Sculpture Notes

ART 335, Installation Questions

2011-03-24T09:55:00.000-07:00

Statement of Intent Form Name: (type your name here)

Title of work: (type your title here)

(Copy and paste this entire document into a single page .doc file.

Between the bold parentheses here should be space enough for your statement of intent. Delete everything inside these parentheses, and replace with your text. Include: A written account of what you wanted your piece to do, what you wanted to make people think about, what you wanted them to feel, hear, what you wanted to accomplish, what you wanted to question, what you want to explain, what it is you want to lead people towards. You can intend more than one thing. I just can’t accept, in an academic situation, that you intend nothing. That will be a hard idea to convince your audience of as well. Tell us where your head is; what philosophies are at play, what artwork influenced the installation. Tell us what you’re reading if it directly influenced your intentions. Leave out all the biographical elements like, “I have been an artist since 1993. I had a tough semester, my car broke down, so I was frustrated, and life is chaotic, on, on, etc.” Instead, tell us about the work in front of us. But really tell us. Knowing with certainty what you wanted a piece of work to do is the only objective way for us to critique your success. That is why we are reading this information, calculating a response, and responding at the end of the week. Keeping your statement as honest as possible will yield the most helpful responses.

Regarding the 3 questions: This must fit on one page with space to answer your questions, so play with wording until you can accomplish this. Use the numbering, just paste in your own questions. Also, leave the question I have provided to allow your peers to add their overall thoughts.

1. Your question #1…….?

2. Your question #2…….?

3. You would describe my engagement of the exhibition space as:

a) superb, the entire space was considered and an altered spatial experience was provided b) good, the space was considered c) poor, there was a marked difference between objects and space, and the objects could have existed in any space.

ART 335,Process Questions

2011-03-23T16:50:00.000-07:00

Statement of Intent Form Name: (type your name here)

Title of work: (type your title here)

(Copy and paste this entire document into a single page .doc file.

1. Your question #1…….?

2. Your question #2…….?

3. You would describe the connection between the alternative process involved and the content of the piece as:

a) crucial/essential, process is the content b) related but independently strong c) unrelated/slight d) content operates without regard to the way it was produced e) Other_______________________________________ .

SYL-Sculpture: Installation

2011-01-04T23:36:00.000-08:00

Sculpture: Installation

ART 495-90 CRN: 33565

Jan. 3, 2011 – Jan. 20, 2011

Instructor: Brad Allen

Email: bradley.allen@umontana.edu Phone: 243-5704

Classroom for Course: Art Annex 123 (Sculpture Studio)

Office: Art Annex 126 (Inside Sculpture Studio)

Class Times: M – F, 9 am – Noon

Access to Galleries: 24-7

Access to Sculpture Studio: M – F, Noon – 4 pm

Access to Instructor: M – F, 8 – 9 am, noon – 1 pm

Course website: sculpturenotes.blogspot.com

Description:

-In the next 3 weeks you will be introduced to the brief history of Installation Art, see contemporary

examples of artists in this field, create 2 of your own installations, and critique your peers daily.

-We will engage a dialogue about post-medium and post-studio art approaches.

-You will be responsible for all materials, objects, sounds, images, etc. used in your work.

-The common materials amongst your installations will be space, time, and people.

-The sculpture studio can be used in open hours to prefab or plan as needed.

-This course requires writing in these forms:

-A statement for each installation, describing your intent

-Critiquing peers by writing responses on their statements

-Posting a written synthesis of the more successful outcomes as a final

-Attendance is mandatory; each unexcused absence results in the lowering of a letter grade.

-4 unexcused absences results in class failure (“F”).

-When installing your work you will have an assigned helper.

Objectives:

-Explore approaches to creating installations in varied spaces

-Gain understanding of the histories surrounding installation as a contemporary art genre

-Utilize critical thinking skills in the form of verbal critique and written response

-Analyze art solutions presented and synthesize criticism into a written form

-Practice organizing, budgeting, and implementing the construction of art in a time frame

Format:

This course is a special topics studio art course with a lecture component.

Each day will follow this basic format (minus 3 critique days):

8 - 9 am Consult Brad if needed, get early feedback

9 am Attendance taken, announcements follow

9:10 - 10 am View1st Installation presented, View 2^nd Installation presented

10 - 11 am Classroom time for Lecture, Slides, Films, Discussion

11 - noon View 3rd Installation presented, View 4th Installation presented

Noon – 4 pm Open Sculpture Studio (including Weekends)

Requirements:

Installations 200 pts

Statements 175 pts

Final documentation 25 pts

Total possible 400 pts

Installations: (100 pts each, 200 pts total, 50% of grade)

You will make 2 installations as assigned coursework and have each critiqued separately. Without critique you receive no credit for work done. You are required to document each installation and edit each to 2-3 jpegs or a QuickTime video that is less than 2 minutes. This documentation will be presented at the end of the week that your installation was viewed. The documentation of both of your works will be turned in to my email (above) on Jan. 21^st.

