Chap05shape and form

Keep the form vertical rather than horizontal so you

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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 freestanding? 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 you created. 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 Context 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? FIGURE 5.36 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 You...
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This document was uploaded on 09/23/2013.

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