Found Objects: Group-Bind

Mission: 

Group and bind a selection of objects and materials together. Wire, string, or other linear materials may be used to bind your selection into a dynamic form. Do whatever it takes to make your form hold together. By wrapping, screwing, and tying the objects together, the forms will become one non-objective or abstract armature. The form may reveal the selection of objects or you may take it to the next level.  Encapsulate the form in the binding material. 

Tools and Materials: 

Found Objects

Binding Materials

Option: Skin Material: Obsessive Binding

Project Objectives:

Objective 0: Set up a folder for this Project:

Objective 1: Find Objects:

Objective 2: Grouping/ Composition

Objective 3: Binding, Assemblage, Fabrication, Structural Integrity, Stability 

Objective 4: Documentation: Format: Jpegs
Objective  5: Image List: Google Doc.:

Research:

Article: Link: Fiber Artist: Judith Scott 

Video Assignment: Art 21 Video: Link: Creative Growth Art Center in “San Francisco Bay Area” 

Research:

Elements and Principles of Design and other terms: 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 and surfaces 

YouTube Demonstrations:

The following Demos are from a previous project, Armature Skin. It has many similar components that use additional objectives. You are welcome to use any of these additions to create your form. Sometimes forms need more and sometimes the artist will have to determine when the form is complete. Take in-process photos at times when you make major shifts to your forms. Record this in your project folder as process images.

Demo: Armature and Skin: Objective 2: Grouping

Demo: Armature and Skin Objective 3: Skin

Demo: Armature and Skin: Objective 4: Bind

Demo: Objective 5: Finish

Project Objectives: Expanded Process:

Objective 0:

Set up a folder for this Project: Name the folder: Project 1_your last name. Note: This folder should be within the folder you shared with the instructor of this course. 

Objective 1: Found Objects: 

Find enough objects to create a grouping. The dynamics and size of the objects will define your finished form. Choose or create an extreme variety of forms, shapes, and sizes. Minimum of five objects. 

Scale: Your finished sculpture scale will be in the ballpark of 864 square inches minimum. Example: 12 x 12 x 6 in. 

Objective 2: Grouping:

Your goal is to create a dynamic singular form by grouping the objects. Use screws, string, twine, wire, clothes hangers, or other sturdy linear material to “group” and hold your objects together. Use chaos as your tool; make things project or push out from the form. Bend, tangle, wrap, and tie, the forms together. Introduce more found objects if needed or desired to develop your aesthetic. Make sure that parts of the objects expose themselves outside the chaos. Note: These objects will stay within the form. Don’t allow it to be too precious. Don’t marry yourself to the “work”. Have Fun!!! 

Objective 3: Bind:

Use string, twine, nylon, or wire to bind the form further. The goal here is to create an area of tension by pinching and hiding components of the form together. Generally, this will strengthen the integrity of the form. 

Objective 4: Documentation: Read further 

Photographing your work: 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. Therefore, it makes sense to practice photographing your art at the beginning and throughout your art career. 

Photographing 3 Dimensional works:

Create a neutral setting for your photography

Eliminate unnecessary objects or clutter around your form. 

There should be no visual relationship to other objects. 

One should not be able to determine the size of your finished form except the relationships of forms found within the whole form itself. 

Good Lightning.

The best representation of your object is the goal. For good lighting, one trick is to use multiple light sources on either side of your form. Minimize unnecessary shadows and highlights. Do not use filters that change the colors, saturation, and contrasts of your subject. The idea is to capture a true likeness of your art. 

Setting up your camera and composition:

A good strategy is to position your camera in one place to photograph directly at the object and background of your composition. Adjust your lighting. Balance your composition. Crop in to eliminate the negative space around your form. Take your photograph. Your camera should stay in this position or as close to this position as possible. A good idea is to have a tripod to hold the camera. When you want to photograph another side of the piece simply turn the piece in the environment. Do not move the camera. This allows you to have a constant similar background and lighting for your three-dimensional work. 

