Showing posts with label sculpture. Show all posts
Showing posts with label sculpture. Show all posts

The Clay Ladies Review

The Clay Ladies
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I am an art teacher and this book is superb for helping my 1st-through- 5th-graders learn to read. This story gives them practice in vocabulary, fluency (including phonics), and reading comprehension. The story has a great deal of meaning to them because we just finished our clay unit and one of the projects was a bird.
There are many ways to use this story to teach reading. For example, when one plumbs the text for phonics activities one will not be disappointed. One can teach how changing an ending changes a meaning just from the list of things sculptors do as they make their sculpture (push, pushing, pushed, for example).
My students read this story silently while I read it to them; meanwhile, the gorgeous images are projected on the big screen in front of them. We even "read the pictures..." as I have them verbalize the contents of the richly-detailed illustrations. By first verbalizing the contents of the illustrations they are then more able to recognize and comprehend the mention in the text of those things.
I find the illustrations absolutely gorgeous and quite convincing. I greatly admire the illustrator's mastery of perspective and point-of-view, and I use his illustrations to teach these principles to my students. For example, the illustration drawn from the point of view of a spider hanging from the crest of the ceiling above the bird cage, looking down and out on the whole room, is just superb. This illustration is so well-done that the kids are able to say what is the tallest thing in the whole room (the huge sculpture, shown with brilliant foreshortening) and what is the farthest-away corner of the room (the one in the upper-left of the image).
Not knowing in advance that this story is historic fiction, I, too, was taken by surprise on the first read-through by the obvious nature of the two sculptors' relationship. However, I am not concerned that my elementary-school students would notice.What matters to me--and what I want to matter to the students---are the unspoken messages of creativity, gentleness, healing, transmission of a culture, caring for things smaller than oneself, and how living an authentic life sometimes requires one to live a bit outside the box.
My students' day is hectic, loud, and frenetic. I feel that our culture is even more hectic, loud, and frenetic. The gentle and peaceful tone of "The Clay Ladies" has my students quite captivated in an oasis of quiet at the end of the day. I see this story as simply another fine Canadian export. I wish I could shake the hands of both the author and illustrator.


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Living Materials: A Sculptor's Handbook Review

Living Materials: A Sculptor's Handbook
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The good news is that this is probably the best book available on the materials of sculpture. The bad new is that it was written twenty years ago. (This paperback edition may have been published in 1988, but AFAIK, the text was unchanged from the original 1983 version.)
If you are interested in traditional forms, then this book probably covers everything you need. But if you want information on any materials and/or techniques that came into use post-1970's, you're out of luck. Plastics are a good example: urethane and silicone molding rubbers are given a cursory mention, even though they are quite common now. I don't think polyurethane casting resins (Por-a-kast, Poly 15, etc.) or polyurethane glues (Gorilla Glue, ProBond, etc.) are mentioned at all.
The wood section is surprisingly thin, with a bias toward subtractive methods (carving), even though wood construction is as common--if not more common--in contemporary work.
While there are plenty of photos (all black and white) of classic sculptures, there are a lot of unbelievably bad pieces illustrated--probably chosen for their materials rather than quality. Some are downright hideous.
This is a good resource, but be aware that it is no longer comprehensive.

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Every material has an active presence and every material is susceptible to change. The task of the sculptor is to understand the natural properties of a chosen material, to know in the process of creation how best to work with, or against, its characteristics. In this generously illustrated studio manual, sculptor Oliver Andrews takes a new approach to sculpture, focusing on how the innate assertiveness of materials affects the complex act of making a sculpture.--This text refers to the Paperback edition.

