Relief sculpting in the senior classes of the art department of the art school. Do-it-yourself bas-relief modeling Plasticine relief plasticine interesting
In today's modeling lesson, we invite you to feel like not only young sculptors, but also architects, by creating a bas-relief from plasticine. This material resembles clay, and therefore is quite suitable for depicting any three-dimensional decoration. One of the directions of this type of creativity is transferring three-dimensional outlines of animals onto the walls. But it can also be plants, birds, or just some intricate ornaments. We suggest you create a tiger head; a step-by-step method for implementing such an idea is given below.
Materials for work:
- plasticine of one color (preferably one that resembles clay);
- stack or knife.
1. Brown plasticine, similar to wet clay, is suitable for creating this craft. She will be unusual. Since there will be no bright shades, it will be impossible to play on color combinations. The distinctive features of the selected object will have to be conveyed by changing the relief.
2. Give any shape (circle, square, oval) to the cake from which the bas-relief will be made.
3. Push the plasticine with a stack to indicate the eyes, attach the tubercle-nose.
4. Stick on semicircular tubercles - eyebrows.
5. Apply round cheeks and attach the lower lip to highlight the mouth.
6. Add a little plasticine to the cheeks and apply transverse notches in a stack.
7. Attach the ears to the sides, point them and raise them.
8. Draw a picture to show the tiger's fur.
9. Insert small dots-eyes and make the final relief processing of the design.
This is how the sculpture turned out. Using the same principle, you can depict the appearance of any animal, and for this you only need one shade of plasticine.
“Making bas-reliefs from plasticine”
developed by the head of the studio of arts and crafts and fine arts “Kolibri”,
"Feodosia Center for Children's Creativity"
Sanina Evgeniya Igorevna
Bas-relief is a more complex version of working with plasticine. This will require some skill in working with this material, the ability to mix colors and accuracy. It is best to start mastering the technology of plasticine paintings with simple small-sized images. In the process of making a painting using the plasticine technique, everyone develops their own style and manner, gains confidence in working with the material, their own recipes for obtaining tones and shades, as well as little tricks and secrets. By completing several simple and small paintings. It will be possible to proceed to a more complex work.
So, to create a plasticine bas-relief you will need a plot (your own or from a book (magazine)), a base, a set of stacks and a little initial knowledge about the technique of making a plasticine picture.
Thick cardboard, plexiglass plate or plywood are suitable as a base. Bas-reliefs made of plasticine can be either flatter or convex, depending on the constituent parts.
At first, the background of the painting has a flat surface and resembles an oil painting, and in bas-relief the component figures may protrude slightly above its surface.
The picture can be square, round, oval, etc. Plasticine is applied to the base using a stack or with your fingers. It is best to spread plasticine on cardboard by hand, since the material under pressure lays in an even layer on the surface, thus achieving the effect of a brush stroke with oil paints.
The picture can be made in relief in different ways - by forming elements using a stack, sculpting individual parts, by cutting with scissors and lifting the cuts, rubbing plasticine through a sieve or squeezing it through a garlic press.
Work on the painting begins from the upper edge of the base to prevent hands from touching the surface areas covered with plasticine. Round and oval elements are made from rolled plasticine balls, which are flattened when attached to the base.
Thin stripes in the painting are made using rollers rolled on a plane. The rollers should not be too long, otherwise they will be difficult to transfer to the base. Long lines and elements are made up of several short rollers. Before applying the rollers to the surface, they must first be cooled. When rolling out thin rollers, you need to take into account that when flattened they increase in cross section.
To complete such details of the picture as petals, flower stems, curls, strands of hair, you will need smooth rollers, which can be obtained by squeezing heated plasticine through a disposable syringe or through a garlic press. If you rub plasticine through a fine metal strainer, you can get loose and fluffy elements of the picture, such as corals, grass, animal fur, etc.
Using a comb, the tips of scissors, an awl or a stack, by pressing through thin grooves, you can achieve the effect of relief of some details of the picture (for example, sea waves or ripples can be created by scratching the surface with a comb).
To depict leaves or crowns of trees, a carved edge is created on the plasticine part. This can be done by cutting the plasticine cake with scissors, a stack or a scalpel, pressing it at an angle to the design line.