Take many shots of several sides of the piece. View them all on a computer screen before editing down to your best image. 

Objective 5: Documentation: Format: Jpegs (3 Images)

Mission: Photograph your final work using a gray screen or an appropriate neutral backdrop for your work. A minimum of three views of the form should be photographed. I recommend more.

Place the photos in the folder created for this course in the corresponding project folder:
Use the naming convention below.

Naming Convention: Examples

Project 1_Image 1_Your last name

Project 1_Image 2_Your last name

Project 1_Image 3_Your last name

Part 6: Image List: Google Doc.: Three Images and Information

Within the folder for this project, create a Google Doc. 

Name the document like so “Marquez_Project 1_Image list” and place it in your image folder.

Example: Marquez_Project 1_Image list

Place the three images of your work in this doc.

Click the images and select the wrap text icon.

Size the image to about 1.5 to 2 inches wide. 

Type this information beside each of the images:

Your name

Image Filename: example: “Project 1_Image 1_Your last name” etc.

HWD

Materials used

Year Complete

Course

Cardboard Portrait

15MarquezStudent_2013smIn this project reclaimed cardboard is used to construct self portraits. The cardboard image and structure emphasize the importance of reusing and recycling materials and should provide an inspiring example of creative thought and innovation through repurposing materials.

Mission: Self Portrait

Develop a self portrait using an image of yourself, a word that reflects who you are, and cardboard. Any photo that shows a true likeness of your face can be used. A sheet of cardboard will be your canvas. The goal is to use a subtractive and additive method to develop a portrait using the layers of corrugated cardboard. The finished portrait should be a minimum of 11 x 17  inches. You may go larger.

Project Description/Outline:

  1. Begin with a photograph: A digital file will allow you to enlarge the image to fit your canvas. It will also allow you to add and compose text digitally.
  2. Prepare cardboard canvas. Sized to be fit with the chosen image. It is critical to have all image corners at 90º if you intend for the frame to be a true rectangle or square. Note: I usually refer to 90º corners as “square”.
  3. The image should be altered to black and white. This should be done to a point where the image is made up of positive and negative fields (areas). The average rendering can be made up of very little to no gray areas. This can be done by drawing or tracing the image paying close attention to these areas. You may expand the pallet to include multiple layers in accord with varying degrees of grey. Note: the image above has Three layers to develop the image: black, white and an exposed corrugated layer. Explore the possibilities.
*An alternative to this “hand and eye” design strategy is to put the image in photoshop and alter it to black and white and then the “Threshold” settings can be altered to get the image to your preference.
  4. Choose a word and font that best represents your personality. Develop them into your composition. The word or words must be at least seven characters.
  5. You will need to enlarge the image dimensions to the appropriate size.
  6. After a paper composition has been produced the image will need to be transferred to cardboard. Lightly mark the areas that separate positive and negative sections of the image. If you plan to strengthen the image quality with your own aesthetic this would be a good time to do so.
  7. Once transferred to the cardboard the image is ready to be developed by cutting, tearing and sanding away either the negative or positive areas. It may be necessary to darken the negative areas or pencil marks so they can be seen better in production. Your final image should have no pencil marks.Tearing and cutting away dark areas usually works best. What other methods can you explore and develop?
  8. Finally: Create a a frame of cardboard around your cardboard Portrait. 2 inch thick minimum. This can be done by layering strips of cardboard to create a thicker board. It is a good idea to experiment and create these strips/boards well in advance so they are ready when you are ready to complete the project. Be creative, What can be done to make the frame more interesting? Note: Exposed corrugated layers should be used as the face of the frame structure. The method demonstrated in class functions more structurally and can create an unexpected aesthetic to the project as a whole.
  9. Craft is important: Cuts and joints well executed. Clean up glue and pencil marks.

NOTE: Please refrain from cutting on 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.

