E. Carroll Hale - Study Hints Concepts

ART 220 SCULPTURE SURVEY I - INFORMATION PAGE

SPECIAL NOTE: There are two sections of ART 220 this semester. One meets on Mondays and Wednesdays, the other meets on Tuesdays and Thursdays. Both meet from 1:00 PM until 3:20 PM. IMPORTANT: Their projects follow different calendars. You may NOT switch from one section to another. Make sure you check the proper calendar for your section.

IN ORDER TO SUCCESSFULLY COMPLETE YOUR PROJECTS, YOU MUST WORK OUTSIDE OF REGULAR CLASS TIME

Once the class meetings utilized for critiques and lecture/demonstrations are accounted for, you have very few "STUDIO ONLY" days for your projects.

University policy for Studio Classes is that you should spend an additional 70 minutes working outside of class per every 140 minute class meeting.

FALL 2009 CALENDAR
ART 220: SCULPTURE SURVEY I (10809) - 13:00 - 15:20 M/W - Campbell 120
Instructor: E. Carroll Hale II - Office: Campbell 404
Art & Design 622-1629 - Office 622-1636 –Home 623-7252 – Cell 856-314-1066

MONDAY WEDNESDAY
AUG. 24 COURSE INTRO: ASGN Project I - Direct Plaster over an armature (Choice Form)	26 DEMO: Constructing the armature & applying the first coat
31 STUDIO	SEP 2 STUDIO
7 LABOR DAY – HOLIDAY	9 STUDIO
14 STUDIO	16 STUDIO
21 PROJECT I DUE – CRITIQUE ASGN: Project II Relief with full draught - Modeled in clay, cast in plaster	23 DEMO: Making the relief slab
28 DEMO: Modeling the relief image	30 STUDIO
OCT 5 STUDIO	7 DEMO: Making the mould/Casting the relief
12 HOLIDAY	14 PROJECT II DUE – CRITIQUE ASGN: Project III Modeling a clay bust/ plaster casting through waste-molding
19 DEMO: Getting Started - Making the basic clay head	21 DEMO: Detail work - eyes, ears, nose, mouth, hair
26 DEMO Surfacing the clay head	28 STUDIO SHORT CRIT: The completed clay bust ADVISING DAY
NOV 2 DEMO: Making the waste-mould	STUDIO
9 DEMO: Casting the head	11 STUDIO
16 PROJECT III DUE – CRITIQUE ASGN: Project IV Stone Carving	18 DEMO: Basics of stone carving - Roughing out – maquette making
23 STUDIO DEMO: General surfacing	25 THANKSGIVING - HOLIDAY
30 STUDIO	DEC 2 STUDIO
7 DEMO: Finish surfacing - detail work	9 STUDIO
FINAL: MONDAY, 14 December, 1:00 PM - 3:00 PM - PROJECT IV DUE – CRITIQUE FAILURE TO ATTEND THE FINAL WILL RESULT IN THE ASSIGNMENT OF A FAILING GRADE.

N.B.: Students must be physically present during studio days.

FALL 2009 CALENDAR
ART 220: SCULPTURE SURVEY I (13742) - 13:00 - 15:20 T/Tr - Campbell 120
Instructor: E. Carroll Hale II - Office: Campbell 404
Art & Design 622-1629 - Office 622-1636 –Home 623-7252 – Cell 856-314-1066

