tag:blogger.com,1999:blog-12850378169089247112024-02-02T02:35:18.987-08:00KallArtAnonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-1285037816908924711.post-49563573234013875862016-08-16T08:27:00.000-07:002016-08-16T08:27:15.192-07:00Painting Commission for Brookville Library<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAab-CXBH-Ej5mFzJIFfYSiUjIUvzhK6ujN43detFWlpzK-rZLjOFm0TTTZVxHEmJj32zRwDM0byJNVooGW3peuQdWVFOMaUoasLs9OAV5tKtVBg-VlsskXtQ62fFt66vRW9P6lkONTkRG/s1600/BSS+-+Remain+Rooted+-+Darren+Kall+2015.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAab-CXBH-Ej5mFzJIFfYSiUjIUvzhK6ujN43detFWlpzK-rZLjOFm0TTTZVxHEmJj32zRwDM0byJNVooGW3peuQdWVFOMaUoasLs9OAV5tKtVBg-VlsskXtQ62fFt66vRW9P6lkONTkRG/s320/BSS+-+Remain+Rooted+-+Darren+Kall+2015.JPG" width="241" /></a><span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6667px; line-height: 20.5333px;">As part of the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">Dayton Metro Library (DML) ReImagining Works</a> I have a new painting commission. I will be painting LIVE at the Brookville Library on August 22nd during the preview opening celebration 2:00pm to 6:00pm, and then August 23-26 everyday from 9:00am to 5:00pm. I may stay late some evenings that the library is open late. If you're in the area, please drop by and chat while I work. The idea is to invite people to see the process of the paintings which will find their permanent home in the room where I am painting them. I'll have sketches and other paintings there in the series to explain how the idea for these paintings evolved. </span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6667px; line-height: 20.5333px;">The <a href="http://www.daytonmetrolibrary.org/locations/brookville" target="_blank">brand new library</a> is located at <u>120 Blue Pride Drive, Brookville, OH.</u> Don't be confused by the address on the DML webpage - </span><span style="background-color: white; color: #666666; font-family: proxima-nova, Arial, sans-serif; font-size: 13px; line-height: 20px;">425 Rona Parkway Drive, </span><span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6667px; line-height: 20.5333px;">that's the old address until the new library opens. </span><br />
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<span style="color: #333333; font-family: Calibri;"><span style="background-color: white; font-size: 14.6667px; line-height: 20.5333px;">Here's the <a href="http://www.daytonmetrolibrary.org/news/2704-creativity-in-progress-artist-darren-kall-works-on-site-at-the-new-brookville-branch-library" target="_blank">press release about the project. </a></span></span><br />
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<span style="color: #333333; font-family: Calibri;">I'm going to be creating two large-scale paintings that are 4 feet x 8 feet for the main wall of the multipurpose meeting room. I'm painting them onsite so that these site-specific paintings will integrate with their environment and the purpose of the room. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1fbxi9KGWH5zm-F_KfA_9om0bSDGvQWj2fqR5YX1uCMUEd-w1cP9DJkRbzkRhzJbzVEcfoniJVc6WQZeyF-qDHXebchcA9XL5IrSyQUQO0omU4edmnkH0LXgdsP5J-hNfYXzSSYnQgsl/s1600/BTK+-+Deeper+Wonders+-+Darren+Kall+2015.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir1fbxi9KGWH5zm-F_KfA_9om0bSDGvQWj2fqR5YX1uCMUEd-w1cP9DJkRbzkRhzJbzVEcfoniJVc6WQZeyF-qDHXebchcA9XL5IrSyQUQO0omU4edmnkH0LXgdsP5J-hNfYXzSSYnQgsl/s320/BTK+-+Deeper+Wonders+-+Darren+Kall+2015.jpg" style="cursor: move;" width="320" /></a><span style="color: #333333; font-family: Calibri;">I want these public paintings to become part of the nostalgia of the library for the people who visit and use the room. This way people can say, "I saw him painting that years ago."</span><br />
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<span style="color: #333333; font-family: Calibri;">I'm still experimenting with exactly what mood and impression I'm going to create for the space. I'm doing lots of watercolor paintings, acrylic paintings, and color pencil sketches to work on different variations. Here are three other paintings from my Line Pattern series to give you an idea of what I'll be working on.</span><br />
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<span style="color: #333333; font-family: Calibri;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWA5cqAgptwQpguf7anTwZZu66m9paTwlbMORs1wUigLuFpXVW9d78QZS5ZK-NUVUyx5tQskrvY3GPjQcOyP4Q108ftpwCvHbnP87BcvQTTpwZpAJOiOMY3403vEyVw4HqlWPGdHHF5Ps/s1600/20160626_172021.jpg" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWA5cqAgptwQpguf7anTwZZu66m9paTwlbMORs1wUigLuFpXVW9d78QZS5ZK-NUVUyx5tQskrvY3GPjQcOyP4Q108ftpwCvHbnP87BcvQTTpwZpAJOiOMY3403vEyVw4HqlWPGdHHF5Ps/s320/20160626_172021.jpg" width="320" /></a></span><br />
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<span style="color: #333333; font-family: Calibri;"><span style="font-size: 14.6667px; line-height: 20.5333px;"><br /></span></span>Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-80288339505515740852015-07-06T08:13:00.000-07:002015-07-06T08:13:14.702-07:00Kossuth colony sculpture<span style="font-family: Calibri; font-size: 14.6666669845581px;">Here are the steps of how I created a sculpture of the Kossuth colony as part of my commission to create six sculptures for the </span><span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;"><a href="http://www.daytonmetrolibrary.org/works" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">ReImagining Work</span>s</a> project of the <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="http://daytonmetrolibrary.org/" target="_blank">Dayton Metro Library</a></span>. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Kossuth Colony sculpture by Darren Kall - Property of Dayton Metro Library</td></tr>
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<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">The Kossuth Colony was built by the Barney & Smith Train Car Factory to house the Hungarian immigrants who came to Dayton to work at the factory. A family could buy their new home from the factory for $800. There was a general store in the colony. If you look at the horizon line in my sculpture you'll see that the colony also had a wall to cordon it off from the rest of Old North Dayton. </span></div>
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<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">The wall is long gone, but the houses still remain. </span><span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">When I walked around the community I found the neighborhood that was the Kossuth Colony. </span><span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Many years later, and many remodelings, yet this moment from history is still clearly with us today. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFnWCTufcE-bsKYDe_Byr4s6dJQoIe7NYxXfh6saGbtC0KHgDiOmcMWUENT84dWNbxSg5O9Ed6HbneRhGYUsQtrzdefSGBtCXckC0PqrrwqhsowZ0nO9xfjyT4ZLac8jH3zlAh-TYpZokZ/s1600/20141106_184832.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFnWCTufcE-bsKYDe_Byr4s6dJQoIe7NYxXfh6saGbtC0KHgDiOmcMWUENT84dWNbxSg5O9Ed6HbneRhGYUsQtrzdefSGBtCXckC0PqrrwqhsowZ0nO9xfjyT4ZLac8jH3zlAh-TYpZokZ/s1600/20141106_184832.jpg" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">I selected this scene of the Kossuth Colony because of the long perspective. The original photo had many people in their front yards or out in the common area in front of the yards. In this, and all the sculptures, I chose to not depict people. I was concerned that at this size people would be too small to easily be identifiable as people. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLP4LH_KriyGnlTxDLCQUOYWzcqn2gQxAJ5wSH-aALDb2rjrsTbf7qWGlo0w1uLAo3ayASl01YsJFHPFfJonBooXAQ2gYwCr6BbnVx5TQe7-NwybO5I71RZflE7_z3LbloznNgmXu9aYZD/s1600/20141106_191652.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLP4LH_KriyGnlTxDLCQUOYWzcqn2gQxAJ5wSH-aALDb2rjrsTbf7qWGlo0w1uLAo3ayASl01YsJFHPFfJonBooXAQ2gYwCr6BbnVx5TQe7-NwybO5I71RZflE7_z3LbloznNgmXu9aYZD/s1600/20141106_191652.jpg" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">I cut out the sky first. I was concerned with offsetting the solidness of the house area. Unlike the other sculptures this piece would not be as easy to balance. So I ensured that the sky fractures were at their thickest (most open) and therefore brighter closest to the houses. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9OZsIV1J-wzxJ36qoruIkaxBZBYlExnanngLVogmCsx373_svy6yzFNcYgBKYe4x7fqeG8LKG7iDsLd2HHhcUo4yiu22Or1Zzc8RTKYHnlzuS6nRUyFnCNFZULjfW8ZR7mv8S2QNd2KhT/s1600/20141107_091837.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9OZsIV1J-wzxJ36qoruIkaxBZBYlExnanngLVogmCsx373_svy6yzFNcYgBKYe4x7fqeG8LKG7iDsLd2HHhcUo4yiu22Or1Zzc8RTKYHnlzuS6nRUyFnCNFZULjfW8ZR7mv8S2QNd2KhT/s1600/20141107_091837.jpg" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Once I finished the sky I started on the buildings themselves. For practical reasons I started on the right hand side and worked to the left. My preference would have been to work farther details first, but because I'm right-handed I didn't want to smudge the chalk lines as I was working from left to right. </span><br />
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<span style="font-family: Calibri;"><span style="background-color: white; font-size: 14.6666669845581px;">All the cutting complete you can see just how messy the black paper got even with my best efforts not to smudge. There were guidelines, there were fingerprints, there were my precedence markers, and all of that needs to be cleaned off before I could use the artwork.</span></span><br />
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<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Here's my first pass at cleaning up the artwork. I lightly brush the eraser over the surface getting the obvious marks. I do it with a kneadable eraser.</span><br />
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<span style="font-family: Calibri;"><span style="background-color: white; font-size: 14.6666669845581px;">Then I go back and clean it up once again with a hard eraser and a kneadable eraser using the magnifying glass. I have to do this because the scanner is so sensitive it finds the slightest chalk mark. And this chalk mark might be misinterpreted as a cutout shape when the scanned image is converted in later steps. Once it's done, it's scanned in and ready for the next step.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0pvq8TIL9jiJtm9-GveypghkyYa5uOkdVca6T7zYqhApYqU7h_tufI4WWyUrGYl6zbAvmWHvJo-OHIGZYlU7aaFB-e3q63OX4PnzMJNkj5mtAF2xrjgOkaClYwQXDOHofw_slXZT1Wp8/s1600/20141108_091532.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG0pvq8TIL9jiJtm9-GveypghkyYa5uOkdVca6T7zYqhApYqU7h_tufI4WWyUrGYl6zbAvmWHvJo-OHIGZYlU7aaFB-e3q63OX4PnzMJNkj5mtAF2xrjgOkaClYwQXDOHofw_slXZT1Wp8/s1600/20141108_091532.jpg" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">This is what remained behind after I cut out all the pieces. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuzcKuf1QQg0F0IAfTMf9uKQqInrsuYKj0wC5d2_yWnmfBbrXnt5bo0Fo7jiz41mecw9uMBNw_DzUCYsJOZqVA7gbs-2H8VnR-j4YupgVbz_QdcJRBX530zCqUZGT3yuRyiFwqUxsVyhIe/s1600/kossuth+final+cad.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuzcKuf1QQg0F0IAfTMf9uKQqInrsuYKj0wC5d2_yWnmfBbrXnt5bo0Fo7jiz41mecw9uMBNw_DzUCYsJOZqVA7gbs-2H8VnR-j4YupgVbz_QdcJRBX530zCqUZGT3yuRyiFwqUxsVyhIe/s1600/kossuth+final+cad.JPG" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Here is what the artwork looks like when it's converted to CAD. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xfDIjk9Ov8ty_6pzyfuL3zsyDVSZQUvZGYM87ltCG51HBp_raMMJU8AUYyryJWo1YiAtk_W2MPgmIVb48ubPl5ehEghQB3SKsS443Tz4vK1x0dXWSM1da6kFim2izcJ256eIyEZFfLda/s1600/Kossuth+cad+with+route.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xfDIjk9Ov8ty_6pzyfuL3zsyDVSZQUvZGYM87ltCG51HBp_raMMJU8AUYyryJWo1YiAtk_W2MPgmIVb48ubPl5ehEghQB3SKsS443Tz4vK1x0dXWSM1da6kFim2izcJ256eIyEZFfLda/s1600/Kossuth+cad+with+route.JPG" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Here is the CAD drawing with the plotted pathway for the water-jet cutter to follow from one opening to the next. I appreciate the pattern of the red line over the blue lines as a art piece all on its own. </span>Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-47698045646073179912015-06-28T19:20:00.000-07:002015-06-28T19:20:22.470-07:003D Printing for my Birthday<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Every year on my
birthday I do something I've never done before. This year I created a 3D-printed sculpture. I created it at the <a href="http://www.protobuildbar.com/" target="_blank">Proto Build Bar</a> in Dayton, OH. The experience was a gift from my wife.<br />
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Rather than print a pre-designed piece, I made my own design.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7iaJFNTyxTCqjCKDrzbo7tDEtsMlhYEEkLZRL-0_Uv_uJs9wyXCUj_hURcjA1C0a9mZDZqN6sTQGLIcGAkGd1igF_MPLyDBnhI1Wh10Jy1Dx00xxaQnTMvS2v3pfPmV1kHsltRsSRxc0n/s1600/20150626_182656+-+Copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7iaJFNTyxTCqjCKDrzbo7tDEtsMlhYEEkLZRL-0_Uv_uJs9wyXCUj_hURcjA1C0a9mZDZqN6sTQGLIcGAkGd1igF_MPLyDBnhI1Wh10Jy1Dx00xxaQnTMvS2v3pfPmV1kHsltRsSRxc0n/s400/20150626_182656+-+Copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Spiracle Notice" - Darren Kall 2015</td></tr>
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<span style="font-size: 11pt;">I made this Line Pattern sculpture. It is about two and a half inches high, five inches wide, and four inches deep at its extremes. </span><span style="font-size: 14.6666669845581px;">I named it "Spiracle Notice".</span></div>
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<span style="font-size: 11pt;">I started in my studio making a CAD drawing of the sculpture in </span><a href="https://www.tinkercad.com/" style="font-size: 11pt;" target="_blank">Tin<span id="goog_1075818329"></span><span id="goog_1075818330"></span>kercad</a><span style="font-size: 11pt;">. I knew I would do a bunch of exploration with the drawing and didn't want to take the time to do the drawing at Proto Build Bar but they have the capability to do similar drawings onsite.</span></div>
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<span style="font-size: 11pt;">I used Tinkercad instead of the other CAD programs I've used because Tinkercad was recommended specifically for 3D printing. </span><span style="font-size: 11pt;">Tinkercad was very easy to use. It lacks the sophisticated features of more elaborate CAD programs, but it was perfect for what I had planned. </span><br />
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<span style="font-size: 11pt;">My goal was to transpose one of my <a href="http://dakall.blogspot.com/2015/04/you-drink-while-i-paint-art-in-city.html" target="_blank">Line Pattern painting series</a> ideas into a 3D sculpture. </span><br />