Some details of the plasticine painting may have a complex outline. In this case, you need to apply a plasticine cake and remove excess plasticine using a stack.
If the painting contains elements that are difficult to sculpt, then they are repeated with a thin layer of plasticine on paper, cut out with scissors and stuck to the base using thin plasticine rollers.
To obtain the effect of volume or transparency of some elements of the picture, plasticine is applied in a thin layer and rubbed with fingers. To achieve the desired effect, the excess layer of plasticine is scraped off with a stack.
How to arrange and store plasticine bas-reliefs? They are best stored under transparent film; you can also place them in a frame under glass, but put a spacer along the frame that matches the convexity of the image. Plasticine paintings should not be deformed, exposed to direct sunlight or heat.
So, to summarize, what is needed to create a plasticine picture?
Base: cardboard, plexiglass, plywood, oilcloth.
Tools: stack set, scissors (for cutting parts), stationery knife or a scalpel, an awl or toothpicks, a rolling pin, a comb, a metal strainer, a garlic press or a special press for plasticine, a regular medical syringe, special sets of molds and syringes for plasticine.
Black graphite pencil for sketching. Triangular black graphite pencils are very convenient for little ones.
Modeling board. You can take a piece of regular linoleum.
A glass of water (to wet your hands so that the plasticine doesn’t stick)
Hand wipes. It is very convenient to use a regular kitchen damp microfiber cloth.
Good plasticine. This is the plasticine that is brightly colored, rolls out thinly and does not stick to your hands.
Come up with a sketch. Select image color and background. Pick up required format paintings. Decide what size and shape it will be. Prepare the base according to these dimensions.
Frame with glass or cling film.
Using the bas-relief technique, you can create individual scenes, masks and much more. For a bas-relief that will be painted, you can take the remaining plasticine and mix it into a total mass. All kinds of masks, images of which can be found in books and magazines, can be a wonderful decoration on the wall. The basis for such products are wooden and plastic boards; for very small children, nylon or metal lids for jars are suitable.
They create a semi-volume image of the figures, which can be called a sculptural relief. There are three types of sculptural relief: counter-relief, bas-relief and high relief.
Counter-relief method
When creating a painting using the counter-relief method, the image is created below the main surface, as if pressed into it.
Even small children will be interested in using plasticine or making impressions. Only they need to be given a safe tool: small lids of different shapes, a counting stick, a Lego piece, an old comb, etc. And for older children - a ballpoint pen refill, a match or even a toothpick. Just like in the technique, for kids you need to prepare a plasticine base in advance, and older children can handle it themselves.
Material:
A silhouette cut out of cardboard, for example, a lion, orange plasticine, a match, a felt-tip pen cap.
Progress
(We carry out the work on an oilcloth lining or on a plastic napkin lining. If necessary, clean the tool or hands with a previously prepared cloth).
1. Apply a thin, even layer to the cardboard silhouette of a lion.
2. Then, using a match, we draw the lion’s head, eyes, nose, paws, and fur.
3. Use the cap of the felt-tip pen to leave round imprints, thereby imitating the mane of a lion.
Work options . You can draw any objects and even plot pictures on plasticine with a match. And the picture will be complemented by prints made, for example, with a felt-tip pen cap. It turns out interesting Christmas tree and an Easter egg with drawn lines and decorated with prints. Or a curly poodle and a lamb.
Bas-relief method
If the depicted objects protrude slightly above the main surface, this type of relief is called bas-relief. You can create bas-relief images from plasticine on a cardboard base. For example, you can take a round lid from a processed cheese container. Then you will get a plasticine picture in a frame.
Material. Processed cheese lid, plasticine, glass.
Progress
1. We conceive an image, for example, a boat sailing on the sea.
2. Apply a plasticine background - sea and sky - to the plastic cover.
3. Then we sculpt a boat from individual parts and attach it to the background.
Work options. On this basis, of course, it is good to create some kind of plot pictures (a kitten playing with a ball, a caterpillar crawling along a leaf) or landscapes (winter trees and shrubs).
High relief method
Works made using the high relief method are distinguished by an image that protrudes strongly above the plane (by more than half). Using this method, you can make a toy - a fly trap - from a matchbox. And if you use modeling clay rather than plasticine, the toy will become “eternal.”