TUESDAY THURSDAY
AUG. 25 COURSE INTRO: ASGN Project I - Direct Plaster over an armature (Choice Form)	27 DEMO: Constructing the armature & applying the first coat
SEP 1 STUDIO DEMO: Additional plaster application & surfacing	3 STUDIO
8 STUDIO	10 STUDIO
15 STUDIO	17 LIBRARY ASSIGNMENT Mr. Hale at Mid South Sculpture Conference
22 PROJECT I DUE – CRITIQUE ASGN: Project II Relief with full draught - Modeled in clay, cast in plaster	24 DEMO: Making the relief slab
29 DEMO: Modeling the relief image	OCT 1 STUDIO
0CT 6 STUDIO	8 DEMO: Making the mould/Casting the relief
13 HOLIDAY	15 PROJECT II DUE – CRITIQUE ASGN: Project III: Stone Carving
20 DEMO: Basics of stone carving - roughing out – maquette making	22 DEMO: General surfacing
27 STUDIO	29 STUDIO ADVISING DAY
NOV 2 STUDIO	5 DEMO: Finish surfacing - detail work
10 STUDIO	12 PROJECT III DUE – CRITIQUE ASGN: Project IV Modeling a clay bust/ plaster casting through waste-molding
17 DEMO: Getting Started - Making the basic clay head	19 DEMO: Detail work - eyes, ears, nose, mouth, hair
24 DEMO: Surfacing the clay head	26 THANKSGIVING - HOLIDAY
DEC 1 STUDIO	3 SHORT CRIT: The completed clay bust DEMO: Making the waste-mould
8 DEMO: Casting the head	10 STUDIO
FINAL: THURSDAY, 17 December, 1:00 PM- 3:00 PM - PROJECT IV DUE – CRITIQUE FAILURE TO ATTEND THE FINAL WILL RESULT IN THE ASSIGNMENT OF A FAILING GRADE.

N.B.: Students must be physically present during studio days.

THE CLASS FEE WILL COVER THESE MATERIALS:

Plaster - 2 BAGS (100 lbs.)
Burlap - 2 Square Yards
Galvanized Hardware Cloth 1/2" mesh - 5' X 3'
Wire, annealed "stove" wire, 20/22 gauge - 10 feet
Indiana Limestone 50 lbs or so minimum block

You will probably have to buy some grinding and sanding discs.
Rags or Toweling (NOT paper towels)
Duco Cement
Liquid Soap

EQUIPMENT:
Putty Knife, 1 1/4" or 1 1/2" wide blade.... $ 1.79
Bowl, plastic 3-4 qt. (shallow)
Bowl, plastic 1 pt.- 1 qt. (like a butter tub)
Pliers, 6" slip-joint common................ 2.99
Shears, Compound "Aircraft" straight cut.... 10.49/12.97
OR
Diagonal Pliers, 6"......................... 4.49
Surform, "Shaver"........................... 3.97
Scissors, 4" or 6".......................... ????
Hammer
Common screwdriver (1/4" bit)
Gloves (leather palm minimum)............... 2.00
Ear plugs................................... 1.00 + up
Clay Tools (modeling and loop).............. ????
Brush 1" "flat throwaway"................... .59
A pocketknife or multi-tool is not required but generally proves useful.
Clothing: you'll need a hat to keep your head clean, a long sleeved cotton or leather jacket and (optional) an apron.

III. Course Description: Provides an introduction to basic sculpture problems, approaches and techniques. course problems are set in additive, substitutive and subtractive processes

IV. Texts and Materials: No text. Tools and supplies as directed by the instructor.

V. Objectives - General:
1. To foster an understanding of basic sculptural techniques through experience with modeling, carving, and casting forms.

Objectives - Specific:
1. To introduce the student to the visual technical problems of modeling and carving sculptural forms, especially those relating to the figure.
2. To introduce the student to the expressive/communicative aspects of sculpture.
3. To introduce the student to the critical and evaluative aspects of sculpture.

VI. Activities and/or Procedures (in no particular order):
1. Direct modeling of clay.
2. Taking a mold from a clay relief and making a plaster cast.
3. Modeling a clay head over an armature.
4. Making a waste mold from the head and producing a plaster cast.
5. Working directly in plaster over a wire mesh armature.
6. Make a stone carving.
7. Quizzes may be given after the lecture/demonstrations of various techniques.
8. Research papers or book reports may be required.

VII. Course Calendar: Course calendars will be customized for each semester.

VIII. Course Requirements: Completion of all assignments, tests and quizzes given is necessary for a passing grade. The student may be required to attend art exhibits and lectures outside of normal class time. The student must provide him/herself with materials and equipment as directed by the instructor. Studio time outside of scheduled class meetings is required.

