inprogress
'Big Horns Ram' (Phase 35) by Shane Wilson
August 19, 2010 Categories: Big Horns Ram, 2010
Finished, almost.
The carving is complete, including the signature on the reverse.
I have included a close up shot and one from the extreme right side (below), so that you can see how the effect was achieved in relief.
Remaining to be done: mounting on a pearl blue granite base and finishing with an acrylic spray. But first it is time to return to the partner horn and finish it to the same point.
The carving is complete, including the signature on the reverse.
I have included a close up shot and one from the extreme right side (below), so that you can see how the effect was achieved in relief.
Remaining to be done: mounting on a pearl blue granite base and finishing with an acrylic spray. But first it is time to return to the partner horn and finish it to the same point.
'Big Horns Ram' (Phase 34) by Shane Wilson
August 16, 2010 Categories: Big Horns Ram, 2010
In this phase, the negative space under the ram has been carved away, leaving the ram's rearing, abstract, silhouette.
The face and horns are marked for the final detail carving.
The horn is marked in a slightly stylized fashion to reflect the path detail.
The face and horns are marked for the final detail carving.
The horn is marked in a slightly stylized fashion to reflect the path detail.
'Big Horns Ram' (Phase 33) by Shane Wilson
August 09, 2010 Categories: Big Horns Ram, 2010
I have decided to cut out a section of the back of the horn to give more of a stylized profile of the ram as it descends from its upright reared position into its collision with the path.
The shape of the negative space will mirror the curve of the horn.
The tedious work of finishing the fine detail, strand by strand of horn fibre, is also in progress in this phase with the upper half of the horn completed.
The shape of the negative space will mirror the curve of the horn.
The tedious work of finishing the fine detail, strand by strand of horn fibre, is also in progress in this phase with the upper half of the horn completed.
'Big Horns Ram' (Phase 32) by Shane Wilson
July 26, 2010 Categories: Big Horns Ram, 2010
The full path is roughed in, now to clean up the design and put the final touches on the melted portions. I'll save the final detailing of the ram's head for last.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 31) by Shane Wilson
July 24, 2010 Categories: Big Horns Ram, 2010
The first four are done, now for the two larger ones ...
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 30) by Shane Wilson
July 23, 2010 Categories: Big Horns Ram, 2010
Continuing to work the path ...
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 29) by Shane Wilson
July 21, 2010 Categories: Big Horns Ram, 2010
In this phase, I have begun to add the raised border detail to the 'history' path.
This will involve lowering the background plane on the rest of the horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
This will involve lowering the background plane on the rest of the horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 28) by Shane Wilson
July 16, 2010 Categories: Big Horns Ram, 2010
In this phase, I have further shaped and refined the ram's head. The pathway of the past has been roughed in and more of the horn in behind the design elements of the melting path has been removed.
The inside of the horn has been cleaned up, with the top layer removed. In order to reach into the horn to address some of the carving beyond normal burr and hand piece range, I used a carbide, rounded over straight burr on an extended 1/4" shaft.
The extension adds an additional 4" of reach, but extra care is needed when using this burr with powerful high speed grinders like the Flexible Shaft Foredom. Any play in the shaft is exaggerated at 4" and the precision of the grinding is reduced considerably. For rough work, though, the extension works well.
Another consideration, especially with horn, is the tendency of the burr to get caught on the grain of the horn and cut wildly. To avoid this, a careful, brushing stroke works best. Avoid applying pressure to the burr.
(big horn sheep horn carving, big horn sheep horn sculpture)
The inside of the horn has been cleaned up, with the top layer removed. In order to reach into the horn to address some of the carving beyond normal burr and hand piece range, I used a carbide, rounded over straight burr on an extended 1/4" shaft.
The extension adds an additional 4" of reach, but extra care is needed when using this burr with powerful high speed grinders like the Flexible Shaft Foredom. Any play in the shaft is exaggerated at 4" and the precision of the grinding is reduced considerably. For rough work, though, the extension works well.
Another consideration, especially with horn, is the tendency of the burr to get caught on the grain of the horn and cut wildly. To avoid this, a careful, brushing stroke works best. Avoid applying pressure to the burr.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 27) by Shane Wilson
July 04, 2010 Categories: Big Horns Ram, 2010
The head has been further roughed out to create a 3-D impression. It remains to add the finer details.
The background has been refined around the head and the band roughed in to gauge the effectiveness of this element in the design.
(big horn sheep horn carving, big horn sheep horn sculpture)
The background has been refined around the head and the band roughed in to gauge the effectiveness of this element in the design.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 26) by Shane Wilson
July 02, 2010 Categories: Big Horns Ram, 2010
I have decided to pass the strip pattern by the portion of the design on the horns immediately behind the rear horn of both rams.
This will help fill the gap in the pattern on the 'melted' horn caused by the removal of one of the tabs of horn to allow for carving the head in greater relief.
(big horn sheep horn carving, big horn sheep horn sculpture)
This will help fill the gap in the pattern on the 'melted' horn caused by the removal of one of the tabs of horn to allow for carving the head in greater relief.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 25) by Shane Wilson
June 30, 2010 Categories: Big Horns Ram, 2010
The background has been reduced along the entire horn, lessening the impact of the background and allowing for more emphasis to be worked into the ram's head.
The overall effect is somewhat confusing visually, so I'll need to give the background design more thought before proceeding.
I'll focus on the ram's head first. Doing so may help a complementary background design to come more properly into focus.
(big horn sheep horn carving, big horn sheep horn sculpture)
The overall effect is somewhat confusing visually, so I'll need to give the background design more thought before proceeding.
I'll focus on the ram's head first. Doing so may help a complementary background design to come more properly into focus.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 24) by Shane Wilson
June 29, 2010 Categories: Big Horns Ram, 2010
There is a difficult decision to be made at this point in this carving. The detail of the melting background immediately behind the rear horn of the ram's head will need to be eliminated in order to allow a higher relief to be achieved in the rams head.
The entire subsurface arcing behind the head will also need to be reduced considerably.
(big horn sheep horn carving, big horn sheep horn sculpture)
The entire subsurface arcing behind the head will also need to be reduced considerably.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 23) by Shane Wilson
June 28, 2010 Categories: Big Horns Ram, 2010
I am now ready for the fine details on the ram's head, which have been sketched out in red coloured pencil. The idea will be to exaggerate the indented areas a little bit to create enough shadow to make the detail sing at a moderate distance.
Sheep horn is a difficult medium in which to create fine detail, since the pattern of the horn itself tends to dominate the composition.
(big horn sheep horn carving, big horn sheep horn sculpture)
Sheep horn is a difficult medium in which to create fine detail, since the pattern of the horn itself tends to dominate the composition.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 22) by Shane Wilson
June 25, 2010 Categories: Big Horns Ram, 2010
As it is important to keep working both horns at the same time, I have switched back to the 'melted' side and have begun to rough in the planes on the ram's head.
You can see the relief nature of the carving in this second photo.
(big horn sheep horn carving, big horn sheep horn sculpture)
You can see the relief nature of the carving in this second photo.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 21) by Shane Wilson
June 24, 2010 Categories: Big Horns Ram, 2010
In this phase, I have worked to refine the ram's head, adding some detail and restoring the balance and proportion using the initial reference image.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 20) by Shane Wilson
June 22, 2010 Categories: Big Horns Ram, 2010
In this phase, I have completed roughing in the broken area behind the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 19) by Shane Wilson
June 18, 2010 Categories: Big Horns Ram, 2010
In this phase, I have begun to rough out the broken area behind the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 18) by Shane Wilson
June 11, 2010 Categories: Big Horns Ram, 2010
In this phase, I have worked exclusively on the left horn.
The rearmost planes on the ram's head and body have been recessed and the horns have been established in their final positions.
The jagged background roughing in has begun above the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
The rearmost planes on the ram's head and body have been recessed and the horns have been established in their final positions.
The jagged background roughing in has begun above the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 17) by Shane Wilson
June 10, 2010 Categories: Big Horns Ram, 2010
In this phase, I thought it was time to bring both horns together to begin to even out the design over both sculptures.
I have also removed the photocopied template from the horn on the right side and identified the major planes on the ram's face.
The recessed horn on the right has also been roughed in, while the major planes are again penciled in on the left horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
I have also removed the photocopied template from the horn on the right side and identified the major planes on the ram's face.
The recessed horn on the right has also been roughed in, while the major planes are again penciled in on the left horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 16) by Shane Wilson
June 04, 2010 Categories: Big Horns Ram, 2010
In this phase, I have begun to shape the torn/melted elements to give them some life in 3D.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 15) by Shane Wilson
June 03, 2010 Categories: Big Horns Ram, 2010
In this phase, the background horn material has been reduced to create the effect of popping up the torn/melted elements.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 14) by Shane Wilson
May 31, 2010 Categories: Big Horns Ram, 2010
In this phase, the back of the horn behind the ram's was carved away to create the negative space around the head.
Following this a small 1/8" rounded over straight burr was used to create a depth outline around the melted elements.
This will enable me to remove horn around the elements to a uniform depth, creating the illusion that the horn is melting and flying apart as the ram charges through.
Large 1/4 " ball and cylinder burrs were used to remove the bulk of the horn behind the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
Following this a small 1/8" rounded over straight burr was used to create a depth outline around the melted elements.
This will enable me to remove horn around the elements to a uniform depth, creating the illusion that the horn is melting and flying apart as the ram charges through.
Large 1/4 " ball and cylinder burrs were used to remove the bulk of the horn behind the ram's head.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 13) by Shane Wilson
May 28, 2010 Categories: Big Horns Ram, 2010
I have begun to refine the outlines of the 'melted' horn and to begin clearing the horn material around the big horn sheep's head, using the same tools from the last phase with the addition of the straight, single-fluted 1/8" burr.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 12) by Shane Wilson
May 25, 2010 Categories: Big Horns Ram, 2010
The outlines of the second horn have been roughed out and plenty of horn removed using the band saw and both a 1/4" shafted ball burr on the Foredom and a rounded over 1/8" straight burr on the NSK micromotor grinder.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 11) by Shane Wilson
May 17, 2010 Categories: Big Horns Ram, 2010
The image is slowly beginning to appear. It will be necessary to remove more background material on the rear side of the ram's head, to allow the back horn to recess further, enhancing the 3D effect.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 10) by Shane Wilson
May 17, 2010 Categories: Big Horns Ram, 2010
An intermediate step. This is the beginning of the 'messy phase' when the design element is being roughed out and the artist despairs of creating something that will resemble the real thing.
It is important to stop and look during the carving process, marking the next steps carefully - in this case with a red pencil crayon.
Avoid marking the carving with permanent ink or graphite, which tend to become trapped in the fibres of the horn or antler and discolour the sculpture.
(big horn sheep horn carving, big horn sheep horn sculpture)
It is important to stop and look during the carving process, marking the next steps carefully - in this case with a red pencil crayon.
Avoid marking the carving with permanent ink or graphite, which tend to become trapped in the fibres of the horn or antler and discolour the sculpture.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 9) by Shane Wilson
May 17, 2010 Categories: Big Horns Ram, 2010
I have decided to include the candy cane element on some of the shards, indicative of their place in the path prior to the ram breaking through.
It is time to begin roughing in the ram's head. The object is to create the head in high relief to give the impression that it is breaking through on a 3/4 angle. This will not be easy as sheep heads are a marvel of weird angles and impossible curves.
As a first step, I have used a pointy burr to pierce the paper template to give some idea of the placement of the primary structures. It is very easy to lose one's way at this point, so for the next few days I'll take it slowly to allow the 3D image to build and rebuild in my mind.
(big horn sheep horn carving, big horn sheep horn sculpture)
It is time to begin roughing in the ram's head. The object is to create the head in high relief to give the impression that it is breaking through on a 3/4 angle. This will not be easy as sheep heads are a marvel of weird angles and impossible curves.
