FORMAL PLASTER CAST PROJECT
DOMINANT, SUBDOMINANT, AND SUBORDINATE
Objective:
To understand what entails good craftsmanship.
To establish relationships between volumes.
To become aware of proportions, mass and balance and contrasting shapes.
To understand the notion of activating space and deal with the basics of engineering
(balance and weight).
Concept:
To create a unified form combining three rectilinear shapes (a dominant, a
subdominant, and a subordinate), through piercing, wedging,
and/or cradling.
Below are 3 sculptures that pierce, wedge, and cradle. Can you guess what image represents what concept?
Materials:
-Sketchbook
-Pencils
-Bristol Board or
-Chipboard
-X-acto Knife, Utility Knife, Blades
-Mat Cutting Board
-White Glue (Elmer's)
-Hot Glue/Glue Gun
-Blue Painter's Tape
-Foam Core
-Zap a Gap
-Paintbrush for applying soap
-Primer/White Flat Paint
-MH Ready Patch
-Sandpaper, assorted grits. Ideally you will need one of each: 80, 100, 220,
400, and 600 grit
-Face mask, rubber gloves
Below are plaster carving tools. When working at home, try finding tools around the kitchen or tool shed that could substitute these tools.
Approach:
Make 10 or more rectilinear volumes in chipboard or bristol board. The volumes
should vary in length,
width, and height. Measure and cut with precision for an accurate form. Organize
the rectangles in groups
of three, keeping these principles in mind:
Start by designing the dominant,
then the subdominant. Spend a little time on this relationship. Quickly complete
the subordinate
element, and quickly arrange in a three-dimensional grouping. This will give
you a sense of the overall
configuration. Then you can begin to refine.
The volumes you use choose should vary in character as much as possible, and
no two should have the
same measurements. You should be able to assess the differences in volume
of the three elements by eye.
If you have to measure, they are too similar in size.
The dominant volume is the largest element, the most interesting
and dramatic in character. It occupies the
dominant position in the group. The subdominant complements
the dominant in character. The
relationship between the two should be visually interesting by the contrast
in character, and the position of
each, usually when the axes are not parallel.
The subordinate makes the design still more interesting by
introducing a third visual element and axis. The
third element should make the design more three-dimensional, complement the
existing forms, and
complete the unity of the design. It is not as independent as the dominant/subdominant.
It should be
contrasting but sensitive to the other forms. It must be designed to fill
what is missing in the other two.
Always conceive a design from all positions.
Rules:
-Emphasize either the vertical
or horizontal proportion in each sketch.
-All joints should appear structural.
-A balance of directional forces should be established.
-The design should look interesting and three-dimensional from every position.
-It should achieve a an effect of unity in which every part relates to every
other part, and every design
relationship contributes the whole.
Schedule:
Week 1
Bring in materials to class. Begin
making rectilinear forms in class using bristol board and blue tape, white
tape, or masking tape.
Arrange forms, making adjustments as needed (cut into forms to pierce, wedge
and cradle). Decide on three final configurations to be viewed next class.
Take note: You are now using paper as a material for model
making; whereas, in the previous project you used paper as a sculptural material.
Week 2