Organic Form - Final Post

Organic Form Final Blog Post

Organic Form Building from Coil and Surface Deco

Project 1 Instructions:

 Beginners

Organic Form (Handbuilt with Sprigs)

Objective:

Build a sculptural coil built earthenware piece originating from an organic object and transformed though the use of a formal issue provided (see below) in both form and surface. The piece should not exceed 12” inches in height or be more than ½ inch in thickness.

Final form will be coil built from red earthenware clay, brushed with white slip, carved with relating pattern, low temperature bisque fired followed by clear coat spray finish.

ALL research, ideations of form and surface, pattern research and carving and final form

MUST BE BLOGGED

 

Materials needed: (all found on first day tool list)

Red Earthenware Clay from studio, wedging board, sponge, spray bottle, metal rib, serrated metal rib, rolling pin for base shape, Kemper carving ribbon tools, bucket for water, white 04 slip (get a lidded cup size container) wide hakeme’ brush for applying slip, rubber rib (for later in building process) plastic sheeting, paddle if needed.

 

Definitions of the some basics:

Organic: of, relating to, or derived from living organisms. In this case voluminous and curvilinear full forms. Organic objects can be found in oceans (snails, octopus etc.), land (various plants, fruits/veg and animals) and air (birds, bugs). Organic forms are curvilinear (curved line) and have volume when presented in three –dimensional space.

Form: the shape or structure of something. Not a flattened 2-dimesional shape but a 3-dimensional volumetric form.

Coils: rolled strand-like ropes of clay. Layered and blended together- used in constructing the earliest known forms if pottery.

 

Research: (post on blog)

Through a series of drawings investigate the sculptural aspects of an organic form you choose. Apply one or more of the Formal Issues from the list provided below to rework ideas and reinterpret form. When exploring the Formal Issues a new and very different form should emerge. Be innovative.

 

(Hint: Start by taking some basic elements or characteristics of the object and rework or rearrange them; change the axis, repeat a shape found within structure of object you chose, change proportional relationships etc. to create a new form from the original)

The end result should NOT be a literal translation of the original organic object but a new interpretation of it through a sculpted coil-built piece in earthenware clay.

The final piece doesn’t need to sit flat or even have an opening you can see. (But an opening somewhere will prevent blowing up in kiln due to any trapped moisture)

 

Formal Issues (choose at least one post on blog):

Repetition- using a part or shape found within the form in a repeated manner.

 

Variety- taking a repetitive element of the form and changing it each time it appears.

 

Rhythm (repetition with variety)- using a repeated element with a simple change every 3rd or 4th time it is seen in the piece-then returning back to the original repeated element. Like establishing a rhythm in music.

 

Balance - vertical or horizontal- symmetry / asymmetry- imagine a line cutting the piece in half horizontally or vertically. The “visual weight” is somehow in balance or not through various changes to visual weight.

 

Dynamic Gesture -thrust/ counterthrust- is movement through the form. Form appears to move away from an axis (which runs through piece vertically or horizontally) giving the piece a “dancing” motion”.

 

Static-where the form doesn’t move or appears to be very grounded visually much like the pyramids. No movement but stoic looking in presentation.

 

Positive/ Negative Space- positive shapes are made from the form and can create interesting negative shapes from the space that surrounds it.  

 

Proportion- how the shapes within the form relate in size to each other. Elements can be in or out of proportion to unify or distort form.

 

Form Requirements: (posted on blog).

Ten organic forms that you have looked at to choose from.

Pick at least one of those organic forms and apply one Formal Issue from the list given below.

Ideate or draw ten variations of that organic form with the one Formal Issue applied to it.

Ideations or drawings must show visual relationships that transform original organic object into something innovative (new, extraordinary, challenging).

Build the form from coils, smooth surface.

 

Surface:

You must incorporate a surface pattern that relates to your form.

Research patterns or textures online and post 10 patterns to your blog.

Choose a Formal Issue from the list above. Choose the pattern you want to work from -and draw 10 variations of it on your form with the Formal Issue in mind.

Post your 10 drawings with the variations to your blog.

You will need to know which of the following two processes you will use BEFORE YOU BEGIN.

 

Slip and Pattern:

Patterns can be one of the following

• applied white slip then carve pattern into form.
• OR paper pieces wetted and stuck to surface then apply white slip. When slip dries somewhat remove paper revealing pattern.

