S culpture T echnique MODEL
A Unique Introduction to the World of Sculpting
Brenda Ellis
Featuring Contemporary Art by Working Sculptors
Sculpture, ceramics, and fiber are all areas of study that one might major in while attending a college. These unique majors begin with unique materials that lend themselves to three-dimensional design. Sculpture can include materials as varied as paper and cement. Ceramics is the result of working with clay, a substance we gather from the earth. In fiber arts the artist works with fibers gathered from plants or animals, but can include plastic and other man-made materials. All of these materials have the potential of being modeled. Modeling is a process in which a material’s form is reshaped. One does not necessarily add anything to the original mass as in construction or take away from the original mass as in carving. With this book you’ll gain experience in using unique modeling materials . Unlike drawing, sculpting processes take more time to complete, require practice to master, and start up costs for tools are more expensive. Because of these working requirements, rather than moving from one unit quickly onto the next, stick with each material for a while. Try different subjects, ones that have interest for you personally, and make as many attempts as needed until you master the skills required for each material. I hope you find a material that you especially enjoy working with and continue the exploration far into the future through extra classes, research, and viewing other artists works in that particular material. Combine that knowledge with your ideas for creating something uniquely your own and you are a sculptor!
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contents
Page Project 4
How to Use This Book
Unit 1 : Creating Mass with Putty
5 7 8
Materials, Properties of Putty
1 2 3
Modeled Mass
11 15 19 20 22 24 28 35 41 47 48 50 51 57 61 66 69 74 75 78 80 81 82
Static Mass
Dynamic Mass unit 1 evaluation
Unit 2: Creating Scale with Clay
Materials, Properties of Clay
4 5 6 7
Pinch Method Slab Method
Slab Method with Paper Armature
Coil Method
unit 2 evaluation
Unit 3: Creating Surface with Fiber Materials, Properties of Wool Fiber
8 9
Wet Felting
Pre-felts as Surface Design
10 11 12
Felted Vessels
Needle Felting- Creating Mass
Needle Felting- Appendages and Surface Design
unit 3 evaluation
The Road to Creativity Evaluation Answer Sheets
Course Description
Template
Classroom Schedule
art supplies
Unit 1 Durham’s Rock Hard Water Putty® (see local hardware or building supply store) masking tape ¾” acrylic paint set (primary colors plus black and white) ½” flat brush #4 round brush, #8 round brush 1” bristle brush Unit 2 select two of the three clay color choices: Amaco® Marbelex™ Gray Clay, Amaco® Stonex™ White Clay or Amaco® Mexican Pottery Clay, red needle tool wire clay cutter
scraper tool, smooth scraper tool, serrated wire loop tool (acrylic paint set, brushes, and paint materials from units 1-3) Unit 3 pen style felting needle tool felting mat, 2 ¾ x 3 ½” or very thick foam or sponge felting needles, set of four assorted color set of natural wool roving
Wool roving can be found at Blick Art Materials and many local fabric stores. For the largest variety of colors and larger quantities at lower prices, shop in stores at www.etsy.com.
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How to Use This Book While making a sculpture in this book, you will focus on a single element of sculpture while working with a unique material that may be unfamiliar to you. You will find information on the elements of sculpture on the first two pages of each unit. That is followed by valuable information on the properties of the material that you will be using in that unit. It also includes an introduction to tools and equipment, safe handling information, and basic instructions. This is a lot of information, but necessary to your success with the projects that follow. Read this information before you begin the projects and you will be able to refer back to specific information needed while you work through the projects. Pacing for this book is different from what you have experienced in other educational materials. When building using sculptural processes you will be guided by yourself and the materials, not by set schedules. When it is important, we tell you to stop. This is usually for the purposes of allowing your materials time to dry. Look for the hands-on and hands-off symbols throughout the book. For example, when creating the newspaper support for a putty animal, you may work throughout an afternoon and be finished or you may choose to stop and take up the task the following day or week. That decision is guided by you. However, after applying the putty you must stop to allow the putty to dry before going on to the next step. That need to stop is guided by the materials. There you will see a hands-off symbol following the text . Because of this unique feature of the book, you will need to be self-regulated, guided by independent thinking as you work your way through a single project, starting and stopping as you decide.
