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?”
Trying a test of making a dry glaze using slip. First test of 80ml slip (in this case Pot 6 Lime Green), Frit at 1/4 tsp, 1/2 tsp and 1 tsp strengths (in this base Frit 3195). The tests are left to right in “stripes” below:
Continue reading “Test tiles”
On my way up the country to a family holiday in Cumbria we stopped off at the Yorkshire Sculpture Park. This was planned as a stop over in the long trip from Kent, but gave me a good opportunity to take in some art along the way. There was a great deal to see, and if you’ve never visited and get the chance plan to spend a while there if you can. The following outline a few highlights of this trip. This write up is bereft of images as I have no idea on the copyright issues of including them. I have, however, included links that are worth following for images and more information. Continue reading “A trip to the Yorkshire Sculpture Park”
Another side-track for the course, but before I can finish the Annie Peaker, or other ceramic, work I need to do a set of glaze tests so as to know how to approach colouring and Glazing them. This needs to be completed carefully and rigorously if the results aren’t going to be disappointing.
The following notes illustrate the process. Continue reading “Ceramic Tests”
I’ve been working on a relief carving of a Thames barge for a while. I had a dark patch under the bowsprit. Unfortunately I needed to deep it a touch, and in doing so a knot below crumbled. I now need to work out a way to patch it which is in keeping with the design, is achievable and will be sufficiently robust.
What are the things I like?
I’ll start with some of my own sculpture that I actually like. I’m sticking to pieces that are my design, rather than copies of someone else’s work. When on courses at the Austria wood carving school one of the major teaching devices is to get you to carve from others designs. Although I like many of these, I don’t really consider them my work. Continue reading “Developing Artistic Style, part 2”