If, by Rudyard Kipling

If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or, being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream - and not make dreams your master;
If you can think - and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build 'em up with wornout tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on";

If you can talk with crowds and keep your virtue,
Or walk with kings - nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run -
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!

So here's what 45 minutes can produce, while listening to Yo-Yo Ma, which was the perfect music for today. But this is just a start. Still very rough and in need of refinement of planes, not to mention details. I plan to play with it some more (and hopefully know when to stop). One of the most enjoyable things about this particular work was that it felt as though my hands were far more knowledgeable about the subtler forms of the face and head. Much more confident. Clearly the skull sculpt has been a valuable exercise (although I didn't touch it today).

I'm sure doing all these little "deep muscles" is overkill, but I'm honestly having fun. Still struggling with trying to figure out which muscles go under others and which go over, especially for these deep muscles, but I'm hoping it'll all work out in the end. I do have a 3-D model of a facial ecorche but these deep muscles don't show, so it's not much help at this point.

Both of the muscles around the eye socket and the mouth start with "Orbicularis", which I'm assuming means something like "circular muscle", since they're both uniquely round (I haven't yet drawn in the muscles fibers on the mouth below, so it looks more smooth and skin-like -- I'll fix that next time).

Front view -- it looks a little off proportionally, but I think that's because I haven't put in the cartilage and muscles around the nose. Once that's in the nose will appear a bit lower than the nasal hole that's there now.

All that careful work I did on the right side of the skull, and now you're going to see the roughly-finished left side since that's the side I'm doing the musculature on. Oh well.. it'll soon be covered.

Now that I'm on to the ecorche' part I'm relying most heavily on a fantastic book -- Human Anatomy for Artists, by Eliot Goldfinger. A great resource as it isolates each individual muscle, showing exactly where it lies, where the origin and insertion points are and how thick it is. It's not a 3-D model, but it's the next best thing thanks to the thorough explanations and illustrations. It wasn't as helpful in modeling the skull, but for the muscles this book is great. My only complaint is that it doesn't seem to be laid out in the order that a sculptor would lay on the muscles, so I'm jumping around in the book and trying to figure out which muscles lie under and over each other. A bit of a challenge, but good for learning.

Skeletal part is *done*. I added the first rib and the front of the clavicles since some of the neck muscles attach there. Not having a full size skeleton model, though, I mostly roughed these in. I went to check out an actual human skeleton that a friend of mine has access to, but while it helped to some extent there were limitations. Nothing beats having a model right next to your sculpture to refer to, but I could only take photos of this specimen for my use. And anyway, it was a 4' 10" tiny little specimen, so it was like looking at a somewhat miniaturized version. But finally it's on to the musculature!

Felt a little bit like a dentist today, spending much of my time on the teeth. Thank god for those little rubber-tipped clay tools. They were perfect for this particular job. I still need to go back and lengthen the front couple of teeth a bit and adjust the gum line down in front (hmm... the bony part is probably not referred to as "gums", true?), but it's coming along. I also did some major tweaking to the mandible as well as the whole back half-hemisphere of the skull, removing a significant amount of clay. Still a lot more to do to get it refined to the level I want it, but the end is in sight. You can see the two skull models I've been working from below. Big differences between the two! The one on the right is a female skull, but the bony parts around the teeth are significantly eroded, so I'm glad to have the other skull to fill in the missing information.

A little glimpse at my work set-up. I've been keeping track of my hours on this project and it's been about 40 hours so far, not including the time on the armature.

Wrapping up the cervical spine. I wouldn't call it perfectly rendered, but I think it's decent enough to call good. For now. Most importantly, I've learned a lot about about the specifics of the forms of the vertebrae, with much thanks to the model I purchased. I'm convinced that when it comes to learning artistic anatomy, your money is generally better spent purchasing quality models than taking a class. And what's next? Tomorrow I'll revisit the skull and start the final refinements. Not sure I'll get to the ecorche' this week, but definitely soon..