News – Sculpture 1 – ARTD150 – Bucknell University

Patricia Piccinini

Intro (first 60 seconds)

Sculpting process (show until 10:30)

Discussion of Curious Affection exhibit (show the whole segment)

Toy sculptor Alex Heinke uses Castelene to create his models

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Animal intelligence artists

https://art21.org/watch/art-in-the-twenty-first-century/s3/cai-guo-qiang-in-power-segment/

https://art21.org/watch/art-in-the-twenty-first-century/s2/janine-antoni-in-loss-desire-segment/

Project 2: Clay Alteration

animal intelligence – examples of previous student projects

bronze projects – fall 2023

Bronze casting process

Head sculpting videos

Project 1: Radiolarians

Tip Toland detail image

Past student clay projects that employ inventive alterations

Richard Notkin’s incredibly detailed, often politically charged, and bizzare ceramic projects

Hair modeling examples

When sculpting any form we want to work general to specific to get good results efficiently.

To model hair, we begin by sculpting the primary form as a simple ‘helmet’.
Then we identify ‘clumps’ as secondary forms.
Finally, we add ‘strands’. The images below illustrate the process.

Some additional great examples of how to sculpt hair can be found by doing a google image search of: ‘renaissance sculpture hair’: link

Beth Cavener

Beth Cavener Stichter – large-scale modeling of ceramic sculpture

http://www.followtheblackrabbit.com/

Zoe Dufour

Step by step images that show the clay modeling process

Artist begins with a small scale maquette. Notice the high level of detail.

The artist builds an armature to help support the weight of the clay

Clay is added

To create a good bond, a great deal of COMPRESSION is needed.

The artist adds a temporary support under the creature’s snout. As the clay dries it will become more rigid and the support will no longer be necessary.

The artist continues to add clay

Notice how the artist works from many points of view. This is important for 3d artists — it enables us to understand the form and make effective improvements.

The rough sculpting of the form is finished. Now the artist allows the clay to dry to the leather hard stage to make it stronger.

The artist cuts the form up into manageable parts.

The artist hollows out the form. Notice the consistent wall thickness. In your own project you should strive for a wall thickness of 1/2 to 3/4 of an inch — about the thickness of your thumb.

Now that all of the parts are hollow, the artist puts everything back together.

To create a good bond it is necessary to slip and score both sides. A great deal of pressure is also required. The artists will squeeze the parts together with a firm grip and a lot of fussing over details. Failing to be thorough with this step could result in a catastrophic collapse of the form later.

This is the a part of the creature’s abdomen. Notice that the artist has chosen to leave a wall inside to increase the form’s strength.

The artist flattens the wall to ensure a consistent wall thickness.

The finished result. The artist delights in a job well done.

Steven Finke

https://stevenfinke.com/home.html

Maurizio Cattelan – La Nona Ora

Radiolarian sculptures from past semesters