Bruno Lucchesi's book is interesting though it could be better if it were in colored photos. I also wonder how he removes the newspaper inside after the sculpture is ready - he doesn't show. While making the hair, he doesn't claim the attention to the serious problems of the bubbles which can explode the piece... Despite all this, it's a good book.

For a beginning sculptor, Lucchesi leaves a lot of steps out, the gaps are difficult to overcome for the starter. I also found that it was difficult to apply the techniques when trying to create an actual likeness.....much of Lucchesi's work appears to be very similar in shape and form.

I am interested primarily in learning figure sculpture, so I bought this as a companion to the volumes "Modeling the Figure in Clay" and "Terracotta." I must say I was not disappointed. The book is a walkthrough of a single sculpture, but it is not developed in the anatomical style taught in "Modeling the Figure in Clay." Students of portraiture may prefer a more detailed treatment of facial anatomy. However, the work shown in the book has the grace and "flow" which is so difficult for beginners to master -- and which is tough to learn without viewing the piece as an integrated whole.

While Mr. Lucchesi is obviously a very talented sculpter of the human physique,I found this book to be somewhat simplistic in it's approach. Going through its pages was similar to watching the how-to-paint shows on PBS,a few little tricks here and there to get a quick effect,but no real exploration as to what makes a sculpture a real work of art or a true portrait. For someone who already posseses an understanding of anatomy,who knows the foundation of modeling the head,this book describes not much more than forming a maniken. There is no discussion of the relationships between parts of the face or how those relations change with different emotions. I can only recommend this book to beginners with no previous modeling experience.

I bought this book (along with several others) while taking a class in sculpture. I found it to be the most informative and inspiring of any source, including my sculpture teacher. Using a series of close-up, detailed photographs, the book walks the student through the steps of creating a clay head. I followed them and made a good (for me) sculpture of a man's head and later a bust of a woman. I went on to make other clay faces, incorporated into mugs and pots. I don't pretend to be a great sculptor but, thanks to this book, I am able to make recognizable sculptures. The excellent directions include how to control surface texture using water and a brush; it is possible to make clay look like skin. If you are struggling to bring clay to life, this book doesn't just tell you how, it shows you how.

Randall Black