Tag Archives: Scarva Crank ES50

Portraiture, Clay Armatures and building Hollow Workshop.

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Portrait class 2015

The Bust

The key reason making heads is so hard is that the perception (the way we use our knowledge) that we have built up over our lifetime of what shape the head is, is based around communication and assessing each other. Making a head requires going against what ‘feels’ right and using information we are unlikely to have bothered with before. Portraiture has a system to organise the huge quantity of subtle details. Learning this system will broaden your knowledge, and your access to more knowledge, enormously. That’s why the study of Portraiture and Figurative Sculpture is traditionally the bed-rock of Art.

It is not rocket science and you can do it. The challenge will be fascinating and very rewarding.

The Technique

Because clay shrinks as it dries and is floppy when very wet a Clay Armature is invaluable.

Most techniques for building  hollow have a strong ‘voice’ of their own and will influence the final look of the piece. They can demand that you harden lower sections and are then unable to change them when you later realise they are wrong. This is a real disadvantage irregardless of your skill level. It is better to work solid over a clay armature especially if you are not using a scale-model and hollow out just before finishing touches. It’s not difficult.

Or you can use this technique of building out from a Clay Armature to make your sculpture hollow.

Clay armature for a bust, aug 2014

Clay armature for a bust, aug 2014

3rd Bust armature in progress, Aug 2014.

3rd Bust armature in progress, Aug 2014.

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in progress, Aug 2014.

in progress, Aug 2014.

Here I chose to leave gaps that show the Armature but of course you don’t have to. The step by step manner of this method and the fact that you work all over the head  in layers from the start  makes it ideally suited to learning to make Portraits and other Sculpture.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

These Armatures or ‘frameworks’ were planned to be very much part of the fractured image. But the ‘corrugation’ and circular holes you can see are strengthening the Armature and would be very suitable to an armature that would ultimately be hidden. Playing around with these Armatures lead the Sculptures in un-anticipated directions (I frequently have no idea what I’m doing, just why!)

The Wyvern and The Leviathan. in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

In this Workshop we will build a strong Armature, work on the Skull loosely for the benefit of looking at that and then build on the external features of the head; the face, ears, hair etc.

The Skull. 2014

The Skull. 2014

The Weekend

We’ll cover Hollowing out too.  You will get my invaluable tirade on joins. We’ll look at some different clays and talk about choosing clays. And we’ll sit down to a relaxing bring and share lunch in true South Wales Potter’s Tradition and talk shop. There will be drinks available all day.

Everyone, from any level of experience, is welcome and will get a lot out of this challenging week-end.

The Fee is £130 which includes 25kg of Scarva Crank (an out-standing sculpture clay), a set of sculpture’s callipers and set of Skull and Skeleton images. The Workshop is to give you the Techniques so that you can develop your own way of using them. Just like learning to play an instrument, practice and adding your own style will give you the results. You are unlikely to complete your head on the week-end and I will encourage you to take it home to work on or break it down and have the clay to use on your next head where you can work more slowly. I can fire your sculpture if you like and we’ll sort that out separately.

It is easy to get here  and there is plenty of Parking and the Studio is not bad for accessibility.

Studio Diary, The Tumble Commission Finale.

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The Celebration Day at Gwalia Mynydd Mawr, 5 November 2014

The Celebration Day at Gwalia Mynydd Mawr, 5 November 2014

A perfect , clear blue day for the un-veiling of the Sculpture and a celebration of the whole Project and all the lovely, dedicated people who were involved from Arts Care Gofal Celf, Gwalia, the Primary schools in the area and the extraordinary Staff and Residents at Gwalia Mynydd Mawr.

The video here describes the whole project:

 

Mynydd Mawr Courtyard Sculpture, 2m h x 190cm w, 2014.

Mynydd Mawr Courtyard Sculpture, 2m h x 190cm w, 2014.

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Studio Diary ,The Tumble Commission pt 7; Installation.

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From the outset the many people from Arts Care Gofal Celf, Gwalia and Mynydd Marw involved in this 2 year , multi-fasceted, Baring Foundation ‘Yma a Nawr’ project have put in their all to make it out-standing. After the excellent Installation of the Sirhowy Wyvern I knew that Andrew Preece and his team at Smartfix Property Maintenance would also do whatever it takes to make this Sculpture look fantastic. They are incredibly picky and fastidious, it’s marvellous. Best materials,committed craftsmanship, and they always stick to the Budget no matter how much extra time they have to put in.OLYMPUS DIGITAL CAMERA

Smartfix Property Maintenance at Mynnyd Mawr, Tumble

Smartfix Property Maintenance at Mynydd Mawr, Tumble

Moving the heavy sections around meant 4 men had to be on site.

Moving the heavy sections around meant 4 men had to be on site.

The 2 bottom sections are lowered over rebars set into the solid plinth and foundations.

The 2 bottom sections are lowered over rebars set into the solid plinth and foundations.

It was critical to get the position of these first sections correct.

It was critical to get the position of these first sections correct.

The sections are filled with concrete and left overnight to set.

