Wildlife metal sculpture (1 Viewer)

birdpotter · Jun 24, 2005

Beak is glued on and looks decent.

Husband has the absent-minded-professor syndrome...makes for an unusual team, he and I...I fear for our son, he already loves the Dead Kennedys...familiar with them?

Best to you and thanks for the birthday greets!

elizaBeth

Hindolbittern · Jun 24, 2005

birdpotter said:
...I fear for our son, he already loves the Dead Kennedys...familiar with them?

I am familiar with their oeuvre…

Although at the time (and I am about 105 you understand), I was inevitably more of a Buzzcocks, X-Ray Specs, Clash etc girl.

*Wallows in nostalgia for a moment, gently hums the refrain of “Oh bondage - up yours!”, and returns to trying to remember where she left zimmer frame and bourbon biscuits*

birdpotter · Jun 25, 2005

Wow, you MUST be old to remember THOSE bands.. :eek!:

I am posting a couple of pictures for a woodpecker mug, per request (sorry about the poor quality images).

I will get some pictures of my finished birds soon...I haven't found the right lighting for them yet; the glaze is ultra-cool, but really hard to photograph.

Elizabeth

Hindolbittern · Jun 25, 2005

birdpotter said:
Wow, you MUST be old to remember THOSE bands.. :eek!:

I am posting a couple of pictures for a woodpecker mug, per request (sorry about the poor quality images).

I will get some pictures of my finished birds soon...I haven't found the right lighting for them yet; the glaze is ultra-cool, but really hard to photograph.

Elizabeth

Not too old to quaveringly throw my telegram from the Queen ("She ain't no human being") at you.

Love the woodpecker. I think it looks like a lino or wood cut. Have you done any printmaking?

birdpotter · Jun 25, 2005

AH HA!

I took one printmaking class when I was pregnant. It was the worst class/college semester ever. I was completely un-creative.

But yes, I love the way lino-cuts look and it is easy to mimick it in clay.

Elizabeth

Hindolbittern · Jun 25, 2005

birdpotter said:
But yes, I love the way lino-cuts look and it is easy to mimick it in clay.

Is that scrafito on the wing?

She said, whilst wading some way out of her technical depth...

If so, I guess that would explain why it looks like lino cut marks.

Oi! Because A-Ha are an 80's Norwegian pop band, arguably in the Duran Duran/Wham mould (albeit with a rather good-looking vocalist and a groundbreaking video for the time), I would contend that mention of them may be an infringement of the rules of this thread and a hijack.

Tim42 · Jun 25, 2005

:flyaway: Being a fellow artist, I like the direction you are both taking with your works! So far, I have been only working with my Paint program and have several images that I have in my gallery. Haven't done anything lately, tho'. I will work on more for future posts. Happy birding! :flyaway:

Hindolbittern · Jun 26, 2005

Tim42 said:
:flyaway: Being a fellow artist, I like the direction you are both taking with your works! So far, I have been only working with my Paint program and have several images that I have in my gallery. Haven't done anything lately, tho'. I will work on more for future posts. Happy birding! :flyaway:

Hi Tim!

Thanks for your kind words.

Computer art really sounds intriguing. Is it possible to post a link to your gallery images?

birdpotter · Jun 26, 2005

Hindolbittern said:
Is that scrafito on the wing?

She said, whilst wading some way out of her technical depth...

If so, I guess that would explain why it looks like lino cut marks.

Oi! Because A-Ha are an 80's Norwegian pop band, arguably in the Duran Duran/Wham mould (albeit with a rather good-looking vocalist and a groundbreaking video for the time), I would contend that mention of them may be an infringement of the rules of this thread and a hijack.

Yes, scrafito indeed!! Very clever of you!

You don't how I have agonized all day about A-Ha...first realizing what I wrote, then humming their all-popular tune in my head all day...especially that da-da-da-da-da...well, you KNOW what I am talking about. But I have to admit, I don't know if I would put Duran Duran and Wham into the same category...one was a poor substitute for the other, I suppose. I just can't stop liking 'Hungry like a Wolf', but, hey, my favorite band is the Beatles, so I am a bit eclectic...???? Don't stop communication just because of this one small flaw!

And thanks Tim for making us both feel that much better about our work!

Elizabeth

birdpotter · Jun 26, 2005

Oh yeah, here's some more art...

