Portfolio PILAR JOHANNA Oct2013.pdf

7/27/2019 Portfolio PILAR JOHANNA Oct2013.pdf

http://slidepdf.com/reader/full/portfolio-pilar-johanna-oct2013pdf 1/63



PLATE 0: Found Object

“Usbong”

Materials Used : Weeds, GI Wire

Date Finished : June 6, 2013

Process Documentation : I bound weeds together using dried up roots. I later found

GI wire and molded it into a spiral to hold the bunch

upright in a cone form.

Textual Documentation :

This was my first time to piece together found objects and call the final product “art”. Size was the

only constraint – we were to create anything using anything available to us at that moment. I was

drawn to the greens around the classroom and thought of using the weeds to create some kind of livingsculpture. I didn't realize I was making ephemeral art (art that doesn't last) because of my choice of

materials – but I kept the piece anyway and three months later it's still sitting on my desk:

1



I made it on my first day back as a university student, so it stays with me to remind me of the day Ichose to officially plant the seeds of my creative journey and guide (or let others guide) their growth.

Lessons learned:

• Weeds dry up nicely.

• Wire or alambre is a sturdy material with interesting 3D possibilities. I first tried to hold the

weeds upright by leaning them against a stand made of wire (like an easel or microphone

stand), but the weeds kept toppling over. When I expanded the wire to envelope the weeds in a

cone form, it was also an aha moment for me: pwede pala i-occupy yung space paikot niya!

2



PLATE 1: Contour Line

“Abraham Lincoln”

The artwork was destroyed on presentation daybecause of heat inside the vehicle of transport.

Photos show the artwork as presented in class,

as a work in progress (at 60% completion),and in mock presentational set-up.

3



4



Process Documentation :

1. Building the base.

6



3. Connecting the head/face to the body.

8



4. Adding the hair.

*I wasn't able to take any more pictures of the art work and the process at this point. Pics below were

taken before Step 4 and are used to illustrate the rest of the process.

9




It was my first 3D artwork and my mindset the whole time was just to experiment and go with my gut.

It was a challenge to think in 360 degrees. My background is in flat art, so I approached this plate fromthis flat creative process: I built lines and “safe” shapes (i.e. the rectangular base). First step was to get

to know the toothpick and what I could do with it. I went by intuition, and researched on toothpick

sculptures only after I started to struggle with my support design. This plate gave me a deeper appreciation of sculptural works.

Lessons learned:

• Get an overall feel of the task, choose a plan of attack and do it. I had no idea how to go about

creating a 3D form, so I measured the model and made references in every way possible: taking

pictures from all angles, measuring by toothpick, ruler, tape measure. In the end, I relied mostlyon the pictures (no measurements) and simplified the forms. I then had to decide how to

interpret these simplified forms using the given material, and commit to those choices.

• 3D work is not done intuitively. Need to plan or at least think of starting points with specific

end goals in mind.

•

Get to know your materials and their limitations. Adhesive is a material. Heat-activated gluemelts in the heat. Protect your art work and document your process as much as possible.

• Research works done by others using the same materials. Don't be afraid of “copying” their process. We develop our own process eventually.

• Work with the minimum size. I chose to do a 1:1 copy of the model and not the 50% scaleddown minimum. I thought it would be easier not to do computations, but didn't realize the

demands of a bigger work, especially given that the raw material itself needed preparation time

(pre-cut the toothpick).

• Be brave and just go for the main work right away – this is usually the most difficult part, suchas the face in this case. I took too much time doing “prep work” (i.e. building up the base,

playing with the material), mostly because I was scared to attempt anything until it was needed

(i.e. deadline was near).

Additional Materials, Sketches :

Pictures below show the reference and measuring methods used: In-the-round photos, measuring by

toothpicks, measuring tape and ruler.

10



11



12




This was a simpler plate, and with a more workable material – paper. I decided on two things based on

lessons learned from the previous plate: work small, and stick to white glue. I chose a simple animaland just enjoyed the process, again in an exploratory and intuitive approach when it came to the

material, but in a more directed/planned approach when it came to creating a 3D form.

Lessons learned:

• Planning helps flesh out solutions to the given problem: it's important to visualize the final

design of a 3D work from the top, side, and front angles.

• Planning also helps weed out solutions that don't work. What looks workable on paper won't

necessarily translate well using the given material. Trial and error is a healthy mindset to have.

Don't be scared to have Plans A, B, C, etc.

• Pay attention to instructions and research the keywords given. I started out with the maquette

based on a caricature, but should've used a real image for reference.

• Investigate if you can use the work to support itself. I made a separate base / stand for the fish, but could've just designed fins to hold it upright.