Elements of Sculpture
The elements of sculpture discussed in each unit are related to how we view and understand sculptures. Here you will learn how to see the important visual aspects of three-dimensional works. You are introduced to artistic concepts specific to the subject of sculpture and see how contemporary artists have used an element within a work of art. As you consider the work, you will begin to understand the choices and options available when making a sculpture.
Project Inspiration
Each project starts with a glimpse of what type of material you will be working with and how you might explore that material. Processes are shown as well as examples to inspire creative thought.
Project Execution
Clear and concise instructions with plenty of visual examples guide you through the steps of creating with the materials. You are asked to choose and create your own subject for each sculpture. Unite the newly learned processes for working with the material and your own personal agenda for each project. Your sculptures will be unique and reflect your understanding of the material as well as your own developing skills and craftsmanship.
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unit 2: creating scale in clay
Scale is the size of an object as it relates to its natural size. When seeking to understand scale one must be familiar with the real size of the subject they will sculpt. The sculptor ’ s representation of the subject can be made smaller or larger than it is in reality.
A small SCALE sculpture could sit in a child’s hand.
A large SCALE sculpture might be taller than a child.
How small or how large can a sculpture be? The question of scale is determined by the preferences of the sculptor, the location in which the sculpture will sit, the materials, and time. Preferences are important. Some sculptors love to work on a small scale because it allows them to work with tiny details. Others love to work on large scale projects that redefine how we view large spaces such as entryways or parks. Location is important too. Small scale sculptures need to sit in a clean environment, usually indoors, in order to catch the attention of the viewer. Large scale sculptures are often located outdoors or inside large buildings in order to have enough space. The material that the sculpture is made from must be taken into consideration. Materials with flexibility and strength, such as steel, work well for extremely large sculptures. More fragile materials like clay or paper are often made into sculptures on a smaller scale. Scale is also determined by time. Large projects take more time and if time is limited, a large project may require simplification or a reduction in size.
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This sculpture is large in scale. Standing at ground level, we look directly at the closed eyes of the portrait.
The scale of a sculpture determines how we react to it. The smooth surface and peaceful expression of Nobel One are magnified by its size. Even in a hectic atmosphere like this public sculpture show, it is easy to become transfixed by the calming nature of this sculpture. Scarlett Kanistanaux created the sculpture in clay. It was later cast in bronze. Kanistanaux d escribes “sculpting from the inside out” using the coil method. “I developed my personal method of building the sculptural form by visually studying the traditional coil building techniques of clay artisans from the countries of Africa, Korea and Vietnam. Using a combination of these ancient traditions, I developed my own technique of
Nobel One by Scarlett Kanistanaux. Bronze 4.5’ x 5.9’. Photo Credit: Daniel Ellis
layering the soft coils of clay, one on top of another, blending each new coil into the previous one. The coils of clay I use range in size from the thickness of a finger to that of the wrist. Small circumference coils are used for small heads and large circumference coils for the largest heads. The sculpture is created in the manner of a hollow vessel. This allows me to form the desired rounded volumes of the facial features by simply reaching inside and gently pushing the clay wall outward. I think of this method as ‘sculpting from the inside out’.”
Before moving on, take a moment and imagine standing in the presence of this large scale sculpture.
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materials Properties of Clay
Clay is a type of soil that is pliable when mixed with water, becomes firm when dry, and becomes glasslike when fired at high temperatures. Fired clay is a ceramic material. When glazes are added to the surface it becomes waterproof. The surface of ceramics can range from bright glossy pigments to a flat black color which results from burning the natural clay during the firing process. Clay comes in a variety of natural colors depending on the mineral content of the soil. Plasticity is a material’s ability to be moved around or formed and the strength to hold that form. The plasticity of clay makes it a perfect medium for modeling. When working with clay the sculptor must keep in mind the thickness of the walls. If squeezed too thin the pieces will break off easily, especially with clay that will not be fired such as the air-dry clay you will use in this book. If the clay is too thick, it will crack as the clay shrinks during the drying process. Large masses must be hollowed-out. The water content of the clay is very important during different stages of the process. In its wet state, too much water makes the clay sticky while too little water makes the clay crack and difficult to connect to other pieces. Clay can also crack if it dries too quickly during the drying stage. For this reason the clay sculpture must be covered with a plastic bag to keep it semi-moist, aiding in slowing down the drying process. Once it is completely dry, it can then be fired without risk of exploding in the kiln. These explosions happen when water molecules are still present in the clay. Clays used for pottery are porous, allowing water to escape easily which prevents cracking. Firing clay is best left to those who have been educated on the correct temperatures and times for the specific type of clay being fired in the kiln. Instruction for firing clay will not be addressed in this text. This text introduces air-dry clay. Air-dry clay has acrylic additives that cause it to dry hard without traditional firing.