Research:

  • Low Relief
  • Rubber Stamps
  • Negative and Positive imagery
  • Cardboard: Material Properties
  • Texture by Exposing layers
  • Stencils
  • Screen Printing

Tools and Materials:

  • Utility Knife
  • Exacto or Hobby Knife
  • Cardboard
  • Card board paper
  • Pencils
  • Graphite
  • Adhesive (wood glue)
  • Masking tape
  • Transfer paper (optional)

Objectives:

Materials Characteristics:

  • Cardboard: Flat surfaces
  • Card board: Lamination
  • Laminated Layers
  • Skin
  • Corrugation (plains and patterns)

Concepts:

  • Elements of Design
  • Principles of Design
  • Composition
  • Texture
  • Pattern
  • Unity
  • Balance
  • Relief
  • Sensibility to form:
  • Representational Forms
  • Abstract Forms
  • Non-Objective Forms

Methods:

  • Technique
  • Cutting Safely
  • Thinking from 2-d to 3-d, layers
  • Organizing the surfaces of a corrugated cardboard plane to alternate between textures.
  • Developing Craftsmanship

Note: Use only Cardboard and Glue. No crayons, paints, chalks or inks. Factory pre-printed or pre-colored papers are fair game.

Create a label for your project with these specifics:

  • Name:
  • Dimensions: HWD
  • Materials:
  • Year Complete:
  • Course:
  • Tape your label in upper right corner of the back of your project.

Research/Inspiration: 

Project Gallery

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.

Project Gallery

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

Project Gallery

Exquisite Corpse: Artifacts

hildesheim_corpse2010_72Exquisite corpse or Cadavre exquis is traditionall a drawing technique where a bank of words or images are collected and then assembled to create a finished composition.  In this project we will explore this surrealist idea in an assemblage of components to create as “Exquisite corpse” sculptural artifact.

Mission: (Project Description)

 In this project the student is asked to create five artifacts from the inventory of objects created from previous mold making assignments. Students are allowed to to melt, cut, deconstruct and transform existing objects and reassemble them into unique sculptural forms/figures. The final form may be prepared as if to be cast in metal using teethe gating method for traditional investment lost wax method. Other materials may be added. Attentions should be given on how additional materials are fastened to the wax objects. Note wether objects will remain as  original material or be cast pin metal.

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. Draw as you create. Draw what you create. Take notes. Printed images of inspirational sculptures or objects should be placed in your sketch book as well. Your sketch book will be graded along with your project.

Scale:

A 9 to 10 inch object should be the goal of the wax component of this assignment. Five compositions that explore this process is expected. Students are encouraged to develop more than five composition. Focus on strategies and structures that will hold together. A functional wax welding technique is critical for patterns to hold together. Slush larger forms, wax forms larger than a 2 inch thickness should be cast hollow.

Engineering:

Focus your attention on how things go together. Craft is important to allow this form to be ready for the lost wax casting method. Tactics on connecting parts to one another should be a major factor while choosing and making the object as a whole. Structure and how the form stays together compositionally will be held under strong critique.

Material/Structure:

Wax and other components. Wax welding will be explored for this project. Other materials to hold form together will also be a necessity: wire, mechanical fasteners, adhesives, and innovation…  Students are encouraged to add other materials/ components to the form. Yet 60 percent of the form should be constructed of components made from molds produced in this course.

Reliquary Component:

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.

Tools and Materials:

• Eye Protection/Safety Glasses
• 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
• Dust Mask/Particulate Respirator
• Safety Glasses
• Wax smelting pot
• Wax
• Wax tools
• Materials for cast pattern
• Mixe media
• Adhesives, fastening materials
• Wood
• Wood Shop
• Metal
• Rubber or Latex gloves

Create a label for your project with these specifics:

• Name:
• Dimensions: HWD
• Materials:
• 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
  • Volume: HWD
  • Fabrication techniques: Wax casting fabrication, Object creation
  • 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

Evaluation:

  • Work ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Well Engineered and Functional mold for long term use.
  • Craftsmanship and aesthetics: Well crafted mold with well crafted “Clean”castings.

