Life-size sculptural heads: a lesson in three-dimensional design - Cover Story - art project

Arts & Activities, May, 2003 by Harriet Gamble

According to Professor Dee Schaad, head of the art department at the University of Indianapolis, "There is nothing more three-dimensional than the human head." Which is why he believes that sculpting one is a perfect lesson for three-dimensional design students.

But Schaad considers learning the physiology of the face and head far more important than simply a lesson in three-dimensional design. He believes learning the intricacies of the human face is basic to art.

"It is important to art students, first and foremost," he explains, "because the ability to render and draw the human head and the human figure makes it possible to translate that knowledge into other things. If you can draw the figure or head, those skills are transferable and you can draw anything. Although I used this lesson with college-level students, it is easily adapted for middle- or high-school students--and one that I highly recommend."

Schaad explains that modeling skills help drawing skills. "Being able to locate the nose on your face is really important. So modeling the human head and the difficult parts parts of the head are an important transferable skill. Knowing that the eyes are set back in the head and surrounded by the bony structure of the forehead and cheekbones, and that the nose comes out from that are all important things to understand. Knowing the location of the mouth and chin and that the ears, eyes, and top of the nose all make a line around the middle of the head is basic to modeling the head and essential to drawing."

As part of the three-dimensional design lesson, Schaad incorporated sculpture and modeling skills and techniques, art history, self-expression and humor. Students used Sculptamold[R], a nontoxic compound that combines the features of clay, plaster, and papier-mache to create their heads. They were instructed in how to build and use an armature, which helps develop modeling skills by combining both the additive and subtractive nature of sculpture. Professor Schaad explains, "The modeling medium we used is first applied but then when it hardens, it can also be filed away and removed." Additionally, as part of the project, students painted their sculptures--not just flat, solid flesh-colored faces--but layers of color to create texture.

From an art-history perspective, the lesson teaches about sculpture and portraiture and the differences between two- and three-dimensional art and real and expressive art. Professor Schaad uses examples by Frank Gallo, Robert Arneson, Alberto Giacometti, and Red Grooms to illustrate that the sculptures need to look human but not necessarily real or representative of any individual.

The project took about three weeks of class time, according to Schaad, but students were working on other projects simultaneously and also worked on the project outside of class time. He recommends allowing approximately two weeks in a public school art classroom with students working an hour a day.

"This was a fun and creative lesson," Schaad concludes. "Students learned so much about the physiology of the human head, but by urging them to add details--to exaggerate with bigger noses and ears, bags under the eyes, unusual features--they also had the opportunity to be creative and add humor."

How To Create Sculptural Heads

Prof. Schaad used approximately 8-12 lbs. of dry Sculptamold[R] for a life-size bust. He recommends covering surfaces with newspaper for easy clean up and, even though Sculptamold is an AP Nontoxic product, using a clean dust mask when mixing large quantities and mixing in booth, or covering bucket with towel to contain dust.

1. Decide what you're making. A self-portrait? A cartoon character? A historical figure? Are you working from a model?

2. Create an armature appropriate in scale. For a life-size bust, the base should be approximately 4" x 12", with a vertical support that is 12-15 inches high. Crumple and build up newspaper onto the armature using masking tape to hold in place. Make as dense/tight as possible so that it doesn't give much when you add the Sculptamold. Build shoulders, neck and head, taking into consideration the overall shape intended.

3. Mix Sculptamold according to product instructions.

4. Sculptamold will begin to set in 15-20 minutes so don't mix large amounts at the same time. The consistency should be lumpy, like soft sticky baking dough or thick oatmeal.

5. Construct sculpture by patting small quantities of the medium, patting it until it is approximately one-half inch thick, and applying it to the armature.

6. Continue adding "patties" by joining them and smoothing with your fingers to cover all the paper up to the top of the neck. As the Sculptamold begins to set, you will be able to push and shift the wall without creating indentations. Again, bear in mind the overall shape you intend to make, but don't worry about the details yet.

7. Build shoulders and neck--wait for these to stiffen before starting on head.

8. Incorporate the physiology of the head: understand the proportions and where the features are located on the head.