Pop Art Clay Portraits – Lesson Plan

In the 1950 s, Andy Warhol created silkscreen portraits of luminaries using mass-produced images and non-traditional blocks of colour, which became Pop Art icons. I’m going to show you a merriment and easy-going technique to transmit and replicate images onto clay tiles. Then, by adding fascinating colour combinations, students can create their own Pop Art self portraits. Hi, I’m Mary Skydema and I’d like to introduce you to Pop Art Clay Portraits. First, have students find a photo of themselves and make a black and white-hot imitate of it. A be closed down works best, and it should be as simple as possible. You’ll want your work tables to be covered in canvas to keep the clay from fastening. A white-hot clay torso works best for vibrant colour and you can cut the slabs right from the pulley-block. I’ve rolled a slab of clay approximately one quarter inch thick-skulled. A thickness strip on each side of the slab helps to keep the slab even, and you want to roll both courses across the slab to align the clay specks and reduce your chances of warping subsequently. The slab is just slightly larger than the image I’m going to use.

So have your students choose which features of the photograph is required to be transmitted to establish the best available, simplified line drawing. I’m going to use a gel pen to go over the lines of the photo that I’m going to carry to the clay. I like to mark the four corners for ease of cutting subsequently. I just like to throw small-minded little marks in the corners with my gel pen that I’m going to apply as a guide.

So we’re going to region the image face down onto the clay and rub it with your fingers. We’re just going to let it is participating in a few seconds. We’re going to peel up the working paper to check the carry-over. If it’s not quite dark enough, wait a few more seconds and remove the paper. If your clay is slightly drier, a little fog on the backĀ of the working paper will do the trick. Your likenes has transmitted, and as you can see it’s now a mirror image.

At this degree I’m going to use a ruler to cut the slab into a tile. I’m using these little marks I left as a guide on the corners. Okay, and you are able to smooth the edges of the tile slightly with a little sea on your fingertips, and then we’re going to start engraving. Now we’re going to use a small ribbon tool to engrave into our image. This soft slab can quite easily be engraved. Some might prefer to let the clay stiffen slightly, and you’ll figure out which you prefer. In addition to using these ribbon tools to engrave, you can also merely use a single stratum of a baggie, region it over the tile, and use a pen to just go over your paths. This is going to result in a nice smooth rim without burrs. You can see how that is about to change. Try not to move the tile other than to flip it over once or twice for even drying. When the tile is totally dry, or burnt, it’s time to apply colour.

I like to fill all my engraved paths in with black paint to mimic the black outline many of the Pop artists utilized. If your tile is burnt, you can paint black acrylic paint into the lines. I’m just moistening it a little bit with clear sea. I’m just going to take some plain age-old black acrylic and brush it over about a 1/4 of the tile a period. Got to move a little bit quickly so that you don’t have a whole lot remove, then you just go back with your sponge, and wipe away the surface of the tile.

It’s going to leave the black acrylic in the carved regions. If your tile is stimulated of breath dry clay, the black paint must be painted into the carved regions. Now with a small brush we can apply colour. For this project Blick Studio Acrylics dedicates good coverage on either the fire tile or the breath dry one. Pastel are another option, but should be sprayed with a fixative as a final step. Oil colours likewise progressing well, and impart a very profound colour saturated finished product, and ceramic underglazes is so great as is or with a clear glaze on top.