16



PLATE 2b: Shapes into Planes

“Fish” (Full size)

17



Materials Used : 4x4cm illustration board, white glue, heat activated glue

Date Finished : July 11, 2013

Key words : Representational, Biomorphic, Organic, Planar

18




Creating the second step of this plate was challenging because of the size – finding the physical

workspace and physically balancing the work-in-progress took getting used to. I enjoyed making thezigzag, biomorphic patterns for the scales, and the decision to build up the body organically (as

opposed to using a “box” structure as a base) made it easier to achieve the softness of a fish. It became

difficult, though, to give the body volume.

Lessons learned:

•


Reference photo

20




22



Materials Used : GI wire gauge 18, 16, 22Date Finished : August 20, 2013

Key words : Open and Closed forms, Volumetric, Spatiality

(Phenomenology: Ponty, Heidegger)

26




1. Building the plant base or stem.

27



2. Adding the leaves to the stem.

28



3. Creating the lamb frame.

29



4. Giving form to the lamb's body.

30



5. Adding the lamb head and tail.

31



7. Finishing touches: steadying the main plant stem and assembling the work.

33




Being able to use 3 different wire gauges was central to this plate. I took my time making my 3D lamb

because, simply put, I wanted to make it pretty (and pretty enough to put on display!). First word thatcomes to mind when I see the lamb is “cute”, so my personal objective was achieved.

I was also so happy with the cotton blossoms that I made extras for my own use as wire flowers.They're on my work desk next to my weed sculpture.

Lessons learned:

• It's so important to enjoy the creative process. I enjoyed making the coils for the main body, so

I came back to it every time I was stuck with a difficult or uninspiring part of the work.

• Budget your time properly. Although I enjoyed making the coils, they were time-consumingand I underestimated the time needed to complete the coil surface for a 3D lamb. I didn't get to

meet the deadline for this plate because of this.


34



Reference photos

35



General Preparation :

Materials used:

• 1.6 sacks of Plaster of Paris (about 40 kilos)

• pail and dipper or “tabo”

• 2 cardboard molds: 25x25x25 cm, pre-lined with petroleum jelly (releasing agent)

1. I mixed water and plaster: ½ pail of water to approximately 12 tabo of plaster. Poured plaster in

the pail slowly, only stirring once all the plaster is in the pail. Tip: There's enough plaster inonce it forms a “volcano” on the water surface.

2. I began stirring in one direction until the mixture started to thicken. Test: pull your hand out – itshould be fully covered with white liquid that drips only slightly. I made sure mixture waseven, with no lumps or bubbles.

3. Once thick enough, I poured the mixture into my box molds, which have been pre-lined with a

thin layer of petroleum jelly.4. I let it set: the plaster heated up and hardened within minutes.

5. Since my mold was big, I needed to add a second batch of plaster. I scratched or marked the

surface to make sure the new layer would adhere to the first layer.

38



PLATE 5: Closed Form

“The Boat”

40




1. Carving the general diamond shape of the boat.

I drew the shape on top of the plaster block and chipped off the outer parts.

41



2. Adding in “folds” and “creases”.

I researched different boat types to meet the 25x25x25cm size requirement for the plate, and

ended up choosing to make a paper boat. I slightly exaggerated the ends to almost be as tall asthe sail. I kept an actual paper boat nearby for reference, especially for the folds and creases.

42



4. Add the ripples and pebbles.

44




I chose a paper boat thinking it was simpler to make than an actual sailboat. The clean, geometric lines

it needed were actually tough to get right! Still, it was an enjoyable project and very likely something Iwill repeat or explore further.

Lessons learned:

• Get a 3D model for reference if possible. It takes away the need to imagine the goal/subject

from different angles, which is what usually happens when using only a photo reference.

• Patience is indeed a virtue!

• Do not complicate. Simple lines are sometimes all that's needed.


Reference photos

45




1. Carving the general exterior form: horizontal barrel.

I overestimated the mold I made for this plaster block and ended up with a rectangle as opposed

to a square/cube, so I decided to elongate the form by creating a barrel wave.

That meant chopping off huge chunks of plaster on both lengths (front and back).

47



2. Carving out the insides.

To come up with the C shape of the barrel, I then carved out the inside of the wave. This was

trickier than chopping off exterior chunks, and I experimented with different ways of using thetools against the plaster: pounding downwards and sideways, scraping in a curved motion,

push-and-pull. I was glad I had the 1” long-necked carving tool which made the deeper areas

easier to reach.

48



3. Adding the wave grooves inside and tapering the outer bottom of the wave.

I worked on the details of the wave, firstly on the the inner grooves. I carved these out and filled

them back in (using the soft, mushy plaster shavings), going back and forth several times until Igot the right degree of depth.

