'It's All in Your Head'

Self Portrait

Students will explore the idea of self-image through the creation of an original ceramic self-portrait bust.

Objectives:

Inspiration:

I can explore self-image within my personal artwork
I can research and gather ideas for my self-portrait bust by observing myself, photographs, and artworks.
I can use brainstorming and visual research to inspire my design concepts.

Development:

I can create detailed sketches and plans for my bust, focusing on proportions, visual elements, features and expression.
I can experiment (try new tools, materials or techniques) and evaluate my plan while developing my ideas.
I can create a paper template to utilize during construction of my artwork, keeping them in proportion and scale.

Creation:

I can construct a hollow bust using slab, pinch, and coil building methods.
I can apply hand modeling techniques to sculpt detailed features and visual elements.

Revision/Reflection: (ongoing)

I can assess my work for structural and aesthetic qualities, identifying areas for improvement.
I can provide constructive feedback on classmates' projects during critique sessions.
I can reflect on and evaluate the success of my project in meeting its intended goals.

Finishing

I can apply appropriate glazing or decorating techniques to enhance the meaning of my piece.
I can articulate the thought process behind my artistic choices in a written artist statement.

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Vocabulary:

Bust - sculpted representation of the upper part of the human figure, depicting a person's head and neck, and a variable portion of the chest and shoulders. The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type.

Slab - a portion of clay that has been flattened into a sheet. Usually, the slab will have an even thickness throughout, and can be made with a rolling pin or a slab roller.

Inspiration Artwork

Inspiration Artists

Project Steps

Step 1: Work in your Sketchbook to plan out your Self-portrait

**For the INSPIRATION step of this project, you are required to completely fill 1 sketchbook page with ideas, exploration & research.**

There are different ways you can meet the inspiration work requirement, it is your choice, as long as you have at least one page completely filled with research, ideas and exploration that directly informs your ceramic self-portrait project. Think of this as an inspirational mood board with research into the best parts.

Start with one of the options below..you may need to do one or all of them...or more!

Suggested options for getting started:

Ask yourself the 'Thought Prompts' below
Create a Curiosity List
Take a look at the Artwork Themes
Explore 'Magical Realism' Characteristics

**When you are done, take a good photo and turn it in to Google Classroom.

More Inspiration/Research Page Examples

Try a...Curiosity List - ARTISTS ARE CURIOUS

~ Curiosity - (noun) Definition: 1. desire to learn or know about something 2. interest leading to inquiry

In your sketchbook, write down at least 20 things you are "CURIOUS" about.

You can refer to your mindmap (which you made at the beginning of the year) if you need something to get you started. These are things you want to know more about and are interesting to you.

Next - explore several of them... what are you interested in exactly and WHY? Then look it up! Find out something new about it, find some cool images to print out (& add to your sketchbook). Or sketch them out.

Try some...Thought Prompts - ARTISTS THINK DEEPLY

Have you ever been told "Nah, it's all in your head!"? Everyone has insecurities about themselves....but others don't see you the same way. Show them!
Have something to share about yourself? A curious interest? A strange obsession? Do you love caterpillars? Have a great beard or mullet...or both?
Do you have a call to action? Hate ocean trash? Plastic bags? Social injustice? Prejudices?
Do you have a different view of the world around you? How do you SEE YOURSELF in it?
What would your Alter Ego look like?
How about an older or younger version of yourself? More popular? Braver? Smarter? Better Hair?

Try a ....Theme - ARTISTS CONNECT IDEAS

Take a look at my "Artwork Themes Page" (or the docs to the right), choose 1 or 2 to play with. Having a theme can give you a direction to look for ideas, or can unify your ideas and give them deeper meaning.

Explore by coming up with a theme and at least 5 visual elements that work with the theme.

