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.


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.


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.


  • 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.


  • 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.


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.


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.


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.


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


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.


  • 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: 

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.


  • 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


  • 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.


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.


Project Gallery

Sculpting the Human Head/Body


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.


  • 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.


  • 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


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


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.


  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.


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


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.


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


Sharpening wood carving tools

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.



Project Gallery

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.


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.


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.


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.


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


  • 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



Project Gallery