#368 In the studio: Alaskan Malamute

The Alaskan Malamute is the official state dog of Alaska and its history can be traced back 3000 years to the
Kobuk Inupiat tribe of upper western Alaska.  Originally bred for use as a sled dog, the large brown eyed dog is often mistaken for the smaller, blue eyed husky.  The breed is fond of people and is a sought-after family house dog.

My nephew owns a Malamute named Cailan and shown below is a drawing of his beloved dog.

#367 In the studio: Full moon and Mule Deer

It's frigid cold and snowy in Wyoming and there 

was a full moon last night . . .

December moon is called the Cold Moon.

Full moon names date back to native American tribes.

On the left, the full moon rises,

and on the right, sets over the ice-bound Popo Agie River.

The ever present Mule Deer bed down close by and crunch across the pasture during sunny hours.  

They are a constant source of inspiration. 

Below, a clay model in progress of a Mule Deer buck silhouetted against north light

#366 In the studio: Pheasant painting

The Wyoming studio is located on the Popo Agie River which flows into the
Wind River.  There is abundant wildlife year 'round on the property, and I can
be "in the field" while in the studio.  The river flows under an icepack most of
the winter, but is always open and the wildlife rely on it.

As I looked out the window of the studio this morning, my subject was before me. I've sculpted pheasants many times, but they were so beautiful in snow today that I simply had to paint them. Shown on the right, is the view from the studio deck.

Below, a fat pheasant cock hung around the studio all day

Below, 2 little oil studies started while having coffee this morning

#365 Throw on another log . . .

Merry Christmas!

#364 Throw on another log . . .

The stockings were hung by the chimney with care . . .

#363 In the studio: Living with art

Over the years, I've had the pleasure of meeting many of America's finest wildlife painters.  One  of the best is Greg Beecham.  I first meet Greg in 1989 on a wildlife artist's trip to Alaska that included the late Bob Kuhn, who so many of us revere.  Greg's father, Tom Beecham, as well as Bob, were excellent illustrators and both had a great influence on my work when I left art school and ventured into commercial art.

Greg is among the finest painters of wildlife and landscape working today and our paths cross frequently at art shows. Shown below, is one of my little Mule Deer studies under Greg's painting of a Whitetail Deer.  He knows the animal and I love the masterful way he blends the figure into the habitat.  You can tell he's been there.

#362 In the studio: Etching, the early years

Although, the Oredman book was published in black
and white, the etchings included, will be posted at
a later date, showing the original sepia and colors.

During the early 1970's,  my etchings of wildlife, sporting, and rural subjects became widely known to collectors and galleries across the United States.  They received national attention when Gray's Sporting Journal selected a new etching for every back cover of their early publications.  The etchings were also used as illustrations in many national magazine, book publications, and advertising such as
Remington Arms and Leupold Optics.

I had been exposed to original printmaking at the Kansas City Art Institute in the early 60's and later developed a unique and innovative technique, using sepia ink and applying transparent watercolor washes.  The warm, sepia earth-toned ink acted as an underpainting and the result became my trademark. The small, hand-pulled editions were printed on exquisite French buff-colored rag paper and at one time could be found in over 100 galleries nationwide.

In 1980, I turned my attention to sculpture and produced my last portfolio of etchings in 1983.  They were put in storage to be reintroduced at
a later time and recently, I've begun sending a limited few to select galleries.

Below, Trout and Mayfly, appeared on the back cover of an early issue of Gray's Sporting Journal. 

The warm, sepia ink plate-tone provided underpainting for the transparent watercolor.

Below, in 2007, John T. Ordeman's publication included my etchings.

#361 In the field: Cody moose quick-draw, con't . . .

One hour quick-draw studies, such as the close-up of the Cody moose sculpture shown at right in clay, are popular with collectors at art shows.  Loose and spontaneous modeling and the imprint of the sculptor's touch, cast in bronze, are a source of fascination for the viewer.  Go to post #360, Mon. Dec. 17.

Quick-draw sketches can have honesty and vitality, but spontaneity is not possible without knowing the subject. Meaningful form and understood surface passages must be created by the sculptor and not merely loose, sloppy modeling. The more known about the subject, the more the artist can edit, simplify or eliminate.