ThemesInArt_PhilOrange.pdf

Quick List of Themes

Art Themes

List of Art Themes

Transformation:

• Life Cycles • One Mind Set to Another

• Deterioration • Regeneration

• Building Up • One form to Another Form

Observation of the Natural World:

• Plants/Flowers • Animals

• Insects • Fruits/Vegetables

• Seasons • Weather • Micro/Macro

• Abstraction in Nature

Altered View:

• Aspirations • Future/Past Visions

• Mythology • Imaginations • Foretelling

• Other Worlds • Sci-Fi

• Dreams/Daydream • Fantasy • Surreal

Sense of Place, Location:

• Urban • Marine • Forests • Deserts

• Outer Space • Planets • Countries

• Ancient Civilizations • Community

• Neighborhood • Home • Special/Safe Place

Try out...Magical Realism - ARTISTS EXPLORE

Magical realism is an art style where realistic narrative and hyperrealism are combined with the juxtaposition of unlike things to convey the mysteriousness of everyday life. Below are a few ways to play with this concept and try out the characteristics of 'Magical Realism.'

Option 1: Incorporate three unusual objects into your portrait. They can be personally meaningful or metaphorical. The larger and more detailed they are, the more interesting they’ll look. See if you can find creative ways to interject them into/onto or near the face.
Option 2: Pick a spirit animal and incorporate its various body parts and elements of its habitat into your portrait. Your sculpture should include the animal and at least three natural objects.
Option 3: Pick an emotion and express it using representational objects or abstract symbolism.
Option 4: Blend the boundary between the background/environment and you

(Interested? Take a look at this painting assignment for more inspiration.)

Important Note: All imagery in your portrait should be school appropriate. That means that there are no guns, knives, blood, profanity, or sexual content allowed in your project.

Step 2: Rough Sketches

In your sketchbook, draw out your ideas and plans IN PHYSICAL FORM. These sketches do not have to be awesome nor beautiful...this is not a drawing class, BUT you do need to draw out all aspects of your project from AT LEAST 2 VIEWPOINTS.

What expression will you have, and why?
How large does it need to be? (Your head should be between a baseball and a softball size)
What does the base slab shape look like?
What other elements will you add to enhance your ideas and engage your viewers?
What textures will you have?
How will you finish this after it is bisque-fired? (Glaze/paint/stains/mixed media/found objects...)

**When you are done, take a good photo and turn it in on Google Classroom.

How to Draw Human Heads

Step 3: Reference Images

Images of Yourself

You can take them yourself with a timer, or someone else can take them under your direction.
Take a LOT of photos of yourself in various positions that work with your plan. Try different expressions, camera angles and poses.
Make sure you take photos from the sides and back as well.

Images of Everything Else

If you can find the item (like the bird or rabbit ears to the left) in the real world, you should take a picture of it (even if it is at the store, or at a friend's/relative's house).
But if you can't find take a photo of the item, then you will need to use your imagination and draw it in your sketchbook. You can look at references online, but DO NOT COPY them exactly. Find several images and then combine them into your own version.
If it is an animal, find a live stream and then draw from the footage.
Need a location, use Google Earth

**When you have taken your photos, submit them on Google Classroom.

Step 4: To-Scale Sketch Guides

Now that you have your reference images and your rough sketches/plans in your sketchbook, you will be able to plan out your work to the correct size.

Using a piece of newsprint/thin paper, draw out your sculpture from the front view. You do not need to draw out all of your features for this...just the size of your forms, like a silhouette. What will be coming out of the basic form? How tall is your hair, or anything else you have planned....?

For this sculpture, we will not be doing life-size, but much smaller. Aim for around 10 - 12" inches tall, with your head between the size of a baseball and a softball.

Student Examples

Construction

TIP 1: Recommended wall thickness is 3/8", depending on the size of the sculpture. (Walls may be slightly thinner when reaching the top of the piece, but extremes of thick and thin should be avoided).

TIP 2: Allow the piece to set up in stages, with the lower areas becoming stiffer while working on the upper layers. Moisten and cover with plastic any areas that are getting too dry (late leather hard or beginning to lose color). Keep wrapped in plastic between class sessions. To keep top areas of the project moist, wrap the very top portions (or where clay will next be added) with a small strip of soft plastic pressed firmly onto clay to keep air out. Bag the rest as desired.