IX. Attendance Policy: The Art Department's attendance policy is in effect. Its major provision; 15% absences (excused or not) automatically result in an "F".

X. Evaluation: Sculpture assignments will be evaluated by critique session. Students must participate in critiques. Each assignment will be evaluated both in terms of the specific set-problem and in general art criteria. Each project will have essentially equal weight in determining the course grade unless otherwise noted by the instructor. Any book reports, quizzes, tests and papers assigned will be factors in determining the course grade. Relative weight given to these will be determined by the instructor. See the attached "Grading Method" sheet.

STUDENTS WILL BE EXPECTED TO PROVIDE THEMSELVES WITH A BASIC SET OF HAND TOOLS AND SAFETY EQUIPMENT AS THE INSTRUCTOR DIRECTS.

STUDENTS NOT PROPERLY EQUIPPED (MATERIALS/TOOLS) WILL BE COUNTED AS ABSENT EVEN THOUGH THEY MAY BE PHYSICALLY PRESENT.

STUDENTS WILL BE EXPECTED TO PAY A STUDIO FEE TO COVER EXPENDABLE MATERIALS.

DISABILITY STATEMENT
If you are registered with the Office of Services for Individuals with Disabilities, please obtain your accommodation letters from the OSID and present them to the course instructor to discuss any academic accommodations you need. If you believe you need accommodation and are not registered with the OSID, please contact the Office in the Student Services Building Room 361 by email at disserv@eku.edu or by telephone at (859) 622-2933 V/TDD. Upon individual request, this syllabus can be made available in an alternative format.

ACADEMIC INTEGRITY
Students are advised that EKU's Academic Integrity Policy will strictly be enforced in this course. The Academic Integrity policy is available at <www.academicintegrity.eku>. Questions regarding the policy may be directed to the Office of Academic Integrity.

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GRADING METHOD FOR SCULPTURE CLASSES

Project/Problem points are awarded based on the following distribution
(100 points max. available - 40 Problem Solution - 30 Technical - 30 Creative/Aesthetic)
GRADING SCALE
A = 91% ...... B = 81% ...... C = 70% ......D = 60%

The Course (Final) grade is determined by averaging the grades of all projects
ALL COURSE WORK MUST BE COMPLETED OR A FAILING GRADE WILL RESULT
NO EXCEPTIONS

Here is an example of an assignment (problem) with an accompanying example of the grading process.

ASSIGNMENT GUIDELINES

PROBLEM:
Using plaster, construct an ORGANIC, ABSTRACT, form composed of at least three major elements. The form must relate to forms found in the plant or animal world, but must not be representational. The form should be truly three-dimensional. That is, it should be visually interesting when viewed from 360 degrees. The due date for this assignment is --- --- ---.

TECHNICAL GUIDELINES:
The form is to be constructed over a hardware cloth armature. After the armature is built, the first layer is made of plaster soaked pieces of burlap. The materials needed are: plaster, burlap, galv. hardware cloth, and 22 gauge annealed wire. The tools needed are: shears, pliers, scissors, putty knife, bowl, surform, and a knife. The form should not be more than 36” in its maximum dimension, or less than 18”. The final form must have a Asmooth, controlled@ surface. The work should be free-standing and stable.

CREATIVE AND AESTHETIC GUIDELINES:
Creative
The work should present a response to the problem that new. Avoid obvious everyday sorts of solutions that the “average guy on the street” would be likely to offer would probably not be considered particularly innovative. Make your response personal – find your solution in your experiences of the natural world. If your work looks a lot like most of the other work in the class, chances are that it’s not particularly creative (original, personal).
Aesthetic
The work must be clearly organic in appearance. The various elements should all share the same basic nature while simultaneously offering the viewer enough variety to be interesting. The work’s organization (arrangement of elements) must be logical/natural. Many living things suggest movement, and have “lift”. A form that expresses these characteristics is generally effective in conveying a sense of organic nature. Any patination (color) should be appropriate to the shapes or forms of the work.

