Plaster info for project #1

Plaster Info Sheet for Project #1 Thursday Sept 8th

What you Need Thursday Sept 8th· Plaster of Paris
· Water
-4 empty soda cans
- Putty knife
·2  1 gallon bucket
-2 chip brushes


How to mix it:

1. To mix the plaster, fill a 1 gallon plastic bucket or other container no more than one-third full of cold water. (Hot water accelerates set-up time and can compromise the quality of your block). The ratio is generally 1 part water to 2 parts plaster, but this is not an exact science. It is better to mix too little plaster at first, because you can make more batches to fill your form.

2. Sift the plaster of Paris through your fingers/ or with a metal strainer into the water. Distribute the dry plaster evenly throughout the waters surface. Keep adding the plaster until it stands above the water in dry peaks. This will take awhile, because the plaster will keep sinking. In order for the plaster to mix properly with the water, however, it's important to add the right amount. When the surface of the peaks begin to look cracked like a desert floor, you can move to the next phase.

3. When you reach this stage, you can mix the two together with your gloved hand. Do not stir, but rather gently squeeze out any lumps that may occur. Stirring will cause air bubbles to form in the mixture which you do not want. Stirring also accelerates set-up time, which again can compromise the quality of your block. As soon as the plaster is mixed to a smooth, creamy consistency and covers your hand, pour it into your form. Tap the bottom of the container on a flat surface to release any trapped air. Depending on how much you mixed, you may have enough, or you may need to repeat the process. You may check to see if the form is level and make adjustments with shims accordingly.

4. The plaster will harden in just about 15-30 minutes. When the block is ready, peel the box away, and discard the pieces. You can plan your model by drawing several views of the sculpture and then transferring a rough sketch onto the block. If you prefer, you can make a direct carving by improvising as you work. Use the table knife and spoon to create the sculpture. You'll notice that the plaster may be warm. This is because mixing the plaster with water causes a chemical reaction which gives off heat. The plaster will be soft, so working with the block is easy at this stage.

Helpful Tips and Information:

■ Keep plaster away from food or kitchen and out of the reach of small children and pets. Read all directions and safety precautions on the packaging of any plaster materials that you obtain or purchase. Take precautions to keep dry or mixed plaster off of skin and out of eyes. Plaster undergoes a chemical reaction that produces high heat and can cause severe burns. Never mix plaster using your bare hands.
■ If doing any body casting, always use a release like Vaseline on your skin. Only use thin layers and/or plaster bandages. Always leave an "out", meaning an open side or an area thin enough to cut with scissors.
■ Wear a particle mask when mixing plaster.
■To save money, buy plaster of Paris at hardware stores or a lumber yard, rather than at craft store.
■ If you want to make a larger sculpture, substitute your form for a Rubbermaid container or a cardboard box taped well at the seems. Mix your plaster in smaller batches adding them to the bigger mold gradually. When the plaster sets up, just peel away the carton, or pop the hardened plaster out.
■ Mixing plaster properly takes a little practice. If the mixture is too liquid, it will take a long time to set up, and the finished block will be weak. On the other hand, if you add too much plaster of Paris to the water, it will be too thick, harden very fast, and it will be difficult to use.
■ Never mix plaster in a metal container, because you'll be unable to remove it or clean the container when the plaster hardens. Also, be very careful about cleaning up after working with the material. Plaster can clog sink drains! Clean your hands by wiping the plaster on a rag or paper towels, and then rinse in a bucket of water. When the plaster settles on the bottom of the bucket, discard the water and let the plaster silt harden. Later, just dump the dried plaster chunks in the trash.

Class Syllabus Fall 2011

Course Syllabus

Course Description:

Art 25 is an introductory sculpture studio course that explores the expansive field of sculpture.  The course engages the history and theory of three dimensional objects from traditional and non-traditional perspectives.  Students will investigate everything from space, form, volume, and texture, to time, site, context, and experience through object-making.  This course will place emphasis on exploring plastic arts beginning after the turn of the 20th century, and move to present day work.  Students will learn to expressively merge form and content to make works relevant to their experience, but within the context of current trends, movements, and discourse.  

Student Learning Outcomes (SLOs) :

• Students will demonstrate skill in basic construction techniques, mold-making and casting.
• Students will demonstrate creative solutions using various materials in making discrete objects and installation work. 
• Student will acquire analytic skills to discuss formal, technical and conceptual ideas in critiques.

