#733 "Westie Pup"

"Westie Pup"

5"H 8"H 6"D

Edition  100
960


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

#716 "Cat Goddess"

"Cat Goddess"

18"H 6"W 9"D

Edition 35

3,000

Trish and I have a cat named Ziggy.  She is a stray Jellico who appeared 

17 years ago on a snowy winter’s night at the studio in Wyoming.

Cats are similar in anatomy to all quadrupeds and vertebrates but have extreme 

flexibility and mobility. The cat’s forelimbs are attached to the shoulder in such 

a way that they can pass through any space into which they can fit their head.  

Interestingly unlike most mammals cats walk with a “pacing” gait.; they move two

 legs on one side of the body before the legs on the other.   When they speed up to a 

trot their gait changes to a diagonal gait similar to most other mammals.

When we get another cat, we’ll name her Pacer. 

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

#698 "Cat Nap" and "Sleepy Kitten"

"Cat Nap"
4”H 16”W 7”D
Edition 100
1,800

"Sleepy Kitten"

5”H 16”W 7”D
Edition 75
1,800

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

#574 The studio in Canada: more about making molds . . .

The previous blog is about the creation of the Cody quick-draw bull that was transported to the island studio in 

Canada last month and the clay model can be seen on that post . . .  this post follows the mold making process.  

Mold making was discussed in post # 572, October 8, 2014.  Today's post will supplement 

# 572 with additional data and tips about making flexible parting molds.  

Please review the basic mold making procedure in post # 572.

The focus of this blog includes a more in-depth presentation about SHIMMING THE RUBBER MOLD to make a parting line or seam.  While the shimming process was discussed in post #572,  this blog will include Trish's tips - based upon over 20 years of experience - for making a flexible parting mold.



Last year, Trish taught mold making in conjunction with one of my bird sculpture and anatomy workshops.
We both learned that by far, the shimming and creation of a seam line or parting line in order to open
the mold is the most difficult concept to understand for beginning students.

Simply put:  The rubber mold must be shimmed to create a parting line or seam. . . this seam is where the mold
is divided into two sides.   The mold must be parted or separated to remove the wax replica of the sculpture
after liquid wax has been poured into the mold and cooled.




At right, the Cody bull is shown with the first coat of rubber being applied. Please refer to the previous  post for information about the creation of this sculpture.


Trish's tip:  Note the rope of clay that surrounds the model on the mold board . . . this serves as a "dam" to catch the rubber before it cures and sets up.

Shown at right, two coats of rubber have been applied, have setup and cured and the mold is now ready to shim . . .
shimming is done before the third coat of rubber.

Trish's tip:  Draw lines on the sculpture to approximate where the shims will be placed and the mold will separate . . . be careful not to make the parting seam across sensitive areas - such as eyes or deep negatives - that the artist has modeled.






Shown at right, wax-coated paper cups are cut and flattened out.  The "keys" are plastic trays that pharmacists use in drugstores to hold pills.  The keys lock the two sides together.

The paper cup shim is cut into a shape that follows the figure as shown below.  Keys are  inserted into the shim by cutting a rectangle so the key fits snug.  . . use an x-acto knife here.  The key is then taped down on all sides. The shim is applied to the outside of the rubber mold along the seam and attached into the rubber with dressmaker pins.


Below, the keyed shim pieces are taped and stapled together forming a continuous seam.
A piece of sprue wax has been added between the figure's leg and tail . . . this "gate" or channel will cause the liquid wax to flow into the outer portions of the mold more effectively.
Note the wax pour spout behind the figure's left leg and centered on the belly.

Above, the shimming has been completed and the thick shim coat - coat # 3 - will be applied.
The last coat is applied after the shim coat sets up and cures.

Trish's tip:  Use the best pair of scissors you can afford . . . I use a small pair of German 
quilter's scissors and a larger pair of Case shears.

Trish's tip:  Take the extra time to do it right . . . no short cuts.  
Remember - the mold is now the original of the sculptor's creation.

Note:  Before hot, liquid wax is poured into the mold, the two sides of the rubber mold must be encased in a plaster "mother-mold" to give rigidity and support to the flexible rubber.   After the liquid wax is poured into the mold and
has cooled, the two sides must be divided or separated and the wax replica of the artist's sculpture is removed.
Making a mother-mold will be discussed at a later date.


Molding and sculpture supplies are available at Sculpture Depot in Loveland, Colorado.

http://www.sculpturedepot.net

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

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

#572 The studio in Canada: making the "First Season Promise" mold

This summer and early fall while at the island studio on
Lake of the Woods in Canada, I created a sculpture
entitled "First Season Promise".   The focus of this
blog is making a rubber mold of the sculpture.

