Heartland Community College
Humanities & Fine Arts
Course Syllabus for Students
Course Prefix and Number: ART 103 - 01
Course Title: Three-Dimensional Design (3-D Design)
Term: Fall 2011
CREDIT HOURS: 3
LECTURE HOURS: 0
LABORATORY HOURS: 6
Days and times the course meets: MW 1:00-3:50 ICN 1305
From this...
To this?
Introduction: We are about to embark on a journey that started at least 50,000 years
ago. We will be investigating language…but not the language of words. Rather, the
visual language of art. This may have been the first language known to Homosapiens.
By making works of art, you are taking part in a tradition almost as old as thought itself.
Like verbal language, visual language includes rules and principals. We can’t speak a
language without first learning the words and the words of 3D Design include: line,
value, color, texture, plane, volume, mass, space, time, and motion. Other principals we
will consider are: unity and variety, rhythm, balance, focal point, and scale.
We will also be investigating materials and tools used in the making of sculpture. The
variety of materials is limited only by our imaginations: if it exists, we can use it to make
sculpture. If it doesn’t exist…invent it!
CATALOG DESCRIPTION:
Prerequisite: None. An exploration of design principals as applied to sculptural forms.
This course serves as an introduction to sculpture, its processes, safety considerations,
and historical background. The fundamental elements of sculptural design are explored
through hands-on sculpture projects.
Instructor Information:
Instructor name: Michael “Mac” McAvoy
Phone number to contact instructor: 268-8631
Email:michael.mcavoy@heartland.edu
Instructor Website: www.studio407.net
Location of instructor’s office: ICN 1305
Instructor’s office hours: MW 4-5, T 12:30-2:30, R 12:30-1:30
TEXTBOOKS: (optional)
Stewart, Mary. Launching the Imagination, Volume 2: Three-Dimensional Design.
McGraw-Hill Higher Education. New York, N.Y. 2002
RELATIONSHIP TO ACADEMIC DEVELOPMENT PROGRAMS AND
TRANSFERABILITY:
ART 103 fulfills 3 semester hours of elective credit for the A.A., A.S. or A.A.S. degrees.
It Should transfer to most colleges and universities as an elective course. However, since
it is not part of the General Education Core Curriculum described in the Illinois
Articulation Initiative, students should check with an academic advisor for information
about its transferability to other institutions. ART 103 should articulate as the equivalent
of the IAI baccalaureate major course ART 908. Refer to the IAI Web page for
information as well at www.itransfer.org

Beliefs:
Academic Discipline: This course introduces students to the materials and
techniques of introductory sculpture and three-dimensional design with an
emphasis on safety and proper studio procedures.
Student Learning: Consistent participation in the course is essential to your
success. I plan on creating a classroom environment where we can all learn from
each other. Exposure to your classmates’ views and perceptions can serve to
enhance your own perceptions. You may very well find that a fellow student is
using a technique that would work well for solving a particular problem you are
having.
Instructor’s Role: I will attempt to guide you through the learning process by
initiating dialogues, promoting a non-judgmental atmosphere in which to work,
and encouraging creative thought. I will challenge your perceptions of the world
and help you to see alternative routs to expression.
COURSE OBJECTIVES (Learning Outcomes)
Students who successfully complete ART 103 should be able to:
1. Understand the formal and aesthetic issues in three-dimensional design and be
able to speak intelligently about design principals.
2. Demonstrate the proper use of tools and materials including safety equipment.
3. Understand the physical requirements of material manipulation.
4. Enhance a visual idea through proper craftsmanship and finishing techniques.
5. Research and collate information to assist in inspiration and problem solving.
COURSE/LAB OUTLINE: may include the following:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Drawing with line in space
Creating cast shadow
Image-making that pulls the viewer around
The limited cut-and-fold
Cartesian Cubes
Research project and presentation
Discovering mass
Assemblage
Others to be announced (if time)
METHOD OF EVALUATION (Tests/Exams, Grading System):
Student work will be evaluated by the review of 3D design projects. Project points will
be based on effort, creativity, and craftsmanship. In general, creativity refers to how
visually engaging something is, including scope and depth of concepts, and use of visual
elements and principles of design, while craftsmanship refers to how well something is
made, including construction methods, structural integrity, and quality of finish.
Presentation is very important in any finished artwork.
Class participation will count for 1/3 of the final grade and will be based on: proper
interaction with instructor and fellow classmates, attention to speaker (instructor or
student), open-mindedness, willingness to share, and attendance (you can’t participate if
you are not present). Other considerations will also apply.
