How Is A Bronze Sculpture Made?

April 23, 2008

I’m sure I can safely assume you’re not wondering how one carves or molds a sculpture. Although the carving and modeling methods require great skill, the techniques used are fairly simple- you basically use tools and your bare hands to “add” or “subtract” material until you get your desired product. Once you have carved away from a stone or other hard surface, you can sand it and polish it. If you were carving from clay the last step would be to fire it in a kiln or heat it in an oven.

But how are bronze and other cast sculptures made? It’s not like there’s a chunk of metal and the sculptor chisels away at it. Casting is a little more complicated than the other two types of sculpture. It takes a team of several people, a foundry, and a 10 step process that has been around since 3000 B.C. When completed, you will have a work of art that will be around for that same amount of time into the future.

In a nutshell founders reproduce in bronze a sculptor’s plaster original. The process is a back and forth system of molding until the final mold is made to withstand molten bronze. This is how it goes:

The sculptor creates a model, usually plaster, to send to the foundry.

Using elastic material in a solid container, the founder makes a mold of the model.

The mold is used to make a model of fireproof cement that will serve as the core of the bronze during casting. Iron shafts are inserted to make sure it remains stationary within the mold.

The surface of the core is worn down, creating a narrow space between it and the mold.

Melted wax is poured into the mold, filling the space between it and the cement core. The mold is then removed, revealing the core shape covered with a layer of wax. The artist’s signature, the casting number, and the foundry stamp are imprinted in the wax.

A network of conduits is created to allow the melted wax to run out of the mold when it is heated. Later the conduits will also be used to pour in the molten metal.

A second mold is created of fireproof clay. When it is sufficiently thick, and throughly dry, it is heated, both to melt the wax and to harden the clay.

The fireproof mold is then covered by an exterior mantle of fireproof cement.

The mold is fired at high temperature. Molten bronze (2850° F) is poured into the space formerly occupied by the wax. After the bronze cools, the mold is broken to reveal a bronze replica of the model.

The conduits and other protuberances are removed from the bronze figure, which is then finished with chisels, polished, and treated with chemical solutions to give its surface the desired patina.

So there you have it. An artist can have their sculptures cast in bronze by sending it to a founder and paying them to do all the hard work. After all, you’ve done the easy part by creating the object in the first place. It must be interesting to see the final result, one of your own sculptures actually made in bronze, to be around forever.

healing art spiritual art, meditative art

Article by Daniel Kretschmer
Dan Kretschmer keeps a daily blog at www.vincesear.com. (Original title: ‘how is a sculpture made?’)

Written by e Art fair .com · Filed Under How To Make Art, Sculpture | 1 Comment

David Hockney – Art BMW – Video

March 12, 2008

By Astrid Lee

World-famous artist David Hockney was born in Bradford, UK. He lived in both London and Los Angeles.

As important contributor of the British Pop art movement of the ’60s, Hockney is one of the most influential, 20th century artists.

Despite his fame for Pop Art, David’s earlier works show Expressionist marks and reminds us of Francis Bacon. Hockney was also interested in Picasso & cubism. In California, Hockney is best known for his pool side series from the ’60s, which is a ‘high point’ on his varied artistic journey.

Besides painting and lithography, artist David Hockney has also worked with photography and photo-collage. David Hockney is represented by Galerie LeLong (fine art prints), amongst other galleries. Many of Hockney’s other works are on display in Salts Mill, Saltaire, in his home town of Bradford. Hockney’s work was recently displayed at Royal Academy and National Portrait Gallery in London.

David Hockney received an Order of the Companions of Honour in 1997. This is a British & Commonwealth Order which rewards outstanding achievements in the arts, literature, music, science, politics, industry, or religion.

The video here (with German commentary) shows artist David Hockney working on & discussing an unusual art project: the 14th BMW Art Car painting project in 1995. Hockney painted the car, turning the car inside out, thus offering the viewers a look inside it on the outside.

About the Author

Astrid Lee is a fine art painter who creates spiritual art. View some of her works at http://www.astridlee.com

Written by Astrid Lee · Filed Under Art History, Famous Artists, Pop Art | Leave a Comment

Constructionist Artist Varvara Stepanova

January 23, 2008

By Astrid Lee

The great Russian artist Varvara Fedorovna Stepanova (1894-1958) delved into to a wide range of artistic trends from Social realism to Symbolism. However, Stepanova is mostly known for exploring and furthering Constructivism.

New Abstract Art in Russia began around 1909 – some say, actual Constructivism started in 1919 when first mentioned by Rodchenko. The term ‘Constructivism’ was actually used by the Russian artists themselves. In some ways, Constructivism was influenced by Cubism, Italian/Russian Futurism and traditional peasant art. Constructivist artwork is characterized by abstract, geometric forms and a technique in which various materials, often industrial in nature, are assembled rather than carved or modeled.

Constructivism replaced traditional art with socially-instrumental art. Constructivists invited their audiences to be active viewers of their artwork. In line with this vision, constructivists were innovators in fine art painting; but also in 3-D constructed objects; typographic design including posters; textiles & fashion designs, furniture, and theater sets and costume design.

Constuctivist lead-playing artist Stepanova expressed her wide range of talents in all of these art outlets and media. For a long time, Varvara substituted her painting for production art. She worked with functional materials manufactured in an equal relationship between artist and industrial worker, with an objective to bring art into life.

Stepanova carried out her ideal of engaging with industrial production and designed comfortable clothing for ease of movement of workers. She used striking fabrics in geometric patterns that suited the industrial printing methods. Her modernist practicality combined with sophistication made her popular in Paris in the mid ’20s.