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<span style="font-size: 11pt;">In my first attempt (#001) I translated my painted lines literally except I gave the lines depth. Drawing #001 didn't work well enough to even keep the drawing! My lines were laid down in a rectangular "frame" area much like I do with my paintings. The lines extended to the edges where I "cut" them to fit in the frame. In the 3D printing I would be limited to using only one color so I made sure my design would work in one color. B</span><span style="font-size: 14.6666669845581px;">ecause of this restriction, the lines didn't really distinguish themselves enough to make the 3D printing interesting as a pattern. In my disappointment I also realized I was not taking full advantage of the sculptural space since all the lines were on the same plane. I deleted drawing #001.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq4k62V9_caWc6FgW9uO284q53OEDdkGB0FLLDl__cR-4FrAiH4Xwbez1dTX5OyvmEUjtQ8tsJRUuZi8HRC2bxp-hfXZ5uAnxYyMbQ_XyMuHdZ6WUnx0nwFiyduYGP3VdY-fdUp6uR3W2C/s1600/tinkercad+line+pattern+002+-+2.PNG" imageanchor="1" style="clear: left; font-size: 14.6666669845581px; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq4k62V9_caWc6FgW9uO284q53OEDdkGB0FLLDl__cR-4FrAiH4Xwbez1dTX5OyvmEUjtQ8tsJRUuZi8HRC2bxp-hfXZ5uAnxYyMbQ_XyMuHdZ6WUnx0nwFiyduYGP3VdY-fdUp6uR3W2C/s320/tinkercad+line+pattern+002+-+2.PNG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Line Pattern drawing #002 - Spiracle Notice<br />
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<span style="font-size: 14.6666669845581px; text-align: center;">My second attempt (#002) used lines of all the same length, height and width. I manipulated the overlap and intersection of the lines in 3 dimensions instead of the single plane of the Line Pattern paintings. In Line Pattern paintings I create the illusion of depth by overlapping the lines. In the sculpture I had actual depth to play with.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2hWktffWVQvj6OfvdGGDuuXWJRSWANifkSfUR7jmcx2Wts3W6JaUIqzTKzDDigEjIpypdkzzEHQZCPon0x0DCnECoFSs1ZFxPGjGYEnDIw65isVrFyIwc4Zsx8LiR-6XwigXFfuh_FS_/s1600/tinkercad+line+pattern+002+-+1.PNG" imageanchor="1" style="clear: left; font-size: 14.6666669845581px; margin-bottom: 1em; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju2hWktffWVQvj6OfvdGGDuuXWJRSWANifkSfUR7jmcx2Wts3W6JaUIqzTKzDDigEjIpypdkzzEHQZCPon0x0DCnECoFSs1ZFxPGjGYEnDIw65isVrFyIwc4Zsx8LiR-6XwigXFfuh_FS_/s320/tinkercad+line+pattern+002+-+1.PNG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Line Pattern drawing #002 - Spiracle Notice</span></td></tr>
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<span style="font-size: 14.6666669845581px; text-align: center;">This is a view of #002, the same CAD drawing, as seen from above where the overlaps and displacement are more obvious. The Line Pattern paintings are explorations of how lines intersect. The Line Pattern sculptures explore the same but add new challenges.</span><br />
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<span style="font-size: 14.6666669845581px;">I spent a lot of time ensuring that all the lines connected to at least one other line. With the CAD drawing it was easy to spin the drawing in every direction and to zoom in and out to inspect each intersection. All the pieces had to be attached to make it a single sculpture and to prevent "floaters" or separate pieces that would just fall out when the 3D printer made them. Things I don't have to think about when I paint Line Pattern paintings.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Line Pattern drawing #002 - Spiracle Notice</span></td></tr>
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Here is another view of #002. It shows how a simple rotation of the drawing creates a new pattern. </div>
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I wanted to create a complex pattern, one that would test the capabilities of the 3D printer, be an interesting extension of my Line Pattern paintings, and be an aesthetically pleasing grouping.<br />
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I made several additional drawings that were variations of #002. I used different numbers of lines, different arrangements, and different patterns of connection. I even started one where I was varying the width of the lines. I was starting to play and create too much! This was fun. But to ensure I didn't spend my day making drawings, I forced myself to pick one for the 3D printing experiment.<span style="font-size: 11pt;"> I liked #002 the best. </span><br />
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I exported my drawing from TinkerCAD in four formats since didn't know what format was needed by the
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At the Proto Build Bar I used a <a href="http://www.makerbot.com/" target="_blank">MakerBot Replicator</a>. I imported the right format of my CAD drawing into the print-time estimation software. The manager at Proto Build Bar gave me a lesson on the software. My task was to optimize <span style="font-size: 11pt;">the orientation of the drawing to minimize the 3D printing time. The sculpture could be printed in any direction but some orientations would take the printer longer to print than others for the same sculpture. And since time is money on the MakerBot I wanted to print in the shortest possible time.</span><br />
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The print-time estimation software has algorithms that determine the need for supports and printhead travel time. Optimizing is a manual process where I repeatedly changed the orientation and then ran an estimation. I started thinking through how this process could be automated to make it faster and more accurate than my trial and error process. Then I remembered it was my BIRTHDAY and I shouldn't be working :^). So I took off my software designers hat and got back to more trials, and more errors. I got it down to the best duration I could. <span style="font-size: 11pt;"> Then I transformed my Tinkercad output into the MakerBot proprietary machine-readable format. The Proto Build Bar manager started the 3D printer. Then we went away for a few hours.</span><br />
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Actually my wife, our son, and I didn't go far. We moved over to a soldering bench at the Proto Build Bar and as a team we soldered and assembled a build-kit for a handheld Simon-like electronic game. It was a lot of fun but we kept peeking at the sculpture during the process.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7K7eMSF2M8NudNjbNsyXVd9AWOHhG3MNKvUs6t2PAtMltPPCyHkdzA79J-dzpD8nL8lnGINZ9_aPHJmdF1FMFiTeBapCHTgQ-zmc_WrzcdiB25kAdD-gh2XbxSpp-IKaTK7wsRH1OQwrT/s1600/20150622_192549+-+Copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7K7eMSF2M8NudNjbNsyXVd9AWOHhG3MNKvUs6t2PAtMltPPCyHkdzA79J-dzpD8nL8lnGINZ9_aPHJmdF1FMFiTeBapCHTgQ-zmc_WrzcdiB25kAdD-gh2XbxSpp-IKaTK7wsRH1OQwrT/s320/20150622_192549+-+Copy.jpg" width="320" /></a></div>
This is the final product as it came out of the 3D printer with its supports attached. Supports are necessary for pieces of the sculpture that extend too far out. Because of the way the printer lays down the plastic if there were no supports the plastic would not stay in the desired spot in space or would simply fall down. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtiiSSBJdwcwpMX7j91Hh94j5OY7vbcuScXSE6Q-FoD9oqRlktiaju6R2bd6IDOq_WwcGGzs_1xuZrTgHFFP3qzMm6gRc5BYubnPIfz_npgGX-GWo6gOxgh03aEm9-Rqu3VI93OGGWZqep/s1600/20150622_193626+-+Copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtiiSSBJdwcwpMX7j91Hh94j5OY7vbcuScXSE6Q-FoD9oqRlktiaju6R2bd6IDOq_WwcGGzs_1xuZrTgHFFP3qzMm6gRc5BYubnPIfz_npgGX-GWo6gOxgh03aEm9-Rqu3VI93OGGWZqep/s320/20150622_193626+-+Copy.jpg" width="276" /></a></div>
The biggest pieces of support were easily pulled off since they are only lightly attached to the sculpture. Some others needed to be cut off with an X-Acto knife.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQKJlFPhkqchVaTbtGHX7jnBTvyma4ZXrlGPq_iNG9p0oZ-jwrE8gJS3-zPlGZgpXRb5Vl3MtYa7B6AokDgbC3xrvb4b9ukFeRYlVzo6fA9Tt9a_VZzg6TWF0RaKbhq1DNUTAMgIgwIp8/s1600/20150622_193655+-+Copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOQKJlFPhkqchVaTbtGHX7jnBTvyma4ZXrlGPq_iNG9p0oZ-jwrE8gJS3-zPlGZgpXRb5Vl3MtYa7B6AokDgbC3xrvb4b9ukFeRYlVzo6fA9Tt9a_VZzg6TWF0RaKbhq1DNUTAMgIgwIp8/s320/20150622_193655+-+Copy.jpg" width="320" /></a></div>
Even after the majority of supports were pulled or cut off there were still thin spiderweb-like filaments left over from when the printhead moves to a new location. I used tweezers and a magnifying glass to pluck these off. </div>
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<b>WHAT I LEARNED: </b><span style="font-size: 14.6666669845581px;">It was a great experience. I can see 3D printing will be useful as a maquette maker for some of my sculptures. The surfaces and quality are even good enough to be a finished product maker. </span><span style="font-size: 11pt;">My shapes were deceptively difficult for the printer modeling algorithms. The finished product looks simple but with all the
intersections and "hidden" spaces the supports didn't always work.
There were two areas on the underside where there were ends of
lines that sagged. They probably should have had supports. Good
feedback for me when I design the next one until the algorithms catch up.</span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com1tag:blogger.com,1999:blog-1285037816908924711.post-20057238715515727902015-04-29T19:45:00.001-07:002015-04-29T19:45:41.685-07:00You drink while I paint @ Art in the City<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0P_tsr9I001IbOpATVu5DbXMAbYyzDVIdVy2lFRScu_bynVEJPAUh28GwtZSIO3LGQzZeZy65jKJ5bJEdkOGzG5l5YXp6y8uJVqg_9WTv19TR9UZKyoanMBF2ypqQn7ePnoHBMbQ8eUW/s1600/Belle+of+Dayton.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO0P_tsr9I001IbOpATVu5DbXMAbYyzDVIdVy2lFRScu_bynVEJPAUh28GwtZSIO3LGQzZeZy65jKJ5bJEdkOGzG5l5YXp6y8uJVqg_9WTv19TR9UZKyoanMBF2ypqQn7ePnoHBMbQ8eUW/s1600/Belle+of+Dayton.jpg" height="228" width="320" /></a><span style="font-family: Trebuchet MS, sans-serif;">On
May 8th from 5pm to 8pm I will be working on some of my Line Pattern series paintings at the <a href="http://www.belleofdayton.com/" target="_blank">Belle of Dayton distillery</a>. Please drop by, look at the paintings, and chat with me while I paint. </span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;">I will have several finished paintings on display. </span><span style="font-family: Trebuchet MS, sans-serif;">Let's do an experiment - come to Belle's and before you drink take the time to look at my paintings. </span><span style="font-family: 'Trebuchet MS', sans-serif;">Then have a flight of Belle's Vodka, Rum, and Rye. When you're done, look at my paintings again and fill out this short survey:</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorhU2l9MtesNdLAAZ_7FzHzQiedZBnswArDcJIpA8RHSf3mTMHz_BVLtFzeh3E4JY-IZ7fgfdf9oHAIZBFIjyO680CJojbBA_MuZ5atnqolUQ2AdBM5kddyJ53HQVxZ-HphPiHN3E4Dj7/s1600/Line+pattern+sample+2+studio+green.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorhU2l9MtesNdLAAZ_7FzHzQiedZBnswArDcJIpA8RHSf3mTMHz_BVLtFzeh3E4JY-IZ7fgfdf9oHAIZBFIjyO680CJojbBA_MuZ5atnqolUQ2AdBM5kddyJ53HQVxZ-HphPiHN3E4Dj7/s1600/Line+pattern+sample+2+studio+green.jpg" height="400" width="263" /></a><span style="font-family: 'Trebuchet MS', sans-serif;">1. After your drink did you like my paintings more? (Did they get better or did it just seem that way to you?)</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;">2. Do the abstract / non-representational lines suddenly have deep meaning for you? (If so, then you really need to sit for a while before heading home.)</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif;">3. Do you find yourself counting lines and trying to figure out which line is on top of what other lines? (It amuses your friends, keep trying.)</span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;">If you liked having art work while you had your drink at Belle's, then buy a bottle to take home to thank the brothers LaSelle for letting me paint there. If you really liked the distillery's products then buy a painting to take home to remind you of the great time you had. :^)</span><br />
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<a href="https://www.facebook.com/events/1434211216874083/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBWqan_qiwFAPcBC6Y6Pav5nBF7UeFfKYeDDJTy8HdnPFHtWsdg2c9RTWov2hIXRosZf8KvtJLIg2fXGocl1a_zfcvYCl9YTQ8CG98QOibDi8ktVyQmuVtVq3f7pK26jtXcvShqHGGU2Uu/s1600/Artinthecitylogo-01.jpg" height="200" width="200" /></a><span style="font-family: 'Trebuchet MS', sans-serif;">The event is part of <a href="http://www.downtowndayton.org/index.php?option=com_content&task=view&id=328" target="_blank">Art in the City</a> a city-wide event organized by the <a href="http://downtowndayton.org/" target="_blank">Downtown Dayton Partnership</a>. There are going to be a lot of art-related events around town that night. After you visit with me at Belle's check out the other artists doing demos in other businesses, browse the art galleries, watch a street art competition, watch murals being painted, listen to live music, or go make art of your own at one of the art stations! </span><br />
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Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-26594960868315499852015-04-19T11:24:00.002-07:002015-04-19T11:26:26.440-07:00Official Sculpture Opening and Art Workshop for Kids<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1eoIGlKjXn1mWj7HryjRN5zse9lT3gUmdNT12TTiEIFItnOk8blQW6ekFskXM4Vv5tHMrmWcbQ6C6xpKT37o4XuR7131XbWkA-jiD_h9MNOPZ9DoBRIrDawUeRUv9Wf6T2MbmxuIgWQk/s1600/South+fence+view.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik1eoIGlKjXn1mWj7HryjRN5zse9lT3gUmdNT12TTiEIFItnOk8blQW6ekFskXM4Vv5tHMrmWcbQ6C6xpKT37o4XuR7131XbWkA-jiD_h9MNOPZ9DoBRIrDawUeRUv9Wf6T2MbmxuIgWQk/s1600/South+fence+view.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kiser School and Barney & Smith sculptures<br />
@ Electra C. Doren Library, Property of Dayton Metro Library</td></tr>
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Hope you can come out to the opening for my sculptures on May 15th and sign your kids up for a workshop I'm doing on May 9th. </div>
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On Saturday May 9<sup>th</sup> from 1pm to 3pm I’m going to be doing
a workshop for children K-4 + Tweens at the Electra C. Doren Library. If you're in the Dayton area, consider signing up your kids. Spaces are limited. <a href="http://daytonmetrolibrary.evanced.info/signup/EventDetails.aspx?EventId=21719&lib=1003#" target="_blank">EVENT LINK</a></div>
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It’s called Designing Spaces Art Workshop and it is part of the
ReImagining Works commission I did for the Dayton Metro Library. I’m going to
take the kids through an ideation session where they pick something important
in their lives, and sketch it out. Then I’m going to teach them the paper
cutout techniques I used when I designed the sculptures for the Electra C.
