Whilst I was in Austria an opportunity arose to bid for a piece of “Public Art” sculptural work. They wanted a 1:5 design for a large piece. I proposed the delivery of a 4 section “log carving”. By that I mean deep relief sculptures created by carving into the log from the bark side. The design appears in a window within the log. I’ve done a number of smaller pieces in this style, which I was able to include photos of. I did, however, want to make sure the full idea of the design was clear. Continue reading “Drawing for Sculpture”
The second week of my stay in Elbigenalp concentrated on Ornamental sculpture. The initial discussion struck a very strong note: The basis of all ornamental carving is drawing. An important aspect of starting the whole process was visual research, looking through ornament reference books. This was followed by an initial drawing, which has edges and shading added to help the carver understand the form being described more fully. As part of the process I did make a small maquette, but that was mainly to help me think through the major forms. The photographs below tell the story fairly well: Continue reading “Ornamental carving”
As part of my time in Elbigenalp I’ve been looking at Drapery this week. The first part of the exercise was to look at Drapery historically, which is the subject of another blog post. The next part of the task was to take a study cast and to place a dress on it with (reasonably) realistic clothing folds. This is somewhat more complex than it might seem at first. The Drapery Research blog post gives an idea of the way that the rules of drapery work. Continue reading “Drapery Sculpture”
Reflecting on the assignment and my previous blog about sculptors’ use of photomontage I decided I really had to give it a go. I’m in Elbigenalp in Austria with the sun shining, so that has to be a good start for the landscape part.
As part of a carving project I have been considering drapery, as well as for the drawing course. As well as the construction of drapery I’ve been examining the different styles and variation across time. The variation is significant, with the different styles seeming to go in long cycles across time. Continue reading “Drapery styles”
During my research for Sculptor’s use of drawing I came across the implication that Henry Moore used the idea. This is implied, and to a degree shown, in this article:
“In 1937 and again in 1938 Moore famously photographed maquettes for two Reclining Figure sculptures very close to the lens, so as to make each diminutive object look enormous against the distant landscape … it is perhaps more likely that these photographs are not so much tests as they are declarations of triumph: they are demonstrations of his sense of the monumental. Rather like physically lifting objects from the ground and holding them close to himself, here Moore brings the maquette so close to the lens (and therefore the viewer) that its monumental scale is confirmed.” Rachel Wells, ‘Scale at Any Size: Henry Moore and Scaling Up’, in Henry Moore: Sculptural Process and Public Identity, Tate Research Publication, 2015, https://www.tate.org.uk/art/research-publications/henry-moore/rachel-wells-scale-at-any-size-henry-moore-and-scaling-up-r1151302, accessed 05 October 2017.
My tutor for Drawing Foundations made a potentially throw away comment that “Sculptors using drawing differently” during our Assignment 4 review session. On reflection I thought this was important to follow up on as a piece of research, as to what the comment meant and implied. I can partly answer this from my own experience. In late-stage drawings that will be mapped to a sculpture it is important that the skills of drawing in perspective are put to one side. These drawings have more in common with architectural drawings than pieces of expressive artwork. I don’t think, however, this this is the full story. There is, therefore, a fruitful avenue for investigation available which could help move me forwards. Continue reading “How do sculptors use drawing?”