Whittling Away At Evil...
I've been building up the armature in clay to a point where I feel I am ready to start working on the outer later and it's details. I kept adding mass and shifting and then locked it in with a partial bake. Once dry, I'd carve parts away until it looked right. Much like the back and forth process I do with 2D painting, adding and subtracting in finer and finer tunings until I was pleased.
Enough blabbing, here's the last two phases...
Below, I am still building up the main mass and focusing on the shape as a whole:
Below is my most recent bake, I am fine tuning the shapes and starting to improvise a little. Things might look good in a sketch, but there are always some tweaks to be made once it is fully realized in three dimensions. Plus, allowing for some spontaneity add to the enjoyment for me, otherwise it can be a bit of a redundant chore.
For those curious, I have taken a snapshot of the tools I've been using with the Super Sculpey:
I hope everyone can recognize the top item, I use the toothbrush to remove dust and chips of dried Sculpey, as a dusty surface makes it hard to get additional layers to adhere.
The next two are common loops for removing soft clay, they come in various rounded and angular shapes.
Below the loops are typical clay sculpting tools, the lower one has a rubber tip, which is good for softer impressions.
Last, a classic X-Acto blade, which I use to carve the hardened clay.
In other news, the Museum has sent me a more updated list of participants (listed below). As expected with any large group projects, some have dropped out. Probably because of other obligations (work, family, etc), or perhaps they couldn't meet the deadline. I know I cut it pretty close, myself!
"Albertine // Albin // Aeron Alfrey // Sylvain Amacher // Fred Bastide // Jose Antonio Bautista // Bénédicte // Noah Berlatsky // Stephan Bersier // Bertschy // Christian Bili // Enrique Bonet // Eric Braün // Benjamin Bron // Gabriel Br. // Giacomo Carmagnola // Paul Carrick // Caza // Daniel Ceni // Jean-Michel Cholette // Gilles Christinat // Cosey // John Coulthart // Marc Da Cunha Lopes // Brendan Danielsson // Guy Davis // Antoine Déprez // René Donais // Randy DuBurke // Antoine Duplan // Kevin Evans // Léonard Felix // Deak Ferrand // Grégoire Fontana // Mathias Forbach // Fufu Frauenwahl // Fritz & Ángel Olivera // Hugues Lapaire // Stephan Gaudin // Gess // H. R. Giger // Thomas Gilbert // Goomi // Gnot Guedin // Antoine Guex // Alban Guillemois // Gwabryel // Karen Ichters // Anna-Maria Jung // Julien Kaeser // Jean-Philippe Kalonji // Thomas Koenig // Körner Union // Krum // Muriel Liénard // Guillaume Long // Denis Martin // Guillaume Mayor // Laurent Mettraux // Berivan Meyer // Yves Milet-Desfougères // Monsieur Mishimoto // Mix & Remix // Fabian Moreillon // Sebastián Mulero // Jason Murphy // Julien Noirel // Johan Nowasad // Noyau // David Paleo // Fernando Pascual // Nancy Peña // Yann Perrelet // Stéphane Pichot // Nicolas Pitz // Plonk et Replonk // Alexandre Pointet // Mark Prent // Björn Quiring // Richard Raaphorst // Nadia Raviscioni // Jeff Remmer // Émile Roduit // François Rouiller // Jérémie Royer // David Saavedra // Patrick Saradar // Rick Sardinha // Irène Schoch // Andrés Soria // Laurence Suhner // Erwann Surcouf // Olivier Texier // Jason Thompson // Tom Tirabosco // Tito // Régis Tosetti // Walder // Anne Wilsdorf //
Catalogue (128 pages, 90 illustrations) with original fiction by
Terry Bisson // David Collin // Paul Di Filippo // Eugène // Valerio Evangelisti //
Jacques Finné // Jeffrey Ford // Philippe Forêt // Pierre-Yves Lador // H. H. Løyche // James Morrow // Christopher Priest // Lucius Shepard // Norman Spinrad // Ian Watson
The exhibit will also present The Call of Cthulhu, a film by the H. P. Lovecraft Historical Society, Le cas Lovecraft, a documentary by Patrick Mario Bernard and Pierre Trividic, a radio listening station organized by Sonar/Espace 2, and a series of interactive fictions imagined by Jon Ingold (Dead Cities), Peter Nepstad (Ecdysis), David Whyld (The Cellar), Eric Forgeot, Hugo Labrande, JB, Samuel Verschelde and Jean-Luc Pontico (Lieux Communs), as well as Ruben Nieto, Juan Saldalgo, Santiago Eximeno, Javier Carrascosa and Pablo Martínez Merino (El Museo de las Consciencias)."
Until next time...
~Paul
Enough blabbing, here's the last two phases...
Below, I am still building up the main mass and focusing on the shape as a whole:
Below is my most recent bake, I am fine tuning the shapes and starting to improvise a little. Things might look good in a sketch, but there are always some tweaks to be made once it is fully realized in three dimensions. Plus, allowing for some spontaneity add to the enjoyment for me, otherwise it can be a bit of a redundant chore.
For those curious, I have taken a snapshot of the tools I've been using with the Super Sculpey:
I hope everyone can recognize the top item, I use the toothbrush to remove dust and chips of dried Sculpey, as a dusty surface makes it hard to get additional layers to adhere.