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Ephemeral Bodies: Wax Sculpture and the Human Figure (Getty) Review

Ephemeral Bodies: Wax Sculpture and the Human Figure (Getty)
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What a gem this is. Wax anatomical models seem to be hugely fashionable right now, with the "Exquisite Bodies" exhibition having been held in London from June to October this year (2009), and this is THE book that contextualizes wax sculpture: whether anatomical, devotional, or for entertainment. The book is weighty and solid, making it a tactile joy to hold and read. It's printed on beautiful weight paper with lovely quality of images. All sections are lavishly footnoted for further reading. The sections are:
Compelling Presence: Wax Effigies in Renaissance Florence, by Roberta Panzanelli
Wax Fibers, Wax Bodies, and Moving Figures: Artifice and Nature in Eighteenth-Century Anatomy, by Joan B Landes
Almost Alive: The Spectacle of Verisimilitude in Madame Tussaud's Waxworks, by Uta Kornmeier
On Waxes and Wombs: Eighteenth-Century Representations of the Gravid Uterus, by Lyle Massey
Wax Tokens of Libido: William Hamilton, Richard Payne Knight, and the Phalli of Isernia, by Whitney Davis
Fleeting Revelations: The Demise of Duration in Medardo Rosso's Wax Sculpture, by Sharon Hecker
Viscosities and Survivals: Art History Put to the Test by the Material, by Georges Didi-Huberman
and an appendix on the history of portraiture in wax, by Julius von Schlosser (for an appendix this is large and comprehensive: 4 chapters, 143 pages)
The book contains images which the casual reader might find disturbing, particularly the chapter on anatomical representations of fetuses and wombs, but the book is never prurient or exploitative. It is a scholarly examination of the different ways wax representations of the human form have been considered by different cultures. It is also an interesting look at the reason polychromatic sculpture became "anchored in art practice for millennia yet confined to the margins of art history...'disreputable' for many scholars" (p. 1).
Recommended for anyone interested in art and art history, or just having an eclectic sense of the beautiful.

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Kids' Crafts: Polymer Clay: 30 Terrific Projects to Roll, Mold & Squish Review

Kids' Crafts: Polymer Clay: 30 Terrific Projects to Roll, Mold and Squish
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I was so happy to participate in making some of the projects in this book and with Irene Dean writing it, I knew the book was naturally going to be good.
But, when I received it, I was totally floored at the quality - hardcover, great paper, clear pictures, well-written instructions. It was so much better than I'd even anticipated.
This book was written for someone much younger than I am, but I found it completely entertaining, throughout. Very thorough "basics" section, including a look at making simple canes, then on to the projects. Lively and colorful from cover to cover.
Jazzy, upbeat writing, hip kids in artful demonstration, wonderful photography, lots of humor and cool fonts surround each of the thirty projects. There are beginner items to advanced - critters, jewelry, things to make for gifts, from simple to sophisticated - kids are going to absolutely love this book! And just in time to give to a young person before the appearance of "summer doldrums," too. :)
But, I don't think its appeal is limited to the 8-14 years-old age bracket because IMO, most adults would find it fun, too. I'd recommend this one to beginning clayers of any age.
Congratulations to Irene and her terrific editor for a fabulous, fun book!
zig

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The Clay Lover's Guide to Making Molds: Designing, Making, Using (Lark Ceramics Book) Review

The Clay Lover's Guide to Making Molds: Designing, Making, Using (Lark Ceramics Book)
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This well thought out guide gets right to work explaining in clear, concise steps how to construct various types of clay molds. From basic one-piece molds to complex multi-piece molds, Clayton describes their design, construction, and infinite utility. The book is loaded with excellent color and black and white photographs. Some depict the tools and process. Others show a magnificent sampling of finished products. This guide can take the average pot-throwers hobby to the next level. Makes a pretty decent coffee table book too. --Christopher Bonn Jonnes, author of Wake Up Dead.

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Sculpting Basics: Everything You Need to Know to Create Three-Dimensional Artworks Review

Sculpting Basics: Everything You Need to Know to Create Three-Dimensional Artworks
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I teach intro to Sculpture at a CA university and I am really impressed with the basic info in the book. I have recommended it to my students. It covers a wide range of materials and processes. Most do not require kiln firing which makes it easier for the majority of beginners that do not have access to a kiln.