As a first step, I have used a pointy burr to pierce the paper template to give some idea of the placement of the primary structures. It is very easy to lose one's way at this point, so for the next few days I'll take it slowly to allow the 3D image to build and rebuild in my mind.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 8) by Shane Wilson
May 16, 2010 Categories: Big Horns Ram, 2010
I have begun to rough in the cracking design around the sheep head.
From the images below you get a further sense of the stock removal 'behind the scenes' to allow light through around the head, giving the impression that the ram is breaking though.
(big horn sheep horn carving, big horn sheep horn sculpture)
From the images below you get a further sense of the stock removal 'behind the scenes' to allow light through around the head, giving the impression that the ram is breaking though.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 7) by Shane Wilson
May 16, 2010 Categories: Big Horns Ram, 2010
I have begun to add back in the cracking portion of the design and an additional element, a candycane, expanding stripe, that will be incised into the horn to give the path a sense of dimension and placement in space.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 6) by Shane Wilson
May 13, 2010 Categories: Big Horns Ram, 2010
In this phase, I have cleaned up the design elements and have begun to establish the planes relative to one another.
I have also begun to work out how the negative space around the ram's head will look relative to the path it is breaking through.
The lines marking the cracks in the path have disappeared due to the removal of horn material, but they will be reapplied and carved into the horn in a future phase.
This shot shows the stock removal from the back of the horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
I have also begun to work out how the negative space around the ram's head will look relative to the path it is breaking through.
The lines marking the cracks in the path have disappeared due to the removal of horn material, but they will be reapplied and carved into the horn in a future phase.
This shot shows the stock removal from the back of the horn.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 5) by Shane Wilson
May 11, 2010 Categories: Big Horns Ram, 2010
In this phase, I have begun to rough out the design on the big horn sheep horn with the angled pattern.
(big horn sheep horn carving, big horn sheep horn sculpture)
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 4) by Shane Wilson
May 10, 2010 Categories: Big Horns Ram, 2010
When cutting out sections of the horn along the thinner base, I have found that it is better to carve the grove with a rounded over straight burr, rather than try to cut the section with a saw.
This prevents the horn from binding on the blade, which horn is prone to do.
(big horn sheep horn carving, big horn sheep horn sculpture)
This prevents the horn from binding on the blade, which horn is prone to do.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 3) by Shane Wilson
May 10, 2010 Categories: Big Horns Ram, 2010
The bandsaw was used to remove larger stock along the edges of the design.
The sheep horn catches the saw when it encounters the border between the solid outer portion and the inner pulpy section. This can be a little dangerous, so it is important to hold the horn securely.
It is possible to see how solid the horn is along the cut sections.
(big horn sheep horn carving, big horn sheep horn sculpture)
The sheep horn catches the saw when it encounters the border between the solid outer portion and the inner pulpy section. This can be a little dangerous, so it is important to hold the horn securely.
It is possible to see how solid the horn is along the cut sections.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 2) by Shane Wilson
May 07, 2010 Categories: Big Horns Ram, 2010
As so often happens, things change.
I started off with the concept of the two rams charging each other and had in mind a kind of Mobius curve, wherein each horn was carved along a path from tip to base and back up the other side, curving over on itself at the end of which the ram's head, to be realized abstractly, would be carved at the moment when the ram drops into the collision at the end of the charge.
But the more I worked the idea the more I liked the concept of the ram breaking through its own path.
The idea is synonymous with a personal journey toward maturity.
We are all the product of a history, a past, the end product (for the moment) of generations upon generations of those who have gone before. We are the product of family, culture, religion, race, on and on.
Part of becoming an adult is coming to terms with our heritage as we make our own way, not completely breaking with the past but nearly so.
These two sculptures form a set, each telling the same tale of individuation and maturity, but from the perspective of two very different personalities.
The one is cool the other hot.
The left horn shows the ram shattering its way through its path, like breaking glass or fracturing ice. The right horn shows the ram melting through its path, molten tears evident in its wake.
Angles and Curves.
Appropriately, this sculpture set has been commissioned by a proud father for his two sons, each different - both making their way in the world.
I am going to have to change the name of the sculpture set, but need to give the matter more thought.
(big horn sheep horn carving, big horn sheep horn sculpture)
I started off with the concept of the two rams charging each other and had in mind a kind of Mobius curve, wherein each horn was carved along a path from tip to base and back up the other side, curving over on itself at the end of which the ram's head, to be realized abstractly, would be carved at the moment when the ram drops into the collision at the end of the charge.
But the more I worked the idea the more I liked the concept of the ram breaking through its own path.
The idea is synonymous with a personal journey toward maturity.
We are all the product of a history, a past, the end product (for the moment) of generations upon generations of those who have gone before. We are the product of family, culture, religion, race, on and on.
Part of becoming an adult is coming to terms with our heritage as we make our own way, not completely breaking with the past but nearly so.
These two sculptures form a set, each telling the same tale of individuation and maturity, but from the perspective of two very different personalities.
The one is cool the other hot.
The left horn shows the ram shattering its way through its path, like breaking glass or fracturing ice. The right horn shows the ram melting through its path, molten tears evident in its wake.
Angles and Curves.
Appropriately, this sculpture set has been commissioned by a proud father for his two sons, each different - both making their way in the world.
I am going to have to change the name of the sculpture set, but need to give the matter more thought.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Phase 1) by Shane Wilson
April 08, 2010 Categories: Big Horns Ram, 2010
In the first phase, the outer material of the big horn sheep horn is removed.
This includes the damaged or broomed portions at the end of both horns.
Note the creamy to black coloration of the horn, with some translucence beginning to appear.
(big horn sheep horn carving, big horn sheep horn sculpture)
This includes the damaged or broomed portions at the end of both horns.
Note the creamy to black coloration of the horn, with some translucence beginning to appear.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Big Horns Ram' (Begin) by Shane Wilson
March 17, 2010 Categories: Big Horns Ram, 2010
This commission will be carved into a pair of mountain found horns from a big horn sheep who died of natural causes.
The commissioner asked to have a sheep head and abstract pattern carved into each horn, which will be given as gifts to his two sons.
For the purposes of the In Progress narrative, the horn on the left will be known as Left Horn, and the horn on the right will be known as Right Horn.
The name of the piece is a play on words between the medium and the subject matter. The horns will be carved to give the appearance, when the two horns are placed together, of two big horned sheep ramming. These are also very big thick horns, from a mature, adult, male, big horn sheep.
(big horn sheep horn carving, big horn sheep horn sculpture)
The commissioner asked to have a sheep head and abstract pattern carved into each horn, which will be given as gifts to his two sons.
For the purposes of the In Progress narrative, the horn on the left will be known as Left Horn, and the horn on the right will be known as Right Horn.
The name of the piece is a play on words between the medium and the subject matter. The horns will be carved to give the appearance, when the two horns are placed together, of two big horned sheep ramming. These are also very big thick horns, from a mature, adult, male, big horn sheep.
(big horn sheep horn carving, big horn sheep horn sculpture)
'Skullpture Series - Moose: Gaia, 2009' (In Case) by Shane Wilson (carved bronze antler sculpture)
November 20, 2009 Categories: Gaia, 2009 | Skullpture Series, 2007
The final sculpture in the Skullpture Series, Gaia, has been installed in its permanent home in the custom made display cases in the St Elias Convention Centre in Haines Junction, Yukon.
The unveiling will take place on Saturday, November 21, 2009, during a community celebration of Haines Junction's 25th year of incorporation as a municipality.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The unveiling will take place on Saturday, November 21, 2009, during a community celebration of Haines Junction's 25th year of incorporation as a municipality.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia, 2009' (Finished) by Shane Wilson (carved bronze antler sculpture)
LINKS: Gaia - Complete Work in Progress Video
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' - Photography Session with Gary Wildman
November 15, 2009 Categories: Self Portrait, 2009
Following the completion of any sculpture, it is important to have it photographed professionally.
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, photographs 'Self Portrait'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, photographs 'Self Portrait'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Skullpture Series - Moose: Gaia' - Photography Session with Gary Wildman
November 15, 2009 Categories: Gaia, 2009
Following the completion of any sculpture, it is important to have it photographed professionally.
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, lines up a photograph of 'Gaia'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
Gary Wildman, Photographer, photographs 'Gaia'
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Gary Wildman photographed 'Rest and Sing' a number of years ago and I called upon him again to photograph both 'Gaia' and 'Self Portrait.'
Gary Wildman, Photographer, lines up a photograph of 'Gaia'
Gary took the utmost care, spending hours getting the lighting and exposures just right, to perfectly capture the sculptures as digital images - not an easy thing to do!
Gary Wildman, Photographer, photographs 'Gaia'
He is a true professional and a joy to work with! Visit his website at www.wildmanphotography.com .
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 3) by Shane Wilson (carved bronze antler sculpture)
November 14, 2009 Categories: Gaia, 2009
The sculpture is complete, with the addition of the signature and title. Since the sculpture can be separated into three distinct sections, I decided to sign the sculpture in three places: on each of the carved moose antlers and on the back of the bronze moose skull.
Now to travel to Vancouver to have this carved moose antler and bronze skull sculpture called 'Gaia' photographed, then on to Whitehorse and then Haines Junction in the Yukon, where 'Gaia' will find its permanent home.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Now to travel to Vancouver to have this carved moose antler and bronze skull sculpture called 'Gaia' photographed, then on to Whitehorse and then Haines Junction in the Yukon, where 'Gaia' will find its permanent home.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 24) by Shane Wilson (carved bronze antler sculpture)
November 14, 2009 Categories: Gaia, 2009
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 23) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
The next patina to be applied is the 'Moroccan Blue', on the base and the lower portion of the moose skull. The principle component of this patina is cupric nitrate and it is applied on the hot, but not too hot, bronze surface.
In this case, I applied the patina with a large round bristle brush and both painted and flicked the patina onto the surface.
The image above shows the cupric applied to the heated bronze.
With cupric nitrate it is important to watch the heat closely so as not to scorch the patina, which would result in a rainbow coloured effect.
The second image shows the same patina after it has been quenched with water.
The metal is then reheated to remove moisture from the bronze, prior to the application of the final patina, a combination of cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide, called 'Italian Green.'
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this case, I applied the patina with a large round bristle brush and both painted and flicked the patina onto the surface.
The image above shows the cupric applied to the heated bronze.
With cupric nitrate it is important to watch the heat closely so as not to scorch the patina, which would result in a rainbow coloured effect.
The second image shows the same patina after it has been quenched with water.
The metal is then reheated to remove moisture from the bronze, prior to the application of the final patina, a combination of cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide, called 'Italian Green.'
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 22) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
The final phase of the patination process involves the application of the nitrates and oxides. The first application is of silver nitrate, dabbed on to the hot metal with a round bristle brush. The heat draws the silver nitrate from the brush, creating the ring-like patterns.
The metal is quenched with water to set the silver patina onto the bronze moose skull, then the area is rubbed back with steel wool.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The metal is quenched with water to set the silver patina onto the bronze moose skull, then the area is rubbed back with steel wool.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 21) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
Next the surface of the bronze sculpture is rubbed with #1 steel wool and the rougher recesses are scrubbed with a natural bristle brush, exposing a deep steel gray.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 20) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
The bronze is then heated slowly and evenly until hot and the colour begins to change. For a sculpture this size, a propane fired 'Tiger Torch' is advisable, on a lowered setting.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 19) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
When the Birchwood Casey has been allowed to sit on the bronze surface for 30 seconds, it is rinsed off with cold water.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 18) by Shane Wilson (carved bronze antler sculpture)
November 13, 2009 Categories: Gaia, 2009
The first step in the patination process is to determine the colour and texture of the desired look. A great book, which provides examples of patinas and their recipes, is Patinas for Silicon Bronze by Patrick Kipper.
I have chosen three different patinas for the bronze moose skull and base: 'Moroccan Blue' for the base and the lower portion of the moose skull; 'Italian Marble' for the forehead portion of the moose skull; and, 'Silver' for the mid portion of the moose skull, the raised leaf shape on the forehead and the elongated triangle which joins the base to the skull .
