Definition of Additive Art Definition of Casting Plaster in Art

Glossary of sculpture terms

Rough

Sketchy version of a piece, washed quickly and without much detail at the design phase, merely already showing its final visual appearance.

Abstractionism

Abstractionism is defined as fine art that has no reference to any figurative reality. In its wider definition, abstract art is what depicts real forms in a simplified or rather reduced way keeping only an allusion to the original natural subject.

Atélier

A French give-and-take significant "studio" and referring precisely to the place where an artist works. The "atéliers libres" (free ateliers or open studios), which offered young artists learning opportunities on highly concessional terms, but without any formal control on fine art education opinion, flourished in French republic during the nineteenth century. The nigh famous one, the Atelier Suisse (Swiss studio), was founded in Paris in the early 1820s and was attended by Courbet, Delacroix and a number of Impressionist painters.

Maquette

A small, preliminary model of a piece of work of sculpture created by the creative person in a quick and approximate fashion, with forms barely outlined, before developing the final composition. The maquette tin exist a mock-up sculpture, a painting or a small-scale model and it is apparently quite revealing of the artist's thinking process between the preparatory steps and the conclusive stage.

Bronze

An alloy consisting of copper and tin, containing sometimes small quantities of other elements, such every bit zinc, silicon and phosphorus, in varying proportions. Harder and more durable than brass, bronze has been widely used since antiquity to cast sculptures. Bronze alloys vary in colour, from silvery hues to coppery red. Mixes, and therefore color, may too vary from i foundry to another.

Mould

An impression of a relief or statue, produced by coating the model with a ductile material (wax, clay, plaster) which is subsequently removed to obtain a die, giving the most faithful or mechanically objective re-create (ordinarily through plaster casting) of the original sculpture.

Conceptual

Conceptual art is a gimmicky class of artistic representation, in which the concept or idea that the artwork represents is considered more important than, and takes precedence over, traditional aesthetic and material concerns.

Figurative

Figurative art describes artwork which portrays mainly the human or beast figure.

The lost-wax technique, for casting large, hollow bronze statues, has been known since ancient times. Amongst the best-preserved ancient pieces produced with this method are the Riace Bronzes (Bronzi di Riace), dating back to the Classical period. The technique savage into disuse during the Middle Ages, surviving just in the Byzantine Empire. Bronze casting of small-scale-sized objects was still employed, but these were "solid" castings, unfeasible on a larger scale. With the Renaissance, and the general rediscovery of the culture of classical antiquity, the technique was revived. The first, large-sized statue of the mod era cast with the lost-wax technique is the St. John the Baptist by Lorenzo Ghiberti (1412-1416), wisely made in several dissever parts joined together at a later stage. The bronze casting technique offered undeniable advantages over stone carving, as the greater cohesion of the cloth allowed the artist to explore more freely the expressive possibilities of posture and pose of its subject into infinite, without risking whatsoever damage and thus achieving a more than lifelike and natural consequence.

Mixed Media

This term is commonly used when two or more different media are used in a single work of art, e.g. metallic and wood or metal, wood and stone. Mixed media include plastics, fibers, too equally any artificial or natural chemical element that tin exist used to shape or otherwise create a sculpture.

Model - Modeling

The "additive" artistic process whereby the sculptor combines materials, such as moisture clay or other soft matter like moist plaster, cement or other media, to build or create his or her original artwork, often using an armature. This is essentially an "additive" and not a "subtractive" process, since it implies the addition of material as opposed to its removal, as is the case with carving, although subtraction tin be, and is actually oft used, as a means to achieve the desired shapes.

Sketch

The first, hastily executed drawing done past the artist, a form of "pictorial" note-taking aimed at capturing an inspiration, an initial thought of the artwork to come. Unlike from the crude, the sketch is the very commencement human action of creation (even though, frequently enough, it is not followed past a development process translating the initial impression) and reveals conspicuously the peculiar instinct of its author. That is why a sketch can get a piece of work of fine art in its own right, and sometimes of great worth.

Patina

The patina blanket ("patination") enhances the bronze surface through chemical application of color. Three water-soluble compounds form the basis for nearly patinas: ferric nitrate produces a purplish-bluish colour, cupric nitrate creates greens and blues, while potassium sulfate produces black. Each foundry develops its ain proprietary patinas that result from a carefully balanced mixture of different chemicals, pigments and application technique. Wide ranges of colors, both transparent and opaque, are accessible to the experienced "patineur". Finally, a sparse coat of clear wax is applied over the statuary to enhance and preserve the patina.

Relief

A bas-relief is a sculpture cut into a flat surface and slightly sticking out. A haut-relief is a more protruding sculpture, most three-dimensional, thus achieving a much greater plastic issue, even if it remains attached to the groundwork. Basically, the departure between bas-relief and haut-relief is given by the degree of volume project of the sculpted figures from the background. A free-standing or "in the round sculpture", instead, is carved on all sides and tin be observed from all angles of view. Unlike bas-relief and haut-relief sculptures, it is not attached to a background plane. Typical examples of this type of sculpture are statues, which can be viewed from every perspective, even if they take a "main" side that defines positioning.

Welding

Welding is a widely used technique in contemporary sculpture, although examples tin can exist seen in the most aboriginal bronze. Evidently, with this term we practise not refer exclusively to the specific grouping of modernistic "fusion and soldering" techniques whereby, through the application of high temperatures (obtained with an oxyacetylene welding torch, diverse kinds of burners, electrical arc, etc.), two metallic pieces sometimes of different nature are "welded" together, simply to the whole ready of "assembling" techniques used to join the different components of an artwork. These include for example the use of slip (mixture of dirt and water for joining clay), glazers (for joining ceramics and porcelain), adhesives and putties of diverse kinds (thermosetting, epoxy, vinyl, cyanoacrylate, polyester, etc.), wax rods (wax sculpture or preforms made with the lost-wax method) and finally metallic welding (electric arc, MIG welding, etc.) for joining metal material of different types (steel, iron, aluminum, brass, copper and bronze).

Sculpture

Sculpture is the art of creating forms by working a rough material or by assembling different materials. The term sculpture besides refers to the finished production, i.eastward. any three-dimensional object created as a medium of artistic expression.

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Source: http://www.thecircleoflifeartgallery.com/index-5-eng.html

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