Geometric Form

Project Description:

Objective:

To reinterpret build the Organic Form (assignment one) through slab construction. Flat slabs create planes, angles and edges expressing the volume in a different visual language. The piece (due to kiln constrictions) should not exceed 16” in height, or be more than 3/4 inch in thickness. The form should be finished with white slip and carved or left as raw red clay then carved for inlayed white slip or paper pattern with slip. 

Definition of Geometric Form:

Geometric: of or relating to geometry, characterized by or decorated with regular lines and shapes

Angular: a shape having angles or sharp corners

Form: the shape or structure of something

Requirements:

Paper and clay maquette 

Ten drawings of form defined with flat planes and angles while using the one Formal Issue applied from first assignment. 

Ten drawings of the chosen geometric form with geometric surface pattern relating to form and using Formal Issue. 

Form must be finished with white slip and carved or inlayed with slip. Carving/inlay must relate to form and finished with clear glaze. (KEMPER RIBBON TOOLS SOLD AT MIKE’S ART SUPPLY)

Hint:

This project should get you to explore the Organic Form assignment through geometric shapes. Imagine cubes or pyramids stacked, skewed or slanted to show center of gravity or volume. Transitions can be dramatic and angular as well as cinched.   

Formal Issues (focus on the same one from assignment one):

Repetition- using a part of 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.

FINISHING

After construction is complete and in the leather hard phase of drying, you are to complete one of the following:

Leaving form red in natural surface color, carve design (with ribbon tools) into surface and inlay carved areas with white low-temp slip, then scrape excess slip that is not inlayed off of surface.

OR

Use white slip to cover entire surface of form, then carve design (with ribbon tools) into surface to reveal red clay body. Use rulers or straight edge to lightly incise before actually carving lines or removing material. This will help keep clean edges and line quality.

OR

Cut desired shapes out of paper that is dipped in water and stuck to surface of form. Brush slip over surface and remove paper pieces after slip has stiffened. Use needle tool or x-acto knife to gently remove paper and never let slip completely dry before removing due to chipping the slip off.

DON’T USE PLASTIC THAT HAS CLAY DUST ON IT- IT WILL DAMAGE AND DISCOLOR YOUR SLIP WORK.

All work is then bisque fired and spray coated with clear coat found at Mike’s Art Supply

Original Work for Reference:

The original reference I am building from is the organic form sculpture inspired by the lobes of a cactus with some dynamic gesture applied to create a sense of flowing movement.  I had covered the surface with white slip and carved scaled patterns to follow the surface contour of the lobes to emphasize this movement.  

Geometric Adaptation Sketches:

The Main decision in adapting the form to geometric shapes lies in how I wanted to handle the six subdivisions of the original.  I could either have protrude out as triangular shapes, or I could leave the shape to be more of a curving hexagonal prism.  In the end I decided to work with the hexagonal prism instead of the star, as I could work with larger slabs which I hoped would carry the weight of the upper half with more strength.   

3-d Moquette:

It was extremely helpful to mock up the shape in something quick like paper, to identify exactly what shapes would be needed to construct the final form.  You get an idea of the precise angles for each plate, and of the accuracy required to have everything align correctly.

Initial Slab Building:

Process/Demonstration: 

Slabs are built by rolling out clay after kneading and wedging sufficiently.  The slabs should be ~0.5 inches in thickness, which can be determined by the use of a needle tool.  After slabs are constructed, proper shapes can be carved with the knife tool.  The joining surfaces will need to be scored with a serrated rib or fork, and a wet slip applied for binding the slabs together.  

Experience: 

An immediate challenge in working with slabs is their third dimension of the half-inch in thickness, which I did not have to consider when making the paper moquette.  Slabs have to be not only the right shape in terms of their two-dimensional polygon, but also have to have the right angles carved into their sides to have them lock into place with each other slab, creating smooth, linear edges along the joining surfaces both on the exterior and interior of the sculpture.  Also note that sometimes tools have to be used to prop up plates that hang over the side while the connecting clay solidifies.   

Surface Texture Ideation:

I wasn't sure how to adapt the scales of my previous sculpture into a polygonal, geometric version while keeping the shapes satisfactory.  I tried applying geometric lines and shapes with a variety of ideas such as following the gestural curves, highlighting each individual plate, or breaking up the vertical segments.  After some group discussion, it was decided the best course would be to work with the bottom middle pattern, but to have the shapes overlap like the scales of the original organic sculpture.  

Slab Building Continued:

My experience with slab building improved as I got a better handle on how the shapes needed to lock together.  My only regret during this stage was using white slip to  join each shape, as it caused the seam lines to have a cloudy white color that blurs the textures I would apply later on.  

