A message from The Senior deputy principal
I am immensely delighted to write down few words for the “Art E-Magazine 2ndedition 2022”, which is published by the Art Circle of Royal College. The main aim of this particular edition is to give knowledge about sculptures and sculpting styles allaround the world and to make our college fraternity aware of the values of those arts and artists. Art opens the heart and mind to possibilities and fuels the imagination. Art is a process of learning to create ourselves and experience the world in new ways. It supports the bigger view of life: beauty, symbols, spirituality, storytelling,andallowsustobepresentinthemoment.Artkeepsthemagicalive. As thus the Art Circle of Royal College has come forward to publish an e-magazine which includes articles and a puzzle on sculptures around the world. Ihope this will help everyone to learn and inculcate spiritual values within them and enjoy a better quality of life while preparing for opportunities of the upcoming job world. In order to make this project a resounding success, I would like to give my heartfelt apprecition to Mr. T.D.C.P.Amaratunga, Senior Master of Clubs and Societies, and Mr. Amitha Panideniya, teacher in charge of Art Circle, for teaching and guiding our students to do miracles. In addition, I would like to commend the dedicationandcommitmentofVininduSiriwardhana,theChairmanof Royal College Art Circle 2022 and his able team members for organizing highly successful projects like this during their tenure of office. Floreat! M. V. S.Gunathilaka
CLUB INTRODUCTION The Art Circle of Royal College has been one of the most active societies of Royal College since 1995. It is also one of the largest clubs in the school, with a member base of over 1000 students. This society has always played a main role in polishing the aesthetic talents of not only Royalists but also of Young students from all over the island. The main duty of those at the Art Circle is to deveop the student’s talents to an extent of being recognized by other people in the society. Also, the Art Circle works to pave a path for those talented students who wish to carry out their skills in the future.
OANFFDICTEICBEARERS Teacher in Charge Assistant Teachers Mr.Amitha Panideniya in Charge Mr.Rajitha Kamalanath Chairman Mrs.W.S.Vidanagamage Vinindu Siriwardhana Mr.J.A.J.L.Jayasinghe Secretary Mr.Pratheshan Ravindu Jayasekara Mr.V.Satsorupn Treasurer Methjaya Pathberiya Assistant Chairman Student Coordinator Sasmitha Samarawickrama Vimukthi Dasunpriya IT Coordinator Assistant Secretary Sanvidu Rathnayake Kalan Weerabaddana Public Relations Director Assistant Treasurer Oshadha Hettiarachchi Sankitha Amarakoon Events Coordinator Assistant Student Anuhas Mawella Coordinator Vihadu Amarasingha Assistant IT Coordinator Gayuka Gunasekara Assistant Public Relations Director Didula Prabhashwara Assistant Events Coordinator Sandeeptha Wijewardhana
PCroomjmecitttee Project Chairman - Vimukthi Dasunpriya Project Secretary - Priyashanka Madushan Project Treasurer - Yaswan Dissanayake Project Committee - Chamuditha Heshan - Tishan Gunathilake - Kanil Deshan - Dinuka Ellegama - Genuka Samarasinghe - Nevin Thilakarathna - Venuka Wijayawardhana DESIGNERS Content creators - Senuth Damsas Sellahewa - Chamithu Hasaral Vithanage - Kaveesha Katugampola - Navick Sejan Thavachchelvam - Amiru Ekanayake - Genuka Pasanjith Samarasinghe - Tharindu Tishan - Nevin Nethsuka - Tharindu Gamage - Thamindu Gamage - Viyath Minsara - Arosha Akash - Sithil Karunarathna - Kanil Deshan - Pramod Nanayakkara - Thejan Rashmika - Hiruka Arachchi - Chamindu Deshan
DURING THE LAST 4MONTHS WE WERE ABLE TO COMPLETE 1. Chithra Akura - Art Trivia 1 - Telegram Bot 2. FANTASY CREATURES’22 3. Art E - Magazine 1st Edition ONGOING PROJECTS ‘Chithra Akura’ was a project done by the Royal College Art Circle with the aim of improving and developing educational knowledge of those who study art as a subject nationwide. Our main goal includes providing solutions for problems encountered by many students while studying the subject of art. In 2021 we developed a series of web pages containing the Grade 11 subject content of art , for Ordinary Level students and launched them successfully. In 2022 we developed another series of web pages which contained Grade 10 subject content of art. In addition to that we launched our first ever telegram papers bot on 27th of February. Also we organized a term vice trivia quiz to motivate art enthusiasts by challenging their general knowledge in the subject of art. Furthermore, there is an ongoing poster campaign which provides modern day information related to variety of art styles , famous artists and art works worldwide. ‘DREAM SRI LANKA‘ is an open school art competition. The students will be able to express their feelings through a drawing about their dream for our country. This project will 01 | Sculpting | Art E-Magazine
