The first semester of this academic year and 'finished: they are tired but the balance of these three and a half months and' relatively positive. I followed courses in particular technical and practical and so I had to produce several works. On the blog so far I have only posted photos of the marble work, due to the fact that the stone carving and 'commitment was the most' heavy half.
same time, I also followed the course of the foundry and sculpture techniques: for the latter course I felt a kind sculptures that intrigued me and I had not yet experienced: the bas-relief.
Finishing touches to the relief with liquid plaster.
I have chosen to reproduce the portrait in bas-relief profile of my colleague during Domitian: the portraits are pretty good to me and I wanted to do something Renaissance. I started thinking (wrongly) that a bas-relief would have been more 'easier than a full relief but no! When I found myself having to hold the image that I wanted to make a depth 'of about 4 centimeters, I realized that I had you cut, crush and flatten the head in profile, simulating depth' real I could not afford to copy 1:1 scale. So 'I understand' cause the relief it has this name! Simulated space on a prospective basis, the crushing depths' (the "stiacciato" by Donatello) ... AAAAARGH! In fact
'. I
began with a study of the profile of my model. Drawing allows me always to train their gaze on the subject I want to play and begin to internalize the details and features.
of clay Then I filled a box the size of 50x70 cm: the layer of clay was often about 8 inches, the bottom shelf of the portrait was then at its goal '.
Once filled the box, I began modeling the portrait, first by drawing in the clay edges and removing the bottom to a depth of 4 cm '...
... then going to shape the plans of the model's face. A grind, because of the steep and narrow view, unnatural in the real face (a face in profile depth has a 'little more than 4 cm).
At this stage, I drove the professor of sculpture techniques, which prompted me to replace the stick with which I tried to model with a splinter of wood with a flat piece of square tube, both are excellent tools to obtain plans and flatten certain roundness' that because of the swelling appeared to end.
've gone about a month with modeling, and then 'came the easy part: get a mold for a relief and' much 'easier than to work in the round. There are plugs or undercuts, makes a single cast on the work of clay, with minimal armor and then, for the positive, just pour the plaster mold on the horizontal and the game and 'done.
also open the mold and 'was easy, I basically did everything by myself.
In the coming days I will have to 'adjust the positive end of the plaster and then I got patinero'.
This work, conducted in parallel to the chisel to marble, I have finally clarified the concept of floor space, which until now had remained hazy in my mind: contract plans, views, peel them and identify them one by one, discover them alone and sweat ' was a great and valuable lesson. More 'proceed in sculptural practice more' abstract space is revealed and it becomes understandable, and this view is also in the way I look at a dress, the bridge of his nose to the forehead of a person or the glimpse of a street.
To explain the power of this perception tell 'all the times that my rational mind has to deal with a spatial concept (eg. Emptiness or plans), I get dizziness and vertigo!
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