Course requirements:

 1. Sculpture Projects:

The following four studio assignments must be completed and critiqued by the            class on time.  Detailed hand-outs and discussion will further outline project requirements.

            Project 1:  Traditional Bust  in 1/2 Scale

            Additive Processes

            A. Clay modeling

            B. Waste Mold & Plaster Cast

            Project 2: Finding Form  in the Abstract Object

            Reductive Processes- Foam Carving

            Project 3:  Make a Machine

            Construction- Found objects, assemblage, mechanization, kinetic art.

            Project 4: Public Art Project Proposal

            Collaboration-  Monumental Scale, site specificity, civic planning.

Contact: sarahunsucker@gmail.com

Course requirements continued:

2.  Paper: One typed two page, double spaced, 12 pt. font,  with 1" boarders, review of a current contemporary sculpture exhibition.  This should include background on the artist and their work, a detailed description of the work and venue you are reviewing, and a critical analysis of the work( what do you think about the work?).  A list of current on going exhibitions in the area will be provided.

3. Sketchbook: Each student must keep a hardbound 9" x 11" sketchbook.  This book must contain proposals with preliminary sketches for each assignment, notes on class lectures and discussions, notes on assigned readings or in-class exercises.  Collage, drawing, painting, etc.  expressing ideas and interests pertaining to your sculpture practice.  This book is to be updated weekly. Your sketchbooks will be graded at the mid-term and again during the final week of class. 

4. Participation: Attendance to all classes is of the utmost importance.  You must attend a minimum or one additional lab/studio hour per week (times and days when a tech or instructor will be present in the studio will be announced).  You must sign in on the yellow sheet by the cage upon arrival.  Additionally, you must keep a log of your hours on the sheet provided in this packet, and it is to be turned in at the end of the semester.  Good participation includes but is not limited to: Being prepared and having all materials for studio work periods, being a contributor to class discussions and critique, participating in technical demos and workshops, contributing to the blog weekly, cleaning and maintaining studio, and always being professional and respectful of peers.

Grades:

Projects:  60%  or 600/1000 pts. (150 pts. each)

Sketchbook:  20% or 200/1000 pts.

Participation:  10% or 100/ 1000 pts.

Paper:  10% or 100/1000 pts.

Extra credit: TBA, worth up to 10 pts.

Point Breakdown:

F    0-186

D-  187-254 D 255-322  D+  323-390

C-  391-458 C  459-526 C+ 527-594

B-  595-662 B 663-730  B+ 731-798

A- 797-864  A  865-932 A+ 933-1000

* Good class participation and/or the extra credit can be beneficial to your standing.

Contact: sarahunsucker@gmail.com

Grades Continued:

Projects will be evaluated on your:

• Ability to meet project requirements.
• Ability to plan and conceptualize each project (sketchbook and one-on-one discussion).
• Ability to place you work and your classmates work into a social, historical, and cultural context.
• Quality of craftsmanship.
• Demonstration of competence with materials, tools, and technique.
• Understanding of key concepts from lectures and discussions as demonstrated through your projects.
• Quality of presentation of work during critiques.
• Ability to clearly communicate your ideas through the work and to have a point of view apparent in the work.

Office Hours

Offices hours are at 5:30 PM on the following dates.  Office hours take place in the sculpture studio, room Z -102 unless otherwise specified.  Meetings will be 15-30 minutes.  Please make an appointment with me in class or email me in advance.  Please feel free to take advantage of the designated office hours if you have any questions, concerns, or need technical help with your work.

Days/ Dates                  

Thursday 9/29        

Thursday 10/13

Thursday 11/10

Thursday 12/1

Tuesday 12/13

Thursday 12/15

Important Safety and Conduct Information:

• You must be approved by our tech before using any power tools.
• You may not use power tools unless there is an instructor or a tech in the studio.    
• Open toed shoes are prohibited in the studio.  You will be asked to leave if you are wearing sandals or flip flops to class.  This may result in a tardy or an absence on your record.
• Abide by all safety rules and regulations presented to you by our tech.
• If you are unsure of how to do something or need help, always ask for help. 
• Do not enter the studio if you are intoxicated or impaired by any means. 
• Headphones/ iPods may only be used when specified, never during lectures, demos, or while using studio equipment.  
• Please smoke only in designated areas on campus, not outside the studio door. 
• Cell phone can be used in the class room for obtaining image references and research. Talking and texting are prohibited in the studio during class.