Both- methods leave contrast white slip with the red clay exposed.

 

Consider:

Your piece took a lot of time to build- this step is as important as the actual construction- so work it out through drawings before approaching your piece.

What pattern shapes work when carving your form? Does the pattern bring attention to certain aspects or places on your form? Would texture emphasis a section of the form or make piece more dynamic? Does the pattern shape increase in size over certain areas or decrease and become very concentrate in areas on your form? How does the form and surface design interact? How is the pattern moving over the piece? Could the surface design contour piece? Could the pattern stagger, overlap etc.? Does pattern bisect the piece or relay a ghost image of form? You may want to cut shapes from paper and work ideas out in real time and space.

 

Technique: Patterns can be drawn out with pencil, straight edge etc. then incised with x-acto knife before committing to carving. Use the Kemper ribbon tool kit after you have incised lines. Kemper tool kit has variety of bevel, slant etc. tools for cutting.  Textured areas can be part of this process and enhance areas of your form. Pay attention to how you remove the clay and how the tool can be used to transform the piece.

 

Surface Requirements:

10 patterns that you will investigate and document on blog.

Ideate ten drawings of variations of a pattern covering your form.

Finalize and apply incised pattern or paper pattern to your form before carving. A basic layout is needed before proceeding.

With Kemper tool ribbon tool kit carve away the areas of white slip etc.

Show pattern shapes that enhance form- discover the visual relationships of form and patterned surface.

 

Finishing: The piece must then be dried slowly so it doesn’t crack. Cover it with clean plastic so your slip isn’t marred or damaged. There will be a cart labeled in studio for your piece to be set on. The TA will load and fire to bisque temp of cone 04 which is about 1940F. After bisque firing pick up the piece and outside or in spray booth apply clear gloss acrylic coating which can be purchased at Mike’s Art Supply.

Don’t forget to post all steps of research, drawing, building, slip applications, pattern research, drawing pattern on form and carving with final piece - on your blog. This is how you will be graded so posting is imperative.

 

 BEGINNER’S VOCABULARY LIST

 

1. CLAY- Decomposed granite material that has been moved by erosion, glaciers, water, or wind.Impurities left can give rise to different characteristics in color, firing range and plasticity.

 

2. PRIMARY CLAY- clay found in nature that was formed in place rather than transported by the action of water.Also called residual clay.  Kaolin is a primary clay.

Primary clay tends to be free of iron or other contaminants, have large particle size, and can be fired to high fire range.(cone 10)

 

3. SECONDARY CLAY- Natural clay that has been moved by water or wind from its source and settled elsewhere in deposits. Secondary clays may vary in color due to impurities and have reduced particle size. This clay has a range of firing temperatures.

 

4. PORCELAIN-High-fire clay with little impurities.  White or gray in color and vitreous. Developed in China. Matures above 2230 F. (Fired to cone 10)

 

5. STONEWARE-Vitreous high-fire ware that is plastic due to its impurities, such as iron.  Matures at temperatures above 2195 F. (Fired to cone 10)

 

6. EARTHENWARE-A low-fire, porous, reddish clay body, frequently containing grog or other temper.  Used throughout history for common, utilitarian ware; also used for sculpture.

 

7. VITREOUS-Nonabsorbent qualities of a glaze or clay.  Can’t be penetrated by water

 

8. GREENWARE-Pottery that hasn’t been bisque fired.

 

9. LEATHER HARD-Unfired ware that still has enough moisture to either be carved or receptive to attachments.

 

10. BONE DRY-Clay that has dried.  Clay that hasn’t been fired yet and still be reclaimed if slaked down.

 

11. GROG-Fired clay that has been crushed and added to a clay body to “open” a clay, and reduce shrinkage, warping, and cracking.

 

12. WEDGING-Kneading the clay to aid plasticity and removal of air pockets.

 

13. BISQUE-Ware that has been through a preliminary firing to drive off all chemically combined water.

 

14. GLAZE FIRE-The temperature when glaze melts to form a coating on the surface of the ware.  This is usually at the point of maturity for the clay body, and is usually much higher in temperature than the bisque fire.

 

15. GLAZE-Liquid suspension of materials that form a glass-like surface when applied to the bisque ware and fired.

 

16. EUTECTIC-A mixture of substances that melts at a lower temperature than the melting points of the individual substances.