Caution:

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. A dust mask may be used rather than a respirator. The respirator will provide better protection.

This project will incorporate hot wax and wax welding tools. Be careful for for yourself and when working around others. Safety and a disciplined studio etiquette should be followed during all studio activities.

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

 

Project Gallery

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:

Project Gallery

Welding Line-Form-Repetition

Ward_72Mission: (Project Description)

Create a sculptural form/structure that develops from the linear quality of welded  and fabricated metal. The final form should have a sense of variety and repetition of elements. Add a skin to some or all components of the structure. Develop an aesthetic in the connection of skin to form.

It is expected that a concept be developed that will draw the viewer into a transformed space. A linear form should be the initial aesthetic, creating a structure that defines a new space. Lines, shapes and forms may be curved or straight, yet artist intent must be obvious and well crafted.

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. Documentation is a critical learning habit. Not only does it record growth and provide reflection, it will foster new ideas. Printed images of inspirational sculptures or objects should be placed in your sketch book as well. Your sketch book will be graded along with your project.

  • Draw as you create.
  • Draw what you create.
  • Photograph as you create.
  • Take notes.

Fabrication:

Form: Beyond line, develop a composition that creates or entraps volume as shapes create form. Do not build a flat 2-dimensional drawing.

  • Welding will be the primary fastening technique.
  • Other fastening techniques are encouraged.
  • Welds should be clean. Relative: no Slag, no whiskers.
  • Use the grinder to clean your welds.
  • Re-weld if needed.

Skin:

Other materials are not only encouraged but expected. Greatly consider how materials are secured to the structure. Develop aesthetics in the way skins are connected and use them wisely and consistently. Look for texture in the materials search for. Add texture with other materials such as tar, acrylics, and resins.

Display:

  • Build a form that can stand on a surface, project off the wall or hang from the ceiling.
  • Choose and design wisely. Aesthetics and good design should be greatly considered.
  • When engineering, developing, and building fastening devices and supports for sculpture, stay away from obtrusive devices that may take away from the concept or aesthetics of the work.

Installation:

  • Make sure the design works.
  • If free standing, make a structure that is self supporting.
  • If the form will be a wall hung piece, a well engineered mounting strategy should be developed to secure the work to a wall.
  • If the form will be a ceiling hung piece, a well engineered mounting strategy should be developed to secure the work to the ceiling.
  • Allow space for fasteners such as screws to be tightened during installation.
  • Test your designs before final installation and critique.

Material/Structure:

Sculpture will be made of bent and welded 1/4 inch metal rod and other metals and “skin” materials introduced by the student.

Scale: (HWD)

A minimum of 30 ft of metal rod will be used for this project. Additional material may be purchased to build the form. Final Dimension of Sculpture: The minimum range to shoot for is 2 ft x 3 ft x 1 ft.

Craft and Aesthetics:

A high degree of craft is expected in the fabrication. If wall or ceiling mounted, remember to allow space for fasteners such as screws to be tightened with ease for installation. This is often missed and installation becomes difficult. The skins should be consistent and foster a cohesive visual conversation to the viewer.

Finish:

A metal finish should be considered for exposed areas. Ends of rod should be well finished/polished with a grinder. A polish, patina or paint may be used. Absolutely, no spray paint in the shop. If spray painting, work outside or in a spray booth. Place a protective material such as newspaper on all surfaces under and around the work area, even the concrete floor. Prep; clean, sand and use a primer before metal is painted. Most metals have an oil on them that will resist paint and surface treatment. It is a good idea to clean the materials before you begin the project. Sanding before cutting and welding will be beneficial.

