#743 "Bobwhite Quail Bookends"

"Bobwhite Quail Bookends"
8"H 15:W 6"D
Ed. 50
2,400


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

#675 Functional Art . . . bookends, con't

The serviceable function of a piece of sculpture is a time-honored and significant aspect of a sculptor's work.
Over the years, functional art such as bookends, fountains, sundials, hooks, door knockers and more
have been an important part of my portfolio and I especially enjoy designing bookends.

The figure emerging from mass has long been a favorite artistic theme and I have found that functional art such
as bookend design lends itself to this idea.  This blog depicts 4 of the many bookend designs I've created.

Below, is a design entitled 

"Golden Retriever Bookends"

8"H 13"L 6"D

3,600

Below, is one of my personal favorite bookend creations depicting a pelican.

"Pelican Bookends"

9"H 10"L 6"D

3,600

Below, is a work entitled, "Teton Tribute Bookends" which depicts moose, bison, elk, grizzly, and pronghorn.

"Teton Tribute Bookends"

13"H 14"L 8"D

3,300

My bookend designs require the suggestion of patterns and I reduce the subject to simple shapes and elements.
Even with a sculpture as complicated as "Teton Tribute",  detail can be reduced by squinting, designing with strong,
simple shapes and eliminating what's not important . . . detail.  Clarity is a must when presenting a  figure emerging
from the functional back of a bookend and I avoid unnecessary negative shapes and undercuts. . . mass is the goal.

I strive to make the figure or species recognizable from the silhouette by modeling simple, clear, and unified shapes.
I squint to make the strong shapes dominate.  Less is more and I don't weaken the design with unimportant detail.



Below,  "Quail Bookends" are an early design created in 1987 and will be included in my upcoming Retrospective.

"Quail Gamebird Bookends"

12"H 18"L 10"D

4,800

For more information about the Retrospective see Post # 651, July 12, 2015
https://www.post651

SANDY SCOTT: A RETROSPECTIVE

Traveling Museum Exhibition Produced by David J. Wagner, L.L.C.  

TOUR ITINERARY

October 1 - December 31, 2015

Center for the Arts of Bonita Springs

Bonita Springs, FL

artcenterbonita.org

January 23 - April 24, 2016

Brookgreen Gardens

Murrells Inlet, SC

brookgreen.org

June 1 - August 31, 2016

Sternberg Museum of Natural History

Fort Hays State University

Hays, KS

sternberg.fhsu.edu

October 22, 2016 - April 30, 2017

National Museum of Wildlife Art

Jackson Hole, WY

(Pending)

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

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

#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

#569 "Spirit of the Wild Things", con't . . . pelicans

Please go to the previous blog for more information about this series of posts.

It's a cold, overcast, and blustery morning at the island studio on
Lake of the Woods in Ontario . . . a perfect time for the warmth of
a birch fire and reflecting upon times past at the cabin.

Seventeen years ago, Trish and I spent the months of late summer and fall here pouring over my journals and compiling 46 stories and musings for Susan Hallsten McGarry to organize into a publication about my work entitled "Spirit of the Wild Things".  Her superb writing and editing, along with forwards by Bill Kerr and Bob Kuhn, and
essays by Robin Salmon and Brooks Joyner, resulted in a book that was introduced on the occasion of the 1998 Gilcrease Museum Retrospective of my work. 

http://www.spiritofthewildthings  

Many of the stories were inspired by time spent in Canada since my youth . . . exploring and learning.

The book chronicles early work and summarizes A lifelong love of animals and the outdoors.

Below, is another story taken from an early journal and included in the book.

Pelicans . . .  from the book entitled, "Spirit of the Wild Things - The Art of Sandy Scott".


From May to mid-October I live and 
work at the studio in my cabin.
I load up supplies and books and head 
north when the ice goes out - 
I go to my source where new and familiar 
adventure waits.  What anticipation!

When summer days of exploring are gone I'm 
always overwhelmed by memories of younger times,
yet I know that the past is as vital as the 
leaves that break down into the soil.




I note the pelican's absence and the loon's 
rich black color change to a dull gray . . . 
whispering wings fly overhead.  
The beautiful Colorado winter is waiting and 
there's work to be realized in the studio there.

The golden days are to be savored.  
Every yellow birch leaf reminds me it's 
autumn . . . it's time to close up and go south.  
Spring will come.

Below, is an image of Pelican Bookends . . . created in the early 90s.

Below, is an image of an original etching created for the back cover of Gray's Sporting Journal in 1981.

Below, are images of drawings from my sketchbook.

Below, is a photo taken yesterday across the bay from the island.  Although the color looks enhanced . . . it is not.
  The fall color this year is stunning,

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

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

#566 Art shows: "Western Visions Wild 100" . . . 2014

Last weekend the National Museum of Wildlife Art in
Jackson, Wyoming presented Western Visions Wild 100 Exhibition and Sale.  One hundred artists were chosen
this year in an event that combined well established
artists and emerging talent . . . traditional and
contemporary approaches to wildlife art were showcased
during Jackson's annual September celebration of the arts.

