ARCHITECTURAL LETTERS Robert Indiana (American, b.1928), born Robert Clark in New Castle, Indiana, adopted the name of his home state as a pseudonym early in his career. After studying at the Art Institute of Chicago, Indiana moved to New York, where he became a prominent member of the Pop Art movement. Indiana defined himself as a “ sign painter ” because of his preference for iconic images of numbers and letters, often taken from the American signs around him. He is best known for his LOVE paintings and sculptures, which have come to represent peace internationally. Indiana ’ s interest in politics and social issues, which separates him from other Pop artists, is evident in numerous works, including his YIELD paintings, the Confederacy series from 1965 – 1966, and the more recent Peace paintings. He is represented by numerous galleries such as Galerie Gmurzynska in Zurich, Switzerland and Paul Kasmin Gallery in New York, NY. In 1978, the artist left New York City to settle on the island of Vinalhaven, near the coast of Maine, where he lives and works today.
Transcript
ARCHITECTURAL LETTERS
Robert Indiana (American, b.1928), born Robert Clark in New Castle, Indiana, adopted the name of his home state as a pseudonym early in his career. After studying at the Art Insti tute of Chicago, Indiana moved to New York, where he became a prominent member of the Pop Art movement.
Indiana defined himself as a “sign painter” because of his preference for iconic images of numbers and letters, often taken from the American signs around him. He is best known for his LOVE paint ings and sculptures, which have come to represent peace international ly. Indiana ’s interest in pol it ics and social issues, which separates him from other Pop art ists, is evident in numerous works, including his YIELD paint ings, the Confederacy series from 1965–1966, and the more recent Peace paint ings. He is represented by numerous galleries such as Galerie Gmurzynska in Zurich, Switzerland and Paul Kasmin Gallery in New York, NY.
In 1978, the art ist left New York City to sett le on the island of Vinalhaven, near the coast of Maine, where he l ives and works today.
Jaume Plensa
JAUME PLENSA (Spain, 1955) is one of the world's foremost sculptors working in the public space, with over 30 projects spanning the globe in cities such as Chicago, Dubai, London, Liverpool, Nice, Tokyo, Toronto and Vancouver.
Over the past 25 years, the artist has produced a rich body of work in the studio and the public realm. By combining
conventional sculptural materials (glass, steel, bronze, aluminum) with more unconventional media (water, light, sound, video), and frequently incorporating text, Plensa creates hybrid works of intricate energy and psychology. From his delicately textured, intimate works on paper—like his 2005-06 series of ethnographic portraits that resemble worn, 19th century photographs—to monumental outdoor sculptures like Nomade (2007) and a range of cityscape-altering public projects like the Crown Fountain in Chicago (2000-05), Plensa's work takes many forms.
Plensa's work is invested in evoking emotion and stimulating intellectual engagement. By posing conceptual dualities in his work (inside/outside, front/back, light/dark), Plensa seeks to connect with his viewers on an intuitive level. Often, the viewer participation, or the object/viewer relationship, is what completes Plensa's work.
Marianne Csaky, a Hungarian-born (b. 1959) artist currently lives and works in Budapest and Brussels, and spent
longer periods of time in Korea and in China as a resident artist exhibiting her work, teaching at universities and
holding presentations.
She works with different media: photo, video, painting, sculpture, embroidery, installation. Trained in arts as well as
cultural anthropology and literature. After completing her M.A. she studied multimedia design/development and video
art. Since the very start of her career Csaky has been known for her non-mainstream forms of expression, her
unconventional and provocative images.
Create a three-dimensional letter with a unique style. What kind of mood or idea do you want to convey with your sculpture? What aspects of your life or personality would you like to incorporate into your design?
PROCESSStep 1: Decide on a font. Look at examples online or in Microsoft Word. Think about the line quality. What words would you use to describe it? Do you want your lines to be simple or elaborate? Will your lines be geometric or organic? Make 3 sketches of the shape or your letter. Because this will be a sculpture you will need to consider how you will make your letter free standing and keep it physically balanced. You also will want to consider how it will touch the table. For example, a shape that completely rests on the surface is not as visually interesting as one that touches only in a couple of points. Think also about the negative shapes created by your letter and how the letter will take up space.
Step 2: What other elements will you bring into your design? What other shapes will be added onto the design? Will shapes extend off of the edges? Will there be a surface texture? Will your design be painted on? Will you use a combination of techniques? Gather references for imagery either in your sketchbook or on a site such as Pinterest. Sketch out an idea in your sketchbook using colored pencils to plan your design.
Step 3: Draw out your letter on a large piece of chipboard. Cut out using an exact-o knife and a self-healing mat or use scissors, depending on the complexity of your letter. (Note: It is helpful to have most areas larger than the width of the cups we will be using, however the cups can be cut and used as support as long as you maintain part of the curve of the cup to maintain its strength.) After you have cut out one side, trace the letter onto a second piece of chipboard and cut out.
Step 4: Use Styrofoam cups between the two layers to add depth to your sculpture. If areas are smaller than the width of the cup, you can cut the cup as long as you keep the curve. You can also use additional pieces of chipboard to brace the two sides. Use hot glue to attach the cups.
Step 5: Use duct tape to seal the edge of your letter between the front and back. Make sure to maintain the depth throughout so that your letter will stay balanced.
Step 6: Paper-mache the entire surface of your letter. Overlap pieces and smooth out so that you have a well finished surface to paint.
Step 7: Add any additional three-dimensional elements using chipboard, paper-mache, etc.
Step 8: Gesso the entire surface
Step 9: Use acrylic paints and various techniques to finish your letter.
Architectural Letter Rubric 3D Studio Art II Mrs.BrownName__________________________________________________ Class Code________________
CRITERIA
(WHAT WAS EXPECTED)
EXCEEDS EXPECTATION
S(100-90)
MET EXPECTATION
S(89-80)
APPROACHING EXPECTATION
S(79-70)
DID NOT MEET REQUIRED
EXPECTATIONS/INCOMPLETE
(69 AND UNDER)
SELF SCORE
TEACHER SCORE
Line/Form:A solid base form was created and constructed. Features/details are added to accentuate the line quality of the font.
10-9 8-9 7-8 6 or below
Space/Balance:The sculpture uses both positive and negative space to activate the area in which it stands. The sculpture is freestanding and stands on the surface in a visually interesting way. The piece is physically and visually balanced.
10-9 8-9 7-8 6 or below
Surface Design:Additional elements have been built onto the surface, added as a texture or painted on the surface to communicate the mood/idea of the sculpture.
10-9 8-9 7-8 6 or below
Craftsmanship/Media:Work is well built. Time and care has been taken in the planning of the design as well as the construction and painting. Edges and the surface are clean and smooth. Attention has been paid to details.
10-9 8-9 7-8 6 or below
Effort:Used class time effectively, followed directions, paid attention to central ideas of the lesson, cleaned up work
