Figurative sculptor Amelia Rowcroft lives in the lovely Sussex town of Lewes on the South East Coast of England, which dates back to 961AD.
She was kind enough to invite us into her studio in a building that once housed a brewery in the 1600s, and that’s where we recorded this episode of BWBoR.
Amelia has been sculpting practically, working in clay for over 20 years, creating primarily fine art portraits and figurative sculptures, though she has also worked within the film industry, and for the world’s leading wax figure museums including Madame Tussaud’s, and we talked about it all.
She studied at Central St Martins, and the Florence Academy in Florence, Italy, and interestingly enough, was also a student at Wimbledon School of Art where Stuart attended, though a few years behind him.
As fate would have it, another of our upcoming podcast guest artists, ZBrush Master Madeleine Scott Spencer, also studied at the Florence Academy and remembers Amelia, but we’ll save that for later.
We chatted for a good hour and a half and covered a variety of sculpture-related topics, such as why isn’t there a Museum of Crap Renaissance Sculpture so we can see the failures of the Masters – because there had to be some - and creating a likeness sculpture vs. creating a caricature of a subject. We also chatted about sculpting digitally vs. pushing actual clay around.
Amelia was kind enough – incredibly generous is more like it – to allow us to explore her online sculpture course, and it is jaw-dropping in content and ‘lightbulb’ moments.
We urge you to at least look at the sample video lessons on Amelia’s website www.sculptingmasterclass.com/collections. We suspect you’ll want to enrol to take advantage of the instruction offered by this incredible sculptor.
Whether you sculpt practically or digitally, this information is invaluable and transferable between mediums.
If you enjoy this podcast and got something out of it, would you do us a solid and tell just one more person about us? Send them a link and help us grow!
-Stuart & Todd
Paul Savage is a returning guest on the show. We caught up with him at the Prosthetics Event in Coventry. Merging medical knowledge with movie makeup, he aims to bring more realism to training scenarios. Raising the bar in simulation can help to save actual lives.
It is quite often that makeup students will work with a local emergency service and offer up their skills to make up casualties for training first responders and combat medics.
As makeup artists, we often let the dramatic effect take the reins, however, it is easy to inadvertently misdirect a clinical field assessment with incorrectly applied makeup that has been applied for dramatic effect rather than clinical accuracy.
It is important to use primary references of genuine trauma rather than copying trauma makeup that isn't necessarily accurate. By copying even good makeup, we can also reproduce their errors unintentionally.
We talk about the merits of using the right material, the right amount of blood and setting the scene. Even though it is a simulation, seasoned first responders will take their cues from what they see rather than what they have been told. So it better look right!
Regarding the mastectomy makeup mentioned in the episode, it was for the ITV Drama 'The Walk' (2005). The makeup designer was Caroline Noble and made for Millennium FX. It was applied on location by Rob Trenton.