The first step to create these patinas is to spray the entire surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have chosen three different patinas for the bronze moose skull and base: 'Moroccan Blue' for the base and the lower portion of the moose skull; 'Italian Marble' for the forehead portion of the moose skull; and, 'Silver' for the mid portion of the moose skull, the raised leaf shape on the forehead and the elongated triangle which joins the base to the skull .
The first step to create these patinas is to spray the entire surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' 2009 (Finished) by Shane Wilson (carved musk oxen skull on jade base)
November 15, 2009 Categories: Self Portrait, 2009 | Portfolio Images
LINKS: Self Portrait - Complete Work in Progress Video
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 7) by Shane Wilson (carved musk oxen skull on jade base)
November 17, 2009 Categories: Self Portrait, 2009
The first stop in Whitehorse was Sidrock, to pick up the jade base for Self Portrait.
Sid successfully drilled the hole into the jade, but the only suitable bit size was slightly smaller than the white plastic cup prepared for the acrylic stand, so he had the cup machined to reduce its external diameter, making for a precise fit.
The jade boulder was left in its original condition, apart from the hole and some leveling on the bottom surface.
The above pictures were taken in the preparation room at the Yukon Arts Centre, prior to the unveiling.
Note how the overall colour of the piece changes with different lighting, including the reflected light from the jade boulder.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
Sid successfully drilled the hole into the jade, but the only suitable bit size was slightly smaller than the white plastic cup prepared for the acrylic stand, so he had the cup machined to reduce its external diameter, making for a precise fit.
The jade boulder was left in its original condition, apart from the hole and some leveling on the bottom surface.
The above pictures were taken in the preparation room at the Yukon Arts Centre, prior to the unveiling.
Note how the overall colour of the piece changes with different lighting, including the reflected light from the jade boulder.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 11) by Shane Wilson
November 14, 2009 Categories: Self Portrait, 2009
The final phase of the patination process involves the application of the nitrates and oxides, in this case: cupric nitrate, ferric nitrate, chromium oxide and yellow ferric oxide.
These are applied while the bronze is heated with a propane torch.
To fix the colour the surface is quenched with water, then reheated to remove the water.
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
These are applied while the bronze is heated with a propane torch.
To fix the colour the surface is quenched with water, then reheated to remove the water.
To finish the bronze sculpture is sprayed with two coats of lacquer and protected with two coats of Trewax, lightly buffed between coats.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 10) by Shane Wilson
November 13, 2009 Categories: Self Portrait, 2009
Next the surface of the bronze sculpture is rubbed with #1 steel wool and the rougher recesses are scrubbed with a natural bristle brush, exposing a deep steel gray.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 9) by Shane Wilson
November 13, 2009 Categories: Self Portrait, 2009
The next step is to rinse the bronze sculpture after about 30 seconds then heat the bronze surface slowly and evenly until hot and the colour begins to change.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 8) by Shane Wilson
November 13, 2009 Categories: Self Portrait, 2009
The first step in the patination process is to determine the colour and texture of the desired look. A great book, which provides examples of patinas and their recipes, is Patinas for Silicon Bronze by Patrick Kipper.
The patina I have chosen for the wolf skull is called 'Italian Marble'. The effect is a dark jade to emerald green over a black base coat. My intention is to reflect the colour of the jade base while retaining a dark undertone to pick up the dark tips of the musk oxen horns.
The first step to create this patina is to spray the surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The patina I have chosen for the wolf skull is called 'Italian Marble'. The effect is a dark jade to emerald green over a black base coat. My intention is to reflect the colour of the jade base while retaining a dark undertone to pick up the dark tips of the musk oxen horns.
The first step to create this patina is to spray the surface with a solution of Birchwood Casey (gun blueing) diluted 50% with distilled water. This is applied with a spray bottle onto the cold bronze surface.
You can see that the colour goes from a light copper to blue-black almost immediately.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 17) by Shane Wilson (carved bronze antler sculpture)
November 12, 2009 Categories: Gaia, 2009
For this next phase, 'sandblasting', I searched Nanaimo for a business with a glass bead blaster. Red-D-Arc Welderentals has such a case and Wade Stannard, the proprietor, agreed to allow me its use.
Shane Wilson, Sculptor, prepares to glass bead blast. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Shane Wilson, Sculptor, glass bead blasting. Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Back at the studio after sandblasting. Note the chemicals in the background, ready to be mixed and applied in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Shane Wilson, Sculptor, prepares to glass bead blast. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Shane Wilson, Sculptor, glass bead blasting. Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Back at the studio after sandblasting. Note the chemicals in the background, ready to be mixed and applied in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 7) by Shane Wilson
November 12, 2009 Categories: Self Portrait, 2009
For this next phase, 'sandblasting', I searched Nanaimo for a business with a glass bead blaster. Red-D-Arc Welderentals has such a case and Wade Stannard, the proprietor, agreed to allow me its use.
Shane Wilson, Sculptor, glass bead blasting 'Self Portrait'. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Photo by Bryan Peake
Once the bronze has been cleaned in this way, it is imperative that it not be touched by hand, since the transfer of oils will affect the uptake of the patina by the bronze.
Photo by Bryan Peake
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Shane Wilson, Sculptor, glass bead blasting 'Self Portrait'. Photo by Bryan Peake
Glass beads take the place of sand in this process and create a finer finish.
Photo by Bryan Peake
Due to the higher cost of the beads, the blasting is done in an enclosed container, so that the beads drop to the bottom of the case and are recycled.
Photo by Bryan Peake
Once the bronze has been cleaned in this way, it is imperative that it not be touched by hand, since the transfer of oils will affect the uptake of the patina by the bronze.
Photo by Bryan Peake
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 2) by Shane Wilson (carved bronze antler sculpture)
November 11, 2009 Categories: Gaia, 2009
Two of the tines have been reduced on each antler. Turns out it was necessary to reduce about 6 inches total width.
The device below, consisting of a combination wooden template and marker grid on the floor, helped to establish the actual dimensions of the case and determine cut lines on the tines.
I'll be bringing one of my NSK micromotor grinders to make final adjustments should they be necessary, once the sculpture is mounted in the permanent display case.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The device below, consisting of a combination wooden template and marker grid on the floor, helped to establish the actual dimensions of the case and determine cut lines on the tines.
I'll be bringing one of my NSK micromotor grinders to make final adjustments should they be necessary, once the sculpture is mounted in the permanent display case.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Whole - Phase 1) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia, 2009
Both moose antlers are now fitted to the bronze moose skull.
The case that has been prepared for this sculpture, prior to the creation of the piece, measures 43 1/8" across. Now that I know exactly how wide the sculpture really is, I have discovered that I will need to trim about 3" from the width.
This will mean reducing the length of the outermost tines on both sides.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The case that has been prepared for this sculpture, prior to the creation of the piece, measures 43 1/8" across. Now that I know exactly how wide the sculpture really is, I have discovered that I will need to trim about 3" from the width.
This will mean reducing the length of the outermost tines on both sides.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 16) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia, 2009
The initial trial fitting has proven successful between the left moose antler and bronze moose skull.
The combination of the male/female fit and the rare earth magnet hold the antler and skull together!
This is no mean feat, since the downward force of the antler, out and away from the moose skull, is considerable.
I was very apprehensive about this stage, wondering if indeed the system would work.
I'll spend a few more hours refining the leveling and fit on both sides, before moving on to the next stage, sandblasting and applying the patina!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The combination of the male/female fit and the rare earth magnet hold the antler and skull together!
This is no mean feat, since the downward force of the antler, out and away from the moose skull, is considerable.
I was very apprehensive about this stage, wondering if indeed the system would work.
I'll spend a few more hours refining the leveling and fit on both sides, before moving on to the next stage, sandblasting and applying the patina!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 15) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia, 2009
Given both the outer dimensions of the male portion and the depth it will penetrate the antler, it is possible to calculate and carve out the negative space in the moose antler butt.
It is necessary to add the thickness of the magnet and washer to the height of the carved bronze square, and add the thickness of the special steel magnet washer (sold with the magnet and calculated to provide the maximum attractive surface).
The depth of the cut is established by drilling pilot holes to the appropriate depth.
The magnet washer is then attached to the antler with a flat head, stainless steel wood screw. When I am satisfied with the fit, the washer will be epoxied into each antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It is necessary to add the thickness of the magnet and washer to the height of the carved bronze square, and add the thickness of the special steel magnet washer (sold with the magnet and calculated to provide the maximum attractive surface).
The depth of the cut is established by drilling pilot holes to the appropriate depth.
The magnet washer is then attached to the antler with a flat head, stainless steel wood screw. When I am satisfied with the fit, the washer will be epoxied into each antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 14) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia, 2009
The bronze skull has been drilled to mount the 1" rare earth magnet (Lee Valley Tools).
I have used a brass washer under the magnet to separate the stainless steel from the bronze to prevent the two metals from reacting with each other.
The rare earth magnet is fastened to the skull with a brass machine screw, washers and bolt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have used a brass washer under the magnet to separate the stainless steel from the bronze to prevent the two metals from reacting with each other.
The rare earth magnet is fastened to the skull with a brass machine screw, washers and bolt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 13) by Shane Wilson (carved bronze antler sculpture)
November 10, 2009 Categories: Gaia, 2009
In this phase, the square male portion has been rough carved onto the skull, calculating the dimensions by eye.
It will need to be leveled and trued to form a close fit with the moose antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It will need to be leveled and trued to form a close fit with the moose antler butt.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 12) by Shane Wilson (carved bronze antler sculpture)
November 09, 2009 Categories: Gaia, 2009
I have decided to use a square shape, cut into the bronze moose skull, to act as the male portion of the fit between antler and skull.
It is important to check whether the size and shape of the male fitting can be cut into the antler butt without jeopardizing the structural integrity of the antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
It is important to check whether the size and shape of the male fitting can be cut into the antler butt without jeopardizing the structural integrity of the antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 11) by Shane Wilson (carved bronze antler sculpture)
November 07, 2009 Categories: Gaia, 2009
Heavy, heavy work! The chasing process on the moose skull is now nearly complete.
During the grinding portion of the chasing process, the flexible shaft on the Foredom H Series snapped under the strain. Fortunately I have two S Series models as back up!
I used 1/4" carbide, double fluted burrs to grind and smooth the surface, then sanded the entire sculpture with an angle grinder and flap wheel disk.
The next step involves fitting the bronze skull to the moose antlers and then installing the rare earth magnets.
Once this is finished, the whole will be sanded again, then sandblasted and the patina applied. I'm still not sure what colour that will be ...
(moose antler bronze skull carving, moose antler bronze skull sculpture)
During the grinding portion of the chasing process, the flexible shaft on the Foredom H Series snapped under the strain. Fortunately I have two S Series models as back up!
I used 1/4" carbide, double fluted burrs to grind and smooth the surface, then sanded the entire sculpture with an angle grinder and flap wheel disk.
The next step involves fitting the bronze skull to the moose antlers and then installing the rare earth magnets.
Once this is finished, the whole will be sanded again, then sandblasted and the patina applied. I'm still not sure what colour that will be ...
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 6) by Shane Wilson
November 04, 2009 Categories: Self Portrait, 2009
The chasing process is complete. The bronze appears in its natural colour.
I used a variety of carbide, double fluted burrs and diamond burrs to remove irregularities in the surface and finish the 'carving' process.
The surface was sanded with various flap wheels mounted on the 1/2 HP Foredom Flexible Shaft Grinder.
The next step is to prepare the surface to receive the patina. This will involve sandblasting the bronze to remove oils and impurities that are residual from the casting and chasing processes.
Because the natural colouration of the bronze is similar to the musk oxen horn, with which it will be displayed, my plan is to apply a basic blue-black patina and then scrub it back to reveal the natural bronze highlights.
The blue-black colour will create magnificent shadows and bring out the three dimensionality of the sculpture.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I used a variety of carbide, double fluted burrs and diamond burrs to remove irregularities in the surface and finish the 'carving' process.