Materials, scale, and imagery are all open. This is seen as an extension of your content, necessities of your intent. You may only need one gym sock to activate the space, or you may need 2 tons of bailing wire. In this 400-level class, I won’t lead your content, but I will impose the following parameters:

1 installation needs to consider a post-studio approach. For example, if you are a prolific metal fabricator, instead of welding multiple forms and placing them in the gallery (continuing the craft/process-based dialogue of the root objects) you instead consider working with existing objects, forms, raw material, light, sound, etc. Consider things more fleeting, more temporary, more accessible.

1 installation needs to consider elements that project, calculate, transmit, receive, move, sense movement, make sound, record, generate documents, or some similarly related low-end technology. If the cardboard Frito-Lay display in the grocery store can spin, so can your installation! Let’s think about interaction without requiring that ALL the action be on the part of the viewer. Instead of thinking about building robots (we don’t have time for that), think about where you can obtain a robot quickly and cheaply (my kids have 5 between them that do low-end pre-programmed functions, they’re just toys).

You must uninstall your work before 4 pm on the day of your viewing. This will allow the next artist to enter the gallery at 4 pm and install for the next day. If your viewing is on a Friday you may uninstall the following Saturday by 4 pm. If your viewing is on a Monday, you may begin installation on the preceding Saturday. No one is to uninstall someone else’s work. Email me and I will do that. If I uninstall a piece, the artist will fail to gain any points for that particular installation.

Spaces:

There are 5 possible spaces for your installations.

Everyone will exhibit 2 installations. Which space is up to you, but you have to sign up for it and stick to the scheduled time. Space will be allocated by lottery and selection.

According to scale, large to small:

1. Off Center Gallery in Art Annex

2. Hallway Space (doorway at north end of Art Annex Hallway extending east)

3. Sculpture Studio Space in back of AA 123 near sand mixer

4. Light Shaft Space in Fine Arts Building

5. Fish Bowl Gallery (foyer in front of Off Center Gallery in Art Annex)

Assistants:

Everyone will serve as an assistant. Everyone will get an assistant. Instructor will assign assistants to artists based on scheduling. Assistants will need to be available to help a peer artist as needed the afternoon/night before, and afternoon of, the artist’s viewing. So in effect, you have to schedule the appropriate work time for 2 of your own installations and work time for 2 of your peer’s installations.

The idea here is that you will need an extra set of hands and eyes to mount an exhibition in one night and uninstall the following afternoon by 4 pm. Assistants are to take on the roll of contractor-for-hire, wherein, you don’t give advice about design or content, just help as instructed. This might be a difficult role for some of you to play, just remember, you get an assistant to help you too! Do a good job. Being a supportive and helpful assistant is part of my grading consideration (see Assessment).

Statements: (25 pts each, 75 pts total, 37.5% of grade)

You will write a statement of intent for each installation. Single space, 12-point Cambria font, and 200-300 words. This should identify your goals with the piece. It should clearly state what you intended to explore, communicate, or question. It should identify artist’s installations that are influential, especially in approach and effect. It should identify any philosophical strategies involved. It should address the two parameters above. It should state points of research that are found elsewhere. Avoid the biographical and focus on writing what it is that you hope your artwork will do.

Your statement will also ask 3 specific questions of us, the viewers, to further personalize your critique.

These could be about elements of design you feel are weak, or questions of how connected your viewers are to your specific ideas, or as ambient as asking them to define their experience. All of these questions will point towards what you feel is important, your focus, your intent.

- Copy the STATEMENT OF INTENT FORM on the sculpturenotes.blogspot.com website

- Paste into a word document. Type in your statement and 3 questions.

- Print 18 copies, bring to your critique (you can also print them in Sculpture Studio the day before)

- Hand out to peers. Peers answer the questions with detail, bringing some of those to light in the verbal portion of the critique.

- Peers hand back to the presenter/artist.

A third statement will be written and posted to the blog as a response. This requires you signing up for a BlogSpot account. If you want to post your third statement and delete your new account directly after, that is perfectly fine. The account is free, and I understand many of you have one already. Respond to the blog entry “495 Installation: Statement 3”. A prompt will be found there that asks what strategies/approaches (not individual pieces) were the most challenging, exciting and promising as an artist. It will also ask which experiences were the most impactful as viewers. This is Due by Jan. 21^st at midnight.

Documentation (25 pts total, 6% of grade):

YOU will document each installation, regardless which space it is in. This is a requirement to fulfill the process of completing the work. Without documents you will not receive points for the work. You can choose from 2 popular methods of documenting installation work: Still camera images or digital video.

You can use your camera or check one out from the Sculpture Division. We have a Cannon HD camcorder, 2 Flip video cameras, and a Nikon Coolpix 8 megapixel digital camera. You are responsible for cameras when in your possession, and are responsible for downloading/editing data appropriately.

