Project 1 Instructions

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.