When the chin is firm enough to support some weight, add slabs and sculpt the face. Here a coil is added to define the neckline of the dress. Make clothing as part of the form, then add texture to show the drape or edges. Begin by sketching the location and shape of the features. At this point, before enclosing the head, the features should be modeled and sculpted. Once the neck has set up enough to support the weight of the head, continue to build up until reaching the hairline. Let the underside of the chin set up before adding the weight of the head (this would be a good stopping point before the next class). Note: Do not pack the interior with newspaper as this gives very little structural support while building, none while firing, and can shorten the life of electric kiln elements.īuild the neck as a tube and attach the chin as a “chevron” tilted up. Be sure to make holes in any supports which may trap air, or there can be disastrous kiln blow-outs. Added slab supports should be the same consistency as the rest of the sculpture to avoid stress cracks. To create the shoulders and neck, construct internal structures to help support the weight through construction and firing. “Darts” or cutouts may be created to achieve deeper indentations.
Shape the torso by adding slabs or coils and coaxing the walls while supporting with the other hand. Always “stitch” or mesh seams together well and put coil along inside of seam for additional strength. Slab strips can be cut to the width and shape that is appropriate to the desired form. Build the sides of the form up using either slabs or coils, or a combination of both. (Walls may be slightly thinner when reaching the top of the piece, but extremes of thick and thin should be avoided).Īfter scoring & slipping the edges, place the first strip of clay on top of the base (not around it) for best support. Recommended wall thickness is 1/2″- 3/4″, depending on the size of the sculpture. Remind each student to sign their name into the underside of the slab and cut a 1″ round hole in its center for air to escape (as it will be difficult to flip the sculpture over after construction begins). Start construction by cutting a flat slab base to the desired contour and size, laying it on a porous board or on a doubled sheet of newspaper. Each student should use themselves or their classmates as models to insure appropriate form and proportion. Sketches of the general form, texture and color should be done on paper with that scale in mind.ĭemonstrate slab and coil-building techniques for building a hollow form with interior supports as necessary.īusts should be constructed with the artists’ styles and the preliminary sketches in mind. (keep in mind that the larger the bust, the more challenging and time-consuming the project). De Chirico’s may be “Line, Architecture and Representative Forms”.ĭetermine desired scale of assignment, whether life-sized, half, etc. For example, the elements of Van Gogh’s paintings may be summarized by “Texture, Acidic Colors, and Intense Gaze”. Introduce the project with examples of figurative ceramic artists, including: Adrian Arleo, Robert Arneson, Viola Frey, Arthur Gonzalez, Marylou Higgins, Sergei Isupov, Christy Keeney, Anthony Natsoulas, Richard Shaw, Akio Takamori, Noi Volkov, and Patti Warashina.Įach student should distill their chosen painter’s conventions and styles into a few words. Suggestions for painters include Picasso, Frida Kahlo, Kandinsky, Dali, Goya, Manet, Francis Bacon, and Rembrandt. Portrait artists are recommended for first projects but advanced students could be further challenged by applying the ideas of non-figurative artists into creating portraits reflecting their styles. These building and decorating techniques can be used for a wide variety of sculptural forms, and also for creating large-scale vessels.Īssist students in selecting an artist to research. Most notably, Robert Arneson used the style, colors, textures and forms of specific painters to reinterpret two-dimensional art forms as a three-dimensional sculpture. In ceramics as well, artists are inspired by self-portraiture. Every painter brings a new vision to the self-portrait tom posture, palette, and painterly textures to props and symbolism. Self-portraits are as varied as the painters who paint them. Rembrandt and Van Gogh are well-known for painting many self-portraits throughout their careers. Self-portraiture is prevalent in the Art History tradition as many artists discover that the one model they can always count on is themselves. Creating ceramic figurative sculpture using slabs and coils.
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