Tools and Materials:

Safety Glasses
Measuring tape
Welding Eye Protection
Welding Gloves
Welding Leathers (option: thick flannel shirt)
Angel Grinder
Grinding disc, Cut off disc, Flap Disc
1/4 inch rod/ Mild Steel Hot rolled (HR)
1/8 inch rod/ Mild Steel Hot rolled (HR)
Wire: Rebar Wire (good for modeling form or fastening)
Sand paper/ steel wool
Solvents, To clean oil off the metal
Finishing materials, Primer, Sealers/Paint.
Other materials for skin and attaching materials (Wire, string)

Create a label for your project with these specifics:

  • Name:
  • Dimensions: HWD
  • Materials:
  • Year Complete:
  • Course:

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

Caution:

Protective Gear required: Wear appropriate eye protection, clothing and shoes while welding. UVs from the welders can burn skin and damage eyes, much like the sun, not to mention the metal will be hot after a weld. Use leather welding gloves while working around the metal shop. Assume that metals are “Hot” before picking them up. Be careful when picking them up.

Fumes: Be aware that some metals can be hazardous and some are not compatible with others, In other words lets stick with what we know, steel. When welding, stay away from anything covered in a zinc allow, such as galvanized metals. Galvanized metals can be potentially dangerous, as the zinc will form a thick vapor that is hazardous to our health.

Research:

Lee Bontecou
Eric Stephenson
Alexander Calder
Robert Klippel
Lynn Chadwick
Sol Lewitt
James Turell
Rebecca Horn
Antony Gormely
Rachel Whiteread
Richard Serra
Joseph Beuys
Bruce Nauman
Tony Cragg
Piet Mondrian

Project Gallery

Texture Switch

Bader2

Mission: (Project Description)

Within this project, we will bring into question the “skin” of an object, and how alterations to it, alters our own perceptions of the object.  Many artists, such as, Meret Oppenheim, Lucas Samaras, and Joseph Beuys, have pursued this concept creating works that question or negate an objects original function.  The simple manipulation of a surface can allow strong conceptual narratives to develop, speaking to a greater importance beyond the original object.

Transform: v.  1 make a thorough or dramatic change in the form, appearance, character, etc.

Mission:

  • Bring to class three (3 dimensional) objects.
  • Object should not be smaller than 12 inches or larger than 24 inches.
  • A class discussion of objects will occur.
  • Consider the objects conceptual importance relative to its potential transformation.
  • Select one object from the initial three. Select the object with a strong visual presence.
  • Students should select one material in which to cover the chosen object.  This material should be an antithesis to the original object, or draw into question the function or accepted meaning of the object.
  • Repetition and a obsessive development of the surface is a critical component of developing this project. Choose a material that will draw emphasis to this concept.
  • Objects must be completely covered by the chosen material. Students should focus on the obsessive nature involved in covering the objects.

Project Vocabulary: 

Pattern
Texture
Variety
Rhythm
Direction
Movement
Repetition
Contrast
Natural Texture
Visual Texture
Worked Texture

Writing Assignment:

Use the vocabulary on the previous list along with other elements and Principles of Design to describe and interpret your work. The writing assignment should include your critique on the content and context and how these factors contribute to the concept of the work you have created. A general description of formal qualities should be addressed as they pertain to the concept, yet a stronger focus on content, context, and of course the idea (Concept) will foster a stronger discussion.

  • Look at the work analytically.
  • Remove yourself from the work to create new perspectives.
  • Be attentive to your gut reactions to the work.
  • Make notes of your observations” as reference. (In your sketch book)
  • Insert an image or sketch of your work within the word or pages document.
  • Content: Three to four paragraphs of text should be written before adding images.
  • Note: A paragraph is made up of three to five sentences.