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Art students and ambitious amateur artists who turn to this volume will find detailed training for creating original and distinctive works of sculpture. Karin Hessenberg, an experienced sculptor, opens with extensive advice on setting up the workplace and assembling tools and equipment. She begins instruction with a how-to course on clay modeling that includes five separate projects, four of which culminate with kiln firing. The book's second major section presents five projects that teach the craft of molding and casting, using a variety of materials that include plaster in combination with modeling clay, wire, and concrete. A section on direct building presents two projects in which various materials-wood, wire mesh, and other objects-are applied to their frameworks to create finished sculptures. A final section for advanced sculptors offers five projects for carving-in soapstone, alabaster, limestone, lumber, and a log. In total, this volume presents projects for 17 finished pieces. Subjects include a seated Buddha, a female figure, animals, and several fascinating abstract shapes. This handsome book is printed in four-color throughout and features more than 250 instructive illustrations.

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3-D Wizardry: Design in Paper Mache, Plaster and Foam Review

3-D Wizardry: Design in Paper Mache, Plaster and Foam
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This book offers a great variety of options for 3D projects with all the information to get your started, over what ever fear you might have and into the creative fun that can be had! The author starts with essentials, paper mache, styrofoam and brown paper that anyone can use and shows some wonderful projects for beginners. They include excellent masks, wonderful creapy creatures. Some of the urethane foam work is completely unexpected and not such a common starting point for most people. The author includes wire framing, puppets - just an incredible assortment. I purchased this book for myself and love it, but it would have been great to have when I had children around looking for things to do. Truly a book for all ages

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Modeling the Head in Clay Review

Modeling the Head in Clay
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I bought this book (along with several others) while taking a class in sculpture. I found it to be the most informative and inspiring of any source, including my sculpture teacher. Using a series of close-up, detailed photographs, the book walks the student through the steps of creating a clay head. I followed them and made a good (for me) sculpture of a man's head and later a bust of a woman. I went on to make other clay faces, incorporated into mugs and pots. I don't pretend to be a great sculptor but, thanks to this book, I am able to make recognizable sculptures. The excellent directions include how to control surface texture using water and a brush; it is possible to make clay look like skin. If you are struggling to bring clay to life, this book doesn't just tell you how, it shows you how.
Randall Black

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Creative techniques step-by-step. This book offers the reader an opportunity to watch one of our foremost contemporary sculptors at work, to see not just highlights of the creative process, but every step from beginning to end.In order to recreate the immediacy of an actual workshop situation, Bruno Lucchesi takes a single life-size head through all the stages of roughing in, modeling, refining the surface, and finishing and texturing, so that the reader can see exactly how he positions and models every detail.From the Trade Paperback edition.

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Modeling in Wax for Jewelry and Sculpture Review

Modeling in Wax for Jewelry and Sculpture
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I got this book after making jewelry for 3 years and lost wax casting for 6 months. Boy, did I learn a lot! The projects are truly outstanding. They show a wide variety of techniques and styles. Try each one even if it's not a style you're really big on - I did and found neat ways to do things I wanted to do that I hadn't managed before. I require this as a text for all my apprentices who do casting.

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From start to finish, all the instructional details are included for every phase of wax casting and mold-making in the second edition of this text on jewellery making.--This text refers to an out of print or unavailable edition of this title.

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Modeling a Likeness in Clay (Practical Craft Books) Review

Modeling a Likeness in Clay (Practical Craft Books)
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Mrs Grubbs has lots of talent, being a pedagogue is not the least of them. As she shares her technique with the reader, every step is thoroughly illustrated and commented. Numerous examples of specific situations are shown in detail along with the sculptor's comments.
The first sections establishes the general principles governing the achievement of a likeness, going step by step through the measurements and accurate mass and volume placement, with practical demonstration.
Further sections detail the progress of the work, and the end sections are practical examples of different portrait renditions of models which vary in age, sex, ethnic features, all being taken from actual work carried out by the artist.
As Mrs Grubbs favors kiln-firing of her clay portraits, readers interested in this technique will also find very valuable information, and will learn how to properly prepare a portrait for this purpose.

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