 Important Safety and Conduct Information Continued:

All ringers must be turned off before class.  Restrict phone use to the breaks    when you are outside of the studio. 

• The floors and work surfaces must be clear and free of obstructions; personal items must be stored in lockers or under the tables.
• Professional conduct is required at all times to ensure a safe and productive environment.  This means: no horse play, no disruptive behavior, no harassment, no outside guests in the studio during class without permission, and respect for others in the class is vital.
• Academic dishonesty (i.e., plagiarism of art or writing, cheating, or taking other people's materials) will not be tolerated.  These actions are subject to sanctions by the college.  

Required Materials

$10 green PCC bank issued Material Card

1 9" x 11" sketchbook

Various drawing materials

Scissors

2 1 gallon flexible buckets

2 - 4 1" - 2" chip brushes

1 1/2 " and 2" putty knives

Protective eyewear

Dust masks

Various grits of sandpaper

Digital camera or camera phone

1 set of clay tools

Materials for projects

Extra rubber gloves

Murphy's Oil Soap

Mineral oil

Syllabus Sculpture 25 Sec. 0061 Fall 2011

Course Syllabus

Course Description:

Art 25 is an introductory sculpture studio course that explores the expansive field of sculpture.  The course engages the history and theory of three dimensional objects from traditional and non-traditional perspectives.  Students will investigate everything from space, form, volume, and texture, to time, site, context, and experience through object-making.  This course will place emphasis on exploring plastic arts beginning after the turn of the 20th century, and move to present day work.  Students will learn to expressively merge form and content to make works relevant to their experience, but within the context of current trends, movements, and discourse.  

Student Learning Outcomes (SLOs) :

• Students will demonstrate skill in basic construction techniques, mold-making and casting.
• Students will demonstrate creative solutions using various materials in making discrete objects and installation work. 
• Student will acquire analytic skills to discuss formal, technical and conceptual ideas in critiques.

Course requirements:

 1. Sculpture Projects:

The following four studio assignments must be completed and critiqued by the            class on time.  Detailed hand-outs and discussion will further outline project requirements.

            Project 1:  Traditional Bust  in 1/2 Scale

            Additive Processes

            A. Clay modeling

            B. Waste Mold & Plaster Cast

            Project 2: Finding Form  in the Abstract Object

            Reductive Processes- Foam Carving

            Project 3:  Make a Machine

            Construction- Found objects, assemblage, mechanization, kinetic art.

            Project 4: Public Art Project Proposal

            Collaboration-  Monumental Scale, site specificity, civic planning.

Course requirements continued:

2.  Paper: One typed two page, double spaced, 12 pt. font,  with 1" boarders, review of a current contemporary sculpture exhibition.  This should include background on the artist and their work, a detailed description of the work and venue you are reviewing, and a critical analysis of the work( what do you think about the work?).  A list of current on going exhibitions in the area will be provided.

3. Sketchbook: Each student must keep a hardbound 9" x 11" sketchbook.  This book must contain proposals with preliminary sketches for each assignment, notes on class lectures and discussions, notes on assigned readings or in-class exercises.  Collage, drawing, painting, etc.  expressing ideas and interests pertaining to your sculpture practice.  This book is to be updated weekly. Your sketchbooks will be graded at the mid-term and again during the final week of class. 

4. Participation: Attendance to all classes is of the utmost importance.  You must attend a minimum or one additional lab/studio hour per week (times and days when a tech or instructor will be present in the studio will be announced).  You must sign in on the yellow sheet by the cage upon arrival.  Additionally, you must keep a log of your hours on the sheet provided in this packet, and it is to be turned in at the end of the semester.  Good participation includes but is not limited to: Being prepared and having all materials for studio work periods, being a contributor to class discussions and critique, participating in technical demos and workshops, contributing to the blog weekly, cleaning and maintaining studio, and always being professional and respectful of peers.

Grades:

Projects:  60%  or 600/1000 pts. (150 pts. each)

Sketchbook:  20% or 200/1000 pts.

Participation:  10% or 100/ 1000 pts.

Paper:  10% or 100/1000 pts.

Extra credit: TBA, worth up to 10 pts.

Point Breakdown:

F    0-186

D-  187-254 D 255-322  D+  323-390

C-  391-458 C  459-526 C+ 527-594

B-  595-662 B 663-730  B+ 731-798

A- 797-864  A  865-932 A+ 933-1000

* Good class participation and/or the extra credit can be beneficial to your standing.