The surface was sanded with various flap wheels mounted on the 1/2 HP Foredom Flexible Shaft Grinder.
The next step is to prepare the surface to receive the patina. This will involve sandblasting the bronze to remove oils and impurities that are residual from the casting and chasing processes.
Because the natural colouration of the bronze is similar to the musk oxen horn, with which it will be displayed, my plan is to apply a basic blue-black patina and then scrub it back to reveal the natural bronze highlights.
The blue-black colour will create magnificent shadows and bring out the three dimensionality of the sculpture.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 10) by Shane Wilson (carved bronze antler sculpture)
October 23, 2009 Categories: Gaia, 2009
The moose skull portion has returned from the foundry and is ready to be chased and patinated.
Notice the nubs where the sprues have been removed. These will be ground down and disappear entirely during the chasing process.
The discolouration due to the welding process, where the moose skull was affixed to the base, will also be removed during the chasing process.
The join between the base post and the skull will appear to be seamless in the finished work.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Notice the nubs where the sprues have been removed. These will be ground down and disappear entirely during the chasing process.
The discolouration due to the welding process, where the moose skull was affixed to the base, will also be removed during the chasing process.
The join between the base post and the skull will appear to be seamless in the finished work.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 11) by Shane Wilson (carved bronze antler sculpture)
October 29, 2009 Categories: Gaia, 2009
The right moose antler is nearing completion. The design elements are now fully carved.
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
The butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
I am considering the idea of naming the sculpture "Gaia", after the theory of a living earth propounded by James Lovelock.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
The butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
I am considering the idea of naming the sculpture "Gaia", after the theory of a living earth propounded by James Lovelock.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 10) by Shane Wilson (carved bronze antler sculpture)
October 22, 2009 Categories: Gaia, 2009
The carving seems to be designing itself as I go along. As the other half has become a flowing tapestry of life, particularly marine life, this half has adopted a linear, modern, industrial/technical feel.
Lately, I have been wondering about my longstanding preoccupation with the theme of duality, as reflected in the curves and angles of my sculpture.
The theme of duality represents polar opposite aspects of the human condition: left-right, rational-spiritual, capitalism-socialism, synthetic-natural, fundamentalism-freedom, complexity-simplicity, wealth-poverty, light-dark, us-them, open-closed, off-on, and so on.
It is hard to name an issue, problem, or topic where there isn't controversy or polarization.
But why do these aspects of duality, represented by curved and angled shapes, seem to want to appear together in my sculpture, creating a new, integrated form?
Perhaps the integration of opposites in my sculpture suggests an approach to resolving the dilemmas we face in our time: a holding together of opposite points of view or approaches within one solution.
One of the great problems we face today is human generated climate heating, predicted to adversely affect everyone and everything on Earth.
The integrative approach suggests the solution to climate heating will be found in both nature and technology, working together.
The climate crisis offers humanity the potential for a new beginning: a symbiotic relationship with all other living organisms and the planet itself.
That's a lot of freight for a few angles and curves in bone and bronze!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Lately, I have been wondering about my longstanding preoccupation with the theme of duality, as reflected in the curves and angles of my sculpture.
The theme of duality represents polar opposite aspects of the human condition: left-right, rational-spiritual, capitalism-socialism, synthetic-natural, fundamentalism-freedom, complexity-simplicity, wealth-poverty, light-dark, us-them, open-closed, off-on, and so on.
It is hard to name an issue, problem, or topic where there isn't controversy or polarization.
But why do these aspects of duality, represented by curved and angled shapes, seem to want to appear together in my sculpture, creating a new, integrated form?
Perhaps the integration of opposites in my sculpture suggests an approach to resolving the dilemmas we face in our time: a holding together of opposite points of view or approaches within one solution.
One of the great problems we face today is human generated climate heating, predicted to adversely affect everyone and everything on Earth.
The integrative approach suggests the solution to climate heating will be found in both nature and technology, working together.
The climate crisis offers humanity the potential for a new beginning: a symbiotic relationship with all other living organisms and the planet itself.
That's a lot of freight for a few angles and curves in bone and bronze!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Full Musk Oxen Horn - Final Phase) by Shane Wilson
October 21, 2009 Categories: Self Portrait, 2009
The final phase of work on the musk ox horns is complete.
The detailed carving on the right horn is finished and the horn sanded to about 320 grit with flap wheels mounted on the Foredom H Series grinder. It was also necessary to clean the horn with a damp cloth to remove residue from the stand making process.
Compressed air was used to remove carving debris and dust from the recesses of the carved horn and bone, then a few coats of lacquer were applied (from a spray can).
The lacquer seals and protects the surface of the carving and enables the wonderful translucent properties of the musk ox horn.
The last portion of this sculpture to be completed will be the bronze wolf skull, which needs to be chased and patinated.
(musk ox horn carving, musk ox horn sculpture)
The detailed carving on the right horn is finished and the horn sanded to about 320 grit with flap wheels mounted on the Foredom H Series grinder. It was also necessary to clean the horn with a damp cloth to remove residue from the stand making process.
Compressed air was used to remove carving debris and dust from the recesses of the carved horn and bone, then a few coats of lacquer were applied (from a spray can).
The lacquer seals and protects the surface of the carving and enables the wonderful translucent properties of the musk ox horn.
The last portion of this sculpture to be completed will be the bronze wolf skull, which needs to be chased and patinated.
(musk ox horn carving, musk ox horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 4) by Shane Wilson
February 06, 2009 Categories: Self Portrait, 2009
In this phase, the design elements were carved to establish their position, relative to each other and to the background. Most shapes have been refined. A few of the shapes have been removed to allow for the surrounding shapes to 'breathe'. This serves to enhance the feeling of depth in the work. It is sometimes difficult to determine the optimum shape density in the design phase, so edits occur during the carving phases, when it possible to see the 3-D effect more clearly.
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Left Musk Oxen Horn - Phase 5) by Shane Wilson
January 17, 2009 Categories: Self Portrait, 2009
In this phase, I have finished refining the left horn. There may seem to be little change from Phase 4, but the difference between the phases represents about 40 carving hours, primarily concentrated on the fine detail work, including the cleaning up of angles, lines and the smoothing of surfaces.
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Left Musk Oxen Horn - Phase 4) by Shane Wilson
November 24, 2008 Categories: Self Portrait, 2009
In this phase, I have continued to refine the shapes in relation to each other and to work the base level around the horn.
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Bronze Wolf Skull - Phase 5) by Shane Wilson
September 30, 2008 Categories: Self Portrait, 2009
The wax has been cast in bronze by 'In Bronze' based in Langley, B.C. The final grinding (chasing) and finishing (patina) have yet to be done. I'll complete the carving of the horns before going further on the skull, in order to ensure that the skull's design remains consistent with the overall design.
LINKS: Work in Progress Video
LINKS: Work in Progress Video
'Self Portrait' (Right Musk Oxen Horn - Phase 3) by Shane Wilson
January 23, 2009 Categories: Self Portrait, 2009
I have begun to deepen the background on the right horn to match the depth on the left horn. This will enable the pattern to stand out in high relief, once it is carved.
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
LINKS: Work in Progress Video
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 6) by Shane Wilson (carved musk oxen skull on jade base)
October 04, 2009 Categories: Self Portrait, 2009
The acrylic stand is now complete, so I travelled to Vancouver today to pick it up and was absolutely thrilled with how it turned out.
Robert Spicer, Associated Plastics, with "Self Portrait" and the acrylic stand he created
Robert Spicer created the minimalist stand to be virtually invisible, while getting the job done positioning two heavy, irregular objects, fixed in space relative to each other. The effect of the bronze wolf skull appearing to float above the musk ox horns has been achieved.
Robert Spicer, adjusting the acrylic stand for the carved bronze and musk ox horn sculpture "Self Portrait"
Robert reports having extensive experience building displays for a variety of venues and museums, including the National Gallery in Ottawa, and says that this project was by far his most difficult project to date.
The cardboard template, seen at the top of the picture above, will now be marked and sent to Sidrock, where the nylon receiving cup will be inserted into the jade boulder base.
To see how the stand works, check out the video below, which I have included primarily for the benefit of the curatorial staff at the Yukon Art Centre Gallery, where the sculpture will reside as a permanent donation.
LINKS: Instructional Video for Installing Sculpture on Stand
NOTE: Podcasts will no longer be available on iTunes. All material has been moved to YouTube where clips can be viewed and downloaded.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
Robert Spicer, Associated Plastics, with "Self Portrait" and the acrylic stand he created
Robert Spicer created the minimalist stand to be virtually invisible, while getting the job done positioning two heavy, irregular objects, fixed in space relative to each other. The effect of the bronze wolf skull appearing to float above the musk ox horns has been achieved.
Robert Spicer, adjusting the acrylic stand for the carved bronze and musk ox horn sculpture "Self Portrait"
Robert reports having extensive experience building displays for a variety of venues and museums, including the National Gallery in Ottawa, and says that this project was by far his most difficult project to date.
The cardboard template, seen at the top of the picture above, will now be marked and sent to Sidrock, where the nylon receiving cup will be inserted into the jade boulder base.
To see how the stand works, check out the video below, which I have included primarily for the benefit of the curatorial staff at the Yukon Art Centre Gallery, where the sculpture will reside as a permanent donation.
LINKS: Instructional Video for Installing Sculpture on Stand
NOTE: Podcasts will no longer be available on iTunes. All material has been moved to YouTube where clips can be viewed and downloaded.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 5) by Shane Wilson (carved musk oxen skull on jade base)
September 29, 2009 Categories: Self Portrait, 2009
Associated Plastics forwarded these shots to establish the correct position of the bronze skull above the carved musk ox horns.
They nailed it this time!
Once the acrylic has been cut and adhered to the column, it will be rounded over and polished.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
They nailed it this time!
Once the acrylic has been cut and adhered to the column, it will be rounded over and polished.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 4) by Shane Wilson (carved musk oxen skull on jade base)
September 23, 2009 Categories: Self Portrait, 2009
In this phase the design of the acrylic stand has been further worked to include the modifications we discussed last time.
You can see that the mount for the bronze skull has been modified to extend it out from the acrylic column and a device has been created to hold the skull in place from within.
Pins have been substituted for screws in the portion of the stand that clamps onto the musk oxen horns.
Also, the extension has been shortened to reposition the horns closer to the acrylic column.
The only modification remaining is to correctly position the bronze wolf skull over the musk oxen horns.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
You can see that the mount for the bronze skull has been modified to extend it out from the acrylic column and a device has been created to hold the skull in place from within.
Pins have been substituted for screws in the portion of the stand that clamps onto the musk oxen horns.
Also, the extension has been shortened to reposition the horns closer to the acrylic column.
The only modification remaining is to correctly position the bronze wolf skull over the musk oxen horns.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 14) by Shane Wilson (carved bronze antler sculpture)
October 01, 2009 Categories: Gaia, 2009
The left moose antler is nearing completion. The design elements are now fully carved.
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
Once the bronze moose skull returns from the foundry, the butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
What remains is a once over to clean and sand the antler, smooth out the edges on the back of the antler that intersect with the design and then polish the whole.
Once the bronze moose skull returns from the foundry, the butt of the antler will be fitted to the skull and equipped with rare earth magnets to form a non-permanent, but solid, connection with the skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 13) by Shane Wilson (carved bronze antler sculpture)
September 29, 2009 Categories: Gaia, 2009
In this phase, the carving of shape and detail has been extended into the midsection of the left moose antler (seen upside down).
Several decisions were made concerning design elements to be kept, changed or lost during the carving process. Can you spot them?
In order to work the surface to create a smooth appearance, the 1/8" rounded over cone, high speed steel burr, from Dremel was used.
To create sharp edges and borders, I used the 1/8" expanded cylinder high speed steel burr, also from Dremel.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Several decisions were made concerning design elements to be kept, changed or lost during the carving process. Can you spot them?
In order to work the surface to create a smooth appearance, the 1/8" rounded over cone, high speed steel burr, from Dremel was used.
