Teaching Portfolio - artCORE

Teaching 

Portfolio 

Kelsey Viola Wiskirchen 

Instructor: 3D Design 

Teaching Philosophy 

Curriculum Vitae 

Syllabus: 3D Design 

2 

3-4 

5-8 

Project Descriptions & Images 

Unit 1: Structures 

Unit 2: 2D to 3D 

Unit 3: Relief & Modularity 

Unit 4: Scale & Material 

Unit 5: Scale & Context 

Unit 6: Mass & Form 

Unit 7: Dynamics & Kinetics 

9-10 

11-12 

13-15 

16-19 

20-23 

24-26 

27-29 

Teaching Portfolio - 1 

CORE 3D Design, Fall 2011, K.V. Wiskirchen


Teaching Philosophy 

I believe that education is like the building of a sphere. Rather than a linear progression or a ripple in a 

pond which weakens as it expands, I imagine the development of my students as being like the solid 

accumulation of a snowball or the forming of layers on a pearl. These layers are comprised of technical 

information, conversations, experiences, and the discovery of connections. My goal as an art educator is 

to guide my students through the fundamental course information while encouraging self-reflection, 

theoretical and conceptual development, experimentation, and an open class dialogue which will prepare 

them for experiences and art making beyond my classroom. 

In a foundations art class, a priority is fostering student understanding of design principles, technique, 

and intentional craft. I encourage risk-taking in my students, and believe that they must have an 

understanding of the formal principles before knowing how to effectively break these “rules”. Enabling 

them to effectively articulate their formal decisions, I stress a dialogue that utilizes design vocabulary. I 

expose my students to multiple historical, contemporary, and visual cultural reference points so that they 

have a broad sense of context. I present information in a variety of ways to solidify concepts and make 

the information accessible to all types of learners. This includes presentations, readings, worksheets, inclass 

exercises, projects, quizzes, and most importantly, conversations. These formal aspects of my 

teaching prepare students for future experiences in looking at, discussing, and making art. 

As preparation for a future not only in art-making, but in all of their endeavors, I want my students to 

have confidence in their abilities and their ideas. I hope for them to push boundaries and experience 

success, growth, and comfort with self-expression. I begin the semester by breaking projects down into 

manageable developmental stages from initial brainstorming, research, material exploration, concept 

development, and sketching to the creation and revision of a final work. As the semester progresses I 

encourage students to pull away from this rigid structure and develop their own working process. 

One of my primary roles is to be a positive and encouraging guide for my students. By taking my 

students, their work, and their ideas seriously, I encourage them to be invested in their own projects. 

Through a consistent, open dialogue I also encourage my students to become active participants in the 

development of their classmates’ work. I structure my class in a way to encourage a strong sense of 

community by facilitating diverse forms of interaction and collaboration among the students. I see this 

environment of community, enthusiasm, and energy as vital for healthy development in any classroom. 

This methodology instills confidence in the students and enables them to develop their work to the 

highest degree. 

My goal in teaching is to not only present students with relevant course information, but to stimulate 

excitement and thoughtfulness. I approach teaching in a flexible way that will foster ambition. In 

keeping with the spherical concept of education, I encourage my students to consider the relationship 

between my class and their other interests. For me, the most rewarding aspect of teaching is when 

students begin to make connections between their artistic process, their conceptual pursuits, and their 

place within our greater community. 




Curriculum Vitae 

Education 

Arizona State University, 2009-2012 

MFA Candidate (Fibers Concentration) 

Truman State University, 2005-2009 

BFA (Fibers Concentration) 

