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Intermediate: Individual Research: Request for Proposal (RFP)

Bader 72A class of this level is a junior/senior level experience in sculpture.  As such the student is responsible for developing and presenting a digital file and printed statement of their intentions for the rest of the semester.  It should include a theme description, images of other artist’s works that are similar thematically, the materials and techniques believed appropriate for this theme. Personal deadlines are valuable assets for individual growth and will allow one to self check progress and stay on schedule to deadline. Develop this in the proposal to assist in staying on task. The instructor will consider the proposal and, if need be, ask the student to make adjustments that strengthen their ideas/concepts or stretch their creative reach.

Below is a brief outline of format and what is expected in the proposal. It is anticipated that the proposal be presented in a format of professionalism that expresses this advanced level course. Three to five pages is an average goal for this assignment.

Project Assignments:

  • Research Proposal: Statement of Intent: Due Date by instructor mandate
  • Minimum of 2 sculptural compositions: See syllabus for scheduling
  • Artist Statement for each composition (Focus on the individual composition)
  • Documentation: Photo images of finished pieces
  • Sketchbook: Research for each composition (5 page minimum per composition)
  • More information on these topics below.

Research Proposal: Statement of Intent

  • Cover sheet:
  •  Title: “Course Proposal: Sculpture “Course Number”
  • Prepared for: Instructor’s name, Advanced Sculpture (Semester and year)
  • Prepared by: “Student Name”
  • Date

Proposal Summary: One to two page

  • Objectives
  • Goals
  • Research
  • Personal Deadlines
  • Additional images and  documents to add to your proposal (See below)
    • Notes on imagery:
      • Artist research: Articles and Artists Statements
      • Images may be printed within the body text
      • Images may be printed on pages after the body text. Try to note these in your body text.
      • Your Sketch book or a copy: Sketches and ideas of your intentions

Presentation: 

A presentation to the class will be expected on the due date of this statement. Be prepared with your statement of intent, drawings, rough sketches, lists, images and other information gathered for your research. This will be treated as a critique session in which student engagement, ideas and feedback will be expected during the discussion. Digital format should be the goal for this assignment. Please submit via email, yet a portable storage device may be used to transfer files to the instructor.

Media Presentation: (optional)
A Power Point/Keynote presentations may be delivered to the instructor and your peers in group critique. This type of presentation should set the bar for your peers. Please give a copy of your presentation to the instructor, and remember to have a digital copy in your final documentation for the course.

Minimum of 2 sculptural compositions required:

Unless the work you plan to create is very large in scale or requires extensive processes to create, you will be expected to produce no less than two compositions for the remainder of the semester. The instructor will consider your course proposal and, if need be, ask you to make amendments that will strengthen your ideas, concepts or stretch your creative reach. If there is no production or production is deemed very low at Week 12 the grade for this course will be greatly compromised.

See syllabus for due dates of individual projects:

Photograph your work as you finish or revise. This will gain focus and some flexibility if documentation requires editing later on.

Individual Artist Statement for each composition:

A one-page artist statement of two to three paragraphs, three to five sentences each, should be the goal for each sculpture created this semester. Printed/Duplicated statements should be presented at the beginning of the critique session or one class session after the critique of the composition to gain full credit. Initially the student should research artist statements. Develop these statements as an individual statement about each individual piece. They should not read the same. Do not reference the other works in the series. Envision the piece as it may be going to an exhibition without the other work. Speak about the work and not your personal experience and processes that have little to do with the viewers understanding of the finished product.  Use the responses you get during critiques to further develop writing and interpretations of the work.

Initially, one should research artist statements and art reviews in publications. Drawing from this research will no doubt provide a solid direction in understanding the variety of individual artist statements and in developing authentic statements. There are many opportunities to examine the variety of artist statements. Solo and group exhibitions usually host artist statements within the show. These are good examples as they usually inform the viewer of what “ties” the work together. Which is what you are trying to do for this course.  Artist websites may also have statements linked to them. There are many “How to do’s” as well; books, publications and websites. An internet search for “writing artists statements” will no doubt bring you many bounces to work from.

You’ll find many examples of artists statements and many differences in styles. My preference is to see that you can step away from the work and observe it as the critique/viewer. You’ll here me say strip it down, get rid of “I”s and “Me”s.  Challenge yourself to make the statement personal, yet do it with a vocabulary that  is of a professional level.These exercises will strengthen your writing skills and build your vocabulary.