also help the students to develop a creative mind and also to develop Patriotism towards our motherland. ‘THE ROYAL ART STAR’ is the largest online inner school art competition is to show off your art skills. This will be a great platform to display your creativity and enhance your artistry. The competition is consisted of 3 rounds and winners will be selected from primary, middle and upper sections. The competition starts on the 1st of May and the contestants should upload their paintings through Google forms before 31st of May 2022. Winners will be announced in artistic and most voted categories and receive medals and certificates while others acquire participating certificates. ‘Art Mirror’ is a project which hopes to present a variety of Creations made by the members of the Royal Art Crescent as an exhibition. The Royal Art Crescent, which coincides with the Royal College Art Circle, is made up of a limited number of talented students, alumni, teachers, and parents who are currently in the school. All of them are talented in the field of visual arts. Their talents have been of great benefit to the school,students, and the art community. To give motivation to students who have drawn those creations we will publish them on every Monday, Wednesday and Friday on social media such as Facebook, Instagram, and Whatsapp. ‘ART FOR EVERYONE‘ was a tutorial series for primary students organized by the Art circle of Royal College. It was Introduced for the first time in 2021. This project was done by the help of the best art teachers in our school. The goal of this project was to recognize and empower the skills of the young students and bring and bring their work to light. Art E-Magazine | Sculpting | 02
“Endanger’22’ is a joint project organized by the Green Circle & the Art Circle of Royal College. It’s a lecture and an inner school competition regarding endangered species. This will be a great opportunity to enhance the analyzing and scrutinizing skills of young royalists, educate students in the field of endangered animals and inspire them to save endangered species. Royalists from grade 4 and 5 are eligible to participate to this event. In this competition the competitors can submit their artworks, poems, essays,postersandsongsunderthethemeofendangeredanimals.The lecturer and the judge of the competition will be professor Devaka Weerakoon. The winners of the competition will be awarded certificates and will be published on the club’s social media through graphics. “The Miniature Vesak Lantern Competition’ is a project organized by RCAC to commemorate the birth, enlightenment, and the Parinibbana of the Lord buddha in a unique way. In this project all the competitors are instructed to make a miniature Vesak lantern to showcase their own ingenuity and 5 pictures of all the creations will be gathered through a Google form. In the final round of this project the best 30 competitors must give a brief description about their creations and the winners will be selected by a panel of judges via zoom platform. Creations of the winners will be displayed in the Vesak zone of royal college and all other competitors will acquire certificates for their participation. 03 | Sculpting | Art E-Magazine
