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Draw 8 ovals in your paper. Start with the head, work down to the shoulders, paying attention to the width of the shoulders. Draw the spine & pelvis area. Add in the legs and feet and then add the arms and elbows.

Body = 7 to 8 x head.

Leg = 4 x head.

Arm = 3.5 x head.

Trunk = 3 x head.

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How to Draw Basic Human Proportions | The Easiest Way to Draw the Human Body

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Thousands of years ago, the Egyptians used wire to make jewelry. Metal strips would be pushed through holes in stone beads so the metal would fold over into a tube shape.

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Subject - Animal

Do any animal, bird, bug that you want. Think about how you want it to be posed. If it is a bug, what size will you make it? Will it be on another surface? ex. butterfly on a flower.

Think about how you want your animal sculpture to be displayed. Will it need to be on a base or do you want it to be freestanding?

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Ruth Asawa, American (1926-2013). American sculptor nationally recognized for her wire sculpture, public commissions, and her activism in education and the arts.

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Formed from hundreds of individual pieces of wire, Kristine Mays has developed a way of expressing the human form through wire.

"As an artist I am very aware of the impermanence of life. With metal wire I have timelessly captured a fleeting moment that I hope will last for decades. My artwork points to the soul and spirit, transporting the viewer into another place. It's about reconnecting to a deeper purpose -- the soul and spirit of our lives. I transform hard rigid wire into soft flowing movement. I create the outer shell, the exterior of a human being, but provoke you to see what's within. Memories and the way we have loved one another far outweigh our status or possessions -- and yet sometimes a simple dress or a body in motion may trigger a memory from the past, allowing us to visit that which has imprinted our lives." - Kristine Mays

Email : kristine@kristinemays.com
IG: @kristinemays

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Formed from hundreds of individual pieces of wire, Kristine Mays has developed a way of expressing the human form through wire. "As an artist I am very aware of the impermanence of life. With metal wire I have timelessly captured a fleeting moment that I hope will last for decades.

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Lisbon, Portugal fine artist David Oliveira #artistaday

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David Oliveira was born in Lisbon in 1980. He holds a degree in sculpture from Lisbon University and since 2005. Exploring the idea of line and space, Oliveira plays on optical illusion. Two dimensions become three dimensional works of wire art. His wire sculptures evokes the appearance of a sketch…

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The structure in wires: Sitting down with Ron Aloni - Israel News - The Jerusalem Post (jpost.com)

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The Art Newspaper - International art news and events

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In a 1957 photograph by Imogen Cunningham, a baby drinks from a bottle of milk and children play, while their mother, the artist Ruth Asawa, studiously works on one of her sinuous wire sculptures. The image reveals how deeply life and art were entwined for the San Francisco-based artist, who made her studio in the family home where she raised six children. "Art deals directly with life," she said, and the study of it means "learning basic principles essential to staying alive".

Asawa's lifelong commitment to art-both as an artist and a passionate advocate for art's role in education and society at large-is the "key" that runs through Ruth Asawa: Citizen of the Universe, the first institutional solo show dedicated to her work in Europe, says its co-curator Emma Ridgway. The exhibition opens this week at Modern Art Oxford and will travel in October to the Stavanger Art Museum in Norway.

Imogen Cunningham's 1957 photograph of Ruth Asawa at work on one of her wire sculptures, surrounded by four of her six children © 2022 Imogen Cunningham Trust

Asawa was born in 1926 to Japanese immigrant parents in rural California and grew up on the family farm during the Great Depression. Aged 16, she was among 120,000 Japanese Americans to be interned by the US government following Japan's attack on Pearl Harbour. It was then that she first experienced the power of art education, studying drawing with Walt Disney animators who were held in the same camp. She aspired to become a teacher herself, only to be told after three years of training that she could not complete the course due to her Japanese background.