Writing an artist statement should be much longer than a 30 minute exercise. Content and format should be well investigated. Spelling and grammatical errors will count. (There are too many word processing tools that can assist you in this area.) Proof read and have some one else proof read for you before your final draft. Your final draft should be a printed format and a digital format in a Word Doc. (No Rich Text Formats, “.rtf”)

“Develop a language that addresses the truth that can be found in the work.” 

Artist Statement Criteria: 

  • Header Top of Page:
    • “Artist Statement” (Helvetica, Bold 13 pt)
    • Title of piece or title of statement, (Helvetica, Bold 13 pt)
    • Your name, (Helvetica, Bold 12 pt)
    • Course , semester and year: “Art 3710_Fall 2015” (Helvetica, Bold 12 pt)
    • Your font choice should be in accord with your portfolio font choice
  • Body:
    • Write a minimum of Two Paragraphs on the subject.
    • Below is a list of topics to contemplate for your statement
    • Concept: What ideas are being communicated through the work?
    • Does the process add to the concept? How?
    • Do the materials add to the concept? How?
    • What design elements add to the concept/aesthetic. How?
    • What principles add to the concept/aesthetic? How?
    • Does content or context add towards the interpretation of the piece? How?
    • Does performance or audience interaction contribute to the idea? What and how?
    • Edit: Focus: Narrow the statement down to what makes sense. Delete superfluous information.

Artist Statement /Writing Style/ Presentation:

There are many ways to write an artist statement just as there are many ways to develop an artistic composition. Below are some strategies that will help and challenge your abilities to express in words the concepts of the work you develop.

Suggestions: 

Step away from the work. Speak directly about what the work exposes to its audience. Try to look at the work and define what you see. Some times the simplest observation carries a bulk of content. What are solid truths that the viewer can gather from the work? What are obvious connections that allow the viewer to understand or interpret the work?

Write with conviction and truth. If its not there it will not make sense.

Separate your identity from what you see. Develop your statement without the use of self declarative statements. Keep them at a minimum if they are necessary. Try not to use I, me, and my statements. This challenge will assist you in stepping away from the work, strengthening your analysis and statements of the work, not to mention develop your vocabulary.

  • Try not to be redundant in your statements.
  • Try not to use the same word over and over again. Use a thesauruses.
  • Try not to sound or come off as defensive.
  • Stay away from run-on sentences. Use periods for pauses, speak in complete thoughts, use fewer commas.
  • Develop grammar strategies.
  • Use proper tenses.
  • Have some one proofread and critique your statements.

Documentation: Due at Final Critique, Week 15

Your final will be in the format of a “Professional Portfolio”: (Digital format and a binder/folder)

  • Research Proposal:
  • Portfolio images: Digital Images of your work (Portfolio Ready)
  • Image inventory Sheet
  • Artist Statements (3 revised statements)
  • Sketchbook: Research for each composition (5 page minimum per composition)

Due on final exam day of this courses, the student will be required to present “Documentation” of their individual research in digital format.  Documentation should be turned in no later than the day of final critique for this project assignment. Below is a brief outline of format and what is expected in your documentation. A document and file naming system should be utilized to organize the materials submitted for review. These files will be useful for your professional career. Store them for future updates, maintenance and edits.

Research Proposal: A copy of your original proposal

Portfolio images / Digital Photographs:

Images should be in digital format. Jpegs at 300dpi (5x7in) or larger are preferred. If you need assistance please ask the instructor. A CD/DVD of images is preferred, yet a copy from an external storage device will be accepted. Develop a file naming system to organize your images. Do not embed portfolio images in word files.

Photographing your work is an important step for your portfolio and professional development. As you begin to show your work professionally, you’ll find that the images of your work are usually the only link between you and the venue you are attempting to enter. It is critical that these images show your work in the best light possible. Ample time should be devoted to setting up, staging and photographing the work.

Strategies to consider:

  • Research: There are many examples of good photography of 3-D work and many “How to do”s as well.
  • Neutral back grounds work well, eliminate clutter. I suggest a grey screen.
  • Lighting: Light forms well, yet eliminate as many distracting shadows and highlights as possible.
  • Composition: (Your Best Side), The side of the work that shows off your work.
    • It is 3-D, there is more than one side…
  • Composition: (In the Frame) Remember to compose in the frame of the camera.
    • What composition is the best translation of your work from 3-D to 2-D.
  • Remember the image is about the work, Your piece should be the center of the photo image.
  • Think positive and negative space as you crop into the work. These make for exciting compositions.
  • Detail shots: A detail shot can sometimes make the difference. Highlight your work by cropping into successful areas of your work, perhaps an area that shows off your craftsmanship or a dramatic composition.  Two to three of your best detail shots can be added to your main image submission.
  • Alternative Compositions for presentations: If you see that you will be using the images in a presentation that includes text or alternative compositions develop a strategy. Create images that will make these compositions stronger.
  • Take more images than you think you need. 