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Western sculpture, three-dimensional Western sculpture in the ancient world artistic forms produced in what is now of Greece and Rome and from the late Europe and later in non-European areas Middle Ages to the end of the 19th dominated by European culture (such century twice underwent a progressive as North America) from the Metal Ages development, from archaic stylization to to the present. realism; the term progressive here Like painting, the Western sculpture has means that the stylistic sequence was tended to be humanistic and naturalistic, determined by what was previously concentrating upon the human figure known about the representation of the and human action studied from nature human figure, each step depending upon Early in the history of the art there a prior one, and not that there was an developed two general types : statuary, aesthetic progression or improvement. in which figures are shown in the Modern criticism has sometimes claimed round, and relief, in which figures that much was lost in the change. In any project from the ground. event, the sculptors of the West closely observed the human body in action, at first attempting to find its ideal aspect and proportions and later aiming for dramatic effects, the heroic and the tragic; still, later they favored less significant sentiments, or at least more familiar and mundane subjects. 11 | Sculpting | Art E-Magazine
Every block of stone The pre-Hellenic, early Christian, “has a statue inside it Byzantine, and early medieval periods “and it is the task of the contradicted the humanist naturalism bias of Greece and Rome and the Renaissance; sculptor to discover it. in the 20th century, that contradiction was even more emphatic. The 20th century saw - Michelangelo the move away from humanistic naturalism to experimentation with new materials and techniques and new and complex imagery. With the advent of abstract art, the concept of the figure came to encompass a wide range of nonliteral representation; the notion of statuary has been superseded by the more inclusive category of freestanding sculpture; and further, new types appeared, including kinetic sculpture, in which the actual movement of parts or the whole sculpture is considered an element of design, and environmental sculpture, in which the artist either alters a given environment as if it were a kind of medium or provides in the sculpture itself as an environment for the viewer to enter itself. Art E-Magazine | Sculpting | 12
Greco-Buddhist sculpture and Asia G reco-Buddhist art is the originative manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which ripened over a period of tropical to 1000 years in Central Asia, between the conquests of Alexander the Great in the 4th century BCE, and the Islamic conquests of the 7th century CE. Greco-Buddhist art is characterized by the strong idealistic realism of Hellenistic art and the first representations of the Buddha in human form, which have helped pinpoint he originative and particularly, sculptural) “wel - tan schauung” for Buddhist art throughout the Asian continent up to the present. Greek foliage the decoration was moreover influential, with Indian versions of the Corinthian wanted appearing. The origins of Greco-Buddhist art are to be found in the Hellenistic Greco-Kingdom (250–130 BCE), located in today’s Afghanistan, from which Hellenistic culture radiated into the Indian subcontinent with the establishment of the small Indo - Greek kingdom (180 – 10 BCE). Under the Indo-Greeks and then the Kushans, the interaction of Greek and Buddhist culture flourished in the zone of Gandhara, in today’s northern Pakistan, surpassing spreading remoter into India, influencing the art of Mathura, and then the Hindu art of the Gupta empire, which was to proffer to the rest of South East Asia. 13 | Sculpting | Art E-Magazine
CHINA T hey are cast with complex patterned and zoomorphi decoration but avoid the human figure, unlike the huge figures only recently discovered at San-xing-dui. The spectacular Terracotta Army was assembled for the tomb of Qin-Shi-Huang, the first emperor of a unified China from 221 to 210 BCE, as a grand imperial version of the figures long placed in tombs to enable the deceased to enjoy the same lifestyle in the afterlife as when alive, replacing actual sacrifices of very early periods. Smaller figures in pottery on wood were placed in tombs for many centuries afterward, reaching a peak of quality in “Tang” dynasty tomb figures. The tradition of unusually large pottery figures persisted in China, through the Tang sancai tomb figures to later Buddhist statues such as the near life-size set of Yixian glazed pottery luohans and later figures for temples and tombs. Imperial tombs have spectacular avenues of approach lined with real and mythological animals on a scale matching Egypt, and smaller versions decorate temples and palaces. Small Buddhist figures and groups were produced to a very high quality in a range of media, as was relief decoration of all sorts of objects, especially in metal work and jade. In the earlier periods, large quantities of sculpture were cut from the living rock in pilgrimage cave - complexes, and as outside rock reliefs. Art E-Magazine | Sculpting | 14
