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Seven Kinds of SunburstPublished online: 07 Oct 2013.

To cite this article: (1969) Seven Kinds of Sunburst, Design, 71:2, 10-21, DOI: 10.1080/00119253.1969.10744236

To link to this article: http://dx.doi.org/10.1080/00119253.1969.10744236

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seven kinds of sunburst 10

Never believe there is nothing new under the sun.

Seven different faces of the day-star, as visualized in young minds, are presented here as the most striking results of a class project that called for the student's creative interpretation of the sun. The selections pic­tured here are representative of various age levels. Younger students worked directly with chalk; more so­phisticated versions were made by gluing bits of crayon on masonite or cardboard, by pasting papier-mache down and then coating it with metallic paint and by other imaginative treatments.

Here is how the sunburst motifs were made by the young artists, whose ages ranged from seven to sixteen years.

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MOSAIC OF CRAYON BITS: Boxes of new and "orn wax crayons were laid on a tabletop and the individual crayons were then sliced with a razor blade, cutting through the wrapper. The paper was discarded and the bits mounted on a plywood panel with glue or a similar mastic. The work was done over a crayon sketch drawn directly on the panel. The wood panel was coated with a flat white tempera paint and fluorescent colors were applied over a ligh tly penciled sketch. The colors are brilliant under ordinary light. and fluorescent under black light.

{continued on page 21)

The creative imaginations of seven young artists went to

work to produce a septette of impressions on a simple theme.

Each technique detailed in the article is illustrated here.

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A slab should be attached to the top of each cylnider (above) and a narrow cylinder

(above, right) should then be attached to the top of the first cylinder. Slits

should then be cut (bottom, right) in the base.

(continued from page 11)

sunbursts ... PAPIER-MACHE: The form of a sunburst was built up with paper and paste and given a white gesso (flat white) coating. Then gold metallic tempera \\as applied.

CLOISONNE TECHNIQUE: The stained glass appearance is achieved by building up segments with papier-mache strips and plaster. Tem­pera colors form raised hues. Melted crayon is prepared by putting bits into tin cups and floating them in boil-

ing \\ater. This liquid Js then poured into depressed channels.

ENCAUSTIC: Gesso the plywood panel. Melt wax crayons in a muffin tin placed in one inch of boiling water. (You can do the same step in an electric frying pan for constant heat. I Apply this mixture to the surface with a palette knife or bristle brush.

PASTEL ON VELLUM PAPER: The art was sketched directly onto a toothy sheet of vellum paper and then glued on a plywood panel. This is the simplest of all methods and should be familiar to kindergarten and elementary students. D1·awing is done freehand on plywood board which has been given a previous coating of Aat white gesso. If desired. sev­eral coatings of rubbed crayon may be applied and the motif then scratched down through the various layers with a blunt stylus, knife or any pointed tool.

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