#674 Functional Art . . . "African Elephant Bookends"

Over the years I've created many bookend compositions - over 30 at last count - and most of the designs 

present the subject emerging from mass.   My most recent creation, "African Elephant Bookends", 

is one of my favorite sculptures of functional art.  The work was created in one sitting - 2 to 4 hours - and my intent was to model a spontaneous, loose, and inspired surface while maintaining the general impression, size and shape of the animal.
I will discuss the merits and faults of one-sitting clay sketches and loose modeling in an upcoming blog.

Below, are images of the clay model of "African Elephant Bookends" in progress.

I modeled only one bookend but cast it twice to create the pair . . . below, is an image of the bronze casting of
 "African Elephant Bookends".  Not all one-sitting sculptures are worthy of casting but this one was.

"African Elephant Bookends"

9"H 14"L 8"D

3,600

Go to the BLOG INDEX and Reference Page for more information.  
See post #616

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

#672 Africa Portfolio 1 . . . "Recumbent Giraffe", con't

Please seen the previous 2 posts for more information about this blog.

A Giraffe has only two gaits:  Walking and galloping.  Walking is done by moving the legs on one side of the body at the same time, the doing the same on the other side.  A galloping giraffe is a wonderful sight to see . . .  

the hind legs move up past the front legs BEFORE the front legs move forward while the long neck and head rock 

forward and backward to maintain balance!  The obvious pose for me to choose for my first Giraffe sculpture

 would have been a standing, walking, or galloping Giraffe as I had plenty of reference material

 from my trip to Africa but I chose a recumbent pose with more Giraffe sculptures planned in the future.


Below, Note both legs going forward on the same side while going back
on the opposite side . . . similar to a pacing horse.

Below, are photos of "Recumbent Giraffe" in progress in clay, cast in bronze, and making the mold.

  

It's important for the artists to understand how and in what direction an animal's limbs are folded when they are in a recumbent position.  Typically, the limbs are arranged in such a way as to enable the species to rise with the greatest facility.  By observing wild animals in the field and photographing and sketching them, invaluable information can obviously be obtained.  However, much can be learned by studying domestic animals which are much more readily available to study and scrutinize.  For instance, a house cat has the structural arrangements - supple spine, etc - as a lion.

 Dogs resemble wolves, fox, etc;  cattle resemble bison, etc;  and goats resemble deer, Giraffe, and more.

The artist must know how the skeleton is arranged,
 how the bones articulate and identify bony landmarks and waypoints.
All quadruped skeletons are fundamentally the same but some species have limited mobility
in the reclining position.

Below, is an early work depicting a recumbent cow. . . useful observation and information for modeling wild species.

For anatomy reference, see posts #616 and #655

Go to the BLOG INDEX and Reference Page for more information.  

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

#671 Africa Portfolio 1 . . . "Recumbent Giraffe", con't

Please visit the previous blog for more information about this post.

There are some events that occur in the field that are branded in your memory for the rest of your life . . . 

in Africa, my first sight of a Giraffe in the wild remains one of the most profound animal encounters I've ever experienced.

While driving on the dusty road from Ngorogoro Crater in Tanzania to the south end of the Serengeti, we went over a rise and a Giraffe was to our left, less than 20 feet from the Land Rover.  "Twiga, said our guide in Swahile" as he stopped the truck . . . a blazing sun, low in the west backlit the magnificent Masai Giraffe (Twiga) as the magic of Africa enveloped me.  The animal advanced slowly, swinging its head and neck from side to side to keep its balance . . . looking as though it was moving in slow motion.   Without raising the camera, I simply soaked it all in . . . knowing that Africa in all its glory,
the grand, long-awaited adventure and subjects for untold future sculptures lay ahead.

Below, are photos taken of Giraffe in Tanzania.

Shown below,  are images of the clay model that was created in one sitting outdoors after our return from Africa.
I don't cast most of my one-sitting  (typically, 2 -4 hour) clay sketches but this one, I deemed worthy of bronze.

More about Giraffe and modeling recumbent animals in next Wednesday's blog.

For anatomy reference, see posts #616 and #655

Go to the BLOG INDEX and Reference Page for more information.

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

#655 Animals in motion

It's important for the artist to understand that one of the main anatomical difference between upright humans and quadruped mammals on all fours is the shape and position of the shoulder blades as outlined in the previous 3 blogs. 