I now want to wrap fingers cut by aluminium shavings [...] Only these things produce tolerable pains

In 1946 she joined the legendary liberal arts school Black Mountain College, emerging as a "stellar student", Ridgway says. There began her experiments with looped wire, informed by the basket-weaving craft she encountered during a trip to Mexico. Her signature technique channelled the creative principles she had learned from her college mentors, Josef Albers and Buckminster Fuller, of understanding negative space, fashioning self-supporting structures and making the most with the least.

Asawa's Continuous (S.340, Hanging, Miniature Single-Lobed, Three Layered Continuous Form within a Form) (1981-82) Photo: Dan Bradica; © 2021 Ruth Asawa, Lanier, Inc./ARS, NY and DACS

Asawa's ethereal, interlocking wire forms of the 1950s and 60s will be the centrepiece of the Modern Art Oxford show, suspended in the darkened main gallery and illuminated by spotlights-a display technique the artist used herself. "Those works are made to be experienced physically as you move through the space," Ridgway says.

Despite their imposing size, the sculptures are "exceedingly delicate". This fragility means bringing Asawa's work to Europe has been "pretty complicated", Ridgway says, given the "logistics of the care needed in every aspect of the shipping" and the associated costs. Although she had early success in the New York art world, Asawa was "partly deterred" by the practical challenges of shipping works further afield during her career, preferring to stay local to San Francisco.

Ruth Asawa's Untitled (BMC.92, In and Out) (around 1948-49) Photo: Dan Bradica. Artwork © 2021 Ruth Asawa Lanier, Inc. / ARS, NY and DACS, London. Courtesy David Zwirner

The show will also highlight lesser-known aspects of her work, such as the abstract colour paintings she made at Black Mountain College, sensitive observational drawings from nature, and tied wire sculptures inspired by desert plants. A room of archival material will offer "a more intimate look" at her life, including photographs of her home and the artist-led workshops she established in San Francisco public schools, as well as personal letters.

Here will be a copy of the 1948 love letter from which the exhibition takes its title. Writing to her future husband Albert Lanier, Asawa described how she had "overcome most of the fear" of racial intolerance and became a "citizen of the universe", transcending the labels of Japanese or American. Heralding the uncompromising path she would later forge as a working artist, mother and dedicated community activist, she wrote: "I no longer want to nurse such wounds, I now want to wrap fingers cut by aluminium shavings, and hands scratched by wire. Only these things produce tolerable pains."

* Ruth Asawa: Citizen of the Universe, Modern Art Oxford, 28 May-21 August; Stavanger Art Museum, 1 October-22 January 2023

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Totally wired: Ruth Asawa's intricate sculptures come to Modern Art Oxford

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In a 1957 photograph by Imogen Cunningham, a baby drinks from a bottle of milk and children play, while their mother, the artist Ruth Asawa, studiously works on one of her sinuous wire sculptures. The image reveals how deeply life and art were entwined for the San Francisco-based artist, who made her studio in the family home where she raised six children.

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Baltimore Article and Video about Reed B. More Public Wire Sculptures

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Baltimore Article and Video about Reed B. More Public Wire Sculptures

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The man behind wire sculptures hung on Baltimore City traffic light wires wants to leave his mark on the city he loves.From characters like SpongeBob SquarePants and Bart Simpson, to positive messages, it's hard to miss the sculptures on Washington Boulevard and elsewhere around the city.The artist behind them, who goes by "REED bmore," said he wants people to recognize his art, but he does not want people to recognize his face."I just more so want people to more so connect with the art instead of seeing me as a person," REED bmore said.REED bmore said he dreamed of creating art when he was 6 years old. He started hanging his wire sculptures around the city in 2014 as a way to connect with people during a dark time in his life."I just didn't feel I had the connection to people in the community, isolating myself. So, putting it up and making the decision to do public art was more so just a cry to figure out where my placement is in life and try to find connection," REED bmore said.He admitted he never got the city's permission to hang the sculptures but said he does it to make people smile -- and several of his sculptures have been hanging for years."The reaction I would want to elicit is something positive," REED bmore said. "When I gravitate towards pop culture and characters like that, it's more of just trying to make that jump connecting from person to person."REED bmore has connected with quite a few people with more than 14,000 followers on Instagram that shows pictures of his wire sculptures. But REED bmore hopes people will see his art in person, hanging along Baltimore's streets, and that it will make them smile.