Resources as You Build

'Ceramic Arts Network' - (Non-Video How-to)

How to Sculpt a Bust in Clay

Amaco Video Series

Step 5: Base Piece

**The photo examples are larger than our portraits will be, so be careful not to make it too large.

Start construction by cutting a flat slab base to the desired contour and size, laying it on a porous board or on a doubled sheet of newspaper. Remind each student to sign their name into the underside of the slab and cut a 1″ round hole in its center for air to escape (as it will be difficult to flip the sculpture over after construction begins).

Recommended wall thickness is 1/2″, depending on the size of the sculpture. (Walls may be slightly thinner when reaching the top of the piece, but extremes of thick and thin should be avoided).

Step 6: Begin the walls

After scoring & slipping the edges, place the first strip of clay on top of the base (not around it) for best support.

Build the sides of the form up using either slabs or coils, or a combination of both. Slab strips can be cut to the width and shape that is appropriate to the desired form.

Always “stitch” or mesh seams together well (if different moisture levels, you must score and slip!) and put coil along inside of seam for additional strength.

Step 7: Create the Torso/Shoulders

Shape the torso by adding slabs or coils and coaxing the walls while supporting with the other hand. “Darts” or cutouts may be created to achieve deeper indentations.

To create the shoulders and neck, construct internal structures to help support the weight through construction and firing. Added slab supports should be the same consistency as the rest of the sculpture to avoid stress cracks.

Be sure to make holes in any supports which may trap air, or there can be disastrous kiln blow-outs. Note: Do not pack the interior with newspaper as this gives very little structural support while building, none while firing, and can shorten the life of electric kiln elements.

Step 8: Neck

Build the neck as a tube and attach the chin as a “chevron” tilted up.

Let the underside of the chin set up before adding the weight of the head (this would be a good stopping point before the next class).

Step 9: Clothing/Other Items

Make clothing as part of the form, then add texture to show the drape or edges.

When sculpting fabric, laying slabs for fabric over slabs for the body has a high likelihood of cracking. Instead, sculpt the rough shape of the body and garment together, as I did for this voluminous sleeve. I’ve roughly sketched the neckline of the dress on the woman’s torso as a guideline.

Use thin coils added with scoring and slipping to give the folds and drape of fabric. Edges of fabric, like collars and cuffs, can be smoothed on one edge only and the other edge, as it lays over the base slab, will look like the edge of the garment. Use a wood tool or fingertips to smooth these coils into the form and integrate them.

The clay can also be textured to look like fabric. Use rope or burlap and press into the soft clay.

Step 10: Face/Head Form

Once the neck and chin has set up enough to support the weight of the head, add slabs and sculpt the face. Continue to build up until reaching the hairline. At this point, before enclosing the head, the features should be modeled and sculpted. Begin by sketching the location and shape of the features.

Step 11: Facial Features

First - use a tool to "sketch" out the location of each feature, using the guides to human facial proportions...and your reference photos of yourself!

A - From the top of the head to the chin, the eyes are positioned approximately in the middle.

B - The eyes are about one eye-width apart.

C - The bottom of the nose is halfway between the eyebrows and the chin.

D - The ears are positioned between the horizontal lines of the eyebrows and nose.

E - The mouth is placed between the nose and chin, about two-thirds of the way up from the chin.

F - On the profile, notice that the ear is placed behind the vertical center line.

Video: Sculpting the Face (Part 1)

Video 2: Sculpting the Face (Part 2)

Sculpting the Nose

Draw an upside-down T with the crossbar being the bottom of the nose. Cut all the way through the face, then push from inside. Make a coil of clay and add into the T. Use a wood tool to sculpt the nostrils and bridge of the nose. Push out the cheeks at the same time to help form the bridge of the nose.

Video: Sculpting the Nose

Video 2: Sculpting the Nose

Sculpting Eyes

To sculpt the eyes, push in at the inner corners using two fingers while pushing out the bridge of the nose. Push out the eyebrows and nose from the inside. Then start adding clay.