Doren reading terrace. Their artwork will be on display the following week at
the sculpture opening and terrace dedication ceremony.</div>
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<tr><td class="tr-caption" style="text-align: center;">Waterworks, Duncarrick Mansion, and Kossuth Colony<br />
@ Electra C. Doren Library, Property of Dayton Metro Library</td></tr>
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On Friday May 15<sup>th</sup> from 4pm to 6pm there is an opening
for my sculptures at the Dayton Metro Library dedication ceremony for the new
reading terrace at the Electra C. Doren Library. <a href="http://www.daytonmetrolibrary.org/locations/electra-doren" target="_blank">LIBRARY LINK</a> </div>
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Though you've been able to see the sculptures since January this is the official opening because it is now warm enough to hang out outside and enjoy the sculptures!<br />
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The event will have celebratory remarks, thanks and
recognition to donations making the reading terrace possible, and ReImagining
works will open the terrace and my sculptures in a ribbon cutting ceremony. I will
be giving a brief presentation on the inspiration, process, and images for the
sculptures. Then I will be on the terrace to give tours of the artwork and have
conversations. An added plus is that there will be free hotdogs for the first
~200 people and entertainment by Lithuanian dancers. Though I have Lithuanian heritage, you will be glad to know, I am NOT going to be taking part in the dancing. </div>
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Hope to see you at the opening! </div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-48777954393226563092015-03-11T17:39:00.001-07:002015-03-11T17:39:59.772-07:00Duncarrick Mansion sculpture<span style="font-family: Calibri; font-size: 14.6666669845581px;">Here are the steps of how I created a sculpture of the Duncarrick Mansion as part of my commission to create six sculptures for the </span><span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;"><a href="http://www.daytonmetrolibrary.org/works" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">ReImagining Work</span>s</a> project of the <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="http://daytonmetrolibrary.org/" target="_blank">Dayton Metro Library</a></span>. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcgu88iXj2kp7xO3_WlS76VvckaOee0V4Pi2_8glp5hcO_phMEbrpJ_BwCps3ri7WwCGI-L75LCoSqU1EMySRcaZM-6v2oYOfbfyTt3jeMeYwylLgD6gGI8CzLkHVMiJHzocGoXBRJ9fUY/s1600/Duncarrick+Mansion+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcgu88iXj2kp7xO3_WlS76VvckaOee0V4Pi2_8glp5hcO_phMEbrpJ_BwCps3ri7WwCGI-L75LCoSqU1EMySRcaZM-6v2oYOfbfyTt3jeMeYwylLgD6gGI8CzLkHVMiJHzocGoXBRJ9fUY/s1600/Duncarrick+Mansion+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Duncarrick Mansion - Darren Kall - Property of Dayton Metro Library</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvT6bd1k-6N9hjFmZDpqhCuDbb7-iFWAZjpbgcew4eFjHuVNqlCFgo856tlOHXo0CzQzkMzMOeNFPRk-a0SaNJzWgA6qln-VHxd6ZgwEgyZoHsYHj5huUr3izup2aRgf6JRkSI8rYbSQle/s1600/Duncarrick+Mansion+++Waterworks+installed+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvT6bd1k-6N9hjFmZDpqhCuDbb7-iFWAZjpbgcew4eFjHuVNqlCFgo856tlOHXo0CzQzkMzMOeNFPRk-a0SaNJzWgA6qln-VHxd6ZgwEgyZoHsYHj5huUr3izup2aRgf6JRkSI8rYbSQle/s1600/Duncarrick+Mansion+++Waterworks+installed+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dayton Waterworks and Duncarrick Mansion sculptures - Darren Kall - Property of Dayton Metro Library</td></tr>
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<span style="font-family: Calibri; font-size: 11pt;">The sculpture is cutout sheet aluminum approximately 33in H, 45in W, .25in D. </span><span style="background-color: white; font-family: Calibri; font-size: 11pt;">The sculptures are integrated into the fence of the new reading terrace of the Electra C. Doren Branch Library. Each panel depicts a different Old North Dayton landmark. </span><span style="font-family: Calibri; font-size: 14.6666669845581px;">As part of the ReImagining Works project the community chose </span><a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" style="font-family: Calibri; font-size: 14.6666669845581px;" target="_blank">Charles Sheeler's Stacks in Celebration </a><span style="font-family: Calibri; font-size: 14.6666669845581px;">painting from the permanent collection of the </span><a href="http://www.daytonartinstitute.org/" style="font-family: Calibri; font-size: 14.6666669845581px;" target="_blank">Dayton Art Institute</a><span style="font-family: Calibri; font-size: 14.6666669845581px;"> as the inspiration for this project. </span><span style="font-family: Calibri; font-size: 14.6666669845581px;">I interpreted Sheeler's fractured cubist sky with my sky sections of lines of different thicknesses. </span><br />
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<span style="font-size: 11pt;"><span style="background-color: white; font-size: 14.6666669845581px;">Unlike some of my other sculpture subjects <a href="http://en.wikipedia.org/wiki/File:Duncarrick.jpg" target="_blank">Duncarrick Mansion</a> still stands. </span></span><span style="background-color: white; font-size: 14.6666669845581px;">I remember watching the Duncarrick Mansion being renovated as we passed it regularly on the highway. It is a "you can't miss it" building. It used to be owned by the Kennedy family of Dayton, but is now part of the <a href="http://kroc.salvationarmy.org/DaytonKroc/" target="_blank">Salvation Army's Kroc Community Center</a>. I had several historical photographs of the mansion but I wanted some images of my own. Barb and Janet at the Salvation Army were super friendly and allowed me to take pictures. Plus they come from Old North Dayton so I got insider information on more than just Duncarrick Mansion. I took pictures from all sides of the mansion and decided to use one of the photos I took of the grand front entrance as my sculpture.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7p5GHSW-IajL3iIYMSFWJ-_qk4KFaUP02A_ZTZVmxUl3UyqY9vntZU3E4zlhQzQbVEDYtHyPWM1dR_tF-2Y4h1Yprseeduq_KdBb_1C2JTr3hy_bQh2HBnxLbIKCMqJFk5DnkRb-27nGb/s1600/20141104_150253.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7p5GHSW-IajL3iIYMSFWJ-_qk4KFaUP02A_ZTZVmxUl3UyqY9vntZU3E4zlhQzQbVEDYtHyPWM1dR_tF-2Y4h1Yprseeduq_KdBb_1C2JTr3hy_bQh2HBnxLbIKCMqJFk5DnkRb-27nGb/s1600/20141104_150253.jpg" height="240" width="320" /></a></div>
<span style="background-color: white; color: #333333; font-size: 14.6666669845581px; line-height: 20.533332824707px;">As you can see I'm just starting my chalk sketch of the mansion on black art paper. I start on the left of the image and work right. Since I'm right-handed I don't want to smudge the chalk as I'm working. </span></div>
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">I started with pencil sketches where I decided the layout of objects, then the fracture lines of the sky, and finally what of four bar thicknesses I'll use for the"shades" of sky in each segment.</span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">So much for not smudging! As you can tell my sketch is forgiving at this point. It does not need to be too accurate - that comes when I'm cutting.</span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">I worked all the cutouts out ahead of time at this stage. Since all parts of the black had to be attached in the final piece, I had to think through each line before I did any cutting.</span><br />
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<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Speaking of cutting, here are the tools of the trade. A kneadable eraser, a pencil, a blade, and a fine point burnisher.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2olQNI_401STwT1HHVdcj951GEcs0FOyPO2gPcJrj6vxlQKFtnG8kPWpOKQtymzEnw7WyXN9w8TCv_SKwDT8H6ADp9X8Sxr-MCAREGr6xfx_jcLRdUCJ0ErrK_3ba-q7_1_jVR3tnxhMG/s1600/20141104_165727.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2olQNI_401STwT1HHVdcj951GEcs0FOyPO2gPcJrj6vxlQKFtnG8kPWpOKQtymzEnw7WyXN9w8TCv_SKwDT8H6ADp9X8Sxr-MCAREGr6xfx_jcLRdUCJ0ErrK_3ba-q7_1_jVR3tnxhMG/s1600/20141104_165727.jpg" height="240" width="320" /></a></div>
<span style="background-color: white; font-family: Calibri; font-size: 14.6666669845581px;">Not a great photo because of the sunlight glare but you can see that I've cut out the sky first. </span><span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">The open spaces and the solid bars are free-standing continuous pieces of paper. But I cut them one segment at a time trimming each point where they touch the imaginary boundary between sky sections. This ensured that I cut the imaginary boundary lines sharply. Later, in the CAD drawing real support lines were added where at this stage they are an illusion.</span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">When I'm finished I clean off all the chalk lines and smudges (with my kneadable eraser) and then scan the image to get sharp edges and high contrast.</span><span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;"> </span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">I used </span><a href="http://www.ultrafence.com/" style="background-color: white; color: #cc6666; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px; text-decoration: none;" target="_blank">Ultra Aluminum</a><span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;"> as my fabricator for cutting the sheet metal. This is a copy of the instructional guideline that I gave Ultra Aluminum for the placement of the support lines, and the placement of my signature. This was accompanied with a written description of how I wanted the sculpture cut.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbhtoYHy3dMQi8KmA5r531V83Kmh6cGX__k3l75ui7xQzqBjuia5Knp5YS8YrCPTCuY1SssN_zGGXF-Jcngt9yqbOtub1rtOfryD6lCyVfTjMyTJ_0MbmMl27kPRAa1sBtFAPiEKhSlSa7/s1600/final+CAD.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbhtoYHy3dMQi8KmA5r531V83Kmh6cGX__k3l75ui7xQzqBjuia5Knp5YS8YrCPTCuY1SssN_zGGXF-Jcngt9yqbOtub1rtOfryD6lCyVfTjMyTJ_0MbmMl27kPRAa1sBtFAPiEKhSlSa7/s1600/final+CAD.JPG" height="240" width="320" /></a></div>
<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">The CAD expert at Ultra Aluminum took the scan of my original and fed it through a transformation program that converted it to a CAD drawing. Then they manually adjusted where the program didn't interpret my original correctly. The CAD expert then added the support lines. The CAD expert and I traded the CAD drawings back and forth until I was ready to sign off on the final version.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiB5qJHjOFmo3bPq7UfD9Rk1CbfrKbBk0u_dSRqQJDVf6z-R5hEU_zz8B1zWQAVWYxdn_v4ttxtqPUvh3AF_6YnbjIPL0OUqvdv9NhpCapZ9K1-qoqDPWUMpiuoOuotf0Jk61ti4fN3SjH/s1600/Duncarrick+cad+with+route.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiB5qJHjOFmo3bPq7UfD9Rk1CbfrKbBk0u_dSRqQJDVf6z-R5hEU_zz8B1zWQAVWYxdn_v4ttxtqPUvh3AF_6YnbjIPL0OUqvdv9NhpCapZ9K1-qoqDPWUMpiuoOuotf0Jk61ti4fN3SjH/s1600/Duncarrick+cad+with+route.JPG" height="226" width="320" /></a></div>
<span style="background-color: white;"><span style="color: #333333; font-family: Calibri;"><span style="font-size: 14.6666669845581px; line-height: 20.533332824707px;">The CAD expert then programmed the cutting path that directed the automated water jet cutter as it moved across the sheet aluminum cutting out each hole in the sculpture.</span></span></span><br />
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<span style="background-color: white; color: #333333; font-family: Calibri; font-size: 14.6666669845581px; line-height: 20.533332824707px;">After this came a lot of hand grinding to remove burrs on the cut edges, more grinding to create the surface effect, and clear powder coating to surface the piece before it was ready for assembly and installation.</span><br />
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<br />Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-40733382850566540282015-03-07T17:30:00.001-08:002015-03-07T17:31:08.658-08:00The value of mock-ups and a fundamental design compromise<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEunh0BtrpBR2jZZrNL0SBhyphenhyphenIbxyzR4uFFxWQfghn6dFreppgoLrSZA2MLLX29G_5zloSN84_xGgNWpYw5xwj0-pzPd9_WNEREftrGJa1Tls2e8fUKJNAbx7C1LlqFJ_Yq2cWxxzT61wQ/s1600/doomedc2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtEunh0BtrpBR2jZZrNL0SBhyphenhyphenIbxyzR4uFFxWQfghn6dFreppgoLrSZA2MLLX29G_5zloSN84_xGgNWpYw5xwj0-pzPd9_WNEREftrGJa1Tls2e8fUKJNAbx7C1LlqFJ_Yq2cWxxzT61wQ/s1600/doomedc2.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Doomed - Photo: Darren Kall</td></tr>
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<span style="font-size: 11pt;">While designing the
sculptures I did for the Electra C. Doren library there were lots of open items
to research, track down, and resolve. There were unknowns and decisions that
would impact my final designs and, if unresolved, create risks to success. That
made me feel uncomfortable about quality and it made me anxious that it would
mean rework for me because the issues would reveal themselves too late in the
process to be mitigated - as they often do.</span></div>
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<span style="font-size: 14.6666669845581px;">I was working with a whole new crew of fabricators, installers, and others. </span>I tried to resolve open items through asking questions and proposing approaches but even that
didn't resolve all the issues with the design or with the process steps between
all the partner companies. We needed… an experiment!</div>
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All the players needed to walk through the process of building a sculpture to discover the
"gotchas". We needed to build a physical mock-up by the same process
we planned to use for the final sculptures. It needed to result in something we
could see and touch, so that we could decide about open issues.</div>
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For example; I'm
familiar with unpainted steel surfaces but not with unpainted sheet aluminum
surfaces. What would they look like? What would the ground surface treatment I
designed look like? I was told that the aluminum should be treated to preserve it since exposure to weather would impact
the aesthetics of the aluminum over time. Would a clear powder coat give me the luster of steel I wanted? There were stakeholders who questioned the combination of fence color,
sculpture color, pavers, concrete, and brick that will make up the terrace. We
brought samples together for an approximation and it convinced me that the
fence coating called "bronze" worked well with the paver colors and
raw aluminum. But there are stakeholders who were not there and reserving
judgment until they could see it. Another stakeholder recommended that a black
coating might work better and others started to question my choice of raw
aluminum.</div>
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I had a ton of other
questions like how much visible space is taken up by the mounting equipment?
How much of a border do I need to leave uncut in aluminum to have it support my
design? What would 1/4 inch aluminum look like in cutouts compared to 1/8 inch
steel? Would I have to change my design to accommodate the new thickness? What
format did the fabricator need my final artwork in? How accurate would the CAD
interpretation of my final artwork be? What does the cut edge of water-jet
cutting aluminum look like compared to laser cutting steel? Will it have burrs?
Will it be too sharp for safety? … I was boring everyone with questions they
couldn't answer.</div>
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I proposed that we
create a mock-up and walk through the whole build process end to end. In the
process I learned I wasn't the only one with questions. Stakeholders jumped on
the idea. The fabricator, the architects, and the library also wanted some open
items resolved. Mock-ups to the rescue for all of us!<br />
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Most notably <a href="http://www.ultrafence.com/" target="_blank">Ultra Aluminum</a>, my fence fabricator partner, was very concerned about my unsupported ~ 4 foot lengths of rib patterns that made up the sky in my designs. </div>
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<span style="font-size: 11pt;">In steel they would be
no problem, but in aluminum the fabricator couldn't guarantee that these ribs
would be covered under warranty without adding in supports. They were concerned that the aluminum would
be susceptible to breaking if someone put too much weight on the aluminum. But
where to put supports in the design? It made the most sense to put the supports
between the ribs at the points where I was creating Sheeler-like sections of
the fractured sky. I was creating an illusion of a line but the supports would
be actual lines between these sections.</span></div>
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Adding supports to my
ribs would be a fundamental compromise of my design. It would be a step
backwards. I had <a href="http://dakall.blogspot.com/2014/10/showing-sketches-to-patrons.html" target="_blank">earlier sketches with supports</a> and having
supports was just not as innovative a design as the one I created through
illusion. I made ribs that vary in thickness as they transition over the
different Sheeler-like sky fractures. By creating a transition between
thicknesses along an imaginary line it appears to observers that there is a
line there. Observers "construct" the line without thinking about it.
With supports the viewer won't have to "construct" the lines in their
perception; it will be easier for them to see the sections of the fractured
sky. To me this makes it less challenging and less interesting as a piece of
art. But this is not just art, it is also a fence. </div>
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Ultra Aluminum is a
subject matter expert and they know their material better than me, but I was
attached to my design. So together we decided that one of the mock-ups had to be
several 4 foot ribs of aluminum that could be tested for durability with supports.
I gave them a paper cutout of a handful of 4-foot ribs. They converted this to
a machine-readable CAD and checked the metal specs. It wouldn't work without
supports. If this sculpture were hanging on a gallery wall or suspended in a
window, there would be no need for supports. It is because it is an accessible
fence that people might hit accidentally that the ribs might fracture. The
library couldn't get the warranty they wanted unless there were supports added.
I compromised and gave into the design change. Next I needed to mitigate the
issue and reduce the impact on my design. </div>
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The first step was for
the Ultra Aluminum CAD specialist to simply add straight line supports along my
illusion lines. We started with 1/2 inch wide supports connecting my ribs. It
was a hard compromise but I went along to see the result. The 1/2 inch didn't
look too bad in the CAD drawing so the first mock-up was cut in metal.
