AMACO - Lesson #13 - Creating Relief Sculpture AMACO - Lesson #13 Creating Relief Sculpture A Lesson in Sculpture and moldmaking using Scultamold® We most often think of sculpture “in the round” or freestanding and finished on all sides. Another type of sculpture is relief sculpture. Relief sculptures are three-dimensional in depth, but are meant to be viewed from only one side. Often they are used as architectural decoration or as functional objects. Combining sculptural and pictorial technique in figurative relief sculpture requires intricate design, clear attention to detail, and a mastery of perspective. Relief sculpture was found in the tomb of Egyptian king Tutankhamen and reached perfection during the Renaissance in the work of such artists as Donatello, Ghiberti, and Della Robbia. In this lesson, students experience the process of creating relief sculptures using Sculptamold.  "Sleeping Baby" by Emily Boland. Lesson Goals and Objectives: 1. Students will first design and create a sculptural relief using modeling clay. 2. Students will create latex rubber molds, and then using these molds, produce relief sculptures using Sculptamold®. 3. The lesson will incorporate art history, aesthetics, and criticism with a hands on activity. 4. The lesson will focus on important design elements and a variety of technical skills essential to moldmaking and relief sculpture, as well as creative self-expression. Background Preparation: 1. This project has been designed for high school students, but can be modified for use with middle school students as well. 2. An overview of various types of sculpture should also be presented with an emphasis on relief sculpture. Relief sculpture is meant to be viewed from one side only. It is three-dimensional because it has depth, but does not occupy space independently. Most often relief sculpture decorates walls or other architectural forms. There are two types of relief sculpture, low relief (called bas-relief from the French) and high relief (haut-relief, in French). A low relief sculpture projects very slightly from the surface, like images on a coin. High relief sculptures project boldly from the background. Examples of famous relief sculptures are the walls of Egyptian tombs and Lorenzo Ghiberti’s famous bronze doors for the Baptistry of the Florence Cathedral. In addition show examples of works by Donatello, Della Robbia, and contemporary artists such as Robert Longo. 3. The class should discuss moldmaking and both its artistic and functional applications. Basic techniques for creating molds should be presented. Students should also be familiar with the various materials that can be used to create relief sculpture. Glossary of Terms: Cast — in sculpture, to duplicate an original design by means of a mold Composition — the organization of form in a work of art; the disposition of shapes, masses, areas of light, dark, etc. Gesso — Plaster of Paris or gypsum used to prepare canvasses; a ground for tempera painting Mold — a shape in which a fluid substance is given form Mother Mold — the larger mold used to hold the rubber latex mold in shape Patina — originally the greenish color on the surface of old bronze; a look of mellowing with age Relief — carving, molding, modeling, or stamping in which the design projects from the background surface. The degree that the relief projects from the surface can vary. A bas-relief (low relief) does not project very far, like the surface of a coin. A haut-relief (high relief) projects more boldly from the surface, giving the relief a much more sculptural or three-dimensional appearance. Sculpture — a work of art that is meant to be viewed from more than one side; a work of art that is three-dimensional Slip — clay diluted to a creamy consistency used for decorating Wash — a thin, transparent layer of color Supplies:
Additional Supplies: Optional Equipment: Instructions: 1. Creating a composition — Start with a rough sketch.  Photo #1 2. Preparing a board — Shrink wrap and reinforce with tape 1/2 inch foam core as the base on which to build the clay. Plastic wrap makes de-molding much easier. 3. Modeling with Permoplast® —Following your sketch, create the relief using Permoplast® Modeling Clay. Non-hardening plasticine modeling clay requires less maintenance than water-based clay, especially for long-term projects. Because the mold is made directly from the clay, be sure that all the detail and design is in the clay. See photo #1. 4. Making the rubber mold — Seal the clay with two thin coats of AMACO® Antique Bronze  Photo #2 5. Making the mother mold — Wait 24 hours to be sure the rubber mold is dry and cured. Apply a silicone separator to the rubber. Use Sculptamold®to make the mother mold. It is as sturdy as plaster, but much lighter.  Photo #3  Photo #4  Photo #5  Photo #6 6. Demolding — Using scissors, cut the plastic wrap around the mother mold to allow for easy release. Place a baking rack on top of the mother mold, and holding onto the rack and the board, turn the mold over so the baking rack is on the bottom and the board is on the top. See photo #4. Lift the board off. The bottom of the clay, covered by plastic wrap, is now exposed. Release the edges of the rubber from the mother mold and lift the rubber mold out. See photo #5. Turn this over onto a waiting board and peel the rubber mold off the clay. The clay is usually still in good shape and should be saved in case something has gone wrong and another mold needs to be made. Rinse the latex mold in warm water to clean off any clay residue and let the mother mold dry. The mother mold can be put into a low oven (170°F, 77°C) to hasten drying and inhibit the growth of mold. 7. Casting the piece — Place the latex mold back into the completely dry mother mold. Apply a thin coat of Mold Release to the latex mold. See photo #6. Mix enough Sculptamold® according to directions to cover the inside of the mold with a thin layer. The Sculptamold® should be the consistency of oatmeal — not too thin and not lumpy. Spread the Sculptamold® into the mold a little at a time with your hands (wear throwaway plastic gloves), paying special attention to small indentations and fine detail. Be sure to smooth out air bubbles. When the entire surface of the mold has this thin coating, wait for it to set up (30- 40 minutes) before continuing. See photo #7. Mix another batch of Sculptamold® and again using your hands (with gloves), distribute the mixture over the first coat. If the piece is small, fill the mold up. If it is large, keep it “hollow.” Hollowing the mold is good for two reasons: it keeps the cast light, and it distributes the weight more equally throughout the cast and avoids breakage. If the piece is even larger, reinforce with cheese cloth and add another layer of Sculptamold® to seal the cloth. 8. De-molding the cast — The cast must set up. A small piece may need only 45 minutes, while a larger one may need 11/2 hours. When the Sculptamold®has hardened, place a baking rack on top and turn the entire piece over. With the baking rack underneath, lift off the mother mold and carefully peal off the latex mold, paying careful attention to areas with fine details and undercuts. See photo #8. The piece now has to dry thoroughly. At this point, if you wish, you can cast another piece.  Photo #7  Photo #8  “Angel In Archway” by Emily Boland. Additional Suggestions: 1. Repairing the cast — No matter how careful you are, damages or problems may occur — especially air holes. For patching, use commercial spackling. It’s easy to use, dries quickly, and sands easily. When repairs are finished, sand with fine sand paper to a smooth surface. 2. Assembling the composition — If the cast is only a figure, and part of the larger composition, mount the cast on a prepared canvas board. The canvas can be colored as was the cast. Bulky or heavy pieces should be affixed with a glue gun or a heavy duty clear glue, paper and fabric with a white glue or wallpaper glue. After everything is glued in place, continue to apply paints and washes with sponges, rags, and brushes to achieve the desired effect.  “Mother and Baby” by Emily Boland. This lesson is based on the work of artist Emily Boland. Examples of Sculptamold® relief sculptures were created by Emily Boland. This is one lesson in a series of art plans for elementary and secondary programs using American Art Clay Co., Inc. products. If you have an idea for a lesson plan using Amaco products that you would like to share with other art educators, contact Jeffrey Sandoe, Key Accounts Manager; Director, AMACO/Brent Contemporary Clay Gallery at American Art Clay Co., Inc.
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