Not sure about the glaze...and the stupid little camera I have is terrible with the flash, so it isn't totally accurate, but you can get the idea. It is a fantastically strange glaze; in some light it looks all brown, in other light you can detect a tremendous range of color--reds, greens, purples. But I am just not sure about it. And this particular one, as the other three smaller ones I did in the same firing, received an insufficient cool down time, leaving gas bubbles all around the base, some at the bill and the tail. They leave an interesting texture, but are prone to breaking, leaving a very sharp surface.

Let me know if this is a good glaze or a bad glaze or a 'gosh I don't know glaze'

Best
Elizabeth

Hindolbittern · Jun 26, 2005

Wow! I have got so used to seeing them pale and matte that it’s going to take a while to get my head round the transformation. It has changed its nature from the ethereal thing to something much more imposing and “present”.

It is gorgeous and really characterful and would look so fab in a white (expensive!) gallery. Or someone’s large airy loft apartment.

I always just love the subtlety of the information in your sculpting and composition and because, as you say, it is so hard to photograph shiny surfaces and the flash, and probably the interaction of the background it's harder to concentrate on that.

Where are your thoughts on it at the moment?

I'm finding my reaction to the change really interesting. Although the glaze is really fascinating, so far, I think I am still hankering after pale and matte and can’t quite get past that yet. If you saw my house you’d know that I have got a very minimalist streak so feel free to ignore my peculiarities! And doubtless my way of looking at it is not representative of how people would look at it if they hadn't fallen in love with it once already!

I guess the whole transformation thing is something you come to terms with better when you have done a lot of potting. It must be amazing that it all happens behind the closed doors of the kiln when you can't touch or see it.

birdpotter · Jun 26, 2005

Here let me show you what I was doing before...
I used oxides and slips to create a small amount of color and a bit more description for the bird. I don't think people like them very much because I left them so raw looking. Someone could walk up to it and say it was a rush job or that I really didn't know what I was doing. They are more like completed sketches, if that makes any sense. I like them a lot. But I think I was getting a little bored...
I don't think I want something as glossy as this last one. I have one more glaze that MIGHT work as an all over glaze. It is kind of an oatmeally color with a little depth to it. Very buttery, not glossy.
This has been the hardest part, finding something that works with these pieces. I need someone else's input(yours). My husband loves my work, but he has seen these things all over the house/bakyard/studio and is used to them and it is hard for him look objectively at them any more. And most of the people from my guild are strictly functional potters and can't give me a sculptor's perspective.

It is definitely different.
Oh and sorry about the poor picture qualities(backgrounds etc). I have no place to set up a quick photo shoot, so I have just been putting things wherever. These last two pictures were taken in my studio. I actually do know how to take high quality photos of my work!

Best
Elizabeth

Hindolbittern · Jun 26, 2005

Well I like them!

You are sooo good! I know I’ve said it before, but those plinths of yours are just fantastic. I love the energy that a bit more edginess and rawness gives things. Things that are just so, so clever and skilled capture my attention for a minute or two, but once I’ve got over the virtuosity I’m often bored. It’s exactly the same with music. I like a bit of jazz sensibility and a challenge as a listener.

And if you can do that well, you don't have to keep proving that you have the basic skills. It's a given.

I almost hunger to be able to see the struggle and energy of creating the work. Something that I have to work at as a viewer I can go back to looking at time and time again and still feel stimulated.

I’m definitely keen on your thoughts of an oatmeal glaze too – sounds like a really good idea. I was looking at pots on the web this morning and found a couple of Lucy Rie pots that I was itching to share with you but I didn’t want to lead you, so didn’t post the links to them earlier. But what you are suggesting glaze-wise sounds uncannily close to the sort of thing I was envisaging.

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=27357&item=7331430856&rd=1

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=27357&item=7330851680&rd=1&ssPageName=WDVW

It is such a fine line between mulling over someone's work with them and actually sticking your oar in way further than you should!

Don’t worry about the photos of your work – they are fine. I’m enjoying the Open Studios feel of seeing them as work in progress.

I don’t really feel confident that I can get a good picture of my work, even when I’m really trying, it’s always a huge pressure. I’d almost got there with 2D pictures, but photographing these metal birds is like starting learning all over again and I haven’t yet been happy with a picture. At least with digital cameras these days it is better because you can see the results instantly and you don’t have the worry of the waste of film. Even so, I could do with having a master class laid on.