Tools and Equipment
You can purchase a variety of clay tools that are used to manipulate the clay. Many basic tools of handbuilding can be substituted with items in your home.
a.
b.
c.
d.
(a.) Loop tools are great for trimming or carving clay once it reaches a leather-hard state (defined on page 23). You can form this tool from a piece of sturdy wire, but since wire is round this substitute will not take clay away as cleanly as store bought loops with flat wire.
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(b.) Needle tools are used to cut through clay. A good substitute is a nail.
(c.) Scoring tools have jagged edges that dig into the clay to make a toothy surface This tool is used to rough up two pieces of clay before they are joined together. You can cut a plastic credit or store card with a scissors to create jagged edges like the scoring tool. Some ribs have this type of edge. (d.) Ribs (called ribs or kidneys because of their unique shape) are used to shape and smooth clay walls. They come in metal, rubber, and wood. The curved edge works well for curved walls while the straight edge works well for straight walls. A good substitute is to cut a plastic credit or store card to the desired shape.
A rolling pin is used to roll a clay slab. Wooden rolling pins are best. Substitute a wide wooden dowel or plasitc pipe cut to about 18 inches long.
A metal ruler is used to cut a straight edge into a clay slab. You could substitute a wooden board that has a straight edge.
A wire tool is used to cut a slice of clay from a large block of clay. This simple tool can be made by hand using flexible framing wire cut to 24 inches and secured to two small dowels about 3 inches long or other objects that can be easily grasped such as metal washers.
A wooden paddle alters the shape of a form when you tap it against the clay surface. You can smooth edges or a seam with it. The back of a flat wooden spoon works as a substitute.
Canvas Cloth covers the work surface. Clay will not stick to the canvas like it sticks to smooth surfaces. You can purchase canvas at a fabric store or or art supply store. You can use a canvas painter’s cloth found at building supply stores. If you work in clay often, it may be easiest to staple the canvas onto a wooden surface and set that surface on a counterheight table. You can also tape the canvas to a table surface using masking tape.
Safety
When using air-dry clay in the home environment, some precautions should be taken. Avoid sloppy habits that create dust. Clay dust should not be inhaled. Clean up clay pieces and trimmings while they are still wet. Clean all smooth surfaces with a wet sponge. Use a damp mop to clean dry dust from the floor. Sweeping it will cause dust to go into the air. Shake out a canvas cloth surface into a trash can while pieces are still wet. If working on newspaper, simply roll it up to dispose of crumbs and dust particles. Never sand the clay, but smooth or trim surfaces while in a wet or semi-wet state (also called leather- hard). Wash hands with soap and water after using clay. Do not eat food while using clay, to avoid ingesting clay dust.
Basic Instructions
The correct moisture content in clay is crucial to being able to handle it well. The clay should be the right consistency when you purchase it. Air-dry clay must be wrapped in plastic to keep the proper moisture content. Cut off a piece in the size needed and return any unused clay to the plastic bag immediately. Twist the bag tightly to close and use a wire tie to secure the bag. Hard scraps of air dry clay must be thrown away because of the acrylic additive. Leather-hard is the condition of clay when it has been partially dried to the point where all shrinkage has been completed. It is still visibly wet, but has a tough feel. At this time a clay tool can be used to scratch in details and take away portions of the clay.
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4 Pinch Method project
Before potters had the wheel, they created clay forms using their hands and basic hand tools. Handbuilding methods include pinching the clay, building with coils of clay, and joining slabs. Each of these methods is introduced in projects exploring clay. The instructions work for clays that are fired in a kiln and for air-dry clays that will simply be painted. If a kiln is not available, you will need to use air-dry clay and paint the objects with acrylic paints. Since kilns are usually not available in the home environment, glazing and finishing techniques used with kiln-fired clays will not be covered in this text.