Professional Experience 

Instructor Of Record – 3D Design 

Arizona State University, Tempe, AZ 

Summer & Fall 2011 

Cyanotype/Embroidery Workshop Instructor Xavier 

High School, Phoenix, AZ 

Spring 2011 

Instructor Of Record – Fibers 1 


Spring 2011 

Instructor Of Record – Color 


Fall 2010 

Shibori Workshop Instructor 

Truman State University, Kirksville, MO 

Spring 2010 

Fiber Reactive Dyes & 

Silkscreen Workshop Instructor 

Kirksville Arts Association, MO 

Summer 2009 

Teaching/Studio Assistant 

Truman State University Fiber Art 

Department, Kirksville, MO 

Fall 2007- Spring 2009 

“Art in the Park” Instructor 

Kirksville Arts Association, Kirksville Parks and 

Recreation & Missouri Council for the Arts 

Summers 2008, 2009 

Joseph Baldwin Academy Preceptor 

Truman State University 

Summer 2007 

Volunteer Experience 

Projecto Artesania Zona Andina, Sewing Instructor 

Independencia, Bolivia, January 2011 

Sojourner Center, Sewing Instructor 

Shelter for victims of domestic violence 

Phoenix, AZ, Spring 2011 

Tempe Foundation for Senior Living, 

Weaving Instructor, Tempe, AZ, Spring 2011 

Awards 

Selma Sigesmund Memorial Scholarship, 

Spring 2012 

Nathan Cummings Travel Award, Summer 2011 

Student Scholarship for Attendance of Surface 

Design Association Conference, Summer 2011 

Arizona Artists’ Guild Scholarship, Spring 2011 

Graduate Professional Student Association Research 

Grant, Spring 2011 

ArtCORE Special Project Funding 

Arizona State University, Fall 2010 

Eirene Peggy Lamb Scholarship 

Arizona State University, 2010 

X-Square Interdisciplinary Team Design/Build 

Competition Winner, ASU, Spring 2010 

Alice Brown Memorial Scholarship, Weave a 

Real Peace (WARP), 2010 



Special Talent Award Scholarship, Arizona 

State University, 2009, 2010, 2011 

Most Outstanding Undergraduate Student in 

Studio Art, Truman State University, 2009 

Professional Organizations 

Arizona Artists Guild 

(Scholarship Chair), 2011 

Surface Design Association, 2008-Present 

Weave a Real Peace (WARP), 2010-Present 

Fiber Art Network of Arizona State University 

2009-Present, Treasurer (2010) 

Truman State University Fiber Art Club 

2005-2009, Treasurer (2007), President (2008, 

2009) 

Exhibitions 

Nowness, Invitational Exhibition, Eye Lounge, 

Phoenix, AZ, 2011 

Arizona Artist’s Biennial, Tucson Museum of Art, 

Tucson, AZ, 2011 

Return of the Cornmothers, Arizona State 

University Museum of Anthropology 

Tempe, AZ, 2010 

Systems, Ecology, Art, Global Institute of 

Sustainability, Tempe, Arizona, 2010 

Monochrome in Neutral: Shades of Gray, Artlink A. 

E. England Gallery, Phoenix, Arizona, 2010 

Art Detour, Westwind Studios 

Phoenix, AZ, 2010 

Mapping and Connections, Fiber Art Network 

Members, STEP Gallery, Phoenix, AZ, 2010 

Grand Delusions, Bragg’s Pie Factory 

Phoenix, Arizona, 2009 

New Graduates, Harry Wood Gallery 

Arizona State University, 2009 

Juried Student Art Exhibition 

Truman State University, 2009 

ARTSEnvironmental Earth Week Juried Art 

Exhibition, Kirksville Arts Association, 

2008. 

Juried Student Art Exhibition 

Truman State University, 2007 

Arizona Artists’ Guild 2011 Scholarship Exhibition 

Willo North Gallery, Phoenix, AZ, 2011 

Needling, Fiber Art Network Members Show 

STEP Gallery, Tempe, AZ, 2011 

10 Cameras Project, Artspace Gallery 

Scottsdale, AZ, 2011 

Mixed Emotions, Starke Gallery 

Phoenix, Arizona, 2010 



Instructor 

3D Design Syllabus 

Fall 2011 


Email: kelsey.wiskirchen@asu.edu 

Office Hours: Tues/Thurs 3:30-4:30, and by appointment 

Class Meets: Tues/Thurs 4:40-7:30, Tower A, Room 121 

Course Information & Objectives 

The 3D studio (ART 115) is dedicated to exploring the basics of three-dimensional design with an 

emphasis on spatial awareness, problem-solving, and the many varieties of sculptural form. Using a 

variety of methods and materials including paper, cardboard, plaster, wire, and wood, students will 

create artworks which relate to design principles covered in class. Topics include relief sculpture, spatial 

construction, form and mass, scale and context, structures, and kinetics. Students will be exposed to the 

range of three-dimensional form as found in contemporary art and design as well as different cultural 

and historical contexts. The structure of the course will include slide lectures, critiques, formal and 

informal discussion, quizzes, in-class exercises, and projects. Beyond the concepts and skills essential to 

good design practice, it is hoped that the course will open a window towards self-expression and 

awareness. 

