#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

#515 Throw on another log: Touch

The imprint of an artist's touch cast in bronze on the surface of a sculpture has a living presence, as fingerprints and tool marks are a source of fascination for the viewer.  Run your hands over the surface of a
beautifully modeled sculpture feel the form, see with your hands.

Walk around the sculpture and use your hands and eyes to feel
your way in and out of the shapes.  New forms appear at every
angle - smooth, curved shapes, vigorously modeled passages,
hard edges . . . a source of endless discovery as the sculptor leads
you throughout space, giving you an experience inspired by nature.

One Saturday afternoon at an art show I watched a father take the little hands of his blind daughter and run 

them over the surface of "Charger". . . the sculpture below.  The young girl was touching and seeing the 

animal with her hands as her father guided her.  I watched as the girl focused on what 

she was feeling and realized that she was seeing a horse for the first time.

 Charger

26"H 25"W 9"D

 Nipper

19"H 18"W 12"D

 Standing Horse

12"H 11"W 6"D

Equus Found in clay

Stars

16"H 15"W 6"D

To learn more about the subjects in this blog go to the links below.  
For a complete list of the blog index go to the Index Page and 
type the subject in the Search This Blog link on the right.

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

#507 Throw on another log . . . whisper

There really are no hard, fast rules or principles of design, 
but simplicity, harmony, and subtlety can be a guide.  
Sculpture does not have to shout - it can whisper.

It's possible to put as much, if not more, 
vitality into a sculpture of an animal in a tranquil pose as in 
one depicting violent action.  The viewer can tire of the latter.  

A work of art combines composition, proportion,
and the arrangement of shapes and form to lead
the view to an artistic conclusion.

The greatest expression is communicated through the largest shapes.
The sculptor must say as much as possible with the large forms before being concerned with detail.

There's no technique or trick that can be taught to explain how to create a good, strong shape.

The theory must be felt or sensed to be understood by both the viewer and the artist.

Just as a whisper makes one listen more closely, one looks with greater understanding at uncomplicated
sculptural statements.  Power is gained through simplicity and simple shapes tell greater truths.

Below, are sculptures of quiet poses, modeled from life . . . the style,

sentiment, and spirit was derived from the subject.

Preening Cat

Solitude

Sleepy Fox

Cougar at Ease

Eclipse

To learn more about the subjects in this blog go to the links below.  
For a complete list of the blog index go to the Index Page and 
type the subject in the Search This Blog link on the right.

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

#448 In the studio: Nature's one pattern

Nature has designed just one pattern for vertebrate mammals.
Variation in the length and shape of the bones indicate how and where an animal lives, feeds, runs,
crawls, hops, and exists on this planet.  All of the approximately 4,500 known living species of mammals
fall into one or another of 18 orders and all species can be compared to and realized by knowing one pattern.

The artist must understand the skeletal structure of animals and 

know how to use the one pattern inherent to all mammals.

Below is an image of two mammals; a human 

and a quadruped. . . showing nature's one pattern for vertebrate mammals.

Above concept, after Eliot Goldfinger.  See reference page.

Typically, the first animal figure that the art student uses as a model is the horse.
Much can be learned by understanding and using comparative anatomy to establish
correct proportion while modeling any animal.

Domestic cats can give insight into lions, cheetahs, tigers, cougars, etc.

Cats move with grace and agility, have a very flexible spine, and an excellent sense of balance.

Below, is a clay model of a cougar sculpture in progress . . . the animal uses it's long, heavy tail for balance.

Unlike most quadrupeds, a cat's shoulder blades or scapula are so loosely attached
to the ribs that they can push up above the spine when the animal crouches.


Cat in the Creamery
8"H 16"L 7"D

#447: In the studio: Live models and comparative anatomy

I use domestic animals and pets as live models.  Although we also have wild animals such as deer, pheasants, ducks, fox and more on the property, they cannot be called upon to pose when needed.  However, domestic animals can substitute for wild animals and give the artist needed information by using comparative anatomy.

Currently in residence at the Lander studio headquarters are horses, dogs, cats, rabbits, chickens, and domestic geese. A few weeks ago, in a "be careful what you wish for moment",  I expressed an interest in owning goats. Besides being an additional model,  goats are easy keepers, eat weeds, and horses like them as companions.

Last week was my birthday and I was presented with two baby goats as a gift.  I'm planning a trip to Africa this
fall and know that a quadruped, such as a goat, makes an excellent model because of the similarity to wildlife
such as antelope.

Below is a photo of my two new baby goats.

There are over 90 species of antelope in Africa . . .  owning a goat and employing comparative anatomy will offer a great alternative to the various species of antelope when I return from Africa with field drawings and photographs. Although proportion and form can be vastly different, goats have similar anatomical features as antelope and most other quadrupeds.

Below is a line drawing from my sketchbook . . . created several years ago from a live model.

Below is a sculpture completed several years ago from a live model.

Bill
8"H 10"W 3"D


All drawings and sculpture copyright Sandy Scott

#440 North Fork Descent

The imprint of an artist's touch cast in bronze on the surface of a sculpture has a living presence,

as fingerprints and tool marks are a source of fascination for the viewer.

Run your hands over the surface of a beautifully modeled sculpture - 

feel the form, see with your hands.

Walk around the sculpture and use your hands and eyes to feel your way in and out of the shapes.

New forms appear at every angle -  smooth, curved shapes, vigorously modeled passages, hard edges . . .
a source of endless discovery as the sculptor leads you through space, 

giving you an experience inspire by nature.

