The animal fair - Brief Article

Arts & Activities, Feb, 2002 by Charl Anne Brew

Students of any age are always enthusiastic over their sculpture lesson when the medium is clay. The small clay animal pots created by my Art I and Art II classes were quite impressive. The whole school buzzed after I displayed these wonderful sculptures. In fact, the project was so popular that I may have to create a new class to accommodate the interested students.

From beginning to end, students gained a strong discipline-based sculpture lesson, which involved research, planning production, reflection and assessment.

The class began their research by viewing slides and taking a trip to the library. The slides depicted animals in sculpture from Mezzo America and early Greek cultures. Aside from generating provocative discussions, these slides provided inspiration for many of my students. At the library they found books on animals to help them with their drawings.

Part of our research included a video on clay-building techniques. The video featured ideas on how to set up a clay-building studio on a budget, and gave examples on how to best use coils, slabs and simple armatures. Each student then contributed to our studio by making at least one clay tool using common objects such as paper clips, pencils, spatulas, fishing wire and door hinges.

The planning stage of the project presented a twist. Each student had to draw his or her animal subject from the "Luck-of-the-Draw" jar. At first they lamented the lack of choice, but then discovered the fun of trading cards and helping each other locate pictures of their animals in magazines and books.

During the planning stage many discussions ensued concerning the advantages of mixed media in sculpture. I introduced contrast through texture, and how to use other elements and principles to enhance their clay sculptures. For example, I showed the students how to weave raffia through preplanned holes. I also gave them the option of lining the insides of pots with fabric to add visual interest and dimension.

The final plan appeared in the sketches. Each student made several sketches, which showed different views of their pots along with the incorporation of their animal's characteristics. The inherent qualities in pots were noted and stressed. For instance, pots commonly have feet, a belly and a lip or top. I expected each student's pot to have the same qualities. It was inspiring to watch as each person began to solve the problems in his or her own unique way.

Planning came to a close and the real fun began with production; finally I brought out the clay. I chose 1050 sculpture clay, which contains grog for better drying and elasticity. The anxious students got their clay and grabbed their drawings. Using their homemade tools and canvas-covered wedging boards, they were now ready to begin with the basic shape.

The basic shape was the most difficult concept for them to master. This was a first-time effort for most of my students! Naturally, they wanted to skip right to details. It was apparent to me that the class needed to discuss the different stages of construction along with the additive and subtractive methods of sculpting. I gave demonstrations, which included samples of each stage of development.

The production became more interesting as the students began adding scales, claws, noses, eyes, tales, ears, snouts, teeth and fur. They became enthralled as the lumps of clay transformed into lively pots with animal characteristics. Some individuals were very careful at carving each feather and scale. Others focused on getting the tilt of the head just right for the perfect expression.

As clay pieces were added, I emphasized what I call the "four S's" (score, slip, stick and smooth). At the end of each production class we discussed a variety of processes. The students learned how to make what they call "3-D" eyes, fur tails, mouths and other details simply by applying the additive and subtractive method of sculpture.

I demonstrated the importance of allowing the clay to dry s-l-o-w-l-y. The students wrapped the sculptures with damp rags--not paper towels--and covered them with a plastic bag to keep the clay malleable during the basic shape stage. Then we removed the rags, gave the pieces a light water spray, and loosely tied the plastic bag to dry the pieces to the leather-hard stage. The students then stored their pieces in the bags without any watering to maintain the leather-hard stage for a longer period, as this stage is great for carving and obtaining fine detail. Last, the pieces came out of the bags until they were bone dry.

Glazing is one of the final production stages. My students used underglazes to paint their pieces. I introduced a variety of glazing techniques including light washes, layering, blending, blotting, spraying and antiquing. Using underglazes has advantages, such as being able to mix colors. Students also have the option of glazing before or after the bisque firing. Repairs and re-glazing are easier with underglazes if a piece breaks during the bisque. A clear-gloss glaze and a second firing make these pieces the pride and joy of both the artist and the viewer.