Artist Statement:

  • One revised artist statement for each required composition.

Sketchbook: Research for each composition:

A sketchbook is required for this course.  A sketchbook allows the student to explore an idea in more depth. Spring boarding from an original idea, the sketchbook usually assist in creating a series of new ideas which can be central for this course level and future endeavors in art making.  Planning, sketching, and drawing will allow the student to become acquainted with an inventory of materials and processes that will have to be gathered before executing a project. Further, it  will give the student the opportunity to explore ideas without exhausting time and materials on an idea that may fall short of success due to material, facility, or time restraints. It is suggested that a hardbound sketchbook be purchased for this class.

Your Sketchbook should include a minimum of five pages of research for each project. Your sketchbook should include: Sketches of your ideas, copies of article on artist, artworks and topics that inspire your work. Your Sketch book will be evaluated during critiques and due to the instructor along with Final Documentation.

Strategies to Consider: Below are some strategies to consider in developing the portfolio.

Asset Management: Organization and File Naming Systems:

Organization is crucial in developing a professional practice as an artist or art business. Keeping your art work maintained and ready for exhibit is one thing but the other end is having materials ready to submit to exhibitions. Juried exhibitions usually have individual criteria for image naming systems and the information they require for entries. Solo exhibitions will expect more information. Graduate programs expect a mixture of the the two. Then as one may move further, say looking for teaching positions at a college or university, The process is expanded further for the need of teaching materials and student work examples. Not an easy task, but planning in the forefront will assist one greatly in work ahead. This is where organizing and file naming systems work to your advantage.  Below are some examples.

Naming “Document Files” such as your CV and Artist statements:

This is an example of how I handle this.

In a folder named “00_Portfolio_Marquez_David”. I develop a numbering and naming system that works well for most of the applications I will be working with. Start with the thing you want the potential viewer to read. Say your Cover letter if its a job. I have several generic files that I work with, one for each application. Then I move on from there with the CV and Artist Statements etc. I add dates to these. So I have back ups of files and am able look back and see my development. I keep the old files in a archive folder. These files are updated more than annually, as I create new work, and new ideas develop. See example below:

000_Marquez_CL_010212
001_Marquez_CV_010212
002_Marquez_AS_120211
003_Marquez_SlideList_010212
004_Marquez_ImageFolder

The ”Image Folder” contains image files. The naming structures work along the same lines, but just to keep things in order, I have different folders of images, One that is my main pool of images, raw files untouched and un-edited, one that is my juried exhibition ready images, and a portfolio folder of 20 images that I send off to solo exhibition request. This may include a title, a year of production and something to distinguish it as a detail image. See below:

001_Marquez_VOW_2008
002_Marquez_Fetish_2009
002_Marquez_Fetish_2009_Detail
003_Marquez_Vessel01_2010
004_Marquez_Vessel02_2010
005_Marquez_Vessel03_2010
005_Marquez_Vessel03_2010_Detail

This system changes for different applications. A spread sheet may be used to keep other information that is required for exhibitions. A “Slide List” is used for most exhibition entries. Both contain information such as the size/scale of the objects (HxWxD), materials used and a sale price. Make an effort to keep this information handy.

Example : Spread Sheet with information.

Portfolio Presentation:

On the Final Exam Day of this course, a brief slide presentation of your portfolio to the class may be expected. The instructor will schedule presentations if time allows. Please submit your images to the instructor two weeks before finals week, so that the presentation can be organized. Digital format will be the goal for this assignment. Presentations will be delivered to the instructor and your peers in a group critique. This will be treated as a critique session in which student engagement, ideas and feedback will be expected during the discussion.

 READING FOR PROFESSIONAL ARTIST:

Below is a beginning list of publications that are expected reading for professional artist. These readings offer mush in the exploration and comprehension of alternative approaches to studio, concept, and the business of the arts.

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Hot Metal Casting: Lost Wax Process

Perry_Beauty is in the Eye of the Beholder_2008Mission: (Project Description)

Hollow lost wax casting method: A unique wax pattern will be developed using plaster and rubber molds. The wax pattern will be taken through the “Lost Wax Process” to create a unique bronze or aluminum sculpture with a patina or alternative finishing method. Individual students have a choice to cast a wax form presented from a previous course or to create a new hollow casting for this project. A hollow lost wax casting method is the only technical criteria. If a new casting is to be produced, you are encouraged to create a composition and concept that pushes the envelope of this level course.

