Hello Students!
This week I covered two ways of making 'coils' in class: rolling clay in between your hands/ on the table and throwing the clay to stretch and roll out on the table with boards and canvas to make 'slab coils'. I actually used a bit of both to get the job done, but either could be used separately if you so desire. These methods are in this week's reading and videos. Readings can be found in the Google folder. Biomorphic form tips and tricks!
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| Jun Kaneko - coiled pieces can be quite colossal |
• Wedge your clay!
• Once you get your form going [the halves of the form I was demonstrating], find and use a small board or ware board to hold said work [flat side only].
• Before putting your work on this board, put down newsprint, under the form's surface so that your piece doesn't stick to the board it is resting on. When pieces stick to surfaces there is the potential for cracking during shrinkage.
• It may be easier to roll out your coils/make your slabs in one sitting. Should you do this, keep them covered with plastic and moistened with a spray bottle so that each coil can be easily compressed into the other. Once coils become dry or leather hard, you must slip and score each one to join them or they will not connect properly. Connecting them in the way you saw me demonstrate requires that the coils and slabs are fresh from the bucket!
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Eva Kwong - three stabilization points
are more reliable than two or four |
• Try using the palms of your hands instead of your fingers to roll out your coils. If you get flat areas on your coils, round these out in sections using your palms. Once these flat parts have been rounded, try rolling again.
• Don't make your coils too long when you start out.
• Once you build your form, you must compress the coils/slab coils in the walls on the inside and outside to keep them together. Although it is possible to sometimes get away with not compressing coils together on one side, I am asking that you compress both the inside and outside. This means there will be no coil texture in the final piece.
• If your final piece will be tall, be sure to compress from the bottom and continue as you build upwards. When doing this, it is useful to have an opening that you can easily fit and move your hand around in to support the wall you are pressing against. Once you make it to the top of your form and its opening becomes smaller, try using a finger or tool handle to compress parts together instead of your entire hand.
• If your final piece will be tall, you will have to wait for the bottom to become somewhat leather hard before getting to the taller sections of the piece. If you don't, your work will potentially sag. If you get sagging or your walls fail, it is because the piece is too wet at the bottom.
• If you don't have a serrated rib, get your serrated rib! You can also make the toothpick tool I showed in class if you so choose.
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Rudy Autio - the overall form is
enhanced by what is on the surface |
• If you need to keep your piece round on the bottom, make and use a cradle using a bucket, a small towel, and tape. Instead of starting at the bottom to build, start around the equator of round objects and work toward the rounded end. Once it is together and/or leather hard you can turn it over and place it in your cradle.
• Use a laminated paper pattern if you need to make openings that match! You can laminate paper by coating each paper of the template with packing tape [let me know if you need help!]
• After a certain point, you will have to wait for your clay to stiffen (become leather hard) to work on it further or it will collapse. Since the lip or top ridge of this form you will be adding to will most likely be leather hard also, you must slip and score additions thereafter.
• If you want to speed drying time, use a hairdryer. Be sure to move your hairdryer so that it dries the work evenly or you may experience cracking. Once work is cracked or past leather hard, it is best to start over from scratch.
• If you would like to make sure your work is symmetrical, be sure to turn it often and notice its contours. This can be done with a banding wheel (lazy susan. there is only one in the classroom near the newspapers). Banding wheels can be purchased as a lazy susan or you may use the kick wheels in the studio. I DO NOT recommend trying to use the electric wheels as they are unpredictable if you aren't used to working the pedals. The kick wheels can work. Once you have the work turning, notice where the contours are uneven and adjust for them by either pushing from the inside out, or tapping inward from the outside until the outline becomes continuous. Work all over the form, not just in one place. Get up often and look at the form from a distance. This will help you construct in space immensely!
