How to sculpt David Smith’s sculpture Rodin: High Relief (CNN)
David Smithes is one of the most famous sculptors in the world.
He is known for his high-quality high-rise sculptures that are part of the “world’s most expensive art”.
He is also famous for creating the Rodin sculpture in a time when there was no television, and even then only in black and white.
In this interview with CNN, David talks about how he created Rodin, and what his new Rodin works will mean for the future of high-res sculpture.
What’s the most important thing about working with a black and brown clay like Rodin?
It is very important because I am not afraid to do that with anything.
I want to do it the way it’s supposed to be done, not the way I see it, and that’s a very important thing for me.
I think it gives a sense of depth to the sculpture and it gives me a sense that this is what it should be, and it’s a challenge to me to keep doing it the same way, to do what it’s been doing for so many years, and do it differently.
What’s also very important to me is to keep it as close to what I know it should have been, which is a black-and-white image.
How much work is involved in Rodin’s creation?
I don’t know.
It depends on the artist.
It could be one day I’ll have the whole sculpture, and the next day I will have one part, and then there could be two, three parts, and so on, depending on the person.
And the artist will have to do a lot of different things to make it look right.
The main thing is that I want it to be right.
It should be a very simple thing, but I want the sculptures to be very simple.
I have a very hard time creating complex artworks.
I’ve always been very clear with my clients, and I think that’s what makes it so difficult for them to get work.
But that’s how I like it.
What I do is a very clear art that has a very, very, extremely small amount of complexity.
How does that work?
It has to be absolutely simple.
It has got to be simple.
The only thing I think about is the color, because I want everything to be black and blue.
I don’t want to have anything that’s really black or blue, and in fact, I want them to be white, which means that I have to make sure that there’s a white part of it.
The rod has to look very, really simple, like nothing to it.
It’s got to look like a little bit of a blank space.
And then when you take it out of the clay, it has to have that kind of quality.
When you put the sculpture in the clay and start to work, I put my hand over the rod, and you can see how big it is.
When I put the rod in, I have two pieces that are the same height and very close together.
I know exactly where I am going to put the pieces.
I can feel it, because there’s no moving parts.
It looks exactly the same.
So when you do a rod, you know exactly how it’s going to look and you know where you are going to place the pieces in the rod.
And I’m not going to say anything else about it.
When a sculpture is finished, it is in the same exact place.
The sculpture looks like the same, the rod looks like that.
And that’s it.
So I am really careful about everything, including the color of the sculpture.
I have a lot more freedom now to work with this material than I did 20 years ago, because we have technology that can be used for the whole world.
The world is not limited by a single color, so I can do something really different with this rod.
I really like that, because it gives you a lot less information about the color.
What is it?
You don’t really know, it’s like, it doesn’t really matter.
But I don, I really want to know.
And when it comes to the sculptor, what’s the greatest challenge in Rodins creation?
It’s very important.
Because the sculptors can make the sculpture without knowing that they’re doing it.
That is a huge challenge.
I also think it’s important to understand the artist, because the artist has to know exactly what he wants the sculpture to look, what he is going to do with it, how it will be used, how he is doing it, what it is that he’s going for, and how the rest of the world is going.
But it’s very, VERY important to know who the artist is, and who he is working for.
And how they are connected.
And where is the connection?