bases

[Don Dougan <dondougan@xxxxxxxx>]

To Linda and all concerned about bases;

The following is an excerpt from a handout I give to my students
concerning bases.  Sorry it is so long, but I have edited it down to some
basic precepts learned from almost 30 years of carving (mostly) stone and
making sculpture.  I have never been able to afford ready-made
sculpture-supply house bases for my own work ( though sometimes if a
client doesn't care about the cost I will use them), so it is mostly from
that point of view.  Spend your money on tools instead of bases!

Good carving to you.  Don Dougan

THE BASE FOR SCULPTURE: Functional Accessory or Integral Element?

The base for a sculptural work is often a functional necessity in order
to present the form in space in a way to best convey the expression
desired.  The relationship of the base to the sculptural form and the
expression the base itself gives the viewer are often over-looked
concerns in sculpture classes.  The question of the base is of particular
interest to those who are working with traditional materials and methods
of sculpture, such as carved stone or wood, and metal castings.

The base of a piece of sculpture is in many ways like a frame around a
picture - it locates the work, defines the space around a form, and
serves the basic function of fastening the work to a specific place for
ideal viewing.

There are two basic approaches to the base: serving as a functional
accessory to the form of the sculpture; or, as an element integral to the
viewer's understanding of the sculpture.

THE BASE AS A FUNCTIONAL ACCESSORY
As a functional accessory to the primary form of the sculpture, the base
must first fulfill its function to stabilize and support the form.  The
base should serve to focus the viewer's attention on the form itself.  It
should not compete for the viewer's attention but should be subservient
to the qualities of the primary form.  Often this is accomplished by use
of very plain, simple geometric forms such as slabbed sections of
cylinders or rectangular solids, made from materials that have qualities
which harmonize with the qualities of the materials of the sculptural
form and with the architectural surroundings.  This type of base is
intended to integrate the sculpture into the architectural structure of
the space where it is placed, and to help define the space in which the
sculpture inhabits.  It can be considered a formal means of presenting
the sculpture.

THE BASE AS AN INTEGRAL ELEMENT
As an integral element to the whole sculpture, the base must first
fulfill its primary function to stabilize and support the form.  In
addition, it is used to flesh-out or complete the expression of
sculptural "character".  This might be done by using contrasting
qualities (of color, texture, material, or form) applied so as to
create/remove drama and increase/decrease dynamism or the degree of
tension with the primary form.  It can also echo colors, textures,
materials, or forms from the primary so as to unite the two aspects of
the whole.  This type of base serves to "set the stage" for the primary
action and gives the viewer a context for the story the sculpture
expresses.  If the base were to be removed or changed into a simple
pedestal, it would diminish the overall expression of the work.

Either of the two approaches to making a base can rightly be used to
present a sculpture appropriately - the choice will depend on the
artist's intent and perception of the form or the meanings it conveys.
Generally, it probably will require less design time but more complete
technical skills and equipment to fabricate the geometric, functional
accessory type base.  Sometimes this problem can be simply solved by
purchasing fabricated bases from a supplier or contractor.

More thought and time will be probably be needed to design and make the
integral element type base.  However, making this type base will usually
require approximately the same or similar skills and equipment that the
primary form itself required.

IDEAL ELEMENTS OF DESIGN
When deciding what form the base will take for a particular work, one
should first consider where the sculpture is going to be placed.  If it
is a commission, then the choices for the materials, the size, and the
shape of the base may be specified.  If not specified, the choice
inevitably must take into account the various materials qualities;
textures, colors, sizes, scale, etc.  The base should present the
sculpture in a way so as to harmonize with the surroundings.  Echoing
existing materials in the environment where the work is to be placed (or
at least echoing existing colors and textures) helps to unite the work
with the setting.  Generally, the client will want the sculpture to feel
like it belongs where it is placed, so the sculpture is in harmony with
the environment and the overall ambiance is one of unity.