Grading Policy:
Final grades will be determined using the following scale:
A: 90 – 100%
B: 89 – 80%
C: 79 – 70%
D: 69 – 60%
F: Below 59%
Participation (or Attendance): Students are expected to attend all classes and
participate in the activities each class day. As a general rule, I allow two absences. Each
absence thereafter will result in a “class participation” point reduction. Excessive
absences will hurt your final grade. Assuming quality work is being done, a fourth
absence will result in a grade of “C”, a fifth absence in a grade of “D”, and the sixth
absence will result in a failing grade. Absences due to injury or hospitalization will be
handled on a case-by-case basis and may result in an incomplete. Excessive tardiness
will also result in a “class participation” point reduction. Three tardies will count as one
absence. There is no “communal” experience without you, so please attend!
Class Participation: Participation in the form of class critiques, in class projects and
exercises, discussions, and interaction with the instructor and fellow students will be
encouraged. Be prepared for class each day. It is impossible to participate without the
required materials. Further, if a homework assignment is given, have it ready at the start
of the next class period. An absence will be counted for the student who is not prepared
for that day’s work. The class participation grade will be based on: student conduct
(see below), open-mindedness, attendance, motivation, effective use of class-time,
preparedness, clean up, etc.
Incompletes: Negotiated on a case-by-case basis.
Extra Credit: In general, I do not allow for extra credit projects. If a student finishes a
project early and has sufficient time to complete a second, the effort will be figured into
that portfolio’s final grade. It’s not the number of projects executed in an art class, but
the amount of time spent practicing and experimenting that will further a student’s
capabilities.
Make-up of tests and assignments: In general, assignments are due on their due date
and at no other time. Allowances may be negotiated for deadlines not met due to illness,
etc. Late work will be marked down 10% for each class period it is late. It is the
responsibility of the student to make-up missed class work. Incomplete assignments
will not be accepted. Make-up assignments tend to be more time intensive than in-class
work and may include extra research projects. It is advantageous to attend class if
possible.
Required Writing and Reading: Reading of appropriate texts will be assigned as
needed by the instructor.
Student Conduct: Maintaining an atmosphere conducive to learning is paramount.
“Constructive” criticism is a must. Kindness and good manners never go unnoticed.
Attention to the speaker is not only a form of participation but is simply good etiquette.
In a nutshell, treat others as you would have them treat you.
Cell-phones must be turned off before entering the classroom. Incoming calls will only
be allowed in emergency situations and should be cleared with the instructor prior to
class. Non-compliance will result in the reduction of the class participation grade.
Please, do not wear headphones in the classroom, it separates you from the classroom
environment.
Academic Support Center Services:
Library
The Library, located in the Student Commons Buildings at the Raab Road
campus, provides Heartland students with a full range of resources including
books, online journal databases, videos, newspapers, periodicals, reserves, and
interlibrary loan. Librarians are available to assist in locating information. For
more information, please call the Library (309) 268-8200 or (309) 268-8292
Tutoring Services
Heartland Community College offers tutoring in various forms at no cost to
Heartland students at the Tutoring and Testing Center in Normal and at the
Pontiac and Lincoln Centers. Tutors are available at convenient times throughout
the week. Study groups are also available by request. For more information about
services available at each location, please call the Tutoring and Testing Center in
Normal (309) at 268-8231, the Pontiac Center at (815) 842-6777, or the Lincoln
Center at (217) 735-1731.
Testing Services
The Tutoring and Testing Center provides a secure testing environment for
students who are enrolled in online, hybrid, and other distance learning courses;
have a documented disability; or need to take a make-up exam. Testing
accommodations for students having documented disabilities must be arranged by
the student through the Office of Disability Services, and Testing Services will
only administer make-up exams at the request of the instructor. Contact Testing
Services at (309) 268-8231 for more information.
Open Computing Lab
The Open Computing Lab provides free computing for HCC students at
convenient times throughout the week. The computer lab is staffed by trained
Lab Assistants and offers the use of approximately 70 computers, a scanner, a
laser printer, and an electric typewriter.
Syllabi disclaimer: This syllabus is subject to change at any time at the discretion
of the instructor. All typos were intentional (unless they weren’t). Any bad
grammar contained herein is the result of years of studying Art, not English.
Information regarding plagiarism, academic integrity, and support services may
be found at the Heartland Community College website: www.hcc.cc.il.us/
Just a reminder that to access WebCT, IRIS, and your Heartland Student
Email, you will need to log into myHeartland, at
https://my.heartland.edu.