My old digital packed up so I treated myself to a Fuji S5500 and there is a lot to master.

Anyone out there got any advice on photographing art?

birdpotter · Jun 28, 2005

Hindolbittern said:
Well I like them!

You are sooo good! I know I’ve said it before, but those plinths of yours are just fantastic. I love the energy that a bit more edginess and rawness gives things. Things that are just so, so clever and skilled capture my attention for a minute or two, but once I’ve got over the virtuosity I’m often bored. It’s exactly the same with music. I like a bit of jazz sensibility and a challenge as a listener.

And if you can do that well, you don't have to keep proving that you have the basic skills. It's a given.

I almost hunger to be able to see the struggle and energy of creating the work. Something that I have to work at as a viewer I can go back to looking at time and time again and still feel stimulated.

I’m definitely keen on your thoughts of an oatmeal glaze too – sounds like a really good idea. I was looking at pots on the web this morning and found a couple of Lucy Rie pots that I was itching to share with you but I didn’t want to lead you, so didn’t post the links to them earlier. But what you are suggesting glaze-wise sounds uncannily close to the sort of thing I was envisaging.

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=27357&item=7331430856&rd=1

http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&category=27357&item=7330851680&rd=1&ssPageName=WDVW

It is such a fine line between mulling over someone's work with them and actually sticking your oar in way further than you should!

Don’t worry about the photos of your work – they are fine. I’m enjoying the Open Studios feel of seeing them as work in progress.

I don’t really feel confident that I can get a good picture of my work, even when I’m really trying, it’s always a huge pressure. I’d almost got there with 2D pictures, but photographing these metal birds is like starting learning all over again and I haven’t yet been happy with a picture. At least with digital cameras these days it is better because you can see the results instantly and you don’t have the worry of the waste of film. Even so, I could do with having a master class laid on.

My old digital packed up so I treated myself to a Fuji S5500 and there is a lot to master.

Anyone out there got any advice on photographing art?

Aww, shucks, you really know how to make a girl blush! Thanks for all the compliments. I am glad SOMEBODY out there can appreciate not only my work, but the excruciating pain I go through creating them...heh

Hey, whatever advice I can get, I will listen to. The glazes you have chosen are only slightly more white than the glaze that I have. The first one of your samples is more like what I have, with the speckles and slight variation. The glaze that I have has a bit of brown in it. I am wondering if I shouldn't put a coating of tin oxide(white color) underneath so that I can get a slightly more stark look to it. Of course, I could always make another glaze with this same recipe with less of the iron oxide... that would give me a whiter color...oh man, I have no idea what to do. I have to just keep trying. Making glazes is time consuming what with testing the glaze with a small batch and then making a larger batch...let alone making sure the glaze, once fired, is foolproof and safe for dinnerware...of course on sculptures that wouldn't matter, but you never know who is going to buy a piece, poor lemon on it and lick it...

Check out this book, "Stayin' Alive Survival Tactics for the Visual Artist" By Robin Hopper. Hopper is a well known potter and author. This book has biographies by potters and clay artists, along with chapters of starting a business, financial stuff, advertising etc(of course it also, I think, caters to N. America), but the book speaks to all visual artists. It has a pretty clear description on how to photograph your work. Both 2D and 3D.
I don't have a decent digital camera, but I have three other fantastic cameras, a couple really old...and I have tried what has been suggested in the book and it works spot on. Hang on, maybe I should just send you the info.

Best
Elizabeth

Hindolbittern · Jun 29, 2005

Oh I know the excrutiating pain of creation alright!

I've looked at Robin Hopper's (fantastic name - sounds like his Bird Forum id) book on Amazon and it is available to order in the UK but takes 4 to 6 weeks. So I've decided to treat myself and ordered it from a bookseller in the States at a cost of £10.30 plus £2.75 for postage, which I think is a bargain.

See how long it takes to get here now...

I've only ever been a "point and shoot" type of photographer so have never learnt how to use a camera to best technical effect. Hopefully Mr Robinhopper can sharpen my act up.