Even though from peasant origin, Varvara went to the Kazan School of Art in Odessa. There she met her live-long art collaborator and then future-husband, Alexander Rodchenko. She moved to Moscow in 1912 with Rodchenko to attend the Stroganov School.

Together Stepanova and Rodchenko became an important part of the Russian art avant-garde, both in terms of their collaborations, and each in their own right. For an example of a collaborative artwork with Rodchenko, is NYC’s Museum of Modern Art. Both Rodchenko and Stepanova considered the artistic experience as public communication rather than a private introspection.

The couple was involved with many influential artists of that time. Before the Russian Revolution, around 1917, they shared an apartment with Wassily Kadinsky in Moscow, and were introduced to many other famous Russian artists.

In the earlier parts of her career, Varvara loved Futurist poetry. She autonomously developed what came to be known as ‘non-objective visual poetry’. An example of ‘non-objective visual poetry’ is featured at MoMA: ‘Gaust chaba’, 1919, which is watercolor manuscript text on found newspaper leaves.

Stepanova designed Cubo-Futurist artwork for use in artists’ books. This kind of artwork combines the Cubist use of forms. At the same time, it adopts the Futurists’ passionate loathing of ideas from the past, especially political and artistic traditions, and a love for action and technology. Stepanova participated in world-famous art shows, including the ‘Fifth State Exhibition’ & the ‘Tenth State Exhibition’ in 1919, and the ‘5×5 = 25 Exhibition’ in Moscow in 1921.

Many of her works feature figures who she displays as robotic, efficient and dynamic, i.e. new socialist human beings. In one of her most famous works ‘The Billiard Players’ Stepanova depicts mechanical action and emotional states simultaneously.

Even more than her husband’s work, Stepanova’s work in the 1920s epitomized the Russian Avant-Garde. Stepanova’s constructivism flourished through the mid 1930s. From 1920 to 1925, Varvara taught at the Krupskaia Academy of Social Education.

About the Author

A. Lee creates symbolic art, as she works with both healing & spiritual imagery which she infuses with distant healing energy. You can find her desirable artwork at Spiritual Art at AstridLee.com.

She also maintains the website for fine art, http://www.eArtfair.com , which features extensive fine art, abstract art, spiritual art and other quality art collecting information.

STEPANOVA IN THE NEWS
The New Yorker

Written by e Art fair .com · Filed Under Art History, Art Museum, Art in Europe, Famous Artists, Modern Art, Other Genres | Art Movements | 1 Comment

Tips for Creating Beautiful Polymer Clay Beads

November 19, 2007

To create beautiful polymer clay beads for your fine art jewelry, there are a number of steps you should take to ensure that right from the beginning you’re able to make a rather professional, artistic product, in an economical way.

FIRST THE BASICS: TIPS FOR USING POLYMER CLAY

1. Be a clean worker. That maeans work on clean surfaces and ensure clean hands. This practice keeps your work looking smooth and bright.

2. Polymer clay is typically softened by the heat of hands. Just knead it gently when taking it out of the pack.

3. Do not over- or under-bake your polymer clay. Instead, follow the instruction of your particular polymer clay (brand and type) you are using exactly, and you will get your baking just right. Each clay is slightly different and manufacturers will inform you of its unique nature and baking requirement.

4. While general household tools are useful for working with polymer clay, I suggest you dedicate a set of tools specifically for doing your fine craft. This is both hygienic and safe. It also means that you can more easily find the tools you are looking for when working on your artwork.

COLOR TIPS: SELECTING AND CREATING POLYMER CLAY BEAD COLORS

1. By contrasting your hue or value, you highlight your design. The stronger the contrast, the more vibrant your jewelry design.

2. Mix your colors with care. Mixing opposite colors will create neutrals. However, avoid creating mud by mixing all colors.

3. If you blend analogous colors, i.e. colors next to eachbother on the color wheel, you will achieve cleaner color tones that will look unique and attractive.

4. Bead color combinations that seems to work well include: warm and cool neutrals;
complementary pairs; “family” colors in different values; triad color schemes; color from nature.

POLYMER CLAY COST-SAVING TIPS

1. Make it a practice to use every little bit. Even the smallest bit can add interest to a bead.

2. To store scraps, use resealable plastic bags. Separate colors with wax paper to avoid color contamination. Store scraps as well as your bulk clay in a dark place, at room temperature.

3. BEST TIP: Create ‘end of the day’ beads. This concept was developed by the famous glass blowers in Murano (Venice) in Italy. At the end of the day, artisans used up their scraps of glass to make unique artworks.

You can do this too by simply gathering your crumbs. For example you can create dotted beads, patterned beads, or confetti-beads. Experiment! Note: do not overmix the clay colors, otherwise their colors will be dull.

JEWELRY BEAD-MAKING TIPS

1. The obvious: Make a hole in the center. For an even look, this by entering the bead from both sides and have them meet inside the bead.

2. Make a batch of the same/similar beads. Do this even when making specialty beads. Also make a collection of matching beads that work well together in a piece of jewelry.

3. Make sturdy beads. Fragile beads won’t survive actual usage.

4. Practice makes perfect. You want to build control over the quality of your beads as well as consistency of design. This only comes from practising.

5. Apply your ‘quality control’-check BEFORE baking. Ensure you ‘love’ your beads before you bake them. Once baked, they are unchangeable.

About the Author

Astrid Lee is an artist specializing in creating healing and spiritual art. Consider her inspirational work as a gift for yourself or others. Find her latest works here: http://www.astridlee.com

Astrid also maintains the fine art blog, http://www.eArtfair.com, which offers you a wealth of tips on art making & building your own art collection.

Written by e Art fair .com · Filed Under Fine Craft Supply, How To Make Fine Craft, Jewellery, Polymer Clay | Leave a Comment