If the sculpture is not done for a particular setting, or designed as a
commission, then the artist's task is made more difficult because there
are so many more potentially "correct" choices to be made.  The simplest
choice might be a plain geometric plinth-type base.  A plinth-type base
will usually set off the sculpture quite nicely, and will be suitable for
most prospective client's settings.  In this case, the ideal base might
be made of a material with a color or surface texture, which contrasts,
with the main elements of the sculpture.

Some typical examples of this type of presentation are shown below

FORM & MATERIAL OF SCULPTURE	FORM & MATERIAL OF BASE
limestone, with smooth textured areas	geometric block (mahogany or dark
stone)
highly-veined polished marble		geometric block uniformly-colored stone
polished white marble			dark stone (polished, honed, or sanded)
walnut wood carving (oil finish)		geometric block (buff-colored
limestone)
bronze w/dark patina			block of light or dark marble w/few veins

RULES OF THUMB ( for Designing Bases)
The physical nature of the base should be to support the mounting of the
sculpture.  A sculpture that is physically top-heavy needs a sound
structural support to prevent it from falling over.  This might mean that
the base weighs more than the sculpture itself, or, it might mean that
the 'footprint' of the base is considerably larger than the footprint of
the sculpture.

The proportions of the base are relative to the sculpture.  The width and
depth of the base is usually most satisfying if they are either slightly
larger or slightly smaller than the width and depth of the sculpture.  A
base, which is as thick as the narrower dimensions of the sculpture, and
appears to mass slightly less than the sculpture, feels about right
proportionately.  Usually, if for reasons of stability, the base needs to
be either thicker or have a bigger footprint, the most satisfying
proportional choice is the thicker one.  If the sculpture is vertical,
then the proportions of the base might best be vertical as well - if the
sculpture is horizontal, the base horizontal.

The form of the base should not be more dominant than the form of the
sculpture.  If the sculpture consists of well-defined geometric shapes,
then the base should not be any better defined than the sculpture.  If
the sculpture is composed of organic forms, then the base might present
it better if it is more geometric in nature.  The viewer's eye is
attracted to areas which are focused by high definition (sharp edges,
crisp lines, polished surfaces), so the edges of the base should not be
quite as sharp, the lines not as crisp, and the surfaces not quite as
polished as the same types of areas on the sculpture - unless, of course,
the sculpture is organic in nature.  The non-geometric nature of organic
form is enhanced by contrast to a geometric base.

The base should not be more dominant visually than the piece of
sculpture that is mounted on it.  This means that the contrast between
the base and the sculpture should be stronger than any contrasts within
the base itself, i.e. - if a veined marble is used for the sculpture, the
base should have very little or no veining in it at all.  If an un-veined
stone is used for the sculpture, then the base should not be veined at
all unless the sculpture is more dominant in most other ways.

The base should not be more dominant in terms of texture than the piece
of sculpture that is mounted on it.  A highly polished surface attracts
the eye more readily than surfaces that are not as smooth.  The sculptor
wants the viewer to look at the sculpture first and foremost, so the base
should not be highly polished if there are polished areas in the
sculpture to compare to,  i.e. - the viewer should not find the base more
attractive than the sculpture!  On the other hand, if the sculpture is
heavily textured, then the base can be polished for contrast as long as
the sculpture is more dominant in most other ways.

If the sculptor follows the above 'rules of thumb' when mounting work,
then usually the presentation will be acceptable to galleries and clients
alike.  The rule-of- thumb presentation are variations on a basic
formula, a generic solution to presentation.  However, all of these
'rules of thumb' can be broken in specific instances in order to
emphasize certain aspects or qualities in the sculpture that might not
otherwise be apparent to the viewer.  When the sculptor steps beyond the
generic formula, then the base becomes an element integral to
understanding the whole sculpture.  This type of base serves to "set the
stage" for the primary action (the sculpture) and gives the viewer a
context for the story the sculpture expresses.