then the edge or tip of the eyeball on the other side, is exactly the same level. So I am just going to go with that, and say they are exactly the same level. This one…so from here to here is about the same, so we have
kind of a general idea of where the lower lid is going to go. So I’m going to take a little bit of clay… and I’m going to put it from there… to there. Alright..and on a human skull it goes up and over and then it cuts back to the side of the head. I don’t have a lot of the side of the head
to work with here, but you’ll notice that there is a pretty good size indention right there, that … that creates part of the brow, and then it drops down to the cheekbone. So…so now we’ve got the material here.. underneath the eye. Now making sure to clarify my line there on the eyeball. ( sculpts to 10:44) Like that. And then you will also notice that around the eye, there is a little bit of fatty material or tissue that comes off the nose right here. It starts really close to where the eye… comes together with the nose. and to about right there. And on some people, this actually goes in further here, than the outer edge of the cheekbone. On other people, it’s gradual. It slopes back and comes around the side of
the head, and doesn’t have that … that divot or… lack of flesh in that spot right there. I’m just going to go ahead and do it, so there is a little bit of a divot in there, not too dramatic. Gonna smooth this out a little bit. (Sculpts to 11:44) And then…there we go, found my tool. Again… now for the top of the eye, I want to create the lid, before I do any of the fatty tissue above the lid. So right now I’m just cleaning out the eye
socket a little bit. Now the eye is sitting in there, right now the eye looks a little bit too big, so I’m gonna reduce that down a little, slim that down a little bit. so the sphere of the eyeball isn’t quite so large. Now the human eye is about 1 inch in diameter, 1 inch. … although there is a lot to cover in the eye, it’s kind of interesting that the human eye actually can.. capture thirty six thousand bits of information per hour. Which I thought was kind of cool! It’s the second most powerful organ in the
body in that it… next to the brain. It requires a lot of…65% of your brain power goes into what your eye does, in other words, seeing things and registering those things with your brain. More truly interesting facts! Alright, there we go. So again we have the lower lid and now I’m going to build the upper lid. Now because I’m not going to make him lazy looking, I’m going to put the eyelid almost to the top of the crease there. So I’m going to build this, just a thin little
strip of clay that you can see right here. I don’t want to add too much material there. I’m just going to put that right above. Then I’m going to press it in. Just like that. And then like I said, I don’t want
him to look like he’s.. tired or something. So I’m going to cut that back a little bit. Keeping to the form of the eyeball, and that’s really important because so much of the shape of the eye is based on the shape of the eyeball. And also, so much of the shape of the eye is based on the outside regions of the eye, which is the socket. So…I’ve got…I think a decent lid there. And I’m going to go ahead and do the cornea, which is the more bulbous part of the clear, I guess you’d call it the lens, of the eye, above the pupil. When you are sculpting… especially because with sculpture, you have no colors to create shadows so much, you have to create depth using form. So by creating a cornea, a slightly raised shape, you can actually see where the eye is looking. By raising a little disk shape form that is actually on your eye, right there. And this can actually change the way the lid looks, because sometimes the corner of the eye ..of the eyelid is down a little bit further, so that you can actually see the bulge of the cornea in the eyelid. If you look closely at a lot of the classic sculptures, you’ll notice how they demonstrate the cornea in the eye. So you kinda see what I have done here. Nothing fancy… but I built the lid. Alright. Then again I’m going to clean up here, in the region of the eye tear duct, which is just a little…little kind of a shape that comes off the eye creates a tear duct… right there in the corner in the edge. So…there we go. Now we have the top of the socket, the lower socket, we haven’t added a lot of fatty material
underneath the eye. Which would mean two things: either it’s a younger person, or it’s just
somebody who’s fairly gaunt who doesn’t have a lot of fatty material here underneath the eye. But I will …want to add a little bit for character on this face or this eye. So I’m going to just clean this up a little bit. Shape the lid underneath the eye closer to the eyeball, so you can really capture the shape of the eyeball, the lids, the lower eyelid and then the upper (eyelid), as I’ve done there. A lot of times you will see a crease running
right here underneath the eye, and when you open your eye really wide, that’s where this lid will disappear into. And then you see another right below it…just like that. And in between there, you see the fatty tissue… this line right here. So…I think that’s pretty clear. Alright. So now… we have the upper socket in what would be the eyebrow, would be right up here. Right there. So I’m going to just .. quickly form in, would be a basic eyebrow and then raise it up a little bit, so you can see where it is clearly. (Sculpts to 7:58) OK good. And now I’m going to add a little bit of fatty tissue above the top of the eye–not too much, but just to create a little bit of character right there. Now I want to keep this crease, because that’s where the eyelid would kinda vanish into, if he was to really open his eyes wide. And then…this kind of shows where the socket is, that line there. OK. Now if we were looking at doing an older person, there might be some lines here between the cheekbone and the upper section of the eyebrow. You might see some wrinkles, and stuff in that spot. Just for demonstration sake, I’m just going to
leave it kinda like that. So, we have again the fatty tissue above the eye, the fatty tissue below the eye, like this. And whatever wrinkles might be in that region. If you wanted to add them. And then.. you have a line that
comes off the face right here. And sometimes can be deep enough to where you’ll actually see a crease. But for right now we’ll leave just like that. Now I’m going to clean this up again with a little bit of turpentine or paint thinner. And… hopefully it will look pretty good. (brushes on turpentine to 19:58) Again the more you brush the stuff, the smoother it starts to get. So I’m just.. gonna ‘tear loose’ here, and really try to smooth it out. What I can do after I’ve done this, is if I’ve dulled some of my details, I can go back in and rough them in a little bit, or refine them. Like the line underneath the eye…. I’d like to make that more refined. (Brushes to 20:45) Alright so that all’s been pretty good! I’m just going to quickly go in, and refine my lines here on the eye. Again the cornea. Now there are several ways of sculpting the eye. Some people like to cut out and create an inward depression for the pupil. On this piece, I’m just going to leave it like
this. You can look up…there’s many forms of references for sculpting the eye. You can see different ones. But I just want to be a little bit more simplistic. (cleans up eye to 21:40) So we’ll clean up. We’re in pretty good shape. Alright, so… that does it for our eye demonstration! I hope you found it instructive. Please join us for the ear and the mouth (videos). Those are to come. And look forward to working with you then! Thanks, bye. (The End)


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