Material. A matchbox previously covered with colored paper (you can use self-adhesive paper), plasticine, glass.
Progress
1. Roll out a thin sausage and attach it inside the box in the form of a twisted web.
2. Separately, we sculpt a fly and “seat” it on the web.
3. We fix the sculpted spider on the lid of the matchbox.
Work options. Other design options for matchboxes are also possible: inside the box you can sculpt an aquarium, and the top cover can simply be beautifully decorated. Or a boat sailing on the waves; bugs walking on the grass; indoor flowers growing in pots on the windowsill; furniture in the room and much more.
The purposes of this methodological development are a study of interdisciplinary connections between sculpture, drawing and composition. Three-dimensional image of objects in relief, development of observation, visual memory and the ability to use composition, including decorative composition. Also, the purpose of this methodological development is to summarize the work on the subject “Sculpture” for the last four years of the art class of the Duminici Children's Art School. As well as transferring the accumulated experience to fellow teachers of art classes at art schools.
The objectives of this methodological development are to teach relief sculpting to students in an art class at an art school. It is necessary to take into account the limitation of the hourly load for the subject "Sculpture". In addition to the classical still life, the task of decorative composition is set. In this case, the task of sculpting a decorative frame is being performed. As a result, the connections between sculpture, drawing, and composition, including decorative ones, are studied. It is very important to combine work both from life and to perform compositional tasks.
Still life sculpting
Modeling a still life is impossible without basic knowledge of drawing and linear perspective.
A class on sculptural relief should be taught in a high school art school. By this age, the final positioning of the hand occurs and fine motor skills of the fingers develop. Students master sculpting clay and have sufficient skills in working with stacks.
At the beginning of the process of making a still life, an introductory conversation is held. The concept of relief is given. Examples of relief, bas-relief and high relief are studied. In addition to the blackboard and chalk, a classroom computer is used, on which both educational photos and masterpieces of world sculpture from different times are examined.
After this, the still life fund is analyzed. The objects from which the still life is composed are selected. Productions are selected differentially. It is necessary to take into account the age and level of training of students. It is very interesting to carry out this exercise in a complex. Drawing, grisaille, modeling.
The dimensions of the future plinth and the pattern are the same. A3 format or, roughly speaking, 30x40 centimeters. The performance itself is placed below eye level, the “horizon”, of the shortest student. As a rule, this is a stool or chair. Simple drapery with a minimum of folds is used.
First, a pencil drawing is made. Attention is paid to the design of the still life. The plane of the table is carefully aligned, and all the rules of perspective are observed. Then, the drawing is translated through glass. All this is done solely due to the fact that the limit on hours per sculpture is very small. Therefore, drawing and grisaille can be done in drawing and painting classes. Grisaille is made using the technique of multi-layer watercolor painting. The main thing at that stage is to analyze the volume and depth of the production. Of course, this is not the traditional “grisaille” technique, but something more conventionally adapted to school conditions and requirements. It's more of an architectural wash using black watercolor.
After the preparatory stage, we move on to preparing the plinth. On a piece of hardboard, plywood or linoleum we apply a layer of sculptural plasticine with a thickness of two to three millimeters. The size of the plinth, as mentioned above, is equal to the picture. We have a structural drawing, “grisaille”, on which we worked out the future volume, we move on to creating the so-called “cardboard”.
The very concept of cardboard, its origin and application is given at the orientation lesson. Tracing paper made through glass on a plinth scale of 1:1 is applied to the surface where sculptural plasticine is applied in an even layer. Then the stylus, which is an old ballpoint pen. On tracing paper, through holes are made. The technique is also known from medieval frescoes. The drawing was applied under the reliefs in approximately the same way. Only instead of pressing, dusting with coal was used. The step is applied every 3-4 millimeters. We remove the "cardboard". Connect the dots with lines. On the plinth we get a diagram of the future still life.
Now you need to finalize the structural drawing, or “grisaille” of your choice. But drawing is preferable. It is better to work using both preparatory works. In the drawing we begin to work out plans for the future relief. A thin marker is better suited for these purposes. We make the foreground lines bold, the middle and background lines thinner accordingly. For greater attention, check the boxes “more” and “less”, as in mathematics.