A common first experience with clay is to make a pinch pot. The pinching method is a very direct way to stretch the clay into a form by squeezing it. Here we use the method to create a sculpture that goes a bit beyond a simple pot. Clay pots are made and then attached to a simple form or to each other.
Pinch pots can be (a.) deep (b.) shallow (c.) curve inward (d.) curve outward as shown. Use these examples to spark your own ideas for making a pinch pot sculpture.
a.
b.
c.
d.
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create a sculpture You’ll need: cotton canvas 2 lbs of air-dry clay (white, red, or gray) wire clay cutting tool rib or clay tool to make score marks
Get Started: Gather your clay, tools, and canvas. Cover the surface of a table with canvas. You can secure the canvas to the table with masking tape so that it does not slide around as you work. Once you are finished, simply pick up the canvas and shake it outdoors to remove clay pieces. Your canvas is ready for the next time you work in clay. The scale of this sculpture is determined by the size of each pot and how many pots are used. The first time you work with new materials it is best to limit the scale of your sculpture to the sizes that are suggested in this section. Once you have experience, then you can experiment with sculptures on a larger scale. You can make a realistic object or you can make an abstract form that is not representative of an actual object. Plan in your head or on paper what the finished work will look like. Read through the project instructions before you begin to better plan your own design. Pot size: 1-3 inches.
Join two pieces to each other by scoring the surface of both objects with a rib or other scoring tool. After scoring the clay, apply slip as described on page 34. Firmly press the pieces together.
To cut into clay with a wire tool, hold the wooden dowels while pulling the wire through the clay to slice off a chunk in the size that you need. Always wrap air-dry clay back in its plastic bag immediately. Squeeze any air out of the bag and use a wire twist tie to seal the bag.
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Create a sculpture with pinched forms. Cut off a slice of clay about ¾ inches thick. Divide it into three pieces. Form a sphere from one of the pieces of clay. Smooth the sphere by rolling it between the palms of two hands or between the palm of one hand and a table surface. The sphere should be about two inches in diameter.
Press your thumb into the center of the sphere. Take care not to press all the way through to the other side.
Next, use your thumb to smooth the top edge of the pot. Make three to six small pots. Join the pots by scoring each piece in the place that it is to be joined. Add slip to the scored surface of the pot as shown on page 34. Press each piece firmly together. When finished, drape a plastic grocery bag over the top of the pot, allowing it to remain open at the bottom. This slows the drying time so that the clay will not dry too quickly and crack. Allow it to dry for two to three days until it reaches a leather-hard state. See page 23 under Basic Instructions. Uncover and leave the pot in the open air until it is completely dry.
Gently begin to pinch the clay up and out between the thumb and the fingers. Turn the pot in the palm of one hand as you pinch so that the sides remain even at all times. Take care to work at the base of the pot to keep the sides and bottom even in thickness. The wall should be squeezed thinner a little at a time. For this type of clay it is best to stop working when sides are still at least ¼ inch thick. If clay is pressed too thin, it will break easily.
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paint a sculpture Acrylic Paint
You’ll Need : gesso set of acrylic paints in tubes or jars rinse cup paper towel metal tray palette or paper plates flat brush For tips on mixing colors see page 40. Acrylic paint dries quickly which makes it a wonderful medium for painting sculptural forms. Colors can be layered without a lot of waiting. Sit the clay sculpture on newspaper to protect the table surface.
(a.) Coat the sculpture with gesso and let it dry. It should be dry within 1-2 hours. Once dry, begin to apply colors to the sculpture. Squeeze small amounts of paint in the colors desired onto the pallette. Mix colors with the brush and apply the paint directly to the sculpture. Do not add water as this will weaken the color. Use the rinse cup filled with water to rinse the brush when changing colors. Dab the brush onto the paper towel to absorb extra water before going to the next color. (b.) Layers can be created when using acrylics. Here, dark brown was painted on the wood-like area of the sculpture and allowed to dry. Gray was mixed and then lightly brushed over the textured surface, giving the appearance of rough bark. Because the paint dries quickly the gray did not mix with the brown. See the results on page 24.
