#608 In the foundry: Patina, con't . . .

Please see the previous post and for a more in-depth discussion about patina application and 

patina recipes, go to blog #391, posted Feb.13, 2013 through blog #401, posted March 3, 2013.

The color of a bronze sculpture is called a patina and the artist's color choice can

 greatly enhance the overall emotional effect and presence of the work.

Below, are two totally different patinas used on a recent head study of an owl which demonstrates the power of color:

The cool cupric nitrate blue-green used on the first image suggests the nocturnal nature of the species while 

the warm ferric nitrate chemical used on the second image implies the bird's natural color. . .

 each one delivers a different sentiment yet the sculpture is the same!

Shown below, is the owl head sculpture being heated with a propane torch in the foundry.

The patina technician then applies ferric nitrate to the hot surface.  The more heat and chemical that is applied, 

the darker and richer the color. . . from a pale yellow to a rich orange-brown to a very dark blackish-brown.
Note:  The darks in the negatives are achieved by first applying liver of sulfur, then scrubbing the surface
with a Scotch-brite pad . . . the highlighted positives are then heated and ferric is applied.

Below, is a photo taken last year at Brookgreen Gardens in Murrell's Inlet, South Carolina, and the clay study
 of a Great-horned Owl which was modeled while teaching a bird sculpture workshop in the museum's aviary.
Note:  Brookgreen Gardens boasts the largest and most important collection of American sculpture in existence.
http://www.brookgreen.org

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

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

#583 In the Field: Birds of the North Country, con't . . .

This blog is part of a series of posts about

our island studio and cabin located on

Lake of the Woods in Ontario, Canada. 

The series starts with #568, posted

September 24 of this year.  There are

many earlier posts about the cabin that

can be seen by going to the blog index.

Much of my in the field experience and reference is gathered at the 

island studio located on Lake of the Woods.  Starting with blog #578, 

the birds of the North Country including those who remain during Ontario's frigid winter weather have been explored.  The focus 

of this blog is the different species of owls who stay

during the winter in the vicinity of my island studio.

Although we've never wintered at the cabin when the lake is frozen over,  my thoughts often go to the animals who are able to withstand the bitter cold winter months.  Owls are among the creatures who are
able to adapt to a world of wind, ice, and snow.

Among the different species of owls who remain in the frozen North Country in the Lake of the Woods region
are the Great Gray Owl, the Snowy Owl, the Northern Hawk Owl, the Northern Saw-whet Owl,
the Boreal Owl, the Barred Owl, and the Great Horned Owl.


At left above and below are photos of the Great Horned Owl.

Owls are members of the order Strigiformes, are mainly nocturnal predators, have
 distinctive forward-facing eyes which gives depth perception much like your own eyes,
 and a facial disk which helps the bird hear . . . much like a satellite dish.

Owls have the best night vision of any creature on earth allowing them to hunt in the dark.
 Interestingly, one of an owl's ear holes is higher than the other which helps the bird find prey. . .
owls have superb hearing and vision.  The tufts of feathers on some owls are not ears . . .
the ears are behind their moveable facial discs allowing hearing from different directions.
Also, an owl's wing feathers have soft, frayed edges which permits silent flight while hunting.

Below is a photo of a Barred Owl. . . a species without ear tufts.

Below, is a drawing of a Great Gray Owl . . . an enormous, secretive Northwoods owl who more than any other,
defines the Lake of the Woods coniferous forest.  I've experienced the Great Gray only a few times
while in residence at the island studio.  Once, at dusk I heard its distinctive deep hooting and was
finally able to locate it in a pine tree.  On another occasion, I saw the beautiful bird
cruising through the woods on the wing while grouse hunting.

Below, is a head study of a Great Horned Owl.  The drawing was created at the Brookgreen Gardens Aviary
and was the precursor to a sculpture demonstration for students in the workshop.

Below, is the clay model of the workshop demonstration depicting a head study of a Great Horned Owl created at the
 Brookgreen Gardens Aviary.  Also shown, is the bronze casting of the demo entitled, "Wind in the Woods".

Below, is a little acrylic painting of a Snowy Owl created in Alaska during a canoe trip on
the Noatak River recently. The Snowy does not nest in the Lake of the Woods region where my island
studio is located but moves in from its nesting area in the arctic tundra during the winter to feed.