Document formats:

Images should include 2-3 images total that accurately depict an overall view, detail view, and optional second overall view from different vantage point, or, second detail view whichever is more important. Jpegs are the preferred file types, with resolution optimized for loading to the Internet and viewing on a computer screen. (No giant file sizes, but no thumbnails either)

Videos should be shot on a tripod or on a camcorder with Image Stabilization. Shaky dizzying shots do not describe your piece well. The downside to video is that it requires more complicated editing; the upside is that moving through a space most accurately communicates what is like to experience the installation firsthand. The appropriate format is QuickTime, duration less than 2 min., preferably 30 seconds.

Critiques:

We will have 3 critique days—first Friday, second Friday, and third Thursday of January (See schedule).

Let’s call the daily presentation of installations (3-4 per day) “Viewings” as to separate the two.

During viewings we will be presented a statement, an installation, and 3 questions for us to answer directly on the statement. We will spend 20-30 minutes viewing the installation with artist present. This time will be used to make notes about the installation, ask the artist specific questions, and to experience the work.

At the end of each week we will spend the entire class time looking at the installations as projected images or videos. This will be a time to open dialog about the statement/installation relationship and the questions that the artist asked. This delay in critical feedback will hopefully allow poignant concise comments to be delivered to the artist. At the end of each critique, we will hand all the statements back to the artist so they can collect the answered questions in whole.

Assessment:

Installations:

After receiving a document that clearly identifies your intent, I can begin the evaluation process. I can evaluate, based on feedback in critique, gauging how successful the piece was when held to the goals outlined in the document. I can weigh this with ambition, attitude, planning, and follow-through.

Characteristics of point allocation:

A (90-100 pts) – The intent described in your statement is clearly visible in the resulting installation, installation has sense of finish, clarity abounds, potent use of positive space (materials, objects, images, sound) and selective use of negative space (empty gallery, floor, ceiling, the quiet), it effects your viewers in a way that you intend, it provides enough content or form to challenge and captivate, it is not cliché, it is embodies ample effect for the amount of time given, you put in 12+ hours per week outside of class in research, prefab, or discussions, you provided ample support in the form of helping your peer install, your attitude and attention are exceptional.

B (80-89 pts) – The intent described in your statement is visible in the resulting installation, installation has a sense of finish, potent use of either positive or negative space, it effects your viewers, but perhaps not quite in the way you intended, it provides enough content or form to satisfy your viewers, it narrowly avoids feeling predictable or cliché, it generates an effect that is suitable for the amount of time given, you put in 8+ hours per week outside of class in research, prefab, or discussions, your support of your peer was adequate, no negative feedback from the peer, your attitude and attention are good.

C (70-79 pts) – The intent described in your statement is not clearly visible in the resulting installation, installation looks/feels unfinished in some ways, positive and negative space seems unconsidered, viewers are hardly effected, content and forms employed are adequate, elements feel predictable or cliché, effectiveness doesn’t quite equal amount of time given, 6-8 hours per week outside of class in research, prefab, or discussions, your peer felt supported in an average way, but had some negative things to say, your attitude and attention were just adequate.

D (60-69 pts) – The intent described in your statement is not at all present in the resulting installation, installation seems very unfinished/ill-considered, space seems unconsidered, content or forms are less than adequate, it is cliché or very predictable, effectiveness in no way equals amount of time given, less than 6 hours per week were invested in the course outside of class, you peer felt unsupported in that you were rude, irresponsible, or absent, they complained formally, your attitude and attention were poor.

F (less than 60 pts) – Installation was not presented, or, you failed to document/present documentation for critique, less than 6 hours per week were invested, you in no way helped your assigned peer, your attitude was very poor, attention was non-existent.

Statements:

Characteristics of point allocation:

A (45-50 pts) – Well written statement clearly identifies your intent, goals, objectives with the work, identifies influences, obvious and hidden, avoids elements of biography, is concise, meets all requirements in length and format, you had 18 copies printed and ready to hand out at your viewing, your 3 questions were useful, considered, and helped us understand your intentions that much more.

B (40-44 pts) – Fairly well written statement identifies your intent, identifies influences but omits some obvious ones, possesses some elements of biography, could be more concise, meets all requirements in length and format, you had 18 copies printed and ready to hand out at your viewing, your 3 questions were adequate, but didn’t help us understand your intentions that much more, seemed superficial.

C (35-39 pts) – Averagely written statement broadly identifies your intent, acknowledgement of influences are sparse or non-existent, possesses many elements of biographical information, rambles on at times, meets most requirements in length and format, you had 18 copies printed and ready to hand out at your viewing, your 3 questions seemed like afterthoughts not questions you really wanted the class to answer, but didn’t help us understand your intentions at all, seemed superficial.