Required Text 

Launching the Imagination, by Mary Stewart, 4th ed. 

Unit Overview 

For each unit, you will receive handouts with project information, and due dates. 

Structures 

2D to 3D 

Relief and Modularity 

Mass and Form 

Scale and Context 

Kinetics 

Attendance 

Roll will be taken at the beginning of each class. 2 absences will be allowed during the semester. Being 

late, leaving early, extra long break time, or inappropriate class activity (sleeping, studying for other 

classes, no supplies) will equal a ½ absence. There will be one 15 minute break midway through the class 

period. It would be wise to save your allowed absences for unexpected situations (illness, personal 

crisis). It is your responsibility to ask for information/handouts that you missed if you are absent. Your 

final grade will be reduced by 5% for each absence beyond the 2 allowed. 

Academic Honesty 

All necessary and appropriate sanctions will be issued to all parties involved with plagiarizing any and 

all course work. Plagiarism and any other form of academic dishonesty that is in violation with the 

Student Code of Conduct will not be tolerated. For more information, please see the ASU Student 

Academic Integrity Policy: 

http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm 



Syllabus (Continued) 

Special Accommodations 

To request academic accommodations due to a disability, please contact the ASU Disability Resource 

Center (http://www.asu.edu/studentaffairs/ed/drc/#); Phone: (480) 965-1234. This is a very important step 

as accommodations may be difficult to make retroactively. If you have a letter from their office 

indicating that you have a disability which requires academic accommodations, in order to assure that 

you receive your accommodations in a timely manner, please present this documentation to me no later 

than the end of the first week of the semester so that your needs can be addressed effectively. 

Student Code of Conduct and Student Disciplinary Procedures 

The ABOR Student Code of Conduct is designed to promote and protect an environment that encourages 

reasoned discourse, intellectual honesty, openness to constructive change and respect for the rights of all 

individuals. In keeping with this mission, the Office of Student Rights and Responsibilities staff seeks to 

balance the rights and needs of the individual with responsibility of the individual to meet the needs of 

the community. In addition, it reviews allegations of student misconduct, determines whether a violation 

has occurred and if applicable, imposes appropriate sanctions. Students are expected to adhere to the 

ABOR Student Code of Conduct. Student Rights and Responsibilities: http://students.asu.edu/srr/code 

Health & Safety Module 

It is now required that all 100 level classes pass a Health and Safety Module. Access the module in 

Blackboard and watch the video before taking the quiz. You must pass with an 80% to receive credit. You 

must repeat the test in additional CORE classes until you receive a 100%. Please note that this in an 

introduction to safety at ASU and other training sessions will be required in upper division classes as 

necessary to the studio you will be working in under faculty supervision. So, even though some of the 

material covered in this module may not seem immediately important it WILL become important as you 

matriculate though your BFA program. 

Instructions for students: 

1. From the Blackboard homepage, click the COURSES tab 2 

2. Type "SOA" into the Course Search box on the upper left 

3. Choose “Health and Safety Module” from the list. Click the Course ID link. 

4. Immediately, you will be asked if you want to enroll in this course. 

5. Bingo. Self-enrollment done. Proceed with task. 

6. Email me your score when you have completed the quiz. 



Expectations/Grading: 


Participation (10%) 

Each student will be expected to participate fully in the activities of the class. This means regular attendance, a sense 

of studio etiquette, participation in class discussion and critiques, and having assignments finished on time. Class 

workdays will be provided, and are expected to be fully used. Projects must be seen in progress. 

Critiques (5%) 

Each assignment grade includes a portion that is composed of critique participation, which includes participating in 

the critique and having a finished project. It is disrespectful to me, to your fellow students, and to yourself to miss a 

critique, and there will be no opportunity to regain critique participation points. Critiques provide the best 

opportunity for aspiring artists to give and receive feedback, and to learn how to speak articulately about their work. 

Sketchbook (5%) 

You will need to keep a sketchbook / journal for use in developing project ideas. Use the sketchbook in and out of 

class to document your entire design process for each project including assignment sheets, concept brainstorms, 

sketches, notes, and photos. This may be in the form of a notebook or binder. You will be turning these in on each 

critique day. 