Group Research Project and Presentation
Each group will give a short presentation on a sculptural movement or era chosen from
the list below, only one group per subject please. The presentation should last no less
than 20 minutes and no more than 45. Visual aids in the form of slides or projected
textbooks (preferred) will be used. A minimum of three sources must be used, including
a maximum of one internet site. There is no written paper component for this
assignment. You will turn in a detailed outline, complete with a bibliography and list of
images before the presentation begins. Use a copy of your outline or note cards for the
presentation in front of the class. Do not, I repeat, do not simply read a paper. That is
sooo boring for your audience and will result in a very low grade. Show lots of images!
This is a visually oriented class and simply “explaining” and artwork with no image just
doesn’t do-it. Be prepared to answer questions about your movement / era, by other
students as well as myself.
The grade for the presentation will be given to the group, no individual grades will be
assigned.
The presentation should include:
I.
Historical context and geographic information (born in…, died in…,studied
at…,etc.)
II.
A detailed discussion of the work produced by this artists (with visual aids)
and any historical significance. Did the artists belong to more than one
movement?
III.
Conclusion
A sign-up sheet will be posted on the board when appropriate. It will contain the
movement / era along with the presentation date. Don’t sign up for the last spot thinking
it will give you more time, if you’re like me you’ll just procrastinate and you may have
finals in other classes you need to study for. Don’t wait until the last minute to start your
research, there’s no worse feeling than standing in front of a group of people twiddling
your thumbs and saying “ummmmmm”.
No class time will be given for this presentation other than the presentation itself.
If you or your partner are absent the day of your presentation, you will not be allowed to
make it up without a doctors note or obituary, so choose your partner well.
3D Design Project 1 – Lines in Space
Objectives:
1. To move from two dimensions into the third dimension.
2. To increase spatial awareness.
3. To explore the transformation of an everyday object into a piece of art
4. To learn basic construction skills
Materials: Sketchbook and drawing instrument, “rebar” wire and “dark annealed”
(binding) wire (actually any wire that bends easily and holds its shape will do). NO
ALUMINIM WIRE PLEASE, it breaks too easily, wire cutters, needle-nose pliers,
masking tape (for taping the sharp ends of wire), tennis shoe. Pay close attention the
“gauge” of the wire you purchase. The higher the number, the smaller the diameter.
Make sure your rebar wire is thick enough to hold a shape and the dark annealed wire is
thin enough to wrap in tight quarters. Also, but not required, needle-nose locking pliers
or some other clamping device may be helpful during assembly.
Strategy: This exercise requires careful observation. Bring a shoe to class; a tennis shoe
works well (if you plan to remove a shoe from your foot, please make sure it won’t make
our eyes water!). This project employs two types of drawing.
The first type will be a contour drawing. Follow the contour of the object in a single,
continuous line. Do not shade these drawings nor should you use crosshatch or stipple
(dot patterns), only line. Draw the object from every angle; sides, top, and bottom.
Finally, draw the object a last time, drawing all sides in a single drawing as if the object
were transparent. You will need to refer to the other drawings to extrapolate this final
drawing. Make two of these final drawings, one for display, the other for note-making.
Look for obvious (or not so obvious) “joints” or places in the line where the wire (see the
second step) will need to be cut and joined. Also, look for overlaps and intersections
where the wire sculpture can be strengthened with the addition of the binding wire.
Circle these areas on one of the drawings.
The second type of drawing will be done in 3-dimensional space using the two types of
wire. Pay careful attention to your sketchbook drawings. Don’t attempt to “fill in”
planes or make solid “slabs” of area. In other words, don’t try to “weave” a metallic
fabric. Simply draw with the wire as you did using your pencil. Use the thicker wire for
the main image and the thinner wire for binding and making strong joints. The pliers are
used to make sharp bends and the cutters to cut the wire where a joint is to be made. For
safety reasons, cover (with masking tape) the tips of the wire you are currently working
with. It may also be helpful to tape the tips of your fingers.
You will make two of these drawings-in-space, three if time allows. The first will be
considered the learning experience and the second the polished work. You may use the
same shoe for both or a different shoe each time. Turn in all attempts, each will
represent effort and time spent.
This project is worth _15_ points and will be due ______.
Vocabulary: Extrapolate – To make an estimate of something unknown on the basis of
available data.
3D Design – project 3
– Sculpting in Shadows
Objectives:
1. To enhance your understanding of the physical qualities of 3-D art forms.
2. To consider natural and unnatural lighting and the effects of each.
3. To understand how the cast shadow affects the actual piece.
Materials: White poster-board, sketchbook, lamps for lighting, cutting utensils
Strategy: The shadow cast by a piece of sculpture can, at times, play a significant role in
the presentation of the piece. It is also possible that the cast shadow becomes more
visually interesting than the sculpture casting it (although this is not required for this
project).