North Fork Descent

4600

Sculpture - copyright Sandy Scott

#439 In the studio: Style

Every artist who evolves a style does so from illusive elements that inhabit his or her visual storehouse,

but the actual breakthrough in the privacy of the studio,

when one dares to (sculpt) in a new manner,

is a solitary thrill, dependent upon no one else.

It is the individual artist who most act courageously in an effort to grow.

                                                                                                              - Mary Carroll Nelson

A person is the sum total of his or her interests, experience, knowledge and feelings.

Artists and their styles evolve naturally while searching and exploring various possibilities of design.

Style, like feelings, cannot be forced.

Sculptors develop their individual way of seeing an animal's natural characteristics.

The imprint of the artist's personality, the manner in which the animal is presented is the artist's style.

Style manifests itself as artists discover that which interests them most about the subject.

Nearly all artists have been influenced by the work of preceding artists or their contemporaries.

Awareness of great art helps artists evaluate their own work with a clearer and more discerning eye.

When you are deeply involved with and understanding your subject, an original style develops automatically.

 Coyote Clipper

9"H 17"W 6"D

All sculpture - copyright Sandy Scott

#438 In the studio: Bird anatomy, con't . . .

Please start this bird anatomy series with post #403,  March 10.

I continue to be influenced by oriental art . . . many of my compositions 

demonstrate what the Japanese refer to as "formal sparseness of design".

Asymmetrical composition and negative space allows much to be imagined by the viewer.

Spring Pride

6"H 11"W 8"D

The artist controls the visual direction and provides both movement and repose.

Simplicity and understatement allows focus on the subject . . .

an area of profusion or detail may be balanced by a sweeping passage of quiet.

All sculpture and drawings - copyright Sandy Scott

#437 In the studio: Bird anatomy, con't . . .

Please start this bird anatomy series with post #403,  March 10.

Composition is the arrangement of visual elements in a work of art, composition means "putting together."  

A good composition gives the viewer's eye both movement and repose.  

There must be an area of interest contrasted by areas of rest.

There are three main principles of composition:

1.  Composition is a harmonious arrangement of two or more elements, one of which dominates all others in interest.  
     The dominant element becomes the focal point or center of interest.

2.  There should be as few secondary elements as possible and these should be arranged to support the main interest.

3.  The position of the center of interest depends upon the feeling of balance created by the distribution of the different
     elements in the composition.

In the first box the dot is centered, static and not interesting.  This is not good composition.





In the second box, the dots are symmetrical and not interesting, and therefore not a good composition.





In the third box we're getting there.  The space seems to balance the dot.  The Japanese call this "formal sparseness of design."






The fourth box has a composition.

Hummer and Rose
10"H 4"W 4"D

Composition combines clear spatial organization and harmony . . . a simple placement of the figure in nature.

All sculpture, drawings, and etchings - copyright Sandy Scott

#436 In the studio: Bird anatomy, con't . . .

Please start this bird anatomy series with post #403,  March 10.

Negative space is a sculptor's design element and is defined by the figure's silhouette.  

Negative space is easiest to see when working in two dimensions, 
but when perceived and controlled by the sculptor, the effect is dramatic.

The sculptor should make their statement in one area and allow everything 
else to become supportive or subordinate to that statement or gesture.  
The sculptor determines what the center of interest will be and composes the elements accordingly.  
A harmonious sculpture produces unity. 

Proportion, balance, rhythm, contrast are principles of organization affecting the composition of sculpture.
Below, is a silhouette of the 16" wingspan monument entitled Presidential Eagle.
Appropriate design and concept is called for if a sculpture in produced in a grand scale. 

When designing large outdoor monuments, the dominant message 

should be conveyed to the viewer in the simplest manner. 

Above all, the sculpture should be united in a clear, logical concept.

You will realize that sculpture is not  a reproduction or 

duplicate of the animal but positive and negative 
shapes that the artist has arranged to form a design.

All drawing and sculpture, copyright Sandy Scott

#435 In the studio: Bird anatomy, con't . . .

Please start this bird anatomy series with post #403,  March 10.

Sculpture is the study of a thousand silhouettes.
                                                               - Rodin   


In sculpture, the subject represented is the positive shape.  The empty space around the subject is the negative shape.

The viewer usually does not think about or consider the shape around the sculpture.  
The sculptor, however is constantly aware of both the positive and negative shapes 
as they are a device for designing and organizing the sculpture.

The sculptor should practice designing and seeing in this way, and here's how to do it:  
Select a sculpture of an animal and direct your gaze intently on the figure itself.  
Choose a sculpture with a quiet and simple pose.  
Then, concentrate on the negative shapes or the space surrounding the sculpture.  
You must wait until your vision accepts the negative shape and think of it as a totally separate form.

Now, imagine that the sculpture vanishes.  What is left?  You will find that the negative shapes have 
become distinctive shapes in their own right, and if you focus on these shapes, they become forms.

The sculpture that you are looking at has drawn you into it visually and almost physically.  
The realization of negative shapes adds a new dimension to the image before you, adding to 
your appreciation of its beauty and content. 


Below, look at the lighted sculpture and practice seeing the negative shapes around the subject. 

Height of Land

 Shade of Paradise

 Cochin China

Gamble's Sunset

For more information about negative space see previous post, #434.

All drawings and sculpture copyright Sandy Scott.