Script For Documentary
Voiceover will play whilst film images of artist are shown of her talking to us as a group, showing examples of her work, and showing us how to mould in clay at table. Then cut to images of class working, and me working on owl.
VO: Local Dutch born sculptor Marjan Wouda, renowned for impressive sculptures such as the legendary “Black Knight” in Ashton- under- Lyne, a large mole in a Newcastle Park, plus more locally a heron at Entwistle Reservoir, and an owl in Accrington’s Victorian Library, came into Turton High School to visit our group and help start us off on our latest Diploma Unit: Artefact.
After an interesting introduction, and having shown examples of some of her finest works, Marjan then continued to demonstrate briefly how to mould objects effectively out of clay. We then went on to start our initial clay designs based on the animal that we had chosen to create, and used photos, models and pictures in order to create the shape and accurately translate the features of the chosen animal into clay.
Show images of research and owl model.
As I wasn’t exactly an expert in clay, I decided to create something which had either two or no legs at all, as I thought that a four legged animal may prove more difficult and challenging to keep upright.
I originally decided to create an owl, and, after help from Marjan to create the basic shape and perch, I began working on the side wings, and once I had adjusted them to the right shape, I attached them to the owl. I then imprinted a texture onto the wings based on a model owl and pictures that I had collected, and used a knife to create the outline and basic shape of the owl’s face. After that, I added texture and extra details to both the owl’s breast and facial features.
However, after completing the owl, I found that the textures were quite lengthy and complex to do properly, and so, after being advised to do so by Mrs Kearns, I decided to instead focus on creating a snake. I collected various images of snakes from the Internet
Show pictures.
And set to work creating the basic design of a snake out of clay. However, my original attempts failed as I was only using a clay outer surface as the snake’s body, and instead needed to create a newspaper filling to help to bulk and build up the basic shape of the snake first.
I attempted the snake again, using masking tape to join segments of the newspaper together. Once I had rolled out a sufficient amount of clay to fit over a particular section of the newspaper, I used a knife to score parts of one side, and a mixture of clay and water called schlip, which was pasted over the scored edges, in order to help the clay attach and stick properly to the newspaper interior.
However, further attempts included problems such as too much of a clay overcoat, and newspaper fillings which were too flimsy and not thick enough to hold the weight of the clay exterior. There were also large cracks in the clay overcoats of some of the snakes, and these proved rather problematic to fix permanently, as the cracks just kept appearing again and again.
After help from Mrs Kearns, I had the idea to form a rather bumpy surface with a sequence beginning with a rounded, bulky section, which then became flatter as it reached the opposite end, going from head to tail. This gave it more of a snakelike style in body and texture, and was more experimental and visually appealing than my previous attempts of just a plain straight shape. I began creating my design out of masking tape with obviously a thicker section for the head and a thinner section for the tail, and then set about adding clay to this.
However, instead of just ripping off huge slabs of clay and sticking them onto the masking bulk as in my previous attempts, this time I decided to be more artistic and instead came up with the notion of making the clay overcoat out of loads of tinier pieces of clay to act as a scaly texture. I also used a firmer style of imprint which stood out more than the red netting I had previously used.
Once I had finished crafting my final snake and it had been fired in the kiln, I set about painting it using black paint. I then created another smaller snake to act as planning. After covering the smaller snake with paint, I used a sponge to dab parts of it, to give a dirty and varied texture with different shades of light and dark. I then repeated these steps for the larger snake.
Here is some film footage of the clay models the group made before they were fired.
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