Making a Spanish polychrome sculpture발음듣기
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Making a Spanish polychrome sculpture
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Female voiceover: Underneath its ornate exterior, the sculpture, "Saint Gin?s de la Jara," has a core made of two hollow, wooden structures.발음듣기
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On the bottom, is a large, box-like section, which is reinforced inside with a small wood block attatched on the front left.발음듣기
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The eyes, made of glass, are inserted into the face from behind, and glued to the carved eyelids.발음듣기
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With the general structure now complete, the sculpture is ready for the intricate surface treatments of Estofado and Encarnaciones, creating the lifelike cloth and flesh we see today.발음듣기
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Female voiceover: Beginning to shape the block of wood, the form would be drawn on one of the surfaces that the sculptor chose.발음듣기
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To start reducing the bulk of the wood, quite big tools would be used initially to move fast, like saws or big chisels.발음듣기
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(sawing) Once the basic shape had been achieved, it would be the equivalent of a rough sketch, but in 3 dimensions.발음듣기
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(hammering) (wood shaving) Then, using increasingly fine tools, the shape is actually brought out of the block of wood.발음듣기
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(wood shaving) (tools moving) Both in Central Spain, and in Andalusia, was a great concern for the quality of wood to be used in the carved figures.발음듣기
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So, the craftsmen, and the artists, and the sculptors were very, very aware of what sorts of choices would be longer lasting, be more worthy of admiration, and so on.발음듣기
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As the tools become smaller, and more delicately shaped, it's possible for the sculptor to work on a much smaller scale, perhaps carving the shape of a finger, and tapering it at the point, perhaps creating the relief of the nail.발음듣기
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There's a constant dialog in play between the 3-dimensional form and the 2-dimensional surface decoration.발음듣기
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To prepare the glue, sheep skin would be boiled in water by clipping parchment scraps to extract the glue.발음듣기
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(scraping) The next stage, in this laborious method of building up these layers, would be to apply the red bole.발음듣기
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Bole is a special kind of clay that has traditionally been used since antiquity, as the under layer for applying, what we call, water gilding.발음듣기
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When it was dry, it would first be polished, and then very importantly a burnishing stone, which is usually an agate, compresses the layer of bole, and brings a lustre to the surface, and also, once again, smooths the texture.발음듣기
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It's then ready to receive the gold leaf. the gilder would pick up the gold leaf with a special brush called a "tip."발음듣기
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And, with a tiny puff of air, just apply it onto the surface of the bole, which had been dampened with water and alcohol.발음듣기
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Just that tiny bit of moisture would activate the glue in the bole layer, and it would adhere the gold.발음듣기
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When it's dried and burnished, on top, over the layer of gold, a layer of tempera paint could be applied.발음듣기
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In order to keep the pattern consistent, a paper pattern would be prepared that could be pricked.발음듣기
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(tapping) Then, tiny bits of pigment would be transferred through those tiny holes, and onto the surface to be decorated.발음듣기
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Once the design is transferred in this way, then the polychromer can start to scratch, or scrape, the designs.발음듣기
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By doing this, he would remove that top layer of paint, the tempera paint, and reveal the gold underneath it.발음듣기
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Punches are metal tools that are struck with a hammer to make a little indentation, so the light plays across them with a little more drama than just in the scratched areas.발음듣기
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To finish, and give greater subtlety to these surfaces in the texture and material, shading and highlighting can then be done.발음듣기
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Estofado technique of scratching away and revealing the gold underneath gives more points for the light to reflect from, and give greater definition to the 3-dimensional form.발음듣기
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They were more realistic because clearly it differentiates the hands and faces from the decorative surfaces of the fabrics.발음듣기
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The wood would be initially sealed with all of these layers of glue by brushing onto the sanded wood.발음듣기
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(scraping) Dried gesso would be mixed into the glue as well to start building up the gesso layer.발음듣기
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This would then be applied with a soft brush, and rubbed into the wooden surface, so it's really well integrated to that surface.발음듣기
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When these preparation layers of gesso in the glue have been well dried for 24 hours, they can then be polished to give a smooth surface that will be receptive to the paints that will then be applied.발음듣기
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(scraping) In matte Encarnaciones, you would simply paint the oil paint onto the surface that's been very beautifully prepared in the gesso layer.발음듣기
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You're to do a first layer using a middle flesh tone, and using blue for areas where there might be veins near the surface of the skin, and so on.발음듣기
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Once that layer was dry, again, the artist would return and would paint everywhere with just a single flesh-tone color, but very, very thin, so that layers underneath would subtly show through. Then finally, detail.발음듣기
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For example, pink highlights around the fingernails would be applied very delicately on top of this general flesh-toned layer.발음듣기
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