The sections are filled with concrete and left overnight to set.

Once everything has set the supports can be removed and the joints pointed.

Once everything has set the supports can be removed and the joints pointed.

The charming tiles, made by pupils at Llannon Primary School and residents at Mynnyd Mawr are laid out in a measured pattern.

The charming tiles, made by pupils at Llannon Primary School and residents at Mynydd Mawr are laid out in a measured pattern.

Andrew and Phil set the tiles.

Andrew and Phil set the tiles.

I did the glass with Andrew.

I did the glass with Andrew.

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Studio Diary, Landscape Project, pt 5.

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The Leviathan in progress, Sept 2014.

The Leviathan in progress, Sept 2014

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

Frame-works for The Wyvern IV and, in the back ground, The Leviathan.

The second framework has become the Leviathan, the guardian of the Aquasphere as The Wyvern is the guardian of the Lithosphere. I will make more versions. These will have a pale gold colour. Next I will make a larger Osprey, guardian of thew Atmosphere, in the same  clay(Scarva ES50 Crank) and then move to the black clays and re-do the set.

The Leviathan in progress, Sept 2014.

The Leviathan in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

The Wyvern and The Leviathan. in progress, Sept 2014.

 

Studio Diary, Landscape Project pt 4.

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The Wyvern IV, Sept 2014

The Wyvern IV, Sept 2014

The frame-work for this one was much more developed and lead the form. I made a second one so I could keep the flow going around the drying periods but I didn’t need to break from Wyvern IV; it was strong enough.

Frame-work for The Wyvern IV.

Frame-work for The Wyvern IV.

This is asking a lot of a clay. But this is Scarva ES50 again and reckon I’ll get away with it.

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Studio Diary. Landscape Project, pt3

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The Wyvern and the Osprey, 2014.

The Wyvern and the Osprey, 2014.

The story is coming together. My policy of don’t ask too many questions, let the work flow, put in the hours,review completed forms, is working well.

Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.

Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.This image and the memory of being down there is still key.

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Balarat Pit Marker, 6m L x 2m H, Blaengarw, Wales.

Balarat Pit Marker, 6m L x 2m H, Blaengarw, Wales.

The idea of the Wyvern, guardian within the land ,started with the Balarat Pit Marker although I didn’t know the name. The Wyvern is a force and can take many forms. The Harbingers I’ve made are similar figures.

River Harbinger,2012

River Harbinger,2012

The Wyvern III, 2014

The Wyvern III, 2014

These busts are developing slowly as my portrait skills heat up and I can work more freely.

Studio Diary, The Landscape Project, part 1

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Busts in progress, Aug 2014.

Busts in progress, Aug 2014.

Lots of changes, lots of layers.This is the main photo I am  focussing on; The sky, the land and the ocean and man’s presence – everything is integrated.

Bracelet Bay, Mumbles, Swansea by Steve Foote.

Bracelet Bay, Mumbles, Swansea, by Stephen Foote, 2014.

These 2 pictures and the experience of being in both these places is never far from my mind these days.

Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014

Porth Yr Ogof Cave, Brecon Beacons, by Stephen Foote.2014

A narrative is emerging that involves the passage of water from the Beacons’ sky to the ocean at the bottom of the Swansea Valley. The Tawe River passes the Studio and the ground beneath us is full of  tunnels from the rivers and from mining. The Wyvern, a dragon with a wonderful mythology about guarding the treasures of the subterranean world entered the picture when I was heavily involved with the history of local Coal Mining and  the Pit Marker Sculptures and it is re-emerging here. OLYMPUS DIGITAL CAMERAThe next clay-armature is more specific now that I have a clearer idea of where I’m going.

3rd Bust armature in progress, Aug 2014.

3rd Bust armature in progress, Aug 2014.

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in progress, Aug 2014.

in progress, Aug 2014.

 

 

 

 

 

Studio Diary; Return to the Figurative

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in progress, July 2014

in progress, July 2014

An intense couple of months ending in a merciful bereavement has lead me back to the clear boundaries and challenges of Figurative sculpture. Portrait skills are hard won and need to be practiced regularly or they will be lost.

I’ve been playing around with the technique of building outwards from a framework that wont be hollowed out later and/or is a visible part of the form for a couple of years now and  I wanted to try it with naturalistic work.

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The River,a commission. 1.5 m high

The River,a commission. 1.5 m high

Half a Century II, 48cm H x 32cm W.

Half a Century II, 48cm H x 32cm W.

I started with the exercise Lloyd Lilly taught us at Boston Uni (about 300 years ago); Make the skeleton and layer on the muscles and skin. It is fascinating to do and hugely informative. These are the skills that give Abstract work presence.

Anyone who has taken one of my Workshops will tell you, with tears in their eyes, that the key to figurative work is organising the huge amount of information into manageable stages and that the Skeleton is just a stick figure with the perfect proportions simplified for you.OLYMPUS DIGITAL CAMERA    OLYMPUS DIGITAL CAMERAI’m not sure how I manage to be so thick but once again I made a clay armature for a bust that allowed the head to tip forward. Good thing I have that red broom on hand to prop it up.