This project will challenge and further introduce the student to the processes of casting metal. A traditional investment material of plaster, silica sand and silica flour will be used for this project. The student should show an understanding of the methods listed below. A metal form will be cast and finished by the student.

Assignment:

For this assignment you are asked to build a 3- dimensional sculpture using at least three different wax elements. Wax welding will be used to bring these forms together in a well developed composition. You are encouraged to develop a sculpture that projects this level course. Create a form that suggest a concept that will engage your audience. Keep in mind that you should make some formal and technical decisions about visual balance, weight, interior and exterior form, proportion and other elements of design.

• Create a wax pattern. Plaster and rubber molds may be utilized.
• Include a hollow form in the composition.
• Assemble wax composition pattern from multiple wax objects.
• While building, consider casting methods and techniques, air traps, venting strategies.
• Create wax gating and runners from plaster molds.
• Create string vents.
• Gate, vent and prepare wax pattern to be cast.
• Prepare investment flask and chicken wire support.
• Invest wax pattern in Plaster/Silica Sand/Silica flour Investment mold.
• Wax will be burned out in kiln, This s a three day process. Plan for this in advance.
• Cast object in metal: This will be a team coordinated effort.
• De-invest pattern from investment mold.
• Remove gating from the casting.
• Metal Finish: Fasten or weld if necessary, chasing, grinding and filing.
• Metal Finish: “Patina”, chemical treatment of metal surface.
• Seal the form in wax or other finish.

Reliquary Component: (Optional)

Build a reliquary for your final chosen object. This reliquary can take on many forms but should house your form with absolute intent. The marriage between object and reliquary should make sense and have a good balance to focus the audience towards your work. Again craft is very important. Below is a list of types of reliquary objects and materials acceptable for the project.

• Wood: Sculpted, hollowed out, or fabricated wood structures
• A well designed/crafted crate may be fabricated as well.
• Plaster, plastic or wax castings of the body or other objects.
• Note: Plaster can be sculpted cast and  hollowed out to hold an artifact.
• Installations: Consider the idea that a reliquary is much like a shrine
• Metals fabrication/containers
• Glass
• Plastics
• Books: Sculpted, hollowed out, or fabricated structures
• Paper, books, and cardboard:

It is expected that the concept and fabrication of the reliquary and the marriage to the object, be convincing. Challenge yourself to meet the aesthetic and craft related to your object or concept and to the echelon of this course.

Craft:

Set yourself up for success. Craftsmanship should be strongly considered in developing a “good” pattern. Strive for craftsmanship even in the gating system. These considerations will make de-gating and finishing a much easier task once the form is in metal. Take care and don’t rush the process and the process will work for you rather than against you.

Hot Wax:

Wax is very hot, be careful in handling molds during casting and when welding wax. Red casting wax temperature should be between 250 and 300 degrees F.  Do not let wax smelter get too shallow. If there is no wax to fill it, turn it off. Wax should be left on continuously during our use. If you are the last one in the studio and leaving for the day, turn it down to 250 degrees F.

Alternative Materials:

Other material may be explored with instructor approval.

  • Natural Materials (Use your imagination)
  • Cotton cloth
  • Wood
  • 3d printed PLA and ABS

Larger Forms and Post Fabrication:

Scale: The sculpture scale is limited to the designated size in which the foundry can accommodate for this class. Plan ahead, measure the size of the burn-out kiln before you create a mold that will be too large for the kiln interior volume. Forms can be post fabricated. Think ahead. Think Modular. Design larger forms with smaller components that can be cast and fastened together to create the final larger form. Post fabrication techniques includes tap and die, screwing, bolting, keyed, welding, etc.

Kiln: You should keep a three inch perimeter around your mold away from the kiln interior wall to allow an even distribution of heat around the mold. Allow 6 inches of space for height. Shelving or kiln brick should be used to support your mold off the kiln floor. Kiln should be vented to allow moisture and carbon to escape.

Clean-Up Reminders:

Wax Work:

Cover the table surface when using wax: Use thick plastic, metal or cardboard to cover the tables and work areas. If these are unavailable cover your work area with newspaper.

Plaster Work:

Use newspaper to protect the table surfaces.

Investment:

A traditional investment material of plaster, sand and silica flour will be used for this project. To assist in clean up a layer of cardboard may be placed under your investment flask. Clean up accordingly, removing waste to dumpster behind sculpture.