Grades Continued:

Projects will be evaluated on your:

• Ability to meet project requirements.
• Ability to plan and conceptualize each project (sketchbook and one-on-one discussion).
• Ability to place you work and your classmates work into a social, historical, and cultural context.
• Quality of craftsmanship.
• Demonstration of competence with materials, tools, and technique.
• Understanding of key concepts from lectures and discussions as demonstrated through your projects.
• Quality of presentation of work during critiques.
• Ability to clearly communicate your ideas through the work and to have a point of view apparent in the work.

Office Hours

Offices hours are at 5:30 PM on the following dates.  Office hours take place in the sculpture studio, room Z -102 unless otherwise specified.  Meetings will be 15-30 minutes.  Please make an appointment with me in class or email me in advance.  Please feel free to take advantage of the designated office hours if you have any questions, concerns, or need technical help with your work.

Days/ Dates                  

Thursday 9/29        

Thursday 10/13

Thursday 11/10

Thursday 12/1

Tuesday 12/13

Thursday 12/15

Important Safety and Conduct Information:

• You must be approved by our tech before using any power tools.
• You may not use power tools unless there is an instructor or a tech in the studio.    
• Open toed shoes are prohibited in the studio.  You will be asked to leave if you are wearing sandals or flip flops to class.  This may result in a tardy or an absence on your record.
• Abide by all safety rules and regulations presented to you by our tech.
• If you are unsure of how to do something or need help, always ask for help. 
• Do not enter the studio if you are intoxicated or impaired by any means. 
• Headphones/ iPods may only be used when specified, never during lectures, demos, or while using studio equipment.  
• Please smoke only in designated areas on campus, not outside the studio door. 
• Cell phone can be used in the class room for obtaining image references and research. Talking and texting are prohibited in the studio during class.

 Important Safety and Conduct Information Continued:

All ringers must be turned off before class.  Restrict phone use to the breaks    when you are outside of the studio. 

• The floors and work surfaces must be clear and free of obstructions; personal items must be stored in lockers or under the tables.
• Professional conduct is required at all times to ensure a safe and productive environment.  This means: no horse play, no disruptive behavior, no harassment, no outside guests in the studio during class without permission, and respect for others in the class is vital.
• Academic dishonesty (i.e., plagiarism of art or writing, cheating, or taking other people's materials) will not be tolerated.  These actions are subject to sanctions by the college.  

Required Materials

$10 green PCC bank issued Material Card

1 9" x 11" sketchbook

Various drawing materials

Scissors

2 1 gallon flexible buckets

2 - 4 1" - 2" chip brushes

1 1/2 " and 2" putty knives

Protective eyewear

Dust masks

Various grits of sandpaper

Digital camera or camera phone

1 set of clay tools

Materials for projects

Extra rubber gloves

Murphy's Oil Soap

Mineral oil

Hand lotion

Lab Fees

What is provided?

The lab fee paid at enrollment covers some things you will use for you projects. These items may include plaster, clay, cement, armature wire, chicken wire, hemp/or burlap. These items are always subject to availability.  Lab fees also go towards the care and maintenance of hand and power tools used in the studio. 

What is not provided?

You must pay for some items with your green PCC bank card.  These items include, but are not limited to mold compounds and rubber, plaster bandages, safety goggles, chip brushes. To purchase any items available in class, see me or the tech.    

You will have to acquire the bulk of your materials outside of class.  Your budget may influence the materials you choose and ultimately the outcome of your projects.  Expect to spend some money, but also think about ways to be innovative with limited resources.  The materials you choose are important to the content and meaning of your work.  Limited resources are never an excuse for poor presentation.  A list of places where you can find tools materials, and inspiration is in the back of this packet.

Local Art Shows to See

Pacific Asia Museum
46 North Los Robles Avenue
Pasadena, CA 91101
(626) 449-2742

www.pacificasiamuseum.org


Wednesday through Sunday 10 a.m. to 6 p.m. Beyond the Page: The Miniature as Attitude in Contemporary Art from Pakistan

February 18, 2010 – June 27, 2010
In the Changing Exhibition Galleries

It Was a Little Demon, I Can tell You
Hamra Abbas, It Was a Little Demon, I Can tell You, 2008 Paper collage,
Perspex box, 26 x 211 x 30 cm; Courtesy of the artist and Green Cardamom

The past two decades have witnessed a vibrant revival of miniature painting, a genre developed at Islamic courts in South, Central and West Asia between the 14th and 19th centuries. In recent years, artists have reinvented the traditional practice, negotiating a fine balance between historical practices and conceptual concerns. Collectively, their innovations have resulted in the "new miniature" movement – the subject of this exhibition.

