A couple of weeks ago I was trying hard to make something practical and usable. This is what I got for my troubles. The clay is red clay, the same as in the Little Dragon posted earlier. This is fired and glazed two times, though. Once with a dark red glaze and once with a blue one. This makes for interesting effects. I have no idea what I will use this little bowl for, but it is quite endearing. It is approximately 15 cm long. Just click on the images if you want to enlarge them!
In other news: I have recently returned from Austria (visiting a good friend in Wien) and Germany (Amphi Festival in Köln). I had a great time travelling! No (very little) drawing, though. Got to watch several bands I have longed to se live, among them Fields of the Nephilim, Die Form and Santa Hates You. Sort of annoyed at missing Alien Sex Fiend, but that is the nature of festivals. It was freakishly hot. In Austria I finished Jasper Ffordes Shades of Grey (more on that book later) and saw Hitchcocks The Birds in an open air theatre.
Upcoming: I am planning to make propolis and honey soap when I return to my soapmaking equipment in the middle of August. I bought the Propolis in a small honey-and-related-items-shop in Wien.
Upcoming artsy stuff: still working on an RPG illustration of a dwarf. Also got an idea of something I might draw to sell on RPGnow.com that will take a little work to get done, but right now feels very exciting.
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The firing was successful. There is a small crack in the folds of his stomach, but nothing major. I manipulated hue/saturation and brightness/contrast in the first image below, with limited success (I really need some courses in art/photography software and photography in general…).
There is no glace or anything else added. The surface is polished, which is done by rubbing the dried clay with hands and a little water after the sculpture is nice and dry. This surface treatment then stays true through firing. He is quite small, about 15 cm in diameter. I figure he is a baby dragon, with wings not yet having burst through the skin but laying in wait and developing in saftey until ready to be used. The tail is not very visible in the images, but is split in three for easiness in gripping and climbing until he is ready to start using his wings in a couple of years. Structurally, I am very pleased with the back musculature especially (see below). He has four legs and two wings with makes him a dragon, not a wyvern (most often wyverns have only two legs).
Below is the little guy from all sorts of angles, in the proper hue as well. He is made in red clay, Hemlo was made in brown clay. This clay i believe is heavy in iron, which seems somehow fitting for a dragon.
Important Notice: during the writing of this blog post I developed an envy of that tail. Why do humans have such uninteresting appendages?
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At the 21 of November, 2012 I finished my most ambitious sculpture work to date. In fact, perhaps my only sculpture work ever if you don’t count stuff made in primary school (and at home, keeping my father company in his workshop) when I was younger. It turned out way above my expectations. A large part of the reason I draw and make things and also the reason I play music is for the extreme contentment resulting from the intermittent incidents of creatures and instruments becoming ensouled during the process.
Case in point, Hemlo the clay platypus:
Hemlo (the Swedish word for “secret” turned into a childish noun) the clay platypus started out as a wish of doing something platypoid for my fiance, as he’d had a obsession with platypus (platypi?) (Ornitorhynchidae!) earlier this year. Visiting my father (a renaissance man and jack-of-all-trades who among other things makes ceramics, like the plate in this post) in the spring soon lead to a project of making a life-sized platypus in clay. At first I wanted to glaze it in some brown colour, but I some of the detail would be lost by that, so I decided instead to fire him after only some polishing, especially concentrating on polishing the beak to make it seem differently textured from the rest of the body (this is more visible in the images below behind the cut). Quite early in the process I felt that Hemlo became ensouled, so to speak. He simply looked alive (and asleep). I wasn’t making a sculpture, I was freeing Hemlo from all that clay surrounding him.
Material: clay (earthenware).
Equipment: patience (drying process before firing took the better part of 2012), wooden utensils for working in clay. After drying: sewing needle for detailing, small plastic utensils and a couple of brushes. Water and hands for polishing.
Size: 25x15x10 cm.
Notes: Being a scientist, I am quite picky with anatomy. The anatomy of Hemlo is not perfect, especially not around the beak. On the other hand, there is only one Hemlo in the world. Er. He might be a subspecies.
I want to do more sculpture! I want my own workshop! I love Hemlo! Luckily, I love my fiance as well, and I know he will give Hemlo a good home.
Behind the cut is several pictures of Hemlo, before he was fired and from all sorts of directions.
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