Using simple, inexpensive poster board, create a freestanding nonobjective or abstracted
form. The finished dimensions should not exceed 12 inches in any direction (not
including the cast shadow). Using a single light source (provided), create an interesting
cast shadow.
Consider the light source placement while working. The closer the light source to the
ground plane of the sculpture, the longer and lighter the cast shadow will appear (think
about sunrise and sunset). Conversely; the higher the light source, the shorter (or
smaller) and darker the shadow will appear. Also, will the sculpture cast shadows onto
itself or just the ground plane? How do overlapping planes affect the cast shadow? In
other words, does one cast shadow block another?
Something else to think about: Could this be a model for a larger outdoor sculpture? If
so, how would the rotation of the Earth affect the cast shadow?
This project is worth _20_ points and will be due __.
Vocabulary:
Abstract- Forms derived from objects actually observed or experienced and usually
involves a simplification and/or rearrangement of the elements to meet the needs of the
artist’s expression.
Nonobjective – An approach to art in which the visual elements are entirely
imaginative and not derived from any existing object.
3D Design Project 2 – The Grandiose Mundane in 3-D (additive sculpture)
Objectives:
1. To experience additive sculpture, or the building of an object from scratch
2. To find the inherent beauty in a mass produces object
3. To have the experience of abstracting an existing object
4. To use design skills and practice good craftsmanship
Materials: Thin foam core (1/8”) or Bristol Board, hot glue gun and glue, x-acto knife,
measuring utensils, sandpaper, sketchbook and pencil.
Strategy: In this project we will be using a mass-produced object as our starting point.
By dissecting, abstracting, and changing the scale of the form, we will redirect our
viewers. For example, if I were to disassemble an old VCR, find a visually interesting
mechanical component, rearrange its parts, increase its size by ten-fold, and place it on a
pedestal in an art gallery, is it not art? The challenge here is to find an object interesting
enough to hold a viewer’s attention while misleading the viewer as to the object’s
function. I, myself, find the most interesting part of a long drive is watching the flatbed
trucks roll by hauling some enormous gadget. It may be as big as a Buick but still a small
component of a really immense contraption; a wind generator or an earthmover. There is
an inherent beauty in the things we, as a society, design and build.
Begin by collecting several objects of interest. They may be static or they may have
moving parts. The object should be small enough to hold in the palm of your hand.
Make drawings of the object(s), simplifying and/or rearranging its form. Once a design is
chosen, recreate the design by cutting and pasting pieces of Bristol Board or heavy
cardboard like the backing of an old drawing pad (please, no corrugated cardboard). Use
only one raw material for building, don’t mix and match different kinds or colors of
cardboard. I would prefer these sculptures remain white. We will discuss color and
finish in the next project.
This project is worth _30_ points and will be due _______.
3D Design Project 3 – Cartesian Cube
Objectives: Cartesian Cube
1. To practice accurate measuring, cutting, and assembly.
2. To practice making a well-crafted 3-D form.
3. To practice organizing a task.
4. Problem solving
Materials: Foam core, hot glue gun and glue, x-acto knife, measuring utensils,
sandpaper, sketchbook and pencil.
Strategy: Rene Descartes (pronounced day-cart) (1596-1650) is credited with the
convention by which space is described using three mutually perpendicular axes. This
convention, referred to as Cartesian space, is the most widely accepted space model used
today. The cube, with its six congruent sides and all right angles, is one of the most
elegant and enigmatic three-dimensional forms.
This project is deceptively simple. You are to build a 6” cube out of foam core with a
tolerance of 1/16”. This means all sides of your cube must measure within 1/16” of 6
inches. Craftsmanship is key in this exercise, ragged edges, large gaps at seams, and
large globs of glue will be visually distracting and make for a weaker form. Use
sandpaper to clean up edges before gluing. Make your foam core cuts with a very sharp
blade, making several shallow cuts. It’s also possible to score one side, fold it over the
edge of the table, finishing by cutting through the underside.
Be very careful when gluing. Hot-glue is very hot and sticks to the skin, allowing it to
cause a severe burn. Use caution.
Think this is a silly project? That’s cool but check out the artist Tony Smith ;-)
Vocabulary: Cartesian space – three-dimensional space: height, width, and depth
Enigmatic - mysterious, unknowable
This project is worth _20_ points and will be due ______
Open Projects
Choose one of the following
3D Design Project 4 – Found Object Sculpture
Objectives:
4. To create a previously nonexistent object using found materials
5. To organize design elements into a visually pleasing (or disturbing) composition.
6. To explore the potential of “ready made” or mass produced materials
7. To create an artwork from objects which were originally created for a purpose
other than art
8. To solve problems of mechanical joining
Materials: Sketchbook and drawing instrument, at least twenty found objects (anything
goes). The more objects you collect, the better chance of finding that magic relationship.