Below, is the clay model of a sculpture in progress depicting running horses.

   


Unlike humans, a quadruped does not have the skeletal support of a clavicle attached to the scapula and humerus. . .

there is no collarbone [clavicle] attachment to the scapula [shoulder blades] and the scapula is not attached to the ribcage.

The weight of the front end of a quadruped is supported by sliding scapulas and the muscles that surround them.
Birds like mammals are vertebrates, they stand upright like humans, and they have a clavicle.

While the shoulder blades are not attached to the ribcage, the hips are. 

   The artist should know how the animal's skeleton is structured and how it is designed to function.

The artist must sense when to exaggerate or diminish proportions to achieve the illusion of movement.

It's the subject's gesture or movement that the artist must capture.

Don't be afraid to "stretch" a proportion to trick the viewer's eye into seeing what you want them to see!

Caliper restricted and exact measurements can result in the creation of a specimen and leave the realm of art.

Calipers and measuring devices are useful for depicting poses of the animal at ease, for blocking in the start-up,
 and especially for those times when you simply stop seeing the work . . . you know something is wrong, but what?
Measuring can get you back on track but don't forget your first impression of the animal's gesture and action . . .
 refer to your drawings or take a picture of the existing work before making too many adjustments and changes.

Note:  A great book and resource for the artist is "Animals in Motion" by Eadweard Muybridge; published by Dover.

Remember, if you know what to look for and where to expect to find it, your art immediately becomes more easily accomplished.  Since the bones of a specific species are fixed as to length and restricted as to range of movement,

they can only assume positions that are governed by the laws of mechanics. 

The first thing to be aware of is the position of the skeleton.  All of this becomes evident if you know

where to locate the scapula (shoulder blade), the humerus, elbow, wrist, pelvis, femur, knee, and the ankle.  

Go to the BLOG INDEX and Reference Page for more information.  See post #616

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

Below, is a link to a credit list of references and resources used for preparing visual images of skeletal anatomy, and structural data for the instructional portion of this blog.  This material is meant to be used for teaching information and studio reference.  Not included in the link is "Zoobooks" which is an excellent artist's resource. Additional sources will be noted when used in upcoming blogs.

Link to post #616

#648 Modeling a Moose and waypoints . . . con't

Please start with Blog # 644 for more information about this series of posts about anatomy.

Moose are the largest members of the deer family with broad, palmate antlers, long legs,
and a bulbous-shaped nose and like most quadrupeds, walk on their toes.

When I'm blocking in a sculpture of a quadruped, the first form, proportion, placement, waypoint,

 and bony landmark that I identify on my subject is always the scapula and where it joins the humerus.

I pay special attention to the silhouette on the top line caused by the the bulge of the scapula.

It is where the humerus joins the scapula that is paramount and of special interest to me when starting a block-in.
Next, the pelvic bone is considered and where the femur joins the pelvis and where the knee articulates.

Note:  In man the scapula is fixed, in quadrupeds it moves forward and backward as the animal moves.

Below, is a rough clay block-in of a moose showing waypoints and bony landmarks.
Notice, the three waypoints in the pelvic bone region"  The highest point is the top of the hipbone; the middle
is where the femur attaches to the pelvis with a ball socket joint; and the rearward waypoint is the part of the hipbone called the ischium.  As I work toward completion, I will constantly compare the clay model with the skeleton.

Notice where the scapula joins the humerus, where the humerus joins  the radius/ulna at the elbow, and where the radius/elbow joins the wrist.  Also, notice where the femur is attached to the hipbone, where the femur joins the
tibia/fibula at the knee, and where the tibia/fibula joins at the ankle.

Below, is a small clay sketch of a moose in progress, created recently in one sitting.

Below,  is a bronze casting of the small moose shown above in clay.

Below, are 2 photos taken recently in Yellowstone.

Go to the BLOG INDEX and Reference Page for more information.  See post #616 and #655

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

#647 Modeling a Grizzly and waypoints . . . con't

Start with post #644 for more information on this series of posts about anatomy.

While sculpting an animal with thick fur or hair such as a grizzly, the waypoints and bony landmarks can be hard to see . . . but the sculptor must always organize the sculpture by indicating the skeletal structure with quadruped waypoints.

