Unit 2. Volume

7/31/2019 Unit 2. Volume

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Carmen Castillo

I.E.S. FERNANDO III EL SANTO / PROYECTO BILINGE A.N.L.: ART& DRAWING1

ART & DRAWING

UNIT 2: VOLUME.

UNIT 2: VOLUME

OUTLINE ASPECTOS LINGSTICOS VOCABULARY

1. VOLUME2. COMPACT VOLUME

METHODS OF WORKING: ADDITION: SOFT MATERIALS: CLAY SUBTRACTION: HARD MATERIALS: STONE,

WOOD.3. MIXED MATERIALS:

FROM FLUID TO SOLID.4. HOLLOW VOLUME. ENCLOSED

ESPACE.5. VOLUME AS AN OPEN STRUCTURE

PRESENTE CONTINUO PRESENTE CONTINUO

CON VALOR DEFUTURO.

VERBOS MODALES :SABER, PODER(CAN / CANT)

ACHIEVE ADDITION ALABASTER ARMATURE ASSEMBLE BLEND BLOCK BRONZE CLAY COMPACT COPPER

PHOETICS

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ART & DRAWING

UNIT 2: VOLUME.

1. VOLUME

Volume is the space occupied by an object. That object can be made of different materials.Third dimension means volume and thus three dimensions: width, length and depth.Any material has its own characteristics and they decide the technique that should be to used whenmaking a sculpture.3D shapes can be solid or compact, completely hollow or with some hollow spaces.

A. COMPACT VOLUME

This comes in:

Material block: simple mass, simpleforms

(pyramids, cylinders)

Modelled block: this has more or lessmass by adding or subtracting, respectively.

For example forms with hollow spaces andforms that are projected, concaveor convex positive and negative spaces.

http://www.google.es/imgres?imgurl=http://www.colecreativo.com

http://www.google.es/imgres?imgurl=http://4.bp.blogspot.com


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Carmen Castillo


ART & DRAWING

UNIT 2: VOLUME.

Perforated Block: perforated mass(compact and empty space

In art education, sculpture covers three main objectives:

1. Psychomotor development: this is the action by which the stimulus commanded by our brain and

the direct realization by our hands are coordinated.2. Tactile skills: this is achieved through direct contact with a great variety of different textured

materials.3. Spatial skills: this means the conquer of the 3D space, non illusory.

http://www.google.es/imgres?imgurl=http://4.bp.blogspot.com

http://www.regmurcia.com/servlet/s.Sl?sit=c,24,m,1455&r=ReP-1760-DETALLE_REPORTAJESABUELO


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ART & DRAWING

UNIT 2: VOLUME.

Pertaining to the volume, sculptures can be:

-Reliefs: made on a plane or curved bases andhistorically linked to architecture.(bas- relief, altorrelieve).

-Exempt: this is an isolated or group of figures that canbe seen from different points of view.It has several names depending on thepart of the body represented and on theattitude of the figure or the action which itis shown (bust, upright figure, sedentary figure,reclining figure, equestrian portrait, praying portrait)

http://es.wikipedia.org/wiki/Archivo:Egypte_louvre_285_scri

be.jpg

http://www.google.es/imgres?imgurl=http://imagenes.viajeros.

com/fotos/x/xl/xlkpwcgc-1238693469-

bg.jpg&imgrefurl=http://www.viajeros.com/diarios/luxor/fin-


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UNIT 2: VOLUME.

A1. METHODS OF WORKING

Pertaining to the method of work, there are two sculptural methods:- By addition: this is the representation of forms that use soft materials such as: clay, play dough orwax.The modelling technique belongs to the additives and it consists of making sculptures by adding materialalthough one can subtract material.- By subtraction: this is the representation of forms that hard materials such us: stone, wood, bone orivory.

The sculpt (stone) or carve (wood) technique belongs to the subtractive and it consists of makingsculptures by subtracting material with the help of proper tools.

A1.1. BY ADDITION- SOFT MATERIALS

CLAY

This is a very versatile material to work with thanks to its plasticity. Clay is a natural material

(sedimentary rock) that comes from feldspathic rocks and it is very plentiful all over the world.Primitive man used clay proved by 13.000 years old pottery and sculptures that have been found at theNile valley.Clay is quite varied in colour, texture, plasticity and resistance.Clay is supposed to be worked by a:-Direct method (terra-cotta)-Non direct method

Clay as a soft material must be worked by adding, or by adding little pieces of material and hitting it witha wooden stick or with our very hands.The humidity grade is very important in order to work to work with modelling sticks or with our fingers.


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ART & DRAWING

UNIT 2: VOLUME.

CLAY. DIRECT METHOD.

After naturally drying clay must be put in fire to get a certain hardness and resistance. To do so thepiece must be totally dried, hollowed and not present a shell.