Have these ready, no class time will be allowed for collection of materials.
Strategy: This exercise will require much experimentation. Spend the necessary amount
of time outside of class collecting found objects. Organize your objects into a meaningful
composition using the principals of balance, rhythm, repetition, emphasis, and negative
or positive space. Give much thought to the type of joining that will be required. We
will work out these problems in class also.
Objects may be manipulated by any means necessary but try to preserve enough of the
object(s) to give the work meaning.. Think about joining objects with epoxy, rivets,
sewing, soldering, nuts and bolts, screws, etc.
We are going to explore the “psychological realm of the human perception of the exterior
world”. Using chance and “the dislocation of ordinary things”, create an object that
changes or distorts the meaning of the original objects. Here we have a unique
opportunity to communicate, through art, highly personal or more global feelings about
the world in which we live. An example might be a mantle clock with a sink trap for the
pendulum (time down the drain) and switching the minute hand for the second hand
(time’s running out or time flies).
You will make three separate sculptures, choosing the best one for the critique (but have
the others handy.
The challenging part of this exercise, believe it or not, will be the acquisition of materials.
You are not allowed to do anything illegal or improper, nor are you to kill any living
thing. Get to know your garbage day! “Dumpster diving” can be very useful. Look
through junk drawers, attics, in the garage, etc. Don’t purchase anything other than
joining materials.
This project is worth _50_ points and will be due ______.
3D Design Project 8 – Form vs. Function
Objectives:
9. To discover, explore, and experiment with elements of design related to the
physics of a particular function; the building and flying of a kite.
10. To design and build a working kite that is unique and creative.
11. To research and implement the use of materials appropriate for the form as well as
the function.
12. To learn that art is not created in an intellectual vacuum. Immersing yourself in a
wide variety of interests and activities can often inspire artistic ideas.
13. To discover that “trial and error” can be very useful, complete success is rarely
achieved the first time around.
Materials: as always, your sketchbook and drawing instrument.
The Sail – Tyvex (by DuPont): extremely strong and light, resistant to tearing and
stretching. Available from building centers (?) Other possibilities: sheet plastic,
paper, Rip/Stop sail material (if you find this, let me know where), flag material.
The Frame – Hardwood dowels, 1/8” – ¼” (spars), Flexible Polyethylene Tubing
(for joints) I.D. should equal O.D. of dowel. PVC pipe and fittings may be
another possibility for the frame. Anything strong and light.
Flying Line and Bridle – Light cotton string, monofilament (fishing line), other(?)
Don’t forget some kind of reeling mechanism (even a thick branch would do in a
pinch).
Towing Rings – Soda-pop pull tabs, key rings (otherwise known as split rings),
fishing line swivels (allows kite to rotate without twisting the line).
Tools: Ruler, pencil, x-acto, hot glue, white glue (I have), masking tape (please not in
final assembly), acrylic paint and brushes, giant felt markers, wire, Crepe paper, sewing
kit. AND anything else you think you might need or your particular kite dictates.
Strategy: Objects that successfully marry form and function are all around us. Cars,
books, desks, bicycles, and even toilets have both a specific function and form. The
function dictates the limitations of the form but also leaves room for creativity. A car is a
car is a car, but there are literally hundreds of different designs from which to choose.
Flat kites, such as the Delta kite or the Diamond kite, are the most common but 3-D kites
are more challenging and make more of a spectacle. Think along the lines of the
Hargrave Box Kite (15+ MPH winds), The Bell (Alexander Graham) Tetrahedral Kite, a
“frameless” kite such as the Parafoil, or a compound kite. Or better yet, think up a
completely original design. BUT, keep in mind the function of the kite, which is to fly!
Yes, you are going to reinvent the wheel.
Assessment: Based on uniqueness and difficulty of design, craftsmanship, appropriate
materials (welded steel…not a good idea), use of color (not required but if used should
enhance the “form”), and finally…will it fly? The grade of “A” will be given only to
those kites that prove air-worthy; the form must function.
This project is worth _50_ points and will be due _______.
Materials you should gather:
1.
2.
3.
4.
5.
6.
7.
8.
Hot glue gun and glue
Masking tape
X-acto knife and extra #11 blades
Cardboard box for holding your items
Spiral-bound sketchbook, no lines
Drawing materials
Needle-nose pliers – if handy
Folder for storing handouts and syllabus, etc.