Exhibition Reviews (5%) 

You will write 5 exhibition reviews during the semester. Each of these will be a typed 1 page response to an oncampus 

exhibition. A more detailed handout will outline the specific requirements. 

Quizzes (5%) 

You will have five quizzes. The information covered on these quizzes will be from the assigned readings. Prior to 

the quizzes, we will also discuss and review the concepts in class. 

Projects (70%) 

Project grades will be determined based on technical, aesthetic, and conceptual merit. Original designs and 

images are expected to be part of your project development. More specific grading guidelines will be outlined 

in unit assignment handouts. Projects that have been approved and have been seen in progress but are incomplete, 

turned in late or not presented at the critique will receive a lower grade. Projects which have not been approved or 

seen in progress will not be accepted for credit. 

Project Grading Criteria 

technical 

satisfaction of project requirements 

overall level of craftsmanship 

technique/skill with materials 

conceptual 

commitment to an idea/follow-through on idea 

intent, depth of thought 

ability to communicate non-verbally through the piece 

interesting solution to proposed problem 

aesthetic 

composition, organization of formal elements 

character, individual personality, style, quality 

gestalt, unity, impact 



Supply List 


Minimum required materials: 

* Metal straight edge/ruler (24") 

* Tape measure 

* #11 Exacto knife and extra blades 

* Utility knife (with extra blades) 

* Graphite pencils (2B and 4H minimum) 

* Pencil sharpener 

* Erasers (white plastic, hard pink) 

* 1 technical ink pen—sizes .25 – .5 will do. Disposable pens are fine. 

* Masking tape 

* Protractor with degrees 

* Sketchbook or 3-ring binder with pocket folders and dividers for filing handouts, notes, sketches, 

collages, etc. 

* Eye protection (hi impact plastic googles) 

* Ear protection (foam ear plugs) 

* Dust protection (personal dust mask) 

* Tackle box (to carry your supplies) 

* Sandpaper 

* Plastic (old shopping bags, saran wrap, etc) 

Materials provided by lab fee: 

* Corrugated cardboard 

* Wire 

* Replacement blades and belts for power tools 

* Various fasteners (nails, bolts, pop-rivets) 

* Casting plaster 

* Masking/packing tape 



Assignment 1: Structures 

Day 1: Introduction to 3D Design, Team Project 

Objectives 

Studio Fundamentals: To understand and experiment with the relationship of form and function 

as applied to three-dimensional structures. 

Concept/Theme: To work as a team and develop a design that encompasses the talents of all 

team members. 

Project Description 

In many disciplines, it becomes necessary to work with a team in order to create the desired art object(s). 

For this project, you will divide into teams to design & build a structure using only cardboard - no tape, 

no glue. Consider aesthetic decisions as well as functional ones - does your form reflect the function 

chosen for it? 

Process 

Introduce yourself to the members of your team—at the end of the project, you will be 

introducing your team members to the rest of the class. 

Brainstorm/Sketch—Work together as a team to develop your concept 

Using one sheet of cardboard (4’ X 8’), build a chair that will support the weight of one person in 

the class for 5 minutes. 

Do not use tape, glue, or other attachment devices. 

Make aesthetic decisions - is it interesting? attractive? off-putting? uncomfortable? tall? short? 

geometric? organic? dynamic? arte-nouveau? steampunk? prehistoric…? 

Utilize the talents and input of all members of the team to come to the most successful design. 

Bonus prize for most creative successful design! Critique at the end of class today. 

Thoughts on the Design 

While developing your idea, consider objects of structure, objects that require structure, and 

different methods of achieving structure. 

Your team may be inspired by an object that already exists - a suspension bridge, a beehive, a 

haystack - which requires particular considerations in how you approach building. Can you 

recreate a support structure from science or nature in these materials without losing the integrity of 

construction? 

Consider also proximity & geometry. What types of shapes and forms will provide the most 

rigidity & support? 

What size will your modules/spaces/openings be? How dense should it be relevant to the design 

you choose? How can you interlock shapes to create strength? 

Which direction is the cardboard naturally stronger? How can you exploit this? What types of 

pressure points will you be exerting on the object? Is all of the weight in one point, or spread out 

across the object? 

How can you use all of this to your advantage? 

Grading 

Functionality: Does it meet the requirements? Go above and beyond? 

