PLASTER: Into the Void (Sketches and Piece)

Sketches:

When sketching for this project, I tried to really focus on the idea of continuity and rounded form. I was particularly intrigued by the path of connected modules (in the rounded arms), as you can se in the sketches above. I thought this was a simple, yet elegant way to maintain an organic shape, with a different approach to the execution of voids throughout the piece.

Building the wire armature for the piece was not as difficult as I thought it would, especially since my form had a very generalized overall interior outline. I basically attached three large rings to the circular base, as well as to each other. From there, I cut the burlap out, soaked it in liquified plaster, then placed it around the wire structure, to give the piece a solid foundation to work from. I started at the base and worked my way up to maintain stability and balance. 

Once the burlap was place, I added "putty" staged plaster on top of it. I made the base layer very thick to maintain an obvious base to the arms of the piece. I was not yet concerned with smoothing out the form as much as just getting the overall shape in place to work from.

When the base was plastered, I then added the putty plaster to the arms, trying to maintain a consistent thickness through out each. I wanted the base of each arm to be thicker, and then the arm would slightly and gradually thin out as the arm extended towards the next arm. A final layer of putty was used to smooth out the form as much as I could.

Finally, after all the plaster was added, came time for sanding to smooth out any rough patches. This proved much more difficult and time consuming then I thought it would be. I used first a medium grade sand paper, then tried to refine with a finer grade. I ran into the issue of air pockets--so many air pockets. I assume this occurred when I applied runnier states of plaster during the putty construction stage of the process, trying to smooth out the form as I waited for the plaster to thicken. I later learned after many layers of doing this that this was no the smartest thing to do, because it, indeed, cause air pockets. So I reached a point in sanding wear the more I tried to smooth down some places, I was opening up the air pockets in other places. Eventually I had to stop or i knew I would just keep sanding until I reached burlap or the form lost its intended thickness.

Overall, I was kind of "eh" about this project. I really liked how quick the plaster dried while constructing because it was then easier to keeping building on top of. However, I felt like so much time was wasted just waiting for the plaster to reach the putty stage to actually begin construction. I also didn't like sanding; I hated the feeling of powder all over myself and my hands, and there were times i rubbed my fingers raw trying to get a grip on the sand paper. It was difficult to smooth out some curvaceous spots because of their significant angle in curvature. I think I had a pretty solid idea initially, and did alright in my first go with plaster, but looking back now, I can definitely fix mistakes I made in this project if I were to do it again. My craft could have been a lot better in all honesty; air pockets were my enemy and their came a point where I couldn't really do anything to fix them, but just try to roll with it. I tried to stick to my original sketches, however the piece did not come out as symmetrical as I wanted it to be, which also ties into my craft. And my final form was very heavy, which was a real pain trying to transport; and the dust from the plaster gets everywhere! Honestly, Im kind of glad I'm done with this project. 

CLAY TRANSFORMATION: Sketches & Final Pieces

hybrid--> a thing made by combining two different elements; a mixture. A mixed character; composed of mixed parts. 

transformation--> a thorough or dramatic change in form or appearance.

duality--> an instance of opposition or contrast between two concepts or two aspects of something.

hierarchy--> the order in which the human eye perceives what it sees. A system or organization in which people or groups are ranked one above the other according to status or authority.

Sketches

For this project, I immediately went with the first idea I had to represent transformation: hands into a bird. I liked the context and relativity of these two things, having the crossed hands seemingly making the shape of a bird (like with shadow puppets) into the actual thing it is trying to represent. I just didn't know for sure how I would convey the intermediate between the two, and whether or not to have the clay pieces "flapping their wings" during the transformation.

Final Pieces

I had not had a whole lot of experience with clay prior to this project, but after getting into it, I think I began to get the hang of it. I was a little concerned about how well I would be able to render the hands specifically, but my instructor helped get me started--first molding the general shape of the hands, then refining down--and it turned out to be not as difficult as I had anticipated.

