ART06111 2024 3D studies 3: Moulding and Multiples

Throughout this module, the student is encouraged to include and extend any processes and techniques already acquired from their earlier modules. As with all modules at this stage, the students will take their lead from their ongoing body of Fine Art research, which underpins all making enquiry.

Depending upon the student's research material, they are asked to explore the world of modular or multiple units; assisted in identifying situations whereby multiple copies of one or more forms are required, as in the case of combined structures or multiples for an installation.                            

In this module, the student is exposed to more advanced clay, bio and other material processing and the making of multiples in various forms through mould, extrusion and casting techniques and contemporary technologies and tools. With these new skills of mould making and casting, they can use an array of sculptural media, adapting their old moulds or other methods to suit each material.

Looking at satire and subversion within ceramics.

In Britain today the output of excellent ceramics seems more eclectic than elsewhere. This stylish and wide-ranging survey comprises examples of clay art by one hundred major artists, covering the period from the late 1980s through 2009. Drawn from the Diane and Marc Grainer Collection, it includes works by Allison Britton, Edmund de Waal, Kate Malone, Grayson Perry, Julian Stair, Steve Dixon, and Nick Arroyave-Portela, among others. The selection balances functional objects and sculpture; hand-built, thrown, and molded techniques; varieties of scale and color; and cerebral and emotional content. All the ceramics here are rooted in the materiality of clay. The properties of the raw material, from its soft, malleable texture to the alchemy of slips and glazes, are at the core of the artists passion. And, as the text reveals, the younger generation is moving into new directions of art practice.

The scope and potential of mouldmaking and casting is fascinating. Its opportunities have been developed and expanded further by a range of new methods and materials only recently made available to the domestic market. This book provides a guide to more advanced techniques in mouldmaking and casting.

An overview : prototypes and molds -- Designing, creating, and using -- Tools & materials : Tools -- materials -- supplies -- equipment -- safety -- Plaster : Types -- Absorption rates -- Consistency -- Amounts -- Mixing -- Pouring -- Frosting -- Plaster prototypes -- Mold soap and other separators -- Storing -- Featured artist : Anne Kraus: a conversation with the materials -- One-piece molds : Handmade clay prototypes -- One-, two-, and three-template clay prototypes -- Footed forms -- Cups and saucers -- Plaster prototypes -- Featured artist : Tom Spleth: cups and only cups -- Multiple-piece molds : Making -- Handles -- Spouts -- Pitchers -- Tiles -- Lidded forms -- Hollow-cast feet -- Fruits and vegetables -- No-model molds -- Complex molds -- Master molds : Advantages -- Plaster masters -- Rubber masters -- Featured artists : Donna Polseno and Richard Hensley: slip casting in production -- Slip formulation : Deflocculation -- Types of slip-casting clay bodies -- Mixing equipment -- Mixing -- Specific gravity -- Viscosity -- Mixing wet and dry scraps -- Mixing large batches -- Featured artist : Richard Notkin: evolution is not an option -- It's essential -- Casting : Preparing slip -- Preparing molds -- Casting -- Removing castings -- Handling wet castings -- Assembling cast parts -- Drying castings -- Preparing castings for firing -- Firing -- Troubleshooting : Broken molds -- chipped molds -- "Plaster disasters"--Troubleshooting guide.

A global survey of 100 of today's most important clay and ceramic artists, chosen by leading art world professionals. Vitamin C celebrates the revival of clay as a material for contemporary visual artists, featuring a wide range of global talent as selected by the world's leading curators, critics, and art professionals. Clay and ceramics have in recent years been elevated from craft to high art material, with the resulting artworks being coveted by collectors and exhibited in museums around the world. Packed with illustrations, Vitamin C is a vibrant and incredibly timely survey - the first of its kind. Artists include: Caroline Achaintre, Ai Weiwei, Aaron Angell, Edmund de Waal, Theaster Gates, Marisa Merz, Ron Nagle, Gabriel Orozco, Grayson Perry, Sterling Ruby, Thomas Schtte, Richard Slee, Clare Twomey, Jesse Wine, and Betty Woodman. Nominators include: Pablo Leon de la Barra, Iwona Blazwick, Mary Ceruti, Dan Fox, Jens Hoffmann, Christine Macel, James Meyer, Jed Morse, Beatrix Ruf, Patrizia Sandretto Re Rebaudengo, Nancy Spector, Sheena Wagstaff, and Jonathan Watkins.

Best known as one of the most widely used industrial ceramic techniques, slipcasting has become increasingly attractive to individual artists and craftspersons. Slip, a water and clay solution, is poured into porous molds. As the mold absorbs water from the slip, a layer of clay forms a cast. The excess slip is removed from the mold and the cast is stiffened, removed, dried, and fired in a kiln. Since the molds can be based on anything from delicate sculpture to found objects, slipcasting frees artists from the constraints of other ceramic techniques while allowing them to create multiples of their works. Sasha Wardell's Slipcasting is a straightforward, practical guide for those interested in the boundless possibilities of the technique. The book contains more than one hundred color illustrations, diagrams, and slip formulas. An inspiring "Individual Approaches" chapter discusses the slipcast work of a variety of contemporary ceramicists from around the world.

This ground-breaking book looks at the use of ceramic art as a confrontational tool, where artist's work comments on social issues. It is essentially a massive overview of the ceramic scene from this perspective, showcasing typical pieces of work by ceramic artists alongside their statements explaining their approach. Essentially an art book, this is very much about how work is used to confront people with the truth and comment on social issues, and is divided up into relevant chapters: War and Politics, the Environment, Social and Human Condition, Gender Issues and Popular Culture. Artists include very well known established makers such as Grayson Perry, Robert Arneson, Richard Notkin, Howard Kottler etc. as well as introducing lesser known artists. This glamorous and cutting-edge book displays the work of 234 artists from 30 different countries, making it truly international.

The international ceramics scene is enjoying the highest profile it has had for many years. Breaking the Mould looks at ceramic artists working within this versatile medium. Drawing on the rich history of pottery these artists are pushing the techniques, objectives and perceptions of the medium into new, exciting territory. The book profiles the work of over 70 ceramicists, including Suzanne King, Simon Fell, Grayson Perry, Barnaby Barford, Carina Ciscato and Amy Houghton. Their work ranges from interpretations of utilitarian pots, to abstract sculpture and a revisioning of kitch porcelain ornaments, all of which are brought to life in beautiful colour reproductions. Essays by prolific makers and academics look at the history and inspirations behind the medium today. Following in the footsteps of New Directions in Jewellery, Fashioning Fabrics and The Cutting Edge of Wallpaper, Breaking the Mould is a definitive overview of a craft scene that is simultaneously building upon and breaking with its roots, and in doing so creating a brave new future for itself.

Ceramics, Art and Perception (online copy).

Ceramics International (online copy).

Ceramics Ireland.

Ceramics Review.

Ceramics Technical (online copy).

Visual Artists Ireland Newsletter.

www.pulsceramics.com

www.cpaceramics.com

www.ceramics.org.uk

www.fifav.fr

www.micice.es

www.kitsa.org

www.parcoursceramiquecarougeois.ch

www.triennale-spiez.ch

Students are encouraged to seek Workplacement / Internships/ Scholarships or any work experience in the visual arts. This 'real life' engagement provides an invaluable context for their ongoing learning.