xamine the whole and details of the piece above. This image represents just one of an infinite number of compositional arrangements that can occur through random motion, viewing angle and distance. The connections, or joining methods, are simple and elegant. Note the use of color: matte primaries and secondaries, and their relationship to black. There are penetrations on a few forms which create light visual elements (as well as lighter weight). The circle cut-out reflects the circles on the left. Notice the wire guages and how they change as the mobile cascades downward... or is it upward? Unlike the rest, the lowest hanging element is hung from, rather than fixed to, the wire. There is a deliberate bend in the top horizontal wire reinforcing the larger group's weight. Wires are straight in the circle collection. Look at the uppermost wire (the one that would connect to the ceiling). It is very close to the heavier end. The far left half is quite delicate and must really move!

Look at the work of these artists:

• Alexander Calder
• George Ricky
• Tim Prentice
• Stoner + Hatton Mobiles
• Hotchkiss Mobiles

−and the work of other kinetic mobile sculptors.

RULES:

You are to create two works: a wire portrait, and a moblie.

Wire Portrait

1. Connection methods are a major part of the aesthetic. Examine Calder's methods in detail. Joinery will be discussed in class.
2. Subject matter can be an actual-size human or animal head/bust, or a full animal reduced in scale if needed. You may ask a fellow student to pose for you.
3. Sketch ideas with pen or pencil first to loosen up and become familar with line and form relatinships.
4. The portrait must be in-the-round, but does not require a backside. It may be free-standing, mounted on a base, hung from a wall, or hung from a ceiling.
5. The portrait should be done in a color which works with its viewing space. Black is an excellent choice since it looks clean and graphic, like a drawning.
6. Line thickness can be varied by overlapping wires or convoluting the wire where needed to create a visual weight.

Mobile

1. You may be required to provide materials.
2. Connection methods are a major part of the aesthetic. Examine Calder's methods in detail. Joinery will be discussed in class.
3. The mobile may contain abstract planar forms, non-objective volumes, spheres, wire as a linear element, thread or string.
4. Create proportional and formal relationships between elements, with scale variations in line and volume.
5. Distance and position the elements to emphasize the whole.
6. Forms in the moblie may be horizontal, vertical, diagonal, straight, or curved, but must be cohesive and pleasing to the eye.
7. All mobile elements must move freely.
8. The mobile may move downward or upward to the extremities and either hang from a ceiling or be connected to a Stable base.
9. Material selection, cutting, shaping, balancing, and wire bending methods will be discussed in class.
10. Finishes are to be discussed with the instructor. They may include painting, staining, distressing, or leaving the material raw. This process must reflect the aesthetic quality of the piece, as do the element's forms and connection methods.

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