Clean-up must be done immediately and thoroughly when using acrylic paints. Refer to page 18 for clean-up instructions.
a.
b.
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5 Slab Method project
Slab building is a method of forming clay objects by joining slabs or flat pieces of clay together. These pots were formed when a slab of clay was wrapped around a cylinder or cube, used as a mold. The pots vary in texture, color, and design. The blue and brown pots vary in height and rim design. The white pots were gently twisted once the mold was removed. A special mold was created in plaster to form the clay into pieces with a wood-like texture. These pieces were attached at the base and stained in dark brown.
If you want a surface design, it must be planned before the pot is formed. A crocheted doily was used to create a texture on the surfaces. Use these examples to spark your own ideas for creating a pot. The size of your pot will be determined by the diameter and shape of the mold you select.
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create a sculpture You’ll need: newspaper masking tape a cylindrical mold cotton canvas 2 lbs of air-dry clay (white, red, or gray) wire clay cutting tool loop tools scoring tools ribs needle tool ruler rolling pin ¼ inch thick wooden slats small board or tray so pot can be moved plastic grocery bag spray paint or sealer (optional)
The scale of your pot depends on the size of mold you choose. A functional pot is easy to hold in your hands and large enough to hold items found in the home. Your pot should do the same. Plan the surface design or texture before you begin. Gather all items you need before opening the clay. Read through the project instructions before you begin to better plan your own design. Size: 2-8 inches in diameter and less than 12 inches tall for best results.
Get Started:
Plastic tubing, plastic food containers, or metal cans can be used as molds. Select containers that have straight sides so that the mold can be removed. Select containers that are the diameter that you want your pot to be. The clay will shrink during the drying stages. The container that you choose should be taller than the pot you make around it.
Wrap the container in two sheets of newspaper and secure with masking tape. The newspaper will help you to remove the container after the pot is formed. You will pull the container from the formed pot. The newspaper will stick to the inside of the clay pot. It can then be pulled from the clay easily.
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To cut clay, wrap the wire cutter around a section and grasp the wooden handles while pulling the wire toward you. The wire slices through the clay with ease. Immediately wrap unused clay back in the plastic wrapping and close tightly with a twist tie. Work on a canvas surface for best results.
For your work in this book use the clay as it comes directly from the box. Press the clay with the heels of your hands to flatten it.
Stand up to roll the clay, getting your body weight behind it. Place slats of wood on both sides of the clay. Rest the rolling pin on the slats while rolling. As you roll the clay out, the thickness will conform to the thickness of the wooden slats. Lift and turn the clay as needed. Roll again until it is an even thickness throughout.
Textures can be pressed into the surface of the clay after the clay slab is rolled to the correct thickness. Do this by placing a doily or item of your choice onto the clay slab. Roll gently over it with a rolling pin. Rubber stamps can be pressed into the clay to make impressions.
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To cut straight edges along two sides of the clay slab, hold a ruler on top of the clay. Pull the needle tool through the clay as you pull it along the edge of the ruler. From this straight edge measure and cut a second edge that is parallel to the first edge. These two edges will mark the height of the pot. The height should not be greater than the height of the cylindrical mold.
Wrap the slab around the mold that has been covered with newspaper as shown on page 29. Use the needle tool to trim extra clay from the ends at the point where they meet. Score both ends by scratching into the top surface of one end and the underside of the other end in order to join them.
Press the scored edges together with your fingers. Use a rib to smooth the clay. You can also pat the seam with a wooden paddle to make the surface smooth. The clay will not stick to the wood, making it an excellent tool for refining the pot surface.
Place the clay cylinder gently onto a smaller second slab of clay. Cut the base by pressing a needle tool to the canvas surface, leaving ¼ to ½ inch around the edge. Lift the clay cylinder from the base.
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Score the edges of the top side of the base. Lightly brush the rough edge of the metal rib over the clay in the place that it is to be joined to the clay cylinder.
Carefully score the bottom of the clay cylinder with the rough side of the rib.
Center the clay cylinder onto the base. Use a bit of pressure to help them attach. The scored areas will help the clay from each piece to join together.