The man behind wire sculptures hung on Baltimore City traffic light wires wants to leave his mark on the city he loves.

From characters like SpongeBob SquarePants and Bart Simpson, to positive messages, it's hard to miss the sculptures on Washington Boulevard and elsewhere around the city.

The artist behind them, who goes by "REED bmore," said he wants people to recognize his art, but he does not want people to recognize his face.

"I just more so want people to more so connect with the art instead of seeing me as a person," REED bmore said.

REED bmore said he dreamed of creating art when he was 6 years old. He started hanging his wire sculptures around the city in 2014 as a way to connect with people during a dark time in his life.

"I just didn't feel I had the connection to people in the community, isolating myself. So, putting it up and making the decision to do public art was more so just a cry to figure out where my placement is in life and try to find connection," REED bmore said.

He admitted he never got the city's permission to hang the sculptures but said he does it to make people smile -- and several of his sculptures have been hanging for years.

"The reaction I would want to elicit is something positive," REED bmore said. "When I gravitate towards pop culture and characters like that, it's more of just trying to make that jump connecting from person to person."

REED bmore has connected with quite a few people with more than 14,000 followers on Instagram that shows pictures of his wire sculptures. But REED bmore hopes people will see his art in person, hanging along Baltimore's streets, and that it will make them smile.

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Artist behind wire sculptures seeks to leave mark on city he loves

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The man behind wire sculptures hung on Baltimore City traffic light wires wants to leave his mark on the city he loves.From characters like SpongeBob SquarePants and Bart Simpson, to positive messages, it's hard to miss the sculptures on Washington Boulevard and elsewhere around the city.The artist behind them, who

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Breathing life into wire: Kristine Mays' sculptures 'emerge from the scenery' | News | Palo Alto Online |

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Filoli House and Garden, the historic 654-acre estate in Woodside that, since 1975, has been part of the National Trust for Historic Preservation, has always been a welcome respite from the frenetic pace of Silicon Valley life. With its restored Gilded Age mansion and acres of carefully tended gardens and trails, Filoli is a favorite for nature and history aficionados. Luckily, for those of us missing art museums and galleries, Filoli is also the backdrop for a fascinating exhibition of sculpture by San Francisco artist Kristine Mays. Entitled "Rich Soil," this installation of figurative works constructed out of wire is on display in the gardens through Nov. 9.

For the past several summers, Filoli has hosted sculpture exhibitions, either by groups or individual artists. Erika Frank, Filoli's director of education and interpretation, explained how Mays was selected for this year's show.

"We reached out to her a year ago after seeing her art online because we felt her work would be great for Filoli. She had never shown her sculptures in an outdoor setting."

As can be imagined, there are a multitude of considerations in placing art in formal gardens: traffic patterns, weather, health of the plantings, etc. Frank worked with the horticulture staff closely but had a strong feeling that Mays' work would fit right in.

"One of the things we love is that guests can walk right up to the sculptures, touch them and pose for pictures," she said. "It is important that our guests feel that they are part of the place."

Mays had similar feelings about how her art would work at Filoli. After being contacted by Frank, she visited the estate for the first time and was immediately inspired.

"I wanted my work to emerge from the scenery and to complement it in a harmonious way."

Mays describes herself as a self-taught artist who has always enjoyed sketching the people she would see while traveling on buses in San Francisco. She holds a degree in arts administration from DePaul University and worked at a nonprofit organization while making jewelry on the side. After losing her job, she began devoting more time to creating and soon found that she could make a living as a full-time artist. A chance encounter with wire at a bead store led her to try working with it alone. After experimenting with various techniques, she discovered a way to hook and overlap pieces of heavy gauge steel wire together. If this sounds a bit like the work of another San Francisco artist, Ruth Asawa, it is - to a degree. Mays explained that she grew up seeing Asawa's murals and public sculptures but discovered her wire work much later. "She's more of an inspiration to me now than ever before," said Mays.