To create sharp edges and borders, I used the 1/8" expanded cylinder high speed steel burr, also from Dremel.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 12) by Shane Wilson (carved bronze antler sculpture)
September 26, 2009 Categories: Gaia, 2009
I have worked the lower portion of the left moose antler, refining the design and bringing the carving near to its final stage.
The design attempts to make use of the massive thickness of antler in this section for shape and contour, while making it seem, at the same time, as light as air.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 11) by Shane Wilson (carved bronze antler sculpture)
September 22, 2009 Categories: Gaia, 2009
In this phase the lower portion of the left moose antler has been carved, further roughing out the design while feeling my way along to the proper placement of the various shapes relative to each other.
Since this area will project towards the viewer, it is important to consider how the design will look not only from above but also from the front.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Since this area will project towards the viewer, it is important to consider how the design will look not only from above but also from the front.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 9) by Shane Wilson (carved bronze antler sculpture)
September 19, 2009 Categories: Gaia, 2009
In this phase, I have gone over the whole surface of the antler to refine the shapes and smooth the surfaces.
The principle tool used was the NSK EMax with 1/8" cone and rounded over straight burrs.
For the refinements to the outline of the sculpture along the moose antler tines, I used the larger 1/4" straight burr on the S Series Foredom.
I had to be careful while using the Foredom, to keep the flexible shaft in as open a curve as possible to avoid stress on the inner wire. There were occasions where I need to bend the shaft in an acute manner for brief periods, so it was necessary to monitor the sheathing for overheating.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The principle tool used was the NSK EMax with 1/8" cone and rounded over straight burrs.
For the refinements to the outline of the sculpture along the moose antler tines, I used the larger 1/4" straight burr on the S Series Foredom.
I had to be careful while using the Foredom, to keep the flexible shaft in as open a curve as possible to avoid stress on the inner wire. There were occasions where I need to bend the shaft in an acute manner for brief periods, so it was necessary to monitor the sheathing for overheating.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 8) by Shane Wilson (carved bronze antler sculpture)
September 16, 2009 Categories: Gaia, 2009
In this phase, I have returned to the right antler to finish roughing out the lower moose antler palm and the central section which joins the antler palms.
The diamonds and spheres or 'bubbles' have been positioned in and around the borders in the central section. Due to the thickness of the moose antler at this point, the effort required to rough in these shapes has been considerable.
Note that three of the tines have been trimmed for consistency of design. They will be shaped later so as not to be noticeable as cut.
The angular theme is carried out onto the bottom moose antler palm, with some curvy accents.
The Foredom S Series with a variety of 1/4" burrs with the addition of the NSK Electer and 1/8" and 3/32" burrs were used to rough out and do the preliminary cleaning in this phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The diamonds and spheres or 'bubbles' have been positioned in and around the borders in the central section. Due to the thickness of the moose antler at this point, the effort required to rough in these shapes has been considerable.
Note that three of the tines have been trimmed for consistency of design. They will be shaped later so as not to be noticeable as cut.
The angular theme is carried out onto the bottom moose antler palm, with some curvy accents.
The Foredom S Series with a variety of 1/4" burrs with the addition of the NSK Electer and 1/8" and 3/32" burrs were used to rough out and do the preliminary cleaning in this phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 3) by Shane Wilson (carved musk oxen skull on jade base)
September 11, 2009 Categories: Self Portrait, 2009
Today was a travel day to Vancouver, B.C. Canada. My first stop was Associated Plastics to meet with Lloyd and Rob regarding the acrylic stand for the musk ox horn and bronze wolf skull sculpture, "Self Portrait."
They have done a fantastic job inventing a stand that has the strength necessary for supporting the entirety of the sculpture, while maintaining the pieces in their appropriate positions relative to each other.
Lloyd and Rob from Associated Plastics in Vancouver, B.C. Canada
There were several modifications required, which they were happy to implement.
The part of the stand holding the musk oxen horns will be shortened to draw the horns closer to the main column, placing it under the bronze wolf skull.
The wolf skull mount will be modified to extend it over the horns below, while centering it over the division of the horns.
Finally the silver screws will be replaced with black pins and a black ring cap will be machined to sit atop the white cup which will be inset into the jade boulder to receive the column.
It is expected that the modifications will be completed over the next couple of weeks.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
They have done a fantastic job inventing a stand that has the strength necessary for supporting the entirety of the sculpture, while maintaining the pieces in their appropriate positions relative to each other.
Lloyd and Rob from Associated Plastics in Vancouver, B.C. Canada
There were several modifications required, which they were happy to implement.
The part of the stand holding the musk oxen horns will be shortened to draw the horns closer to the main column, placing it under the bronze wolf skull.
The wolf skull mount will be modified to extend it over the horns below, while centering it over the division of the horns.
Finally the silver screws will be replaced with black pins and a black ring cap will be machined to sit atop the white cup which will be inset into the jade boulder to receive the column.
It is expected that the modifications will be completed over the next couple of weeks.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 9) by Shane Wilson (carved bronze antler sculpture)
September 11, 2009 Categories: Gaia, 2009
In this phase, the wax moose skull was taken to In Bronze Foundry in Langley, B.C. Canada to be cast in bronze.
Francois Deschenes, In Bronze, Langley, B.C. Canada and Shane Wilson, Sculptor
Once the two parts are cast (moose skull and base), Francois will weld them together and level the base so that it sits flat.
Francois Deschenes from In Bronze, calculates the cost to cast "Skullpture Moose"
According to Francois' calculations, the bronze elements will weigh a little over 36kgs or 80lbs when complete.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Francois Deschenes, In Bronze, Langley, B.C. Canada and Shane Wilson, Sculptor
Once the two parts are cast (moose skull and base), Francois will weld them together and level the base so that it sits flat.
Francois Deschenes from In Bronze, calculates the cost to cast "Skullpture Moose"
According to Francois' calculations, the bronze elements will weigh a little over 36kgs or 80lbs when complete.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 8) by Shane Wilson (carved bronze antler sculpture)
September 10, 2009 Categories: Gaia, 2009
To create the base, I borrowed a large stainless steel bowl from the kitchen (yes, it will likely need to be replaced) and brushed several layers of wax in the shape intended for the base. I brushed wax over a larger area than I planned to use, and cut it back once the wax was removed from the bowl mold.
The next step was to fashion and attach an upright bar with triangular profile, which will be welded to the back of the bronze moose skull nose, meshing seamlessly from the front with the triangular element in the nose.
The entire surface of the base was flamed with the torch to even the surface and thin the wax to casting tolerances. Again, the wax is a little thicker, to accommodate the weight of the sculpture and form a stable anchor.
Once cast in bronze, the base will be ground to lie flat. I am considering possible design elements to be carved into the base, but may leave it as is with a simple patina, so as not to distract attention from the bronze moose skull and antler sculpture above.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The next step was to fashion and attach an upright bar with triangular profile, which will be welded to the back of the bronze moose skull nose, meshing seamlessly from the front with the triangular element in the nose.
The entire surface of the base was flamed with the torch to even the surface and thin the wax to casting tolerances. Again, the wax is a little thicker, to accommodate the weight of the sculpture and form a stable anchor.
Once cast in bronze, the base will be ground to lie flat. I am considering possible design elements to be carved into the base, but may leave it as is with a simple patina, so as not to distract attention from the bronze moose skull and antler sculpture above.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 7) by Shane Wilson (carved bronze antler sculpture)
September 09, 2009 Categories: Gaia, 2009
Three views of the wax moose skull prior to the journey to the foundry to be cast in bronze.
The remainder of the design has been carved into the wax: pointed ovals on the left side and extended diamonds on the right side, to correspond to the elements in the respective carved moose antlers.
It is important to note that the work of creating the sculpture in bronze does not end with the wax. Once the skull is cast in bronze it will be possible to further refine the design and add carved embellishments.
In addition to the design considerations, wax has been melted away from the underside of the moose skull with a torch. The optimum thickness for the wax is 3/8". I have left the wax thicker across the skull and along the nose, to create additional support in the bronze for the weight of the antlers.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The remainder of the design has been carved into the wax: pointed ovals on the left side and extended diamonds on the right side, to correspond to the elements in the respective carved moose antlers.
It is important to note that the work of creating the sculpture in bronze does not end with the wax. Once the skull is cast in bronze it will be possible to further refine the design and add carved embellishments.
In addition to the design considerations, wax has been melted away from the underside of the moose skull with a torch. The optimum thickness for the wax is 3/8". I have left the wax thicker across the skull and along the nose, to create additional support in the bronze for the weight of the antlers.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 6) by Shane Wilson (carved bronze antler sculpture)
September 04, 2009 Categories: Gaia, 2009
After several days working a variety of designs on paper, I have settled for something relatively simple that focuses on three design elements from the carved moose antlers: circles or bubbles, extended diamonds and pointed oval shapes.
The central panel of the bronze moose skull will host the circle/bubble element primarily, with one extended diamond element within the nose and extending into the base, and one pointed oval shape in the centre of the forehead.
The principle tool used to shape the wax is a Weller WLC200 Adjustable Power Soldering Station with a Chisel tip.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The central panel of the bronze moose skull will host the circle/bubble element primarily, with one extended diamond element within the nose and extending into the base, and one pointed oval shape in the centre of the forehead.
The principle tool used to shape the wax is a Weller WLC200 Adjustable Power Soldering Station with a Chisel tip.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 5) by Shane Wilson (carved bronze antler sculpture)
August 31, 2009 Categories: Gaia, 2009
In this phase, the wax moose skull halves have been joined and the antler stubs have been capped. This is to accommodate the rare earth magnets which will form part of the attachment mechanism between antler and skull.
Since the moose antlers I am using for this sculpture were shed by a moose a few years older than the one used for the mold, I have added wax to the upper portion of the skull.
As moose age, the size of the skull remains the same but the thickness of the upper skull and antler stubs increase to accommodate larger antlers, which grow in size and thickness as the moose matures.
This appears visually as a flattening out or smoothing of the upper moose skull.
It is now time to complete the design for the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Since the moose antlers I am using for this sculpture were shed by a moose a few years older than the one used for the mold, I have added wax to the upper portion of the skull.
As moose age, the size of the skull remains the same but the thickness of the upper skull and antler stubs increase to accommodate larger antlers, which grow in size and thickness as the moose matures.
This appears visually as a flattening out or smoothing of the upper moose skull.
It is now time to complete the design for the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 4) by Shane Wilson (carved bronze antler sculpture)
August 28, 2009 Categories: Gaia, 2009
Once the top and bottom of the moose skull are trimmed to fit together, I begin the process of trimming the portions of the skull that are not needed in the final sculpture. Due to the weight and cost of bronze, it is essential to use just the right amount of wax in the portion of the skull that will be cast.
In this pic, I am working primarily on the lower portion of the moose skull. Most of the lower portion of the moose skull will not be visible in the final sculpture, so it is possible to trim most of it. This will also enhance the design of carving on the moose skull, since there won't be an inner, lower surface to distract from the design on the upper portion of the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this pic, I am working primarily on the lower portion of the moose skull. Most of the lower portion of the moose skull will not be visible in the final sculpture, so it is possible to trim most of it. This will also enhance the design of carving on the moose skull, since there won't be an inner, lower surface to distract from the design on the upper portion of the moose skull.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 3) by Shane Wilson (carved bronze antler sculpture)
August 26, 2009 Categories: Gaia, 2009
The wax halves of the moose skull are trimmed with a heat knife, shown below, and then placed together to determine fit.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 2) by Shane Wilson (carved bronze antler sculpture)
August 26, 2009 Categories: Gaia, 2009
The wax duplicates of each half of the moose skull are then removed from the molds. Note the wax flange that will need to be trimmed away.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Bronze Skull - Phase 1) by Shane Wilson (carved bronze antler sculpture)
August 24, 2009 Categories: Gaia, 2009
I have begun work on the bronze moose skull.