With your thumb or fingers press the edges of the base upward to blend in to the sides of the cylinder.
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Smooth the surface with your thumb, fingers, or a smooth rib tool. You can also pat the area with a wooden paddle to make a very smooth seam.
Place the clay piece onto the table surface and gently pull the mold from the center. Pull slowly and the mold should slide away from the paper. Once the mold is removed, pull the newspaper from the clay.
Once the pot is completely dry, it can be stained, painted with acrylic paint, or sealed with spray paint. When using spray paints or sealers, you must spray in an outdoor area. Read safety instructions on the can before using spray paint. Hold the can 12 inches from the surface and lightly spray across the width of the pot. Turn the pot as needed. Allow to dry. As with all pottery painted with the materials other than glazes, the pot is not food safe. It is purely decorative. It should also be used indoors because it is not weather-proof.
Use fingers to smooth and finish the edges. Place the pot on a board or tray so that it can be moved. Drape a plastic grocery bag over the top of the pot, allowing it to remain open at the bottom. This slows the drying time so that the clay will not dry too quickly and crack. Allow it to dry for two to three days until it reaches a leather-hard state. See page 23 under Basic Instructions. Do any final trimming of the clay with your tools while the pot is in a leather-hard state. Smooth all rough edges by dipping your finger in water then smoothing it over the clay. When finished, sit the pot in the open air until it is completely dry.
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more techniques to explore
a.
b.
c.
Slip is a mixture of clay and water. To make slip put a one inch chunk of clay in a bowl. Add ¼ cup of water. Use your fingers to break up the clay. It may take about 5 minutes to mix. The slip should be smooth and be the consistency of pancake batter.
d.
e.
f.
Joining Pieces (a) Roll out, measure, and cut pieces with a needle tool and ruler. (b) Score the edges that are to be joined. (c) Apply slip with your finger to the scored edge of one side of the two pieces to be joined. (d) Press the pieces together firmly. Roll a very small coil of the same clay. Place the coil onto the crease. Press it down along the internal joint of the slabs. This makes the joint stronger and distributes stress away from the seam. Continue to reinforce each joint with a coil of clay as you go along. Press it into the clay. (e) Refine the shape and surface using a wooden paddle. Lightly tap all sides of the joint to secure it. Paddling can also be used to make the surface smooth. (f) Set the piece upright once all the joints are secure. Continue to paddle as you gently bend the clay into the form that you want. Support the outside of the sculpture with your other hand while you paddle. When finished, cover with a plastic bag. Allow the sculpture to dry to a leather-hard state.
Burnish the surface of leather-hard clay to give it
shine. Use the back of a plastic spoon and rub the surface in a circular motion. This causes the clay particles to compact to make a polished surface. If the spoon sticks to the clay, it tells you that the clay is not yet leather-hard. Etch into the clay surface to create a design element. While the clay is in a leather- hard state, paint a section with watercolor or tempera paint. Allow the color to dry for a few hours. Scratch into the surface with a needle tool to reveal the clay beneath. If the clay has
hardened completely the scratching will be more difficult.
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unit 2 evaluation - Reflect on What You Accomplished
Understanding the Elements of Sculpture
1. Scale, an element of sculpture, was discussed in this unit. Now that you have created works based on scale, explain your understanding of scale.
2. How did the properties of clay affect the scale of the pieces you created?
3. How large is the Nobel One by Scarlett Kanistanaux, shown on page twenty-one? Read Kani stanaux’s description of sculpting with the coil method on that page. Describe some differences between Kanistanaux’s large scale method and your experiences with the coil method on a much smaller scale.
Understanding Creativity
4. Refer to The Road to Creativity by Daniel D. Ellis on page seventy-five. The author talks about a “com mitment to an artistic activity. ” During this unit, you committed to working with the medium of clay. Describe new observations, thoughts, or ideas that you had while working with clay throughout this unit. 5. In the same essay, the author talks about life experiences. How were you able to connect your life experiences to the choice of subject matter, mood, or other aspects of your sculptures? Focus on one sculpture at a time as you describe its connection to your experiences.