 For more information about creating
"First Season Promise",  please go to
posts # 562 and # 563, posted on September 3
and September 7, 2014 while at the island studio in Ontario.

Below, is are images of the completed clay model of "First Season Promise".

STEPS FOR MAKING A SILICONE RUBBER PARTING MOLD

Before the sculpture can be cast in bronze, a rubber mold must be made of the original clay model.

After the mold is made, the original clay model is typically dismantled and clay is returned to the clay box for future use. 

To make a mold of a clay model sculpture for the foundry to use in the lost wax process of casting in bronze,
most mold makers employ recent technology and use silicone rubber.  We use Polytek and typically buy
5 gallons at a time . . . although it is available in a 1 gallon container.  This product does not require
a release agent and can be thickened to desired consistency with TinThix TenSil liquid additive.

Below, are images of Polytek TilSil 80-30 RTV Silcone Rubber, parts A and B.

The small white container is 70 series TinThix TenSil liquid thickener additive.

Trish is an excellent mold maker and has made my molds for many years.

Below, she carefully measures part A and part B and applies the first coat of rubber -  called the "print coat" -  to the clay model. The first coat is thinner than the other four coats, has no thickener in it, and picks up all of the surface detail.

It takes approximately 2 to 6 hours for each coat to set up . . . this cure time is dependent upon temperature and humidity.  Note the oval clay "dam" she has made to keep the thin rubber contained while it cures.

Show below,  the first coat of thin rubber has cured and set up.

Thickener is carefully measured and added to the second coat and the second coat is applied.
Each coat requires a new brush as the rubber sets up in the brush in use and must be discarded.
We use natural bristle 1" industrial grade chip brushes available at Harbor Freight.

Below, the second coat has been applied and has cured . . . it is now ready to be shimmed.

Before the third coat of rubber can be applied, the piece must be shimmed.

Shown below, is the shimming process and the application of the thick shim coat.
Shimming is necessary to part or separate both sides of the mold after wax has been
poured into the mold by the foundry.  After the wax hardens in the mold, the mold is opened and the wax replica of the sculpture is removed.  The casting process then proceeds.
Note, the "seam-marks" where the mold parted will be taken off of the wax replica by the foundry.

Below, waxed paper cups are carefully trimmed to follow the contour or edge where the mold will open or part.
Note: Be sure to use waxed-coated paper cups . . . the rubber will not release from unwaxed cups.

Below, clear plastic "keys" will hold the two sides firmly together while wax is poured into
the  mold at the foundry . . . the keys are taped and held in place by the third coat of rubber.

The wax replica of the artist's clay model is so exact that it can include the artist's fingerprints!

Below, the thick shim coat - or third coat - is being applied.

  

 Shown below all five coats have now been applied and the mold is ready to be taken off the island and go back to the Lander studio for a plaster jacket to be made . . .
the jacket will hold the rubber mold firmly in place while wax is poured into it.

Note: We do not make plaster jackets at the Canada island studio due to transporting weight, the mess, and
mainly because the algae bloom in the lake water keeps the plaster from setting up and hardening properly.

Making the plaster jacket will be posted in a future blog.
We will also follow the sculpture throughout the entire bronze casting foundry process in upcoming posts.

Molding and sculpture supplies are available at Sculpture Depot in Loveland, Colorado.

http://www.sculpturedepot.net

To learn more about the subjects 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 upper right.

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

#567 Art shows: "Buffalo Bill Art Show" . . . 2014

I attend several museum sponsored and juried art shows during the year and this weekend marked the
33rd Annual Buffalo Bill Art Show and Sale.  Held at the prestigious Buffalo Bill Historical Center in
Cody, Wyoming and surrounded by the majesty of the Greater Yellowstone Region, the celebrated art
show, sale, and quick draw is one of the West's most popular art destinations.
Buffalo Bill Museum
http://www.buffalobillartshow.com

Below, is an image of my sculpture in this year's exhibition . . . Taurus Rex

"Taurus Rex"
19"H 16"W 8"D
Ed 21
6300

Shown below, is this year's honored guest:  Jim Wilcox.  Jim is one of the West's most accomplished landscape
painters and is recognized for his depiction of the beauty of his Wyoming home . . .  the Grand Tetons.
Jim and Narda have been friends for many years and Trish and I cherish their friendship.

  

Below, are images of Friday night's auction, gala, banquet, and festivities . . . always a jam-packed and well-attended
event in a gigantic party tent on the museum grounds.  I'm shown with the popular and illustrious
Alan Simpson - former Wyoming Senator and resident of Cody; and with Dustin Payne - an accomplished
young sculptor of Western subjects who I've known since he was a child.