 

17. CRAZING- a glaze that contracts more than the clay body upon cooling from firing therefore leaving small cracks in finished glaze surface.

 

18. CRAWLING- When a glaze pulls from surface during the firing leaving small beads of glaze and bare spots on surface of form. The cause can be from oil on the bisque before firing or too thick of glaze application.

 

19. PINHOLING- Small holes through the fired glazed surface. They appear like popped bubbles and are from gases being released from ware during firing. The remedy can often be longer slower higher fired bisque. The gases will then be properly burned off ware for glaze firing.

 

20. CONES-Small pyramids of ceramic materials formulated to bend over and melt at designated temperatures.  They measure time and temperature.

            15A.  Bisque firing-  range cone 08-06 (1751- 1852 F) for stoneware and

                                              earthenware. Porcelain is closer to 04  (1940 F).

            15B.  Glaze firing-  range cone 10 (2373 F) for stoneware and porcelain.

                                            cone 08-04 for earthenware.

Project Scope:

Build a sculptural coil built earthenware piece originating from an organic object and transformed though the use of a formal issue provided (see below) in both form and surface. The piece should not exceed 12” inches in height or be more than ½ inch in thickness.

Cactus Ideas:

The cactus form speaks to me in it's innate radial symmetry.  The lobes revolve around the cactus' center point, each roughly identical, but curving to support the overall shape of the cactus in their subtly unique ways.  This creates a repetition of form, but also a visual interest in viewing where the patterns are stretched, stressed, and broken.  The vegetable anatomy reminds us of foods like gourds, fruits, and peppers as well as water in the wilderness, yet the spines create a sense of immediate danger.  This conflicting attraction/repulsion is another aspect of the cactus that I would like to capture.  

Trilobites ideas:

A second inspiration that I've been inspecting are the rhythmic armor plates of the prehistoric trilobite. On the surface we see the plates, legs, and invertebrate anatomy that remind us of giant bugs or spiders, drawing up a sort of horrific atmosphere.  However, these animals are so ancient, they sort of predate this narrative, there's a sort of alien quality to the creatures that feels like it could have come from another planet.  The main visual quality are the way the plates interlock, and the three lobes that run the length of their bodies.  

Attempting to not just depict a trilobite itself, I've tried to isolate aspects of their form that interests me, maintaining their rhythmic plating.  I've tried to add some gestural motion as the form runs through vertical space, and toyed with the plates interlocking towards the floor or opening skyward.  I would have to consider how viable it would be to form these undulating surfaces with coils.  

 Settling on a form:

After reviewing the various abstractions on the cactus and trilobite forms on Feb 2nd, I've settled on a form to begin building.  Peer reviewed feedback left me with some valid points:

• The cactus shapes look more achievable than the trilobite shapes
• I need a defined base shape
• Emphasis the gesture and movement of the shape
• The forms that opened at the top had the most interest
• Shift focus from repetition to dynamic thrust

  I've tried to render the form here from front and side angles, as well as detailed the six lobed base that the different shapes will rise out of.  Having these curves pre-built into the base of the sculpture should help create these lines that provide dramatic thrust through space, and eventually create the illusion of gravity and wilt that I hope to achieve.  This combination of resisting and eventually conforming to gravity will create a feeling of weight, momentum, and anticipation as it feels as though it is capturing a moment in time, like a flower in mid-bloom.  I've also tried to make use of negative space between some branches of the sculpture, where they reach out towards each other, creating a focal point in negative space.  

Overall I am pleased with the abstraction of the plant forms that I had originally looked at.  The radial symmetry of the cactus lobes and the inspiration of cactus arms budding out has survived, but the object has taken on a form of its own in terms of the flowing curves and surrealist wilting put upon the subject.  I'm excited to try to apply texture/coloration to the external surfaces, which could help create contrast with the surfaces revealed on the inside of the form.  

Textures:

I also like the idea of not only trying to replicate the geometric patterns of cactus quills, but also pushing other patterns from similar forms in, like those found on watermelons or cantaloupe.

Trying to stick to plant-based patterns, largely looking at plants that have shape to them with relatively fleshy and dry surfaces, I've gotten a feel for different sort of rhythmic shapes that could reflect this feel when tessellated across the surface of my design. 