Once I had the hands formed, the other two pieces came more naturally. I always tended to start out with same general shape for each piece, keeping a general continuity between the three pieces. However, I changed the position of the wings/fingers to make it appear as if the "bird" was flapping its wings in flight, even though the figures themselves have their backsides laying flat on the table. I felt like this mimic of moment would be more dynamic in the transformation. As the transition from hands to bird ensues, more detail is added. I used the tip of a pencil (mostly) to add the lines and indentions in the three clay figures. The intermediate piece between the hands and the bird is a hybrid of the two; I webbed the fingers together to make to uniformed wholes and blended the thumbs to gather and brought the tip of the top thumb to more of a point (lending itself as a beak). 

Overall, I did enjoy this project. I was surprised actually at how fast I was able to get it done because I was concerned in the beginning whether or not I would have enough time to accurately execute my idea. I am pretty pleased with my three pieces. There are some things I wish I had been more elaborate with, like with the nails on the hands, or maybe more detail in the bird, but I was not completely confident in my skill with clay to pull these off without taking away form the pieces. I do believe I have a generally fluid and obvious transition between my three models, while connecting the two different objects in a witty and thoughtful way. I was excited to connect these two things on a physical and psychological level. I hope that it is visually interesting. I feel like the pieces are strongest when together; I do not feel like they would be as dynamic if they were displayed individually, separate from each other. I probably could have smoothed out some of the rougher edges a bit more, and added a bit more detail. However, I do think my craft was okay overall. Hopefully the pieces don't crack after they are fired in the kiln!

........

Well, two of my three clay pieces kind of exploded in the kiln. Luckily, I was able to glue most of the pieces back tougher with Liquid Nails. Once they were all glued together, I think glazed them with a layer of saddle soap and brown shoe polish. These were the final results of my ceramics pieces.

PLANE: Final Composition

For my final plane piece, I decided to use some of the original ideas I had with my studies. I liked the sequential relationship between my three studies, and I wanted to incorporate that into my final. However, I wanted to add some kind of extreme asymmetry to the overall composition, so I improvised a little. I kept modules of  the icosidodecahedron (pentagons and triangles) and the icosahedron (triangles). And since triangles were the common element, I decided to make a module of a 3-D triangle. I elongated the triangle to make a defining point, adding extreme contrast tho the other two modules.

To build my first two modules, I made a pentagon and a triangle template with bristol paper. I measured out the appropriate angles and lengths I wanted for each facet of the shapes, so this way all I had to do was lay out the template on the cardboard and and trace (so I wouldn't have to measure out each chap every time. I based the size of the templates off of what I wanted my triangle facets to be, that way, the two modules would fit together perfectly with their common triangular facets.  With the longer triangular piece, I decided on a length and dimensions according to the triangular facets, and determined my angles necessary from there. 

Once I had my templates, I began to layout the modules of my modules on sheets of cardboard (I went through approximately two and a half sheets). I added some glue flaps for extra support in certain areas.  Once I had drawn out all of my separate pieces, I began to cut out the selected cardboard, using a box cutter and a corked-back metal ruler. Once al the separate pieces were cut out, I began to score the individual facets and glue flaps.  

Once all of the pieces to my modules were cut out, I began then to assemble them together using paper tape. I had never used paper tape before and let me tell you--I don't like it. It was extremely frustrating and messy, but it definitely held the cardboard together well. Assembling the modules together was a lot more difficult then I anticipated at first; I had to have a someone help me a couple of times to hold it together while I taped. After a while, it got slightly easier. After the modules were assembled, it was then time to assemble all three modules together into the final piece (also accomplished with paper tape).

After the final piece was assembled, all that was left then was to paint it. I wanted to emphasize the elongated point of the piece, but I didn't wanted it to feel segregated from the rest of the composition. To do this, I decided to create a uniting path flowing throughout connected facets of the piece going from the point to around the icosidodecahedron and the icosahedron. I chose red because red is bold and attentive. For the remaining facets, I wanted a more subtle, muted color, so I chose a light brown paint (you could say cardboard inspiration). I used interior semi-gloss house paint for both hues. 