Beyond the Page exhibits the work of thirteen contemporary artists who engage the miniature as practice and concept. Roughly half of the artists in the exhibition trained in traditional miniature painting at the National College of Arts in Lahore, Pakistan, and assimilate new imagery and materials. The remaining artists, though not trained in miniature painting, explore the concept of the miniature in such diverse forms as photography, textile, sculpture and installation. As these artists emigrate, travel and exhibit internationally, the "new miniature" movement has become a global phenomenon that demonstrates the vitality of contemporary Pakistani art and, more specifically, how aspects of "tradition" are essential parts of contemporary culture.

The exhibition will be on view from February 18 until June 27, 2010, and features fifty works by thirteen artists. The exhibition is guest curated by Hammad Nasar with Anna Sloan and Bridget Bray and organized by Green Cardamom and Pacific Asia Museum.

___________________________________________________
Pasadena Museum of California Art
Pasadena Museum of California Art
490 East Union Street
Pasadena, CA 91101

626-568-3665

LOCATION AND PARKING

The museum is located one block north of Colorado Blvd. between Los Robles Ave. and Oakland Ave.
Free parking is available on the ground level of the museum and additional public parking is available across the street on Union.
---> See Map
MUSEUM HOURS

Wednesday - Sunday
12:00 - 5:00 p.m.
The Museum is closed July 4th, Thanksgiving Day, Christmas and New Year's Day.

ADMISSION

$7 for Adults
$5 for Seniors and Students
Free to Members
Free the first Friday of the month
*Special offer with the Pacific Asia Museum on Colorado and Los Robles: Attend both museums in the same day and receive 50% off admission at the second museum when you present proof of entrance.
www.pacificasiamuseum.org

The Ulysses Guide to the Los Angeles River


Showcasing new “currents” in art inspired by the Los Angeles River’s strange yet invigorating presence in the City of Angels, the exhibition will encourage the public to take a closer look and examine the details of the River, from its zoological offerings to its artistic ones, which make it a living representation of Los Angeles culture. The artists in the exhibition are as diverse as the city itself, ranging from established artists such as Charles “Chaz” Bojórquez to emerging artist Rob Sato. Along with framed works, this exhibition boasts site-specific murals, which the artists will paint and draw directly upon the walls of the PMCA space, and an installation that recreates the setting of the LA River along with a few imaginative embellishments. The exhibition is inspired by the book, The Ulysses Guide to the Los Angeles River, by Christopher D. Brand, Evan D. Skrederstu, Steve Martinez, and Matthew Brand.


_______________________________________________________________

Stitches

Armory Center for the Arts
Caldwell Gallery
145 N. Raymond Ave.
Pasadena, CA | View Map
April 11 – June 6, 2010
Opening: Saturday, April 10th, 7-9pm
Hours: Tuesday-Sunday, Noon-5pm
Curator: Sinead Finnerty-Pyne

The Armory Center for the Arts presents Stitches, a group exhibition exploring contemporary art approaches to the techniques of sewing, knitting and weaving. Participating artists include Jane Brucker, Lauren DiCioccio, Elisabeth Higgins O’Connor, Ruby Osorio, Titus Kaphar, Nuttaphol Ma, Ulrike Palmbach, Maria E. Pineres, Dinh Q. Le, Jim Richards, Elias Sime, and Nicola Vruwink. The exhibition will include two dimensional and freestanding sculptural works as well as large scale site-specific installations.

Previously exploring art deconstructed through cutting in her 2009 exhibition Under the Knife, Finnerty-Pyne now explores construction through various forms of stitching. From sewing to knitting, crocheting and weaving, Stitches highlights the visions and practices of twelve culturally diverse artists working with principles and applications inspired by craft, textile, and fiber art. The exhibiting artists share an unconventional approach to these versatile and often obsessive art forms by creating process and material-based works utilizing substances ranging from yarn and thread, to found objects and recycled clothing.