Tools and Materials:

  • Eye Protection/Safety Glasses
  • Sketch Book
  • Utility Knife
  • Hobby knife
  • Dust Mask/Particulate Respirator
  • Safety Glasses
  • Focus Object
  • Materials for skin
  • Mixed media
  • Adhesives or other fastening materials
  • Rubber or Latex gloves (optional)

Create a label for your project with these specifics:

  • Name:
  • Dimensions: HWD
  • Materials:
  • 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 surfaces and skin transformations
  • Aesthetic qualities
  • Sensibility to form: Good design, clean aesthetics
  • Integrity of the artist to their craft
  • Concept from objects

Evaluation:

  • Work ethic: Participation in and out of class
  • Scheduling: Students stay on task, project finished by deadline, critique.
  • Craftsmanship and aesthetics.
  • Attention to detail and craft involved in the development of the object’s “skin” will be taken into consideration during grading and critique.  Therefore, ample time should be devoted to the completion of the project.

Caution:

This process may use chemicals and materials that might be dangerous for some people. Read the MSDS (Material Safety Data Sheet) for questionable materials. A respirator should be used when materials off gas or fume. A dust mask may be used rather than a respirator. The respirator will provide better protection.

Research/Inspiration: 

Project Gallery

Sculpting the Human Head/Body

Fickle_72Prologue:

The bust has been used for centuries to honor, memorialize, characterize and distinguish identities of culture. As a social political tool, as many forms of art have been and will be, the face and bust have been used to provide as an instrument of social control and propaganda. For ourselves and prosperity art through human form has been a link to the identities of personalities of the past. History, mythology, and other stories are hinted and revealed by these simple yet complex forms. We have a compulsive draw towards the replication of identity through various mediums, to empower a material to conjure a sense of preservation.

Mission: (Project Description)

In this project the student will be asked to create a replication of the human head/bust or figure, to recreate a realistic form in clay from observation. The form must appear relatively realistic. (Makes sense, right?). A additive/subtractive method will be used. References are suggested below. Students must attend class for faculty instruction, support, observation, and in process critique.

The final form will be developed further. The student may choose the next component of the assignment. The next steps way heavily on the materials used in the initial fabrication of the form. Plan ahead for the final materials and results expected from this assignment. Each option below must be discussed with the instructor. Option 1 is equal to one project. Option 2 is equal to one project. Option three is equivalent to three projects. These equivalents are relative. The development of the student proposal may expand the time needed for these base options.

Option 1: Ceramic Model/ Fired Ceramic/ Finished Ceramic Form

  • Student should research, modeling the human figure.

  • An armature will be built for the form.
  • The form is modeled in a ceramic material conducive to low shrinkage.
  • Form will be graded in clay (wet, green, or bone dry)
  • Student should research, prepare the piece for firing
  • The form will be split and hollowed to reduce damage.
  • The form will be scored and slipped back together.
  • The surfaces will be refinished in accord to aesthetic
  • Student and faculty will organize firing.
  • Final form will be graded in clay (wet, green, or bone dry)
  • The form will be be fired in accord with the ceramic clay body used.
  • A finish will be applied.

Option 2: Clay Model/ Mold/ Cast Plaster or Alternative Material/ Finished Form

  • Student should research, modeling the human figure.
  • An armature will be built for the form.
  • The form will be modeled in a clay material conducive to a plaster mold.
  • The form will be graded in clay (wet/green)
  • A multi-part plaster mold will be made from the clay original.
  • A form will be cast from the mold
  • The surfaces will be refinished in accord to aesthetic.
  • A finish will be applied.

Option 3: Clay Model/ Rubber Mold / Multiple Material Castings/ Finished Forms

  • Student should research, modeling the human figure.
  • An armature will be built for the form.
  • The form is modeled in a clay material conducive to a rubber mold.
  • Final form will be graded in clay (wet/green)
  • A multi-part rubber/ plaster mold will be made from the clay original.
  • The mold will be graded on aesthetic and functionality.
  • Forms will
    be cast from the mold.
  • A plaster will be cast from the mold.
  • The plaster will be finished within/as a composition
  • A wax form will be cast from the mold to create a metal casting.
  • The form will be gated, invested and cast in metal.
  • Foundry Process: Lost wax process.
  • Student and faculty will organize burnout.
  • The mold will be filled with  metal.
  • The form will be de-invested and de-gated.
  • The surfaces will be refinished in accord to aesthetic.
  • A finish will be applied.
  • Type of facilities and furnace will designate what casting metals will be used.