I then shaped the lower exterior of the wave where it met the sea surface. It was tricky to getthe C shape on the length of the back (it needed strong pressure, but also gentle so maintain the

curve), so I decided to postpone chopping off the front arch until I was happy with the general

form of the wave.

49



4. Finalizing forms and adding foam.

I chopped off the support post to finalize the C shape of the wave. Added foam to the tips of the

waves on top and at the circling end.

I smoothened out bumps and made undulating lines on the water surface.


My guiding meditation while carving both plates was Michelangelo's famous line: “I saw an angel in

the marble and carved until I set it free.”

It was such a joy working with plaster for the first time. Admittedly it required some muscle work,

especially to chop off big areas, but just playing with the different tools and their effects on the plaster

made me feel like a kid with a new toy.

The barrel shape was simple enough for a first attempt; it was more a matter of keeping things clean

50



and sleek. This meant a lot of sanding and using soft pressure on the plaster with the curved chisel. I

would have preferred to thin out the wave wall some more, but was unsure the plaster would hold.

Lessons learned:

• Plaster is strong!

• Get the mix right to prevent air pockets in the harneded block.

•Don't be scared to over-subtract.

• Holes can be patched up.

• Go for the main areas asap. Don't dillydally with the easy parts or depend too much onreference photos.


51



PLATE 7: Casting

“Sleeping Head”

52



Materials Used : Plaster of Paris, plaster bandage, cheesecloth, clay,

petroleum jelly (for the face, also as a releasing agent for

the cast), pail/basin

Date Finished : October 10, 2013

Key words : Plaster bandage technique, waste mold

53




For this plate, I worked with a partner, Christine Sioco, who prepared the mold of my face. Once the

mold was dry, I made a cast of my face from it.

1. Making the mold.

First step was to prepare the face by applying liberal amounts of petroleum jelly. I also put on a

garbage bag as a poncho to protect my clothes from getting wet and dirty with plaster.

The mold was then constructed in layers, as follows:

• Layers 1 and 2 : Plaster bandage dipped in water. These were pre-cut into 3 lengths;

medium and small ones were used for curves and crevices (I used more of the longones). It was critical to squeeze out the bandage once wet in order to spread the plaster,

and again squeeze or even out upon placement on the face.

• Layer 3 and 4 : Cheesecloth dipped in plaster mix to hold the plaster bandage together.

• Layer 5 : Pure plaster mix to further reinforce the mold. The plaster dried up quickly, so

I had to mix two batches to properly cover the face. Tip for next time: either work faster or ask another person to help out.

54



Working alone on Christine's face, it took me about half an hour to complete all the layers and

another 10-15 minutes to let the final plaster layer dry before it was lifted off the face.

55



2. Casting my face.

I cleaned the mold with a fine brush and filled in pot holes and marks, including the nostril

holes, using clay. I then lined the rest of the mold with a releasing agent (petroleum jelly).

I slowly poured plaster mix into the mold, swirling the mold the whole time in order to

distribute the coating. I wanted to add another layer of plaster mix so I made scratches on thefirst layer before the plaster hardened.

56



I intended to compose the face in a sleeping position, so I looked for a block of wood to rest it

on. I applied a layer of slip on the wood, which ended up looking like a white chocolate-covered block

of cake!

The mold was also still alive, so I did a second casting, this time attaching a GI wire at the back

so I could hang it.


From watching the demonstration, the molding process seemed simple enough to follow, and it was.Some classmates were worried about getting claustrophobia, but my main concern was getting allergiesfrom the plaster. Was glad for no reactions, save for facial hairs getting pulled out with the mold

(instant mud spa!).

Casting was a bit trickier because I wanted to make multiple castings and defy the one-use feature of a

waste mold. I should've put more plaster in the neck area – my first attempt was too thin and gave me

no choice but to destroy the neck part of the mold.

58



Lessons learned:

• Reinforcing the mold with cheesecloth works! More cheesecloth layers would strengthen themold and maybe allow for more castings.

• Future experiment: try making a papier mache mold based on the plaster mold, then seal with

emulsion. Use this to create multiple casts, or even more molds.

59



CONCLUSION

Working with three-dimensional forms has opened me up to the world of in-the-round – appreciating art from different viewpoints. This is a vital mindset to cultivate as an artist, even if one

decides to pursue the path of flat or decorative art, because it reminds us to always think of the viewer

or receiver of our art: they are varied and their interpretation of our art is always based on their context.

Documentation and presentation are also vital lessons learned this first semester, and I hope todevelop them as healthy habits in the creative process.

Portfolio PILAR JOHANNA Oct2013.pdf

Documents

Transcript of Portfolio PILAR JOHANNA Oct2013.pdf