I think I generally responded to the criteria guidelines, trying to explore different options, but also using inspiration from my original sketches and studies.I think that it is more visually interesting and appealing than my last piece, consciously going for an asymmetrical composition to primarily achieve this. I still think my craft is below par, but now that I've had some practice with paper tape and cardboard sculpture, I feel I could improve it for future execution.   Some of my angles were still slightly off which made assembly slightly more difficult and offset, but not so dramatically so as to be immediately noticed. Overall, I am pretty proud of this piece. 

 

PLANE: Studies

For my studies, I was interested in the 1st option: 3 forms representing alteration. With that in mind, I wanted to focus on the combination of shapes to make a unified form, each stage adding an additional shape to the facets of the overall volume.

I printed off guides for a icosahedron (all triangle facets), a rhombicuboctahedron (triangle and square facets), and a rombicosidodecaahedron (triangle, square, and pentagon facets).

Once i did that, I laid the sheets over top of bristol paper and imprinted all points of intersection within the shaped outlines. From there, I used a ruler to complete the outlines on the bristol, scored the lines, then folded my forms.

icosahedron

rhombicuboctahedron 

rombicosidodecaahedron 

LINE INTO FORM: Final Composition

Design Statement

I formulated my final composition using a combination of three of my studies:

I really loved the shape created by my paper study; how it was such a rippled, open shape without any of the original sheet taken out, just slits cut selectively. For my burlap and stirring straw studies, I was interested in the mimicking of forms through curvaceous vs. straight lines--I liked the harmony, as well as the contradiction of the two. So, I combined the linear opposition of the mixed media studies to the shape of my paper study. 

So, I first composed the the larger version of my paper study. To do this, I used a larger construction-like paper, cutting it into dimensions of 24" x 31". From there, I doubled the dimensions of my varying line widths and lengths, to allow for a greater number of finer lines.

From there, I used a corked-back yard stick to cut straight complete lines. Once I cut all of my necessary lines, I used shot glue gun to attach my points and lines, and lucky this paper held almost the same proportional tension in the paper as my study. After I manipulated my paper form in the shape I wanted it to be, I had to think go how I wanted to add the linear element.

I liked the boldness of the red that was present in the stirring straws and I wanted the linear aspects of the piece to extend beyond the dimensions of the curvaceousness of the paper. So I obtained a few square dowel rods, and painted them red. After they dried, I began to incorporate them into the piece, playing around with different positions until I came up with a model that sturdily acted in the form and allowed for it to stand freely while keeping its shape. I attached the rods together with hot glue as well. After it was able to stand on its own, I played around with the exposed lines of the paper, slightly straying away from the original study allowed by the larger dimensions. 

Overall, I was pretty pleased with my resulting form; I had fun with it. I do think my craft could have been a little better, that is something I can work on. I liked what this project turned into just by playing around with paper and lines, until finding unique interesting forms. I liked the idea of starting out with a linear concept, then turning it into a curvy form, then once again incorporating linear elements. 

Evaluation Criteria:

Did you respond to the project criteria in a thoughtful way that shows progression through your studies and design process?

I believe I did show some original thought in my initial studies, more so in the paper studies. I used a combination of my initial studies, taking elements from each that I really wanted to incorporate in to my final piece. I made my final piece larger, transitioning to a larger scale and using the materials necessary to accomplish this. 

Did you explore depth and a range of concepts?

I think I did in my studies, just playing around with different shapes and lines, mostly through trial in error, keeping the ones that I found interesting; and using both linear and form concepts. I probably could have showed a little more depth in my final, perhaps stepping away from my originals ideas and trying something different. However, I am pleased with my final form.

Is it original and visually attractive/interesting?

I hope so! I mean, I'm pretty proud of it, but an audience may no think so, or see something in it that I don't necessarily see. I really like the overall shape of it, and I think the fact that it is free standing strengthens the overall composition. I like the bold contrast of the red dowel rods and off-white paper.

Have you produced quality work with attention to craft and detail?

For the most part, I believe so. Like I said earlier, I think I could have handled my craft a little better, more so with the hot glue and dowel rods. I think my detail and craft is better more so in the paper aspect of the piece, making sure I cut my lines straight and even. And moving it around from place to place as I worked on it effected the structure of the paper a little bit. And I wish I had made it a little sturdier; that is something I struggled with while I  was positioning the dowel rods.