The fur tracts should be studied carefully in order to avoid a shapeless mass . . . indicating waypoints prevents this.

Show where the joints articulate by breaking the fur patterns in the right place . . . even if you don't see them.

I've obtained great reference by observing and photographing grizzlies emerging from the water in Alaska.

While a bear's skeletal proportion is unique, the muscular form compares with other quadrupeds such as dogs.
The animal has a high shoulder, an up-tilted pelvis, and is heavily muscled.

Below, is a small clay model in progress of a Grizzly.

Below, an image of the above sculpture cast in bronze.

Below, is an image of the bronze sculpture, "Tail Hook".

Below, is an image of and early monumental bronze sculpture, "Chum Run".

Go to the BLOG INDEX  and Reference Page for more information.  See post #616 and #655

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

#646 Live models and comparative anatomy . . . con't

Please see the previous two blogs for more information about this post.

Before an artist can properly represent an animal in either action or at ease, an understanding

 of nature's one pattern, waypoints and bony landmarks must be understood. 

Comparative anatomy is a logical sequence of anatomical understanding and once the artist understands
the special peculiarities of various species and grasps the different characteristics of the animal, whether wild,
domestic, or even human, splendid opportunities exist for artistic expression!

Nature's one pattern, waypoints, and bony landmarks can be reviewed on the previous two blogs.  

A necessary point to remember is that our principle joints correspond to those of other mammals and birds. 

All have shoulder blades that connect to the humerus, which is attached to the radius/ulna at the elbow.
These join the bones of the wrist and hand.  There is a pelvis connected to the femur with a ball-and-socket joint . . .  

the tibia/fibula is connected to the femur at the knee and a heel, hind foot, and toes are  connected to the 

tibia/fibula at the ankle . . . all of this, common to man, mammals, and birds alike and all are vertebrates.

In man , the scapula is across the back and turned at a right angle to the plane of the body.
The scapula on a bird is covered with feathers of course and not visible . . . but, it is there.

It's not always possible for the sculptor or painter to work from live models.  Wild animal subjects such as grizzlies, 

wolves, cougars, moose, caribou, African species, etc.  are not usually available to pose for the artist.   

Much can be learned by comparing wild animal anatomy to a household pet or domestic animals that you have access to.  Begin by locating the joints (waypoints and bony landmarks) on a drawing or blocked-in clay model of your wild animal subject, then find the same joints on a pet such as your dog, cat, or horse.

The scapula or shoulder blades on quadrupeds typically stand almost upward and lean slightly in.

The scapula are easily identified by feeling down the slope of shoulder on your dog or cat to the place
where the scapula joins the end knob of the humerus . . . then follow the humerus to the elbow . . .
it is the elbow on the front limb of your dog that thrusts upward.

Next, locate the top of the hipbone and run your hand to where the femur emerges.  Then, run your hand along the femur to the knee.There's a bewildering array of shapes and proportions in the dog family . . . making them a favorite subject!

It's important to remember, that whether you're modeling a short-legged Dachshund or
 a long-legged Borzoi,  proportion is determined by the length of the skeletal bones.


"Painters paint what they see - sculptors sculpt what they know."

                                                                               - Sandy Scott

Go to the BLOG INDEX and Reference Page for more information.  See post #616 and #655

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

#645 Nature's one pattern and waypoints . . . con't

Please see the previous blog for more information about this post.

The artist who perceives nature's one pattern will realize there are significant bony landmarks or waypoints
where the skeletal structure consistently reveals itself.  These prominent waypoints
identify the location of  joints and thus movement within the mass of the body.

The artist must understand that a waypoint presents a bulge, projection, or angle on the form.   

Realizing nature's one pattern will take the mystery out of  organizing skeletal and muscle structure. 

The most important mammal bony landmarks and waypoints are:  Elbow, wrist, knee, heel, top of the humerus (shoulder), and top of the femur.  Included as waypoints are the shoulder blade (scapula), pelvic girdle, and connecting spine.

Below, is a drawing of nature's one pattern with the important waypoints identified.
Concept:  By Eliot Goldfinger.  

               Below, is a drawing of a dog with the waypoints and bony landmarks identified.