D (30-34 pts) – Poorly written statement that doesn’t identify your goals or objectives with the work, no acknowledgement of influences or research, biographical in format, reads as rambling and empty, meets none of the requirements in length or format, you did not have copies printed and ready to hand out at the beginning of your viewing (you came to me the morning of to have them printed), your 3 questions didn’t seem to relate to the installation or statement, seemed insincere or careless.

F (less than 30 pts) – You did not present a statement.

Things not part of the formal assessment that can negatively affect your grade:

- Sleeping at any point during the class

- Wearing headphones daily, isolating yourself form the class and instructor

- Finishing your installation as viewing begins, even lights, it’s too late!

- Being inconsiderate or rude to your peers or instructor

- Remaining speechless during critique

- Not cleaning up after yourself

- Using equipment improperly even after correction by instructor

Policies:

School-wide Health and Safety Concerns:

-No creatures or children will be allowed in studios during class time or open studio times.

-No food or open beverage containers will be allowed in SoA facilities when art making is in progress

-Pick-up of artwork must take place prior to the scheduled exam day or the last class period. Pieces remaining after this time will be discarded. Artwork also may not be left in the Art Office.

-Before students use any power tools or equipment he/she must complete the safety seminar, which will be given at the beginning of the semester. Access to specialized equipment and tools will be addressed on an individual basis.

-Should anyone have special needs that require attention, please do not hesitate to inform your faculty member at the beginning of the course, or as soon as these needs arise. In addition to the safety seminar, there is a woodshop tool safety and usage summary sheet, and a general sculpture shop rules list at the entrance of the studio.

Academic Misconduct and the Student Conduct Code. All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course instructor and/or disciplinary sanction by the University. All students need to be familiar with the Student Conduct Code. The Code is available for review online at http://life.umt.edu/VPSA/name/StudentConductCode

In addition to the in-processes safety lectures, there is a Material Safety and Data Sheet folder in the kiosk between the sculpture offices. Please search through these lists of chemicals if you have any respiratory or allergic conditions.

Emergency Information

Campus Emergency 4000

Missoula City Emergency 9-911

Campus security (24 hr) 6131

Daytime Facility Emergency 4181 or 5704

General Sculpture Division Studio Guidelines:

1. Only students currently enrolled in a SoA course are allowed to use the sculpture studio.

2. Any person outside of sculpture or ceramics must check in with either the sculpture professor or lab technician.

3. No visitors inside the tool room.

4. Each student seeking to use the Sculpture Studio must check in with the work-study student on duty, sign-in by clearly printing your name, and work-study student will track your time and tool usage.

5. Know the location of the first aid area, eye wash station, razor disposal, and two fire extinguishers.

6. No open toed shoes allowed in sculpture area.

7. While any work is in progress every student must wear approved safety eyewear and if appropriate, hearing protection.

8. Tools must be returned to the tool room immediately after use.

9. Condense all hoses and cords used during your session, turning off valves to air hoses.

10. No tools leave the sculpture lab or yard, period.

11. All guards must remain on power tools exactly like they arrive from the factory.

12. Report any tool deficiencies or malfunctions immediately.

13. All hazardous or vaporous materials must be handled outdoors, or in specified ventilated area.

14. Most areas are ventilated; make sure fans are on even for the smallest job.

15. Leave floors clean, tables clear, and sinks drained.

16. Should there be an injury, however small, immediately consult the sculpture professor or lab technician.

17. Never work when you are tired or if you have had a drop of alcohol.

18. Of course, there is absolutely no drinking, smoking, or eating in the building.

19. If you are injured at night during the open shop hours, first tell the work-study student that is on duty, and they will call the sculpture professor.

20. The work-study students are here at night for your safety, and they can help you work with tools safely, however, they will not do your project for you.

21. Take breaks to ensure overall awareness

Anyone in violation of these rules can loose their lab privileges. Any questions contact Brad Allen at extension 5704.

Phone located by entrance on South wall.

First Aid cabinet located by entrance under red cross.

Respirators, safety glasses, ear plugs in blue cabinet on North Central Wall near sink.

Schedule:

Day/Date Activity

M/3 Introductions, syllabus, View Brad/Burke’s installation (practice),

Lottery for order, construct viewing schedule w/ assistants

T/4 Practice Critique (Brad), Slides “Early Installation”, “Contemporary Approaches”

Idea discussions, Handout Reading #1

W/5 Viewing 1, Viewing 2, Slides “Lines”, Viewing 3, Viewing 4

Th/6 Viewing 5, Viewing 6, Viewing 7, Discuss reading #1,

11 – 12 noon, visiting artists lecture, Alex Gartelmann and Jonas Sebura,

Lunch with artists afterward.

F/7 Critique Installations 1-7, Alex & Jonas’ exhibition, This is How it Feels opening at FrontierSpace, in alley shared with New West downtown, 6 – 9 pm.