Aesthetic: Is it attractive? Neat and crisp, or sloppy? 

Participation: Did each group member engage fully as an active team member? 



Assignment 1: Structures 

Student Projects 



Assignment 2: 2D to 3D 

Self Portrait 

Objectives 

Studio Fundamentals: To construct a three-dimensional form out of a flat, two-dimensional 

paper material as an introduction to 3D Design. 

Concept/Theme: To express an aspect of your personal identity through non-representational 

self-portrait. 


Your challenge is to create a non-representational paper sculpture that expresses an aspect of your 

personality or identity. You will explore the potential of paper as a building material to construct a 

dimensional form that serves as a self-portrait. 

Considerations 

How do you identify yourself? How does society at large identify you? 

How do other societies or cultures or groups identify their members? 

What graphic elements or marks can artists use to express their own identity in a work of art? 

How can you use, replicate, combine, or transform these elements in your own artwork? 

Vocabulary 

representational, non-representational, relief, three-quarter works, freestanding works, balance, 

symmetrical, asymmetrical, radial, dominant, subordinate, template, orthographic projection 

Materials 

Bristol Board 

Rubber Cement or Gluestick 

X-acto Knife (with SHARP blades) 

 

 

 

Ruler & Pencil 

Fine tipped-Sharpie or black pen 

NO TAPE. NO HOT GLUE. 

Process 

1. Experiment with the paper. Make 6 samples total, each utilizing 1/6 th of a Bristol Sheet. See how 

many different ways you can find to alter the flat surface to create three-dimensionality. Think of 

ways to create texture. How can you cut, fold, and re-attach the paper to create a dimensional 

form? 

2. Make a brainstorm list in your sketchbook. List at least 15 personal characteristics. This list will 

be the basis for your project. From this list, choose an idea you wish to express. Are there two 

opposing traits that you will represent? Is there something on the list that you struggle with? A 

trait that you feel glad to have? 

3. After choosing a concept, make at least 5 sketches of your idea. Try to avoid cliché imagery. 

You absolutely may not represent human imagery in your piece. Think of a self-portrait in 

symbolism. 

4. Make your first trial of your project. These we will look at during the in-progress critique. You 

will receive feedback from your peers and then edit and make a second, final project. (This will 

be infinitely better than the first!) 

5. With this project, you will also turn in a “template” of your design. This will be on Bristol Board, 

with your pieces outlined in ink, with clear, simple directions for re-creating your project. Think 

about how you can present this in a professional, clear way: tabs with labeled matching letters? 



Assignment 2: 2D to 3D 




Assignment 3: Relief & Modularity 

Fabric Relief: Rhythm, Repetition, and Balance 

Studio Objective 

To construct a relief surface out of a single repeated unit. This will be an exercise in creating rhythm, 

repetition, and balance in three-dimensional form. 


Using cotton fabric, you will create a relief to be hung from the wall. From 100 individual fabric units, 

you will organize and construct a continuous surface. Consider how you can create a specific sense of 

rhythm and balance through repetition of the same form. 

Materials 

White cotton fabric (1 yard provided) 

Needle 

Scissors 

White thread 

Process 

1. Using the white fabric provided, create 15 different small sample units. Each one should be 

approximately 1 inch. These samples are your “sketching” process for this assignment. 

Experiment with different ways of stitching, wrapping, & folding your fabric. 

2. Select one of these fabric units as the basis for your project. For your project, you will make 100 

of them total. (You may make more if you want!) 

3. Consider different ways that you can combine these units to form a larger unit of 4 or 5 

individual pieces. Will you connect them in an organized way with a grid or rows, or will 

you connect them in an organic, free-form fashion? 

4. Create a relief to hang on the wall utilizing all 100 of your fabric units. The overall dimensions 

should be approximately 1’ square. Consider the overall format that you chose: Will it be square? 

Rectangular? Amorphous? 










Assignment 4: Scale & Material Choice 

Three of a Kind 

Objectives 

 

 

Studio Fundamentals: To shift scale and replicate an object in multiple media while still 

maintaining the integrity of the original object. 

Concept/Theme: To consider how an object can be embedded with history (personal, familial, or 

community). To consider how the material an object is made of informs our understanding of its 

function, form, and meaning. 


