PSEB Class 12 Modelling & Sculpture study plan

Build a modelling stand with a board-and-pipe armature and set up a wedging and damp-cloth storage area in one 90-minute session.

Model a 25 cm standing figure maquette from a mirror, checking head-unit proportion at least four times during the build.

Draw five 2-minute gesture sketches and mark the line of action, weight-bearing leg and centre of gravity on each.

Score the finished maquette against a six-point checklist: head units, plumb line, shoulder-hip tilt, mass distribution, limb rhythm, base contact.

Construct a portrait armature (wood base, pipe, wire cross) scaled to a life-size skull and wrap it to prevent clay slip.

Model a life-size head from a mirror or sitter, blocking cranium, jaw and ear-eye line before adding features.

Take at least 12 caliper measurements (head height, bizygomatic width, nose-to-ear, chin-to-eye) and transfer them to the clay.

Complete one 2-hour timed head study to test working speed under exam conditions.

List every tool used with its purpose and care note on a one-page inventory.

Model a 45 cm full figure in the round with a readable front and side silhouette.

Draw a plan and side section of that pose showing true depth at head, chest and hip.

Translate the same pose into a bas-relief panel projecting no more than 2.5 cm from the backboard.

Record on the panel drawing where depth was compressed and by how much.

Compare photographs of figure and relief to check that silhouette readability is preserved.

Compose a high-relief panel of three figures on a 30 x 40 cm board using foreground, midground and background planes.

Draw a depth map before modelling, labelling the projection of each plane in centimetres and keeping the highest point under 8 cm.

Study one Sunga or early Andhra relief (Bharhut, Sanchi or Amaravati) and write 150 words on how overlapping and scale create space.

Undercut the foreground figure and check that shadows read from two metres away.

Build a comparative timeline table covering Indus Valley, Mauryan, Sunga, Kushana, Gupta, medieval and folk traditions, giving one key work, material and formal feature per period.

Write 60-word identifications from memory for 12 works, stating material, period, region or site, and one formal trait.

Analyse three reliefs, one each from Mauryan-Sunga, Gupta and a folk tradition, for mass arrangement and rhythm.

Model a 15 cm relief study using one period's compositional device, labelled as an original study rather than a reproduction.

Make a waste mould of the 15 cm relief and cast it in plaster, keeping a consistent 2:1 plaster-to-water ratio by weight.

Build a two-piece piece mould of the portrait head with a clay dividing wall, register keys and a pouring gate.

Demould both casts and record shrinkage, air bubbles and chipped edges in a casting log.

Finish one cast by rasping, wet-sanding in two grades and sealing.

Ventilate the workspace and use a dust mask while mixing plaster and sanding.

Apply three surface treatments (clay-slip wash, sealed matte, pigmented patina) to test tiles and select one for the final cast.

Mount the chosen cast on a base with a pin or plate fixing, then sign and label the underside.

Score your own work 1-5 on proportion, rhythm, balance and texture using a four-row rubric.

Write 250 words of aesthetic judgement justifying each score with specific formal evidence.

Photograph 10-12 works under consistent lighting and assemble a portfolio giving date, size, material and one-line intent for each.

Write the record of work as a 50-80 word process log per piece covering armature, building method and finishing.

Rehearse a 10-minute viva, answering likely questions on material choice, mould type and historical influence.

Retake the 12-work identification test and one self-set quiz per weak domain, targeting 80 percent.