M/10 8, 9, Slides “Figuration”, 10, 11

T/11 12, 13, Informal discussion, handout reading #2, 14

W/12 15, 16, Slides “light & sound”, 17, 18

Th/13 19, 20, 21, 22, 23

F/14 Critique Installations 7-22, pizza, May run past noon!

M/17 No class, Martin Luther King Day, no shop hours

T/18 24, 25, Discuss readings, 26, 27

W/19 28, 29, Slides “Interaction & Mechanisms”, 30

Th/20 Critique Installations 24-30, followed by optional fish BBQ!

F/21 No Classes (Brad Gone),

Statement #3 due on blog as response, Final Documentation of installations

due to Brad’s email, both by midnight

The numeration in this column refers to the “Viewing number”. Each student will have 2 viewing numbers for him or her, and 2 for the peer they are assisting.

ART 235 Clay, the Material

2010-11-17T12:26:00.000-08:00

Clay, The Material, Sculpture 1, Project, 100 pts.

Student Objectives:

Students will use wet clay as a material to create a variety of sculptural outcomes including, but not limited to: Time-based work, drawing with slip, encrusting found objects, leather-hard or wet clay objects, using wet clay in public spaces, etc.

Form and Content are nearly equal in priority, followed closely by level of finish. Our conversations during critique will focus on how we receive and understand the content in your work as much as we will discuss your forms.

Content is everywhere. It is a substance that is portable, archival, and elastic. It is nearly impossible to present a piece of art that doesn’t have content. Materials, process, images, colors etc all have meaning. The trouble is never really in creating ideas, it is in making ideas creative. Isolation and refinement of your ideas is a skill similar to material craftsmanship. Our objective here is to begin the process of isolating some ideas/subjects that you have true interest in, and refine from there.

Design elements to consider:

Scale – what type of presence do you want it to have?

Intimate/delayed or Grand/immediate

Structure – would you prefer it be rounded and organic or planar and architectural?

Voids/contours or Angles/geometries

Substance – would you prefer to see it have more mass or volume?

Solid/closed form or Hollow/open form

Movement – does the object need to feel like it is moving?

Dynamic/small F/H or Static/large F/H,

Balance – would you prefer symmetry or asymmetry?

Artists references: Goldsworthy, Gormley, Morgin, Mconnell

Notes:

- Work cannot be bisqued or fired.

- If your work happens or is sited, outside of the class, documentation is required. Poor documents will be critiqued as poor finish.

- For time-based work, consider enough time for the piece to develope.

- Cameras and camcorders can be checked out through Brad’s office.

Assessment:

Idea {(40 pts) Initial concept, communication of content}_________________

Form {(25pts) Fundamental Design elements}__________________________

Finish {(20 pts) Final level of presentation, surface, documentation} _______________

Creativity {(15 pts) Overall Use of material}__________________________

ART 103, Wood Project

2010-07-22T09:22:00.000-07:00

Wood Assemblage, Project #1, 100 pts.

Student Objectives:

Students should be able to use given woodworking techniques to construct and/or carve a freestanding object that is mindful of the design elements above. Form, finish, and craftsmanship are a priority. You should also begin to identify and analyze what art you like and dislike. This should help you make work inside these projects that is truly your work.

Instructor Objectives:

Help students feel safe and comfortable with basic woodworking techniques, outline the fundamental object-based design problems, initiate a culture of responsibility for tools and workspace, introduce idea cultivation techniques, introduce productive critique format.

Design elements to consider:

Scale – what type of presence do you want it to have?

Intimate/delayed or Grand/immediate

Structure – would you prefer it be rounded and organic or planar and architectural?

Voids/contours or Angles/geometries

Substance – would you prefer to see it have more mass or volume?

Solid/closed form or Hollow/open form

Movement – does the object need to feel like it is moving?

Dynamic/small F/H or Static/large F/H,

Balance – would you prefer symmetry or asymmetry?

Dates:

June 30^th Discussion and Ideas

July 1^st, Woodshop safety demonstration and in-class exercise

July 6th – 13^th In-class work time

July 27-28^th, project critiques

Assessment:

Form {(35 pts) Design elements}________________________________________

Craftsmanship {(20 pts) Use of tools, material}___________________________

Effort {(20 pts) Hours in shop, chances taken}____________________________

Finish {(15 pts) Final level of presentation} ______________________________

Idea {(10 pts) Initial concept}___________________________________________

ART 103, Tape Project

2010-07-22T09:20:00.000-07:00

Tape Project

ART 103: 3-D Design

Summer 2, 2010

Objective:

Practice conceptualizing and materializing content that is meant to communicate to your viewers. Practice constructing and fabrication methods in non-structural material. Introduction to most direct mold-making techniques, copying form, and altering copied form. Make work that is medium scale, hug-scale, or larger. Get an understanding of how to use volume, and how that is different than mass.

Requirements:

1. Think about this prompt,

“A medium-scale object that I enjoy the shape of is ____________.”

Make a list of those objects, even drawing them on your drawject.