A year ago I completed a moose skull mold, taken from the moose skull used in the pics of the Beginning Phase of this sculpture.
Due to the large size of the mold the wax is laid in layer upon layer into the top and bottom sections of the mold until it reaches the desired thickness, about 1/4".
(moose antler bronze skull carving, moose antler bronze skull sculpture)
A year ago I completed a moose skull mold, taken from the moose skull used in the pics of the Beginning Phase of this sculpture.
Due to the large size of the mold the wax is laid in layer upon layer into the top and bottom sections of the mold until it reaches the desired thickness, about 1/4".
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Self Portrait' (Jade Acrylic Base - Phase 2) by Shane Wilson
August 28, 2009 Categories: Self Portrait, 2009
Self Portrait has been in Vancouver being fitted on an acrylic support column which will be mounted in the jade base.
The company creating the supporting column and attaching points is Associated Plastics. The concept is great so far, but some adjustments to the positioning of the musk oxen horns and bronze skull elements relative to each other will need to be made.
I am also wondering about the size of the acrylic column. It may be a little large for the sculpture.
I'll be traveling to Vancouver next week and will stop in to help determine the adjustments.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
The company creating the supporting column and attaching points is Associated Plastics. The concept is great so far, but some adjustments to the positioning of the musk oxen horns and bronze skull elements relative to each other will need to be made.
I am also wondering about the size of the acrylic column. It may be a little large for the sculpture.
I'll be traveling to Vancouver next week and will stop in to help determine the adjustments.
(musk oxen horn bronze skull carving, musk oxen horn bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 10) by Shane Wilson (carved bronze antler sculpture)
August 21, 2009 Categories: Gaia, 2009
The changes to the angular portion of the left moose antler marked on the antler in Phase 9 have been carved out using the Foredom grinders and burrs mentioned in previous phases.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 9) by Shane Wilson (carved bronze antler sculpture)
August 20, 2009 Categories: Gaia, 2009
In this phase, I have worked to mark refinements in the design of the carved angular portions of the left moose antler.
Complexity of design is an important part of my sculpture. But when the design creates visual confusion, as I believe it did here, it needs to be reworked. The eye should be able to travel freely over the sculpture without becoming 'trapped' or 'mired' in visual 'dead ends' or 'swampy' design.
My goal is complexity without confusion.
The angular elements on the left antler had not been completely thought through during the initial design phase and were creating visual confusion.
Since most of the roughing out portion is now complete it is possible to see how the design functions in the actual antler.
After careful study, I have been able to correct the angular portions by creating strips which travel straight until they bend at an angle. They are not all continuous, but serve to frame the rest of the design within the antler as well as providing structural support for the carving.
The lower portion of the left moose antler has been marked for further carving adjustments.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Complexity of design is an important part of my sculpture. But when the design creates visual confusion, as I believe it did here, it needs to be reworked. The eye should be able to travel freely over the sculpture without becoming 'trapped' or 'mired' in visual 'dead ends' or 'swampy' design.
My goal is complexity without confusion.
The angular elements on the left antler had not been completely thought through during the initial design phase and were creating visual confusion.
Since most of the roughing out portion is now complete it is possible to see how the design functions in the actual antler.
After careful study, I have been able to correct the angular portions by creating strips which travel straight until they bend at an angle. They are not all continuous, but serve to frame the rest of the design within the antler as well as providing structural support for the carving.
The lower portion of the left moose antler has been marked for further carving adjustments.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 7) by Shane Wilson (carved bronze antler sculpture)
August 13, 2009 Categories: Gaia, 2009
In this phase, I have cleaned up the carving on the upper portions of the moose antler using the same tools as the last phase, the Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
The detailed elements evident in the initial design will be added back into the carving when the antler is fully roughed out.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 6) by Shane Wilson (carved bronze antler sculpture)
August 07, 2009 Categories: Gaia, 2009
In this phase, I have begun to rough out the carving on the right moose antler.
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
The choices regarding plane placement are a little more straightforward on the right antler. One thing I will need to watch is the depth of the planes relative to the depth available in the antler since there are large multiple intersecting planes each requiring a portion of the depth available.
As you can see there isn't a lot of depth to work with, so it will be a bit of challenge to create the shapes in a way which does not make the design appear overly flat.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
The choices regarding plane placement are a little more straightforward on the right antler. One thing I will need to watch is the depth of the planes relative to the depth available in the antler since there are large multiple intersecting planes each requiring a portion of the depth available.
As you can see there isn't a lot of depth to work with, so it will be a bit of challenge to create the shapes in a way which does not make the design appear overly flat.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 8) by Shane Wilson (carved bronze antler sculpture)
July 30, 2009 Categories: Gaia, 2009
In this phase, the left moose antler has been carved with attention to the lower portion of the antler.
I have begun to define the planes on the design elements on the lower palm and establish where all the design elements come together in the butt of the moose antler.
Areas left undone at this point include the major tine, with its deformity. I hope to carry the diamond shape over from the right moose antler to use in this area.
Consistent with the work so far, the tools remain the same: Foredom S and H Series, with 1/4" shank burrs (straight and rounded over shapes), and some tight angle work with the NSK and a 1/8" shank straight burr.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
I have begun to define the planes on the design elements on the lower palm and establish where all the design elements come together in the butt of the moose antler.
Areas left undone at this point include the major tine, with its deformity. I hope to carry the diamond shape over from the right moose antler to use in this area.
Consistent with the work so far, the tools remain the same: Foredom S and H Series, with 1/4" shank burrs (straight and rounded over shapes), and some tight angle work with the NSK and a 1/8" shank straight burr.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series' - On Display In Cases
May 14, 2009 Categories: Skullpture Series, 2007
The carved bronze Skullpture Series is now on display in its permanent home in the St Elias Convention Centre in Haines Junction, Yukon, Canada.
All that remains to complete this body of work is the carved moose antler and bronze moose skull sculpture, 'Moose 1', which will be displayed in the large end display case.
Progress on this sculpture can be seen by clicking in the sidebar on Skullpture Series - Moose.
(bronze skullpture carving, bronze skull sculpture)
LINKS - Skullpture Series Information Sheets on Display:
SkullptureSeries2007
SkullptureSeries-WIP
SkullptureSeries-Bio
All that remains to complete this body of work is the carved moose antler and bronze moose skull sculpture, 'Moose 1', which will be displayed in the large end display case.
Progress on this sculpture can be seen by clicking in the sidebar on Skullpture Series - Moose.
(bronze skullpture carving, bronze skull sculpture)
LINKS - Skullpture Series Information Sheets on Display:
SkullptureSeries2007
SkullptureSeries-WIP
SkullptureSeries-Bio
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 7) by Shane Wilson (carved bronze antler sculpture)
July 24, 2009 Categories: Gaia, 2009
In this phase I have continued to carve the left moose antler with large Foredom grinders and 1/4" burrs. I have also made some use of the smaller NSK Emax micro-motor with 1/8" burrs to begin to get into some of the tight angles.
In this detail shot you can see how the design elements are beginning to 'find their place' in relation to each other, but the carving is still very rough.
There is much more antler to work with toward the antler's base, so I will use this depth of material to weave the design elements in greater relief, just hinted at in this preliminary stage.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In this detail shot you can see how the design elements are beginning to 'find their place' in relation to each other, but the carving is still very rough.
There is much more antler to work with toward the antler's base, so I will use this depth of material to weave the design elements in greater relief, just hinted at in this preliminary stage.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 5) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia, 2009
In this phase the negative spaces in the moose antler have been removed, leaving material around the cuts to refine and adjust the moose antler carving in the next phase.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 4) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia, 2009
In this phase, I have drilled the pilot holes in the moose antler with a drill press and begun to 'join the dots' with a sabre saw/jig saw. I used to use a scroll saw with a multidirectional blade for this kind of work, but learned from fellow carver, Lynn Holroyd, that a sabre saw/jig saw works just as well and allows for more control when cutting larger moose antlers, which can be clamped, freeing the hands to work the saw.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 5) by Shane Wilson (carved bronze antler sculpture)
July 21, 2009 Categories: Gaia, 2009
In this phase, the left moose antler the negative spaces have been cut out of the antler with the sabre saw/scroll saw.
Make sure you use good blades of a reasonable narrow width. Mine were DeWalt 3", 12 TPI blades made from cobalt steel.
Normally I go through 10-20 scroll saw blades when cutting the negative spaces from a moose antler before carving. This time, I removed the waste antler from both the left and right moose antlers and only lost one blade!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Make sure you use good blades of a reasonable narrow width. Mine were DeWalt 3", 12 TPI blades made from cobalt steel.
Normally I go through 10-20 scroll saw blades when cutting the negative spaces from a moose antler before carving. This time, I removed the waste antler from both the left and right moose antlers and only lost one blade!
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 6) by Shane Wilson (carved bronze antler sculpture)
July 21, 2009 Categories: Gaia, 2009
In this phase, I have begun to rough out the carving on the left moose antler.
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
This is the stage where critical choices are made along each border in the design about which planes come forward and which planes recede.
All of the carving at this stage is done with Foredom S and H Series Flexible Shaft Grinders, with large, 1/4" single fluted, carbide burrs.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 4) by Shane Wilson (carved bronze antler sculpture)
July 20, 2009 Categories: Gaia, 2009
I used the band saw to remove the obvious cuts on the outer edges of the moose antler.
Before cutting out the negative spaces on the inside of the design, it is necessary to drill pilot holes in the moose antler to receive the blade from either a scroll saw or a sabre saw/jig saw.
In the past, I used smaller diameter bits in an electric drill, but I have found that the larger diameter bits in a drill press make life a whole lot easier.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
Before cutting out the negative spaces on the inside of the design, it is necessary to drill pilot holes in the moose antler to receive the blade from either a scroll saw or a sabre saw/jig saw.
In the past, I used smaller diameter bits in an electric drill, but I have found that the larger diameter bits in a drill press make life a whole lot easier.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 3) by Shane Wilson (carved bronze antler sculpture)
July 14, 2009 Categories: Gaia, 2009
It is always a good idea to let design ideas sit for a while. I find that it is possible to see and correct weak areas and add interest and complexity. The red areas will be removed to create negative space within the design.
On the left moose antler, I have clarified the design shapes, added negative space elements within the shapes and included spherical elements within those shapes. My hope is that the overall design will tie into the previously created sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
On the left moose antler, I have clarified the design shapes, added negative space elements within the shapes and included spherical elements within those shapes. My hope is that the overall design will tie into the previously created sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 3) by Shane Wilson (carved bronze antler sculpture)
July 16, 2009 Categories: Gaia, 2009
It is always a good idea to let design ideas sit for a while. I find that it is possible to see and correct weak areas and add interest and complexity. The red areas will be removed to create negative space within the design.
On the right moose antler, this involved simplifying some of the design shapes and the addition of round elements both as negative spaces and positive shapes, again to tie into the design on the left antler and relate to other sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
On the right moose antler, this involved simplifying some of the design shapes and the addition of round elements both as negative spaces and positive shapes, again to tie into the design on the left antler and relate to other sculptures in the Skullpture Series.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Black Bear 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 2) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia, 2009
In this phase the design was transfered free-hand onto the right moose antler, after the moose antler was sanded lightly with an angle grinder to clean and smooth out the surface.
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 2) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia, 2009
In this phase the design was transfered free-hand onto the left moose antler, after the moose antler was sanded lightly with an angle grinder to clean and smooth out the surface.
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
Shane Wilson designing moose antler carving on left moose antler
(moose antler bronze skull carving, moose antler bronze skull sculpture)
In the next phases I'll determine where the negative spaces will be located within the design, cut those out, and rough in the major planes on the moose antler.