Below, the five most important waypoints on a bird are:

   1. - Wrist:  The angle where the wing breaks . . .  the primary flight feathers originate  from the      

          hand and the secondaries from the radius/ulna.   

   2. - Elbow:  The joining of the humerus to the radius/ulna causes the thickest part of the wing.

   3. - Knee:  Causes the bulge along the bird's flank . . . the femur, like the humerus is imbedded and

         covered with feathers:  Bird sculptors must understand feather groups and where they originate.

   4. - Pygostyle:  Fleshy imbedded shape where the backbone ends and where the tail feathers originate.

   5. -  Bill (or beak): - Along with the wrist and foot, one of the few hard places on the feathered bird. 

"My goal while creating sculpture, is to make sure all of the shadows fall in the right place."

                                                                                                                           - Sandy Scott

Go to the BLOG INDEX and Reference Page for more information.  See post #616 and #655

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

#612 In the studio: Cat reference

The role of reference is to inspire thoughts and give anatomical data and proportions.  I recently completed the sculpture of a Cougar shown at right which I posted on the previous blog.

Each individual animal has different shapes and characteristics that are unique to that species.  My goal is to recognize and capture that individuality and this post compares
the anatomy and proportions of large cats.  

While I've only seen a Cougar in the wild twice and both times in Wyoming from a distance, I recently
spent many hours researching the animal in my library and reference room which is attached to the studio.
Research puts me in the "zone" artistically and when I'm there I accumulate everything I can such as
drawings, photos, notes. books, video, clip file,  taxidermy, skulls . . . anything that that makes me
live, think, see, feel, dream, and understand the animal I'm working on. 

While cats such as Cheetah, Leopard, and Lion have similar anatomy, their proportions, skeleton, and behavior are very different.  For more info and anatomical and skeletal data and comparison . . . see blog #479 posted Nov. 17, 2013 thru #483.  Also refer to blog #496 posted Jan. 15, 2014.  Comparative anatomy is an important research consideration.

www.Blog#479     www.Blog # 496

I am fascinated by the motion, movement, and stealth-like behavior of North America's Cougar.

Cougars are slender, agile, secretive, solitary and considered nocturnal predators . . .
They typically hunt by stalking and ambushing and must feed exclusively on meat to survive.

They are very athletic and can jump, climb, and swim. The Cougar (Felix concolor) holds the Guinness record
for the animal with the highest number of names. It has over 40 names in English alone!  Among them:
Cougar, Mountain Lion, Puma, Panther, Jaguar, Catamount, and the list goes on!

The beautiful Cougar can weigh as much as 300 pounds and can be nine feet long including
the tail which like most cats, is used for balance.  Like all cats, the Cougar's bones are joined together very loosely
which allows extreme flexibility of the spine and scapula.  The scapula is so loosely bound to the ribs that they can push up above the spine when the animal crouches.  Cats, in general, are so supple and flexible that their
front limbs (arms) are capable of almost as many motions as our own.  There are five fingers on either hand though the thumb is smaller and higher up than the others, but on the foot, there is no dewclaw and only four toes.

Below, is the Cougar's skeletal silhouette compared to a house cat.

Much can be learned about large cats by observing your house cat.  Below, is a sculpture entitled "Preening Cat".
 Note the flexible vertebrae of the cat's back . . .  most quadrupeds, including dogs, are more
rigidly constructed and do not have the extreme flexibility of the spine.

Cats have supple and flexible bodies and move with stealth and agility.  Below, are extraordinary examples of cat sculptures by famous artists of the past.  Note the flexible spring-like spine in all works.  The first example is
"Tiger Devouring an Antelope" by Antoine Louis Barye (1796 - 1875).

Below, is "Crouching Tiger"  by Rembrandt Bugatti (1884 -1916).

Below, is an image of  "Reaching Jaguar"  by Anna Hyatt Huntington (1876 -1973) which is in our collection.

Go to the BLOG INDEX on the right for more information.  See posts #616 and 655

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

#496 In the field: Africa . . . conclusion of Part I

Please start this series of posts with #477 

This post and the next, concludes Part I of the Africa series.  I will return with Part II in a few weeks and 
introduce 10 new species.   Part I focused on 10 species:  cheetah, leopard, lion, rhino, secretary bird, ostrich, flamingo, hippo, hoopoe, and elephant.  I currently have 12 block-in sculptures of African subjects in progress 
and as the work is completed and prepared for casting, I will post images.

