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Unformatted text preview: es that flow
through the form. Avoid looking for a
recognizable object. Evaluating Your Work
DESCRIBE Did you use the media and tools
effectively? Did you use only the subtractive
method of sculpting? Did you hollow out the
center so that your work dried properly?
Describe the process you used to apply the
finish. Is your sculpture vertical and
ANALYZE Did you create smooth planes
with well-defined edges to develop a visual
flow? Compare and contrast your own use of
negative and positive space. Is your finished
work nonobjective? Compare and contrast
the areas of emphasis you carved or textures
INTERPRET What does your work
express? Interpret your artistic decisions.
Give your sculpture a title that reflects its
form and mood.
JUDGE Do you think this work is successful? Use one or more of the three aesthetic
theories explained in Chapter 2. Step 4 Begin to carve the form you
visualize, using large wire sculpture
tools. Use smaller clay tools to refine the
planes. Carve contrasting small areas of
emphasis. One possibility to consider is
adding texture with a fork
Step 5 Hollow the sculpture, leaving an outer shell no more than 3/4 of
an inch thick. If possible, hollow the
sculpture from the bottom. Otherwise,
carefully cut open the sculpture with a
thin wire and remove the inside clay.
Step 6 Allow the sculpture to dry at
room temperature until bone dry. Fire
your work in a kiln.
Step 7 Using a soft cloth, apply
stain by using a watercolor. Begin
applying stain with a very light layer
and end with a darker layer. FIGURE 5.35A
Student work. STUDIO PROJECT Free-Form Clay Sculpture 123 STUDIO
PROJECT Contrast Drawing 5–2
Historical and Cultural
Rembrandt van Rijn is one of the
best-known artists of all times and is
considered the greatest Dutch artist of
the 1600s. He completed numerous portraits, including more than 100 selfportraits, in addition to landscapes and
religious art. Rembrandt often used
chiaroscuro for dramatic effect. The
technique creates a high level of contrast between the subject and background. Sometimes, as in Figure 5.36,
it almost appears as though the subject
were illuminated by a spotlight. Notice
how the light emphasizes the connection between the human figure—the
philosopher Aristotle—and the bust of
Homer, a great storyteller of the ancient
world. Study Aristotle’s face and body
language. What do they tell you about
his feelings toward this great author?
Rembrandt van Rijn. Aristotle with a Bust of Homer. 1653. 143.5 136.5 cm
(561 2 533 4 ). The Metropolitan Museum of Art, New York, New York.
Purchase, special contributions and funds given or bequeathed by friends
of the Museum, 1961. (61.198). SUPPLIES
Charcoal, colored pencils (gray tones and black),
or soft (4B) and medium (2B) pencils
Tensor lamp or other strong light source
Camera with black-and-white film
Sketchbook and pencil
White drawing paper
Scrap paper 124 CHAPTER 5 Shape, Form, and Space What You Will Learn
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This document was uploaded on 09/23/2013.
- Fall '13