Stitches aims to illustrate the sophistication and complexity of work that has evolved out of the twenty-first century global curiosity with domestic practice – in some cases, descended from feminist practice in the last part of the twentieth century. The work in the exhibition stands in contrast to concurrent fascinations with slick fabricated and computer generated works. In a world where mass-production seems to have peaked, these artists, both male and female, embrace these once antiquated and homespun techniques and experiment with how far they can push them physically, metaphorically, and conceptually.

Project #4: Collaboration

A popular trend in art since the 1960's is collaboration or artist collectives that deny the a singular artist authorship of a work art. This is an opportunity to play up your strengths and work within an intellectual exchange with your colleagues. Combining talents, abilities, and ideas can be a powerful art process.

Process:

-The class will be divided into two teams. This is a competition!
-Each team can elect a leader to delegate tasks and manage whom will bring which materials. (get each other's contact information)
- Group will meet, brainstorm/sketch and come up with their project.
-Each group with create their sculpture in the studio during the allotted time.
- Your group will present their work. Both pieces must have a title. A guest Judge(s) will evaluate the projects in a brief critique and we will award the winning team with prizes.

Approved materials: Cardboard, packing materials/Styrofoam, newspaper, magazines, plastic bottles, cans, masking tape, glue, paint, recycled wood, chicken wire, papier-mâché, plastic sheeting, etc. If you are not sure if something qualifies ask. This should be low cost or free. If you do spend money on tape of glue- share the cost within the group.
Assignment: Make an animal sculpture out of recycled materials, (not fictional or fantasy, but a representation of a real animal, is not an abstract project). One dimension should be at least 6 feet long. Yeah, that big, no tiny art please! The more refined and the sculpture is, the better. Think about: details, expression, form, texture, accurate anatomy, scale, balance, and structure. EX. Is it a giant fish? Does it have individual scales, gills, fins etc. What is the best way to achieve those details most efficiently and creatively?
*Grades will be based on participation, level of skill and effort involved, and artistic merit. Try to out do each other, the prizes will be good!

Important Dates:

Thursday 5/27/10: Finish Project #3. Show me your sketchbooks. Get into groups and Brainstorm.

Tuesday 6/1/10: Finish Project #3 Critiques. Bring materials to school, meet groups.

Thursday 6/3/10: Papers due. Start working on your group project in class. (Use may use lab time to meet up and work projects. Last chance to show me work you have not turned in or wish to improve.

Tuesday 6/8/10: Work in class on Project #4 Collaboration for the full class.

Thursday 6/10/10: Pot luck. Bring snacks to share. 1 hour of work time to finish things up. Final critiques/ judges panel, and awards!!

Finals Week: Time TBA. Lab clean-up. This is required for all sculpture students to attend. If you do not attend and pitch in, your grade may be withheld.

Hollow Cast Info

Why cast it hollow? your piece will actually be stronger because it will reinforced with burlap. We will use less plaster making the work lighter and easier to move which is a big benefit. Since the work is hollow, you can consider different options for mounting your finished piece.

You will need:

Pliers
1" metal putty knife
3 clean chip brushes
Murphy's oil Soap only!
Mineral Oil USP Lubricant/ Laxative (from the pharmacy)
Burlap cut into 1-1/2" x 1" several squares (Home Depot garden section)
Plaster
Two small buckets- 1 for water, 1 for plaster.

1. Soak your mold until the seem appears, and then opened it up. If it will not come apart after you see the seem clearly, jam a hammer handle down into the wet clay to displace the contents of the mold. This should put pressure on the walls and help the mold to open with out damaging your work.

2. Remove the armature and clay inside. clean the armature. Recycle the clay when possible by picking out plaster and re-hydrating it.

3. Pull out toothpicks with pliers. Clean mold thoroughly. Remove all clay residue by gently scrubbing with a soft toothbrush and mild soap. Pick out any small areas clogged with clay.

Remember: If you see that there were air bubbles in the mold,(or the negative) these will translate as warts or bumps on the cast, (or the positive). These will be easy to sand off, so don't worry.

4.Dress the edges- Meaning gently scrape the mold lines with the edge of your putty knife to create clean corners where the shims were. This will prevent gaps in the seems on the positive. (See demo).

5. If your mold is dry and not cold and clammy to the touch, soak it for 10 to 15 minutes.

6. Use a dry chip brush to coat the inside of both sides of the mold with Murphy's Oil Soap. Cover all areas including the ledge where the shims were. Keep a paper towel on hand to wipe bubbles and debris off your brush. Remember to avoid making foam on the surface. Do not let the soap pool up. If you get pools in the low points, pick up extra soap and distribute it elsewhere. The result should be a waxy, shiny surface.

