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Maquette definition12/24/2022 Whole and gives me the flexibility to fluidly correct proportions and change direction of limbs (figure 3).ĭetailing the sculpture begins once the whole body is roughed out. Building solid allows me to work the form as a Initially, clay is added and manipulated by hand, but as the form progresses I use a plastic putty knife to direct the material, imply the underlying bone and muscular structure and create gestural marks. Because the clay dries and shrinks around the internal supports, the strength of each limb is constantly monitored and I remove the dowels as soon as the limb can support itself or be supported externally. As limbs begin to extend further from the figure, external dowels are added for extra Wherever possible, dowels protrude beyond the form for easy removal. The maquette is referenced constantly throughout this process. These linear extensions are also planted to determine theĭirection and angle of limbs. Wooden dowels are added wherever support is needed and clay is squeezed around them to hold them in place and extend the form (figure 2). The mass of the sculpture is built up with solid clay. Process by measuring various parts of the body and comparing them to the model. This also allows me to check myself throughout the building Measuring the maquette and marking out the workspace gives me an idea of the sculpture’s final dimensions, in this case four times greater than the maquette (figure 1). Translating the sketches to a three-dimensional model is essential to the building process because it helps me to adjust the pose and proportions of the figure, as well as plan the final To capture that fresh feeling and liveliness in my figures. The small models have a life to them that’s very different from the polished quality of the finished works. I begin by sketching and then building a small maquette to work out the positioning of a figure and details of the pose. I strive for a gestural style in my sculptures, leaving my tool marks as evidence of how I work, a style influenced by artists such as Auguste Rodin, as well as my studies of terra-cotta maquettes from the 1700s and 1800s for larger works in clay, It’s traditionally used by artists who take a mold from their sculptures and cast them in another material such as bronze or iron. I’m constantly absorbing information about multimedia processes from hardware stores, craft books, and other artists that addīuilding solid forms in clay is a technique often looked at as a means to an end and not an end in and of itself. Of ceramic and mixed media surfaces give me a variety of options for referencing confectionary textures and colors. Using the building-solid-and-hollowing-out technique allows flexibility in planning dramatic, performative poses while a combination My clay sculptures investigate ideas about consumption, self-presentation, and societal behaviors versus animalistic impulses. In today's post, an excerpt from the January/February 2011 issue of Pottery Making Illustrated, Magda walks us through her ceramic sculpture process from maquette to form. She says this step is essential to her process because it allows her to get the pose and proportions just right before starting on the actual sculpture. Magda Gluszek uses them for her expressive figurative work. They are basically three-dimensional sketches in miniature of the eventual larger-scale work. Maquettes have long been used by artists as a way of planning out a sculpture. I primarily make functional work, so it is always interesting to me to see how ceramic sculptors go about making their work. Pottery Making Illustrated Submission Guidelines.Workhouse Clay International ICAN Merit Award.ICAN Making a Difference in Ceramics Award.Annual National K-12 Ceramic Exhibition Award.
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