Shane Wilson designing moose antler carving on left moose antler
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Right Antler - Phase 1) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia, 2009
In this phase I photographed the right moose antler and printed it out on paper to create the design, making use of some of the natural lines within the moose antler. (Note: I am designating this antler as the right antler, since it appears on the right when viewed, so it is the observer's right)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Left Antler - Phase 1) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia, 2009
In this phase I photographed the left moose antler and printed it out on paper to create the design, making use of some of the natural lines within the moose antler. (Note: I am designating this antler as the left antler, since it appears on the left when viewed, so it is the observer's left)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Moose: Gaia' (Begin) by Shane Wilson (carved bronze antler sculpture)
July 04, 2009 Categories: Gaia, 2009
This moose antler carving and bronze moose skull will be the final installment in my Skullpture Series, 2007.
The moose antlers will be designed and carved and will attached to a cast carved moose skull. The original skull is shown here and used for measurement purposes.
A mold will be taken from the skull and a wax pulled from that mold. The wax will then be carved with the design and then cast in bronze using the lost wax process.
This sculpture is designed to fit in this specific location, so the sculpture will need to adhere to very specific dimensions.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
The moose antlers will be designed and carved and will attached to a cast carved moose skull. The original skull is shown here and used for measurement purposes.
A mold will be taken from the skull and a wax pulled from that mold. The wax will then be carved with the design and then cast in bronze using the lost wax process.
This sculpture is designed to fit in this specific location, so the sculpture will need to adhere to very specific dimensions.
(moose antler bronze skull carving, moose antler bronze skull sculpture)
'Skullpture Series - Seal 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Small Wolverine 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 15) by Shane Wilson
June 17, 2009 Categories: Self Portrait, 2009
The front portion of the right musk oxen horn has been completely carved.
Now to finish the rear portion of the right musk oxen horn.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 14) by Shane Wilson
June 10, 2009 Categories: Self Portrait, 2009
In this phase, the front side of the right musk oxen horn has been further refined and is almost finished.
I have used various sizes of the ball shaped burr in this phase, starting from the larger ball on a 3/32" shaft, working down to the smallest ball shape available on the same sized shaft.
Remaining to be done are some touch up details, undercuts and the final sanding on the right musk oxen horn.
(musk oxen horn carving, musk oxen horn sculpture)
I have used various sizes of the ball shaped burr in this phase, starting from the larger ball on a 3/32" shaft, working down to the smallest ball shape available on the same sized shaft.
Remaining to be done are some touch up details, undercuts and the final sanding on the right musk oxen horn.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 13) by Shane Wilson
June 03, 2009 Categories: Self Portrait, 2009
In this phase I have reworked the background again, so that it is uniform around and along the entire right musk oxen horn. This has been challenging due to the shape of the musk oxen horn, which is never uniform as it tapers to the point. I have begun shaping the end of the musk oxen horn, so that it appears to flow out of the design at the same level as the background.
The design has also been further refined and shaped along the entire musk oxen horn.
I have been finding that musk oxen horn tends to be very hard on tools, dulling burrs easily and clogging the bearings in the micro-motor grinders which I rely on heavily. I have sent two hand-pieces for repair so far and will likely need to send a third. These hand-pieces cost about $1000 each. To give some sense of the wear and tear of musk oxen horn vs moose or caribou antler, I generally send one hand-piece for repair (new bearings) every two or three years when carving moose or caribou antler. Why the difference? Perhaps it is the toughness of the hair-like material that makes up the musk oxen horn, tougher even than dall sheep horn.
(musk oxen horn carving, musk oxen horn sculpture)
The design has also been further refined and shaped along the entire musk oxen horn.
I have been finding that musk oxen horn tends to be very hard on tools, dulling burrs easily and clogging the bearings in the micro-motor grinders which I rely on heavily. I have sent two hand-pieces for repair so far and will likely need to send a third. These hand-pieces cost about $1000 each. To give some sense of the wear and tear of musk oxen horn vs moose or caribou antler, I generally send one hand-piece for repair (new bearings) every two or three years when carving moose or caribou antler. Why the difference? Perhaps it is the toughness of the hair-like material that makes up the musk oxen horn, tougher even than dall sheep horn.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 12) by Shane Wilson
May 25, 2009 Categories: Self Portrait, 2009
These two shots, taken at different angles, show further shaping and refining work on the right musk oxen horn.
(musk oxen horn carving, musk oxen horn sculpture)
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 11) by Shane Wilson
May 02, 2009 Categories: Self Portrait, 2009
The entire surface of the right horn has been worked in this phase. The front, broad portion is nearing completion. The mid section is showing some progress but there is much more to be done.
The brown pencil crayon markings show where I will carve next. I use pencil crayon and not pencil, because the pencil crayon's waxy texture keeps it on the surface of the work, where it is easily carved away. The graphite in a pencil tends to find its way into nooks and crannies, potentially remaining to alter the final finish.
(musk ox horn carving, musk ox horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 10) by Shane Wilson
April 22, 2009 Categories: Self Portrait, 2009
I have worked the back surface of the horn in this phase. Not quite there yet ...
(horn carving, horn sculpture)
(horn carving, horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 9) by Shane Wilson
March 04, 2009 Categories: Self Portrait, 2009
The upper portion of the rough area on the right musk oxen horn has been leveled slightly, to allow for better flow of the overall composition.
The entire horn has been further carved and refined with attention paid to the composition of the right musk oxen horn just above the rough area. It needs to work from multiple angles and I am still trying to determine the best combination and form of the shapes, particularly the circular ones.
(musk oxen horn carving, musk oxen horn sculpture)
The entire horn has been further carved and refined with attention paid to the composition of the right musk oxen horn just above the rough area. It needs to work from multiple angles and I am still trying to determine the best combination and form of the shapes, particularly the circular ones.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 8) by Shane Wilson
March 03, 2009 Categories: Self Portrait, 2009
The composition of the upper portion of the horn needed some adjustment. The before shot (below) shows the portions to be removed, the after shot (above) shows those portions removed and further areas for consideration.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 7) by Shane Wilson
February 24, 2009 Categories: Self Portrait, 2009
In this phase, I have concentrated on a preliminary shaping of the front, broad section of the right horn. The shapes are beginning to take on a life of their own! You may notice that the rough portions, above and below the carved portion, have been smoothed over and refined. The top edge has also been removed to simplify the overall line of the right horn.
Below note that more shaping has taken place along the length of the horn, the red areas indicate places where the lower background is to be further refined.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 6) by Shane Wilson
February 13, 2009 Categories: Self Portrait, 2009
On the forward facing side of the right horn (below), I have begun to round over some of the shapes. There is still plenty of messiness and I'll need to make some more decisions about which elements to keep and which to remove.
You can see below that the rear portion of the horn has been cleaned up and the lower level more clearly defined. I have yet to do any shaping and there are still some tricky passages that have yet to be resolved, especially the knotty bit, midway up on the right.
(musk oxen horn carving, musk oxen horn sculpture)
You can see below that the rear portion of the horn has been cleaned up and the lower level more clearly defined. I have yet to do any shaping and there are still some tricky passages that have yet to be resolved, especially the knotty bit, midway up on the right.
(musk oxen horn carving, musk oxen horn sculpture)
'Self Portrait' (Right Musk Oxen Horn - Phase 5) by Shane Wilson
February 11, 2009 Categories: Self Portrait, 2009
Further fine tuning of the depth of the background and the positions of some of the shapes, relative to each other, has taken place. It is important to keep the lowest plane even throughout the carving to create the impression that the carved elements are actually on top of the horn itself.
Note that the marked areas are the next to be adjusted or carved away in the next phase.
(musk oxen horn carving, musk oxen horn sculpture)
Note that the marked areas are the next to be adjusted or carved away in the next phase.
(musk oxen horn carving, musk oxen horn sculpture)
'Skullpture Series' - Display Cases - Phase 5
April 06, 2009 Categories: Skullpture Series, 2007
The case is finished, complete with lighting and mirrored interiors, which will enable the carved bronze Skullptures to be viewed from a variety of angles. Once the flooring around the case is completed, the carved bronze Skullpture Series will be installed and unveiled.
Note that the larger display cubicle does not have mirrored sides or back. The carved antler and bronze moose skull sculpture will be intended for viewing from the front only. This cubicle will be used to display work from the local quilters association until the carved antler and bronze moose skull sculpture is complete and ready for installation.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
Note that the larger display cubicle does not have mirrored sides or back. The carved antler and bronze moose skull sculpture will be intended for viewing from the front only. This cubicle will be used to display work from the local quilters association until the carved antler and bronze moose skull sculpture is complete and ready for installation.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 4
February 23, 2009 Categories: Skullpture Series, 2007
The third row is roughed in.
The milk crates are being used to determine the size of the base that will be created to accommodate the bronze moose skull and carved antler sculpture. It was necessary to determine the dimensions of the sculpture as well at his point. (See the related blog entry which shows the antlers chosen for this sculpture.)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
The milk crates are being used to determine the size of the base that will be created to accommodate the bronze moose skull and carved antler sculpture. It was necessary to determine the dimensions of the sculpture as well at his point. (See the related blog entry which shows the antlers chosen for this sculpture.)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 3
February 18, 2009 Categories: Skullpture Series, 2007
The second row is roughed in.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 2
February 16, 2009 Categories: Skullpture Series, 2007
The first row and the large cubicle at the end, which will face away at 90 degrees, are roughed in.
(bronze and antler skullpture carving, bronze and antler skull sculpture)
(bronze and antler skullpture carving, bronze and antler skull sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Phase 1
January 29, 2009 Categories: Skullpture Series, 2007
The display case begins to take shape. The floor covering around the case has been removed.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series', 2007 by Shane Wilson (carved bronze) - Display Cases - Plans
September 09, 2008 Categories: Skullpture Series, 2007
The display cases have been designed to house the Skullpture Series. Note how the display case will fit nicely into the beautiful curved staircase of the St. Elias Convention Centre. The architect for the Convention Centre was contracted to develop the plans for the cases, so that that they would appear consistent with the overall design.
(bronze carving, carved bronze sculpture)
Skullpture Display Case - Plans
(bronze carving, carved bronze sculpture)
Skullpture Display Case - Plans
'Skullpture Series' (Carving and Patination - Phase 1) by Shane Wilson
September 01, 2005 Categories: Skullpture Series, 2007
The designs for each carving are drawn directly onto the raw bronze prior to carving. (2004-2005) The bronzes below are in various states of design and carving, all preliminary. Two of the skulls (small wolverine and grizzly) were finished and patinated without being carved. I decided to change this later and carved both skulls.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 2) by Shane Wilson
August 01, 2007 Categories: Skullpture Series, 2007
Using power grinders and carbide burrs, designed for metal work, the designs are carved and the bases are completed using black granite. Following the carving the surface is smoothed with sandpaper, depending on the kind of patination to be applied. (2004-2007)
Below are a selection of images taken during this phase.
Skullpture Series - Seal 2
Skullpture Series - Large Wolverine 1
Skullpture Series - Grizzly 2
Skullpture Series - Human 2
Skullpture Series - Human 1
Skullpture Series - Wolf 2
(bronze carving, carved bronze sculpture)
Below are a selection of images taken during this phase.
Skullpture Series - Seal 2
Skullpture Series - Large Wolverine 1
Skullpture Series - Grizzly 2
Skullpture Series - Human 2
Skullpture Series - Human 1
Skullpture Series - Wolf 2
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 3) by Shane Wilson
August 15, 2007 Categories: Skullpture Series, 2007
Prior to patination, it is important to clean the surface of the bronze, to remove impurities and any surface oxidation. The most effective way to do this is to sandblast the surface with a fine grit sand. It is important to avoid touching the surface of the bronze with bare hands after this process, as it will pick up oils and create uneven application/oxidization of the patina.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 4) by Shane Wilson
August 16, 2007 Categories: Skullpture Series, 2007
The next stage is to apply the base coat, which in this case is an application of Birchwood Casey applied cold and then rinsed. An alternative base coat would be liver of sulphur, also applied cold. Following the rinsing, the bronze is heated to set the base coat and then the whole is rubbed back with steel wool.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 5) by Shane Wilson
August 25, 2007 Categories: Skullpture Series, 2007
Finally it is time to apply the patina! There are numerous oxidizing agents available for patination, all lending a unique look and colour to the bronze. I have chosen to use bismuth nitrate (with varying additions of titanium oxide) and silver nitrate for the human skull and some accents on other pieces (eg. wolverine). The patina is also applied by brush, lending a unique, ringed pattern to the finish. The patina is applied to a hot bronze surface, made so with an open flamed torch. Following the application the entire surface is quenched in water and reheated to dry the bronze and set the patina. The pics below show the patination set up and a variety of pieces in various stages of completion. Note the patina seems much whiter than it will appear after the final coat of lacquer is applied.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Carving and Patination - Phase 6) by Shane Wilson
August 31, 2007 Categories: Skullpture Series, 2007
The patina is fragile and needs to be protected by a couple of coats of lacquer. Since the lacquer lends a plastic look to surface, two coats of Trewax are applied and buffed to dull the surface down and provide additional protection. Voila, the finished bronzes!