Immediately after it was done, and before I could even see it, the fabricator
rejected it and cut another one but with 1/4 inch wide supports. The 1/2 inch
was just too thick aesthetically. </div>
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For this fundamental
compromise and all the other open items we designed two mock-ups and assembled
them into representative railing parts. </div>
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<tr><td class="tr-caption" style="text-align: center;">Mock-up of "sky bars" with 1/4 inch supports, edges not sanded, black powder coat</td></tr>
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The first was 1 ft H by
4 ft W with several 4 ft long ribs including 1/4 inch wide supports, with a black
coating, with no sanding of the edges of the water jet cut openings. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtia3rqldctbWOXBfwoLqLxMP3v11xb_wd-1yYXOUZiSQSa__d9YZdpDLO1PCBoU5affFf_mxt2e-sK3Pg7J84mSfLkrvGiMp0pU9p96S2BtYW8y7K1B6JBrtCnN94lJ4iKA5wQwt-3ce/s1600/20141014_144052+-+Copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtia3rqldctbWOXBfwoLqLxMP3v11xb_wd-1yYXOUZiSQSa__d9YZdpDLO1PCBoU5affFf_mxt2e-sK3Pg7J84mSfLkrvGiMp0pU9p96S2BtYW8y7K1B6JBrtCnN94lJ4iKA5wQwt-3ce/s1600/20141014_144052+-+Copy.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mock-up of shapes, clear powder coat, sanded edges, hand-ground surface</td></tr>
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The second was 1 ft H by 1 ft W with a region showing a variety of cutout shapes
but no ribs, with a clear coating, and sanded cut out edges and a hand-ground
surface finish. </div>
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When the mock-ups
arrived I answered all my remaining open questions, made my final design
decisions, and prepared to present them to the Library Art Board to get their
final approval to produce the final artwork. More on that meeting in another
post. </div>
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Are we better off by
having walked the process and created a mock-up? Absolutely. Could we have
reached the same conclusions with the same level of risk reduction and
increased confidence without the mockups? No.<br />
<br />
End-to-end process-created
mock-ups are the best time-saving and cost-effective way to resolve open risks. </div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-60665946462426976192015-01-21T18:41:00.000-08:002015-01-24T06:54:24.035-08:00Sculpture: Barney & Smith Train Car Factory<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Here are the steps of how I created a
sculpture of the Barney & Smith Train Car Factory as part of my commission
to create six sculptures for the <span style="background-color: white;"><a href="http://www.daytonmetrolibrary.org/works" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">ReImagining Work</span>s</a> project of the <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="http://daytonmetrolibrary.org/" target="_blank">Dayton Metro Library</a></span>. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRTFYtnKVQbzgSpGZXRZvnoL0mFBU_gNmw59GKlXeI-W2KmfOWxmLsxL5aL0Uge7iVSH0vXR2mOPNXOdnTA178zlPbPim0-TIqd67-TyppwqroP8W8-gP40oiUVXlizAtNDEwiw0jMwHni/s1600/Barney+&+Smith+Train+Car+Factory+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRTFYtnKVQbzgSpGZXRZvnoL0mFBU_gNmw59GKlXeI-W2KmfOWxmLsxL5aL0Uge7iVSH0vXR2mOPNXOdnTA178zlPbPim0-TIqd67-TyppwqroP8W8-gP40oiUVXlizAtNDEwiw0jMwHni/s1600/Barney+&+Smith+Train+Car+Factory+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" height="263" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; font-size: 12.8000001907349px;">Barney & Smith Train Car Factory - Darren Kall, Property of Dayton Metro Library</span></td></tr>
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<span style="background-color: white;"><span style="font-family: Calibri; font-size: 11pt;">First a review of the commission: </span></span><span style="font-family: Calibri; font-size: 11pt;">The sculpture is cutout sheet aluminum approximately 33in H, 45in W, .25in D. </span><span style="background-color: white; font-family: Calibri; font-size: 11pt;">The sculptures are integrated into the fence of the new reading terrace of the Electra C. Doren Branch Library. Each panel depicts a different Old North Dayton landmark. </span></div>
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<span style="font-size: 11pt;">The Barney &
Smith Car Factory was an industrial cornerstone of Old North Dayton that was
destroyed in the Great Dayton Flood of 1913. Many immigrant families of Old
North Dayton worked at the factory. The factory was much larger than the
section I depicted. I used historic photos of the factory as my source for details and subject inspiration.</span></div>
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As part of the ReImagining Works project the community chose <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Charles Sheeler's Stacks in Celebration </a>painting from the permanent collection of the <a href="http://www.daytonartinstitute.org/" target="_blank">Dayton Art Institute</a> as the inspiration for this project. <span style="font-size: 11pt;">In my sculpture train parts and partial assemblies sit in the
open “street” between factory buildings and smoke stacks jut into the sky much
like Charles Sheeler’s subjects in Stacks in Celebration. And I interpreted Sheeler's fractured cubist sky with my sky sections of lines of different thicknesses. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjadAA9sXomHDIDYLKqWv-_4RbBbecNZaDteiyzYKIqPwjx0aQGAqEdRd3vKYOFisPivIMny3CPd5dGiYfX4ichiKKY3mGpyRj23spMWwm6qfq0QTtvjqYH9SSkJrqsq2Z4sVfeqB3v8qTn/s1600/Barney+&+Smith+chalk+sketch+1+%C2%A9+Darren+Kall.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjadAA9sXomHDIDYLKqWv-_4RbBbecNZaDteiyzYKIqPwjx0aQGAqEdRd3vKYOFisPivIMny3CPd5dGiYfX4ichiKKY3mGpyRj23spMWwm6qfq0QTtvjqYH9SSkJrqsq2Z4sVfeqB3v8qTn/s1600/Barney+&+Smith+chalk+sketch+1+%C2%A9+Darren+Kall.JPG" height="240" width="320" /></a></div>
This is my chalk sketch of Barney & Smith on black art paper.<br />
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I started with pencil sketches where I decided the layout of objects, then the fracture lines of the sky, and finally what of four bar thicknesses I'll use for the"shades" of sky in each segment.<br />
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I worked out all the cutouts at this stage. Since all parts of the black had to be attached in the final piece I had to think through each line before I did any cutting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAezO8zuHmxSANN9jNUUvPi_qYnsCijW2mJ8lprSJs_u_SM_fjHsiAj33puGE1Ah2vs9vLbirkCkvvcF-e816F_BKKPf8eTBc-XfngORIJ42sPcFw2uZgRcBYBdCnjO0B93NamhNsJRQc/s1600/Barney+&+Smith+chalk+sketch+2+closeup+%C2%A9+Darren+Kall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAezO8zuHmxSANN9jNUUvPi_qYnsCijW2mJ8lprSJs_u_SM_fjHsiAj33puGE1Ah2vs9vLbirkCkvvcF-e816F_BKKPf8eTBc-XfngORIJ42sPcFw2uZgRcBYBdCnjO0B93NamhNsJRQc/s1600/Barney+&+Smith+chalk+sketch+2+closeup+%C2%A9+Darren+Kall.jpg" height="223" width="320" /></a></div>
A close up of the chalk drawing showing how I marked the bars in the sky to show which bars would remain and become metal in the final sculpture. Being messy with the chalk doesn't really matter at this point as long as I can see my cut lines clearly.<br />
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Of the six sculptures this was the most complicated visually since there were so many small parts and separate objects that had to be distinguished from each other.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BLuRM0Nvu5h3SFp5AREYSR9FY0T3HGEJ3ChCkYznJSPmBI1m2HSHdMggtYUaiCYP7lcoyTNtd_eYivAGeStFMFVGHrXu_eQs9rVAYXmWX9t-wQuaxu8i5DYb57eqjwhPGv2Y2Hhomtyo/s1600/Barney+&+Smith+chalk+sketch+3+cutting+%C2%A9+Darren+Kall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7BLuRM0Nvu5h3SFp5AREYSR9FY0T3HGEJ3ChCkYznJSPmBI1m2HSHdMggtYUaiCYP7lcoyTNtd_eYivAGeStFMFVGHrXu_eQs9rVAYXmWX9t-wQuaxu8i5DYb57eqjwhPGv2Y2Hhomtyo/s1600/Barney+&+Smith+chalk+sketch+3+cutting+%C2%A9+Darren+Kall.jpg" height="240" width="320" /></a></div>
This is a photo of the partially cut lines for the fractured sky. The open spaces and the solid bars are free-standing continuous pieces of paper. But I cut them one segment at a time trimming each point where they touch the imaginary boundary between sky sections. This ensured that I cut the imaginary boundary lines sharply. Later, in the CAD drawing real support lines were added where at this stage they are an illusion.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN6xpCugQ2aWYq1WZ3FphV4_Hf-oCgA9Fi_MkmUGrH5rF_L1_R8SxZJRr8b0NYOZz7I2ZlS-dPszC2E5YKMWw2oA954sM5tZjF2C38Lw3r-tX6yGVIrItHcBX-GdvLDWFAwK2hx9ByIt7W/s1600/Barney+&+Smith+chalk+sketch+4+sky+cut+%C2%A9+Darren+Kall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN6xpCugQ2aWYq1WZ3FphV4_Hf-oCgA9Fi_MkmUGrH5rF_L1_R8SxZJRr8b0NYOZz7I2ZlS-dPszC2E5YKMWw2oA954sM5tZjF2C38Lw3r-tX6yGVIrItHcBX-GdvLDWFAwK2hx9ByIt7W/s1600/Barney+&+Smith+chalk+sketch+4+sky+cut+%C2%A9+Darren+Kall.jpg" height="240" width="320" /></a></div>
In this photo the sky is fully cut. I started with the sky because mistakes are more likely in the sky and if I made a mistake I wanted to save having to cut the buildings out a second time.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tIH2PIU1SozDqALl5PxUG7jjOXZv9FbOaGbbAqBN2Fb8qZ5tkAYHsROT3Xz4iTVcAK8CHUDfW6JUG2oJdLLw_83c2ClWerOgrzQiQR-bZSMTZZh1YAovsMeohWZkIuOk76WBA1zMcneP/s1600/Barney+&+Smith+chalk+sketch+5+half+bldgs+%C2%A9+Darren+Kall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8tIH2PIU1SozDqALl5PxUG7jjOXZv9FbOaGbbAqBN2Fb8qZ5tkAYHsROT3Xz4iTVcAK8CHUDfW6JUG2oJdLLw_83c2ClWerOgrzQiQR-bZSMTZZh1YAovsMeohWZkIuOk76WBA1zMcneP/s1600/Barney+&+Smith+chalk+sketch+5+half+bldgs+%C2%A9+Darren+Kall.jpg" height="240" width="320" /></a></div>
Here cutting the buildings is shown in progress. I worked from right to left in this artwork so that my right hand did not smudge the chalk drawing to the left before I could cut it. It is very easy to smudge the chalk, and I did this more than once. When I did smudge the sketch I had to redo that portion of the chalk drawing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFO1qmtZ6C6XKecg7OcpD755tqPoKzE4TwSfqtB4bniJz23XNmjw_rhV9nJeUuO8Y_Id5PDtpuMLQE6Cah5udSvQNqeUkjbhYhMwKZdFWVi5DpbVB_2bawWVhcck854H30TiJ6hTbobUF/s1600/Barney+&+Smith+chalk+sketch+6+dirty+%C2%A9+Darren+Kall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHFO1qmtZ6C6XKecg7OcpD755tqPoKzE4TwSfqtB4bniJz23XNmjw_rhV9nJeUuO8Y_Id5PDtpuMLQE6Cah5udSvQNqeUkjbhYhMwKZdFWVi5DpbVB_2bawWVhcck854H30TiJ6hTbobUF/s1600/Barney+&+Smith+chalk+sketch+6+dirty+%C2%A9+Darren+Kall.jpg" height="240" width="320" /></a></div>
<span style="font-size: 11pt;">The fully cut, but not yet clean, final artwork. From here I repeatedly cleaned every cut section of the black art paper with a kneadable eraser. Only faint shadows of the chalk were allowed to remain because when I scan it I didn't want any chalk areas appearing as false cutout areas by mistake. </span><br />
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<span style="font-size: 11pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXkstH4E6QXHgtec9OKGta1f2MrQJFXJQ_EOD5MiMzw0q80wzAHVSVuQ32prS85QW1zllb3j2UVGdRr4xhTXX-AXKPDyZuk-IoROFX2gXmDOXG4B-G1Gg1uFNLqBlgsFuVC5DhRAGGx1r/s1600/Barney+&+Smith+S2+copy+v002+-+straightened.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSXkstH4E6QXHgtec9OKGta1f2MrQJFXJQ_EOD5MiMzw0q80wzAHVSVuQ32prS85QW1zllb3j2UVGdRr4xhTXX-AXKPDyZuk-IoROFX2gXmDOXG4B-G1Gg1uFNLqBlgsFuVC5DhRAGGx1r/s1600/Barney+&+Smith+S2+copy+v002+-+straightened.jpg" height="247" width="320" /></a></span></div>
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<span style="font-size: 11pt;">The cleaned and scanned version of the final artwork. </span><br />
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<span style="font-size: 11pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTSfXlfkK7X6XqYA-NluRjD-12cbifK3DDTkV-fQauQfbOhMgpBVjQeCd-UvgT9cuqYgJUPQ5yYOBxnAtJY7VC4gHcfumPUgEkZQr2cxJ_Qy059bdUMN2KltyWlGWeYXv6DtmuZDScM9-z/s1600/screen+shot+of+guideline+image.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTSfXlfkK7X6XqYA-NluRjD-12cbifK3DDTkV-fQauQfbOhMgpBVjQeCd-UvgT9cuqYgJUPQ5yYOBxnAtJY7VC4gHcfumPUgEkZQr2cxJ_Qy059bdUMN2KltyWlGWeYXv6DtmuZDScM9-z/s1600/screen+shot+of+guideline+image.PNG" height="246" width="320" /></a></span></div>
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I used <a href="http://www.ultrafence.com/" target="_blank">Ultra Aluminum</a> as my fabricator for cutting the sheet metal. This is a copy of the instructional guideline that I gave Ultra Aluminum for the placement of the support lines, and the placement of my signature. This was accompanied with a written description of how I wanted the sculpture cut.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDH_rIW_nCpH8uPzyXHel4ETdRCi6V56ZyXv_DdSZ6TDyAuM9y-WrCWpePBchU3TONTuRjEyhwpyB22LuwPwBoCd-QC4VBXK5hkv6U8uoU3UpnPD1JQ9xCnCQSUHu1-9tlQprLsQE6KARF/s1600/screen+shot+of+final+b&s+cad+for+signoff.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDH_rIW_nCpH8uPzyXHel4ETdRCi6V56ZyXv_DdSZ6TDyAuM9y-WrCWpePBchU3TONTuRjEyhwpyB22LuwPwBoCd-QC4VBXK5hkv6U8uoU3UpnPD1JQ9xCnCQSUHu1-9tlQprLsQE6KARF/s1600/screen+shot+of+final+b&s+cad+for+signoff.PNG" height="237" width="320" /></a></div>
The CAD expert at Ultra Aluminum took the scan of my original and fed it through a transformation program that converted it to a CAD drawing. Then they manually adjusted where the program didn't interpret my original correctly. The CAD expert then added the support lines. The CAD expert and I traded the CAD drawings back and forth until I was ready to sign off on the final version.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG6DIW1aiS4Oz9rqii9euut_5kAnchQe77zs8zoc2EIRFu9o3cCcGC5H4z-nkLI7lH95Ow6QHU8NchodezpoG6ORn248-THdo-YbQP3utJgAoFDShytUrMT00WOLx0_hBIa_ucOBN1YbJh/s1600/Barney+&+Smith+cad+with+route.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG6DIW1aiS4Oz9rqii9euut_5kAnchQe77zs8zoc2EIRFu9o3cCcGC5H4z-nkLI7lH95Ow6QHU8NchodezpoG6ORn248-THdo-YbQP3utJgAoFDShytUrMT00WOLx0_hBIa_ucOBN1YbJh/s1600/Barney+&+Smith+cad+with+route.JPG" height="227" width="320" /></a></div>
The CAD expert then programed the cutting path that directed the automated water jet cutter as it moved across the sheet aluminum cutting out each hole in the sculpture.<br />
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After this came a lot of hand grinding to remove burrs on the cut edges, more grinding to create the surface effect, and clear powder coating to surface the piece before it was ready for assembly and installation. But more about that part of theprocess in other posts. </div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-22308719792034043382015-01-10T19:46:00.000-08:002015-01-24T06:55:22.430-08:00Press about my sculptures at the Electra C. Doren Library<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjWK-ftpVZht6rOqizTb9zPYitTRnReuSoxVUg-OwDF8DG9MzWxuvaIrN9yPdqChAkkAFEkMOhA6Sb4x361-DCP8Aqhm8lyskOcyQ7b7BxeHGQzz1xmplQnxytQUtCo0qhf1-GTrCj_nuj/s1600/Kiser+Middle+School+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjWK-ftpVZht6rOqizTb9zPYitTRnReuSoxVUg-OwDF8DG9MzWxuvaIrN9yPdqChAkkAFEkMOhA6Sb4x361-DCP8Aqhm8lyskOcyQ7b7BxeHGQzz1xmplQnxytQUtCo0qhf1-GTrCj_nuj/s1600/Kiser+Middle+School+at+Electra+C.+Doren+Library+%C2%A9+Darren+Kall.JPG" height="190" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kiser Middle School - Darren Kall. Property of Dayton Metro Library</td></tr>
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My sculptures are
finished, installed, and the Electra C. Doren library has reopened. On January 3rd Dayton Metro Library held an open house and re-dedication of the library. It was cold and wet that day but a surprisingly large number of people attended the re-dedication ceremony. </div>
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There was
some really great press about the sculptures, the library, and the re-dedication
open house that you can read about in these links:</div>
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<span style="font-size: 11pt;">Dayton Daily News
article by Meredith Moss and video interview clip by Lisa Powell</span></div>
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<a href="http://www.mydaytondailynews.com/news/lifestyles/old-and-new-are-blended-in-ec-doren-librarys-artwo/njdXL/#8da10896.3454753.735604">http://www.mydaytondailynews.com/news/lifestyles/old-and-new-are-blended-in-ec-doren-librarys-artwo/njdXL/#8da10896.3454753.735604</a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho7sKuOyQQGer9Wuq0Zd544o7eNizInqeyiNPlyDKK1WpkYPBc-ThU0S8bac4zW35ZlhwXcSDQcIw6w6MX0owjLrrqaPWB2zgBRkp5f7NDvD1cVwJ5fnqVuSqESRydWYPfYp1Hpunam6t3/s1600/Oakwood+Register+23Dec2014+-+Brian+Barr.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho7sKuOyQQGer9Wuq0Zd544o7eNizInqeyiNPlyDKK1WpkYPBc-ThU0S8bac4zW35ZlhwXcSDQcIw6w6MX0owjLrrqaPWB2zgBRkp5f7NDvD1cVwJ5fnqVuSqESRydWYPfYp1Hpunam6t3/s1600/Oakwood+Register+23Dec2014+-+Brian+Barr.PNG" height="121" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Darren Kall with sculpture panel the day of installation - Photo Brian Barr</td></tr>
</tbody></table>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Oakwood Register
article and photos by Brian Barr. </div>
<div style="font-size: 11.0pt; margin: 0in;">
<a href="http://digital.turn-page.com/title/6683"><span style="font-family: Arial;">http://digital.turn-page.com/title/6683</span></a></div>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Select the folder
icon on the page header to open the archived versions of this newspaper. Choose the December 23rd,
2014 issue. </div>
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<br /></div>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
WDTN news interview
of the Electra C. Doren Library Branch Manager Jonathan and staff member
Elaine. </div>
<div style="font-size: 11.0pt; margin: 0in;">
<a href="http://wdtn.com/2015/01/02/dayton-metro-library/"><span style="font-family: Arial;">http://wdtn.com/2015/01/02/dayton-metro-library/</span></a></div>
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This brief interview is mostly about Electra
C. Doren the person and the library with a brief mention about the sculptures. </div>
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You can go see
the sculptures in person at 701 Troy Street, Dayton, OH any day the Electra C. Doren library is open <a href="http://pac.daytonmetrolibrary.org/Mobile/Hours?organizationID=8">http://pac.daytonmetrolibrary.org/Mobile/Hours?organizationID=8</a></div>