JAPAN Jōchō is said to be one of the greatest Buddhist sculptors not only in Heian period but also in the history of Buddhist statues in Japan. Jōchō redefined the body shape of Buddha statues by perfecting the technique of “yosegi zukuri” which is a combination of several woods. The peaceful expression and graceful figure of the Buddha statue that he made completed a Japanese style of sculpture of Buddha statues called “Jōchō yō” (Jōchō style) and determined the style of Japanese Buddhist statues of the later period. Unkei, Kaikei, and Tankei were famous, and they made many new Buddha statues at many temples such as Kofuku-ji, where many Buddha statues had been lost in wars and fires. Almost all subsequent significant large sculpture in Japan was Buddhist, with some Shinto equivalents, and after Buddhism declined in Japan in the 15th century, monumental sculpture became largely architectural decoration and less significant. However sculptural work in the decorative arts was developed to a remarkable level of technical achievement and refinement in small objects such as inro and etsuke in many materials, and metal tosogu or Japanese sword mountings. 15 | Sculpting | Art E-Magazine
Indian subcontinent 1500 BCE from Daimabad, thus the great tradition of Indian monumental sculpture in stone appears to begin, relative to other cultures, and the development of Indian civilization, relatively late, with the reign of Asoka from 270 to 232 BCE, and the Pillars of Ashoka he erected around India, carrying his edicts and topped by famous sculptures of animals, mostly lions, of which six survive. Large amounts of figurative sculpture, mostly in relief, survive from Early Buddhist. The pink sandstone Hindu, Jain and Buddhist sculptures of Mathura from the 1st to 3rd centuries CE reflected both native Indian traditions and the Western influences received through the Greco-Buddhist art of Gandhara, and effectively established the basis for subsequent Indian religious sculpture. The style was developed and diffused through most of India under the Gupta Empire (c. 320 – 550) which remains a “classical” period for Indian sculpture, covering the earlier Ellora Caves, though the Elephanta Caves are probably slightly later. Later large scale sculpture remains almost exclusively religious, and generally rather conservative, often reverting to simple frontal standing poses for deities, though the attendant spirits such as apsaras and yakshi often have sensuously curving poses. Art E-Magazine | Sculpting | 16
What makes sculpting as an Devotional images are common Art? Sculpture, an artistic form in which in many cultures, though they are hard or plastic materials are worked often not the colossal statues of into three - dimensional art objects. The deities which charaterized ancient designs may be embodied in free standing Greek art, like the statue of Zeus at objects, in reliefs on surfaces, or in Olympia. The actual devotional environments ranging from tableaux to images in the inner most sanctuaries contexts that envelop the spectator. In of Egyptian temples, of which none ancient times sculpting was a master have survived, were evidently rather piece it has been central in religious small, even in the largest temples. devotion in many cultures, and until The same is often true in Hinduism, recent centuries, large sculptures, too where the very simple and ancient expensive for private individuals to form of the lingam is the most create, were usually an expression of common. Buddhism brought the religion or politics. Those cultures whose sculpture of religious figures to sculptures have survived in quantities East Asia, where there seem to have include the cultures of the