For this assignment, you will create a series of three sculptures based on an object that has historical 

significance. The root of this project is the idea of variations on a theme. The individual sculptures will all 

be similar in form but utilize different materials. Consider how a shift in material changes the impact, 

and often the meaning, of an object. 

Materials: 

Graph paper 

Ruler 

Schissors/x-acto knife 

Glue/rubber cement 

Three surface materials of your choice (for example: cardboard, newspaper, plastic bags, vinyl, 

fabric, bubble wrap, wire mesh… explore different materials. For some materials you may need 

to first glue them to a stiffer backing for them to hold their form.) 

Process 

1. Consider a 3D object that has historical significance. It can be historical to you (an object that is 

connected to your childhood, for instance), to your family, or it can relate to the history of a 

country or community. 

2. In your sketchbook, make a list of at least 10 material choices. Think of materials that either 

relate to the history of your object or challenge/alter the idea of the object’s history. From this list, 

you will choose 3 for your project. 

3. Following the instructions given in class, make a drawing on graph paper of the “unfolded” 

surfaces of your chosen object. This will be the 1:1 pattern of your original object. 

4. Using graph paper, enlarge your pattern so that it is 4 times the size of the original. 

5. Using the enlarged pattern, re-create your object 3 times, each with a different surface material. 




Process Photos 










Assignment 5: Scale & Context 

Site Specific Word 

Objectives 

Studio Fundamentals: To build a site-specific sculpture with consideration for scale, context, and 

material choice. 

Concept/Theme: To protest, propose, or persuade the public. 


When people are not satisfied with the way things are, they sometimes protest or try to persuade others 

to change their ideas. For this assignment, your challenge is to create a site-specific public sculpture from 

a word. Our visual culture is full of written information. Consider some of the functions of public text: 

Advertisement 

Stating rules and regulations 

Warning of danger 

Social/Political propaganda 

Protesting/Persuading 

Inspirational 

Affirmation 


What visual elements are important for you to use in a work seeking to protest, persuade, or 

provoke thought in a viewer? 

What historical or cultural references would be helpful to you in researching this kind of work? 

Will your work have an obvious or not-so-obvious function (for example, propaganda has an 

obvious function.) 

Will you use symbols to reinforce a message? If so, list them. 

What tools, materials and processes would be most effective for this project? 

How is the meaning of the artwork affected by the choice of medium? (reinforced/enhanced) 

What context would be the most effective for the display of your finished work? 

How does the scale of your sculpture contribute to the meaning? 

Materials: Your choice, related to your concept. 




Process 

1. Consider individual sites that hold some interest for you. Make a list of 5 possible sites 

for a "site-specific sculpture." Try to visit the site at different times of day. Observe how 

people use the site. You might interview people and get their reactions to the site. Try to 

find out something about the history and uses of the site. Record all of this information 

in your sketchbook. 

2. Using your description as a source, generate a list of words that somehow relate to the 

site. Consider how the idea of "protesting or persuading" may be utilized in this project. 

3. Select one word as the basis for your project. This word should relate in some way to 

your selected site--as a label or sign, as historical reference, commentary, etc. 

4. Analyze the formal properties of your word. Evaluate its potential for being transformed 

into a 3D object. How would the choice of different commercial fonts --or, alternatively, a 

letter of your own design--effect the meaning or formal properties of the word? 

5. Consider the scale and proportions of your sculpture. How will the scale and character 

of your object relate to your chosen context? Are tall, thin letters appropriate or are 

short, wide letters? How will its meaning change at different scales or in relation to 

different aspects of your site? 

6. Consider different materials. How do certain materials amplify or undermine your 

intent? How could the use of particular materials help in creating a site -specific 

sculpture that would convey a particular meaning? 

7. Create a scale model of your word. Paint and finish it as if it is the real thing. 

8. Build the actual sculpture. Insert the reduced or enlarged version of your word into the 

site. Integrate it into its new context in such a way that the whole setting is transformed. 

Consider the difference between displaying the object prominently versus disguising the 

object. 

9. Photograph your word sculpture from various angles. Consider photographing at 

different times of day, photographing people interacting with/ responding to the 

sculpture, returning later and re-photographing. Bring at least 5 photographs on a flash 

drive or emailed for the critique. 










Assignment 6: Mass and Form 

Environmental Observations 

Objectives 

Studio Fundamentals: To introduce the concepts of mass, line, and volume as applied to threedimensional 

form. 