Video: Sculpting an Eye

Video 2: Eye

Video 3: Eye (2 ways)

Video 4: Sculpting the Eye

Sculpting the Mouth

Use a wood tool or fettling knife to draw the line of the mouth. Use the flat part of the tool to push the lips outward: up for the upper lip, down for the lower. Use a tool to push the corners of the lips in. Lips can also be made with coils, scored and slipped in place and smoothed out.

Video: Sculpting the Mouth (Amaco)

Video 2: Sculpting the Mouth

Video: Sculpting the Ear (Amaco)

Video 2: Sculpting the Ear

Sculpting Ears

Using the eyes and mouth as guides, lightly make a line for the top and bottom of the ear. The top of the ear should be slightly above the line of the eyes, and the bottom should be between the tip of the nose and the level of the mouth. Use a coil, scored and slipped and applied in a C-shaped curl, for the ear. Smooth the inner curl of the ear, leaving the outer edge un-smoothed. Use a wood tool to hint at the curve of the inside of the ear. In sculpture, ears work best when they are subtle and close to the head.

Step 12: Closing the Head

Now that the features are complete it’s time to close up the top of the head. Use slabs to make the top of the head, making it slightly larger than you want it to be on completion. Let the head firm up if it needs to and come back to it later. Shape slabs and score and slip. The final slab, closing up the top of the head, can be tricky. Once it’s securely attached use a paddle to lightly shape the head. THis has the added benefit of compressing the joins to make the seams of the head more secure.

Web Page with useful hair sculpting tips

Step 13: Hair

Hair is best sculpted as a form, rather than as individual strands (which are likely to break off and look odd). Slab or coil build the shape of the hair, and texture with whichever tools seem appropriate – combs, forks, wood tools, brushes, etc, can all be used to give the hair a naturalistic appearance. Texture the outside of the bust if desired although it is best to texture or add elements while building. If texturing is left until late, the bottom and top will appear different due to the variations in stiffness and consistency of the clay.

Step 16: Visual Elements

Create any visual elements needed to express your intent.

Examples:

Birds, animals, bugs
Body parts (human or otherwise)
Food, tools, equipment
A sense of place; Trees, flowers, houses, furniture
Clothing, hats, jewelry

Step 17: Peer Evaluation and Feedback

As a class, we will gather feedback from our peers, then evaluate our work for places of refinement or adjustments.

Step 18: Check Thickness, Details & Textures, & then Refinement

Make sure to flip over your work and judge thickness....you do not want a large variance between thin and thick areas. If your work is super heavy...then it is too thick somewhere...or everywhere.

If at all possible, scoop out extra clay thickness from walls and solid items. If anything is too thick, your work will crack and or explode!!!

Complete any planned adjustments and complete a full refinement of all parts before allowing your work to dry out - be careful of small parts drying too quickly!

**If using underglazes - they should be applied at leatherhard

After Bisque-Firing

Step 19: Glazing

Underglazes may be applied to the bust before bisque firing, preferably at the bone dry greenware stage. These can be used as an “underpainting” or for final decoration.

After bisque firing, more underglazes and selected glazes can be applied to achieve the desired effect before the final glaze firing. Alternately, the piece could be left with the matt underglaze and clay surface as long as it is not going to be displayed outdoors. Various artists finish their surfaces by applying glazes and color in different thicknesses and techniques so the style of the chosen artist should be kept in mind.

To achieve the surfaces seen to the left (which is the opposite look as the video above), glaze the bisqued pieces as follows:

a) The first step in glazing is to wipe off dust and debris using a clean damp sponge to help prevent glaze crawling. Sponge off all surfaces and do not saturate the piece or rinse it under running water, as it would absorb so much water it would cause the glaze not to stick well.

b) Brush on a thin coating of a dark colored underglaze on the bisqueware and then sponge it off. Sponging leaves some underglaze in the crevices and textural interstices, giving the piece more visual depth and accentuating the texture. For detailing and design work, more underglazes are painted on after this step (as done with the flames, to make a greater contrast).

c) Apply 1-2 coats of a gloss or matt clear glaze LM-10, AMACO Liquid Matt is recommended as it enhances the underglazes without a shine detracting from their colors).