Metal pour:

As a team you all will be in charge of coordinating and implementing metal pours. Primarily, your instructor will be available to assist in some process and technical questions and to observe. All pours should be scheduled during class times.

De-Investing:

When de-investing, remove the waste material to the dumpster. This material gets too heavy for one person to clean up. A metal garbage can, hand truck or cart may be used to transport the material to the dumpster. Just remember, If you make a mess, clean it up!

Wear appropriate clothing during foundry pours.

• Cotton clothing, pants and shirt.
• Leathers or Fire resistant suits
• Safety Glasses
• Safety shield
• Hard Hat-welding cap
• Leather covered shoes (Steel toed preferred)
• Leather chaps or leggings
• Leather spats
• No Poly blends, No Pleather: These can be extremely flammable near the pouring activities.

Tools and Materials:

• Eye Protection/Safety Glasses
• Dust Mask/Particulate Respirator
• Sketch Book
• Clay Tools
• Hot knife or soldering tool
• Hobby knife
• Fettling knife
• Trimming Tools (Various sizes)
• Loop, wire and ribbon tools
• Wooden modeling tools
• Needle Tool
• Wax smelting pot
• Wax
• Wax tools
• Materials for cast pattern
• Mixe media
• Adhesives, fastening materials
• Wood
• Wood Shop
• Metal
• Rubber or Latex gloves• Metal: Aluminum, Bronze, Iron
• Casting Foundry/Furnace
• Welding Eye Protection
• Welding Gloves
• Angel Grinder
• Grinding disc
• Cut off disc
• Flap Disc

Type of facilities and furnace will designate what casting metals will be used.

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Metal casting weight:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Method: Planning, Cutting Safely, Building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern and mold Making
  • Volume: HWD
  • Fabrication techniques: Wax and metal casting fabrication, Object creation
  • Mold Gating/Sprue Methods
  • Hot Metal Casting Process
  • Successful Casting
  • Metal Fabrication techniques: Post Casting fabrication, Object Installation
  • Structural and Aesthetic qualities
  • Finishing Techniques: Heat and chemical surface treatments
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft
  • Conceptual development

Evaluation:

  • Work Ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Well Engineered and Functional mold
  • Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.
  • Post Fabrication and Insatlation
  • Conceptual development

Caution:

Chemicals and fumes: This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Use a respirator and rubber or latex gloves while using chemicals. A dust mask may be used rather than a respirator. The respirator will provide much better protection. Be aware, if you notice an allergic reaction such as skin irritation as a result of use of  any materials used, please inform the instructor.

Hot Wax: This project will incorporate hot wax and wax welding tools. Be careful for yourself and when working around others. Safety and a disciplined studio etiquette should be followed during all studio activities. Hot tools will burn, be careful to not place them on any surface that will burn or melt. Be aware of people working around you. Turn off or unplug tools when leaving unattended.

Foundry: This project will incorporate the use of the foundry and “Extremely Hot Metal”. Safety and a disciplined studio etiquette should be followed during metal pours and all studio activities.

Note: Ceramic Shell and other casting methods may be used as an alternative to this project, with instructor approval.

 

You tube Video:

Wax Gating for Lost Wax Process: Hollow Patterns 

Research/Inspiration:

U-Ram Cho
Kris Kuksi
Christian Marclay
Tim Hawkinson
Andrew Werby
Louise Bourgeois  PBS
Jessica Joslin
Kathie Olivas and Brandt Peters
Elizabeth King
Ron English
Steve Dilworth
Sophie Kahn
Becky McDonah
Christopher Conte
Ashley Wood

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Hot Metal Casting: Sand Molds

06_Wheatley_Toxic Swimmer_2014

Mission: (Project Description)

In this project the student will learn the process of developing a metal casting using a two-part sand resin bond mold. The first part of the project will be to create a pattern using a variety of methods and materials. Mixing sand and resins the student will create a mold. The mold will be used to create a void to be poured in metal. The metal sculpture will then be finished accordingly. The student will be graded by keeping schedule with the processes of the assignment as well as the finished form. Keep up, so you do not fall behind.

Sketchbook Assignment:

Sketches of your ideas should be rendered before and during sculpting. A minimum of five pages should be dedicated to this sketching component. In addition, find a minimum of four cast sculptures or objects that inspire you. Printed images of these sculptures or objects should be placed in your sketch book. Your sketch book will be graded along with your project.

Project Tasks:

Metal casting: Create a metal casting using an original student created pattern and a multi-part sand-resin bond mold.