3D Design Project – Natural Found Object Sculpture
Objectives:
14. To create an ephemeral artwork using natural, found materials
15. To organize design elements onto a visually pleasing (or disturbing) composition.
16. To explore the potential of natural materials
17. To understand the ins and outs of installation type artwork
Materials: Sketchbook and drawing instrument, natural found objects (stones, twigs,
leaves, cicada shells, etc.). Have these ready, no class time will be allowed for collection
of materials.
Strategy: This exercise will require much experimentation. Spend the necessary amount
of time outside of class collecting found objects. Organize your objects into a
meaningful composition using the principals of balance, rhythm, repetition, emphasis,
and negative or positive space.
Objects may be manipulated by breaking, crushing, burning, or otherwise changed by
natural means. No mechanical joining will be allowed. No screws, nuts, bolts, glue, etc
should be used in the piece. Some joining may be allowed at the instructor’s discretion,
such as lacing with straw or joining two leaves with thorns, etc. No sanding or other
types of “machining” will be employed, however you may, for example, scrape rocks
with another rock to create a surface or color. Think of it like this; you walk into the
woods with nothing but your person, what can you make?
Take into account the relationship created in the objects. How do stones relate to leaves,
etc. How do they affect each other, visually as well as physically? Also, think about the
relationship of the artwork to its environment (the classroom?). Is it possible to change
the classroom to suite your artwork (for final presentation only)? For example, a student
might spread sand on the floor to create the illusion of environment, taking into account
the amount of cleanup necessary.
Make drawings of several different designs. Drawings will be important in the recreation of the final artwork and will be critiqued with the final project. You will make
three different designs, choosing the best of the three for the final critique.
The challenging part of this exercise, believe it or not, will be the acquisition of materials.
You are not allowed to do anything illegal or improper, nor are you to kill any living
thing. Your ideas may revolve around a certain season, in which case you will have to
work with the season we have at hand. Come to me if you have problems and we can
talk them out.
This project is worth _50_ points and will be due ______.
Vocabulary:
Ephemeral - ephem.er.al adj [Gk ephemeros lasting a day, daily, fr. epi- + hemera day]
(1576) 1: lasting one day only <an ~ fever> 2: lasting a very short time
Found Object Sculpture – Three-dimensional artworks created from existing
components. These components may be either natural or man-made. Usually, the
components have been created to serve a specific purpose such as automobile parts found
in a scrap yard, etc.
Rhythm – A continuance, a flow, or a feeling of movement achieved by repetition of
regulated visual units.
Repetition – The use of the same visual element a number of times in the same
composition. Repetition may accomplish a dominance of one visual idea, a feeling of
harmonious relationship, and/or a rhythmic movement.
Emphasis – A focal point or area. A visually dominant component of the artwork.
3D Design Project 6 – Modeled Metamorphosis
Objectives:
18. To extrapolate from “what is” to “what could be”.
19. To discover the tactile quality of a plastic modeling material.
20. To learn what it’s like to mold a plastic material into a 3-dimensional image.
Materials: Sketchbook and drawing instrument, a package (or more) of white Sculpey,
an ordinary household oven with plenty of ventilation.
Strategy: This is a modeling project that will cause you to cerebrate profusely. Students
will choose two dissimilar objects, for example a school bus and a tree, and “morph” one
into the other. Kneed your Sculpey until pliable and “model” the two objects. Use your
sketchbook to extrapolate the steps of metamorphosis before modeling them with the
Sculpey. Five steps are required for a total of seven sculptures. Keep your models
small(ish) OR use your leftover rebar wire to make an armature. An armature is a
supportive skeleton onto which you can build your image.
It may (or may not) be helpful to create the middle morph step first, filling in the other
two steps after.
All objects should be approved by me before you begin modeling (it’s not a power thing,
I just want to save you from blinding headaches and sleepless nights). So, start by
making drawings in your sketchbook whilst I visit with each student individually.
Let’s stick with white Sculpey for this project unless otherwise approved by me. No
color will be used in this project.
This project is worth _50_ points and will be due _______.
Vocabulary:
Modeling – An additive sculptural process by which a plastic material is formed into an
artwork or design.
Extrapolate – to make an estimate of something unknown and outside the range of one’s
data on the basis of available data.
Tactile – of or using the sense of touch.
Cerebral – of the brain, intellectual.
Cerebrate – to think.
3D Design Project - Casting with Plaster Bandages
Objectives:
21. To communicate subject matter through direct casting.
22. To experience the process of casting.
23. To discover the potential of ancient African (and other) masks as a vehicle for
communication.