7. Brush on a layer of mineral oil over the soap. If an emulsion starts to form dab it out with a brush. Wait a minute to see if the oil absorbs or pools. If it absorbs, ad a little more. If it pools, dab with brush to remove excess. You should start to see a high shine in the mold. For very detailed or tight areas, you may want to put in a thin layer of Vaseline for extra release power.

Remember: Make sure you put soap and oil on the shim wall. This will make it easy to remove any plaster that gets on there accidentally.

8. Make a small batch of plaster. When it is about the consistency of pancake batter, dab it on the prepared surface with a new chip brush. Come right up to the edges of the mold but not over onto the shim wall. Let plaster settle in low points, like the nose, but do not fill these areas all the way with plaster. (Why? Because we want these sensitive areas to be reinforced with burlap). The result should be a consistent layer of plaster that is 1/8" - 1/4" thick.

9. make a very thin batch of plaster, it should be about as thick as heavy cream. Take your burlap squares and dip them into water, then into plaster. Starting in the middle and working you way out, press burlap patches into the mold, Over lap them so that each point is two layers thick. Avoid bunching and air bubbles by smoothing each patch with your fingers. For small tight areas, do not blanket with one big patch, used smaller pieces that overlap. (See demo).

10. when both sides of the mold are covered with the burlap patches, trim any fibers that may extend over the top of the mold. clean the shim wall so there are no plaster drips on either side of the mold.

11. Put the mold back together with the most stable side down. This usually means the back. It should fit perfectly. If it does not, check for obstructions on the shim walls.

12. Make a small batch of plaster. Make just 2 or 3 burlap plaster patches and place them on the seem of the mold to hold it together. When plaster starts to thicken, trowel 1/4" over the entire seem with your putty knife to completely seal your mold.

13. Make another small batch of plaster. Take additional burlap squares, dip in water, then thin plaster. Stick your arm in the mold and place patches as best you can along the interior seem of the mold. If your can not get all the way to the top of the head, that is okay.

14. Make a final batch of plaster it should be about 1/4- 1/2 the volume of your sculpture. This can range from 1 quart to 1/2 gallon. The plaster should be the consistency of pancake batter. Pour the plaster into the mold and roll it around so that the seems and the interior walls are coated. Roll it around until it stops sloshing inside. If you seem to have too much, just pour extra plaster out into the trash.

15. Leave to dry for several days. Do not store in a plastic bag. Do not attempt to remove sculpture without instructions.

Assignment #3 Construction and Transformation with Found Objects

Assignment #3 Construction and Transformation with Found Objects

"Found objects" are any everyday object what is typically recognized for its utilitarian function, not it's possibilities as an art object. These object's meanings come from the context in which we use them. By altering and juxtaposing these objects, we re-contextualize them and create new meaning. In "found object" art, the sum total is greater than the parts. Our decisions about how to connect objects, and the relationships they form, and the formal and emotional content we create is what make these everyday objects into art. Essentially, you are to connect two or more objects to create one object. This new object will have its own logic with layers of meaning that will transcend the meaning of the individual materials.

Assignment:
Use two or more found objects to create a sculpture in the round. Employ appropriate construction techniques that suit the materials. This can include Sewing, gluing, nailing, weaving, soldering, bracing, etc. You may use materials other than the 'found objects' such as hardware for function, but the found objects should be the main focus. You piece can be kinetic (having moving parts) if you choose. The scale is open but you must have on dimension that is no smaller that 24". Come up with at least 3 concepts/sketches in your sketchbook to discuss with me by Thurs. April 29. We will discuss out ideas in class.

Go to: The PCC Flea Market is 8:00 a.m. - 3:00 p.m. This Sunday May 2nd for insipiration!

Artists and Movements:
Dadaism, Surrealism, Conceptualism,
and Postmodernism.
Pablo Picasso
Marcel Duchamp
Robert Rauschenberg
Man Ray
Joseph Cornell
Bruce Conner
Edward Kienholz
John Chamberlain
Contemporary artists:
Tracy Emins
Haim Steinback
Sarah Lucas
Tim Hawkinson
Thomas Grunfeld
Bill Woodrow
Damian Otrega
Choi Jeong -Hwa