Unlike Asawa, whose hanging sculptures often mimic organic shapes, Mays works in a figurative mode.

"My sculptures are created from hundreds of pieces of metal wire, looped and hooked together to create a form that reveals an invisible occupant, a soul, a life. I often say that I am 'breathing life into wire.' I love the idea of creating work where the focus reveals the essence of a person and that speaks to humanity as a whole."

For this exhibition, which took a full year of preparation (each sculpture requires anywhere from 60 to 100 hours to complete), Mays decided to create seven installation areas, each with multiple figures. Although Mays does not use models or molds, she has successfully captured bodies (some full figure, some partial torsos) in motion. That sense of movement was inspired, specifically, by "Revelations," a highly regarded dance performance choreographed by Alvin Ailey. Like the real dancers, Mays' figures twist, turn, gyrate and seem to rise, ethereally, from the landscape.

She explained, "The idea of dancing came forth with the notion of being released from the struggle of this earthy life. I wanted the dancers to have a certain soulful way about them and I knew the landscape called for the sculptures to be placed together and for the work to communicate in groups."

Mays further enhances the meaning of each installation area by providing a short narrative statement and title, each of which was inspired by African-American sayings, culture and folklore. In "All Night Worship Service," for example, the figures each reflect a moment of joyous exultation. Near the sunken gardens, six dresses, each a different style, swirl and sway to music that exists in the visitor's imagination. In the walled garden area, five figures rise up from the impatiens, poppies and salvia mix, as though they have always been a part of nature's plan.

Mays' ability to form and fold the wire into different patterns on each garment is amazing. One dress even has words woven into the bodice and skirt. She explained that it is a quote from Maya Angelou: "There is no greater agony than bearing an untold story inside you." Mays said that she liked the idea of "a message hidden in plain sight, and also that you have to take time to search and discover, in order to decipher it."

One of the reasons that the figures blend so naturally into the various garden sites is Mays' careful choice of palette. "My greatest concern was how the sculptures would look as they weathered. In anticipation of this process, I coated each piece in a copper- colored paint so that, when the rust eroded through, there would be a smooth transition in the visual appearance of the work." Installed on oak tree-colored clothing stands, the figures are an uplifting addition to an already fabulous setting.

Mays had no way of knowing, one year ago when she created the sculptures, that the world would be in such a difficult and challenging place. She feels, however, that the work is "healing on many levels."

"In the exhaustion, the grief, the reckoning with oneself in the midst of this very turbulent time I hope that people will visit Filoli for a reprieve, for a chance to breathe, reflect and simply be. My hope is that people will leave feeling full, having experienced something (I dare say) extraordinary."

All of the sculptures are for sale. An online catalog of works can be found on the Filoli website.

Visitors to Filoli must make an online reservation in advance, wear a mask and adhere to safe distancing instructions.

Freelancer writer Sheryl Nonnenberg can be emailed at [email protected]

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Breathing life into wire: Kristine Mays' sculptures 'emerge from the scenery'

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Filoli House and Garden, the historic 654-acre estate in Woodside that, since 1975, has been part of the National Trust for Historic Preservation, has always been a welcome respite from the frenetic pace of Silicon Valley life. With its restored Gilded Age mansion and acres of carefully tended gardens and trails, Filoli is a favorite for nature and history aficionados.

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USPS Releases 2020 Ruth Asawa Stamp - Ruth Asawa

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The U.S. Postal Service honors pioneering Japanese American artist Ruth Asawa (1926-2013). Showcasing Asawa's wire sculptures, the pane includes 20 stamps, with two each of 10 designs, featuring photographs by Dan Bradica and Laurence Cuneo. The selvage features a photograph of Asawa taken by Nat Farbman in 1954 for Life magazine. Ethel Kessler served as art director and designer.

The pane includes 20 stamps, featuring photographs by Laurence Cuneo and Dan Bradica for David Zwirner. The selvage features a photograph of Asawa taken by Nat Farbman in 1954 for Life magazine. Ethel Kessler served as art director and designer for this issuance.