I've got a friend who is a professional photographer who I turn to if desperate, but it is expensive to ask him to do it even with mates-rates.

birdpotter · Jun 30, 2005

[

Good, I hope it is helpful. I like reading some of the biographies to remind me that if I keep it up, someday I will get 'there'.
My biggest problem with photographing work is finding a good spot to set it up. I have friend with the right lighting at the studio and we have some backgrounds that work, but there isn't a perfect spot there. That and the last time I took photos as a guild project, I screwed it all up by using a slightly wide-angle lense. Whoops. It would be nice to have a permanent place for photographing, so that I wouldn't have to spend two hours messing with the lighting and set-up. But I suppose if I did it enough it would become second nature. Really rather sastifying getting some good quality pics with just the right lighting and such.
I usually take my basic functional forms to a professional, who, when I first started going to her, only did portraits, but now we have worked out all the little kinks, i.e. "No, I really do prefer the neutral backdrop rather than the forest scene"- so things are working smoothly. But I have to make sure I have enough stuff to make it worth her time and my money.
How's the week going for you?

Best
Elizabeth

Hindolbittern · Jul 4, 2005

I’ve been zooming around the country the last few days so haven’t had any time to do any work. Hopefully, I can get into the studio this afternoon.

At least with the bird sculptures I’m lucky that they are small (at the moment!) so setting up a backdrop is the easy bit.

I found a second hand book in an Oxfam charity shop* at the weekend, it’s about 15 years old and part of a “teach yourself - running your own business” series, this one being aimed at visual artists. I’ve only quickly skimmed it but I think there will be some useful practical points.

For instance I leave, without a second thought, sale or return pieces at the gallery and we don’t exchange any paperwork. We verbally agreed my cut and her commission for when they sell, both made some notes, and I trotted out quite cheerily. And I have always worked that way – as I assume most people do. And I do trust her of course, if a gallery played fast and loose with an artist news would soon get round.

But the book points out that this is sloppy. Without a written agreement and receipt I’d be left in an awkward position in the (hopefully) unlikely event that the gallery fell into the sea or went bust.

Seems stupidly obvious once it’s pointed out.

So, when I’ve absorbed all that and Robinhopper’s book (once it completes its transatlantic journey) there will be no stopping me!

* http://www.makepovertyhistory.org/

birdpotter · Jul 6, 2005

Hindolbittern said:
For instance I leave, without a second thought, sale or return pieces at the gallery and we don’t exchange any paperwork. We verbally agreed my cut and her commission for when they sell, both made some notes, and I trotted out quite cheerily. And I have always worked that way – as I assume most people do. And I do trust her of course, if a gallery played fast and loose with an artist news would soon get round.

But the book points out that this is sloppy. Without a written agreement and receipt I’d be left in an awkward position in the (hopefully) unlikely event that the gallery fell into the sea or went bust.

Seems stupidly obvious once it’s pointed out.

* http://www.makepovertyhistory.org/

I just recently read the same advice somewhere (?have no idea where). I haven't approached (or been approached) by any shops, but knowing myself, I would end up using a verbal agreement also if nothing else was offered. Good to know someone out there is thinking about us artists, eh?

birdpotter · Jul 10, 2005

Here is an unfinished piece that I am terrified is going to get split open in the firing, so had to share it before I fired.
There are a couple things that bother me about it, but all in all I thoroughly thrived while working on it.

Tell me what you think, thus far.

We'll worry about the glazing later...

Best
E

June Atkinson · Jul 10, 2005

Sculptures

I have enjoyed reading this thread very much indeed.
Here in Northumberland we have an Arts Tour......in mid-summer certain artists throw open their studios so that the public can go and meet them in situ as it were. It can often encourage those who are just dipping toes into the water of creativity.

Best of luck to both of you.

Here, attached are some sculptures, taken on holidays.

A lovely metal sculpture at Whinlatter Wildlife Centre, on the west side of Bassenthwaite Lake in the Lake District. It is here that ospreys are nesting and young are about to fledge. Hence the lovely bird sculpture in metal.

These are the Golden Geese of Sarlat in the Perigord (Dordogne) region of France. Geese of course are very much the symbol of this region.

A street sculpture in the centre of Sarlat. To me , this is a very strong and powerful piece.

A street sculpture in Maastricht, Netherlands. I love this one. It is extremely senstively done. I love the little dog! And the boy is so appealing.

Having never uploaded images on BF before, I am not sure which way they will appear, so I hope you'll be able to recognise the sequence.

Wildlife metal sculpture (1 Viewer)

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