Three-Dimensional Media, Techniques and Processes
Thinking in three dimensions
Three-dimensional work is judged on form, structure, weight, space and the relationship of the object to the viewer. Media include clay, plaster, wood, metal, card, wire, textiles and found or recycled materials, plus processes such as modelling, carving, casting, construction and assemblage.
Concepts a candidate must understand
- Additive versus subtractive: modelling and construction add material; carving and filing remove it and are unforgiving of error.
- Structure and joining: a form needs a sound armature, framework or joint. Know the difference between a temporary support and a permanent fixing.
- Maquettes and prototypes: small-scale models test proportion, balance and joinery before full construction.
- Weight and balance: visual balance can be asymmetrical, but physical balance requires the centre of gravity to sit over the base.
- Surface and patina: texture, glaze, polish or weathering change how form reads under light.
- Safety: clay dust, plaster heat, sharp tools, kiln and workshop rules, protective equipment.
Traps in questions
- Designing a form that cannot stand up or that has no plausible method of joining.
- Confusing casting (pouring into a mould) with modelling (building by hand).
- Ignoring scale and the intended viewing position (eye level, plinth, floor, hanging).
- Treating surface decoration as a substitute for resolved form.
- Forgetting that a drawing of a 3D idea should show at least two views or an indication of depth.
Worked example: planning a clay figure
Sketch front and side views, decide the height, then build a wire-and-paper armature so the legs can carry the torso. Hollow the thicker masses or use a coil build to reduce the risk of trapped air exploding in the kiln. Dry slowly, then bisque fire before glazing. Each decision should be stated with its reason.
Rule of thumb
Always answer three questions: what holds it up, what holds it together, and how will it be seen?