PORTRAIT HEAD IN TERRACOTTA - DRAWING IN CLAY
(3 day)The human figure has been at the forefront of visual art for millennia; it transcends all boundaries and language and is a common universal link for us all. Portrait sculpture gives the opportunity to consider mass, form and attitude, the feelings conveyed by both artist/sitter and the asymmetry of the head, all which contribute to the character of our being. The course will provide key figurative training that is now overlooked in most fine arts education - and will suit those who wish to ‘try their hand’ through to more experienced sculptors who want challenging objective feedback and some valuable time with experienced portrait models in excellent working conditions.
To introduce a process for life-size terracotta portrait work, working directly
from the model
To improve awareness of sculptural form through overcoming preconception in
working from the figure; contrasting anatomical ‘knowledge’ with what we see
To improve awareness of sculptural qualities through
sensitive working with clay in the round, and an understanding of the
underlying rhythms between the linking forms of the head
Introduce practical discussion around the processes and/or aesthetics involved
with drying, firing, mounting, sealing and patinating terracotta or other clay
works
WHAT STUDENTS SHOULD ACHIEVE
Improved
observation skills and a recognition of the factors which affect how we use our
eyes effectively
Completion
of at least three portrait ‘starts’ from two different models
A
portrait ‘mask’ (model 1) and
lifesize portrait head sketch (model 2) ready for kiln firing if so required
Experience
of working in the round, directly from the seated model
Better
understanding of the practical requirements necessary for observing and
modelling a portrait
A
basic awareness of kiln procedures, tools, clay and recycling of clay for
sculpture
A
greater awareness of sculpture and the factors which improve sculptural form
Practical
advice on photographing work prior to drying and firing
Practical
advice for mounting, sealing and patinating works
Support
for those wishing to work further in this area
MATERIALS
Basic
use and care of clay for portrait work
Use
of ‘head peg’ armature and modelling stands for portrait work in clay
Ways
of looking at the model and the work
Modelling
techniques to retain life in the surface of the work
Practical
techniques for hollowing the work ready for firing
Practical
techniques for preparation of works for the kiln and subsequent kiln firing
Demonstration,
using students’ works for reference, will intersperse these periods of quiet
concentration
Individuals
will be encouraged to refer to others’ work as a technique for greater
personal objectivity (‘observing the observed’)
Group
review at end of each day
Discussion
group informality, with participants being able to take notes for future
reference throughout
First
evening session: attendance is an essential part of the course:
A
slideshow-led review of some of the recent history as a basis for informal
discussion.
Preparing
the ground/materials for the following day, so participants can make a prompt
start on day 1.
Other
optional evening activities:
Participants
will be discouraged from working when the model is not present. The evening of
day one will be vital relaxation time so you can be fresh on the second day. The
evening of day two will be crucial for works drying a little before hollowing.
Informal
discussion group will ideally develop for those that wish to make the most
creative use of their time and the tutor will be happy to co-ordinate bespoke
discussion/slide shows in response to immediate needs.
GENERAL TIMETABLE
Day
1 - work from model 1 (male). Several ‘starts’ as the best way to train eye
and hand. Relaxation breaks throughout day considering various sculpture topics.
Retaining a ‘mask’ for firing if desired.
Day
2 - work from model 2 (female), slower working through the day with review
breaks to challenge our work at every stage and keep a fresh eye.
Day
3 - Heads will be removed from pegs and hollowed for firing after a short
discussion around photographing jobs whilst still on the armature. Discussion
(with examples) will centre around the basics of kiln firing, their subsequent
mounting, patination and display to set off works to their best.
Any
tutor will have a subjective outlook based on his or her own experience. If you
have access to the web, have a look at www.jonedgar.co.uk
so that you can see the tutor’s own work and background.
If
you have prior experience of the course subject area, come with an open mind.
Your views will also be very relevant in course discussion. Do not bring
measuring calipers, please!
If
you have a spare minute every day, practice looking at objects for longer than
you would normally do, and trying to search for simple shapes or groups of
shapes in what you see.
For details of West Dean dates and prices - or to book
online - please click on the logo.
