BIOMIMICRY PLASTER SCULPTURE
Form Translation, Physical Craft, Casting and Molding
Spring 2024, 4 weeks
Tools: Gray Foam, Silicone, Plaster
Team: Individual
Studying the form of a seashell, I designed a 2-dimensional graphic and trannslated it into a series of relief plaster sculptures by incorporating elements of distance, depth, and space.
Learned about the materiality of gray foam, silicone, plaster, and carving tools, discovering their applications in the sculptural process.
The Seashell
The seashell takes a rough circular form. It has a distinct diminishing pattern on its top and its general structure follows a dramatic curve.
It also has two dark brown lines on the outside. On the inside, there are layered tiny “flaps” that seem flexible and bendy.
Form Analyzation
I gaines a better understanding of the seashell’s organic form through orthographic and perspective strutures.
Pattern Derivation
I extracted dynamics structures from the form and iterated them into active 2D patterns.
Shell Tail Iterations
I was drawn to the bendy forms at the tails and captured its flexible essence in my final graphics.
2-D Graphic Concepts
Selected Compositions
It’s interesting how the designs connect on side, creating spiral (starlike) forms.
This arrangement is more intricate and active. The interacting positive spaces create vertical lines and pointy edges. It looks like as if there is a “towel” wrapping around the “hooks”
It reminds ome of cherry blossom trees! But the vertical line created is slightly distracting. I might consider revising the forms so the shapes flow better.
Dimension Translation
The translation from 2D required me to compromise the perfection of form. It was hard to achieve the exact curves with general carving tools. There was significant free, loose, and spontaneout creation.
I aimed to create large contrast in elevations and preferred to create organic curves with sandpaper + hand rather than only tools.
Next time, I hope to experiment with more limited and constrained carving motion to create more intricate shapes.
Inspired by the merging point at the tail of the shell. Created elevated stairs to represent the ridges in the outer shell. Simplified shell elements to geometric spheres and triangular forms.
Prototype 2
The final composition, derived from shell “flaps”, is balanced with a strong line leading the eye rom top left to bottom right. The shapes that vary in thickness curvature provide more depth and intricacy.
The final composition, derived from shell “flaps”, is balanced with a strong line leading the eye rom top left to bottom right. The shapes that vary in thickness curvature provide more depth and intricacy.
Elevation 1 Elevation 2
Elevation 1 Elevation 2
Molding and Casting
I made a cast of the second design with sillicone and used plaster to replicate 30 units.
The mold captured bumpy details which transferred to the plaster forms. Which could be minimized by improving craft of initial gray form.
As such, the finishes were a slightly rough which might need additional finishing touches.
The mold captured bumpy details which transferred to the plaster forms. Which could be minimized by improving craft of initial gray form.
As such, the finishes were a slightly rough which might need additional finishing touches.
Pattern Ideation
I experimented with mapping my units in Photoshop, ideating flow and continuity as a whole.Forms that have drastic elevation differences were more sophisticated with the shadows in the larger composition.
In some cases, flow is disturbed by strong horizontal or diagonal lines.
Sanding
Sanding created a drastic difference in the appearance: Since my unit has a wide range of dynamic lines, the smooth shape leads the eye in a much effective way whereas rough craft would distract from the form.
While sanding was a lot of work, I genuinely enjoyed the process and seeing the outcome of my craft being incorporated into the final whole.
While sanding was a lot of work, I genuinely enjoyed the process and seeing the outcome of my craft being incorporated into the final whole.
Arrangement Exploration
Initial ArrangementStrong straight diagonal line that disturbs the flow from left ro right. Could show more experimentation with rotating units.
Second Iteration
More interesting shapes formed. Middle “heart-like” shapes stagnates the flowy forms and the viewer’s eye gets stuck in the two defining horizontal line compositions.
Third Iteration
Dynamic horizontal and vertical flow. Horizontal edges line up with wood edge, which provides excessive visual tension and distracts from the overall composition.
Fourth Iteration
Rearranged the units and eliminated the edge tensions. Unit is balanced and continuous. In addition, the varying elevations offer complexity with shadows.
No strict compositional lines that distract from the harmony of whole.
Shadow Experiments (Daytime)
First Exploration
Shadows displayed varying depths of form. Composition transitions well with new organic shapes appearing with the addition of dramatic lightings.
Second exploration
Creates the illusion that forms are wrapped around earth other. I like the blue tint of the window and its contrast wish the warm iphone flashlight.