GRADING THE RESULTS (How the grade is determined)

40 POINTS: SOLUTION OF THE PROBLEM INHERENT IN THE GUIDELINES
Suppose that in evaluation (critique) analysis reveals the following. The work is made of plaster as directed and has the appearance of organic form. Further, it has several elements as per the assignment. However, the sculpture is not fully three-dimensional. It has more of the nature of a free-standing relief than a fully in-the-round sculpture. Such a work might very well be perceived as pleasing by the casual viewer - HOWEVER, it fails to satisfy a major part of the assignment's general guidelines and will be graded down! Out of the 40 points possible, such a mistake might well result in the loss of 15 points. Conversely, if this project actually engaged the viewer from all angles (as well as satisfying the other guidelines), it could receive all 40 points.

30 POINTS: TECHNICAL PROFICIENCY
(Technical proficiency refers to how well-made a work is. An alternate term would be craftsmanship. Parts should be shaped, surfaced, and assembled with appropriate skill. A work that falls apart, won't stand as it should or is crude where it shouldn't be is not technically proficient.) For example, in critique the work is found to be structurally sound (it’s stable and balanced), and it meets the dimensional requirements, but the surface is messy (there are lots of irregularities and wire and burlap poke out of the surface), the overall judgment would be that the craftsmanship is severely lacking. As a result, it would be appropriate to take off major points. Clumsy or sloppy work of any sort will severely cut into the 30 points available here. On the other hand, appropriate craftsmanship could get all the available points.

30 POINTS: CREATIVITY AND AESTHETICS – N. B., Grading in the area of Creativity/Aesthetics is at least partially a "judgment call". The instructor relies on his experience with the world of art generally, and student work particularly.

Creativity (Originality)
This is the degree to which the student responds to the assigned problem with a solution that is fresh and innovative. In art, creativity and innovation are extremely important. If the sculpture that results from this project presents new and "different" ways of putting forms together it will be considered very creative. On the other hand, if the solution is common, it is lacking in creativity.
Aesthetics (Rightness)
Aesthetics deals with the appropriateness of all elements of a work to its function. In slang, this might be called "rightness". The degree to which the art elements work to elicit an appropriate response from the viewer is the aesthetic effectiveness of an artwork. In judging the finished work the instructor (critic) makes aesthetic judgments the basis of how well (appropriately) all the elements that go into the work relate to one another. Usually the instructor asks himself a number of questions about the work. Some examples: Does the color emphasize elements appropriately, or does it downplay areas that should be emphasized? Is the overall form appropriate to the medium? How do the elements (parts) relate, are spatial forces resolved?) If the answers to these questions are positive, the work is said to be aesthetically successful.

CALCULATING A GRADE:
( ASSUMING THE WORK IS TURNED IN ON TIME)
The problem was generally solved with only minor lapses - 36 points awarded.
Technically, the craftsmanship was only moderately skillful - 21 points awarded.
Creatively, the work was an unusual response to the problem (good) and, aesthetically, there were a very few inappropriate form relationships (not so good) -27 points awarded.
TOTAL POINTS – 84
GRADE - B
(IF THE WORK IS NOT TURNED IN ON TIME, THE GRADE WILL BE LOWERED APPROPRIATELY)

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The form is to be an abstraction. That is, the image source comes from the external world. It is not to be non-objective. Non objective art refers only to itself.

I'm limiting your choices to organic images. The resulting work should have the visual "flavor" of the source. E.g., a form based on spiders should be spiderlike without being particularly representational. If your source image has a proportional integrity, that should carry through in your work. If you decide that distortion is in order, the distortion must be consistent.

At least one dimension of your work should be from 24" to 36".
Not too small - not enough visual impact!
Not too large - strains your resources!

The surface texture should be controlled and not haphazard - for this project rough surfaces are not allowed and glass-smooth surfaces are discouraged. The texture that results from the use of the surform works fine.