The exhibition closes October 26 and can be viewed online:
http://www.wildlifeart.org  

The "Wild 100" was an exciting event at one of America's most prestigious
museums and in one of our country's most beautiful places.

Below, are images of the work I exhibited in this year's show.

Moose Junction
19"H 19"W 10"D

Trail Creek Elk
13"H 14"W 9"D

Yellowstone Moose
15" x 13"

Mule Deer, Moose, Whitetail

Below, are images of Western Vision memories.
My Moose Flats sculpture is on the museum's sculpture trail . . . silhouetted above the National Elk Refuge.

Below, I'm with friends Veerla Ullberg, Don Rambadt,
Joshua Rose - publisher and editor of "Western Art Collector magazine, Lyn St. Claire, and Kent Ullberg.

Below,  Trish enjoys a cup of coffee at the artist's breakfast and in the distance are artist friends
Tucker Smith, Tim Shinabarger, Walt Matia, and Jim Morgan.

Below, Tim Shinabarger is telling me about his recent hunt in Alaska while
 Mick and Katrina Doellinger converses with Pete Zaluzek.

Below, is an image of my Presidential Eagle Monument on the
National Museum of Wildlife Art Sculpture Trail.

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

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

#556 In the studio: Clay sketches . . . outdoors

Modeling outdoors with oil based plasteline clay presents several problems for the sculptor, but the rewards are sometimes worth it.  One ingredient in plasteline is wax which is very sensitive to the heat of the sun.  Typically, if I plan to sculpt outdoors, I try to be in a place where I can find shade quickly in the event the sun has too much of an impact on the sculpture I'm working on.
Some brands of plasteline respond to the sun's warmth in a more forceful manner and are simply not suited for outdoor work if it's too hot.  I remember using a specific clay once and after leaving my sculpture outdoors in the sun, I returned to find a puddle of melted clay surrounding my pipe and wire armature!

The rewards of using a soft, buttery clay to create a spontaneous sketch can be dramatic.  The sculptor must have a
firm plan of what is to be sculpted and approach the sculpture stand with purpose.   I spend more time constructing
the armature, researching, drawing, assembling my "scrap" or reference material, and PLANNING what I'm
going to do outdoors in the sun than I actually do during the sculpting process. 

 The figurative sculptor of both the animal and human figure must have a thorough knowledge of anatomy,
structure, proportion, joint articulation - which determine waypoints -  before success can be achieved
on a quickly executed and spontaneous clay sketch.  For every 20 to 30 outdoor clay sketches I create . . .
I deem only one, perhaps, worthy of casting in bronze.   

Below, are images of a Labrador Retriever head study executed on the deck of the Colorado mountain cabin last month.
My "scrap" consisted of research photos in books from the small library at the cabin as well as interpreting
anatomy and form by using my Brittany as a model.  Also, I had the pleasure of working with a
 Lab in the studio recently, and had modeled several studies from life, resulting in a set of
Lab Bookends shown at the close of this blogpost.

  Below, the clay sketch will be completed using a model before casting.  As I mentioned earlier, not all one-sitting sketches are worthy of casting in bronze!  When I finish the piece for casting, I will attempt to retain the surface freshness by returning to the outdoors to warm the clay.

By understanding the similarities yet analyzing the differences between breeds, the sculptor can use what's at hand to make headway on a clay model.  There are times when an analytical approach works well.

Below, the head of a Brittany is wider across the dome, the skull is rounded, has a lighter, tapered muzzle and has short, high-set, triangular ears.  The Labrador Retriever has a broad skull, a thick nose, and a wide muzzle.

Lab Bookends

8"H 12"W 7"D

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

#508 Ex Libris

I love books and I love to read.

I collect books - new books, old books, and rare books . . .
about many different subjects.  My focus, however, is on art,
animals, and history.  I have a real library filled floor to
ceiling with books arranged in a peculiar system that only
I know but cannot explain.  When I shuttle a book
between the library and studio, I always return it to the
same place.  Typically, I can lay my hands on any
book at any given time and I have an uncanny way
of knowing if a book is missing or is out of place. 

 I love the feel, the weight, the smell - everything - about books. 

I love ripping cellophane off of new books and the sound of a book
being opened for the first time.  I love the pictures, illustrations,
and maps in books.  I love the bindings, marbling, bookplates,
and pressed flowers that I find in old books.

My library is a baronial-sized room that is my sanctuary,
and when I enter it, adventure is imminent.
I love the reassurance of having a book nearby,
and I'm uncomfortable in a room where there are no books. 

   Although the internet has opened a wealth of access and knowledge to "information  junkies" like me . . .
nothing will ever replace a book.
While a computer can answer specific questions
and epitomizes the ultimate reference source. . .
a book offers the surprise of discovery and may present information that one, perhaps, had not thought to ask about! 

Below, are images of my library and various studio bookcases and shelves.

What are books without bookends?  I love bookends and over the years have created over
30 different designs . . . below are samples.

Quail Gamebird Bokends

 Remembering Will James Bookends

 Reflection and Resolve Bookends

 Rooster Head Bookends

Turkey Bookends

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

#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