2. Then ask yourself,

“How do I relate to these objects on a personal level?

What do the objects communicate about me?

What do the objects communicate alone?

How could the objects be altered to change that meaning?

What can I do to alter the object, making it more interesting visually, imbuing it with a perspective that is truly mine?”

3. Choose the object with the most potential to meet our objectives from above.

4. Use tape, and only tape, to construct a form that is copied from life objects.

5. Alter that form with tape, only tape. This can involve adding other copied life objects, or free-hand construction directly to the object.

Due Date: Tuesday July 27^th.

Construction methods and safety:

-To copy a form, roll tape around the form’s exterior with the sticky side out. Be Very careful not to apply tape too tightly to body parts, we do not want to restrict circulation. This is a very real hazard. Have scissors ready to cut off tape if body parts become uncomfortable.

-Then, roll tape back over form’s exterior, again overlapping itself slightly, but this time with the sticky side down. Again, not too tight on body parts!

-Add more layers until desired structure is reached. Structure can also be added by rolling the tape into a cylinder (almost candy cane-like) and then taping that inside the tape shell.

-Now release the tape from the form by using scissors and cutting the tape just enough to get it off of the form. CAUTION: No razors near body parts or soft objects! Bandage scissors ONLY!!!!

Color/Finish Guide

2010-07-22T09:08:00.000-07:00

Color/Finish Guide (Use this guide to determine how to finish a sculpture with color and sheen)

I want my piece to be more: Natural / Altered

I want my piece to be more: Warm / Cool

I want More material to show / Less Material to show through the colored surface.

I want my piece to be: Glossy / Semi-glossy / Satin / Flat / Dry

I want my piece to be: Colorful /Neutral

I want my piece to feel: Fun / Serious

I want my piece to be: understated / Pop

I want my piece to look: Aggressive /Passive

I enjoy color harmonies that are: Monochromatic / Triadic / Multiple

Color Hues I am considering are:_____________________________________________________

The Hue should be: Saturated / Desaturated

If Desaturated, I might consider: Tinting (lighter) / Shading (darker)

Regarding color harmony, My piece is more: Consistent / Varied

Notes on Color

2010-07-22T09:04:00.000-07:00

Notes on Color (accumulated sources):

www.worqx.com/color/color_basics.htm, http://en.wikipedia.org/wiki/Color_theory , and Stewart’s “Launching the Imagination”. Includes side notes from Brad Allen.

Subtractive Color. (Surfacing) When we mix colors using paint, or through the printing process, we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to black. Much like painting we will be using subtractive method in finishing your sculptures. One difference here being, white canvas or paper is replaced with blonde pine, etc.

Additive Color. (Illumination)If we are working on a computer, the colors we see on the screen are created with light using the additive color method. Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to white.

Hue (e.g., red, orange, yellow, green, blue or purple).

Lightness (light vs. dark, or white vs. black),

Chroma, intensity, saturation and luminance/value are inter-related terms and have to do with the description of a color.

Chroma: How pure a hue is in relation to gray

Saturation: The degree of purity of a hue.(intense vs. dull)

Shade: A hue produced by the addition of black.  

Tint: A hue produced by the addition of white.

Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black.

Luminance / Value: A measure of the amount of light reflected from a hue. Those hues with a high content of white have a higher luminance or value.

Shade and tint are terms that refer to a variation of a hue.

Complementary colors: We look at a color wheel to understand the relationships between colors. Analogous colors are positioned (next to one another) in such a way as to mimic the process that occurs when blending hues. The colors that are positioned opposite one another are complementary colors.

Achromatic colors: Any color that lacks strong chromatic content is said to be unsaturated, achromatic, or near neutral. Pure achromatic colors include black, white and all grays; near neutrals include browns, tans, pastels and darker colors. Near neutrals can be of any hue or lightness.

Neutrals are obtained by mixing pure colors with either white or black, or by mixing two complementary colors. In color theory, neutral colors are colors easily modified by adjacent more saturated colors and they appear to take on the hue complementary to the saturated color. Next to a bright red couch, a gray wall will appear distinctly greenish.

Warm vs. cool colors

The distinction between warm and cool colors has been important since at least the late 18th century [1] but is generally not remarked in modern color science. The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or overcast day. Warm colors are often said to be hues from red through yellow, browns and tans included; cool colors are often said to be the hues from blue green through blue violet, most grays included. Color theory has ascribed perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede; used in interior design or fashion, warm colors are said to arouse or stimulate the viewer, while cool colors calm and relax.

