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In this program, Mr. Fitzpatrick presents a historical review of sculpturing, emphasizing the materials and techniques employed in creating this art form. Discusses sculptural masterpieces from Egypt, Assyria, and Greece. Displays and explains the use of various varieties of stone. Demonstrates ways in which the beginner may use simple materials and tools--plaster of Paris, insulating brick, and a knife. Continues with a more detailed explanation of the sculptor's tools--mallet and various chisels. Features Henry Bursztznowicz demonstrating the techniques and tools used.
Demonstrates the tools and techniques of wood carving. Discusses and shows the advantages and disadvantages of wood as a medium of sculptor. Illustrates with finished works carved from different woods explaining the sculptural qualities and techniques of each. Features Merrell Gage, sculptor and Professor of Fine Arts, University of Southern California. (USC) Film.
Demonstrates the removal of the mold from the clay bust. Shows methods and implements used in removing the cast. Points out the importance of being careful and patient. Reviews briefly what has taken place in the preceding programs. (KETC) Kinescope.
Continues the modeling from Sculpture IV. Explains how the artist works to refine certain areas. Demonstrates how to "draw" carefully in the clay to bring out certain characteristics of the model. Discusses capturing certain expressions in the clay. (KETC) Kinescope.
Continues the work on details begun in Sculpture V. Explains how an area can be broken up into planes by the use of a block of wood. Demonstrates ways of modeling the eyes. Discusses the importance of the sculptor being able to draw graphically. (KETC) Kinescope.
Continues the modeling from Sculpture VI and completes the clay bust. Discusses and demonstrates how the eye is modeled. Emphasizes the importance of having different parts work together as a whole. Outlines the many finishing techniques that can be used. Comments briefly on several contemporary sculptors. (KECT) kinescope.
Describes and illustrates the mold casting stage in the development of the sculptural portrait. Shows how plaster is mixed, applied to the clay, and the importance of working fast. Discusses the use of shims for separating the mold. Concludes by showing the completed mold. (KETC) Kinescope.
Discusses the process of making a plaster cast. Points out how the molds are shellacked and placed together again. Demonstrates how the plaster is mixed. Shows the process of pouring the plaster into the mold. (KETC) Kinescope.
Shows how the mold is removed from the finished plaster bust. Discusses the use of bluing in the first coat of plaster. Illustrates the use of the screwdriver and mallet in removing the mold. Concludes with a comparison of the model and the completed plaster portrait bust. (KETC) Kinescope.
In this program, Mr. Fitzpatrick discusses the importance of the self-portrait as a means of art expression. Tells how the self-portrait not only preserves a physical likeness of the artist, but provides an insight into his character, mode of dress, and customs. Demonstrates the various techniques involved painting self-portraits by having two professional artists develop their own likenesses. Presents and explains the work and self-portraits of great artists to help develop a greater understanding of this art form.
Discusses the essentials of love, and explains how sexual love and erotic love can be combined. Distinguishes between sexual desire and sexual love, outlining the elements of both. States that if sex or want come first, love is short lived but that love will last if it comes first. (Palmer Films) Film.
Man learned early to read the messages of the footprint and the broken twig and the book of the clouds and the tides, as truly as though these were printed texts. Soon he began to make readable marks, blazing trails, signaling with piled stones and scratches on rock. Out of this came primitive pictograph for purposes of magic, commemoration, and communication. He talked to strangers in a sign language, the very symbols of which later were written down as characters. Simple pictures of these things came to stand for complicated ideas, as well as the things themselves. This opening program shows how very elaborate messages were early conveyed by simple signs.
In this program, Mr. Fitzpatrick discusses the creation of a work of art through sketching. He explains and demonstrates the expression of an idea using a variety of media and techniques. Uses the work of Miro, Kandinsky, and others of the contemporary school to clarify the expression of concepts and objectives. Stresses the point that sketching should represent each individual's own personal creative interpretation of an idea.
Presents members of the New York Herald Tribune World Forum and forum director Helen Hiett Waller. Teenagers from the Sudan, Israel, Ceylon, and Yugoslavia discuss American slang as an obstacle to the understanding of English and as a puzzlement and source of amusement to foreign visitors. The young people examine slang words and phrases in their own language.
Hand puppets portray the age-old story of two girls named Snow White and Rose Red, who live with their mother in a small cottage near the forest. One evening a bear comes to their door seeking warmth. He is invited in, and after playing with the two little girls, the mother tells him he is welcome to stay with them until spring.
Discusses naviagational routes in space travel. Describes parabolas, hyperbolas and ellipses as the curves that will be traced by airships coasting in planetary and solar gravitational fields.
Discusses stage lighting in terms of special effects, atmosphere, and mood. Follows the work of the light designer from the initial preparation to the final production. Outlines the objectives and demonstrates in detail the basic requirements of stage lighting. Presents many types of lighting equipment and explains how they are used to produce desired effects. Includes a brief history of stage lighting.
Describes the role of the production crew--the designers, craftsmen, and technicians. Demonstrates the procedures followed by the production staff in the creation of the play. Shows where they work, how they perform their jobs, and the tools which they use.
Describes the fundamental relationships existing between music, staging, and words in the successful and meaningful production of an opera. Stresses the importance, on the part of the stage director and the actors, of understanding the language of the music in arriving at staging procedures. Shows correct and incorrect examples of fitting stage movement to the music using selections from Don Giovanni, Faust, and Carmen. (WQED) Kinescope.
