Creating
a work of art that incorporates multiple pieces that work together is a huge
challenge. How do you compose a design within a square or rectangle?
What subject should you use for an impetus for your tile design?
How can color enhance your design? How do you cut away and add clay
to create a low-relief sculpture?
How do you roll out a slab of clay?
You will be required to create no less than 3 tiles. The examples above show tiles that are related to each other. The tiles you create have to be related to each other (see examples). A thumbnail sketch is required before you begin working with the clay. In your thumbnail sketch you should write down the colors you will be using and any extra materials you will be adding to your final piece. Think about the negative and positive space as you try to create a balanced composition. Most importantly be invested in your work.
In relief sculpture you can cut the background away, add clay to the surface, or do both. In low-relief sculpture there is little depth and the objects/designs are close to the surface. Sometimes low-relief sculpture is called bas-relief. A coin is a great example of this.
When searching for inspiration do not copy a tile or design you see on the Internet. Look for images that inspire you, but don't duplicate that image, create a unique image. You can also use your surroundings or your feelings for inspiration. Your tile can be based on something organic or not. Less complicated lines and shapes will work best with the medium. Your short-term goal is to have an idea designed in the next few classes. Please review the Sketchbook Rubric because your initial concept sketch should clearly communicate your idea and vision. As students are ready to begin working with clay I will demonstrate the techniques and methods pertaining to the lesson.
You will be required to create no less than 3 tiles. The examples above show tiles that are related to each other. The tiles you create have to be related to each other (see examples). A thumbnail sketch is required before you begin working with the clay. In your thumbnail sketch you should write down the colors you will be using and any extra materials you will be adding to your final piece. Think about the negative and positive space as you try to create a balanced composition. Most importantly be invested in your work.
In relief sculpture you can cut the background away, add clay to the surface, or do both. In low-relief sculpture there is little depth and the objects/designs are close to the surface. Sometimes low-relief sculpture is called bas-relief. A coin is a great example of this.
When searching for inspiration do not copy a tile or design you see on the Internet. Look for images that inspire you, but don't duplicate that image, create a unique image. You can also use your surroundings or your feelings for inspiration. Your tile can be based on something organic or not. Less complicated lines and shapes will work best with the medium. Your short-term goal is to have an idea designed in the next few classes. Please review the Sketchbook Rubric because your initial concept sketch should clearly communicate your idea and vision. As students are ready to begin working with clay I will demonstrate the techniques and methods pertaining to the lesson.
Vocabulary:
Balance: a feeling of
balance results when the elements of design are arranged symmetrically or asymmetrically
to create the impression of equality in weight or importance.
Additive Sculpture: An additive
process in art means adding material to the piece.
Subtractive Sculpture: A subtractive
process means subtracting material away from the piece.
Relief: Form of
sculpture in which the ornaments or figures are attached to a background, from
which they stand out to a greater or lesser degree, being accordingly known as
high relief or low relief ( bas relief ).
Rhythm/Movement: The use
of recurring elements to direct the movement of the eye through the
artwork. There are 5 kinds of rhythm: random,
regular, alternating, progressive, and flowing. The way the elements are
organized to lead eye to the focal area.
Movement can be directed for examples, along edges and by means of shape and color.
Harmony: The arrangement
of elements to give viewer the feeling that all the parts of the piece form a
coherent view.
Texture: The feel,
appearance, thickness, or stickiness of a surface (for example: smooth, rough,
silky, furry)
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