A great amount of effort should be placed on crafting the materials that they visually simulate the aesthetic and objective of this assignment. Materials, shapes and forms should transition from one to the other in a convincing manner.

Overview: Challenge yourself and the project. 

Project grades gain much from the thought and “Effort” put into them.This project is traditionally based. Sensitivity to the model and technique, observation, and measuring are key to creating a likeness that satisfies this challenge. A word of advice, a three dimensional model will greatly inform how one models this form. It will make it easier to see the true form. Two dimensional models, i.e. photos, are less likely to give the amount of detail found on a real model.

To do list and Techniques:

  • Play: Experiment Session:
    • Sketching.
    • Quick gesture modeling:
    • Learn to work the clay.
    • Clay modeling, rolling in hand and fingers, molding, attaching, trimming, cutting, scraping, Use available tools, hand made tools. A variety of tools should be experimented with.
  • Choose: Choose a model.
  • Research:
    • Observation of model
    • Techniques
    • Measuring
    • Sketches
    • Practice on individual components
    • Small models in clay.
  • Collect:
    • Print and collect imagery and text of your research.
    • Human Anatomy
    • Strategies
    • Styles.
  • Making Sense: Make it believable.
  • Prefinish: Form is critiqued in green state and at leather hard stage.

Goals:

  • Well crafted form
  • Developed technique
  • Uniform aesthetic
  • A command over the material:
  • Excellent Craftsmanship should be a major goal for all processes explored.

Tools and Materials:

  • Sketchbook  (Hard bound, 9 in. by 12 in. or larger recommended)
  • Clay
  • Clay sculpting tools
  • Clay tools
  • Scraping tools
  • Burnishing tool (Spoon)
  • Texturing, scoring tool (Fork)
  • Metal Ruler (cork backing preferred): 24 in. or 36 in.
  • Calipers
  • Seamstress tape
  • Armature material
  • Safety Goggles/Glasses/ Eye Protection
  • Drawing Pencils and Erasers
  • Measuring tape
  • Utility Knife w/extra blades and X-Acto knife w/blades
  • Adhesives and Masking tape
  • Adhesive Bandages
  • Variety of Pliers and Wire Cutters
  • Plasticine Clay (Soft)
  • Sharpies
  • Mold Max 30: One gallon kit to 5 gallon kit may be needed
  • Wood and MDF
  • 3-5 gallon plastic bucket and other mixing containers
  • Paint (optional)
  • 4 1/2 inch Angle Grinder w/grinding, cutting and flap disc
  • Leather covered work boots/shoes (Stay away form Synthetics or Poly blends)
  • Leather Welding Jacket (Stay away form Synthetics or Poly blends)
  • Leather work gloves/welding gloves
  • Welding Helmet (Shade 9+)
  • Shade 5 Welding Glasses( for oxy-acetylene)

Books and Resources:

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:

  • Sculpting the human figure
  • Presentation strategy
  • Method: Planning, work ethic, building techniques and strategies
  • Material Characteristics:
  • Three-Dimensional Pattern Making
  • Mold Making Process: Lost wax/Sand casting-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 materials. 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:

Project Gallery

Wood Carving: Merging Early and Contemporary Icons

FelliniwebMission:

In this project create a wood carved mask that visually merges early and contemporary icons. The mask should take on a combination of both icons chosen. The main material will be wood, other materials can be used to embellish the form. Try to use materials that are a part of our current culture. Accumulated objects or components of devices we use might be good resource. A visit to the salvage yards will be a good resource as well.