ancient been no earlier equivalent tradition, Mediterranean, India and china, as well though again simple shapes like the as many in central and South America “bi” (It is a type of ancient Chinese and Africa. jade artifact) and “Cong” (It is a form of ancient Chinese jade artifact. The western tradition of sculpture It was later used in ceramics) probably had religious significance. began in ancient Greece and Greece is widely seen as producing great master pieces in the classic period. During the middle Ages, gothic sculpture represented the agonies and passions of Christian faith. The revival Christian faith. The revival of classical models in the renaissance produced famous sculptures such as Michelangelo’s statute of David. Modernist sculpture moved away from traditional processes and emphasis on the depiction of the human body, with the making of constructed sculpture, and the presentation of found objects as finished art works. One of the most common purposes of sculpture is in some form of association with religion. 19 | Sculpting | Art E-Magazine
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1. Relief Sculptures 55. C. CaarrvveeddSSccuulplptuturreess TamtusssrocceeruueltbihlldppoomttnhdeebededdatieThcntdekhoprwgedmtmiorehoetciiartunecehershnslmooiwdedtl.iahhfdrreireceebishlfnaiceebcurftkoshlpgnwretrtoedehofsedeaiucdcrnushpscdlipuet.totcoletpehds-aae Sstocrotsaocl spro ial ntspo gintaogswhSaaascwyhpuaaeflycrppouteffumorlporrfetmmotushrremtehbmsdeybaomtyncdeaueortctinetaurielntiuutagislsniueungodssgrie.nodgr. RiniRnetelotiloeidefdfisfisfcfefcuerulreplenptntuttutrytreyepspsecescas,an,naalslsoobbeeggrroouuppeedd 6.6C.aCsatsStcSuclupltputruerses •• llooww- -prporjoejcetcstsononlylyslsilgighhtltylyfrforomm the backgtrhoeunbadckground Tmaplaammpast letoaami rstcui et,oali rdlcuri,auldalbrsnTuubahdbcesneuhbrdst,cehehhreete,tahnscseeei.ntanpcsivon.miopnutilooonvrvmiluoettntooslrehvgilntneetehsagmnmemlaaimomqkeumluaitiolnaqkideudlguit.,lnaiddlg., ••••• hscdmhsouoiougninrguenehdkhnifkonretno-efneem-lnampritnrtporshorrrufjeoeleeerrajbcfltfeleartcaisoscitelcuemsekirfsafefgtaatbrflhctyoe-lee-eauscasbnsust-bscadtrcyucvhuklcihcplagnpaualtrrgtfulroufvvurreoieenndorssdgr • dceeopuernitnetortherbealcikegfroun-d rcaatrhverd 7m.a7tA e. rdAi ad dlsidttoSiitvccuSiervlecpaSeuttulcepSruetcuhspreudetopwsundtoeroruknber.eys(ebamydsoadsditndlgying than oudtweeapredrs.into the background usemdaitnercialalys stocuclpretainteg)the work (mostly rather than outwards. used in clay sculpting). 22..SSuubbttrraaccttiivveeSSccuullppttuurreessTwidnwdienivetsivohtsi ohri l reola eodvadvesfesosfisnoirrnrgmregmTelmelmhhieosieeposvsrpsiverieeeinieeacnagccegceshsmhcceomueoudfadlfaltppemt.temrtuurieaierdraeldeislsusisuumumnsnsttiaattliaanrllnrtldastdas 8. Modeled Sculptures 8 . ModMeoldeeldedScsucullppttuurers esare 33..AAsssseemmbblleeddSSccuullppttuurreess M(ccsrrueec(aacsrttuheeeac dathas eufdacosslirauncmyslg)ia.nyiags)sbiaoosufdsbitoteumfluitetpadmulalpaenslbcadlleunebsldhplmeatsuhapmtraeeeapdrsteietadoralitraoel Taatuccatrerorrreraema aanc ntpmgeogremaiedassdTeptihedmnrriiansasmpuhsiitiecisosesscuhferecadiahspowfia“eofafacro“yfemfouw.otrnhuamdoyan”ftdott”shhfcoeauosbytclbjpucejtterlchupecters--tyes create a form. 44..SSccuullppttuurreeiinntthheerroouunnddActtchahaanantt ssi e iesseettihithtrfrfererAeooemmddpipmiaiamielelelclcenessenitidtdioooieefofnssn)aa)aarlrltto/ryyoo33uuDD.mm((yyaaokokueue 9. Installation Sculptures 9 . InstallIantstiaollnatiSoncualrtptuusers es Imultiple objects often form various mediu m s and ntasktaelslautpionenatirrteusspeascems.ul- tiple objects often form various medi- ums and takes up entire spaces Art E-Magazine | Sculpting | 22
1100.. KKiinneeSttiiccculpSStccuruuellinppttwuuhrircheessmove- men t (as of a moStcourlpdtruivre ninparwthoircha mchoavnegminegntel(eacstroof naicmiomtoarged)rivs eanbpaasrict oerlema ecnhtanging electronic image) is a basic element. 1111.. E EaarrttAhhwrwtotohrraktkisSSmccuaudlleppbtytuushrraepes-s sfliiohinnkragmep tthir shnoeegcikllnatashnnoeddtrhliattuersnseedielnlfaAbgiontrrsrdatnebnltafyhctuuhoamsrteriasaniblksgyimmnmngaaatdafetokeurriirmnbaalgylss materials like rocks or tree branches. 23 | Sculpting | Art E-Magazine
