Photographs
Physical Project
THE STORY OF MY SCULPTURAL RELIEF
THE STORY OF MY SCULPTURAL RELIEF
INSPIRED BY AUGUSTAN AGE STATE RELIEFS AND PROPAGANDA
I researched art from all time periods in the beginning to get a feel for the figures and mythology used in a relief. Although my research for my paper focused on Augustan relief sculpture, I used pictures and references from a larger span of time (when triumphal processions were practiced) so that I could have more pictures and text available to draw from. I still tried to infuse propaganda using sculptural reliefs and images of Rome. In the pictures above, I am drawing dimensions and sketching my design to scale.
I researched art from all time periods in the beginning to get a feel for the figures and mythology used in a relief. Although my research for my paper focused on Augustan relief sculpture, I used pictures and references from a larger span of time (when triumphal processions were practiced) so that I could have more pictures and text available to draw from. I still tried to infuse propaganda using sculptural reliefs and images of Rome. In the pictures above, I am drawing dimensions and sketching my design to scale.
In order to have a slab of clay to work as my carving base (and to cut figures out of), Mr. rogers and I rolled out a slab of clay using the machine pictures to the left. This ensures and even surface.
In order to have a slab of clay to work as my carving base (and to cut figures out of), Mr. rogers and I rolled out a slab of clay using the machine pictures to the left. This ensures and even surface.
I am cutting out the horse that is going to be closest to the viewer and the most carved in the pictures to the right.
I am cutting out the horse that is going to be closest to the viewer and the most carved in the pictures to the right.
IMG_9648.MOVI am attaching the wheel, chariot, and horse to the slab of clay. I have to score both sides with a clay needle, apply slip to both sides, push the two pieces together, and seal the edges with a wooden carving tool so that no air bubbles are caught between the two layers of clay. If you watch the video to the right, this is where I went wrong. I did not press them together enough and get the air bubbles out because I was worried about squishing them too much (I wouldn't have any clay left to carve).
I am attaching the wheel, chariot, and horse to the slab of clay. I have to score both sides with a clay needle, apply slip to both sides, push the two pieces together, and seal the edges with a wooden carving tool so that no air bubbles are caught between the two layers of clay. If you watch the video to the right, this is where I went wrong. I did not press them together enough and get the air bubbles out because I was worried about squishing them too much (I wouldn't have any clay left to carve).
I am carving the spindles on the wheel. I am also joining different pieces of clay to the horse, building up different parts of its anatomy, and then carving into them and shaping them.
I am carving the spindles on the wheel. I am also joining different pieces of clay to the horse, building up different parts of its anatomy, and then carving into them and shaping them.
I researched and sketched the figures carved into the chariot, the soldiers, and the horses. After I created a stencil, I printed it out at different sizes to get the proportions correct and used it as a guideline for carving. After the proportions were generally carved out from the stencil, I added more detailing and free-handed the rest of the figures.
I researched and sketched the figures carved into the chariot, the soldiers, and the horses. After I created a stencil, I printed it out at different sizes to get the proportions correct and used it as a guideline for carving. After the proportions were generally carved out from the stencil, I added more detailing and free-handed the rest of the figures.
I free-handed the background, referencing various triumphant relief sculptures. I also added more depth to the carvings.
I free-handed the background, referencing various triumphant relief sculptures. I also added more depth to the carvings.
This is the sculpture going into the kiln for cooking. We left it to air-dry in the kiln for hours to make sure it was dry before we cooked it. If it is wet, then it will dry to quickly when cooked and break.
This is the sculpture going into the kiln for cooking. We left it to air-dry in the kiln for hours to make sure it was dry before we cooked it. If it is wet, then it will dry to quickly when cooked and break.
I am attempting to put my sculpture back together after it broke during the firing. My guess is that I did not press down hard enough when joining the pieces of clay together and did not press all of the air bubbles out. I would most likely start with a thicker piece of clay next time so that I am able to press down firmly. It is hard to judge, considering that the machine will only accept a certain thickness to roll it out to a certain size.
I am attempting to put my sculpture back together after it broke during the firing. My guess is that I did not press down hard enough when joining the pieces of clay together and did not press all of the air bubbles out. I would most likely start with a thicker piece of clay next time so that I am able to press down firmly. It is hard to judge, considering that the machine will only accept a certain thickness to roll it out to a certain size.
I painted three layers onto the sculpture to give it a distressed look. I painted dark grey, grey, and a light grey or white on the top. I then carved through the layers of paint where I had carved before in the clay so that it would accentuate the carvings further.
I painted three layers onto the sculpture to give it a distressed look. I painted dark grey, grey, and a light grey or white on the top. I then carved through the layers of paint where I had carved before in the clay so that it would accentuate the carvings further.