Ecorché of the Head Workshop with Stephen Perkins

Following a thorough exploration of the head’s osteology, students move on to the cartilage and myology (musculature) of the portrait following a method of “reverse dissection”. This approach allows an understanding of form beneath the skin, seeing structure clearly rather than reducing it to a vague or generalized surface. Because these anatomical forms are universal, they need only be learned once; variation arises through the infinite proportional differences that make each individual unique.

Students next progress toward the superficial muscular layer and address morphological form—the visible surface flesh. In the head especially, careful study of fat deposits is crucial, as they significantly influence the appearance of facial structures. 

Students also explore the fascinating field of facial expression, drawing on the groundbreaking research of Dr. Paul Ekman. Each facial muscle is neurologically linked to emotional centers in the brain, meaning that one’s inner emotions, thoughts, and motivations are continually transmitted through subtle muscular activity. 

Finally, having built the head, neck, and upper torso anatomically from the inside out, students will animate the sculpture—examining both its carriage (how the head is held upon the shoulders) and the six primary emotional expressions, and analyze the specific muscles responsible for each. 

Bibliography of foundational texts:

Stephen Peck’s Atlas of Human Anatomy for the Artist
Dr. Paul Richer’s classic Artistic Anatomy.
Uldis Zarins’ Anatomy of Facial Expression
Dr. Ekman’s influential Unmasking the Face.

Supplies

• Portrait Armature
• Oil-based Plasteline (WED Clay is acceptable but not optimal; no sulphur-based clay)
  
• Clay modeling tools
  
• A clear plastic bag (e.g., a dry cleaning bag), to keep the dust off of the plasteline overnight

All supplies are available in the school store, de Gerenday’s Fine Art Materials and Curiosities

Registration and Enrollment Information

Registration and enrollment for workshops operate on a first-come, first-served basis.

• Full Payment Required:
  Registration must be paid in full at enrollment to secure a spot in the workshop. Registrants without payment or payment arrangements will not be on the roster.
• Payment Plan Option:
  If you would like to arrange a payment plan, please email caitlin@lymeacademy.edu for more information and assistance in setting one up.

Workshop Refund Policy

Please review the following refund policy for workshops.

1. 72-Hour Grace Period:
   Students may request a full refund for workshop registrations within 72 hours of signing up, provided that the workshop has not yet started. The refund request must be made within this 72-hour period for consideration.
2. Non-Refundable Credit Card Fee:
   A 3.5% processing fee will be added to credit card payments. This processing fee is non-refundable.
3. After the Grace Period:
   After the 72-hour grace period, no refunds will be issued for workshop registrations under any circumstances.

We appreciate your understanding and encourage you to contact us promptly if you have any questions or concerns regarding your registration.

Questions? 860-434-5232 ext. 202

Terms, Conditions and Policies

Stephen Perkins is a classical sculptor, draughtsman, anatomist, and painter. His study includes time with some of the most renowned figurative artists of their time, including Walker Hancock, Henry Hensche, and Nelson Shanks. Perkins’ teaching credits include the New York Academy, The Grand Central Academy, Janus Collaborative, and the Academy of Art University. He created the Ecorche Department at the Academy of Art University and initiated the Sculpture Department for both the Grand Central Academy and Janus Collaborative. He has taught workshops internationally and is this year’s winner of the Stanley Bliefeld Memorial Prize from the National Sculpture Society.

Instagram @stephenperkinsart

Website stephenperkinsart.com