Lesson video

Hi, I'm Ms. Blue, and I'm really excited to be learning with you today.

I hope you find our lesson as interesting as I do.

Let's get started.

The outcome of this lesson is I can plan, test, and carve a form showing awareness of material properties and moving from block to detail.

Let's go over our key words.

Maquette, a small 3D model used to test and refine sculptural ideas.

Grain.

The natural pattern and direction in wood or stone guiding carving.

Blocking out, removing large material areas before refining detail.

Carving techniques from concept to finished sculpture.

Let's start with sketch, maquette, material check.

How might this curl of paper help an artist make this carved sculpture? Pause the video while you come up with some ideas.

Alex says, "The green paper curl has given the artist an idea for the wooden sculpture." Izzy says, "The artist has used the paper curl to see what the sculpture might look like from different angles." The carving process involves different stages.

Carving a sculpture starts with an idea sketched onto paper.

This helps test shapes and proportions before you touch the material.

Artists often make a maquette, a small model to explore the form in 3D and check for weaknesses in the design.

The first stage of making a carved sculpture is blocking out, removing large sections of the material to reveal a rough shape.

Once the main form is clear, the carver refines the shapes and adds surface details and textures to bring the sculpture to life.

Skipping stages can lead to mistakes, wasted material, or a design that doesn't work in 3D.

Artists will regularly sketch and use maquettes.

Veronica Ryan often starts with drawings and small test pieces to explore organic shapes like seeds and fruit.

These maquettes help her plan scale and form before working in larger carved forms or cast sculptures.

Marc Quinn makes detailed sketches and clay maquettes to refine proportions and structures.

For his carving of Alison Lapper, these studies were crucial in capturing accuracy and expression before creating the monumental marble work.

Henry Moore constantly sketched ideas in his notebooks, inspired by nature.

He created maquettes in clay or plaster to test how forms worked in 3D before committing to large-scale stone or wood pieces.

Carving requires careful planning.

Carving isn't just about chipping away at a block until a shape appears.

Artists carefully plan their work, starting with sketches and maquettes.

Then blocking out large forms before refining details.

Working step by step helps avoid mistakes, wasted material, and broken sculptures.

What do you think might go wrong without planning or blocking out first? Pause the video here while you work on a response.

Planning and sketching your ideas.

Every sculpture begins with an idea which is often explored through sketches like this one on the left.

What are the advantages of planning a sculpture initially using sketching? Pause the video here where you come up with some ideas.

Sketching helps test shapes, proportions and composition before touching the material.

Artists often create multiple sketches to experiment with different angles and designs.

This stage reduces mistakes and ensures the final carving works in 3D.

What ideas do you have for your own sculpture? Pause the video while you come up with some.

Let's decide if this is true or false.

Artists can start carving immediately without sketches because planning is not important.

Pause the video while you decide if this is true or false.

If you said false, you would be correct.

Why? Because sketching helps test ideas and proportions, preventing mistakes before carving the material.

Sketching can help artists plan shapes, test ideas, and act as a visual guide when creating the maquette and final sculpture.

Have a look at these examples.

Why are maquettes important? Maquettes are small 3D models for a sculpture used to explore form and scale.

Maquettes let artists test ideas in three dimensions before working with the final material.

They help compare different designs, shapes or proportions, help to reduce mistakes and aid the planning of the blocking and refining stages of carving.

How could you create a maquette to test your sculpture ideas? Pause the video here while you come up with some.

So, why do artists create sketches and maquettes before carving their final sculpture? Is it, a, to plan shapes, test ideas and reduce mistakes, b, to make the carving take longer, or, c, to avoid using any tools? Pause the video while you come up with the correct answer.

If you said a, you'd be correct.

Why? Because sketches and maquettes let artists experiment with design, scale, and proportions, helping the finer sculpture succeed about wasting material.

Your task now is to sketch out your idea for a sculpture.

Create two to four different quick sketches of your idea for your sculpture.

You should aim to consider your theme and how your sculpture can reflect this, experiment with different proportions and scale.

Think about the piece from different angles.

What will the back and sides look like? Explore different surface textures and finishes.

Pause the video while you work on this task.

Your responses may have looked something like this.

Your work may have included ideas based on natural forms, abstract shapes, and exploration of scale.

You can see how these students have used color in their sketches, which adds another layer of detail.

Part two of your task is to explore your ideas through making a maquette.

Create a maquette, developing your sketch for a sculpture using clay, cardboard, or soap.

Experiment with different proportions and scale.

Think about the piece from different angles.

What will the back and sides look like? Explore different surface textures and finishes.

Pause the video here while you work on this task.

Your responses may have looked something like this.

Have a look at these impressive outcomes.

Finally, you should reflect on your maquette.

Think about these questions when you're reflecting on your work.

Which idea or shape worked best in the sketches or maquette? What problems did you notice while making the maquette? What did you discover about the design? What changes would you make before starting the final sculpture? Pause the video here while you reflect on these questions, formulating your own statements.

You may have come up with something like Laura, who says, "My drawings were inspired by shells I found on the beach.

I like the holes that I could see in the shells.

I think the sculpture would be very impressive if it were three meters tall.

I found the soap easy to carve.

I blocked out the main shape before using the file to refine the form." Jacob says, "I was inspired by the works of Hepworth.

I liked the carving forms she used in her work.

I found the clay easy to work with and create the forms that I wanted." Now let's have a look at block, shape, and detail.

Maquettes can be developed into finished sculptures.

Once a maquette is complete, an artist can begin transferring their idea into the chosen material, such as wood or stone.

The first stage is blocking out, removing large areas to reveal the rough shape of the design.

Blocking out helps the carver focus on the overall form and proportions before adding detail.