  1.  Form: Create a pattern, Open to individual concepts.
  2. Surface: Form should have at least two textures that create balance in the form and surface, yet contrast significantly.
  3. Movement: Form and surface should draw the viewer around the form  
  4. Multi-Part mold: Using the pattern, sand-resin bond will be used to create the components of the sand mold.  Gating: A gating system will be carved into the mold parts to allow metal to be poured into the cavity left by the pattern.
  5. Yoke: Create a yoke system for the mold.
  6. Casting: Pour the sculpture in metal.
  7. De-gating and Metal finishing: Prepare the form for patina.
  8. Patina/Surface Treatment: Patina or dye-oxide
  9. Sealant: Seal the finished form.

Pattern Note:

Create a pattern using a material that will pull out of your mold: clay, wood, paper, styrofoam and many other materials may be used. Your pattern should be well crafted. Create a draft in your pattern so it pulls from the mold more easily.

Pattern dimensions should be approximately 4.5 x 8 x 2  inches. This is the smallest dimension. Due to material availability consult the instructor before executing larger forms. Realize… the larger the form, the larger the mold, equals more work and material cost.

Wood Shop Note:

Before cutting any materials in the wood shop, Make sure all staples and metals are removed from the material. Make an extra effort to affirm that no screws or nails remain in purchased or reclaimed materials.

Group Participation:

• Mold Making: Group Engagements: There will be several Sand Parties to create the “Sand-Resin Bond” molds. This will be a class endeavor, where sand and chemicals will be mixed and rammed at the same time to reduce waste. Absence or lack of participation during these events will have an effect your grade. Excess sand from this process should be promptly rammed into Scratch block molds.

• Metal Casting: Group Engagement:  The form will be cast in metal using the foundry. Casting crews and task will be designated. Attendance and participation offer much to the experience. Absence or lack of participation during these events will have an effect your grade.
Wear appropriate clothing during foundry pours. 

• Cotton clothing, pants and shirt.
• Leathers or Fire resistant suits
• Safety Glasses
• Safety shield
• Hard Hat-welding cap
• Leather covered shoes (Steel toed preferred)
• Leather chaps or leggings
• Leather spats
• No Poly blends, No Pleather: These can be extremely flammable near the pouring activities.

Tools and Materials:

• Sketch Book
• Dust Mask/Particulate Respirator
• Safety Glasses
• Protective clothing: Leathers
• Materials for pattern
• Mold materials
• Sand
• Sand resin chemicals
• Wood
• Wood Shop
• Metal: Aluminum, Bronze, Iron
• Casting Foundry/Furnace
• Rubber or Latex gloves
• Welding Eye Protection
• Welding Gloves
• Angel Grinder
• Grinding disc
• Cut off disc
• Flap Disc

Type of facilities and furnace will designate what casting metals will be used.

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• Metal casting weight:
• Year Complete:
• Course:

Tape your label to your project. Use masking tape so that it will not harm your project.

Objectives:

  • Method: Planning, Cutting Safely, Building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern Making
  • Mold Making Process: Cope and Drag
  • Volume: HWD
  • Mold Gating/Sprue Methods
  • Hot Metal Casting Process
  • Successful Casting
  • Fabrication techniques: Post Casting fabrication, Object Installation
  • Structural and Aesthetic qualities
  • Finishing Techniques: Heat Treated Patina
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft

Caution:

Chemicals and fumes: This process uses chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. Please use a respirator and rubber or latex gloves while using chemicals and chemically treated sand. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Foundry: This project will incorporate the use of the foundry and “Extremely Hot Metal”. Safety and a disciplined studio etiquette should be followed during metal pours and all studio activities.

 

Research and Inspiration:

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Plaster Carving Non Objective Form: Abstraction Morphing/Transformation

Wheatly_MMission: (Project Description)

Using two forms build one, morphing the forms together to become a non-objective or abstract formal composition. The original forms are to be used as inspiration to assist in guiding the form. Use elements from each, yet develop your sculpture as a unique entity with an elegant form and a clean aesthetic. Original chosen objects may be mechanical (man-made) or natural.

  • Bring a wire cloth hanger and nylon stocking. This will be used to build a non objective form to base your carving to. The wire will be an armature for the nylon which will become a surface and skin.
  • Bring two interesting objects from home, which are approximately the size of your hand. Objects may be mechanical or organic.
  • Bring a container to build a blank. (1 gal. container.)
  • Create a blank from plaster.
  • Brain storm and Sketch ideas.
  • Plaster Carving: Create an abstract form from objects and sketches.

