3D Art

Scale-Figure Project

"The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life." - William Faulkner

"What strikes me is the fact that in our society, art has become something which is only related to objects, and not to individuals, or to life." - Michel Foucault

Theory

The human figure has been a favourite subject for sculptors for thousands of years. Classical sculptures used bronze-casting and reductive processes to create humanoid figures in bronze and in stone. Twentieth century sculptors, such as George Segal, used plaster-impregnated fabric over live models and static armatures to construct humanoid figures.

A fascinating part of Segal's work is the addition of re-purposed elements - walls, window, staircases, bathtubs, park benches, household furniture, traffic lights, a train's passenger compartment and even part of a bus - that support the activities (often mundane, domestic or pedestrian) depicted by his figures.

Even though Segal used lots of plaster when he made his figures, some of these works have been cast in bronze (and then patinated white). Bronze is a much more durable material that's capable of withstanding the adverse effects of weather, thereby allowing these sculptures to be installed in parks and other outdoor public spaces.

Project Description

OBJECTIVE: In the spirit of George Segal, use aluminium foil (for armatures) and plaster-impregnated gauze to make a naturalistic grouping of figures that are engaged in some kind of dynamic activity such as sports or dance. The figures should be no smaller than five inches high and no larger than ten inches high. Pretend that you are submitting a maquette to a prestigious competition to design a public sculpture for a local park.

MATERIALS: Aluminium foil, plaster impregnated gauze, hardboard, 1" - 1.5" nails, hot glue, acrylic paint.

PROCEDURE: Use the foil to construct simple armatures. Take your time to work the metal so that it's slightly thinner than needed because the plaster will add thickness. Model the limbs carefully so they have naturalistic proportions and angular joints. Pay attention to the shape of the head, making sure to include subtle indicators that a chin, nose and ears are present. Ensure that the neck is not too long, short, thin or thick. NOTE: If you're unsure about the pose or proportions of your figures, use your own body as a reference by standing in front of a full-length mirror.

Carefully wrap the armatures with small strips of the plaster gauze. Cut a piece of hardboard for the base. Drive nails through the board from the bottom at the places where the figures "feet" will make contact with the base. Push the figures onto the nails using hot glue to hold them in place. A finish is needed to protect the plaster from moisture and contaminants. Paint the figures with clear, acrylic medium or Varathane that has a matte or satin finish. White is the preferred finish of most artists and students (George Segal himself, allowed most of his figures to remain white), but if your figures must be coloured (for the sake of symbolism), choose subtle and uniform tints or shades of colour (i.e. NOT intense, high-key colours).

Examples of Student Work

Note

AESTHETIC: Because this work deals with naturalistic representations of the human form, scale and proportion will be very important principles toward creating a successful piece. The single, uniform colour should create a sense of unity in the composition and should not call attention to itself (hence the requirement that a subtle colour be used).

Your finished work must exhibit a comprehensive understanding of the compositional principles of Movement, Balance, Proportion and Scale. The more lifelike the figures are (i.e., convincing human movement, posture and gesture, but NOT minute details like fingers, skin colour, hair and facial features), the better your grade.

Your work will also show that you've attended to the details of forming a strong armature and completely covering it with at least one layer of plaster-impregnated gauze. The plaster surfaces can remain rough in the spirit of George Segal's work, but the joints - elbows, wrists, ankles and knees - should be suitably angular and not rounded like "Steamboat Willy".

TECHNICAL: The figures must be affixed to the support in such a way that excess hot glue and tape appear non-existent and surfaces are clean and free of defects.