Let's start sculpting. For these purposes, flesh-colored sculptural plasticine is better suited. It is softer for children's hands. Of course, it would be better to use clay. But due to the special requirements of the school, plasticine is preferable. He can easily tolerate a break between classes. We apply plasticine to the more massive foreground. To better convey depth and perspective, we sculpt from the corner of a table or stool. The sculptor's main tool is his hands. But metal stacks are also widely used in the work. The main condition is that they are dull enough to avoid injury. We apply the plasticine in crushed lumps, giving the necessary volume to the foreground. We level it with steel stacks in the form of a carving or shoe knife. Let's move on to the middle shot. We start modeling with the largest object, a jug, a bottle, a geometric shape. When sculpting figures of rotation, it is necessary to pay attention to the clarity of the arcs along the axes. To do this, you can cut out small templates. We carefully make the transition between objects and the table plane lines. The main thing is to follow the rules of perspective and avoid objects “hovering” above the plane.
Here we are faced with the peculiarities of relief sculpting. It is useful to make a “handwriting” of the relief views from below, above, and from the side. That is, study again how objects of rotation behave on a plane. It is very useful to conduct demonstration experiments with objects immersed in water. A regular basin is suitable for this. It is very valuable to periodically take photographs of the work. Moreover, it is now quite accessible. Almost everyone has a camera on their phone. Let's get back to sculpting. Plans in relief convey the depth of the work and linear perspective. Therefore, the drapery cannot be convex, for example, of a jug or a stool on which it stands. Therefore, moving on to the final stage of modeling, it is necessary not only to combine the still life plans, remove the unnecessary and add the necessary. Perform final finishing. Brush up. To do this, students use water and their fingers. At the end of the work, an analysis of the completed still life is carried out. The reliefs are taken to the drawing class, where they are compared with the initial setting. There is a discussion of the work. Analysis of mistakes and successes. Because it’s easier and more pleasant to find someone else’s mistake.
Modeling a decorative frame
Decorative sculpture in art classes at Children's Art Schools, as a rule, follows the path of creating round sculptures using fairy-tale or genre scenes. From the point of view of the new requirements for an additional pre-professional program in the field of decorative and applied arts, this is not enough. Modeling of decorative ornaments is also necessary for future woodcarvers and ceramists.
Preparatory work for sculpting a decorative frame begins with a study of the historical heritage. In the elementary grades of art school, ornament was studied during decorative composition lessons. The concept of rappaport of static and dynamic composition in ornament was given. In high school, time is allocated to study stucco patterns. The historical excursion begins with the study of ornament through the centuries. From Ancient Egypt, Greece, Rome to Europe of the Renaissance, Baroque, Art Nouveau. Domestic wood and stone carvings are studied separately. Ship, house, temple. For an introductory conversation, both the teacher’s literature and printouts from the Internet are used. Using the example of the still life fund, sketches of acanthus, etc. are made.
The next stage is the compilation stage. Students are given the task, based on the studied material, to make several sketches in a free manner. They are not presented with a specific imitation of one of the styles they have seen. Rather, on the contrary, freedom of creativity is encouraged in every possible way. As a rule, work is performed in bilateral symmetry, but there may also be asymmetrical options.
After the sketch stage is completed, the “cardboard” is completed. If the work is symmetrical, one side can be done, which is then copied through glass.
The work is carried out with sculptural plasticine on a plinth made of hardboard, plywood or linoleum. A layer of plasticine of two to three millimeters is applied to the plinth. A drawing is pinned onto it from “cardboard”.
The modeling technology does not present any great difficulties, since the plasticine is selected for its softness, and the room is warm. The opposite may occur, the plastic mass is too soft and sticky. But here we must take into account the strength of children's hands. In extreme cases, the plasticine is heated in hot water, and then wrapped in canvas. In this way, its plastic properties can be improved.