Texture Application:

Process/Demonstration:  

After waiting until the finished form has dried to a leather-hard surface quality, strips of wet paper can be applied to the surface.  These can be any thin news-print quality paper, but must be applied with the ability to remove them after wet slip is applied.  After the paper has dried to the clay, use a brush to apply freshly-stirred white slip to the surface of the slabs.  After the slip has dried slightly, gently remove the paper to reveal crisply outlined brown clay underneath.  Do not let the slip dry too much, as cracking can occur when the paper is removed.  

Inlay Process:  

An alternative process involves removing clay and applying slip in the recessions.  This is done by outlining the rough shape you wish to inlay, and then using a clay knife or loop rake to create the recession.  After carving, slip can be painted into the grooves.  Remove any excess/dripping slip with a soft tool like a plastic rib.  

Carving Process:

A third option involves carving away slip to reveal the brown clay underneath.  To begin, thoroughly paint a layer of white slip over the entirety of your sculpture.   Once the slip has dried, use a loop tool to carefully remove white slip into the desired pattern.  Best practice is to brace yourself to ensure the carving remains smooth and consistent.   This technique is best done with clay with little to no grit, as the solid particles can disrupt the carved lines.  

Experience: 

Rather than coat the sculpture in white slip and carve the pattern as I had done with the organic sculpture, I oped to apply wet paper strips to the surface before the slip, so that they could be peeled away to reveal the brown clay shapes preserved underneath.  This would make it easier to create hard geometric lines and angles, playing into the theme of the assignment.  I was able to replicate the overlapping scale patterns of the previous organic assignment, which highlight the dynamic gestural curves of each side and compliment the angular "teeth" that line the opening of the sculpture.  I was actually quite satisfied with how this turned out other than the areas where the white slip used to join the plates blurred the edges.  

Final Images:  

Critique:  

Name:        Andy Bensen                                 Class Period:  Tue/Thu 8:00-11:00 (Sec. 003)

Original organic object you chose: Cactus      Principle/Element used:  Dynamic Gesture

Assessment Sheet for Geometric Hand-Built Form:

Please review handout and objectives of assignment beforehand.

 

1. Does the research have minimum of 10/10 drawings with surface issues addressed? Assess how extensive the investigation through drawings challenged objectives of assignment. 

Comments:

 It's clear that some thought went into how to break down the original shape in terms of having six radial edges as opposed to twelve.  Some additional thought could have gone into the shape of the opening of the jar, where you've decided it could be just a series of triangular slabs fairly quickly.  Overall the images are clear in how you think the shape should be structured, and the ideas seem reasonable for moving onto the next step. 

2. How does the hand-built form reflect objectives and convey the principle/element of design through the development of form? How successful are the visual solutions through use of planes, edges, and geometric shapes?

            Comments:

The form captures dynamic gesture in the silhouette of the form's angular 'S' curve.  It seems as though the bottom segment, which utilizes triangles, as opposed to the rest of the segments, which utilize squares, creates some confusion, and some of the triangles have been lost in their joining making the base look a little more rounded than other areas, although this has been described as being done for strength/structural reasons.  Overall dynamic gesture is captured successfully. 

3. How does surface treatment relate to form?Is the marriage of surface and form successfully executed through placement, scale and density of shapes or lines? What are relationships can you see within form and surface?

            Comments:

  The textures play into the sculpture well, using the shapes of the forms opening to reflect the shape of the scales climbing the surface gives them a weight, and makes the form feel as though it is made out of these ascending shapes that are really just painted on.  These climbing angles serve to reinforce the movement along the vertical curves, which emphasizes the applied element of dynamic gesture.  

4. How does the craftsmanship impact overall elements of piece? Is it constructed well (flat planes, sharp edges etc)? Is it carved with attention to all aspects of surface quality?

            Comments:

The craftsmanship looks best along the surface textures where the peeled paper came away smoothly.  The white slip confuses the textures in many places, and the use of a larger brush appears to have left too many brush-stroke marks when it should be a smooth white surface.

There is evidence of the slabs not meeting smoothly around the surface of the sculpture, especially as seen on the interior from the opening.   At other points, the joining slabs disrupt the linear silhouette, which detracts from the hard, linear elements being emphasized by the rest of the sculpture.  

Regarding the surface quality, some imperfections appear, largely around the lid and close to the interior, which is the focal point of the sculpture.  

  

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?

            Comments:

 The project creates a variety of interesting polygonal shapes, and creates a sense of jagged, contorted movement as opposed to the more fluid movement of the organic source sculpture.  The shape looks twisted and crumpled, as though it was crushed like a pop-can.  One can feel the weight being put on the intermediate curves, giving the gesture a sense of loftiness and discomfort, which is resolved in the overall balance between the upper and lower halves.