Information on ordering first-day-of-issue postmarks and covers is at usps.com/shopstamps under "Collectors."

Paul Lanier, son of Ruth Asawa; George Takei of The Japanese American National Museum; and Jonathan Laib, of David Zwirner Gallery participated in the virtual opening event with USPS officials.
Watch opening video >
The Postal Service receives no tax dollars for operating expenses and relies on the sale of postage, products and services to fund its operations. All images are preliminary and are subject to change prior to printing.
Explore galleries of Asawa's art forms >View a timeline of her life >Experience an Asawa installation virtually >

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USPS Releases 2020 Ruth Asawa Stamp - Ruth Asawa

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The U.S. Postal Service honors pioneering Japanese American artist Ruth Asawa (1926-2013). Showcasing Asawa's wire sculptures, the pane includes 20 stamps, with two each of 10 designs, featuring photographs by Dan Bradica and Laurence Cuneo. The selvage features a photograph of Asawa taken by Nat Farbman in 1954 for Life magazine.

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QR Code to link to above article (for classroom iPads)

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QR Code to link to above article (for classroom iPads)

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QR Code to above Article (for to classroom iPads)

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QR Code to above Article (for to classroom iPads)

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It is known that Egyptian and Phoenician artists practiced that art over 5,000 years ago and pieces of jewelry have been found in the pyramids as well as ancient Pharaoh’s tombs.

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The Phoenicians hammered gold or silver into thin sheets, cut them into narrow strips, and sanded the edges, producing a thin wire-like strip.  The wire was woven into decorations for breastplates.

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Around 1270 A.D. Gold and silver wire was made in France and taken to England by the knights, to make chain maille, the linking of round jump rings to make a strong protective mesh.

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The earliest mention of wire production in England was 1465. During this time, wire-wrapping was limited to fastening crucifixes and other religious symbols to lanyards and chains.

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In the 1800’s, the Bohemians used wire to connect stones and beads to create necklaces and bracelets. Such designs were popular with aristocracy.

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Ron Aloni - Artist - Galerie Charlot | Contemporary Art, Paris

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Born in Tel aviv 1950. he lives and works in Tel aviv, Israel.

Visual artist Ron Aloni earned a BFA from the Academy of Fine Arts in Nu?rnberg, Germany and an MFA from the School of Fine Arts Slade in London. It is from metal rods that Ron Aloni sculpts organic forms sometimes linked to the marine or astral universe. In the form of weaving, the artist creates forms that are both aerial and whose presence reflects a "brutally poetic" force. He regularly works in partnership with architects and decorators. His sculptures have colors both linked to the very nature of the metallic material and fluorescent. They are wall mounted, suspended or simply placed on the ground. These works have been exhibited at the Herzliya Museum, the Haifa Museum, the Holon Design Museum and are part of private international collections.

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Born in Tel aviv 1950. he lives and works in Tel aviv, Israel. Visual artist Ron Aloni earned a BFA from the Academy of Fine Arts in Nu?rnberg, Germany and an MFA from the School of Fine Arts Slade in London.

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The first artist who brought wire sculpture art to people's attention was Alexander Calder (1898-1976), who made a series of wire sculptures in the 1920s after he'd used wire to experiment with jewelry making.Jan 19, 2022

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Alexander Calder's Statement on Wire Sculpture

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Alexander Calder's Statement on Wire Sculpture

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At the same time I began trying figures wholly in wire, and at that time made 2 or 3 which are in my present show at the Galerie Billiet, 30 rue de la Boetie (Jan.25-Feb.7.1929).

Taking my toys to New-York in the fall of 1927 in the hope of merchandising them, I finally connected with the Gould Manufacturing Co. of Oshkosh, for whom I made a whole set of new designs in toys.

During the Winter I had a show of wire sculpture at the Weyhe Gallery, New-York City, which proved quite a success, and also exposed "Romulus and Remus" and "Spring" at the Independants in New-York (At the present moment "Romulus and Remus" and the other, now "Printemps" are exposing their virtues and vices at the Independants at the Grand Palais, Paris).