If your work won't stand as it should, has cracks or is otherwise broken, or shows other evidence of poor craftsmanship it will be "graded-down" severely.

Plaster
Burlap
Galvanized Hardware Cloth ("ratwire") 1/4" or 1/2" mesh
Wire, annealed "stove" wire, 20/22 gauge
Putty Knife, 1 1/4" or 1 1/2" wide blade.... $ 1.79
Pliers, 6" slip-joint common................ 2.99
Shears, Compound "Aircraft" straight cut.... 10.49/12.97
OR
Diagonal Pliers, 6".................$4.49
Surform, "Shaver"........................... 3.97
Scissors, 4" or 6".......................... ????

A pocketknife or multi-tool is not required but generally proves useful.

WASTE MOULDING PROJECT
Making the Mold

1. Cut 1 1/2" wide strips of shim stock to use as separators for
the head.
2. Move your stand to the blue tarp area.
3. Lower the head so that its top is at about your eye-level.
4. Cover the base of your armature with 3 or 4 layers of wet
newspaper.
5. Put a 1/2" wide (deep) collar of clay around the base of the
neck.
6. Place the first shims so that the head is encircled (top to
bottom) just behind the ears. Don't forget to place some
keys! Make sure the shim line is free of possible snags.
7. Working from the center top of the first shims, place a
second set of shims that splits the face evenly in two (down
the center of the nose). Remember the keys again!
8. Prepare the "BLUE" coat of plaster - MAKE SURE IT'S BLUE.
9. Splash on the blue coat. Be sure all areas receive a coat.
10. If you have some plaster left after you put on the first
(BLUE) coat, use it to reinforce the shim lines.
11. Clean back the collar and the shim lines as necessary.
12. Put on three more coats of plaster (these are all white
coats) and be sure to clean back the shim lines and the
collar after each coat.
13. Make sure all shim lines are thoroughly reinforced
14. Once the final coat of plaster hardens, break away the
plaster that's on the newspaper - move the head to the sink.
15. Get someone to help you with this if possible. Using a
putty knife (or two!) Spread the mold sections GENTLY apart
by wedging along the shim lines with the putty knife.
Lubricate the head by running water into the shim line
cracks. BE CAREFUL - TAKE YOUR TIME
16. Clean the interior of the mold with water and a soft brush.
Remove the clay from the armature a put it in the clay bin.
Put the armature on or under the hall shelving units.

1. Soak the clean mold until it will absorb no more water.
2. While the mold is soaking, prepare burlap for ties and
reinforcing. Half to three-quarters of a yard of burlap cut
into 3" or 4" squares will usually be enough.
3. Drain the mold and remove any surface water.
4. Using a soft brush, coat the inner surfaces of the mold with
liquid soap (NOT detergent!). Continue applying soap until
the mold will absorb no more.
5. Remove any suds or surface puddles of soap by patting with a
soft cloth. The purpose of the soap is to keep the plaster
cast from bonding with the plaster mold - to do this it is
only necessary that the mold surface be thoroughly filled
with soap. If soap is left standing on the mold surface, it
will cause deterioration of the cast's surface.
6. Assemble the mold sections so that they are well registered
and place them in a bowl or bucket that will hold them
together - you can get a helper to hold them. Mix a small
amount of plaster. Use it and some of the burlap to tie the
mold sections together.
WAIT UNTIL THE PLASTER HARDENS
BEFORE MOVING THE MOLD.
7. Mix enough plaster to equal about a quarter of the head's
volume.
8. Pour the plaster straight into the center of the head and
then slowly swirl the plaster to coat all surfaces. Pour
the plaster out into the mixing bowl (be sure to coat all
areas of the neck as you do so). Repeat the process until
the plaster start to thicken and shows signs of starting to
pull away from the walls of the mold. Place the mold so
that any excess plaster that remains in the mold collects in
the face area. Discard any excess plaster.
9. Mix a second plaster batch (same size as the first). Pour
and swirl as with the first batch. After pouring back into
the mixing bowl, start laying in burlap patches. By
shingling the patches, a triple thickness can be achieved.
Be especially sure to thoroughly cover "overhead" surfaces
(the jawline for instance) or they'll be too thin. Don't
let the burlap extend beyond the edge of the neck bottom.
10. Mix a final (smaller) plaster batch and pour and swirl. If
a mounting rod is to be attached, now is the time.