Sketchbook Assignments: (Five pages)

  • Assignment 1: Sketch original objects in your sketchbook. (3 views of each, 2 pgs)
  • Assignment 2: Preliminary and in process sketches of plaster form. (3 pages)

Additional Criteria: Strategies, Technique and Composition: (Project Description)

  • Clay may be used as a modeling/sketching tool: Sketches do not always start in the sketch book. Model, in clay an abstract form, drawing characteristics from your two objects. This will assist you in developing the composition. Images of these moquettes may be placed in your sketchbook and are valid sketches.
  • This project relies on the elements of light and shadow. Carve so that light and shadow create the dynamics of the form. No paint, pigments or inks should be used for this project.
  • Use repetition, directional curves and form to create a since of movement.
  • Develop a composition with movement that will draw the viewer around and into the form.
  • Use models, sketches and your own intuitive inspirations to create. Process will play a great part in your exploration as you learn the material, developing carving techniques and sensibilities.
  • Think about how these objects work together to create one form or how one may seem to dominate over the other, seeming to swallow or assimilate.
  • Craftsmanship: Elegant form and a clean aesthetic should be a goal.
  • Pay attention to building a form that has interior definition as well as exterior. Carving and modeling in the interior of the object will challenge your abilities, as always you are encouraged to push beyond the average.
  • Do not leave any indication of the container of your original form. Work the whole form.
  • Remember its okay to go back to sketches drawn or sculpted to alter and redesign your composition as you work through the project. This is a part of the process.

Tools and Materials:

  • Clay for sketching (Plasticine)
  • Plastic or wax Container- Bring your own. Plastic or wax coated.
  • Pottery Plaster No. 1
  • Sanding Screen (Drywall Sanding Screen or sand paper)
  • Sketchbook
  • Plaster Drywall wrasp
  • 8” Rasp- Purchase at art, wood or craft stores
  • Other Scraping Tools: Spoons forks, Files, Knives, Drill
  • Clay trimming tools, spoons, knives, forks, old saw blades (be inventive)
  • Dust Mask

Project Critique:

  • Project should be finished before the beginning of class critique session.
  • Projects will be discussed during the critique.

Think About:

  • The Elements of Design: line, texture, shape, light, form, space, time,
  • The Principles of Design: balance, proportion, rhythm, emphasis, and unity
  • Exterior vs. Interior, Primary and  Secondary Contours, Positive & Negative Forms, Static and Dynamic Forms

Photographing your work:

Photograph your work: A minimum of two types of images of your object should be made and emailed to the instructor of this course.

As an artist, a good portfolio will always set you apart from the rest of the crowd. When it comes to artist portfolios, pictures of your artwork are usually the first time a person may be introduced to your work. The images you provide are usually what make the biggest first impression. There for, it makes sense to practice photographing your art at the beginning and throughout your art career.

Image 1: 3-D portfolio image:

Neutral Setting Studio Shot: Should have no visual relationship to other objects. One should not be able to determine the size of your finished form. Good composition, good lighting and the best representation of your object is the goal. Minimize unnecessary shadows and highlights. A grey screen and lighting is available in room FAC 183. Take many shots of several sides of the piece. View them all on a computer screen before editing to the best.

Image 2: Creative Monumental Composition Using Forced Perspective:

Create the illusion that your sculpture is monumental by using forced perspective. Forced perspective techniques manipulates our human perception with the use of optical illusions to make objects appear larger, smaller, farther, or closer than they actually are. Movie makers sometimes use forced perspective to turn plastic toys and other objects into gigantic forms and characters we see on screen. The use of digital effects today still incorporates this popular way of portraying scenes or objects. A search on the web should gain several hits on strategies for creating a forced perspective image.

Before Critique:

Write a short paragraph about the form.

  • Descriptive, poetic, narrative…..What is or can the piece be about?

During Critique:

Reactions to work done by peers.

  • Use your own dialogue and the following:
  • Reactions to form: Positive reactions-Negative reactions
  • Sensibility to form:
  • Elements of Design:
  • Principles of Design:
  • Concepts: What ideas come to mind when you look at the object?
  • Relax: Keep an open mind.

Research/Inspiration:

 

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Cardboard: Mechanical Objects to Cardboard Objects

11MarquezStudent_2013In this project you are to use reclaimed cardboard to render everyday objects. The cardboard structures emphasize the importance of reusing and recycling materials and should provide an inspiring example of creative thought and innovation through repurposing materials.