The next two are common loops for removing soft clay, they come in various rounded and angular shapes.
Below the loops are typical clay sculpting tools, the lower one has a rubber tip, which is good for softer impressions.
Last, a classic X-Acto blade, which I use to carve the hardened clay.
In other news, the Museum has sent me a more updated list of participants (listed below). As expected with any large group projects, some have dropped out. Probably because of other obligations (work, family, etc), or perhaps they couldn't meet the deadline. I know I cut it pretty close, myself!
"Albertine // Albin // Aeron Alfrey // Sylvain Amacher // Fred Bastide // Jose Antonio Bautista // Bénédicte // Noah Berlatsky // Stephan Bersier // Bertschy // Christian Bili // Enrique Bonet // Eric Braün // Benjamin Bron // Gabriel Br. // Giacomo Carmagnola // Paul Carrick // Caza // Daniel Ceni // Jean-Michel Cholette // Gilles Christinat // Cosey // John Coulthart // Marc Da Cunha Lopes // Brendan Danielsson // Guy Davis // Antoine Déprez // René Donais // Randy DuBurke // Antoine Duplan // Kevin Evans // Léonard Felix // Deak Ferrand // Grégoire Fontana // Mathias Forbach // Fufu Frauenwahl // Fritz & Ángel Olivera // Hugues Lapaire // Stephan Gaudin // Gess // H. R. Giger // Thomas Gilbert // Goomi // Gnot Guedin // Antoine Guex // Alban Guillemois // Gwabryel // Karen Ichters // Anna-Maria Jung // Julien Kaeser // Jean-Philippe Kalonji // Thomas Koenig // Körner Union // Krum // Muriel Liénard // Guillaume Long // Denis Martin // Guillaume Mayor // Laurent Mettraux // Berivan Meyer // Yves Milet-Desfougères // Monsieur Mishimoto // Mix & Remix // Fabian Moreillon // Sebastián Mulero // Jason Murphy // Julien Noirel // Johan Nowasad // Noyau // David Paleo // Fernando Pascual // Nancy Peña // Yann Perrelet // Stéphane Pichot // Nicolas Pitz // Plonk et Replonk // Alexandre Pointet // Mark Prent // Björn Quiring // Richard Raaphorst // Nadia Raviscioni // Jeff Remmer // Émile Roduit // François Rouiller // Jérémie Royer // David Saavedra // Patrick Saradar // Rick Sardinha // Irène Schoch // Andrés Soria // Laurence Suhner // Erwann Surcouf // Olivier Texier // Jason Thompson // Tom Tirabosco // Tito // Régis Tosetti // Walder // Anne Wilsdorf //
Catalogue (128 pages, 90 illustrations) with original fiction by
Terry Bisson // David Collin // Paul Di Filippo // Eugène // Valerio Evangelisti //
Jacques Finné // Jeffrey Ford // Philippe Forêt // Pierre-Yves Lador // H. H. Løyche // James Morrow // Christopher Priest // Lucius Shepard // Norman Spinrad // Ian Watson
The exhibit will also present The Call of Cthulhu, a film by the H. P. Lovecraft Historical Society, Le cas Lovecraft, a documentary by Patrick Mario Bernard and Pierre Trividic, a radio listening station organized by Sonar/Espace 2, and a series of interactive fictions imagined by Jon Ingold (Dead Cities), Peter Nepstad (Ecdysis), David Whyld (The Cellar), Eric Forgeot, Hugo Labrande, JB, Samuel Verschelde and Jean-Luc Pontico (Lieux Communs), as well as Ruben Nieto, Juan Saldalgo, Santiago Eximeno, Javier Carrascosa and Pablo Martínez Merino (El Museo de las Consciencias)."
Until next time...
~Paul
Krum's going! I had no idea!
Seriously, this some great progress, Paul. The baking seems to make your efforts pop compared to un-baked.
For the record, I do recognize the toothbrush. I use mine for much the same work, but on my teeth instead.
Reply to this
Heh! I had originally hoped that meant R. Crumb, the 60's undergound cartoonist, but I think this is a different artist. Many in the show are cartoonists, rather than illustrators or painters. Only a handful seem to have a similar style as myself. Should be a good mix.
A little tip for the hobbyists, never throw out old toothbrushes. Wash and keep them, they're great for spattery paint effects, stippled sculpture effects and stripping paint.
~Paul
Reply to this
I really like how the tentacles are coming out. Even from the photos I'm getting a strong sense of the twisting madness of Cthulhu. I can't wait to see the finished sculpture!
Reply to this
The overall movement and form is what I have been focusing on up to the point of the last photos, so I am happy to hear that the shapes give the appropriate suggestion. I am currently working on the final layer, the detail... the fun stuff! I suspect that will give folks more to comment on, as the early stages are fairly abstract.
I think this is the 100th entry!
~Paul
Reply to this
This is going to be awesome once you finish it! The sketch looks amazing.
Reply to this
Thanks (and hello again), Pat!
Speaking of it being finsihed... a friend recently asked when that might be. Though it would be wonderful to have it done and availible for purchase before I head to Europe, I just don't want to rush it. I'm enjoying it, and I want to do a good job on this... it deserves it, and I am savoring this phase. I guess I'll just know when it is done.
~Paul
Reply to this