Oil on panel

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

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

#544 Beyond my studio window . . . bird reference

I experience many wild birds at my studio headquarters in Lander, Wyoming.
On the north and east boundaries of the rural property, the Popo Agie River flows.  The beautiful river, which is a tributary of the Wind River, is home and sanctuary to many species of birds and as the seasons change, I've come to anticipate and understand when to have my camera and sketchbook close by.

My barn cat had kittens a few weeks ago which caused a Great Horned Owl to hang out in the willow tree by the studio.  The kittens survived and I was able to photograph and sketch the great bird shown at right.

My pond is a favorite nesting site for Canada Geese and other waterfowl.
There's a little island that provides a safe place for spring nesting and typically, several broods will hatch including Canada Geese, Mallards and Mergansers.  

Below, are photos taken at the pond this spring.

Below, a migrating flock of White-faced Ibis spent several days feeding in the pasture with the resident Mallards.

Pheasants are non-migratory and can be seen year around.  Below, is an image taken in the winter.

Below, the Great Blue Heron is routinely in residence at the pond.

Shown below, is a small portfolio of bird art of the subjects mentioned in this blog.

Hay Bay
19"H 25"W 14"D

 Marauder of the Night
14"H 8"W 6"D

Nesting Heron
15"H 25"W 26"D

After the Hunt

29"H 19"W 4"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

#501 Museum Shows: The Autry, con't . . .

The Autry weekend is over and below are

 images and memories of one of the most important
exhibitions of representational art in the country:
The Autry Masters.  
I enjoyed good sales, met lots of collectors and saw many old friends.






The exhibition is open Sat. Feb 1, through Sun, Mar 16, 2014

 more information start with post #498, Jan. 22 and go to

theautry.org/masters

Below, the high-relief sculpture, Hawkeye, is mounted for a wall hanging.

Below, Great Horned Owl, 5 x 7 oil on panel.

Below, are images of the new works that were introduced at the

Autry Museum's Masters of the American West Exhibition and Sale.

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

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

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

A sculptor knows that drawing strengthens observations skills.
Understanding the subject enables the sculptor to see, draw, and model the animal.
Furthermore, drawing forces careful observation causing the sculptor to
understand and know the creature.
Painters paint what they see . . . sculptors sculpt what they know.


Below, is a sculpture of an owl.
The sculptor must break the figure down into basic shapes.
Regardless of how complicated the animal appears . . . train yourself to see the big shapes first.

Marauder of the Night
14"H 8"W 6"D
Copyright - Sandy Scott

Below, is a watercolor tinted etching of an owl.
Through drawing, the sculptor transforms an intangible idea into an understood design.

Below, is a oil study of an owl, painted from life at the Brookgreen Gardens Zoo.
The sculptor must be the perpetual student . . .
and never stop experimenting, seeking, and taking chances.

All sculpture, drawings, painting, and etchings - copyright Sandy Scott

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

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

Sculpture involves the consideration of three dimensions - width, height, and depth.

                        All shapes and forms in nature can be reduced to controllable simplicity.  

The artist must think in terms of these elementary shapes and forms.  

Shapes: Shapes are 2-dimensional and have length and width

Simple shapes are the foundation of drawing, and to draw accurately we must use all these shapes - 

circles, squares, triangles, rectangles, ovals, etc - in correct relation to each other.

Simple shapes and form are the foundation of sculpture.
A sculptor learns to think in terms of these basic shapes and forms.  

Details are simply decorations on the surface of these shapes.

Form:  When depth is added to shape, it becomes form 

Typically, I begin a sculpture with drawings.
Shown below, is a preparatory drawing of a Western Screech Owl.
The artist must determine what shapes are important for identification and establish the larger shapes first.

Below, is a two hour block-in of a Western Screech Owl.
Notice the assemblage of exaggerated shapes and form . . .
drawing lines and waypoints on the clay is an effective way for the sculptor
to understand form and large masses as the sculpture develops.

Shown below, is a preparatory drawing and clay block-in of an owl's head.

A drawing can do the work of thousands of words, defining something that cannot be described in words.
Through drawing, the sculptor transfers an intangible idea into an understood design.

Shown below, is an original etching.
An etching is a drawing executed on a metal plate, then etched into the plate with acid.
The plate is covered with ink, then wiped clean allowing ink to remain in the etched lines.
Paper is placed on the inked plate and printed on a hand-pulled press.
Much more on the etching process later.

All sculpture, etchings, and drawings - copyright Sandy Scott