Concept/Theme: To consider your relationship to the natural world by responding to the 

environment in which you live. 


Your challenge is to create a sculpture in two parts (plaster and wire) that expresses the ideas of mass and 

volume and represents your relationship to the natural world. 


How do you personally define the "natural world"? Do you consider yourself part of the natural 

world? 

How have artists represented or utilized the natural world in the past? 

How have artists interacted with other disciplines to understand the natural world? 

What would be some ways of exploring the theme of the natural world in your own artwork? 

Vocabulary 

line, volume, negative space, positive space, implied line, implied plane, space, mass, density, 

weight, gravity, form, simulation, surface, tactile, subtractive, additive 

Materials 

Plaster 

Tie-Wire 

Wire cutters/Pliers 

Plaster carving tools, sandpaper 

NO GLUE, TAPE, ETC. 




Process 

1. Take a walk outdoors. You may choose to go somewhere that you do not normally walk, or if 

you take your walk in a familiar area, stay tuned in to aspects of your surroundings that you 

might normally overlook. Do choose to walk in the park, go out in the desert, walk in your own 

neighborhood? What draws your attention? What in your surrounding environment makes you 

think? Plants, insects, litter, street signs? 

2. On your walk, pick up 10 different items that are easily carried. Select objects that draw your 

attention. These ten objects will be the basis for your project. When you have your entire 

collection, see if you notice any themes in the objects that you chose. What can this personal 

selection say about the way that you interact with and think about the natural world? 

3. Examine the form of these objects. Experiment with the wire by creating dimensional contour 

drawings of three different objects. 

4. Select either one of the 10 objects, or a combination of 2 objects as the basis for your project. What 

does the object or two objects say about your own relationship with the natural world? 

5. Do at least 5 fully developed sketches of different ideas for your project. Consider how you can 

create a representation of these objects out of both plaster and wire. The plaster carving will be 

supported, carried, nested, restrained, presented by your wire sculpture. The two parts should 

relate to one another and should work together as a compositional whole. Can the plaster feel 

light and the wire heavy? Can the wire feel free and the plaster constrained? Consider different 

types of wire line: aggressive, expressive, geometric, organic, contour. 

6. From a 6” X 6” cube of plaster, carve the plaster component. 

7. Construct the wire structure which will support/interact with the plaster component. 

8. Before assembling the final structure, apply intentional surface treatment to the plaster. You may 

create a carved texture, or if you want it smooth, you should sand the surface. 







Assignment 7: Dynamics and Kinetics 

Kinetic Symphony 

Objectives 

Studio Fundamentals: To understand and experiment with the elements of "time, change, and motion" in 

the construction of three-dimensional forms. 

Concept/Theme: To use one of the most basic machines—the wheel—to create a sound which is 

triggered by a kinetic motion. 


For this assignment, you will create a music box. The interior of the box will house a “sound device” which is 

activated by wheels and a hand crank. You will add sculptural elements and paint the exterior of the box to relate 

to the sound device on the interior. 

Materials: 

Sound device of your choice 

 

 

 

 

 

References 

 

Wood 

Dowels 

Paint 

Rubber Bands 

Cardboard and brads for planning 

Artists: Alexander Calder, Theo Jansen, Jean Tinguely, Pol Bury, Arthur Ganson 

Process 

1. Consider different objects from your everyday life which have the potential for making sound such as 

crinkling tinfoil or marbles rolling in a jar. Think about the impact of different sounds (loud or harsh 

noises versus soft or subtle). 

2. In class, we will explore different types of wheel-operated machines. After our class brainstorm, sketch 

different ways that you might build a wheel system that can trigger your sound. In your sketching, plan 

the size of your wheels, and appropriate dimensions for your box. 

Consideration: You can create wood gears with cogs that transfer motion through contact or you can use 

belts (rubber bands). 

3. Create a mock-up of your idea in cardboard. We will look at and discuss these in class. 

4. Build your music box out of wood. We will have a tool safety orientation as well as discussing different 

methods for wood joinery. 

5. Add additional elements (a lid, sculptural wooden parts, etc) to the exterior of your box which reflect the 

sound device on the interior. Paint your box in a way that also reflects the audial impact of your sound 

device. 

6. For critique, we will have a Sound Symphony!

Teaching Portfolio - artCORE

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