Posts Tagged ‘work in progress’
I’m nearly there! I just need some more blues in the medium darkness range of all hues. Here you can see on the white plastic sheeting some of the yarn I am dyeing over to create all the richness and depth of color in the yarn for the piece.
I am contemplating using a different size of plaque for the statements because of the nature of German (more text needs more space). This would bring the format closer to “hello my name is” labels, which I like, but I need to be sure I can find the right sized stickers for the look I want. I could physically do the text without stickers, but the label/name tag/address reference label stickers give is important to me for this piece. I may end up ordering metric ones.
So far so good. I’ve used a dremel on silver and brass before, but never glass. Working around the constant flow of water is a new experience. I can understand why people don’t tend to do detail work in this medium. Seeing detail in a clear substance while water is running over it is a little tricky.
More casting flaws are visible now that I’m working the glass, but I think they are still ones I can work around. I’ll know better once I do a light sandblast.
In the meantime the fabric mold for the body is ready for the foam pour on Thursday.
I’ve just un-molded the head and thankfully things went more or less alright in the kiln. The defects that happened are in places where they don’t matter (under the hair line). No fractures, no breaks. There are a few discolorations inside the face, possibly from stray material in the broken glass I used. In future I’ll know not to use glass someone else has broken- unknowns are too likely.
A trace of carbon, probably from some wax trapped in a small corner caused some discoloration on the tip of the mask’s bird-tail (seen in the photo).
Still-= the parts that matter are clear. I was expecting and even hoping for a little distortion in the image, so bubbles are fine. I was actually planning to warp the images I projected. I’m waiting to see how much the glass warps the image before I start though.
She came out well.
One thought I’m having is that even if I sandblast the areas besides the mask and eyes it may still be too transparent and too clear rather than white. I might get a better effect if I used a thin layer of oil with wax medium worked into the skin. Have to see how well (or if) it will hold though. I imagine that once it’s sandblasted the surface will take wax nicely. It would give it a little more opacity without going opaque and a more skin-like texture.
I added a little bit of detail on the top edge and over the eyes in the style of a Venetian mask to help distinguish it from some sort of super-hero mask (which I think the context, clothes and hair will do the rest of the way). For some reason with the mask on she reminds me of Athena, who has no mask (but perhaps it is similar to the helmet she is often shown with).
The wax sculpture is now invested in the plaster and needs to be melted out and the plaster given time to cure before I can get the glass in and load it into the kiln. The red parts in the picture are “sprews”- added bits that get removed in the cold-working process that help prevent bubbles forming in the glass.
I haven’t done anything with glass before, but firing a glass kiln is much like firing a ceramics kiln (which I have done lots of). The most atheistic people will start praying to the kiln gods during this process- only half in jest. When you put something into the kiln you just have to let it go and hope that everything works out as it should. You can control many parts of the process, but ultimately you never know what can happen in there. So… I will put it into the kiln next Wednesday and say my little prayers to the kiln gods… and hope that everything that I put into the sculpture comes out in the glass… and doesn’t pour all over the kiln, crack the mold, or do one of many other things that can happen in the kiln.
Then the long process of cold-working (removing sprews, detailing, adding texture, etc.).
In the meantime I’m figuring out how to do the hands, and I’ll have to see if I can find some mannequin arms that work. If not, I’ll be building those as well. The sewing continues and I plan to do the bustle next.
The structure of bustles is fascinating stuff. I’m thinking of all kinds of things I can do for making a piece of clothing that shows the bustle structure itself… just for fun, when this project is done.
Well, aside from the inevitable thousand tiny touch-ups, the face is done. I’m going to make a mold of her before I start trying out the mask options or put her in the kiln. I could easily destroy her with a mask that I decide doesn’t work, and accidents happen in the kiln.
It’s nice to sculpt again. I just realized it’s been at least 8 years! I’ve been doing more painting, drawing and other mediums for installation.
I think sometimes one gets better at things in the time between the actual doing of it. My eye has gotten better and I haven’t forgotten how to use my hands.
On another note I loved working at the Crucible. It’s a wonderful space, and so nice to know I have access to all sorts of great equipment for working with metal, glass, wood, and clay. In other good news, Techshop is opening a branch in SF, so I won’t have far to drive to have access to laser cutters, milling machines, 3D printers and other more high-tech tools when I need them.
I’ve been sculpting the face in wax for the figure. I’m looking at photos and paintings of women who were considered beauties in the 1880s (the period of the clothing) as my models. The idea is an ideal and austere form- like a Greek statue, but offset with the intense imagery being projected through the mask.
So I’ve gotten the face roughed-out in wax. It still needs ears as well as detail work, but so far so good. Then I add the mask. I’ve got some flat sheets of wax somewhere and can’t seem to find them yet. Those will be ideal for getting a nice perfectly-smooth surface on the mask. All I have to do is cut out the shape and sort out the attachment.
As much as I’m not looking forward to ears not including them would be too much of a cheat. The hairstyles of the day clearly showed the ears, so I cannot fairly cover them, and while I will transition to a different material for the rest of the head, the seam is better hidden under clothes and in the hair where possible, so the ears must also be in glass.
I will have access to the glass casting facilities starting this Wednesday. I don’t know if she’ll be ready by then, but I can have a test piece ready. Anyway- I should make a mold of her before casting in case the cast comes out badly.
It feels good to be sculpting again. It’s been donkeys.