Skip to content • Skip to gallery information

Quent Cordair Fine Art

Click to chat with
a gallery representative

Like us on Facebook

« Man of the Future: Step 5
Man of the Future: Step 7 »

Man of the Future: Step 6

Man of the Future

Hello again and thank you for joining me for this Artist’s Studio. The next step from here is to sculpt the book with the hand holding it, which will be cast separately. This may seem like a trivial step, but gives an understanding of how a sculpture must be thought out to accommodate the casting process as it is being designed. Later, as we go into the mold making process, the need for casting a sculpture in several pieces will be easier to understand. Larger or more complex pieces may have to be cut or sculpted in many pieces to be extracted from the molds or just to be able to handle and move them during all phases of casting.

Man of the Future, By Karl Jensen

Here I have glued and clamped some pieces of wood as an “armature” or core which is then covered with clay just as with the figure. The hand will be part of the same casting, and the arm will just terminate out of sight under the book against the other “stump”. The book is then mounted on a base using a piece of pipe, so that it is ready for the mold making process.

Man of the Future, By Karl Jensen

Next time should wrap up the details of the piece (and I will include a close up of the finished face for Sara who was kind enough to post a comment) and then it’s off to the foundry to start mold making and casting.

Man of the Future, By Karl Jensen

Tags: ,

This entry was posted on Tuesday, January 30th, 2007 at 5:22 pm and is filed under Man of the Future. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

Leave a Reply

About Bryan Larsen ~

Bryan Larsen

"I was born on February 12, 1975, and have been drawing as long as I can remember. By the time I was in high school, I knew I wanted to be an artist, although at the time I didn't have a clear idea of how exactly I would use my talents to make a living.

"As I continued studying art, I began to suspect that fine visual art was dead. No one seemed interested in teaching students how to draw well, or paint well. More often than not, my own skills exceeded those of my instructors.

"The only field left that seemed to require good drawing, painting, and compositional skills was illustration, and therefore I began studying illustration at Utah State University in Logan, Utah. I became even more convinced that I had made the right decision in staying away from fine art as I endured course after course of required "drawing" and "painting" classes in which instructors required me to draw with "less focus", or use ridiculous materials such as shellac, glue, sand, salt, etc.

"My second year at Utah State, I met Damon Denys. In discussing Art with him I realized that there were other people who believed that technique and subject matter were indispensable components of any work of art. I then decided that I would work to develop my own painting skills with the purpose of creating artwork that I considered worthy of being called Fine Art.

"Since that time, I have studied on my own: Drawing from live models to learn the human form, studying proper painting techniques from any source I could find ample reason to trust, and developing a philosophy of Art based on reason, and life on earth.

"My goal is to portray the heroic and romantic in human nature and human achievement in a realistic style and a modern setting. I place particular emphasis on composition, technique, realistic detail, proper craftsmanship and consistency of style."