While it's tempting to go with a carving technique for the slip and to draw direct inspiration from the needles themselves, I'd like to go with the paper approach where you apply slip over a sheet of paper which is then removed.  The tricky part with trying to come up with a good pattern is getting something that looks engaging and unique, while also landing with something that is achievable.  You may notice that the blueprint has been simplified from last week, due to the reality of how difficult the clay is to work with when met with my initial expectations.  I'm leaning towards shapes that mix curves and hard points, like the 4th in each row here.  They reflect a very arid sort of atmosphere and are reminiscent of the kind of warbling shapes you see in cacti as shown above, but abstracted and applied to a more strict repetition.  

After group discussion, I noted that people preferred patterns where white dominated more of the shape, as well as where the pattern ran up the sides/organic lines of the figure, such as the fourth in the top row.

 Starting Out

My initial idea involved a base that was about half this size, that would curve and flow which was proving to be unreasonable given the six 'lobes' I wanted to have in the circumference.  In order for me to actually achieve the sort of cactus/pepper shape that I wanted to accomplish in the first place I've had to expand the base to be much more broad and workable. 

This is the first time I've worked with clay in probably over a decade, so the learning has been frustrating.  This is a bit compounded by working from a home studio set-up and not being immersed in a lab with a class of comrades around, but that's the reality that we're dealing with so I'm trying to make the best of it!  I've tried to keep the best walls a little thicker so that I can pull them into the right shape. From here I should be able to get the curve that I want, but it will have to be a slightly different proportion than my original drawing.  

Clay Process/Demonstration:

The process is to create layers of clay from rolled coils, building up one at a time. 

Each time a coil is added, the surface is scored with a toothed tool, then blended together with a smooth rib on both the outer and inner surfaces.  With each additional coil, it is important to view the form and silhouette as it builds to ensure the shape is coming out as intended.  Keeping the clay moist is vital, so spraying with a bottle as needed and storing in plastic with wet sponges is a must.  

White Slip Process/Demonstration:

If using paper to create patterns, cut the paper into shapes and adhere them to the surface with water.  Afterwards, coat the entire surface in white slip with a thick brush, in my case using two coats to create a thick white surface.  Afterwards, let it sit to moderately dry.  If you used paper, peel the paper off while it is still drying so as to avoid cracks. 

Carving Demonstration: 

When carving, you're going to be using looped metal tools.  It helps to have something to brace yourself with, because you have to follow the surface at the correct angle, requiring you to sort of bend and move at odd angles yourself.  This process is best down when the clay has settled, close to leather-hard, but not too dry as to cause your carving to crumble.  Carving is easiest with clay with no grit.  While I had some light grit, it didn't seem to get in the way too much.  

1. Does the research have 10 images, 10 drawings, reworked drawings and pattern drawings documented on blog? Assess how extensive the investigation through drawings challenged objectives. 

 The ideation and concepts are strong, it's evident that I looked at multiple sources of inspiration for my form.  

 

2. How does the hand-built form reflect objectives and convey the formal element of design through the construction? How successful is the visual solution of form?  

 The shapes convey a sense of dynamic thrust in their gestural lines created by the contour of the bulging shapes.  The shape creates implied lines and movement from the base and out through the opening, capturing a sense of movement.

 

3. How does surface pattern relate to form? Is the marriage of surface and form successfully executed through pattern placement? Pattern density? What visual relationships can you see?           

 The surface pattern follows the vertical curve of the six lobes in the shape, and their density respects the width of each section of the various surfaces.  The pattern could be pushed a little further before firing, adding more nuance in the quality of the lines as well as additional detail along the cross-contour surface.

4. How does the craftsmanship impact overall elements of piece? How are the curves and transitions defined? What is the quality of surface pattern?  

 Detail needs to be paid to the parts of the inside of the structure that are visible.  The surface has some imperfections visible, needs to have some corners and edges smoothed out, especially ones that cut a silhouette. 

5. Does the project reflect successful interpretation of objectives? If so, how interesting was the form, surface and visual language that the maker developed through the piece? 
   

 While the form isn't identical to the planned model, the general flow is evident and creates the movement planned for.  The shape feels both plantlike because of the radial symmetry, and animal-like with a sort of gaping mouth and sense of motion.