Materials: #1 molding plaster, Plaster bandages, Vaseline, scissors, bucket, cold water,
plastic tarps, appropriate clothing (rain ponchos work well).
Strategy:
1. Decide which body part you will be casting, and why. Are you making a ritual
mask? Or a self-portrait mask? Are you casting another body part and for what
reason? What will make this art? The artist George Segal believed that when he
cast his friends and relatives, the resulting artwork was a “ghost” of the person
who once occupied the exact same space as the cast. Pretty cool eh?
2. Cut the bandages into appropriate sizes: large sizes for large areas and small
pieces for delicate areas.
3. Arrange your work area so that you won’t be holding a freshly dipped bandage
over your pile of unused bandages. Try this order; pile of cut bandages, bowl of
cold water, model. Keep plenty of paper towels handy for drying your hands
when necessary.
4. Apply liberal amounts of Vaseline to the body part, completely covering (and
mashing down) any hair. This includes eyelashes, arm hair, hairline at forehead,
etc. Have your assistant inspect the area for any protruding hairs. If the plaster
sticks to more than a few hairs, you will be in for a painful (but not normally
dangerous) time.
5. If the subject will be the face, use drinking straws in each nostril for air. This
isn’t required. I have had my face cast several times without straws.
6. Begin by dipping a piece of bandage in the cold water and applying to the area to
be sat. Smooth the plaster in the bandage until you get a nice, consistent patch.
But don’t linger too long or the plaster will begin to set. Repeat, overlapping each
bandage by about one third the bandages width and smoothing. Continue until the
entire area has been covered. Take no breaks until the area is completely
finished.
7. If you are casting “in the round”, cast one half of the object and then other half,
leaving a very small gap between the two. This way the cast can be easily
removed and then joined with more bandages. It is extremely difficult to join
cured plaster (plaster cures after a day or so). Joining “dry” plaster is possible by
first wetting the dry plaster. Then apply the new bandages.
8. Wait for the plaster to go through it’s chemical process, usually 15-20 minutes
after the area is finished.
9. Begin the separation process by slowly moving the skin and bones underneath the
cast area. For instance; if your face was cast you may begin the separation by
making gentle “faces” as if your nose is itchy and you can’t scratch.
10. Once the cast has been completely removed, you may wash-up. Either in the
classroom or in the restroom.
11. If you wish a smoother finish, you may add #1 plaster by smoothing it onto the
surface BUT this must be done before the plaster is dry (way before the plaster
has cured) or it simply won’t stick. I would advise adding the plaster before you
clean yourself up. Adding more plaster will make the cast much heavier and
more fragile and I cannot guarantee it will stick.
12. Disposal of plaster: Pour the water from the water bowl into the sinks being very
careful not to allow any plaster to pour out. Set the bowl aside until the next class
so the leftover plaster can harden. Toss any mishandled or dripped-on plaster
pieces into the garbage. Store left over (but good) pieces in plastic bags for later
use.
13. If you plan to paint your cast, use artist acrylic paint. I have had the best results
by mixing the colors on the plaster surface itself. The plaster should be fully
cured before painting (2-3 days). Consider adding props to your finished cast, i.e.
clothing or other objects. Look at works by George Segal.
**DO NOT pour plaster, liquid or powder, into the sinks! Allow the plaster to settle to
the bottom of the container and then pour off the clear water. Discard the remaining
plaster in the garbage. It may be necessary to allow the plaster to settle overnight.
This project is worth _50_ points and will be due _at finals_.
Notes for 3D Design
1. Although your lab fee covers some of what we will need, expect to spend another
$75 to $100 depending on your specific needs. I may, from time to time, offer to
do the buying in bulk to save you money when possible. I will keep careful track
of who has paid and who has not and, of course, I will keep receipts. Plaster
would be an example.
2. We must prepare for and discuss projects at least one class in advance. If you
miss that class, you will be lost and unprepared when the new project begins.
Normally, these discussions will follow class critiques so don’t miss critique
days!
3. Cleanup is a must. Other classes use this room. Ceramics students can’t afford to
mix our gunk in with their clay. Each class day two students will be “in charge”
of cleanup and will be known as the “Cleanup Overlords”. This means they will
oversee the cleaning not do the cleaning for others. These two students will, of
course, clean their own areas and will not leave until all students have finished.
Students wishing to leave for the day must gain approval from one of the cleanup
overseers.
4. Don’t cut directly on tabletops. Use a cutting board (supplied).
5. Some of the projects we do might need to be executed more than a single time.
This is important for your learning experience. Often, the first time through is the
practice-round. Bring what you learned from the first attempt to the second or
third and your work will improve.
