Booger friends and obelisks :)

I'm thinking of them as obelisks for no really practical reason - it calls to mind 2001 & the scary challenging monolith to me. The low relief style of bas relief really IS challenging to me. But it's also a chance to elaborate on a story more than a typical model horse sculpture allows.

If it paid the bills more I might sculpt horses galloping with riders through the sage brush or hunters jostling each other over a small farm gate in a fox hunt (just off the top of my head - these aren't ideas that have moved me, I just like scenery as evidenced by Flitwick's wall!). Anyhow, so here I can impart some hint of a story...but since I'm trying to work out my 2D/3D perspective grasp, I decided to go very narrow and force myself to try and cope.

One of these was done using a few very accurate angled reference photos and one was not. I hope it's pretty obvious which one was done without looking at anything at all. Yeahhhhh....

So a booger friend (this is all related!) ;) is what waitresses I've worked with in the past called you if you were honest enough to point out a boogie. Because NO ONE really likes to look up while they're ordering a meal and see that up the nostril of a waitress. So you were pretty darn grateful to be told the truth rather than spend the night wondering why customers were so distant and tips down (yes, subconsciously it happens when your waitress grosses you out!).

Anyhow, so I've always really appreciated people who've been brutally honest with me. My fiance is a great booger friend to me. And he was very tactful but clear about saying "these aren't very good". I love that. Anyhow, no need to spare my feelings guys - I'm not liking em all that much just yet myself.

I may never work out the issues I have with them. The issue, I know this from illustration work, is that I don't mentally render 3d objects into 2d planes easily. I work just fine from photos I suppose but I stink at pushing my own depth perception down flat. When I was doing illustrations freelance and wanted to get into medical illustration more I submitted a portfolio to a top illustrator working for a national museum who for some reason did critiques (it was a while ago, I'm sorry I don't remember why but it's worth looking up people who will do this who can offer tips and suggestions). One thing that surprised me was that she mistook all of my real life study sketches for works from photos, and photo-studies for works done from real life specimens. I was really confused by this and it took me YEARS to figure out that it was due to my issues in depth and perspective. At least I've got a boogie friend around to help warn me about it though! ;)

Right now it tickles my fancy (or I would've smushed it up already!) as some silly kind of medieval art. I can almost see some friar or servant of some sort being appropriate (I've seen too many medieval horse related fresco paintings at this angle in other words).

And last but not least, a silly chorus line... they're filled with pin holes - possibly uncured resin. Not safe at all. But boy are they fun to line up like this (and yes to arrange in other ways). Some of the out-take gang. The casters are making me real prototype castings. This particular resin in this climate was bad news bears for me!

I just got a kick out of them. The color gradient is a single drop more of black dye for each (1 to 4 drops).

I just like colored resin in general for seeing shape and prepping prototypes for production. I've offered them in the past but they aren't so popular (and let me reiterate that the undyed resin I got is bad, it wasn't the dye.. we very well may have let the humid air at it too long and just not be dry enough here to cast with in general). Anyhow, but reflecting light away makes for seeing every little surface detail so much easier than the white which is absorbing some of it. I work in stark light but over the years I'm coming to loath trying to prep nearly invisible seams on white horses. Yet I hate to add even one more layer of primer than is necessary (so I try to do just one final last layer), when it comes to holding in detail on a sculpture that's going to be cast. I went with white primer for only one sculpture and I really regretted that to the bitter end. :D Photographing him was a trial for me too. Anyhow, wow - minor essay here entitled "why I love resins in any color but white". ;)

Great fall feeling evening here finally! :D Hope everyone has been enjoying it - off to help install heaters now here though... it won't be hitting 90 too many more times here I suppose. ;)

Clearly from the picture there I’m still just incredibly inspired by the malabiltiy of modeling clay over [verses] apoxy sculpt still . No idea where the new bust is going (I started that tonight instead of a new medallion as I'm running out of relief ideas and am tossing a lot out so I wanted to switch it up by going fully 3d again). The black resin casting medallion is the prototype back from the casters, with all the little whisker bumps and such on her now... the other one just needs a touch up around the grass and he's ready to go out tomorrow/Sat too (well after a light mist of primer to make sure there's nothing missed there & take away the shiny some too).