Color harmony and color meaning (from Wiki, writer takes a scientific, less artistic, approach)

Color theory has long had the goal of predicting or specifying the color combinations that would work well together or appear harmonious. The color wheel has been adopted as a tool for defining these basic relationships. Some theorists and artists believe juxtapositions of complementary color is able to produce a strong contrast or tension, because they annihilate each other when mixed; others believe the juxtapositions of complementary colors produce harmonious color interactions. Colors next to each other on the color wheel are called analogous colors. They tend to produce a single-hued or a dominant color experience. Harmony has been sought in combinations other than these two. A split complementary color scheme employs a range of analogous hues, "split" from a basic key color, with the complementary color as contrast. A triadic color scheme adopts any three colors approximately equidistant around the hue circle. Printers or photographers sometimes employ a duotone color scheme, generated as value gradations in black and a single colored ink or color filter; painters sometimes refer to the same effect as a monochromatic color scheme.

Color in sculpture:

Thought must be given to the 3-Dimensional viewing experience. For example, using red on a limb of your sculpture that you want to visually extend forward into the viewer’s space would work great from one perceived side of the sculpture. However, on the back side of the work if that same limb is visible, it may visually extend into space as perceived from the back of your sculpture as well. Color must be designed in 3-D as well as the formal shapes within your work.

Color on material:

Most materials have an inherent color. A choice must be made between accentuating this “natural” color and concealing it. Color can be transparent, letting the natural colors come through, in our case showing grain structure. Color could also hide what the material is made of by using an opaque application of paint or laminate materials. Color can be applied to small portions of the object’s surface or all of its surface, consistency and variety are important design elements here.

Requirements:

Everyone must consider color, and use it in a way that informs your overall design. If you do not apply color to any portion of your sculpture you will loose points in the design category of your grade. Painting your entire piece is not mandatory.

Wood Lamination

2010-02-10T12:12:00.000-08:00

Wood Lamination

1. Select board to be laminated, make sure they are free of nails, staples, plaster, etc.

2. Determine if they are flat surfaces without cups, bends, or twists.

3. If they are flat, skip to step #6.

4. If they are in need of flattening, you can use the joiner (must have demo from Brad to use), planer, hand plane, orbital sander, and belt sanders to flatten.

5. Remember, flat is different than smooth. A sphere for instance, can be smooth but not flat. Work on getting as “true” a flat surface as possible. This will help boards make full contact while being glued up.

6. Cut any necessary shapes from the boards on the band saw or jig saw that might help reduce the amount of carving needed.

7. Use orbital sander, with 180 grit or higher sand paper, very lightly, and not too long in one area on surface to be glued up. Use care not to sacrifice flatness for smoothness.

8. Lay material to be laminated in strata while dry. Check for any gaps and inconsistencies that clamps can’t press out. Lay out plastic or wax paper on table.

9. Use damp paper towel or wet sponge to thoroughly dampen the wood surfaces taking glue, do not submerge in water.

10. While damp, apply glue liberally, spreading it flat with fingers or the like, to both surfaces being connected, immediately press those together firmly, wiggling a bit to level glue in-between.

11. If more strata are necessary, repeat process. Thin slices laminate in number better than thick boards, which are better suited for individual gluing sessions.

12. When all boards involved are glued up, immediately apply clamps to outside most planes, first securing each in place, then methodically tightening each a bit until very secure with glue being forced from sides.

13. Clean any glue off sides with wet paper towel, as well as clamps and table. Set piece on shelf with plastic or wax paper underneath, shopping bags are great for that. Rinse out sponges and clean work areas well, glue dribbles and dots will disallow flat, square surfaces to be worked on the table.

Safety: Safety glasses, ventilation, care in navigating your surroundings are all required, as well as demonstrations by instructor on all tools involved.

Wood Shop Safety

2010-02-03T07:17:00.000-08:00

Wood Shop Tool Safety (a supplement to the in-class demonstration on safety)

1. Always wear safety glasses in the woodshop.

2. Always turn on the vent/exhaust fan while working in woodshop.

Table Saw

1. Examine direction of wood grain. Determine a way to cut your pattern so that you are not crossing the majority of the plys or single grains. In other words no “cross-cutting” on table saw.

2. Always use a firm grip that pins the wood to the table bed, this reduces kick-backs.

3. If the area between the fence and the blade is less than a foot, a push stick must be used to feed the panel.

4. Please, no used lumber through table saw unless thoroughly inspected!

5. Inspect each panel for nails or staples that could shorten the life of a blade.

6. When cutting full sheets have an assistant to help catch and guide excess.

7. All wood cut on table saw must engage the fence and run parallel to its length.

8. If you are making a cut less than 12” in length it might be better done on the miter saw.

9. If you are cutting a full sheet, 4’x8’, alone, you would be better served using the panel saw.

Miter Saw

1. This tool is great at cross-cutting boards that are less than 12” wide.

2. Always draw saw out from the fence, turn on, engage wood slowly pressing down, then press slowly back towards the fence.

3. Never cut small boards that put your stabilization hand within 12” of the blade, get a larger board from which to cut that piece.

4. All cuts must be made while stabilizing the board being cut with one hand, pinning the board down and back against the fence. Make sure the board isn’t warped so badly that it no longer makes contact with the fence at the cut.