Guidelines:

  1. Build and carve a mask which merges an icon form the past and an icon from the present.
  2. Process: The finished sculpture should be built through the use of wood lamination and carving.
  3. Wood purchased or found for this project should have No nails or Staples, If you find them in the wood remove them and have the instructor approve before cutting with saws or equipment. Non chemically treated wood only. Suggested material is two by fours, but obviously there are other sizes that may work to your advantage.
  4. Scale: A minimum of 1.5 ft in one dimension (HWD). A good starting point would be purchasing or having on hand two 8 ft two by fours.
  5. Finish: You may decorate your carved mask in accord with your selected icons.
  6. Students are strongly encouraged to combine or evolve the project using other materials and media to complete the finished form. Take chances.

Overview: 

This project should include a design that incorporates wood lamination and carving. No metal fasteners, such as nails and screws should be used in the lamination process of this project. Nails, screws and other metal fasteners can damage chisels, equipment blades and other carving tools. The design should be built in a manner that presents a relevant conclusion to the subject, two chosen icons. Your mission is to build a form that acts as a symbol in resolve of  your creativity towards the concept.

Engage, Invite, excite, challenge, your audience to react to your work.

Function, Engineering and concept: An understanding of the material, process, and concept should be a major concentration for this assignment.

Materials to purchase or acquire for this project.

2-3  two by fours: Pine or cedar is a soft wood that can be easily carved.
Ratcheting Straps (2)
Sand paper
Wood rasps, Chisels
Wood Glue
Finishing materials
Paints and Sealers

Safety:

Wear appropriate eye protection, clothing and shoes while working with wood equipment.
Wood shop tools can be very sharp.
Be aware of peers working near and where you are aiming your tools.
Do Not Use “Treated Wood” in the studio. Stay away from a treated lumber. Some lumbers have arsenic as a treatment.

 Writing Assignment:  

As a beginning level course, the student is responsible for developing and presenting a typed research paper of their work for this assignment. The final document should include a description of themes/concepts the artist is addressing, descriptions of how the artist uses imagery, materials and material qualities to address their themes, images of the artist’s works and other supportive documentation. The processes and techniques the artist utilizes to create their work may also contribute to the research.

Writing Assignment Guide Lines:
Below is a brief outline of format and what is expected in your writing assignment.

  1. Cover sheet:
    1. “Your Name”
    2. Research Title
    3. Sculpture 1
    4. “Semester and Year”
    5. “Instructor’s Name”
  2. Body: (500 words +)
    1. Introduction Paragraph
    2. Your research
    3. Images of your work
    4. Summary
    5. Bibliography: Cited text and images.
  3. Images
    1. Images can be printed within the body text
    2. Images can be printed on pages after the body text
    3. If you have trouble placing images in your Document, Please see me.

Sketch Book: Merging early and contemporary icons.

1.  Find and print- 10 images- early masks
2.  Find and print-10 images- contemporary masks
3.  Add images to sketchbook
4.  Generate 6 full pages of sketches, combining early and contemporary masks.

Processes

1.  Select sketches to model your concept in clay
2. Wood lamination with 2×4’s and other wood materials
3. Begin Carving: This may be an additive and subtractive process.
4. Design and fabricate a method to wear the mask. Welding and other methods may play a part here.
5. Paint and embellishments
6. Consider the antiquity of your form is this a new mask or does it have a sense of history.
7. Dance and Performance: Develop an interpretive performance: Solo or Group engagement

Research and Inspiration:

Anthropomorphic(having human characteristics)
Thai Masks
African Masks
Bundu helmet mask
Lewa spirit mask
Mumuye mask
Biombo helmet mask
Luba Style Mask with Brass Made in Ghana
Djibouly Mask Made in Mali
Aztec mask
Northwest Coast Masks: Native American mask
Venetian Masks
Japanese Masks
Jake and Dinos Chapman
Ron Mueck
501st Legion “TK Project” Stormtrooper Helmets
AJ Fosik

Videos:

Sharpening wood carving tools