After the main structure is clear, the artist gradually refines the form, smoothing edges and carving smaller features.

The final stage is adding surface details and textures to bring the sculpture to life.

The example of the image on the left looks really effective.

What texture does this remind you of? Pause the video where you come up with a response.

Sculptors block out areas to create a rough form before refinement.

Barbara Hepworth planned her sculptures with sketches and models before blocking out the main mass of wood or stone.

She refined curves and smooth surfaces last, creating her distinctive hollowed forms. Shahzia Sikander carefully plans her intricate sculptural works through drawings and layered models.

She builds up basic structures first, then refines patterns and surface detail to create delicate, complex forms. Rick E.

Bartow sketched ideas from memory and mythology, then carved rough outlines to block out figures in wood.

He gradually refined expressive details, like faces, feathers, and textures, to bring his carvings to life.

Blocking out and respecting the material.

Blocking out is the first carving stage.

This involves removing large areas of wood or stone to shape the raw form.

This gives the sculpture its overall outline before details are added.

If details are carved too early, they can be lost or damaged when larger sections are cut away.

Artists read the material to understand its properties.

Carvers read the natural properties of their material.

In wood, this means studying the grain, the natural lines that show how the tree grew.

In stone, this means looking for fault lines, layers, or changes in texture.

It's essential that we work with nature when carving, following the direction of the grain or avoiding weak spots prevents cracks and chips.

The material guides the design as much as the artist does.

I find the concept of working with wood really interesting, as each wood has its own memory, personality, and behavior.

There are hard woods like walnuts and mahogany, which are more dense and allow for more fine detail to be carved.

In contrast, there are softer woods, like pine and cedarwoods, which are easier to carve, but are more susceptible to splinters.

After blocking out, the form can be refined.

Once the main form is secure and stable, finer carving and surface detail can be safely added.

At this point, the artist can make the decision to work further with the grain, accentuating it, and using finishing techniques to enhance the natural properties of the material or to conceal the grain and create a smooth, painted surface.

The carver can focus on refining shapes, smoothing edges, and adjusting proportions, working with the grain, adding surface detail and texture.

Taking this step-by-step approach prevents mistakes and ensures the final work is strong and visually balanced.

Let's decide if this is true or false.

When carving, it doesn't matter which direction you cut into the wood grain or stone surface.

Pause the video while you decide if this is true or false.

If you said false, you would be correct.

Why? Because carvers must work with the natural grain or fault lines.

Cutting the wrong way can cause cracks, chips, or breaks.

Tools and processes for carving.

Different tools to use at different stages.

I wonder what these tools are in the image.

When blocking out, you can use mallets, chisels, rasps, and large gouges, which all remove big sections of material.

Refining shapes.

Smaller chisels, files, and rasps shape curves and correct proportions.

Adding details and textures.

Fine chisels, knives, sandpaper, or carving tools create surface patterns.

Always consider the material's properties when selecting tools.

Wood grain or stone faults guide which tools to use and in which direction to carve.

Working step-by-step with the right tools makes carving safer, more controlled, and more accurate.

Which tools might you use first for your sculpture and why? Pause the video here where you come up with a response.

Which tools are best for the different stages of carving a sculpture? Is it, a, large chisels and mallets for blocking out, small chisels and rasps for refining, fine tools for details, b, knives for blocking out, mallets for details, sandpaper for everything, or, c, any tool can be used for blocking out or at any stage? Pause the video while you work out the correct answer.

If you said a, you'd be correct.

Why? Because different tools suit different stages.

Large tools remove material quickly, where smaller tools shape forms and fine tools add detail safely and accurately.

Your task now is to block out the main shapes of your sculpture.

Carve your block, forming large shapes first.

You should select and prepare the material for your sculpture, outline the major forms of your sculpture, make sure you think about the form from all sides, remove excess material, make sure you leave your pencil lines to ensure you are not cutting too much away.

Pause the video here while you work on the task.

Your response may look like this.

Your work may have used saws, mallets, chisels, rasps, and large gouges to remove big sections of material.

Task B is to refine the detail of your sculpture.

Select a section of your sculpture to refine the detail.

You should select the appropriate tools for your chosen material, smooth and shape using smaller tools to tidy the big forms, curves and edges.

Add features carefully, carving smaller shapes, patterns, and key details.

Turn your work frequently to ensure balance.

Finish the surface using fine tools or sandpaper to add textures or polish the sculpture.

Pause the video while you work on this part of the task.

Your response may have looked something like this.

Jacob says, "I've refined the outer surface of the sculpture.

I used files and sandpaper to get the smooth surface.

I would like to add a wax or oil to the surface to really accentuate the grain of the wood." Now you should reflect on your sculpture.

Think about the following questions to help you reflect on your work.

Do the main shapes match my plan or maquette? Which details or textures are successful and which need further refinement? Did the material behave as I expected and how did I adapt the grain of the material? Pause the video while you work on reflections.

You may have said something like Jacob.

"I'm really pleased with my sculpture so far.

I would like to work further on the hollow on the front, adding more texture inside to contrast the smooth outer surface.

I had to change my design slightly when I moved onto the wood as a result of the texture and grain.

I included the bark as detail too." To summarize, every sculpture begins with planning.

Sketches and maquette help turn ideas into something you can test and adjust before carving.

When working with wood or stone, paying attention to the grain or natural features of the material is essential.

Respecting the material helps to prevent cracks and mistakes.

Carving is a step-by-step journey.

It starts with blocking out the big shapes, then slowly refining details and textures to bring the sculpture to life.

Thank you so much for listening and paying attention in this lesson.

I hope you had fun and learned something new along the way.

See you next time.