Once the piece has been put in fire at 1000C, it becomes known as a terra-cotta.

CLAY. NON DIRECT METHOD.

When the size of the sculpture is considerable it is necessary to build a shell (armazn) and thisgenerally is made of wire.

Therefore, this structure or shell is covered with clay. These types of sculptures are no longer durable sothey need to be reproduced by making a mould.

http://es.wikipedia.org/wiki/Archivo:Egypte_louvre_285_scri

be.jpg


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ART & DRAWING

UNIT 2: VOLUME.

CLAY. NON DIRECT METHOD. HOW TO MAKE A MOULD. FLUID MATERIALS

Fluid materials are those that have the ability to change from a fluid state into a solid one, for examplewax, plaster, plastic, silicon and metal.

STEP1Clay sculpture is covered in fluid plaster. Once the plaster has dried out, the mould is ready to beremoved.

STEP2This mould must be filled in again with a fluid material (plaster again in this case) and must be left to dryagain.

After opening the mould we will obtain the definitive.This mould can be used to produce as many sculptures as we needed.We can also use white cement instead of plaster.

A1.2. HARD MATERIALS. BY SUBTRACTION.

Hard materials must be worked out by using the subtraction method. Among others hard materials, wecan include: stones, wood, bones, ivory, plaster

STONE

Stone is considered a noble material because of its resistance and durability. Despite this aspect, stonecan still be ductile and very fragile.

Stone is supposed to offer all the textures and qualities of nature. In this case it is worth talking aboutBernini, the Italian baroque sculptor who led the sculptural technique of stone (marble) to its maximand extremes possibilities.It is also worth talking about Michelangelo who at the end of the Renaissance period achieved a

great sphere of influence on the portrayal of the human body.


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ART & DRAWING

UNIT 2: VOLUME.

TYPES OF STONES (according to its origins)

IGNEAS

These are very hard and durable and allow for a very fine polishing. They come from the solidificationof melted materials.

SEDIMENTARYThese come from the blended particles by natural adhesives. They generally tent to be white stones.For example there is sandstone and limestone.

STONES BY METAMORPHOSIS

These are originated by pressure, heat or chemical agents. For example alabaster, marble and blackslate although this last one is not very easy to sculpt.

http://www.artecreha.com/El_muSeO_creha/sala-9-bernini-qapolo-y-dafneq.html

http://www.google.es/imgres?imgurl=http://www.fotos

.org/galeria/data/524/3Miguel-Angel-David.jpg


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ART & DRAWING

UNIT 2: VOLUME.

WORKING PROCESS ON STONE

When working on stone block it is very important to seek for the first planes and thereby get the shapeand the details last.

1. Smoothing down. This is removing big parts from the block of stone in order to start getting theshape.

2. Modelling. This is to define the shape and volume in the block.3. Polishing. This is to get a shiny surface although some sculptors leave the textures derived from

the use of the different tools (file, rasp).

These phases are what constitute the traditional method.Michelangelo was an exception to this because he used to smooth down, model and polish at the sametime.The sand stone, porphyry, basalt and marble are the most used in sculpture.

http://www.google.es/imgres?imgurl=http://lh6.ggpht.com


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ART & DRAWING

UNIT 2: VOLUME.

WOOD

Wood is easier and more fragile to work than the stone.The specific weight is an important characteristic of wood and can vary depending on whether the woodhas dried out or not or even if wood is green or if it has been cured.

Normally dry wood is the most used. The most used in sculpture are walnut, cypress, holm oak (ilex)and the pear tree.

WORKING PROCESS ON WOOD.CARVING

1. Preparation-This is the removal

of the bark and thus theinsects that live in between.

-Slow dry it in open air until wood stopcontractions.

2. Assemble-To assemble is to combine wood blockswith glue and apply pressure to them ifnecessary.

2. Carving- After getting basic planes by using a

handsaw, you begin the smoothingdown by using tools called gouges.It is necessary to carve trying tofollow the streak directions.

3. Finishing-The finishing phase includes polishing

by using files and sandpaper.

http://monkeyzen.com/2010/03/gehard-demetz-esculturas-de-madera-

expresionistas


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ART & DRAWING

UNIT 2: VOLUME.

A1.3. MIXED MATERIALS (FROM FLUID TO SOLID)

Some materials are able to pass from a fluid state to asolid one, such as wax, plaster, cement, plastic sylicon,metals (iron, copper, silver and bronze).To do so, it is necessary to built a wire armature.

Steps involve in molding in plaster

http://www.philippefaraut.com/ Author/Artist

Philippe Faraut Sculpts an art critic.