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he sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes T originally used carving (the removal of material) and modeling (the addition of material, as clay) in stone, metal, ceramics, wood, and other materials but, since Modernism, here has been almost complete freedom of materials and process. 1.CARVING Carving is the act of using tools to shape something from a material by scraping away portions of that material. The technique can be applied to any material that is solid enough to hold a form even when pieces have been removed from it, and yet soft enough for portions to be scraped away with available tools. Carving, as a means for making stone or wooden sculpture, is distinct from methods using soft and malleable materials like clay, fruit, and melted glass, which may be shaped into the desired forms while soft and then hardens into that form. 2. MODELING These days we use this method very much. Digital sculpting, also known as sculpting modeling or 3D sculpting, is the use of software that offers tools to push, pull, smooth, grab, pinch, or otherwise manipulate a digital object as if it were made of a real-life substance such as clay. This is a very attractive method. 27 | Sculpting | Art E-Magazine
3. CAST ING Casting is sculptures that are cast are made from a material that is melted down usually, a metal, that is then poured into a mold. The mold is allowed to cool, thereby hardening the metal, usually bronze. Casting is an additive process. 4. ASSEMBLY This is the most attractive and hardest method to do a carving. As one familiar with the word “assembly” might assume, assemblage is a form of sculpture comprised of “found” objects arranged in such a way that they create a piece These objects can be anything organic or man-made. Scraps of wood, stones, old shoes, baked bean cans, and a discarded baby buggy or any of the other 84,000,000 items not here mentioned by name all qualify for inclusion in an assemblage. Whatever catches the artist’s eye, and fits properly in the composition to make a unified whole, is fair game. Art E-Magazine | Sculpting | 28
5. CONST RUCT ING This is also an addictive and attractive method. A constructed or assembled sculpture is made by joining preformed pieces of material. It differs radically in principle from carved and modeled sculpture, both of which are fabricated out of a homogeneous mass of material. We should protect artists who are still doing this art because this has a very historical value in art in society. In past, sculptures are handmade but in the future people use new techonology (eg: 3D Printing) to make sculptures. It is good but we should think about handmaking sculpt artists also. 29 | Sculpting | Art E-Magazine
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Any material that can be shaped in three dimensions can be used for engraving. Certain materials have proven to be particularly suitable due to their structural and aesthetic properties and their practicality. The most important these are stone, wood, metal, clay, ivory and gypsum. These can be also called traditional sculpture materials. There are many secondary materials, many of which have only recently begun to be used. Such as some sculptures from recycled materials, light and voice. 31 | Sculpting | Art E-Magazine
A number of contemporary sculptors have experimented with a variety of new materials, such as plastics, concrete and even junk. Some sculptors have also set out to challenge conventional attitudes towards art by using ev eryday objects to create their work. Art E-Magazine | Sculpting | 32
Traditional Sculpting Materials • Stone The first traditional sculpture material • Clay is stone. Throughout history, stone has been the principal sculpture making materials of monumental sculpture. There are practical reasons for this: many types of stone are highly resistant to the weather and therefore suitable for external use; stone is available in all parts of the world and can be obtained in large blocks; many stones have a fairly homogeneous texture and a uniform hardness that make them suitable for carving; stone has been the chief material used for the monumental architecture which so much sculpture has been associated. Clay is the most common, easily available of all materials and cheap sculpture materials used in sculpture. It has been used for modeling animal and human models since it was discovered how to cook in a pot. Since then it has been one of the main materials for sculptors. • Wood The principal material of tribal sculpture in Africa, Oceania, and North America, wood has also been used by every great civilization; it was used extensively during the Middle Ages, for example, especially in Germany and central Europe. Among modern sculptors who have used wood for important works are Ernst Barlach, Ossip Zadkine, and Henry Moore. 33 | Sculpting | Art E-Magazine
