Sculpting Techniques and Its Processes

BOFILL, ANGELA N.
ART APP
BSGE FEB 14, 2023
What to do?
Define the following sculpting techniques and its processes.
Sculpture on relief - The sculpted parts used in relief are adhered to a solid background
made of the same material. Relief is derived from the Latin word relevo, which means to lift.
When a relief is carved into a flat surface of stone (relief sculpture) or wood (relief carving),
the field is actually lowered, giving the unsculpted areas the appearance of being higher. To
create a sculpture in relief is to give the appearance that the sculpted material has been
raised above the background plane. The method calls for extensive background removal by
chiselling, which takes time. A relief, on the other hand, avoids having to shape a subject's
back and is more durable and securely fastened than a sculpture in the round, particularly
one with a standing person whose ankles could be a weak spot, especially if it is made of
stone. The form can simply be added to or elevated from the background in different
materials including metal, clay, plaster stucco, ceramics, or papier-mâché. Bronze relief
sculptures that are monumental are cast.
There are types of relief which are the following:
High relief - In high relief, or altorilievo in Italian, the sculpted figure typically projects from
the background by more than half of its whole mass. In fact, the composition's most
prominent parts, particularly the heads and limbs, are frequently entirely undercut, which
isolates them from the surrounding environment. In contrast to low relief, when the pieces
visible are "squashed" flatter, the sections of the subject that are visible are typically
represented at their full depth. High relief thereby mimics the style and methods of
free-standing sculpture and, in the case of a single figure, provides a view that is similar to
that of someone who is standing in front of a free-standing statue. This method was
employed in monumental sculpture throughout all cultures and historical times where
massive sculptures were produced, and architecture.
Low relief - Bas-relief, also known as low relief (basso-rilievo), and shallow relief, also
known as rilievo schiacciato, are two types of relief where the plane is only very little lower
than the sculpted parts.
Sunken relief - As no attempt was made to smooth the edge of the sunk area, leaving a face
at a right-angle to the surface all around it, the technique is best effective with intense
sunshine to emphasize the outlines and forms through shadow. Some reliefs, particularly
those seen on funerary monuments from ancient Rome and later Western art that include
heads or busts, leave a "frame" at the relief's original level around its perimeter or encase a
head in a hemispherical recess in the block (see Roman example in gallery). The phrase
would not typically be used in such works, while being conceptually very similar to Egyptian
sunk relief but with a background space at the lower level around the figure.
Carved sculptures - The carving tools used vary depending on the substance being carved.
Steel implements that resemble cold chisels are typically used to carve stone. A pitcher, a
tool, is pounded into the surface of a block to remove its corners and angles with a large
iron hammer. The pitcher is a large, chisel-like object with a broad beveled edge that breaks
the stone as opposed to cutting it. The major roughing out is then completed with the heavy
point, followed by the fine point, which can be used up close to the final surface. These
sharp instruments are hammered at an angle into the surface, which causes the stone to
shatter into various-sized pieces. The stone can then be removed off the surface using
toothed-edged claw chisels, which can be worked over the surface in all directions to refine
the surface forms. Flat chisels are employed to complete surface carving and create
precise details. There are numerous more specialized tools for removing the stone's
surface, including drills, toothed hammers (also known as bush hammers or bouchardes),
and, increasingly, power-driven pneumatic tools. There are many different methods and
materials that can be used to polish the surface.
Cast sculptures - Cast sculptures are created by melting down a material, typically a metal,
and pouring it into a mold. The metal, typically bronze, is hardened by allowing the mold to
cool. Casting is a procedure that is additive.
Modeling Sculptures - Modeled sculptures are made by building up and shaping a soft,
malleable material (like clay) into a shape, sometimes over an armature. The process of
modeling is additive.
Assembled sculptures - To put together a sculpture, sculptors collect and connect various
materials. The act of assembling is additive. That Profile by Martin Puryear is an illustration
of assemblage.
Installation Sculptures - installations focuses more on the arrangement use, use of space
and surrounding environment inside the artwork, artwork is regarded as a whole combined
with the site the piece is set in.
Kinetic Sculptures - There are methods for making an object appear to be centered when it
is actually off balance by using counterbalance. The ongoing balancing and
counterbalancing of wind sculptures is similar to how great music combines dissonance
and harmony of sound. A kinetic wind sculpture may appear to be about to topple over, then
appear to be completely stable, before becoming unbalanced once more. The climate of the
location where the wind art is to be shown has a significant impact. An item that is intended
to swing and turn in a light breeze will not operate in a windy environment. A wind sculpture
that must spin quickly in a strong wind will be less effective when placed in a windy
location. Artists who create kinetic wind sculptures should be very mindful of the local
climate in the location where their works will be shown.
Earthwork Sculptures - art created by reshaping the landscape or by carving out shapes
using the elements of nature, such as rocks or tree branches. Earthworks can range from
small-scale, transient changes to the landscape to large-scale, sculptural, long-lasting
adaptations created with powerful earth-moving equipment. A few artists have also
incorporated the outdoors into galleries and museums by building installations out of sand,
soil, and other natural elements. In the 1960s and 1970s, Earthworks was a component of
the broader conceptual art movement. also known as Earth art or Land art.

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BOFILL, ANGELA N.

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