3D UNIT II: Relief
formal: to introduce the studio fundamentals of "bas" relief (low relief) and "haut" relief (high relief) sculpture.
technical: to gain experience in making clay face molds and casting plaster.
conceptual: To show how the way in which we make marks in large measure determines our personal style.
|Project Overview||Your challenge is to create a plaster relief that reflects your own identity through a vocabulary of marks reflecting your own "signature style".|
|Australian aboriginal sand drawings ("song lines"), Oceania wood carving, African mask and sculpture carving, Malaysian wood carving (architectural screens), Malaysian repousse' (vessels with relief in silver), Chinese temple carvings, Indian relief carvings in living stone (Mahabalipuram), Max Ernst, Louise Bourgoise, Ann Hamilton, Fiberglas wolf lovers, Scandanavian sand clock.|
|Vocabulary||bas (low) relief, haut (high) relief, value, contrast, negative volume, positive volume, casting, substitution, additive, subtractive, substitution, "found objects"|
|8 pounds of water based clay (about 1/3 a bag), plaster of paris, mixing bucket, clay tools including rolling pin, wire, two 16 penny nails. (materials provided)|
a) roll out three slabs of
clay about 3/4 inch thick. Min. dimension: 6 inches.
Your final plaster reliefs can be presented as either wall pieces or table-top works. What alternative methods of presentation could you employ? Consider introducing "foreign" elements into your reliefs by embedding objects into your clay mold that would, in turn, become part of your final plaster. How would the use of color change the effect of your reliefs?
When you have completed your
sculpture, divide into small groups and exchange artworks with another
group from the class. Within your group, work together to respond to each
sculpture in turn. Consider the following:
2. Point out any personal symbols or marks the artist used to indicate a particular meaning or sense of identity.
3. Discuss ideas the artwork seems to communicate. After some sharing of interpretations, attempt to state the "message" of the design in one sentence. (This artwork is about. . .)
4. Explain how the shapes, symbols, or other elements of the design support its message.
Your notebook should include
2. Your design process (drawings, computer-printouts, photos).
3. Supplemental materials (receipts, notes about technique or materials)
4. Final documentation in the form of drawings, computer print-outs, or photographs.
The above project was developed by Dan Collins and James Stewart.
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