I’m quite excited that the casters say they’ll be happy to make these medallions in their cold cast metallic finishes. These cold castings are just terrific. They look, feel and smell just like the real foundry created thing because they are metal (bronze, nickel-silver) powder added to the resin. Not to be confused with my metallic paint jobs- where I just use pearl and a few colors to mimic metals altogether… I would also like to try gold or copper leaf work someday. Perhaps someday soon! I’d like to make the mane/tails a different metal altogether. I have the most wonderful Fly Fishing resin by Kelly Savage of two horses grooming each other – she managed to pour two different metallic resins into the same mold to make a pewter colored and a bronzy colored horse. I adore this! They get “polished” so the relief areas are darker, it doesn’t look like NAN plaques for example. It’s very easy to confuse with the real thing until you pick up a bigger piece. I have my own personal copies of my resins in, which works for me b/c they can get shuffled around a lot, like right now everyone is jumbled into a box waiting for display shelves to go up. And I don’t have to worry about finishes getting damaged while they’re in storage.

One thing I’ve been neglecting badly is finishwork commissions. I’ve written to everyone who has a horse here now so if you haven’t heard from me well.. my emails haven’t gotten through? Anyhow, as they know, I have a small ton of things making it physically hard to paint over here, but after I wrap up these medallions tonight (tomorrow am?).. well it’ll be time to push away from the sculpting table for a bit until these last paint jobs are wrapped up.

I have that maroon Morganesque (baroque!) ;) pony there (Johann) so that I’ll be pushing myself harder to address the long overdue painted horses to get back to that to wrapping him up before the end of this year. I may do like I did with bitty & release to my group only, just before Christmas until the end of the year rather than just a shorter time period. Just haven't decided yet, so hard to gauge the market to be totally honest. I hope I can trust myself to work on him only in short stints if I’m making good headway on the finished horses that have priority now…. Bottom line is the pace needs to pick up here for me in a bunch of ways basically. The humidity and temp fluxuations in here have gone way down so that’ll help a LOT in the painting area too (being more comfortable). I’ll still be working side by side with another human in here in a pretty small area but that’s just a “deal with it” deal I guess (we can spend camping trips in similarly small spaces together… I suppose this bodes well for when he retires and will be around all the time again). I do kind of miss listening to my blaring TV (tuning it out all day long). So ironically it’s MORE quiet with him around all the time (like a library). ;)

So.. once more I’m up late here. Hope it all made sense. My early morning and late even compositions rarely do. Just thought I should jot something down here about the medallions being done basically & especially about the metallic options. I’d designed them from the beginning to be geared towards this look for my family gifts but they do cost me almost 3x more so I dunno if I’ll try a mixture of painting and leaf or what I’ll do..

Ok, time for bed here - eep! Hopefully next week I'll be sharing the medallion page here. Before then news is limited to my group for a bit (yadda yadda always the same wording - sorry!). :)\

The wee mini in the left-most corner is not sculpted by me btw! That was a gift from Sonya Johnson - it's her mini Teke I thought was just terrific! The horse skeleton you see too was just recently (last week) assembled by my man as well (he assembled that whole horse skeleton so he could clean up more and get rid of the box... not kidding!). I have gotta laugh about this irony - I used to joke to my friends that I need to be rich enough to hire house boys to cook and clean for me... little did I know you don't need to be rich for this - ha! (:-P No but sincerely, how flipping sweet is he, eh? (I've assembled one long ago that broke to bits long ago so he knew I wasn't going to mess with one of those kits again! And he still did it. What a great guy.) :)


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