Loose is how it looks . . . not how it's done.

Cody quick-draw moose study, cast in bronze, in the patina room at the foundry.

#360 In the field: Cody moose quick-draw . . .

Over the years, I've done many quick-draw sculptures and some are better than others.  One of my favorites was recently created at the Cody show in Sept. . . See post #319, Sept.26.

Unlike plein air painting, sculpture is typically a studio endeavor . . . warm, sunny conditions can present problems with wax and oil based clay adhering to the armature support.  Furthermore, after the one-hour study is completed, the warm clay model must be transported - in a cooler - to the studio for mold and casting without damage to the structure or surface.

Thirteen of the moose quick-draw studies sold at the Cody auction and I was determined to cast the piece just as it had been modeled . . . with the same spontaneous and vigorous surface and with very little additional "tweaking" after I
returned to the studio.  The castings are enroute to the collectors who requested them by Christmas.

 Below, the Cody quick-draw moose study in the patina room at the foundry

#359 Remarque: "Hearts Entwined"

Solitude, reflection, goodwill, and resolve . . .

Hearts Entwined
12"H 22"W 11"D

Copyright, Sandy Scott

To send light into the darkness of
men's hearts - such is the duty 
of the artist.
                  - Robert A. Schumann

#358 Remarque: "Roosting Rooster"

The spirit of the subject is more important than an exact representation.  My goal while 

creating this sculpture was to represent only the essential . . . to omit detail and to simplify.

Roosting Rooster Fragment 

19"H 24"W 6"D

Copyright, Sandy Scott

#357 Throw on another log: "Style"

A figurative sculptor must know the structure and anatomy of the subject portrayed.  The subject, whether quadruped, bird, human, etc, is the design source.  Shape, form, mass, design, pattern, balance, line, contour, texture are all components of the sculptural vocabulary.

I am routinely asked while teaching workshops: "How does the sculptor have their work recognized and become successful when so many sculptors seem to be doing the same thing."
In a word, the answer is STYLE.  A sculptor's personal STYLE will emerge after structure and anatomy is so completely understood that artistic possibilities are communicated and the subject is not portrayed as a specimen.  The sculptor cannot copyright a pose, but can copyright treatment and STYLE.

When you walk into a museum, you recognize Van Gogh, Rodin, Rungius, Turner, Bugatti, Sargent, etc, from across the room.  The same is true today of popular and successful sculptors and painters . . . their STYLE is recognized.
A friend of mine, the late and great wildlife painter, Bob Kuhn, once said:  "Go to as many museums, art shows,
and galleries as you can and see what everyone else is doing . . . then do something different".

Hay Bay 19"H 25"W 

Copyright, Sandy Scott

#356 Wyoming studio: "Lunch"

The Wyoming studio headquarters is located on the Popo Agie River, which flows into the Wind River.  The wild river offers excellent trout fishing, and we can actually cast from the studio deck.  Earlier this week, Trish caught 2 nice 14" Brown Trout and I'll share one of my favorite recipes with you . . . trout pate'.

Steam or bake trout.  Pull off skin and lift bones . . . this can usually be done in one piece.  Combine meat with a block of cream cheese, chopped onion, mayo, parmesan cheese, capers, fresh lemon juice, salt and pepper.

Variations can be made by substituting capers with pickle relish, or black or green olives.   Also, garlic, green peppers, sun dried tomatoes, can be added.  It's best to choose a combination of 

two or three of these flavors and use one trout per block of cream                                   Be creative!

cheese with the lemon, mayo, and parmesan.  

Original etching - copyright, Sandy Scott 

#355 In the studio: Corgi Door Knocker

I've created many door knocker designs over the years and one of my galleries has a client who requested a
Corgi motif for a Christmas gift.  I love sculpting dogs and creating functional art is a time- honored assignment
for the sculptor.

The dark clay was difficult to photograph and I will show another image after the sculpture has been patinaed.
Also, I've included a picture of the work after one coat of rubber mold material was applied.  This process - called a blanket mold - requires no shimming.  For more info about mold making, start with post #352, Dec. 1, 2012.

