I'm an academic sculptor at heart so there will always be dense theory in these videos. Communicating theory well is a good way to provide value in my opinion. Too many artists claim to teach but teach nothing. I hope I can provide something concrete for people to apply.

Glad it was helpful!

Thank you! I'm glad you like the video "style".

The basis for the things you ask for are there. Since everything is comparative I don't need the arms or the legs to build the torso. They can be added later and built to fit what is already there. The composition is worked out in smaller scales and there is a model. If you have doubts about this way of sculpting I suggest you check out the final result.

​@@EirikArnesenArtwhat do you mean its there? end of video. no arms, no head, legs. nothing. You say its comparative. Yes it is. but in your case comparative to nothing. Because there is no arms, legs, head etc to compare it to. So how to you imply the basis is there? Sure you worked out a composition in a smaller scale. Which is great. But that doesn't mean you can skip the basics for the large scale. You simply don't sketch out a full body figure by drawing one part into detail before even starting other parts of the composition. "Since everything is comparative I don't need the arms or the legs to build the torso. They can be added later and built to fit what is already there." Who teaches that? Everything is part of the composition. the thickness of the ankles in comparison to the the wrists in comparison to the neck. All matters in regards to the piece as a whole. Structure as a whole. not in isolation. Adding detail in isolation is very strange.

In comparison to the torso of course. When I add the legs and arms I'll compare them to what is already there. I'm using the torso to set the scale essentially. That's how I'll determine the proportions. We teach that at the Florence Academy of Art. It's seems strange but it works well and we have a very good track record teaching this way. I don't really think the breasts, the abdomen and some ribs count as detail. But opinions will vary on this. Perhaps there is more than one way to sculpt? Feel free to send me some of your work and tell me how you made it if you think you have a way that's superior and leads you to better results.

​@@EirikArnesenArt sure there is more then one way to do something. I can't see how this method is any good though in it most basics. "In comparison to the torso of course. When I add the legs and arms I'll compare them to what is already there. I'm using the torso to set the scale essentially. That's how I'll determine the proportions." You restrict yourself so much by locking one area in isolation. Even if you were doing a sketch. Also this strange separation. the leg movement is impacted by the pelvis. the arms are impacted by the position of the rib cage and shoulder gurtel. To isolate and separate make no sense anatomically either. you make up borders in the composition and this case the body. Why? What are any positives to sculpt in isolation? or draw in isolation? or paint in isolation? or 3d model in isolation? or texture in isolation? It doesn't apply anywhere. starting with one part and then be restricted to by that one part is very bad practice. I wouldn't recommend it for absolutely anyone. The problem is always the same. You put in too much work in isolation while being blind on how the piece is constructed, looks and feels as a whole. Then you will have to change it later because you worked blind. but you already put too much work in so you will restrict yourself in changing the torso. nor can you change it easily because subconsciously you will tend to keep what you did. again simple blackout minimal restrictions. by working in isolation you shackle yourself and work blind. That applies to anything. Draw a plane? sketch the entire plane. Draw a landscape? sketch the entire composition. sculpt a head? sketch the entire head. not facial features with no ears and no neck. The whole composition is key. How everything relates to each other in proportions, scale, flow, connections and structure. Having blackouts of the entire piece allows you to change and explore the piece as a whole. probably the most important part. sure ribs and abdomen count as detail. for this piece. how you can think of ribs with no leg, arms and head? doesn't that sound backwards? Sadly in western schools its a pretty sad state. Russian art schools tend to be far superior when it comes to sculpture and drawing education. I would like to hear what is the negative of blocking out the entire piece versus sculpting in detail in isolation. Aware that youtube comments tend to come across as rude and brash. This is not a critique at you but at the method. I appreciate your thoughts about the method.