• Plaster Plaster of paris (sulfate of lime) is especially useful for the production of molds, casts, and preliminary models. It was used by Egyptian and Greek sculptors as a casting medium and is today the most versatile material in the sculptor’s workshop. The main sculptural use of plaster in the past was for molding and casting clay models as a stage in the production of cast metal sculpture. Many sculptors today omit the clay-modeling stage and model directly in plaster. As a mold material in the casting of concrete and fibreglass sculpture, plaster is widely used. It has great value as a material for reproducing existing sculpture; many museums, for example, use such casts for study purposes. • Metal Wherever metal technology was developed, metal has been used in sculpture. The number of metal sculptures surviving from the ancient world does not correctly reflect the extent of their usage, because a large number of sculptures were plundered and melted. In this way, countless metal sculptures of the Far East and Greece, as well as almost all the gold ornaments of pre-Columbian American Indians. The most commonly used metal for sculpture is bronze, which is basically an alloy of copper and tin; but gold, silver, aluminum, copper, brass, lead, and iron have also been widely used. Most metals have extremely high strength, hardness and durability, and their tensile strength makes design freedom much greater than stone or wood. The life-size bronze puppet that is firmly fixed to the base does not need any support other than its own feet, and can even be placed on one foot. A considerable attenuation of the form is also possible without the risk of rupture. Art E-Magazine | Sculpting | 34
NON Traditional Sculpting Materials There are many non traditional sculpture materials such as concrete instead of stone to be a trendy material. • Concrete Basically, concrete is a mixture of an aggregate (usually sand and small pieces of stone) bound together by cement. A variety of stones, such as crushed marble, granite chips, and gravel, can be used, each giving a different effect of colour and texture. Commercial cement is gray, white, or black; but it can be coloured by additives. The cement most widely used by sculptors is ciment fondu, which is extremely hard and quick setting. A recent invention at least, in appropriate forms for sculpture concrete is rapidly replacing stone for certain types of work. Because it is cheap, hard, tough, and durable, it is particularly suitable for large outdoor projects, especially decorative wall surfaces. With proper reinforcement it permits great freedom of design. And by using techniques similar to those of the building industry, sculptors are able to create works in concrete on a gigantic scale. • Wax Various formulas for modeling wax have been used in the past, but these have been generally replaced by synthetic waxes. The main uses of wax in sculpture have been as a preliminary modeling material for metal casting by the lost-wax, or cire-perdue, process (see Methods and techniques, below) and for making sketches. It is not durable enough for use as a material in its own right, although it has been used for small works, such as wax fruit, that can be kept under a glass dome. 35 | Sculpting | Art E-Magazine
• Pulped Paper Papier-mâché (pulped paper bonded with glue) has been used for sculpture, especially in the Far East. Mainly used for decorative work, especially masks, it can have considerable strength; the Japanese, for example, made armour from it. Sculpture made of sheet paper is a limited art form used only for ephemeral and usually trivial work. Art E-Magazine | Sculpting | 36
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