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3302 Fine Art-Sculpture

Studio Practical in Year 3

Beginning on my year 3 project continue to draw new ideas which involves in large scale measurements, I think of building my models much bigger not just with previous resources from last year but rather a skeletal method used in wood. This leads to finding woodwork into the design-wing when I entered meeting with the workroom’s technician – Robin to show my diagrams to extend my prototype work of a lion replica sharing the characteristics of mythical animals in Japanese culture like experimenting on Pokemon’s evolution judging on how they grew by scale to use this as my primary technique due to booking in AV Loans first.

Next is entering the plaster room to met technician – Nick, from there is to transport my model there after covering it in chicken wire using my handmade skills, to give my lion’s appearance only to make an mythical animal as it’s mane-male version were alive as fiery sun and handle a new form of Modroc called Plaster.

Methods in wooden, metal wiring and plaster craftmanship:

  • Using wooden shaver to trim long wood plank’s surface
  • Add stronger wood to one another
  • Marked areas to wood glue and drill together
  • Helps to stable the body of work without breaking apart
  • Cover my prototype in chicken wire and shape it’s appearance
  • Hessian-fabric to wrap around my model dipped in plaster can be messy even to do tight corners
  • Doodle paint in black lines around the body and use colour scheme to paint on empty gaps making sure not to overdo the patterns

Once trimmed I must steady my skeleton Lion fused in Netsuke influence, because it’s gives it better stability without having a thinner condition. To keep my Lion from breaking is about drilling in marked holes for nails, when attaching these jointed part for my prototype is almost like I’m building a familiar model of a Trojan Horse.

Manufacturing my next material using metal wiring to manipulate the outer atmosphere around my lion-prototype, which acquires my protective clothing of reinforced gloves to avoid cuts/scratches just to carefully metal-bend wires several after another. Shaping my structure’s inner details of an actual creature only to reflect on my inspiration of Japanese hybrids, gathering up Chicken wire from B&Q warehouse store were to cover my model.

Taking my lion prototype to the plaster-room is a real challenge to keep its metal wiring appearance in good condition. Requires my strength to hold my model while carrying to its destination, when arriving I’d gather up plaster resources of hessian cloth dipped in ceramics-powder for much stronger results when wrapping my lion and it took at least a month in October.

Sightseeing around the plaster room I’ve been manufacturing with dipping effects of the combinations of both hessian and powder materials, my progress is made in excellent development when filling in last gaps underneath the flame-mane and it leads to my model weighing a ton.

Can be difficult to move my prototype due to its heavy weight, this time I’ve burrowed a large trolley to carefully pull it avoiding the surrounding areas in the arts building. Also I needed help to lift my model up to four people’s combined strengths, minding tight gaps along the way from the reception to floor 8 corridors into my studio-space to begin trim-smooth my lion’s surface instead of rough appearance.

Methods in plaster trimming in floor 8 studio and Netsuke Doodle-art:

  • Building my lion replica from wooden skeletal appearance
  • Wrap around with hessian dipped in ceramics-powder
  • Tighten any empty gaps in plaster’s strong texture
  • Moving my figure to studio to trim off rough surfaces for smooth effectiveness
  • Measuring the lengths of each area of my replica to calculate it’s scale based on the lion’s fiery evolution

Followed by a mixture of bright colours to brush onto separate slots in doodle patterning, almost like my prototype is having a completely new evolution referred to be a replica of Solgaleo as legendary. Giving it a identical connection to my lion with infused fiery rage both beautiful and frightening results, a second doing a second model of gorilla decorated in jungle texture as it had been through tough battles with various monsters like a gurgle-match.

After completing Blazing Solgaleo, I move to my next model of shaping a primate state. Shows an appearance of a gorilla naïve from the western region of African forests, using my doodle painting again only to make it look like a reflection from Peter Jackson’s King Kong who roams his home-turf of the ancient jungle like skull island. Attached with marble eyes to make them look like actual eyes in glass effect and added scar details as if Jungle-Kong fought against predators or rival alphas like two alphas of different oppositions come face to face.

With my week 9 Crit fast approaching, I’ve positioned my two alphas like they are staring face-to-face as ancient rivalry with each of their open spaces been exhibited in the upper corner of the floor 9 room. My audience has given me most effective feedback, like they were in our presence even if in real life these wonderful animals have been hunted by poachers. Then manufacture the supplies of animal skins, hides and patterning, only to craft/stuff up these replicas as living-trophies though it meant on the brink of animal extinction is sad and also this gave me to focus on developing my two models home-turf when staging prop arts by Petrit-Halilaj.

Looking at my studio space of two figures facing each other, I did notice of how empty they are with no habitats or nature around them. I read on Petrit Halilaj’s role of visual storytelling of manufacturing on scene-props used to create an jungle-arts background, which allowed me to absorb his texture to produce my own scenes in a home-turf of two habitats one fiery dessert for my lion and one blossoming rainforest for gorilla as the two elemental beast would cross paths as fire and nature would collided against one another and to add my efforts of turning my space as dueling environments of both jungle and desert habitats.

For my final preparation of Element-beasts to take full perfection at end of term show I entered woodwork once again, gathering up MDF hardwood to acquire a handle buzz-saw tool to floor-cut my marked lines of two environmental area of rough terrain of desert ignited by fire and blooming effects of everlasting jungle and to add on triangular stands on each prop giving them steady stability.

Then coated each one in white paint waited for them to dry before painting in doodle, making it easy is taking half/another half home to my room studio to finish the remaining props in bright and dull-shaded colours and bring them back to put all in place for the studio-exhibition.

After sorting out my visual props once placed near my two beasts, I need to adjust studio lights to give them an inner dimensional state of their shadows shown by light neither in bright or darkness. This gave me a opportunity to put on a theater stage but at a slight twist, I’d absorb it’s influence for my own method in sculpture and turn my finalize project into reality at term 1’s aftermath forwarding to my next phase of doodle development within nighttime beasts that focused on either worship or bump into night added my stage light effect.

Code-name for Term 1 project: Elemental Beasts

By p2534372

I have always been interested in various forms of art, even from a young age. I developed my interest early on through sculpting with Blu Tack when I was eleven years old and would model figurines from films and TV programs. I had a specific interest in modelling the army of soldiers from the Lord of the Rings using Blu Tack and toothpicks for the armory and weapons. And from the film Avatar, creating Na'vi people using toothpick to create the texture and ripple effect bodies and tones.

It was in my second year at college when I decided to switch from IT & Media to Art & Design, leaving South Leicestershire College to start the B-Tech Enhanced Diploma at North Warwickshire and Hinckley College. I was granted to enter at Level 2 and worked hard to achieve two distinctions in my first year. The switch was the best decision I had made that year and it set my focus to select Fine Art at university. The only university I selected and wanted to study at was DMU, a dream come true!

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