1. Once the cast has completely set, it may be removed from the
mold. This is accomplished by breaking away (wasting) the
mold.
2. Work on a soft surface - like a piece of carpeting. If you
can manage it, use sandbags to brace and orient the casting.
3. Use a 1/4" bit common screwdriver and a hammer as your basic
tools. DO NOT USE A SHARP-EDGED CHISEL. The object is to
fracture the mold, not cut it.
4. First remove the plaster ties from the shim lines. Hammer
the screwdriver bit into the mold along the edges of the
ties. Usually this fractures the plaster enough so that the
ties can be stripped away. If they can't be stripped
continue working under them until they pop off.
5. Once the ties are removed, choose an area without fine
detail and start breaking away small pieces of the reinforced
shim line. AVOID BREAKING OFF LARGE PIECES OF MOLD. This
usually results in some of the weaker areas of the cast
being broken off.
6. When you reach the blue coat, slow down. Use your finger as
a "depth gauge" by holding it alongside the tip of the
screwdriver. Make a series of taps along a line to create a
fracture zone. Once the blue coat is broken away the
exposed surface of the cast will serve as a reference
indicating how forceful removal of the mold can be.
NEVER TRY TO REMOVE PARTS OF THE MOLD BY INSERTING THE SCREWDRIVER
TIP IN THE INTERFACE BETWEEN THE MOLD AND THE CAST - THE
CAST IS ALWAYS MARRED.
7. Remove the mold from the back of the head first. If some of
the surface is marred as the cast is moved about during mold
removal, it would be better that it not have significant
(and hard to repair) detail like the eyes or nose.
8. If bad fortune strikes and a piece, like an ear, breaks off,
don't despair. DUCO cement (green tube) will glue wet
plaster. Save the part(s) and glue them on once the mold is
completely broken away.
9. Don't try to remove pieces of the mold from finely detailed
areas (e.g., eyes - interior of the ear) with a tool as
broad as the 1/4" screwdriver. Use a smaller screw driver
or similar tool to crush the mold or tools like dental picks
to pull small pieces off.
10. Gaps and dings (like marks made by the screwdriver hitting
into the cast) can be filled with wet plaster judiciously
applied. Be sure the cast is still saturated with water or
else soak it before applying liquid plaster. Unwanted
projections , lumps, fins can be pared away with a sharp
knife or chisel.
11. When sanding: if ordinary sandpaper is used, wet plaster
gums it up almost immediately. When using ordinary
sandpaper let the cast dry thoroughly before sanding.
Otherwise, "Wet or Dry" sandpaper is the choice. The
sandpaper itself is waterproof and by frequently rinsing the
cast during sanding gumming problems are avoided.
12. Patination: Once it's dry, the cast accepts paint just like
a plaster wall. When the cast is wet, patination is mostly
limited to water or alcohol based stain.

TOOL/MATERIAL SOURCES: If you need to get a tool or some materials there are sources nearby.

Ace Hardware is just a short distance away in the University Shopping Center - they're open until 8:00 PM on week nights - closed on Sunday.

Lowe's is only a little farther away (next to Wal-Mart) - they're open until 9:00 PM on week nights and 5:00 Pm on Sunday.

Some of the more difficult materials to get (plaster, shot sand, casting wax)are on hand in the studio. You are expected to provide yourself with commonly available supplies like nails, screws, glue (DUCO Cement), and so on. . .

You must provide yourself with proper safety equipment and clothing. You should provide your own earplugs or muffs - eye shields, and respirators or dust masks. Further, besides having the obvious safety equipment, you must dress properly for the task at hand. Many projects, for example, require gloves and hats.