Wooden Automata: Bring Sculptures to Life with Movement
Some Finishing Suggestions
A course by Eduardo Salzane , Artist
About the video: Some Finishing Suggestions
Overview
“In this class, I will show you some finishing possibilities that you can give to your piece and define a type of finishing for my project.”
In this video lesson Eduardo Salzane addresses the topic: Some Finishing Suggestions, which is part of the Domestika online course: Wooden Automata: Bring Sculptures to Life with Movement. Learn simple tools and techniques to build unique moving sculptures.
Partial transcription of the video
“Suggestions for Finishes In this lesson, I want to show you how I like to work my pieces. I don't usually use refined finishes. The wood I find has a history. It has a natural wear and tear and that's part of the composition. I like to show that aspect of time, even though they won't last as long as if I applied some type of product. The ethereal nature of the materials are part of my building process. There are artists who explore different finishes using different types of materials. It’s interesting to try to find different possibilities, that way you can define the characteristics of yo...”
This transcript is automatically generated, so it may contain mistakes.
Course summary for: Wooden Automata: Bring Sculptures to Life with Movement
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Category
Craft -
Areas
Art Toys, Character Design, Sculpture, Toy Design, Woodworking

Eduardo Salzane
A course by Eduardo Salzane
Graduated in social communication from Unesp, artist Eduardo Salzane has already worked with authorial photography, puppet theater and some circus modalities before specializing in the universe of automatons — sculptures that move from a crank.
He has given workshops at different institutions throughout Brazil and his works have been exhibited in several galleries in the interior of São Paulo and at the Ecomuseum of Itaipu, in Foz do Iguaçu. Currently, he develops his work with reused wood and creates a universe of poetry in motion in each of his pieces.
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