OLYMPUS DIGITAL CAMERA  With the 2nd one I made a much more interesting frame that would show in places.

in progress August 2014

in progress August 2014

It allowed me to work on the whole form from the outset  rather than build from the bottom up. I’m pushing myself hard to use new methods rather than fall into the same ol’ pitfalls and to be more expressive with the naturalistic format rather than only technical. I’ve done that many times before… but the results were pretty dire! This may also be yet anther very bad road but it’s the only route to get somewhere interesting. I’m aiming to integrate the figure with it’s landscape following the ideas of the Up Is Down Series. Wish me luck….!

Clay armature for a bust, aug 2014

Clay armature for a bust,  aug 2014

This clay armature is much stronger and the hollow spaces are more defined as part of the form good and early. The plan is to work towards integrating the Landscape work I’ve been doing with Cameraman Steve Foote using his stunning photographs.

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote

Bracelet Bay, Mumbles, Swansea by Steve Foote.

Bracelet Bay, Mumbles, Swansea by Steve Foote.

Brecon Beacons, by Steve Foote.

Brecon Beacons, by Steve Foote.

Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.

Porth Yr Ogof Cave, Brecon Beacons, by Steve Foote.

This could take a while….

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Studio Diary, The Tumble Commission, part 6.

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You learn a lot about your own work from watching a skilled Photographer taking pictures of it. You get a more objective view. The lights are certainly a merciless test of your planes and edges. Stephen Foote’s top quality lenses will pick up every flaw.

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I went over the whole piece with fine portrait tools and his perfect pictures reward that. I’m very inspired by the excellent craftsmanship of  stone or glass artists like Sally Fawkes (http://www.sallyfawkes.com ) her process is incredibly harsh and difficult yet she doesn’t back off until her stunning sculptures are flawless. Clay is way easier but avoiding marks when you are handling the piece is a constant battle

Sally Fawkes 'Perceiving Significance II' photo ;Richard Jackson

Sally Fawkes ‘Perceiving Significance II’ photo ;Richard Jackson

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After a spell of controlled drying it’s time cut the sections. Luckily I have a fantastic Assistant, Michael Preece. I spent a lot of time  planning the cuts; we have opted for large sections and I needed to ensure they would fit in the kiln and be handleable. Mike  used a variety of tools to make the cuts and he and my son Daniel lifted the sections to thick memory foam where they will stay for at least a month.

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Working in clay you always have an eye on the Drying and Firing -Plan; accommodating  these long drying periods where the atmosphere needs to be controlled and having the right sized pieces ready to pack nice full kilns that will distribute the heat evenly.

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I went round all the edges of the cuts and tidied them and repaired any dings. I will cover the sections with sheets to ward off drafts and turn them regularly. Most cracks form at this stage although they may not show up until after the Firing.

 

 

 

Studio Diary, The Tumble Commission, part 2.

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The Photography Shoot was even better than I had expected; stunning weather, lovely people exchanging ideas, a great lunch and Stephen Foote working with grace and charm, taking time with each person to be sure he got what they hoped for.

The Studio had been scrubbed down and tidied so Steve’s kit didn’t get dusty and the Commission  wrapped in plastic to rest and let the water in the clay  settle. It was great to have a few days break then un-wrap the piece in a clean room and review the progress with fresh eyes.

OLYMPUS DIGITAL CAMERA      The build method is the same as for the Monumental Sculptures but scaled down. The walls are thinner , the coils smaller , but the same sort of supports are used. The final sections will be much bigger so where the cuts will be needs to be pre-planned and internal structure put in to support the sections through the fire.

 

 

 

 

 

 

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Because the form shrinks as it dries, internal supports are clay and shrink with the form and external ones need to allow shrinkage or only be used for short periods. Quality memory foam is ideal because it lets the clay shrink yet will hold up surprising amounts of weight.The finger marks also support the walls and are left on the inside and only smoothed away on the outside after the section has gone firm.

 

 

 

 

 

 

 

 

 

 

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The clay is Scarva’s Earthstone Crank Material, ES50, and it is awesome. Their previous Crank had fantastic build quality but it was a minging colour wet and fired unless you put something made in Black Chunky in the kiln with it – then it took on a lovely gold shade. This new Crank is even better to use and will fire to very nice pale gold ideal for the setting.

 

 

 

 

 

 

 

 

 

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The lower section will stay wrapped most of the time to slow the drying and allow the water time to drop. I believe this makes the walls stronger but that might be nonsence. Each Clay-person develops their own relationship with their clay and techniques that are a breeze for one might be chaos for another. I started as Coil-builder 34 years ago and over time I’ve added a lot of side-shoots to my method.

 

It is 3/4 built, 225kgs of clay, 95cm high. I have definatly done the easy bits – from here on up it will be very slow; smaller coils added in small doses. In-between I’ll work on the surface images and the edges. This initial stage is building the basic form. A lot of clay will be added to bring out the curves and images. That will be left to harden and then the whole piece will be re-fined with subtractive methods. 3 steps forward , 2 steps back, slow and steady.