Panel Saw

1. This tool is made to cross-cut full sheets of plywood and panel into more manageable pieces. Its accuracy is questionable at times, so align blade with marked panel, not the outside triangular notch. Watch the power cord as it can get caught at times preventing fluid pass.

2. May be used to rip sheets by turning the saw portion to be parallel to the bottom guide. This is great for cutting full sheets alone.

3. Again no used lumber unless thoroughly inspected!

4. This saw is not for small work. No wood that does not extend past the edges of the saw guide should be cut.

Sanders

1. Always know which direction the belt or disc is turning, and approach the surface in careful regard of that knowledge.

2. Do not sand metal, plastic, or foam on wood belts.

Band Saws

1. Always adjust throat of blade just above the surface of your board width.

2. Never cut used wood without inspection, (check for nails or staples).

3. No foam or plastics in bandsaw without consulting instructor.

4. Care should be used when cutting cylindrical boards. Wedges or board rest should be employed, consult instructor.

Wood Plane, Wood Joiner, Lathe

1. Will be instructed on a demonstration and individual basis as need arises do to their specialty.

Artist Lists

2010-01-31T22:00:00.000-08:00

Artist Lists

Fave-Five-style Artist List for Sculpture Courses

(Intended to be only a glimpse into researching related movements and genres, not at all comprehensive, rather, actually quite subjective and limited to my historical knowledge, and thus the “Fave-Five” moniker.)

Formalism/Abstract Modernism:

Barbara Hepworth, Henry Moore, David Smith, Isamu Noguchi

Conceptual Art:

Marcel Duchamp, Marcel Broodthaers, Sol le Witt, Joseph Beuys, Hans Haacke

Minimalism:

Donald Judd, Carl Andre, Daniel Buren, Robert Morris, Dan Flavin

Public Art:

Richard Serra, Maya Lin, Mary Miss, Anish Kapor, Claus Oldenburg

Land Art:

Robert Smithson, Walter de Maria, Nancy Holt, Michael Heizer, James Turrell

Performance Art:

Marina Abramoic, Ana Mendieta, Vito Acconci, Allan Kaprow, Chris Burden

Installation Art:

Eva Hesse, Ann Hamilton, Andrea Zittel, Cai Guo-Qiang, Olafur Eliasson

Figurative Art:

Juan Munoz, Ron Mueck, Folkert De Jong, Kiki Smith, Patricia Piccinini

Additional Must-Knows:

Martin Puryear, Louise Bourgeois, Damien Hurst, Gabriel Orozco, Bill Viola, Rachel Whiteread, Beth Cavener Stichter, Dinos and Jake Chapman, Los Carpinteros, Art Guys, Fred Wilson, Simparc, Alice Aycock, Wolfgang Laib, Agnes Denes, Adrian Piper, Bruce Nauman, Tom Otterness, Denis Openheim, Andrea Fraser, David Nash, Anthony Gormely, Pepon Osorio, Mathew Ritchie, Matthew Barney, Jan Fabre, Barbara Kruger, Tim Hawkinson, Do-Ho Suh, Kara Walker, Xu Bing, and many, many more.

Sprue Glue

2009-12-27T16:45:00.000-08:00

Sprues are those (red wax tube) things that attach to your wax patterns in Ceramic Shell and Investment lost wax casting molds. To hold those sprues to your patterns the conventional method is wax welding the two different types of wax together by basically fusing the parts, cooling them completely, and smoothing the ensuing wax mess. We switched to a sprue glue that is commercially produced but tired of the $8 per puck price tag. The glue is great because it is twice as fast and doesn't wreck your pattern. So, we figured out how to make it, and here are some recipes.

Montana Sprue Glue:
3 pts. Pine Resin or Gum Rosin in crystal form
1 pt. Beeswax (we use the dirty stuff from the local honey producer)
.1-.5 pt. Vaseline to make softer or stickier
.1-.5 pt. Candle wax to make harder or less sticky

As resin/rosins vary in tackiness, that is the component I would vary if your batch isn't sticky enough.

I slow heat a crock pot or wax melter to 170 degrees F, no warmer.
Put in Resin and Beeswax.
Add last two ingredients as needed.
Scoop out a sample to cool completely.
Check how it handles, heats, melts and fuses, cool workpiece, and test tensile strength, adjust.

Safety:
Always ventilate your workspace and locally ventilate your wax melting pot.
Always wear splash resistant goggles when working with hot liquids.
Rubber gloves aren't much use here, but cheap leather farm gloves are okay.
Never allow wax pot to get above 195 degrees F.
Stir with metal utensil, gently and slowly.
Never work wax with sandals or any open toed shoes.

First Post

2009-12-19T22:14:00.000-08:00

Posts here will include recipes for sculpture materials, tool safety, process reminders, links to videos, artist pages, and project information.
Since this is a Blog, you will notice the column to the right has post titles organized by date posted. You can look through those, or use the search window to find the topic you are seeking.
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