At that time (last Spring) I did not consider this medium to be of any signal importance in the world of art; merely a very amusing stunt cleverly executed. So I began to carve wood, and worked all Spring, Summer and fall, on sculptures in wood which are to be shown at Weyhe's (New-York) commencing February 4, 1929.

However, wishing to return to Paris, I felt it would be quite justifiable to have an exhibition here, where "clever stunts" are highly appreciated, so I came over 3 months ago and set to work, carving wood and twisting wire.

These new studies in wire, however, did not remain the simple modest little things I had done in New-York. They are still simple, more simple than before; and therein lie the great possibilities which I have only recently come to feel for the wire medium.

Before, the wire studies were subjective, portraits, caricatures, stylized representations of beasts and humans. But these recent things have been viewed from a more objective angle and although their present size is diminutive, I feel that there is no limitation to the scale to which they can be enlarged.

There is one thing, in particular, which connects them with history. One of the canons of the futuristic painters, as propounded by Modigliani, was that objects behind other objects should not be lost to view, but should be shown through the others by making the latter transparent. The wire sculpture accomplishes this in a most decided manner.

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Statement on Wire Sculpture (1929) | Calder Foundation

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At the same time I began trying figures wholly in wire, and at that time made 2 or 3 which are in my present show at the Galerie Billiet, 30 rue de la Boetie (Jan.25-Feb.7.1929). Taking my toys to New-York in the fall of 1927 in the hope of merchandising them, I finally connected with the Gould Manufacturing Co.

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Video from Museum Exhibition of Calder's Wire Faces

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Video from Museum Exhibition of Calder's Wire Faces

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Exhibit Showcases Different Side of US Artist - YouTube

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Exhibit Showcases Different Side of US Artist

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As you add additional wire, think about the pose that you want your wire sculpture to have.

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Using the body proportions we have learned, draw 10 figures in motion. do an image search of athletes in motion for inspiration.

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Using pliers can keep your hands from hurting while you are twisting & bending the wire.

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Give each other plenty of room!

When using the needle nose pliers, know where the pinch points are.

Make sure you know where the end of your wire is - wire has a mind of it's own and the ends can be sharp!

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Keep your fingers away from pinch points!

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Making corners with pliers.

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Looping 1 wire around another. This is a good way to stabilize different pieces of wire. Since this is a continuous line, only 1 loop is required. Keep your loop close together so it holds better.

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twisting 2 wires together to get a stronger and bolder line with texture.

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Wrapping 1 wire around another is a very good way to start a new piece of wire.

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1. Attach pieces of wire to a straight wire with a wrap

2. Twist 2 pieces of wire together

3. Add curls to a piece of wire

4. Make a zig-zag line with corners

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1. Draw a continuous contour line of a simple image of a shoe or fruit. See the examples in the next 2 columns.

2. Using the techniques you have learned, add pieces of wire together to make a simple standing wire sculpture based off of your drawing. Think about how the continuous contour line will be translated to 3-D, how it will stand and it's balance.

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Alexander Calder, known as Sandy, was born into a long line of sculptors, being part of the fourth generation to take up the art form. Constructing objects from a very young age, his first known art tool was a pair of pliers. At eight, Calder was creating jewelry for his sister's dolls from beads and copper wire.

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In this work Calder experimented with setting a large collection of miniature acrobats, animals, and other figures in motion using springs and pulleys

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From the 1930s on, Calder created non-mechanized hanging, standing, and wall-mounted mobiles, whose movement was driven by random air currents.

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During the 1930s, Calder also began making non-kinetic sculptures, which Hans Arp referred to as "stabiles." Like the mobiles, Calder's stabiles openly incorporated the components of their fabrication, such as fastening flanges and bolts, as visible elements of the designs.

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During his later years Calder produced many monumental stabiles and mobiles as public works for sites worldwide. Man was commissioned for Montreal's Expo '67. At 65 feet tall, its one of Calder's largest sculptures.