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Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-74165230132343581082014-12-16T18:01:00.000-08:002014-12-17T14:55:09.672-08:00Sculptures at Electra C. Doren Open House January 3rd<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgah45fSenmoCNPjDXl5WEI6RQ5awS-XVcfUqvL5Ha9ODoqfomn3qdsi7gGvl2sCWeK0n2h6Br3GX9-K_J3L9PiO8SbmyyXiUghiCjXMG3UPYO34sdUHRbPJ9_zExManKz5P312z2CfvM8B/s1600/Duncarrick+Mansion+-+Darren+Kall.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgah45fSenmoCNPjDXl5WEI6RQ5awS-XVcfUqvL5Ha9ODoqfomn3qdsi7gGvl2sCWeK0n2h6Br3GX9-K_J3L9PiO8SbmyyXiUghiCjXMG3UPYO34sdUHRbPJ9_zExManKz5P312z2CfvM8B/s1600/Duncarrick+Mansion+-+Darren+Kall.jpg" height="236" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Duncarrick Mansion - hand cut paper by Darren Kall</td></tr>
</tbody></table>
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<br /></div>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
My sculptures are
complete and will be installed this week! If you're in the Dayton Ohio area on
January 3rd come see them as part of the Electra C. Doren library's new reading
terrace. </div>
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<br /></div>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
On January 3rd the
Electra C. Doren Library will celebrate their reopening after 10 months of
renovation with an Open House for the public from 11:00am to 6:00pm. I will be
there starting at 11:00am to show the sculptures. There is a children's program
at 11:30am and 2:30 pm. A teen program at 4:00pm. And special guests and prizes
during the day. The branch has new features such as a bright new children's
area, dedicated spaces for adults and teens, a community room, enhanced
technology, and a new reading terrace featuring my six aluminum sculptures of
Old North Dayton landmarks. Hope to see you there.<br />
<br />
<div style="font-size: 11pt; margin: 0in;">
<a href="http://www.daytonmetrolibrary.org/locations/electra-doren">http://www.daytonmetrolibrary.org/locations/electra-doren</a></div>
<br />
<div style="font-size: 11pt; margin: 0in;">
Electra C. Doren 701 Troy Street, Dayton, Ohio 45404</div>
</div>
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Plus, because the
sculptures are outside, the library is planning a special unveiling just for
the sculptures sometime in the spring when it is warm enough to actually sit
outside and enjoy the reading terrace. </div>
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<br /></div>
<div style="font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I'm not posting
pictures of the sculptures until after the open house but the attached image is
one of the final artwork designs that the six metal sculptures were made from. The
final artwork designs, like this one of the Duncarrick Mansion, were hand cut from black paper.</div>
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I'm way behind in writing posts. I was busy finishing the sculptures... but I'll be catching up now on lots of insights and stories. </div>
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Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-12320196271988286362014-10-27T09:54:00.002-07:002014-10-27T09:54:52.437-07:00Visually Impaired Touching Sculptures<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETXbGTkzemVacmiXrqKNYW13HRt3gYp3pUxWjiUJiJTWH5VbR1cVNWkhTNd9POq5hG2xHOeKDZiaZnlJJZCG662Hjwy9ZtllwPJfeyF5YGv2sv7DNM7veYZkXfEvoeeg_BpgSUJTIdzBS/s1600/the+healing+arts+-+photo+by+artotem.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhETXbGTkzemVacmiXrqKNYW13HRt3gYp3pUxWjiUJiJTWH5VbR1cVNWkhTNd9POq5hG2xHOeKDZiaZnlJJZCG662Hjwy9ZtllwPJfeyF5YGv2sv7DNM7veYZkXfEvoeeg_BpgSUJTIdzBS/s1600/the+healing+arts+-+photo+by+artotem.jpg" height="302" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.flickr.com/photos/artotemsco/9225450020/in/set-72157606618891747" target="_blank">The Healing Arts - photo by Artotem</a></td></tr>
</tbody></table>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">I have
a deep personal interest in making the <a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">sculptures I'm making for the Electra C. Doren library</a> accessible to people with visual impairments. </span></div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">The sculptures are going to be built as part of the fencing on a proposed reading terrace that is being built for the library. Most of the fence will be directly accessible to touch. Even the parts that aren't directly accessible are only behind a small area of landscaping or alternately accessible from the street level by reaching up. </span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">Since the sculptures are cutouts, visually impaired patrons can touch the cut out areas and build a mental image of the artwork from the feel. </span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
The sculptures are made out of cut sheet aluminum. The waterjet cutting process leaves burrs on the far side of the cut and sharp edges on the leading edge. These will be sanded smooth to prevent injury when being touched. If the sculpture were mounted out of reach these would usually not need to be sanded.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
This sanding preparation benefits more than the visually impaired patrons of the library. Anyone can touch the sculptures; kids, the curious, and those making accidental contact. Making it safe for the visually impaired makes it safe for everyone. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">I came from a family with a disabled family member. Growing up in the disabled community I learned that most of what blocks access for people with disabilities are small things. Small things are easily fixed. If designers are made aware that they are blocking people with disabilities from accessing what they create, they can change that. Meeting constraints and challenges - it's what designers do. </span><span style="font-size: 11pt;">I </span><span style="font-size: 11pt;">have
spent a large part of my career designing technology for people with
disabilities. I want to make sure that the sculptures I'm designing can be accessed by people with visual impairments. </span></div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">All patrons of the library will be invited to experience the sculptures, and the sculptures will be designed so that all patrons can. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-34979556809986079372014-10-25T08:00:00.000-07:002014-10-25T08:00:00.385-07:00Tap, Track, Eyelet, Weld<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7aayXo7_mC1Rcisv2sj_dSo69Op82CkCpxxM7Q6KRGIM1YG8aJZwg50QkioLHngrbu5vR61qF_FedOnE6dvoCMHiWxh4tGKW0fBx4r94F2Pp4rrk3hqwcosWN5d1tOn38hJgrjBNBp7m4/s1600/1280px-Gary_Plant_Tubular_Steel_Corporation+By+M.+Marshall+%5BPublic+domain%5D,+via+Wikimedia+Commons.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7aayXo7_mC1Rcisv2sj_dSo69Op82CkCpxxM7Q6KRGIM1YG8aJZwg50QkioLHngrbu5vR61qF_FedOnE6dvoCMHiWxh4tGKW0fBx4r94F2Pp4rrk3hqwcosWN5d1tOn38hJgrjBNBp7m4/s1600/1280px-Gary_Plant_Tubular_Steel_Corporation+By+M.+Marshall+%5BPublic+domain%5D,+via+Wikimedia+Commons.jpg" height="254" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gary Plant Tubular Steel Corporation - photo by M. Marshall</td></tr>
</tbody></table>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
My
sculptures will be a permanent integrated part of the reading terrace fence at the <a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">ElectraC. Doren</a> library. But how to integrate them?</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Beyond
the practical aspect, ensuring that the attachment is secure, I had two additional goals: aesthetics and
reuse. </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Aesthetics:
My design is to replace the section of fence railings between posts with my
sculptural metal panels. The pieces will be permanently integrated into the
fencing supports as part of the fence, not as an attachment or overlay. This is
done so that sunlight will puncture through the cutouts giving them shape and
background without the added patterns of vertical fence railings confusing the
image. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Reuse:
I wanted to make the panel attachments something that would not stand in the
way of future use. Twenty years from now when the library reading terrace gets
remodeled I want the library to have the option to take the sculptures out of
the fence and attach them to a window to let light through, to a wall, or to
mount in some other free-standing place. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
My
thoughts were to use attachment methods I had used in the past. I suggested
screw taps, slotted tracks, or even eyelets that could act as a locking hook mechanism. All of these could be anticipated in the design and built into the sculpture itself as an integral
part of the metal during fabrication. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
At the time of the proposal I did not know the actual fencing and post support system that will be used. I planned
to work with the architects and the fence fabricators to determine the best way
to install the sculptural panels. And I needed to resolve this before the
panels were designed because the attachment method might impact the
visible area of the panel, or what structural shapes I could do or not do. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
After
discussing these options with the architects and fence fabricators they had two
different and insightful concerns: safety and resistance to tampering.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Safety:
To ensure that the attachment mechanism will hold up to extended normal use
the fabricator suggested welding the panels into the fence instead of an attachment
mechanism that can be undone. This would still meet my aesthetic goals because
we can place the railing mountings and secure the welding inside the fence components
where it can't be seen. It makes reuse somewhat more difficult. Twenty years
from now the library will only have to disassemble the fence and cut it at the welds
which won't interfere with the sculpture itself, and they may not even need to
do that if the welded components can be part of the new installation.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Resistance:
I had thought about making the metal I used unattractive to those who may want
to steal it for scrap metal; that's why I thought of steel and now of aluminum.
But I didn't think about making the attachment mechanism undesirable to
deal with. By welding the sculpture in place it makes it more trouble than it
is worth to remove the sculpture. If someone could inspect the fence and see screw taps they might invest the time to try to remove it, but if they see welds
they'll know that it will take a lot more work to remove.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">So
welds it is. Welds meets my goals and the goals of my project partners. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-28972404775969596272014-10-24T08:29:00.000-07:002014-10-24T08:29:13.553-07:00Why I track my time<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmlbYf23fV4D8vyBvFstV8KJOiTFNKanGnILC2nRHEfH6kLSXNwEoLi3CDzH8UvhTPsBt86bDzBfPM1zUp38EnJHAWVxv2KWe8bV3WrT5-E_bGb7hSrmpg4rhpjugHf_FYTBARTZuLxla/s1600/burning+stubble+3959171831_634163eb0e_o+photo+by+Pete.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmlbYf23fV4D8vyBvFstV8KJOiTFNKanGnILC2nRHEfH6kLSXNwEoLi3CDzH8UvhTPsBt86bDzBfPM1zUp38EnJHAWVxv2KWe8bV3WrT5-E_bGb7hSrmpg4rhpjugHf_FYTBARTZuLxla/s1600/burning+stubble+3959171831_634163eb0e_o+photo+by+Pete.jpg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.flickr.com/photos/romeo66/3959171831/in/set-72157622340600629" target="_blank">Burning Stubble??? Oh my!!</a><br />
Photo by Pete</td></tr>
</tbody></table>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
A lot of my artwork is
tedious and detailed. When people see it they often ask "How long did that
take you?" I tell them I would have to look up the actual tracked number
of hours and their next question is; "You track your time? I thought
artists didn't do that."</div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Without tracking time
it is very easy for me to finish a project and have no idea how long it took
me. When I'm doing artwork, especially if I have a big block of hours to do it
in, I fugue into the work and lose all sense of time passing. Did I just spend
an hour, two, three?</div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I don't know about
other people who do artwork, but I track my time. Yes surely I don't track it
all. If I'm sketching ideas, or I’m creating something for fun, I don't track
my time. But when I'm on a project, a commission, or working on a specific piece
with a purpose I start time tracking. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
When I'm working on
something that I will get paid for, having the time it took me to create it
lets me calculate how much I made on the sale. I can figure out my "hourly
wage" is for the work, and I can improve my estimation when I'm pricing the
next art piece or project. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I count the total
time: Sketching, obtaining materials, mock-ups, negotiations, communications,
and the actual painting, sculpting, printing, etc. AND clean up. I don't count
general studio operations, blogging, marketing, proposals, sales, or errands that keep the overall studio
working - that's overhead. I take the price it sold for, subtract the cost of
materials, then divide that number by the time I put into the project.<br />
<br />
For
example; I sell a painting for $4,000. I subtract the cost of materials; $500. I take $3,500 and divide it by the hours of work; 80.5 (I round to the quarter hour for
ease of calculations) and I get ~$43.48 as my hourly rate for this painting. If my hourly rate target was to make $50.00 an
hour then I need to charge more, paint faster, or reduce cost of materials :^). </div>
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<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Calculating this is separate from figuring out what my hourly rate NEEDS to be. When I do that I calculate covering my overhead costs (see partial list above),
how many items I sell in a year (occupancy rate), the market value of my artwork, and my financial needs. All of which factor into making the business of artwork sustainable. In this post I'm just talking about keeping track of time to get financial feedback on creating that one piece. </div>
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<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I know time tracking isn't very
aligned with the general image of a free-flowing artist sitting at a café
sketching all day and then working in feverish frenzy all night long, but if that's your style you
can do that and track your time too. Maybe to protect your image you just don't tell anyone you track your time. :^)</div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">Of course this is all
a moot point if it only takes you an hour to paint $20,000 paintings and you can sell ten a week. But until you get there, tracking time is great for improving your
estimation skills and your pricing of projects so that you're making enough to keep making artwork. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-85603357510564548732014-10-23T08:16:00.002-07:002014-10-23T08:16:31.829-07:00Measure twice, (three times, four times,) cut once: Sculpture size decisions<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvJvYIT5hTQoAnebEEwIAWnWGe5y4ppimifvGg50HxcTHSlFwdqrTq-okFqe2Ql2oEB3Y_Z9AS9QWkZUSKHwv0nEWJkk44Nt-uyY9Jgg-EXtsrDNcFbPlo7umDI9C3bwKBSXYhZEnoScBc/s1600/measuring+tape+medium_3803170987+by+sarahluv.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="Measuring tape" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvJvYIT5hTQoAnebEEwIAWnWGe5y4ppimifvGg50HxcTHSlFwdqrTq-okFqe2Ql2oEB3Y_Z9AS9QWkZUSKHwv0nEWJkk44Nt-uyY9Jgg-EXtsrDNcFbPlo7umDI9C3bwKBSXYhZEnoScBc/s1600/measuring+tape+medium_3803170987+by+sarahluv.jpg" height="213" title="Measuring tape - photo by Saraluv" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.flickr.com/photos/sarahluv/3803170987" target="_blank">Measuring tape - photo by Sarahluv</a></td></tr>
</tbody></table>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
The
sculptures in <a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">my commission for the Electra C. Doren library</a> will be integrated
into the fence of the new reading terrace. The fence will surround the terrace
which will have raised landscaping and plantings, a sitting wall, and a view
from inside the library through large new windows.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
The
terrace wasn't built at the time of my sculpture proposal. Even the architectural drawings for the terrace were not in their final state. Yet I had to propose a size for the sculpture panels.<br />
<span style="font-size: 11pt;"><br /></span>
<span style="font-size: 11pt;">I was given two sets of rendering/drawings for the fence that differed in the length and position of the fence, and different post-to-post
distances. All these factors would make a big difference in the size of the
panels I would propose. At the time I didn't know if there could be other dependent factors I wasn't aware of.</span></div>
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<br /></div>
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Knowing
that my proposal was due before the decisions would be made to finalize the
architectural design I had to either propose two different designs, one for
each rendering of the terrace fence, or choose one and design for that
proposing that it could be adapted if the decision went a different way. </div>
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<br /></div>
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Since
the time from the RFP announcement date to the proposal submission date was
extremely short for this first of the<a href="http://www.daytonmetrolibrary.org/works" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"> ReImagining Works</span> </a>RFPs, I decided to go with one proposal and
suggest adjustments for changes to the design. It saved me time by not doing
double designs but still showed that my proposal was adaptive and not dependent
on just the fence design I selected. </div>
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<br /></div>
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I
chose the fence design that did not have any sloping fence (going down a ramp).
