Important Concepts in Sculpture
With cooperation and support from Wenatchee Schools, Art on the Avenues, Soul in Bronze Studio & NorthWest ArtWorks Inc.
Funded by The Washington State Arts Commission/ Wenatchee Arts Education Consortium Puget Sound Energy Robert B. McMillen Foundation & the Wenatchee Arts Commission
Perfect on Petra by Ross Matteson
Representational
Imitating real life
Great Blue Heron by Walter Matia
Wings by Gary Lee Price
Abstract
Forms that do not look real; nonrepresentational.
Relationship Series VIII by Joseph Castle III
Puffed Up Prince by Gary Lee Price
Balance Composition
The arrangement of forms in a work of art that direct a viewer’s eye.
Equal arrangement; crucial for keeping a sculpture upright.
Snow Bears by William F. Reese
Single Point by Kevin Pettelle
Mood
The atmosphere created by the artist
Future Dreaming by Kevin Pettelle Soaring by Jeff Tangen
Sunrise by Leo Osborne
Cat Dreaming Fish by Steve Kestrel
Texture
The quality of a surface, its roughness or smoothness
Negative Space
The areas or spaces around and between solid forms, known as positive space.
Sphere by Bernie Hosey (2003 exhibit)
Ancient Traveler by Leo E. Osborne
Movement
Implied or actual (kinetic) motion (as in a mobile)
Hampton by William F. Reese Harvest Moon Ball by Georgia Gerber
Patina
Originally the color created by the corrosion of metal, now artificially obtained by wax pastes applied to hot metal.
Winter’s Rest by Shirley Thomson-Smith
Perfect on Petra by Ross Matteson Semi-Conductor by Elsbeth McLeod
Maquette (muh-KET)
A smaller study of a final sculpture.
This clay is a little stiff at first, but becomes softer as it warms up in your hands. Squeeze the clay to make it soft. Let your imagination go! This is your time to experiment. Many artists say the clay helps them decide what to make. Let the clay suggest your shape. The following examples will give you the basics for creating your maquettes.
From Children, Clay and Sculpture by Cathy Weisman Topal
Opening a solid
Pulling protuberances
From Children, Clay and Sculpture by Cathy Weisman Topal
Modeling animals
Start without a specific animal in mind. Let the clay guide you!
Roll a flat sausage & squeeze a thick neck
Make a large cross where the legs will go
Position your animal and add details
Pull a thick leg from each square. Let the shape suggest an animal to you!
From Children, Clay and Sculpture by Cathy Weisman Topal
Modeling figures
1.Roll a fat sausage
2. Squeeze the neck (not too thin!)
3. Cut slits
4. Separate limbs
5. Shape limbs
6. Add detail and finish