Above, clay model of Corgi door knocker, 13"H

below, blanket mold in progress

#354 In the studio: Molds, con't . . .

To follow this procedure, 

start with post #352, Dec. 1.

All 5 coats of rubber have been applied to the new eagle study and the plaster jacket which holds the rubber mold in place must now be made.

Both sides of the mold require a plaster jacket - the two sides are separated by the shims.

The mold has been sloshed at the foundry and then separated.
An exact wax replica of the clay model is now ready for the lost wax casting procedure.

#353 In the studio: Molds, con't . . .

Two coats of rubber have now been applied to the new eagle study 

and before the third coat, the piece must be shimmed. 

Scroll to Saturday's Post, # 352. 

Below, notice a wax rope was pinned to the wingtips before the second coat of rubber was applied.  This process is a form of gating that allows wax and molten bronze to flow to the outer extremities during the casing process.

Below, after the second coat of rubber, the mold is shimmed.  Notice the eagle's left wing . . . 

paper shims, filling the negative spaces between the feathers, allows the two sides of the
mold to pull apart after hot wax has been sloshed inside the mold.

#352 In the studio: Molds

To make a mold for bronze casting, several coats of rubber are "painted" on the clay model.  After the rubber hardens,
a plaster jacket is made to hold the rubber in place while hot wax is sloshed inside the mold.  Thus, a wax replica of the artist's clay model is created with detail so exact, it can include the artist's fingerprints.

Below is the clay model of my new eagle study, ready to mold.

Trish is an excellent mold maker and makes all of my molds. 

Below, she applies the first coat of rubber . . . called the print coat.  This coat is thin and picks up detail.

Notice the supports under the wings: This prevents sagging from the weight of 5 coats of rubber.  

Also, one of the eagle's legs had to be cut off so the wax could be pulled from the mold.  

The leg is molded and cast separately, then welded and attached in metal.

#351 Living with art

Everyone in the art world knows Nancy Guzik and Richard Schmid.  I have the great pleasure of calling these two fine artists friends.    One of my most memorable experiences was in the early 1990s when Trish and I spent 2 weeks with them in Alaska . . .  I was able to witness two masters working in the field.

I have several  paintings by both of them which I cherish.  The Guzik painting shown below is of her cat;  painted when her studio was not far from mine in Ft. Collins, Colorado . . . twenty years ago.  My sculpture, "Hummingbird and Rose" sets under it.

#350 In the studio and in the field: Moose

This year has been the year of the moose:  I spent the summer completing an enormous moose monument for the National Museum of Wildlife Art in Jackson, Wyoming -  see post #312, Sept. 16.  In Sept., I completed a one hour quick-draw study of a moose at the Buffalo Bill Historical Center in Cody, Wyoming - see post #319, Sept, 26.
Thirteen castings sold at their auction.

This fall, at the Canadian studio, I completed a moose study that was started over a year ago which will be introduced next year.  Also, while in the North country, moose venison fills the freezer as a result of a hunting trip north of Kenora - See post #337, Nov. 3.  Reference material and measurements gathered on the hunt were vital to the success of the new work.

Shown below is the Cody quick-draw moose bust before it was molded earlier this fall.  The green wax bar that
supports the antlers prevented sagging under the weight of the rubber mold material.  In the distance, the new moose study can be seen in progress.  The gray clay used on the bust was Jolly King and Chavant's Le Beau Touche was used for the full-figure study.  Different types of clay impart a different surface and texture.

#349 Autry Masters Exhibition: "Crowing Rooster" . . .

Every year I introduce new work at the invitational museum shows.  

This year one of my new entries is Crowing Rooster.  

The high-relief sculpture is mounted for a wall hanging and will be introduced 

Feb. 1, 2013 at the Autry Masters Exhibition, Autry Museum . . . Los Angeles.  

Crowing Rooster  16'H 15"W 3 "D
Bronze . . . cupric nitrate and ferric nitrate patina

#348 "Art of the West"

Those of us involved in the realm of representational art are fortunate to have a great trade magazine . . .  ART OF THE WEST to introduce, support, 

and promote our creations and careers. 

I'm honored to have my work spotlighted in the 25th Anniversary issue 

of this important publication.

   

artofthewest.com