To help me with the size decision I did sketches of the terrace based on the
architectural elevation illustration and put rough images of what my sculptures
would look like at various sizes. In some sketches I didn't use the whole post-to-post distance but left some of the fence railing space on either side of the sculpture. The balance of sculptural space and fence
space seemed "right". </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I proposed that each
sculptural piece will be approximately two and a half feet high, and approximately four feet
wide. The size of panels was approximate, based on the architectural drawings
and I planned to adjust them as needed.<br />
<br />
<span style="font-size: 11pt;">After I got the commission the fence plans kept changing. Even after one of the two sets of renderings became the plan of record there were more changes. The fence plan of record had 20 equal sized post-to-post sections of fence. I chose 8 of these positions for my sculptures. Then there was value engineering (See my post "Numbers, reuse, and value engineering") and the fence sections were redesigned and wound up not being equal. In this latest design there were only 10 potential equal sized post-to-post sections that were possible for my sculptures. I eliminated two of these because they were abutting each other in a corner. I eliminated two more because they were right next to other potential sections because I wanted the sculptures spaced out. That left 6 panels distributed around the terrace. </span><span style="font-size: 11pt;">Doing site specific public art requires project management of decisions like this and calling out the dependencies of the artwork on the rest of the architectural, construction, and fabrication decisions. </span><br />
<span style="font-size: 11pt;"><br /></span>
<span style="font-size: 11pt;">Even with this change in the fence I was told I wouldn't really know the final size available to me until there were final shop drawings and field measurements agreed upon by architects, fence installers, and other stakeholders. This meant I wouldn't know the size I had to work with until the wall was built. I collaborated with all these parties to uncover dependencies before I start designing my sculptures. I don't want to design something for one size only to find out that it changes and forces me to redesign. </span><span style="font-size: 11pt;">I want to work all this out before I start designing the final pieces. If I don't, then I could be doing a lot of work only to be surprised later and have to redo it. I'd rather invest the time up front. </span><br />
<span style="font-size: 11pt;"><br /></span>
<span style="font-size: 11pt;">For example I got a version of the shop drawings that I was told were final. Then I had physical mock-ups made. When I compared the mock-ups to the shop drawing I noticed they were different by almost 3 inches in width. The mock-ups used an</span><span style="font-size: 11pt;"> attachment method which preserved the open space on either side that I liked. The drawings had the sculpture attached directly to the posts with no space and a different connector method. If I had done my final artwork based on the shop drawings without the mock-up, I would be doing the final artwork over. </span><br />
<span style="font-size: 11pt;"><br /></span>
<span style="font-size: 11pt;">The fence fabricator and I took the outside dimensions from the original shop drawing. We then calculated the space on the mock-up taken from the real connectors and mounting methods. We left the open space on either side and calculated the available space. Then we got everyone else to agree that this was the final size for all the sculptures. If further dependencies show up then the fabricators, assemblers, and installers will adjust their work to that size and make it work. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-58686554625099351782014-10-22T07:36:00.000-07:002014-10-22T07:36:45.226-07:00Numbers, reuse, and value engineering<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjofwETi_vYCxnJIDJUEQg5huYeYv6lR3MDhuzGkgonCPxxFcPyGPZONvBDKw91sIsdnxdVm-K22TMGfTRIBM7xeCIZQU5iY8_7tkNbP1G2oj6WGFGw5PDsBtyn8cDSLCkLMKWC6lsSeMhK/s1600/value+-+photo+by+Cassidy+Curtis.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjofwETi_vYCxnJIDJUEQg5huYeYv6lR3MDhuzGkgonCPxxFcPyGPZONvBDKw91sIsdnxdVm-K22TMGfTRIBM7xeCIZQU5iY8_7tkNbP1G2oj6WGFGw5PDsBtyn8cDSLCkLMKWC6lsSeMhK/s1600/value+-+photo+by+Cassidy+Curtis.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.flickr.com/photos/cassidy/3280322958" target="_blank">Value - photo by Cassidy Curtis</a></td></tr>
</tbody></table>
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<span style="color: #333333; font-family: Calibri;"><br /></span></div>
<div style="font-size: 11.0pt; margin: 0in;">
<span style="color: #333333; font-family: Calibri;">I learned a new term: <a href="http://en.wikipedia.org/wiki/Value_engineering" target="_blank">Value engineering</a>. And</span><span style="color: #333333; font-family: Calibri; font-size: 11pt;"> I
learned how doing value engineering would impact my design decisions on the sculptures I'm doing for
the Electra C. Doren library as part of my <a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">ReImagining Works commission.</a></span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
My
metal sculptures are going to be embedded into the fence. That means that my designs are dependent on the fence design. And the <span style="font-size: 11pt;">fence design had to be settled before my sculpture design or I would have to change the design of my sculptures with every change to the fence design. Before I started designing I let the architects and the art board know that I needed the final design decisions of the fence for the reading terrace to be settled. Good thing I did - because there were value engineering changes to the fence design. </span></div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">I was prepared for the impacts of one decision: the fence door on the
back of the reading terrace was changed into an emergency only exit. This made sense: the
function of the fence door changed and there were a cascade of changes to my design because of this change in purpose. But some of the other changes were not as obvious. One of these changes impacted my sculpture design. Rather than the post-to-post distance being the same all the way around the fence, as it was in the original drawings, now the post-to-post distances would be irregular. </span><span style="font-size: 11pt;">Some would be around 4 feet and some around 6 feet with a few at
unique distances; in all there would now be 6 different post-to-post distances. I couldn't figure the reason for these changes.</span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Value
Engineering: I was told that they were the result of "value
engineering". The description that followed sounded like "cost
reduction", something I’m familiar with from technology product design. But value
engineering is different. Everything in a project is evaluated for potential
cost savings but value engineering calls for
preserving the desired level of function in the process. Only if
function is not impacted can a cost savings be acceptably realized. </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
The
fence would serve the same functional goals whether there were posts every 4
feet or every 2 feet or in the unequal pattern that was actually chosen. The
difference was that if the distances could be maximized without sacrificing the
fence's function and goals then the project could save costs. Fewer posts means
fewer pieces to fabricate, fewer to install, and it means that the fence panels
could be ordered at a larger size and cut.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Numbers:
When I planned the sculptures from the original architectural drawings I chose
to make eight sculptural panels. This was based on the equal spacing of panels in the
drawing and wanting to have an acceptable panel to open fence ratio. I planned
on three sculptural panels on the north terrace fence railing, three panels on
the south terrace fence railing, and two panels on the west terrace fence
railing. But I knew the fence design was in flux so I built flexibility on the
number of panels into my proposal. </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
With
the newly arranged posts I had a decision to make about what post-to-post
distances made the most sense for the sculptures and how many of them worked in
the new arrangement of fence sections. I chose to use the 4 foot sections
because if I had chosen the 6 foot sections the resulting sculptures would have been visually overwhelming.
Even though they would be of the same number, they would occupy much more of
the visual space. I also chose to make 6 panels not 8 panels. Because of the
pattern of posts if I made 8 panels it would mean that two 4-foot panels would
be side by side in a corner. That would not be a good pattern, it would bring
two panels too close, and whatever corner I put it in would make the images
look cluttered. Instead the pattern works out to three panels on the north, two on the south, and one on the west wall. I negotiated to have the order of unequal fence sections rearranged on the north wall so that the three sculptures would be closer to the building and more part of the terrace space than if they were closer to the exit.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Reuse:
My second concern with value engineering was anticipated early in my proposal
phase. Value engineering is often associated with planned obsolescence. If the
functional life of something is only expected to be 20 years then you do not
need to invest the cost to make something durable enough to last 70 years. This
is a wise investment because if you paid more for 70-year quality and only got
20 years before your use became obsolete, you'd have been overpaying. A fence
and a reading terrace, will likely have a limited lifespan before it is time to
replace it. For example 20 years from now the library may need to be remodeled
because the pattern of library usage may have changed. If people no longer want
to read on a terrace at the library, the library system will remove the terrace
and construct something that meets the needs of those future library users.
However, I want to design my artwork to last as long as possible - well more than 20 years. I don't want
my sculptures to be obsolete.</div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">I
purposefully designed my sculptural concept for reuse. I conceived of the
design so that the sculpture panels can easily be disassembled from the fence
and put to other uses. For example, they can be mounted flat against an
appropriate colored wall inside or outside a building where their images can be
viewed. They can also as easily be mounted into the structure of a window to
allow sunlight to come through the cutouts revealing their silhouettes. Or they
can be separately mounted on supports to become freestanding separate panels
for a sculpture garden or room use separator. </span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
While value engineering had an impact on the design process I think we mitigated the impacts on the actual sculpture. The sculptural panels are fewer in number but approximately the same size as before. They have new positions around the terrace, but ones that I think will work with the space. The fence has a 30-year warranty and may have a purposeful life expectancy of 20 years, but my sculptures can be reused.</div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-67569970553397232922014-10-13T08:03:00.002-07:002014-10-13T08:03:40.654-07:00Using sketches to help ME decide<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
Since
the sculptures will be flat cutout images of buildings inspired by the style of
<span style="background-color: white;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-style: italic;"><a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Stacks
in Celebration</a></span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank"> byCharles Sheeler</a> </span></span>making a cutout sketch of ONE of them helped me figure out the
design of an individual panel. But I needed to imagine several of them in context to know if they would create the environment that I imagined for the reading terrace. </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
I didn't want to make cutout sketches of all of them. I didn't have the time before the proposal deadline and I didn't even know what all the subjects would be at that time. Plus if I did them as cutout sketches I'd need to make a bigger environment sketch to put them in to see if they "worked" in the space. Overkill. I didn't need finished pieces, just rough approximations would help me. <span style="font-size: 12pt;">Plus I wanted the art commission board to see what several of them would look
like in the context of the fence.</span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
I did
rough sketches of buildings with Sheeler-like sky backgrounds based on the
architectural drawings that were part of the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">ReImagining Works </a>RFP. I included
these sketches in my proposal accompanying my explanations of what I proposed to sculpt.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
Sketch
2: view from terrace </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRE2W7RZJLl1iGm8sIBMtqeOGf-EkTkjYRMC9PQWGmirf01IKKJU5ARbjESEarP7QMPCwLxJUi7nlhYcdq7L6MD7dtG-lIePFNE_zG8D2BuRCVdVNvwW88dCljsc2FvG0-jnr5ph1Kl5Wo/s1600/sketch+with+people.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRE2W7RZJLl1iGm8sIBMtqeOGf-EkTkjYRMC9PQWGmirf01IKKJU5ARbjESEarP7QMPCwLxJUi7nlhYcdq7L6MD7dtG-lIePFNE_zG8D2BuRCVdVNvwW88dCljsc2FvG0-jnr5ph1Kl5Wo/s1600/sketch+with+people.jpg" height="189" width="320" /></a></div>
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This
sketch shows how the sculptures will be seen from inside the reading terrace just as you step from the library out onto the terrace.
There will be eight panels. Not all the panels are depicted in this sketch.
Having panels surrounding the patio creates a gallery atmosphere to the
enclosure. </div>
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<br /></div>
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Sketch
3: View of South terrace from Edmund Street</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_OFntnqadIyS_xr49bQoks1CVESbaaux2GFliiYIqEqc6Ng90D5lvfdRNT-zSwwDLcIRcggsjBvDJyhIIRRHrS4ffYl6O2D8yc5QqG2saOjHgwN-ocachaklRP6gON6o5x-SqQGeCXoE/s1600/south+view.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif_OFntnqadIyS_xr49bQoks1CVESbaaux2GFliiYIqEqc6Ng90D5lvfdRNT-zSwwDLcIRcggsjBvDJyhIIRRHrS4ffYl6O2D8yc5QqG2saOjHgwN-ocachaklRP6gON6o5x-SqQGeCXoE/s1600/south+view.jpg" height="167" width="320" /></a></div>
<br />
<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
This
sketch shows how three of the panels will be visible from the side street. They
will be visible to pedestrians and to customers from the parking lot of the
business across Edmund Street.</div>
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<div style="color: #333333; font-family: Calibri; font-size: 12.0pt; margin: 0in;">
<span style="font-size: 12pt;">It may seem really simple to have used just these basic sketches to support my imagination. It probably took me longer to scan these sketches in and write this blog post than it did to do the sketches. B</span><span style="font-size: 12pt;">ut doing the sketches was critical for me to solidify my impression and confirm that my plan for the multiple sculptures would work for the space. It gave me confidence I was on the right track. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-43979876341295734582014-10-09T15:10:00.002-07:002014-10-09T15:10:31.009-07:00Showing sketches to patrons<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">When selling site-specific art I'm not selling a finished art piece, I'm selling an idea. My patrons don't want a completed art piece to put in a space, they want something designed for that specific space. </span><span style="font-size: 11pt;">I know the piece will evolve as the project continues so I want the patrons sponsoring the commission to buy the idea and participate in the evolution of the piece. I didn't want to show a finished piece as an example and say "It will be something like this - but different." Instead I wanted to show them an idea of what their sculptures would be without having to actually make finished pieces before submitting the proposal.</span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
When I
wrote this proposal to the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">Dayton Metro Library ReImagining Works</a> proposal review board<span style="font-size: 11pt;"> I wanted to share an image of what the
final piece might look like</span><span style="font-size: 11pt;">. I wanted to convince them how appropriate the sculptures
would be for the reading terrace but all the images were in my head. </span><span style="font-size: 11pt;">Describing my thoughts in words might help, but images would help more. </span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I didn't want to
go through the effort to make metal mock-ups for the proposal, they might give
the false impression that the pieces are too finished and the image ideas
"locked in". So I ruled out creating a mock-up in metal. It had to be
a sketch to show that there was room for change, and besides I didn't have time
to even make even one mock-up out of metal since the proposal had to be in quickly.
Would a sketch get the idea across sufficiently? And would one sketch be
sufficient? There were eight panels in my plan, but I hadn't picked all eight
subjects yet and I wasn't going to figure that out in time and make eight
sketches. I only wanted to portray one example so that it gave an impression.
The constraints were starting to box me in. </div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I
tried some pencil sketches but they didn't get the idea across enough. Mostly I used them to figure out how I would create a <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Sheeler-like sky</a> across that big expanse of open sky. Because it was going into a fence where people could touch it I couldn't have open sections of sky. It also needed to allow light to come through and still differentiate the different fractured sections of sky. I
understood these sketches, they taught me a lot, and could extrapolate out to the final pieces but could the
proposal review board? Would they put in the time to imagine? Or did it have to be
instantly understood without the effort of too much imagining?</div>
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<div style="margin: 0in;">
<span style="color: #333333; font-family: Calibri;"><span style="font-size: 11pt;">I
needed another way. I thought about inking the sketch because one thing that
bothered me about the pencil sketches was that the pencil wasn't
"solid" enough. The sketches looked unsubstantial since you could see
the pencil lines instead of solid areas where the metal would be. The viewer would have to imagine the pencil areas as solid. Making ink
sketches might work better to depict solid areas but inking the image would
take a long time. Besides when I pulled out my Rapidographs I found that I had
put them away with ink in them. It would take a day of soaking to </span><span style="font-size: 15px;">re-hydrate</span><span style="font-size: 11pt;"> them, clean them, and make them usable again. No, I needed a quicker and more illustrative
means to sketch the panels as sculptures.</span></span></div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I
decided that since the sculptures were going to be cutouts I was going to do
cutouts for the sketches. I took some black art paper and did some sketches on it in
pencil. I tried a simple building shape with sky, and I tried a fractured sky treatment.
