Wednesday, 11 February 2015

#608 In the foundry: Patina, con't . . .

Please see the previous post and for a more in-depth discussion about patina application and 
patina recipes, go to blog #391, posted Feb.13, 2013 through blog #401, posted March 3, 2013.

The color of a bronze sculpture is called a patina and the artist's color choice can
 greatly enhance the overall emotional effect and presence of the work.

Below, are two totally different patinas used on a recent head study of an owl which demonstrates the power of color:
The cool cupric nitrate blue-green used on the first image suggests the nocturnal nature of the species while 
the warm ferric nitrate chemical used on the second image implies the bird's natural color. . .
 each one delivers a different sentiment yet the sculpture is the same!

Shown below, is the owl head sculpture being heated with a propane torch in the foundry.
The patina technician then applies ferric nitrate to the hot surface.  The more heat and chemical that is applied, 
the darker and richer the color. . . from a pale yellow to a rich orange-brown to a very dark blackish-brown.
Note:  The darks in the negatives are achieved by first applying liver of sulfur, then scrubbing the surface
with a Scotch-brite pad . . . the highlighted positives are then heated and ferric is applied.

Below, is a photo taken last year at Brookgreen Gardens in Murrell's Inlet, South Carolina, and the clay study
 of a Great-horned Owl which was modeled while teaching a bird sculpture workshop in the museum's aviary.
Note:  Brookgreen Gardens boasts the largest and most important collection of American sculpture in existence.

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

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