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Ken Price - notice how this clay piece
seems to defy gravity |
• In the demo, I talked about the potential need to add parts to your overall form. We will go over this in more detail next week. If you make several parts that need to be put together into one part, you will have to slip and score these parts together when they are leather hard. If you skip this step they will likely not adhere. Again, I will review this next week
• Once you enclose your form, if you forget to put a hole in any enclosed form, it will ABSOLUTELY crack! Air ALWAYS needs to have an escape route. Be sure to include one. More about this next week.
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Ken Price - This work has a weightlessness
to it even though it is made of a heavy material |
If you want feedback regarding new maquettes please text pictures to me for feedback so you can decide on the strongest design and begin working. The design you end up choosing should be both innovative and challenging to you technically. If you came to class feeling disappointed by your design or made something too complicated, you certainly have the time to make something more satisfying over the weekend. Depending on your composition, you may need to use newspaper as an armature for structural support. The walls of your coil work should not be thinner than 1/8th inch or thicker than 1/4th inch. Consider making a design with a foot that doesn't completely rest on the table [See Ken Price's work]. Negative space in the foot region of the work is as important as activating the space around the piece. This piece should be smooth and without parts that would interfere too much with drawing and patterning the surface.
Once you have feedback, decide on the strongest design and start working on constructing the coil/soft slab piece. Remember to use a laminated pattern if you want you make your work in parts that will fit back together. Walls should be 1/8-1/4" thick. I will be asking to see what progress you have made on Tuesday
HOMEWORK
NEW - Biomorphic Coil Piece
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| Ken Price |
Design for the Biomorphic Coil Piece by creating 3 maquettes of what you would like to make.
The next skill we will work on is coiling with soft slabs and coils. To start, you will need a design. As always, the form will be designed and chosen by you but should demonstrate good technique and formal ingenuity. For homework conduct research to find an interesting biomorphic form to build. Form development will make or break your design and grade, in the end, so be sure to inform your brain [find references, make maquettes] before you start. I will be asking to see these next class so be prepared. I suggested making something inspired by cellular or microbial organisms if you can't think of anything to do on your own. Whatever you develop, the form will be biomorphic with no straight planes, completely enclosed and completely in the round. The definition of biomorphic is that it is inspired by or somewhat resembles a living form. This form will have absolutely no texture and should have no appendages. Deviating from these instructions will be a detriment to you as you finish the form.
Here is a movie that reviews what I showed you how to do in class in regard to coiling:
https://drive.google.com/open?id=0B_xaMsUXOejZbVNxVk13dG84VTA
or 04a_Biomorphic_Slabs_Coils
REVIEW
IN-PROGRESS - Carve out Form
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| Beth Cavener Stichter |
HOMEWORK
IN-PROGRESS - CARVE OUT
Carve Out - your piece should be completely carved out and ready to be put back together by next class
Here is a movie that reviews what I showed you how to do in class in regard to carving out:
https://drive.google.com/open?id=0B_xaMsUXOejZRGp0Q1RHeHZ1Vms
or 05b_Carve_Out
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| "Tangled Up in You" by Beth Cavener Stichter |
Video
Beth Cavener Stichter - click the link [the artist's name] and watch the video about this artist who uses carve out as their main way of making. Take notes and bring these to class.
Artist Website - click the link and see the process photos of the making of "A Rush of Blood to the Head"
SUPPLIES
1) You should have your pottery kit by now, a fettling knife, scotch brite pad (green scrubby thing) and large sponge for cleaning. The next three things you need for class are: the hacksaws blades, chamois, and a serrated rib. If you can't buy a serrated rib, be sure you have a fork or some toothpicks to tape together at the very least.
Some artists to knock your socks off!
You can research these names and print out their work/reviews and put them into your sketchbooks. Your homework is at the end of these photos....
Ken Price
Ken Price
Ken Price
Eva Kwong
Eva Kwong
John Balistreri
John Balistreri
This piece has support walls built in. We will be using paper as support when necessary, but large-scale work benefits from such built-in support walls.
