Courtney Diedrich: capstone
| dc.contributor.author | Diedrich, Courtney, artist | |
| dc.date.accessioned | 2015-12-02T21:06:48Z | |
| dc.date.available | 2015-12-02T21:06:48Z | |
| dc.date.issued | 2015 | |
| dc.description | Colorado State University Art and Art History Department capstone project. | |
| dc.description | Capstone contains the artist's technical statement, a list of works, and images of works. | |
| dc.description | The artist's technical statement: Over the course of this semester I focused on two processes, incorporating a new building technique and testing reduction glazes. Building: My technique for building the three separate parts (lichen, spikes, and spores). was different for each one: Lichen: the clay wetness was important in making these, I would break apart a small 2” ball of clay into chunks of clay the size ¼” or smaller. Too wet and the clay would want to stick to the wooden tool I used, too dry and it would crumble. Using a wooden tool that had a rounded ball on one end I would use my finger to wrap the clay around and then pull it off. In their wet state they are hard to works. with so I attached them when they were bone dry, slipping and scoring the surface of the piece that I was attaching them to. Spikes: the most forward of all the components, I just rolled miniscule coils with my pointer finger. I would let these set up until bone dry, to put them into a piece I would poke a "pilot" hole with my need tool and then stick it in. The direction of the needle tool hole dictates how the spike will sit on the surface. Spores: I would start out with breaking up a small amount of clay into various balls, using the shape of the ball I would roll an uneven coil so that one end would be pointed and narrow the other bulbous like. Taking a wooden pointed tool I would stick it in the large end and slightly press the outside edges to make them thin. I would also let these set up to bone dry and taking a different wooden tool with a larger pointed end than the needle tool would make pilot holes and stick them in, I applied underglaze after they were bisqued. I tested about 30 different glazes in the reduction kiln and found six that I were stable, had good qualities and different affects depending on the application. | |
| dc.format.medium | Student works | |
| dc.identifier.uri | http://hdl.handle.net/10217/170058 | |
| dc.language | English | |
| dc.language.iso | eng | |
| dc.publisher | Colorado State University. Libraries | |
| dc.relation.ispartof | Sculpture | |
| dc.rights | Copyright and other restrictions may apply. User is responsible for compliance with all applicable laws. For information about copyright law, please see https://libguides.colostate.edu/copyright. | |
| dc.title | Courtney Diedrich: capstone | |
| dc.type | StillImage | |
| dcterms.rights.dpla | This Item is protected by copyright and/or related rights (https://rightsstatements.org/vocab/InC/1.0/). You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). | |
| thesis.degree.discipline | Art and Art History | |
| thesis.degree.grantor | Colorado State University | |
| thesis.degree.level | Undergraduate | |
| thesis.degree.name | Capstone |
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