The test worked. I liked the use of cut out paper. It would work for the
sketch. But I didn't like the treatment of the sky. I didn't like that there were solid bars connecting and separating the sky areas. </div>
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<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
So I tried a different treatment for the sky where I had no solid bars and created the separation between sections just by the edges of the band-width-changes creating an illusion of a line. This very effectively separated the areas without the added visual weight of solid bars separators. I chose to use Memorial Hall as the subject. I did a simple composition in the cutout black paper. </div>
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<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Sketch: Memorial Hall</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXcI2PrOYopagsZvHabxvEMUvOzHeEZ5zg9bq273hjFCs5xzyLGV48bChRkR7lMKheZXbOK7z9uAJtpTMwn5bpKg-VpZGE5VVgE7ug9SJSbYREzTEQtfnHYc-Mbi8c7D3fF1KG6W0xcvh/s1600/memorial+hall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHXcI2PrOYopagsZvHabxvEMUvOzHeEZ5zg9bq273hjFCs5xzyLGV48bChRkR7lMKheZXbOK7z9uAJtpTMwn5bpKg-VpZGE5VVgE7ug9SJSbYREzTEQtfnHYc-Mbi8c7D3fF1KG6W0xcvh/s1600/memorial+hall.jpg" height="390" width="640" /></a></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
This
sketch illustrates what one of the eight panels might look like. This is not
the final subject or the final depiction but is meant to demonstrate the
intended simplification of architecture into patterns and the fractured sky. I did not fracture or make buildings translucent and overlap them like Sheeler did. I thought that in a sculpture for a public place that would be too difficult to visually interpret unless I used multiple layers of sculpture.</div>
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<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
This
sketch is cut out of black paper so viewers had to do some imagining. In the
final sculpture what is black in this sketch will be metal. The white spaces in
this sketch will be open space allowing light to pass through creating the
foreground and background of the image. </div>
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<span style="font-size: 11pt;"><br /></span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">This
approximation of the sculpture did much better than pencil sketches to get my
intention across. I think of sketches, mockups, and maquettes as successive
approximations of a final piece. It was valuable for me to go through the
stages of moving "up" that continuum of successive approximations and
find the sweet spot between "so sketchy that only I could imagine what I was
suggesting", and "so complete and finished that it was indistinguishable from the
final sculpture". I got minimal but early
feedback from friends and family that my paper cutouts were substantial enough that a viewer (the
proposal review board) could quickly grasp what I was proposing. That was a
good thing because I had spent what little time there was to make these sketches for the proposal
and I got the proposal in on the last day possible!</span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-24361161358360018522014-10-08T06:56:00.003-07:002014-10-08T06:56:36.093-07:00Church / No Church Decision for Sculpture<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
For <a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">my sculptures</a> I
chose the subject theme of <a href="http://en.wikipedia.org/wiki/Old_North_Dayton,_Dayton,_Ohio" target="_blank">Old North Dayton</a> buildings that are important to the
community. I opened up the theme to include current buildings or historic
buildings that no longer exist. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
After my research, and
with the guidance of wonderful Old North Dayton experts, I learned that the North
Dayton community churches are a very important, integrated part of the vibrant Old North Dayton community. But there will be no churches in my six sculptural
panels. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkD33HnY_nIdo1zEoOnMAH4qYgqBFl2LesrxhxxAvJCfB8iAn0T79P4sfR5bUCwnnDmM0MSN0SpO4dc23g07AnW-XABwnOlM-BTJtAz8HiizKwEU9L-Uv3T_fHBbYEuUUHlDinFuptCZi/s1600/St._Adalbert_Polish_Catholic_Church+by+Wdzinc.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkD33HnY_nIdo1zEoOnMAH4qYgqBFl2LesrxhxxAvJCfB8iAn0T79P4sfR5bUCwnnDmM0MSN0SpO4dc23g07AnW-XABwnOlM-BTJtAz8HiizKwEU9L-Uv3T_fHBbYEuUUHlDinFuptCZi/s1600/St._Adalbert_Polish_Catholic_Church+by+Wdzinc.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">St. Adalbert Polish Catholic Church by Wdzinc</td></tr>
</tbody></table>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I saw images of
several churches and they were aesthetically wonderful subjects for my
sculptures. I could easily imagine their design as sculptures. Yet I chose not
to depict any churches for several reasons. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Number: There are more
churches than there are panels planned for my sculptures. I couldn't depict all
the churches and still depict other North Dayton buildings. There simply wasn't enough
room without fundamentally changing what I was designing for the commission. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Picking: Could I
include only one church? Which one? How could I pick one church and not depict
another one? I couldn't be partial, I couldn't be inclusive, and I wasn't
going to show favoritism of one church building over another for any reason - even
aesthetics. </div>
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<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Even if there was
enough space, and if I could change the rendering layout to include them all, there were the
issues of detail, perspective and size. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Detail: In the
sculptural panels I'm going to take broad liberties with the images of the
buildings. I'm going to greatly simplify their images to <span style="font-weight: bold;">represent</span> the buildings not to <span style="font-weight: bold;">depict</span> them. There will be a great loss of detail
- on purpose - to create the style effect I'm imagining. Would someone take
offense at my over-simplifying their ornate church? </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Perspective: I'm going
to choose perspectives of the buildings that work best for the use of space in
the panel and may, like <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Charles Sheeler</a>, take liberties with the reality of how
the buildings actually look. Would the perspectives I'm choosing for layout
aesthetics not show off the features the congregation loves about their
building? </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Size: Since all the
panels are the same size I'm going to be adjusting the size of the buildings to
fit the panels rather than depicting them in their real sizes relative to each
other. Big and small buildings will likely take up the same amount of space on
the sculptural panels. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
Position: If I could
work through all of this I still have to pick an order and positions in the
fence around the reading terrace. How could I negotiate the position of one
panel vs. another? What if there is a spot that is perceived as the "best"
spot; which church gets that spot?</div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I want my sculptures
to be part of the community. I want them to bring people together and inspire
pride for Old North Dayton. I don't want to do something that would create friction
or accidentally offend any one group. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
I'd love to do
sculptures of the churches because I think they would make great subjects, but
these will have to be future sculptures OF the churches FOR the churches and not part of the art work for Electra C. Doren Library. No churches for the sculptures at Electra C. Doren.</div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com2tag:blogger.com,1999:blog-1285037816908924711.post-71176586803028105462014-10-07T10:04:00.002-07:002014-10-07T10:04:57.914-07:00Subjects, inspiration, and alternative themes<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
I chose the
architecture of Albert Pretzinger for the subject inspiration of my sculptures. But as you will see I left that decision flexible and
the subject evolved in a very different direction. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
I locked down the style inspiration to <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Charles Sheeler's <span style="font-style: italic;">Stacks in Celebration</span></a><i> </i><span style="font-size: 11pt;">but I left the door open
to alternatives for the subject inspiration. It is not that I didn't care about
the subject, instead I saw that I could achieve my goals for the sculpture with
a wide variety of subject matter and I wanted to leave the decision open until
I could do more research and get feedback from the patrons of the
commission;</span><span style="font-size: 11pt;"> </span><span style="font-size: 11pt;">the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">DML ReImagining Works</a>
art board.</span></div>
<div style="font-family: Arial; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzprQ-ToEfvKst41OJVffHSje5WMg2YfVgAq1BWBspTnCieiaqBBJQ0TIvj-XqQ4JT9tZUUbwWPyRiMVWiwxYQ5HqtuggXWHY_X2U-nE9670cF5miYYx39VKXO4JKrmxK4BrcRwUsUZpq/s1600/CommercialBuilding+-+Greg+Hume.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxzprQ-ToEfvKst41OJVffHSje5WMg2YfVgAq1BWBspTnCieiaqBBJQ0TIvj-XqQ4JT9tZUUbwWPyRiMVWiwxYQ5HqtuggXWHY_X2U-nE9670cF5miYYx39VKXO4JKrmxK4BrcRwUsUZpq/s1600/CommercialBuilding+-+Greg+Hume.jpg" height="320" width="196" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Commercial Building - Photo by Greg Hume</td></tr>
</tbody></table>
In the request for proposals from ReImagining Works it mentioned
that the Electra C. Doren library building was designed by <a href="http://en.wikipedia.org/wiki/Albert_Pretzinger" target="_blank">Albert Pretzinger</a> so
I did some homework on Pretzinger.
Pretzinger and his firm were the architects for a lot of buildings in the Dayton
area. They were responsible for many of Dayton's iconic buildings. Plenty of
buildings to choose from for subject inspiration. I thought it
would be a great connection to use them as the subject for the sculptures
connecting Dayton history and this specific library building. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
I decided to make eight sculpture panels based on the size and
the arrangement of the fence section plans. That gave me a lot of space to work
with. Each panel would have depicted a different Dayton building by Pretzinger
or his firm. I hadn't chosen the final
set of buildings at the time of the proposal. The list of potentials includes
the Electra C. Doren library itself, the Commercial Building, Memorial Hall,
Dayton Daily News building, the First Lutheran Church, Fire Station 14, the
Reibold building, and many others. <br />
<br />
<br /></div>
<div style="font-family: Arial; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
I liked the idea of including Electra C. Doren library as the
subject of one of the panels. And I liked the physical presence of <a href="http://www.daytonhistory.org/private-event-rental/memorial-hall/" target="_blank">MemorialHall </a>(also by Pretzinger) so I wanted to include that one too. Other than these
two I knew there were several good building images of Pretzinger's work that
would make great aesthetics for the remaining 6 panels. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
I felt that the Pretzinger theme this was an appropriate theme
for Dayton's industrial history as celebrated through it's monumental public
buildings. But there were other ways to honor Dayton that I entertained and put
in the proposal to offer to the patrons of the commission:</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="color: #333333; margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Calibri; font-size: 11.0pt;">Alternative 1: Iconic
Architecture - Instead of just Pretzinger’s architecture I could depict
iconic Dayton architecture regardless of who designed it.</span></li>
</ul>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="color: #333333; margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Calibri; font-size: 11.0pt;">Alternative 2: Invention -
Instead of Dayton architecture I could depict Dayton’s history of
invention and/or manufacturing; e.g. flight, cash registers, zipper,
pop-top, heart-lung machine, steel furnace, ice cream cone, etc. all
invented in Dayton. </span></li>
</ul>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
The board liked my style and subject proposal but suggested a
variation on my alternatives. They suggested that the sculptures include
buildings important to the North Dayton neighborhood of this library branch and
not just Pretzinger's and not just iconic downtown Dayton buildings. They asked
if I could include 3 panels on buildings just from North Dayton.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin-left: .375in; margin: 0in;">
My first reaction was; "Does North Dayton have anything
more than houses? I need a tour guide to learn more about North Dayton." I
was showing my ignorance but the board was very helpful and connected me to
experts in North Dayton. I got the insights I needed and suggested back to the
board that ALL the panels be North Dayton buildings. More on how I got to that decision in another
post ...</div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-12919663594317867892014-10-03T08:32:00.000-07:002014-10-03T08:32:41.562-07:00Decision factors for switching metal for sculptures<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
When the metal fabricators for my sculpture suggested switching to aluminum from steel, and from laser-cut to water-cut, I had several questions. I
needed to research these things to find the switch acceptable. I’m familiar with molten
aluminum from casting sculptures but I've never worked with sheet aluminum. I'm sure more questions will come up as we proceed but here's what I started with:</div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11pt;">Why are the fabricators suggesting a
thicker aluminum (1/4 inch) instead of thinner steel (1/8 inch)? In what ways is 1/4 inch aluminum equivalent to 1/8 inch steel?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">What is a comparison of
aluminum and steel on durability, strength, and impact resistance?</span></li>
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11pt;">Does the fabricator have example photos of their previous cut sheet aluminum at this thickness that I can compare to steel?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">I'm familiar with laser cut
metal, but what kind of edge does water cutting aluminum leave? Are there any burrs on the far side? How clean is the cut edge?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">I know cast aluminum has
fracturing issues especially when thin. I’d like to know if there are any
restrictions on how small an area of aluminum I can put in my design
without risking fracturing under normally expected impacts. I’d also like
to know if directionality of the shapes is an important factor at all with respect to fracturing.</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0px; margin-top: 0px; vertical-align: middle;"><span style="font-family: Arial; font-size: 11pt;">Does the fracturing of aluminum change with age and exposure to weather?</span></li>
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">What are the different possible
surface finished for sheet aluminum? Smooth, brushed, etc.</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0px; margin-top: 0px; vertical-align: middle;"><span style="font-family: Arial; font-size: 11pt;">What is the comparable cost of a sheet of aluminum and a sheet of steel?</span></li>
<li style="margin-bottom: 0px; margin-top: 0px; vertical-align: middle;"><span style="font-family: Arial; font-size: 11pt;">Related to cost is it attractive for people to steal aluminum? Will the switch to aluminum make it more likely that someone would steal the sculpture for scrap metal?</span></li>
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">Attachment method: If we switch
to aluminum what attachment methods can be used and what can't be used?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">Are there aluminum alloys that
are better for outdoor use like there are with steel?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">I want to see and touch a
sample of the sheet aluminum in the thickness proposed. I want to take
this sample with me. I need that tangible object to help me imagine what
the final piece will look like. I'd like to cut a mockup of a portion of my design in the proposed metal.</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">How does the aluminum age? What will the surface look like over time? </span><span style="font-family: Arial; font-size: 15px;">What coating we can put on the aluminum?</span></li>
</ul>
<ul style="direction: ltr; margin-bottom: 0in; margin-left: .375in; margin-top: 0in; unicode-bidi: embed;" type="disc">
<li style="margin-bottom: 0; margin-top: 0; vertical-align: middle;"><span style="font-family: Arial; font-size: 11.0pt;">What maintenance is required
for the aluminum especially if it is not coated or colored?</span></li>
</ul>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-15196607610533375882014-09-22T07:39:00.001-07:002014-09-24T17:56:57.355-07:00Shifting from Steel to Aluminum<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL1ObEUypzKSuYH3SYY1Ox0dzVlqDmitZFoBMcMU6LD-ra76OudvhhcEqH3KJkskto5CdUcZ3EZmjjL0pEVxlHx2Wqq0y5AF6b0uGgUwkB2sTCRihUvOQOLWTUW2-C4xOsw5O1J99Y6L1u/s1600/1280px-Crucible_steel_button+By+Jlahorn+via+Wikimedia+Commons.jpg" height="133" style="margin-left: auto; margin-right: auto;" width="200" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crucible_steel_button By Jlahorn</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
<span style="color: #333333; font-family: Calibri; font-size: 11pt;">I
chose to use steel for my sculptures for the </span><a href="http://www.daytonmetrolibrary.org/docs/Press/ECDArtKrall.pdf" style="font-family: Calibri; font-size: 11pt;" target="_blank">Electra C. Doren library</a><span style="color: #333333; font-family: Calibri; font-size: 11pt;">. But now
they will be made from aluminum. Here's how I got there:</span><br />
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://commons.wikimedia.org/wiki/File:Aluminium_bar_surface_etched.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-YsDKAhUB1NYaPYrzibAl3vWt4mEXg7XNiVrjna-wSN6dAk0650Ro8lwONOv_jz4IhxqbbtM1Hn1DTylgITVxY9k4-SwuamK6vPMtf9P8H2mPKuIjSINevRP7xsoQ5BWUj9jzqZgMDfk4/s1600/1280px-Aluminium_bar_surface_etched+By+Alchemist-hp+(talk)%2B(www.pse-mendelejew.de)%2Bvia%2BWikimedia%2BCommons.jpg" height="132" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Aluminium_bar_surface_etched - <span style="font-size: x-small;"><span style="font-family: 'Times New Roman', serif;">by Heinrich Pniok</span> </span> </td></tr>
</tbody></table>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I had
two concerns and two goals when picking the metal. The concerns were theft, and
the cost/size tradeoff. The goals were aesthetics and relevance. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Theft: Since this is an outdoor sculpture I didn't want to create
a sculpture that was attractive to theft. The panels are big (about 2 feet by 4
feet) but not so big that their size would deter theft. At that size they look
cartable (if you could get them out of the fence). So I didn't want to use
copper, bronze, or brass since I was concerned that the value of those metals
would be an invitation to theft. If I use steel, and leave it unpainted, it
looks unattractive to steal. It's not worth the effort to steal it for scrap
metal. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Cost /
size tradeoff: The Dayton Metro Library set a budget for this project in the
<a href="http://www.daytonmetrolibrary.org/works" target="_blank">ReImagining Works </a>initiative. As I chose metals I knew that the base costs are
widely different. As the cost of the metal choice goes up the number of panels
or the panel sizes I could create would go down. I felt that there needed to be
a significant number of sculptures to complement the size of the reading
terrace. I thought that one panel out of an expensive metal would not be sufficient - better to have more panels of a less-expensive metal.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Aesthetics:
I wanted to use a metal that would look appropriate for the setting and steal
would work well with the earthy-colored pavers, red brick of the library, and a dark colored fence. It
would age well starting off bright and patina over time to a strong warm color.