Mission: (Project Description)

Your mission is to build a mechanical object from the structural and aesthetic qualities of cardboard. Using cardboard, adhesives and possibly some fasteners (such as string, nails and screws) you will be building a 3 dimensional duplication of a mechanical object/device. The finished form should be at least 18 inches in one dimension. Glues are allowed on this project. Tapes or fasteners may be used as well. Hide them and use them strategically, to develop a consistently crafted object. Think: craftsmanship!. Folding, cutting, de-lamination, lamination methods and strategically placing cardboard in a consistent structural method should be a goal. Conservation of materials should be considered as well. Size and weight of the final object is a usual obstacle for sculptors.

Project Description:

Find and choose a mechanical object to model

Begin by planning and drawing: Experiment with cardboard, illustration board, foam core, or thick papers to learn how structures can be built.

Sketchbook Assignment:

Five pages of notes and drawings for this project is required: Draw at least 5 views; a top, a side, a front, a back, a bottom, and perspective views. Details should be considered, as well. One drawing per page. Printed photos can be added as well. You should consider on each of these drawings, details on how you plan to structure or put your piece together. Measuring and recording your dimensions here will also assists in your mission.

Scale:

Drawing and measuring is good research and development. The object you chose will be scaled to at least 18 inches in one dimension. Use “Multiplication” to Scale your object. Example: If your original object is six inches in its longest dimension. You will need to scale the object up three times its original size to achieve the 18 inch finished dimension. Ergo each component part’s measurement will be multiplied by three.

Maquettea:

Small maquettes with paper or illustration board as a starting point will allow you to work out a lot of unforeseen issues when you get to the building stage of your project.

Modular:

If you chose to make your form modular, assembles and disassembles for transport and storage, consider the following. While cutting openings for interlocking card board pieces make the openings large enough so that assemblage and break down are easily done without any damage to your piece.

Production:

The cutting room floor: Your task is to develop a 3-dimensional solution to this problem, with a clean approach to aesthetics (Good Design), good to excellent craftsmanship and a conservative use of materials. THe finished piece must be 18 inches or greater in one of its dimensions. A major goal is to construct the form entirely of cardboard and glue.

NOTE: Please refrain from cutting on the table surfaces. Use a matt of cardboard or other material if you use the table. The floor works well to give one space to work and cut without damaging the table surfaces.

Tools and Materials:

  • Utility Knife/ Exacto knife
  • Tape
  • Wood glue
  • Cardboard
  • Cardboard paper
  • Pencils
  • Rulers and Measuring tapes
  • The Wood shop

Objectives:

  • Material Characteristics:
  • Cardboard: Structural and Aesthetic qualities
  • Method: Planning, Cutting Safely, Building techniques and strategies
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft

Research/Inspiration:

 

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Wood Transformation

05MarquezStudent_2013

Premise:

In this project the student is asked to create a sculptural form from wood material. The form does not necessarily need to look like a specific thing. It may be non-objective if desired. If the goal is to create a representation of a real object, a model should be made available. As a basis 2×4 material may be purchased. Students are expected to acquire their own materials for the project.

Scale:

A composition of two feet in one direction is expected.

Sketchbook Assignment:

Sketches of your chosen object should be rendered before and during sculpting. A minimum of four pages should be dedicated to this sketching component. In addition, find four wooden sculptures that inspire you. Printed images of these sculpture or objects should be placed in your sketch book. Your sketch book will be graded along with your project.

Wood Shop:

Before cutting any materials in the wood shop, Make sure all staples and metals are removed from the wood material. Make an extra effort to affirm that no screws or nails remain in purchased or reclaimed wood.

Using the table saw, trim the rounded corners from each 2×4 and other milled wood. This will assist in hiding seems when wood is laminated together.

Each students must use the band saw, reciprocating saw/jig saw, table saw, drill press and compound miter saw in the forms construction. Hand tools should be used as well, files rasp, grinders etc.

Finish:

The forms may be painted. Remember, paint does not necessarily make wood look like something else. If one can see wood grain through the paint then, the form still looks like it’s made from wood. Other surface treatment method may be used with instructor approval.

Glue, nails, screws, or any other means may be used to attach the wood forms together if needed. Challenge the norm, what other material can be used to fasten this material together. Remember, make an extra effort to affirm that no screws or nails remain in wood before sawing the material.

Challenge yourself in how you might subvert the inherent qualities of the material.

What does it take to push something visually beyond what it initially begins as?

Note: Do not use other material to sculpt the object or its components. Focus on utilizing wood as the main source of material for the construction of the form.

Inspiration:

Project Examples: