Methods for Sculpting Digital Topographic Surfaces
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Sculpture Northwest Nov/Dec 2015 Ssociation a Nside: I “Conversations” Why Do You Carve? Barbara Davidson Bill Weissinger Doug Wiltshire Victor Picou Culptors
Sculpture NorthWest Nov/Dec 2015 ssociation A nside: I “Conversations” Why Do You Carve? Barbara Davidson Bill Weissinger Doug Wiltshire Victor Picou culptors S Stone Carving Videos “Threshold” Public Art by: Brian Goldbloom tone S est W t Brian Goldbloom: orth ‘Threshold’ (Detail, one of four Vine Maple column wraps), 8 feet high and 14 N inches thick, Granite Sculpture NorthWest is published every two months by NWSSA, NorthWest Stone Sculptors Association, a In This Issue Washington State Non-Profit Professional Organization. Letter From The President ... 3 CONTACT P.O. Box 27364 • Seattle, WA 98165-1864 FAX: (206) 523-9280 Letter From The Editors ... 3 Website: www.nwssa.org General e-mail: [email protected] “Conversations”: Why Do We Carve? ... 4 NWSSA BOARD OFFICERS Carl Nelson, President, (425) 252-6812 Ken Barnes, Vice President, (206) 328-5888 Michael Yeaman, Treasurer, (360) 376-7004 Verena Schwippert, Secretary, (360) 435-8849 NWSSA BOARD Pat Barton, (425) 643-0756 Rick Johnson, (360) 379-9498 Ben Mefford, (425) 943-0215 Steve Sandry, (425) 830-1552 Doug Wiltshire, (503) 890-0749 PRODUCTION STAFF Penelope Crittenden, Co-editor, (541) 324-8375 Lane Tompkins, Co-editor, (360) 320-8597 Stone Carving Videos ... 6 DESIGNER AND PRINTER Nannette Davis of QIVU Graphics, (425) 485-5570 WEBMASTER Carl Nelson [email protected] 425-252-6812 Membership...................................................$45/yr. Subscription (only)........................................$30/yr. ‘Threshold’, Public Art by Brian Goldbloom ... 10 Please Note: Only full memberships at $45/yr. include voting privileges and discounted member rates at symposia and workshops. MISSION STATEMENT The purpose of the NWSSA’s Sculpture NorthWest Journal is to promote, educate, and inform about stone sculpture, and to share experiences in the appreciation and execution of stone sculpture. -
“Integrated Design and Technical Development Project” for Stone
INTEGRATED DESIGN & TECHNICAL DEVELOPMENT PROJECT IN STONE CARVINGS AS ARTWORK BHUBANESWAR,ODISA ORGANIZED BY EXPORT PROMOTION COUNCIL FOR HANDICRAFT SUPPORTED BY O/O DEVELOPMENT COMMISSIONER (HANDICRAFTS), MINISTRY OF TEXTILE, GOVT.OF INDIA Acknowledgment---------------------------------------------5 Preface-----------------------------------------------------------6 Company overview -------------------------------------------7 Meeting DC(H) official, Bhubaneswar--------------------8 One month preliminary survey Documentation and report-------------------------------- 9-10 (Background, Project Background, Proposal) Objectives----------------------------------------------------11-12 Implementation of Design & Technology Development Project--------- 13 Market for the products-----------------------------------14 Important crafts in the Region----------------------------15 Contents Carving on sand stone---------------------------------------17 Stone work of Odisha----------------------------------------17 Online Research and References------------------------18 The Product planned for IDTP, Bhubaneswar---------19 Minutes of the selection committee 24.11.16--------20 List of Artisan selected for the program----------------21 Waiting listed---------------------------------------------------21 Final selection 40 No’s Artisan photo--------------------22 Waiting list 06 No’s artisan photo-------------------------23 Minutes of the selection Artisan details-----------------24-36 Waiting list-------------------------------------------------------37-38 -
Stone Sculptor
Stone Sculptor A competent Stone Sculptor should be able to demonstrate the following skills and competences: General Competences and Skills 1. Teamwork - The ability to work within a multi-disciplinary team. 2. Health & Safety - The ability to work on site in a safe and responsible manner. 3. Communication – The ability to communicate effectively both verbally and in writing. 4. Organisational Knowledge – Understand workplace organisational structures and professional obligations. Specialist Competencies and Skills 1. Understanding of intellectual property law. 2. Understanding of the importance of basic documentation. 3. Understanding and knowledge of basic techniques in stone carving. 4. Familiarization with risk assessments and knowledge of how to minimize them. 5. Familiarization with the Maltese strata and their different function in the construction industry. 