Understanding Craftsmanship
6. Now that you have created works in clay based on the methods of pinching, slab building, and coil building, describe the similarities and differences of the processes.
7. What technical difficulties did you run into throughout the process of creating clay sculptures using each of the three methods: pinching forms, slab building, and coil building?
8. How did you correct or change your methods to get better results?
9. Did you seek information outside of this book to perfect the craft or inspire ideas for subject matter? If your answer is yes, describe the information that you found. If your answer is no, then what key words might you use to find information?
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8. (10 pts.) Possible answers reflect the student’s knowledge of the process of needle felting and must include a description of the technical aspect and the solution. 9. (10 pts.) Yes or No is correct. If yes, then a brief description of a type of information should be described. If no, then a few key words should be listed, like those you might use in a Google search. course description Visual Arts Courses: A credit is awarded according to the amount of time spent on the course. See your state requirements for total hours needed. Students should keep track of hours for the following activities related to this course: planning and sketching observing sculptures on trips to museums and parks reading the text and additional reading and investigation project time and any additional projects initiated by the student in media of papermaking, cardboard construction, papier - mâché, or wire
Refer to Classroom Scheduling on page 82 for approximate time to complete projects.
Course Name: Sculpture II / 1 credit
Course Text: Sculpture Technique, MODEL by Brenda Ellis
Course Description: The fundamentals of sculpture (mass, scale, and surface) are emphasized through examples, artwork by contemporary sculptors, and projects in putty, pottery, and fiber arts. Critical analysis of artwork is stressed in the application of these fundamentals. Various media, tools, and building techniques are explored. Students arrive at unique solutions for 3-dimensional design problems as well as exploring creative expression.
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classroom schedule The projects within this book fit within a thirty-six week school year. For most projects, schedule one period per week that is 1-2 hours in length. Most projects require multiple sessions. The student at home will progress through the book at his or her own pace. For teachers who need to plan according to the school year, use the schedule below. It is one that I use in 75 minute class sessions that meet once per week. Working times of individual students vary greatly so it is necessary to modify scheduling once students get into the project.
Unit 1 : Creating Mass with Putty
1 Modeled Mass Week One : Make a set of three sculptures from putty. Week Two : Apply paint or other finish. 2 Static Mass Week Three: Make a sculpture from wadded newspaper and tape securely. Week Four: Apply a coat of putty. Week Five: Apply a clear sealer to the sculpture. 3 Dynamic Mass Week Six: Make a sculpture from wadded newspaper that shows motion. Week Seven: Finish piece and apply masking tape to the entire sculpture. Week Eight: Apply masking tape to the sculpture. Week Nine: Apply gesso to the sculpture. Week Ten: Apply paint colors using acrylic paints.
Unit 2: Creating Scale with Clay
4 Pinch Method Week Eleven: Cut clay and pinch and form model Week Twelve: Apply acrylic colors to the sculpture. Week Thirteen: Apply gloss medium to the sculpture. 5 Slab Method Week Fourteen: Roll clay and finish modeling the pot Week Fifteen: Apply gesso coating. Week Sixteen: Apply color and decorative elements to the pot. Week Seventeen: Apply gloss medium finish to the pot. 6 Slab Method with Paper Armature Week Eighteen: Create the armature for the head with newspaper.
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ART/EDUCATION
Sculpture Technique, MODEL builds on the concepts taught in Sculpture Technique, CONSTRUCT while standing on its own as a guide for instructing students in modeling methods. This book offers students, upper elementary through high school, the opportunity to discover their own creative strengths in the world of three-dimensions. It is the first of its kind to bring the processes and concepts of modeling with putty, clay, and wool fiber into the home environment. Unlike craft books, the assignments in this book focus on processes of working with specific materials while introducing the elements of sculpture in ways students can put into practice immediately. Students work as sculptors, creating original works of art while selecting subject matter that is interesting and relevant to their own lives. Text written in conversational manner means student can work independently Full year course in one book Elements of sculpture are introduced using Contemporary Art by working artists Projects are described in clear language and fully illustrated pages Evaluations for greater understanding of concepts
Putty - Clay - Fiber Arts
Use this book again and again!
Published by Artistic Pursuits Inc. www.artisticpursuits.com
Sculpture Technique, MODEL, USA
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