My copy of this is very dog eared. Demonstrates how an artist can use thoughts and feelings combined with technique to produce evocative portraits.

---

Product Description

A master sculptor demonstrates how an artist can use thoughts and feelings combined with technique to produce evocative portraits in clay. Peter Rubino, who has achieved wide acclaim for his portrait busts of great sports figures, uses line drawings, illustrations, and running commentary to show how the sculptors hands and tools create a portrait likeness. 20 color and 250 b&w illustrations .

---

Product Details

• Amazon Sales Rank: #46248 in Books
• Published on: 1997-11-01
• Released on: 1997-11-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 160 pages

Features

• ISBN13: 9780823041022
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

---

Customer Reviews

Finally, a sculpting book that helps those of ALL abilities!
I was searching for a book that could help develop my limited talents. I followed Peter Rubino's guidelines and created a very credible portrait following his step by step geometric approach. This book can make everyone better at sculpting, regardless of skill level or talent. The beginner can improve dramatically - and the advanced will find new and fascinating dimensions for creating the portrait in clay. This book is a MUST READ for anyone who's had an interest in the art of sculpting at any level.

So you want to get started in clay portraiture?
Start with this book. I bought this book when I was halfway through a sculpture workshop at the Museum of Fine Arts, Boston. I learned so much from this book. Peter Rubino demonstrates two ways to "get started" and clearly shows techniques to help you figure out some of the tough parts of sculpting a head(like the eyes.) The photographs are clear and the text is direct. This is really a terrific book. If you are interested in getting started tn clay portraiture then buy this book. I'm sure you won't be disappointed.

Head on
Rubino's formula for constructing a head is a pretty sure-fire way of arriving at a structually correct representation of a subject. However, I miss the sensitivity to character and personality necessary for a true "portrait" . The fact that he does not include the full neck and shoulders so one knows how the model holds his head is important even if this part of the body is removed in the final presentation.

A student using this book should consult Luchesi and Grubbs also.