6. You will be keeping a sketchbook for this class. I prefer to call it a journal since
it contains much more than just sketches. You may use this journal for taking inclass notes, making notes about a current project (visual and/or textual), calling
your 3D Design teacher a chode, etc. Bring this to class every day.
7. You will be assigned a small storage area in the storage room. Use this area to
store your works in progress. You may also store your tools there but neither
Heartland Community College nor I can guarantee the safety of anything in your
storage area. Once a project is complete and you have received a grade, you must
take it home to make room for the next project. I will be doing most of the
grading in the storage room so it is paramount that you keep your area clean and
free of any unnecessary tools and/or materials.
3-D Design Presentation Sign-Up
1. Cubist / Futurism Sculpture – 3/23, Team:_________________,
Jacques Lipchitz, Aleksander Archipenko, Umberto Boccioni
2. Dada & Surrealist Sculpture – 3/28, Team:__________________,
Marcel Duchamp, Man Ray, Max Ernst
3. Organic Sculpture – 3/30, Team:__________________________,
Brancusi, Hepworth, Moore
4. Kinetic Sculpture – 4/4, Team:____________________________,
Calder, Naum Gabo, George Rickey, Laszlo Moholy-Nagy
5. Minimalism – 4/6, Team:_________________________________,
Tony Smith, Donald Judd
6. Assemblage – 4/11, Team:________________________________ ,
Louise Nevelson, John Chamberlain, Richard Stankiewicz
7. Pop Art Sculpture – 4/13, Team:___________________________,
Claus Oldenburg, Jasper Johns, George Segal, Edward Kienholtz
8. Environmental Art / Earthworks – 4/18, Team:________________________,
Robert Smithson, Christo, Michael Heizer
9. Postmodern Feminist Sculpture – 4/20, Team:________________,
Judy Chicago, Miriam Shapiro, Kiki Smith
10.Postmodern American Sculpture – 4/25, Team:_______________,
Debra Butterfield, Patrick Zentz (see me), Meniko Grimmer, Duane
Hanson, Andrew Goldsworthy, Dale Chihuly
Semester schedule
2/21
2/23
2/28
Subtr
active
Orga
nic
Subtr Open Open Open Wrap
active Work Work Work -up,
Organ
impr
ic Crit
ove
any
proje
ct
after
midt
erm
3/2
3/7
Open
Proje
ct
Crit
Sched
uled
Final
Exam
121:50;
Cleani
ng Day
and
Final
Grades
5/9
5/11
Art 103-02
Spring '11
MW 1-3:50
Michael "Mac"
McAvoy
Date
3/14
3/16
3/21 3/23
4/6 4/11
4/13 4/18
4/20 4/25
4/27
5/2
5/4
Spring Break
Subtr
active
Organ
ic
2/16
Spring Break
4/4
Subtr
active
Orga
nic
2/14
Intro to Cast Shadow; Grandiose
Mundane Crit
3/28 3/30
Subtr
activ
e
Orga
nic
Grandiose Mundane
Subtr
active
Orga
nic
2/9
Grandiose Mundane
Subtr
active
Orga
nic
2/7
Grandiose Mundane
Subtr
active
Organ
ic
2/2
Grandiose Mundane
Subtr
active
Orga
nic
1/31
Grandiose Mundane
1/26
Grandiose Mundane
1/24
Talk about Presentations
1/19
Grandiose Mundane
Cast Cast Cast
Shad Shado Shado
ow w
w
Crit;
Inro
to
Subtr
active
Organ
ic
Intro to Grandiose Mundane - wire
crit
1/17
Wire
1/12
Wire
1/10
Wire
3D Design
Martin Luther King Jr. Rocks Day No Class
Date
Wire
Michael "Mac"
McAvoy
Introductions-intro to wire
3D Design
Art 103-02
Spring '11
MW 1-3:50
3/9
Fair Use and Appropriation (or Plagiarism)
*Any one of these three are permissible*
1. Image is changed significantly
2. Image is used for parody. For example Duchamp’s She Has
a Nice Bottom.
3. Using the image will not displace financial gain of the
original artist. For example Stir-Fry Barbie by Tom Forsythe
did not hurt Mattel’s profits.
*An image becomes [public domain?] 70 years after the artist’s death. But that
does not include copyrights imposed by publishers of the image.
*Any image made by a federal employee while on duty is automatically
public domain. Our tax dollars paid for it.
Contact Form
Name_______________________________
Course_______________________________
Email (what you use most) ____________________________________
Home phone (land line) _______________________________________
Cell Phone _________________________ Can accept texts; yes___
Preferred method of communication ______________________
no____