Collectors love the excitement of a quick draw, and the Cody show presents a fast-paced and popular event for art lovers. Saturday morning, painters and sculptors are given one hour to create a work of art and must start with blank canvas and blank armature material.  Over 40 painters and sculptors participated in this year's event.  The horn sounds and the artists have one hour to give it their best shot!  The work is then auctioned off in the party tent that afternoon.

Below, my quick draw subject this year was a bull entitled, Bullish.  Collectors love seeing the process of creating paintings and sculpture.  A quick draw must be planned carefully before starting a sculpture and modeling in front of a crowd for an hour:  The larger shapes are massed in first with an emphasis on spontaneity and elimination of unimportant detail . . .
a clear, simplified silhouette must dominate the design.

Shown below, is Jim Wilcox painting a wonderful composition with aspens.

To learn more about the subjects 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

#565 Art shows: "Birds in Art" 2014, con't . . .

Please see the previous blog for more information about Birds in Art.

After the Birds in Art exhibition closes at Leigh Yawkey Woodson Museum 
in ten weeks, a selected portion of the show will tour the following museums:

Museum of the Gulf Coast, Port Arthur, Texas (Dec 5, 2014 - Feb 15, 2015);

Arizona-Sonora Desert Museum, Tucson (Apr 4 - May 24, 2015);

The Wilder Museum, Solvang, California (Jun 13 - Aug10, 2015);

Newington-Cropsey Foundation, Hastings on the Hudson, New York (Sept. 1 - Oct 23, 2015);

Gilcrease Museum, Tulsa, Oklahoma (Nov 22, 2015 - Feb 7, 2016).

King of the Coop was selected to tour and was also purchased by the museum for its' permanent collection.

King of the Coop

18"H 18"W 7"D

Ed. 65

Retail 4,200

Birds in Art artists donate 4" X 6" paintings and drawings to a unique museum fundraiser called Project Postcard.  
The small works are offered to artists and collectors for 50.00 each and during the show they are hung together in a locked room.  No one can see them until ticket holders enter the room one at a time to view the work.  Participants 
have only one minute to make their selection and the ticket holders with the lowest number get first choice.  Artist's signatures are on the back and therefore no one knows whose work they are buying for a mere 50.00!  
The funds are used to purchase artwork for the museum's permanent collection.

Below, are images of my two Project Postcard entries. 

Below, Trish selected one of my drawings and I signed it for her as shown.

I went through the line twice and shown below are my selections.  I asked the artist, Debbie Stevens to sign her Whooping Crane painting for me and note the back of the wonderful duckling painting I purchased by Arlene Rheinish for only 50.00!

Another museum innovation involves different artists working on the same painting and then signing the back.

Shown below are Jan Martin McGuire, Chris Bacon, and Robert Bateman taking their turn working on a pelican painting 
at the Saturday festivities for the artists at Hazelhurst . . .  the Leigh Yawkey Woodson family retreat 70 miles north of Wausau on Lake Katherine.  It's my understanding that the painting will be retained by the museum for its' collection.

The hospitality put forth by the staff and volunteers at the Leigh Yawkey Woodson Museum is treasured by
all who have participated in Birds in Art over the years.  The museum continues to have the reputation
among artists who attend as the most cordial, gracious, and artist-friendly art exhibition in existence.  

http://www.lywam.org

To learn more about the subjects 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

#564 Art shows: Birds in Art 2014

The Leigh Yawkey Woodson Art Museum in Wausau, Wisconson opened its 39th annual Birds in Art Exhibition last weekend and it will run to November 16.  The prestigious show features art by 112 artists from around the world - 92 juried artists and 20 who have been named Master Artists in previous years by the museum.  Works by the Master Artists includes 15 paintings by the 2014 recipient Barry Van Dusen, who received the Master Wildlife Artist Medal during the opening weekend.

The fun-filled four days was a whirlwind of activey!  Camaraderie with fellow artists, guests, museum staff, and wonderful art, food, entertainment, and all things bird-related insured a fabulous and educational experience.

http://www.lywam.org



Below, are images and memories of the 2014 Birds in Art.

Below,  I was informed this week that "King of the Coop" has been purchased by the museum.
I'm delighted to have the sculpture be a part of the Leigh Yawkey Woodson's permanent collection.

King of the Coop

18"H 18"W 7"D

Ed. 65

Retail 4,200

Below, Trish is with Birgit and Robert Bateman at the Friday night opening gala.

Below, I'm with Maynard Reece, legendary sporting artist.

Below, Bateman gave a wonderful demo Saturday morning on the museum grounds . . .
sprinkled with good humor and his thoughts about art.

More about Birds in Art and Leigh Yawkey Woodson Museum in next Sunday's blogpost.

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

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