During the modeling process itself, it is important that the student understands the algorithm of work. There are two sculpting options. The first consists of the production of “semi-finished” parts, which are then assembled according to the principle of a designer. The disadvantage of this method is that in a hurry, the parts are poorly attached to the plinth. After some attempts, the student understands that they need to be attached more reliably, “smeared on.” The second option is more labor-intensive. It implies widespread use of all kinds of stacks. On the finished drawing, a layer of plasticine of about three centimeters is applied to the plinth. And then it is trimmed with stacks and loops.
The complexity of this method is that the plasticine “sole” covers the drawing transferred from the cardboard. And the student may become confused and panic. Therefore, it is important that the preparatory drawing is always at hand. And the work itself was done in parts. You should not immediately make a thick plinth for trimming. No more than a quarter of the drawing.
Since the total number of hours for the subject “Sculpture” is small, it is advisable to carry out these exercises in the third, largest quarter. The assessment may be taken into account when summing up the annual results.
The use of these exercises significantly diversifies educational process and arouses genuine interest among students...
MCOU DOD "Duminich Children's Art School"
Methodological development on the subject of additional education "Sculpture"
On the topic: "Relief modeling in the senior classes of the art department of the art school"
Performed by the teacher of MKOU DOD Sergey Karpikov
Duminichi 2012
List of used literature:
P.P. Gnedich "History of Art". M. Eksmo 2007
E. Lanteri "Modeling" M. 1963 "Publishing House of the USSR Academy of Arts"
B.R. Vipper "Introduction to historical development art. Sculpture section". M. 2004 Ast-Press
A.A. Melnik "Basic principles of constructing sculptural relief" M. 1985. "Higher School"
Review
Farnieva S.I.
Viewing educational material, I note its methodological completeness, interdisciplinary connection, as well as the teacher’s real concern for the safety of completing educational tasks for students. For my part, I would like to add a couple of professional recommendations. They relate to achieving a sense of volume of objects. To prevent objects from appearing to be cut in half and glued to the background, it is necessary to make a separation from the background along the silhouette on the line of the horizontal axis of the base, and the height of the most convex part is not higher than this size. This creates a feeling of the object being rounded on the invisible side and generally makes the object three-dimensional.
Congratulations once again on a good and necessary methodological development.
- sheet of drywall;
- silicone sealant;
- Vaseline;
- plaster;
- a picture depicting an ancient Egyptian bas-relief.
For sculpting you need:
- a sheet of plywood, PVC tiles or very thick cardboard;
- sculpture plasticine;
- water-based paint for primer;
- gouache or acrylic paints;
- furniture varnish.
To observe stylistic features, look at the picture. Most characteristic Egyptian bas-reliefs - the faces on them are always depicted in profile, even if the person is standing directly in front of the viewer. She also has extremely distinctive hairstyles, reminiscent of the modern bob haircut. The eyes are almond-shaped. As a rule, ancient Egyptian bas-reliefs depicted slender people with long graceful limbs.
Casting mold
Casting a bas-relief is not a very long or labor-intensive task, but it requires a good eye and precision in movements. First make a mold for casting. You can mold a base from plasticine, and then fill the recesses with silicone sealant. But recently, plasterboard bases have become increasingly popular. Transfer the drawing onto a sheet of drywall. Cut along the contour, and then carefully, layer by layer, make a recess, strictly observing the shape. When the recess is ready, coat it with Vaseline, then fill it with silicone sealant and let it dry. In this form you can cast a bas-relief from plaster.Without form
The easiest way to make a bas-relief in the Egyptian style is to mold it from plasticine. You will need a lot of plasticine, you can take any, but sculptural plasticine is most suitable. Cut a sheet of plywood the right size. Warm up the plasticine. Break off small pieces from a piece, sculpt them onto plywood and smooth them out so that there are no free gaps left and the layer itself is smooth and even. Apply several layers of plasticine in this way to form a base approximately 2 cm thick. Apply the contours of the design to it. Next, apply plasticine only where the convex parts will be.The advantage of this method is that you can adjust the shape at any time. In addition, you can make a bas-relief, in which the pattern is not convex, but concave. In this case, having made the board of the required thickness and drawn the contours, begin to carefully remove the excess parts. When the drawing is ready, coat your creation with water-based paint, and then paint with gouache. Please note that Egyptian fine art is dominated by rich natural tones - the colors of sand, gold, bright blue sky.