B. HOLLOW VOLUME. ENCLOSED SPACE

When we close a space using surfaces like walls we can geta shape with a hollow interior. We find this type of volume inmany common objects for example tubes, boxes, buildings

etcThose type of shapes let us perceive and even use its innerspace throughout holes on its walls and surfaces.Different contemporary sculptors have shown their interest inthese types of shapes where it is possible to connect innerand outer space.Another possibility to build these type of shapes is to use fineand long materials such us wire, bars, stripsto try creatingobjects similar to cages, baskets or different structures forexample the Eiffel Tower or a simple sculptural armature.

http://www.google.es/imgres?imgurl=http://www.plazadelosmartires.com

http://www.google.es/imgres?imgurl=http://www.invertirenarte.es

/mercadodearte/imagenes/Octubre%252013/sothebys_oteiza.jpg


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Carmen Castillo


ART & DRAWING

UNIT 2: VOLUME.

C. VOLUME AS AN OPEN STRUCTURE

In an open structure it is not possible to differentiate between inner and outer space as it occurs in a hollow volume.These kinds of sculptures are not supposed to create or to demonstrate an inner space in front of an outer space.We will never affirm that something is inside of one of these figures because we are talking about types of openstructures.

http://www.google.es/imgres?imgurl=http://www.artespain.com/wp-

content/uploads/calder.jpg

http://www.google.es/imgres?imgurl=http://www.abso

lutmadrid.com/wp-content/uploads/2009/04/julio-gonzalez.jpg


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UNIT 2: VOLUME.

1. VOCABULARY

Vocabulary Pronunciation Translation

A

Achieve /'ti:v/ Lograr

Addition /'dn/ Adicin

Alabaster /'lbstr / Alabastro

Architecture /':ktekt(r)/ Arquitectura

Armature ArmaznAssemble /'sembl/ Ensamblar

Attitude /'ttju:d/ Actitud

B

Bar /b:(r)/ Barra

Barroque Barroco

Blend (to blend) /blend/ Mezclar

Block /blk/ Bloque

Bronze /brnz/ bronce

Bust////'bst/

Busto

C

Cage ////ked/ Jaula

Cement /s'ment/ Cemento

Clay /kle/ Arcilla

Compact /km'pkt/ Compacto

Concave /'kkev/ Concavo

Conquer /'kk(r)/ Conquistar

Copper /'kp(r)/ Cobre

Cure (to cure) /'kj(r)/ Curar

Cylinder /'slnd(r)/ Cilindro

Cypress /'saprs/ Ciprs

D

Depth /dep/ Profundidad

Despite /d'spat/ A pesar de

Development /d'velpmnt/ Desarrollo

Domain /d'men/ Dominio

Dry /dra/ Seco

Ductile /'dktal/ Dctil

E

Empty /'empti/ Vaco


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Equestrian /'kwestrin/ adjetivo Ecuestre

Exempt /g'zempt/ verbo Exento

F

Fluid /'flu:d/ Fluido

Fragile /'frdal/ Fragil

H

Handsaw /hnds:/ Sierra de mano

Hard /h:d/ Duro

Hit /ht/ Golpear

Holm

Hollow /'hl/ Hueco

Humidity /hju:'mdti/ HumedadI

Illusory /'lu:sri/ Ilusorio

Inner /'n(r)/ Interior

Isolated /'asletd/ Aislado

Ivory /'avri/ Marfil

L

Length /le/ Longitud

Limestone /'lamstn/ Piedra caliza

M

Marble /'m:bl/ Marmol

Mass Masa

Melt /melt/ Fundir

Model (to model) /'md/ Modelar

Mould /mld/ Molde

P

Plaster /'pl:st(r)/ Escayola

Plasticity Plasticidad

Plasticine Plastilina

Plentiful /'plentfl/ Abundante

Polish /'pl/ Pulir

Portrait /'p:tret/ Retrato

Praying Orante

Protruding [pr'tr::::d ] Saliente, prominente

Psycomotor Psicomotor

Pyramid /'prmd/ Pirmide

R

Reclining [r'klan] Tumbado

Renaissance /r'nesns/ Renacimiento

Relief /r'li:f/


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S

Sandstone /sndstn/ Arenisca

Sculpture /'sklpt(r)/ Escultura

Sedimentary /sed'mentri/ sedimentario

Shell /el/ Concha

Silver /'slv(r)/ Plata

Skill /skl/ Habilidad

Slate /slet/ Pizarra

Smooth down /smu:dan/ Alisar

Stick /stk/ Palo,vara

Stimulus /'stmjls/ Estmulo

Strip /strp/ TiraStone /stn/ Piedra

Subtraction /sb'trkn/ Sustraccin

T

Terra-cotta /ter'kt/ Terracota

U

Upright /'prat/ Vertical, erguido

V

Versatile /'v:stal/ Verstil

Volume

/'vlju:m/ sustantivoVolumen

W

Wallnut /w:lnt/ Nogal

Wax /wks/ Cera

Width /wd/ Anchura

Wood /wd/ Madera

Unit 2. Volume

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