Plus it would not take much maintenance other than soft cleaning. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Relevance:
Steel fits in with Dayton's manufacturing history perfectly. And it worked with
the industrial theme of the <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Sheeler painting</a> I used as inspiration.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
However,
in working with the Dayton Metro Library, their architects, construction
company, fence installer, and fence fabricator an overriding concern became
obvious. The library would get a 30-year warranty for the fence from their
fence fabricator if that company was the one who fabricated and integrated my
sculptures into the fence. I couldn't easily match that using my fabricator and
negotiate a similar warranty with the other companies to join in a warranty - not in the time
or budget allocated to me. As long as I could have artistic control and quality
assurance on the fabrication it was the better decision to go with their
fabricator. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Somewhere
along the way as part of design changes the fence went from being a steel fence
to being an aluminum fence. Plus when we considered how the panels would be
attached we settled on welding. Since we're welding we didn't want to be
joining dissimilar metals by welding a steel sculpture into an aluminum fence.
When two dissimilar metals are connected they create an electro-chemical reaction
which causes one of the metals to corrode faster. Steel and aluminum in
combination outdoors are <a href="http://www.galvanizeit.org/design-and-fabrication/design-considerations/dissimilar-metals-in-contact" target="_blank">highly prone to corrosion.</a></div>
<br />
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
So
given the concerns about corrosion of dissimilar metals and the 30 year
warranty we switched to making the panels out of aluminum. We lost the strong
relevance to Dayton but aesthetically I've looked at the aluminum and,
depending upon the finish that we use, it should be aesthetically pleasing.
Cost and size still have to be worked out but they should be close. And
aluminum will be no more tempting to steal than steel.</div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-26897983077288029342014-09-20T11:19:00.001-07:002014-09-24T17:56:18.677-07:00Sculptural Vision and Storytelling<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<a href="http://www.daytonmetrolibrary.org/press/2090-artist-s-proposal-selected-for-electra-c-doren-branch-library" target="_blank">The sculptures</a> I'm creating for the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">ReImagining Works</a> project for the Electra C.
Doren library are a site-specific sculpture meant to become part of the library
experience. I wanted to propose something that will be an integrated part of
the library's reading terrace which was not built at the time of my proposal.</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I
could imagine the reading terrace from the architectural drawings and extend
this vision to include my sculptures. I wanted the art review board reading the
proposal to experience that vision and not just see sketches and read
descriptions of what I was proposing to build. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I
decided that telling a story would be the best approach. I thought that if I
could tell a story then the people reading it could feel it in addition to seeing the sketches. I wanted them to
imagine they were using the reading terrace and my sculptures were part of
their story. </div>
<div style="font-family: Arial; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Here
is what I included as a descriptive vision in my proposal:</div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
"As
you sit on the E.C. Doren library reading terrace, the North Dayton
neighborhood you are sitting in ties you to Dayton’s industrial traditions. And
so do your immediate surroundings. You are encircled by new sculptural images
that unite you with that history. </div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
To
your left the sunlight pierces through an image of the heroic Memorial Hall, to
your right the stalwart Reibold building reflects the setting sun, and another view
gives you glimpses of the confident Dayton Daily News building. Everywhere you look around the terrace fence other inspirations are there as well. <span style="font-size: 11pt;">And behind you is
the Electra C. Doren library, itself part of that history, restored and revitalized. </span></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<br /></div>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
These
images are silhouette steel cutout sculptures built as an integral part of the
fencing rail that borders the reading terrace, and give your library experience
a sense of place. They are designed to invite you to contemplate their patterns
and inspire you to be part of Dayton’s industrial spirit. Their vibrant
reflections, solidity and playfulness are letting you know that the Dayton
spirit of making things is still alive. "</div>
<br />
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
Now that I'm reading this and imagining that setting sun I'm not sure I got it's orientation to the panels correct. Let me check out the <a href="https://www.google.com/maps/place/701+Troy+St,+Dayton,+OH+45404" target="_blank">library on Google Maps</a> ...</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zosPmPzD4ibBzm1ixSYsP3BKmQEoGmMEpoAKSTFVLoRKvRIKa1kDHoR9zbFi-oUZ4CBkmaMHDHft4KSe5rlTqEROGt8BijmR4gH4t3kFa32KBHS0TMo_PsaH1w-dnaE-O2WLOeA5TZ9Q/s1600/GIS+photo+of+ECD.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5zosPmPzD4ibBzm1ixSYsP3BKmQEoGmMEpoAKSTFVLoRKvRIKa1kDHoR9zbFi-oUZ4CBkmaMHDHft4KSe5rlTqEROGt8BijmR4gH4t3kFa32KBHS0TMo_PsaH1w-dnaE-O2WLOeA5TZ9Q/s1600/GIS+photo+of+ECD.JPG" height="140" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Credit: Google Maps</td></tr>
</tbody></table>
<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
<span style="font-size: 11pt;">OK I got it wrong. It won't be the setting sun but the daytime southern exposure that will fall on most of the panels. The setting sun will fall on the library wall behind the terrace. I also didn't take into account what seasons of the year library patrons will actually be sitting outside reading! :^) </span></div>
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Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com2tag:blogger.com,1999:blog-1285037816908924711.post-18462481053936437762014-09-18T10:11:00.001-07:002014-09-24T17:55:48.390-07:00Steel sculpture decisions - the magpie response<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
I chose to use to use sheets of #304 stainless steel alloy for my
<a href="http://www.daytonmetrolibrary.org/docs/Press/ECDArtKrall.pdf" target="_blank">sculptures at the Electra C. Doren library</a>. This is a steel you and I see everyday in auto trim, outdoor electrical enclosures, storage tanks, and other items you pass each day without thinking; "I wonder what that's made of?" This metal is designed for outdoor use. It will not easily rust or corrode. It is the same alloy used in the Gateway Arch in St. Louis</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTrXwgKclEuC_sm9BX4T8_CsCtqleMN3Gn6yAvPDVCIG6d6fWFo65UCvcB_YqvHoeyuhWhWc4rFMbJFKXhZ0VZXwoSdm6riA19i7HbxnFi2uoIlK4mtR1tvpOEusFJ3SDg6aHoR4rwp5Wr/s1600/Gateway_arch+2001+by+Rick+Dikeman.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTrXwgKclEuC_sm9BX4T8_CsCtqleMN3Gn6yAvPDVCIG6d6fWFo65UCvcB_YqvHoeyuhWhWc4rFMbJFKXhZ0VZXwoSdm6riA19i7HbxnFi2uoIlK4mtR1tvpOEusFJ3SDg6aHoR4rwp5Wr/s1600/Gateway_arch+2001+by+Rick+Dikeman.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Credit: Gateway arch <br />
2001 Rick Dikeman</td></tr>
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I want to use the steel in the raw state with a brushed surface. The
steel will start off a shiny silver and patina over time into a deep earthy
metallic gray-silver. Once the patina has settled the sculptures will be stable
for many, many years. The sculptures will not require significant maintenance
in this raw state. Periodic cleaning will not negatively impact them. </div>
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I had to be practical about durability, weight, and costs. I selected steel sheets of 1/8 of an inch thick. This will be solid enough for durability and inflexible enough for fencing. At this size it won't burden the structure with weight. A panel two and a half feet by four feet will weigh approximately 57 pounds before it is cut. Given that the pattern of each panel will be different, their weights will be different. I approximate that the finished panels will weigh between 30 and 40 pounds each. This should be fine for incorporation into the fence sections. </div>
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Aesthetically I want the sculptures to be noticeable and cause people to have the magpie response; "Oooh look - shiny metal!" and be compelled to take a closer look. <span style="font-size: 11pt;">It is possible to paint the metal or to apply typical fencing coatings, but I would rather not. I believe that the raw steel is the appropriate aesthetic fitting with the industrial Dayton theme. I want there to be a contrast between the fence, the environment of the terrace, the surroundings, and the piece itself. I want it to have distinguishable boundaries and not be seen as an extension of the fence, but rather that the fence is a frame for the sculpture. </span></div>
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I will work with the architects and the fence installers to see the materials that will be used for the walls, pavers, and fencing to see if the raw steel will work aesthetically with the surroundings. </div>
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After discussing options with my friend, master sculptor <a href="http://www.jimmillsart.com/" target="_blank">Jim Mills</a> of <a href="http://www.sculpturecast.com/" target="_blank">Sculpturecast</a>, i<span style="font-size: 11pt;">f raw steel does not work aesthetically with the other elements we can reduce the painting maintenance by using Imron paint by DuPont which is the same paint used on jet planes and will last without re-coating for 20+ years. Or we can choose one of the fence coatings that has similar durability. Ordinary exterior house paint will also work but that is not a good option since it would need to be repainted more frequently.</span></div>
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Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-64285636597177628282014-08-13T20:44:00.000-07:002014-08-13T20:45:59.021-07:00Visiting the future site of my sculptures<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
For my
sculptures that will be part of the Electra C. Doren public library's
renovation I proposed to create eight silhouette steel cutout sculptures for
the fence railing of the reading terrace. </div>
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But
when I wrote the proposal all I had was the descriptions in the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">ReImagining Works</a> Request For Proposal (RFP) and
architectural plans and elevations of the proposed library reading terrace to work from. Great
information, but not really enough for what I needed. I'd never been to that
branch of the library. I use the branch closer to my home and the Main branch downtown. So I had no mental image of the Electra C. Doren branch or the neighborhood or environment.<span style="font-size: 11pt;"> I
knew I was creating a site-specific piece of art and so I had to go to the site
even though the terrace had not been built yet and all I was likely to see was
an empty back yard.</span></div>
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After
I saw the drawings in the RFP I had three different ideas to propose but I decided that I
had to see the library to help me decide which of these three ideas was the
best idea for the site. A guiding principle of ReImagining Works is that you
can submit as many proposals as you like, but you should only submit proposals
for work that, if you are chosen, you can actually deliver for the stated value
of the commission and on time. Don't over commit, get chosen, and then not deliver. So I
knew I was only going to put one proposal in. Besides I only had a month from
RFP announcement to the proposal due date - hardly enough time for three
proposals. After all, I do have a day-job :^). Going to the site was going to
be a critical decision moment for me. Wow, was that an important thing do to. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9rz_MNo0unwvyBeVyIcz6rOUhNIQ2J5-9ZQADbYIQgQVXOoAIO0Tx_XaCM8puFFDrwoeZrcO0EPcGLIC_I-Cvtu9JzXV3iaLXp5bkrgcE1n8cX5Gh5fsljbRTvpRzwKk2LEGbAcFcrtGj/s1600/front.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9rz_MNo0unwvyBeVyIcz6rOUhNIQ2J5-9ZQADbYIQgQVXOoAIO0Tx_XaCM8puFFDrwoeZrcO0EPcGLIC_I-Cvtu9JzXV3iaLXp5bkrgcE1n8cX5Gh5fsljbRTvpRzwKk2LEGbAcFcrtGj/s1600/front.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Electra C. Doren branch library<br />
Photo credit: Darren Kall</td></tr>
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I
immediately knew more than the drawings could convey. The space was much
smaller than I imagined from the drawings. It is different to see 35 feet on a
drawing and to actually see 35 feet. The drawings don't convey the lighting,
the neighborhood, the surrounding trees (or lack there of), the views of the
site from neighboring places, etc. All of these factored into my proposal
design and decisions. Plus being there added motivation: I had to have this commission. I had to put
something in this place - it was a great space that needed artwork. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRckLinSSsOyjE6gTCWrHhRMWf2mwzRZhdMRbT-rTQNCxdU8FWwc46DAm72opmRP-wIDKhYlCj0pAZq6uaat-wkMd3WZe-m_7K-sWA6ghypHh2oa-0AtaRrnWXOHXCmHpTimPFYZQFrnpl/s1600/back+full+on.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRckLinSSsOyjE6gTCWrHhRMWf2mwzRZhdMRbT-rTQNCxdU8FWwc46DAm72opmRP-wIDKhYlCj0pAZq6uaat-wkMd3WZe-m_7K-sWA6ghypHh2oa-0AtaRrnWXOHXCmHpTimPFYZQFrnpl/s1600/back+full+on.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Back yard of Electra C. Doren library<br />
Photo credit: Darren Kall</td></tr>
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One of
my three ideas raised in it's importance because I saw that there were no big
shade trees near the reading terrace since big trees had to be cut down to put
the terrace in. And I knew that the trees in the planned landscaping would take
a long time before they would cast sufficient shade for readers on the terrace. Another one of my ideas
was eliminated on the spot. While it was a great idea, now that I was there, I
didn't think it would be seen from outside the terrace and since the terrace
was smaller than I thought there would not be enough angles to see the piece
from on the terrace to show it at it's best. (I'll write more about why these
ideas both got dropped in another posting.) And it was clear to me that the
sculpture in the fence idea was very appropriate. The sculptures would be seen
and prominent from anywhere in the terrace, from the sidewalk, and even across
the side street where there was a busy parking lot for a store.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh801pCQmvJ2V_LjVhuFymaVy3Jh4kKVXda0UFmQPE8UPp3S-KTigVYlp9yxM1VZqRezZuJYwnvjL11eIHNuzOckwWaNFqSkLpc9XhbC55rbHU5oiExxXCPe4l8aKN9JqHjO1IRDs7ELIn8/s1600/side+view.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh801pCQmvJ2V_LjVhuFymaVy3Jh4kKVXda0UFmQPE8UPp3S-KTigVYlp9yxM1VZqRezZuJYwnvjL11eIHNuzOckwWaNFqSkLpc9XhbC55rbHU5oiExxXCPe4l8aKN9JqHjO1IRDs7ELIn8/s1600/side+view.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Side view of back yard of Electra C. Doren library<br />
Photo credit: Darren Kall</td></tr>
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In hindsight I now
know that at that moment, standing there on the site, I had chosen to submit
the sculptures for the fence idea. I didn't know I'd made the decision then
because it took me a while to let go of the sculptural shade idea. It took learning how impractical my idea was by asking questions at an RFP artists informational meeting held by Jane Black, Director of Engagement at <a href="http://daytonartinstitute.org/" target="_blank">The Dayton Art Institute</a> and the project manager for
ReImagining Works. (More about what I learned in another post.)</div>
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But
after that onsite visit, every time I imagined the site, I kept seeing the sculptures in the fence. </div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0tag:blogger.com,1999:blog-1285037816908924711.post-72929013649350192642014-08-12T17:44:00.001-07:002014-08-13T20:45:25.308-07:00Pretzinger as inspiration for sculpture subject<div style="color: #333333; font-family: Calibri; font-size: 11.0pt; margin: 0in;">
While
it was not a requirement of the <a href="http://www.daytonmetrolibrary.org/works" target="_blank">ReImagining Works</a> commission I chose to have a
subject inspiration as well as a style inspiration. I chose the Dayton
architecture by <a href="http://en.wikipedia.org/wiki/Albert_Pretzinger" target="_blank">Albert Pretzinger</a> and his architectural firm as my subject
inspiration to accompany my choice of <a href="http://www.daytonartinstitute.org/art/collection-highlights/american/charles-sheeler" target="_blank">Charles Sheeler's Stacks in Celebration</a> as my style inspiration. </div>
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Albert
Pretzinger’s work is iconic Dayton. Pretzinger' firm designed my favorite Dayton
building; Memorial Hall. The exterior is imposing and causes viewers to wonder
“What’s inside?” Drawn by that curiosity I've rented Memorial Hall for my team
meetings several times and have been given the backstage tour of this grand
building. Dayton has valuable architectural
properties like Memorial Hall and many of them are due to Pretzinger and his
firm over the years. </div>
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The
two inspirations tie together nicely. They share an inspirational historical
time, when grand visions of the future and the promise of industry were strong
American cultural motivators. They come from a time when grand public edifices
and substantial human creativity were creating big changes for America.</div>
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The
Electra C. Doren branch building, having been designed by Pretzinger,
represents the distinctive personality of its time, and makes a perfect setting
for other Dayton architectural icons. I plan to make one of the sculptures
include an image of the Electra C. Doren building. </div>
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<span style="font-size: 11pt;">Sheeler’s
fractured images of smoke stacks and buildings were influenced by cubism where
viewers actively collaborated with the artwork by assembling the multi-faceted
view of what they saw into a whole experience.</span><span style="font-size: 11pt;">
</span><span style="font-size: 11pt;">I’m proposing to dramatically simplify the lines of Pretzinger’s
architecture into flat sculptural patterns, and to create a fractured sky
behind them. This will, I hope, like Sheeler, create an engaging and
collaborative viewing of the sculptures where viewers assemble the patterns of
foreground and background cutouts into a whole and stimulating experience. </span></div>
Anonymoushttp://www.blogger.com/profile/01549074207249349485noreply@blogger.com0