In conclusion, it may be useful to know how I, as a sculptor, use a camera and interpret the results in the field 
and in the studio.  A sculptor works in a much different way than a painter . . . a painter paints what they see 
and a sculptor sculpts what they know.  While a painter uses light, color, edges, value, perspective, 
and more to create an illusion on a two- diminutional surface, a sculptor creates an actual form of a 
figure that exists in space  Knowledge of structure and anatomy is a must in order to 
build the armature and assemble forms and shapes.  

Below, is a sculpture of a leopard blocked in and in progress.

As I mentioned in the last post, I prepared a sketchbook of various animal skeletons to use  in conjunction with 
the camera equipment while on safari in Tanzania.  The drawings were invaluable while observing 
animal locomotion in the field and while reviewing my digital images.  

While on the photo safari in the Serengeti, we achieved the best results by waiting and watching at watering holes in the morning and evening.  Most animals ignored us in the Land Rover and we were able to get very close to our subjects without stressing them.  Our tent camp was located inside the park so we could stay and photograph until dark.

Below,  is a photo of zebras taken at a Serengeti water hole.

While at Tarangire, our camp - Kikoti Camp - was outside the park and we had to exit by 6 p.m.  
Many great photo opportunities occurred on the drive back to camp.  

Below, are zebras at the watering hole next to Kikoti Camp.

In Tarangire, we left camp for the park at dark in the morning and were constantly on the move.  We encountered animals at almost every turn and were compelled to keep moving in our excitement.  Many times, we would see more than one species together.  

Below, is a typical image from our photo safari in Tanzania. . . several species 
in one area such  as zebra, wildebeest, and African buffalo in the distance.   

As a wildlife sculptor, I go to the field so I can work and I work so I can go to the field.

Below, is a review of several block-ins of work in progress since my return from Africa.
I will continue focusing on "in the field" photography in the next post.

For anatomy reference, go to posts #563, #616, and #655

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

     

#495 In the field: Africa . . . Elephant, con't . . .

Please start this series of posts with #477 

The most important data I took to Africa - along with my camera equipment - was a sketchbook full of skeleton drawings.   
I obtained a list the various species I could expect to see, and researched each ones' skeleton.  
The drawings proved invaluable while observing the animal's locomotion and structure. .

The elephant's skeleton must support enormous weight and mass.  The animal has an almost vertical pelvis . . . 

the short neck is almost horizontal and 21 pairs of ribs form a huge, barrel-shaped cage.  
The vertebrae are connected by tight joints which limit the backbone's flexibility.

Below, is a photo taken in Tarangire . . . note the almost vertical pelvic bone.

The elephant's limbs form a direct line and results in a pillar of support for the huge mass. . . the enormous shoulder blades provide support for muscles from the forelimbs.  As in all mammals, the elephant has 
7 neck vertebrae . . . they are, however, fused together to handle the weight of the head and tusks.

Below, is a photo taken in Tarangire . . . note the direct line from the scapula and the 
forelimb that results in a pillar of support for animal's enormous bulk.

The shape of the skull is different between the male and the female:  The female skull forms a ridge or bump over the forehead, resulting in a distinctive square-like appearance while the male has a rounded forehead.

Below, are photos taken in Tarangire.  Note the difference between the square-like ridge of the female's forehead in the first photo, and the rounded forehead of the male in the second photo.
  

Elephants cannot trot, gallop, or jump but they can move backwards and forwards.  They have two gaits:  
The walk and a faster walk which is similar to running. The fast-walk gait gives the appearance of a 'run'.  An elephant always has a leg on the ground and when it is moving fast, their front legs bounce in a running manner.  Their back legs, however, walk in a smooth manner when fast-walking.  It's hard to convince anyone who has been charged by a 5-ton elephant that the animal wasn't actually running!

Below, are three photos of a walking elephant.  I took hundreds of sequential photos similar to this of elephants in motion.  

Below, is a photo of a "fast walking" baby elephant . . . ears flying, the movement gives the appearance of 'running' but the gait is actually a fast walk.

For anatomy reference, go to posts #563, #616, and #655
Blog, text, photos, and sculpture . . . © Sandy Scott and Trish Smith