6. Understanding of how each stone will chip differently according to its internal structure and the angle of the chisel. 7. Familiarization with local / foreign sculptors. 8. Awareness of the different tools which help to simplify the creation of a work of art, like the pointing machine, much more recently the help of machinery like laser scanning and CNC machines. 9. Familiarization with the franka differences when cut from different places and the stone impurities that can be found. 10. Understanding of the artist's (sculptor) rights and awareness of the circumstances when a work of art can be reproduced and when not. The candidate applying to be trade tested for the Certificate of Competence should be in possession of the majority of the following knowledge: Competencies & Skills: 1. Be familiar with and identify the properties of local and foreign stone materials. -
Digitally-Assisted Stone Carving on Canada's Parliament Hill
Digitally-Assisted Stone Carving on Canada's Parliament Hill James Hayes1, Stephen Fai2, Phil White3 1,2Carleton Immersive Media Studio 3Public Works and Government Services Canada 1,2cims.carleton.ca 1,2{jhayes|sfai}@cims.carleton.ca [email protected] In this paper, we discuss the results of a collaboration between the Carleton Immersive Media Studio (CIMS), the Dominion Sculptor of Canada, and the Heritage Conservation Directorate (HCD) of Public Works and Government Services Canada (PWGSC), on the development of a digitally-assisted stone carving process. The collaboration couples the distinguished skill of the Dominion Sculptor with digital acquisition and digital fabrication technologies in the reconstruction of a stone relief sculpture on the façade of the East Block building of the Canadian Parliament in Ottawa, Canada. A variety of digital technologies were used including, hand-held laser scanning, digital photogrammetry, 3d-printing, CNC milling, and robotic stone milling, in initial research for the fabrication of maquettes and the collaboration with the Dominion Sculptor. Keywords: Digital Heritage, Digital Fabrication, Masonry Conservation While there is much interest in the use of digital tended that these new methods of working will not fabrication technologies in the design and construc- only contribute to heritage conservation, but more tion of new buildings, there is little research being un- generally undermine the hegemony of standardiza- dertaken for the application of these same technolo- tion that currently dominates the architecture, engi- gies in the conservation and rehabilitation of her- neering and construction (AEC) industry. To that end, itage buildings. At the same time, the digital datasets we are developing protocols for meaningful collabo- generated by laser scanners and photogrammetry, ration between architects and the craftspeople and which can be utilized by digital fabrication equip- fabricators that actually construct the elements of a ment, have become integral to heritage documenta- building. -
Polychrome Sculpture: Tool Marks, Construction Techniques, Decorative Practice and Artistic Tradition
POLYCHROME SCULPTURE: TOOL MARKS, CONSTRUCTION TECHNIQUES, DECORATIVE PRACTICE AND ARTISTIC TRADITION Edited by Kate Seymour POLYCHROME SCULPTURE: TOOL MARKS, CONSTRUCTION TECHNIQUES, DECORATIVE PRACTICE AND ARTISTIC TRADITION Papers and Posters Proceedings of three Interim Meetings of ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration Maastricht, October 2010 ~ Hosted by SRAL, Maastricht Glasgow, April 2012 ~ Hosted by Glasgow Life, Glasgow Tomar, May 2013 ~ Hosted by Instituto Politécnico de Tomar, Tomar Kate Seymour (Editor) Front Cover Photograph: Niklaus Weckmann, workshop (active in Ulm) St. George ca. 1510, limewood (tilia sp.), Suermondt-Ludwig-Museum, Aachen Polychrome Sculpture: Artistic Tradition and Construction Techniques 1 ICOM-CC Interim Meeting, Working Group Sculpture, Polychromy, and Architectural Decoration, Glasgow 13-14 April 2012 Proceedings of three Interim Meetings of ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration Polychrome Sculpture: Tool Marks and Construction Techniques (Maastricht, 2010) Polychrome Sculpture: Artistic Tradition and Construction Techniques (Glasgow, 2012) Polychrome Sculpture: Decorative Practice and Artistic Tradition (Tomar, 2013) Selection of papers: Kate Seymour: Coordinator ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration (Maastricht, October 2010; Glasgow, April 2012; Tomar, May 2013) Arnold Truyen: Assistant Coordinator ICOM-CC Working Group Sculpture, Polychromy, and Architectural Decoration (Maastricht, October