The bronzes will be photographed professionally and I'll post the images as they become available.
(bronze carving, carved bronze sculpture)
The bronzes will be photographed professionally and I'll post the images as they become available.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 11) by Shane Wilson
July 11, 2003 Categories: Skullpture Series, 2007
Once the bronze is brought up to the right temperature, the crucible, containing the molten bronze, is removed with a large pair of tongs, operated by two people.
The crucible is placed in the carrying device ...
... which allows the handlers to pour the bronze.
(bronze carving, carved bronze sculpture)
The crucible is placed in the carrying device ...
... which allows the handlers to pour the bronze.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 12) by Shane Wilson
July 11, 2003 Categories: Skullpture Series, 2007
Once the metal has cooled sufficiently, it is removed to another work area, preferably outside!
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 13) by Shane Wilson
July 15, 2003 Categories: Skullpture Series, 2007
I am using a sledge hammer to loosen the shell from the bronze.
The bronze appears!
(bronze carving, carved bronze sculpture)
The bronze appears!
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 14) by Shane Wilson
July 15, 2003 Categories: Skullpture Series, 2007
The remainder of the shell is removed using and air point chisel, and hand chisels.
The inner surfaces are particularly challenging to free of shell.
(bronze carving, carved bronze sculpture)
The inner surfaces are particularly challenging to free of shell.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 15) by Shane Wilson
July 16, 2003 Categories: Skullpture Series, 2007
The freed bronze, with sprues still attached.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 16) by Shane Wilson
July 17, 2003 Categories: Skullpture Series, 2007
The sprues have been cut off with a torch and/or hacksaw. Any cracks or holes have been filled with a welder using bronze rods. The irregularities have been 'chased' or ground smooth, using burrs and air tools. Then the whole bronze has been sandblasted to create an even surface prior to carving.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 1) by Shane Wilson
July 04, 2003 Categories: Skullpture Series, 2007
Wax has been poured into the two halves of the mold to test the quality of the mold.
The first wax impression from this mold!
(bronze carving, carved bronze sculpture)
The first wax impression from this mold!
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 2) by Shane Wilson
July 04, 2003 Categories: Skullpture Series, 2007
The two halves have been trimmed and assembled. Though the cast version will use a single wax taken from the attached mold, this give some impression of the wax prior to casting.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 4) by Shane Wilson
July 08, 2003 Categories: Skullpture Series, 2007
This is a pic of the wolverine and seal skulls as they are being sprued up with wax rods. The intention is to create a path for the bronze to enter the sculptures and to allow air and bronze to escape, filling the sculpture completely with bronze.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 5) by Shane Wilson
July 08, 2003 Categories: Skullpture Series, 2007
After spruing, the entire assembly is dipped in a cement-like slurry, then covered in fine silica sand.
It is then placed on a wire shelf and allowed to dry throuroughly (2 hours). Air tubes are inserted to allow inner surfaces an equal chance to dry.
(bronze carving, carved bronze sculpture)
It is then placed on a wire shelf and allowed to dry throuroughly (2 hours). Air tubes are inserted to allow inner surfaces an equal chance to dry.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 6) by Shane Wilson
July 08, 2003 Categories: Skullpture Series, 2007
The sculpture is dipped thirteen times and covered in courser grades of sand. This pic shows the wolverine/seal assembly in an early stage of dipping, and the grizzly skull after its final dip.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 7) by Shane Wilson
July 09, 2003 Categories: Skullpture Series, 2007
Once dry, the shell is drilled from the end opposite the end that will receive the bronze. It is then turned upsidedown in a kiln and the wax is melted out of the shell, as the shell is cured.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 8) by Shane Wilson
July 09, 2003 Categories: Skullpture Series, 2007
The cured shell is allowed to cool, then inspected for cracks. The drill hole is patched and the cracks are repaired with a special cement.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 9) by Shane Wilson
July 10, 2003 Categories: Skullpture Series, 2007
The bronze furnace is heated. Note the piece of bronze on the lid, which is 'drying' prior to insertion in the crucible.
As the bronze is heating, the ceramic shells are replaced in the kiln and heated/dried prior to the pour. This is necessary to avoid cracking or an explosion, due to the shock of hot bronze contacting a cold shell and or moisture.
The final piece of bronze is melted.
(bronze carving, carved bronze sculpture)
As the bronze is heating, the ceramic shells are replaced in the kiln and heated/dried prior to the pour. This is necessary to avoid cracking or an explosion, due to the shock of hot bronze contacting a cold shell and or moisture.
The final piece of bronze is melted.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 10) by Shane Wilson
July 10, 2003 Categories: Skullpture Series, 2007
The HOT shells are secured by chains in the sandpit. Note the protective clothing and gear.
A close up of the secured, hot, ceramic shells.
(bronze carving, carved bronze sculpture)
A close up of the secured, hot, ceramic shells.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 12) by Shane Wilson
July 03, 2003 Categories: Skullpture Series, 2007
Repeat of step 11. Note that there were two high points on this side. Two holes were drilled. When the lower high point filled, it was covered with clay, to allow the rest of the mold to fill.
Gently pry the mold apart after allowing the silicone to set fully.
Separate the silicone from the original.
(bronze carving, carved bronze sculpture)
Gently pry the mold apart after allowing the silicone to set fully.
Separate the silicone from the original.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 1) by Shane Wilson
July 01, 2003 Categories: Skullpture Series, 2007
I have determined a centre line for the two-piece mold and have begun to build up around the base, in order to create the mold for the top half.
Note the use of styrofoam and synthetic clay. If you look carefully, you can see the pencil mark used to determine the centre line.
(bronze carving, carved bronze sculpture)
Note the use of styrofoam and synthetic clay. If you look carefully, you can see the pencil mark used to determine the centre line.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 11) by Shane Wilson
July 03, 2003 Categories: Skullpture Series, 2007
Take the lower portion of the mold off, turn the sculpture, silicone and fibreglass over and repeat the previous steps to make the second half of the mold and shell.
Repeat of steps 4-10. Note that once the second fibreglass shell is complete, holes are drilled through both flanges and bolts with wing nuts are inserted. Use a grinder or sawsall to trim the rough fibreglass edge.
When trimming the molds with the sawsall and grinder, make sure that separation of the molds is achieved. Though the fibreglass will bind on the edges, it should not have bound on the surface treated with the grease.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 10) by Shane Wilson
July 03, 2003 Categories: Skullpture Series, 2007
Clean out the filler clay, repair the flange, spray the entire sculpture and fringe with release, then add a silicone bead around the inner portion of the flange ...
... Drill a hole in the highest point of the fibreglass shell and reattach to the sculpture and flange, using reference points. Pour in silicone mold compound slowly, to allow air to escape.
(bronze carving, carved bronze sculpture)
... Drill a hole in the highest point of the fibreglass shell and reattach to the sculpture and flange, using reference points. Pour in silicone mold compound slowly, to allow air to escape.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 9) by Shane Wilson
July 02, 2003 Categories: Skullpture Series, 2007
When hardened and dry, remove the fibreglass from the sculpture, after drilling reference holes around the flange. Insert screws into the reference holes in the clay.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 8) by Shane Wilson
July 02, 2003 Categories: Skullpture Series, 2007
Add an extra layer of matt and resin around the flange for additional support.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 7) by Shane Wilson
July 02, 2003 Categories: Skullpture Series, 2007
Layer resin and fibreglass. Tear the fibreglass matt and touch to the resin...
... then tamp in with a brush and resin.
(bronze carving, carved bronze sculpture)
... then tamp in with a brush and resin.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 6) by Shane Wilson
July 02, 2003 Categories: Skullpture Series, 2007
I am painting on a mizture of 4 parts Bondo (with 1" hardener) to one part resin (with one squeeze of hardener, mixed first).
Be careful not to get this stuff on the styrofoam, as it dissolved readily!
Complete and allowed to harden.
(bronze carving, carved bronze sculpture)
Be careful not to get this stuff on the styrofoam, as it dissolved readily!
Complete and allowed to harden.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 5) by Shane Wilson
July 02, 2003 Categories: Skullpture Series, 2007
A release agent is painted on prior to adding the fibreglass. In this case it is axle grease cut with thinner!
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 4) by Shane Wilson
July 01, 2003 Categories: Skullpture Series, 2007
I have begun to add another 3/8" layer of clay over the skull to create a space for the latex, once the fibreglass shell is created.
Note, this second layer of clay covers the skull only and does not extend onto the original 'flange' of clay.
(bronze carving, carved bronze sculpture)
Note, this second layer of clay covers the skull only and does not extend onto the original 'flange' of clay.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 3) by Shane Wilson
July 01, 2003 Categories: Skullpture Series, 2007
Duct Tape or Saran Wrap is placed over the skull to protect it during the next phase.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Large Mold - Phase 2) by Shane Wilson
July 01, 2003 Categories: Skullpture Series, 2007
The clay is built up to the half way point on the skull and smoothed out.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Wax to Bronze - Phase 3) by Shane Wilson
July 05, 2003 Categories: Skullpture Series, 2007
The molds have been tested, then sealed up and filled with hot wax. The wax is allowed to cool for a few minutes, forming a shell against the mold. When the shell is about 1/4" thick the remaining liquid wax is poured back into the melting pot. We used a large crock pot to melt the wax and keep it at a suitable temperature over an extended period.
Not all attempts as pulling a suitable wax from the mold are successful. The beauty of wax is that it can be remelted and used again. Note some of the successful waxes visible along the back of the bench.
(bronze carving, carved bronze sculpture)
Not all attempts as pulling a suitable wax from the mold are successful. The beauty of wax is that it can be remelted and used again. Note some of the successful waxes visible along the back of the bench.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 4) by Shane Wilson
July 01, 2003 Categories: Skullpture Series, 2007
This is a shot of several other of the small molds in various stages of creation. The second half of the small wolverine mold has been completed.
(bronze carving, carved bronze sculpture)
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 3) by Shane Wilson
June 30, 2003 Categories: Skullpture Series, 2007
Once the silicone has set, remove the outer wall of the mold. Leaving the skull embedded in the silicone, remove the plastercine and free the skull from the plywood base. Flip it over and redo the wall, sealing all edges and gaps with plastercine. Spray the entire surface with a release agent and pour the lower portion of the mold.
These pictures give you a sense of what the top half of the mold looks like. Note that the pencil indentations are now little knobs, which will mesh nicely with the poured lower half. Note also how much excess silicone is used in this process.
(bronze carving, carved bronze sculpture)
These pictures give you a sense of what the top half of the mold looks like. Note that the pencil indentations are now little knobs, which will mesh nicely with the poured lower half. Note also how much excess silicone is used in this process.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 2) by Shane Wilson
June 30, 2003 Categories: Skullpture Series, 2007
The silicone has been poured. There are a variety of silicone products available, this is a Smooth On product. Follow directions carefully for the mixing of the silicone components; each product comes with its own specific directions.
(bronze carving, carved bronze sculpture)
'Skullpture Series' (Small Mold - Phase 1) by Shane Wilson
June 30, 2003 Categories: Skullpture Series, 2007
To create a silicone mold from a skull there are a few options, two of which I used in the creation of the molds for the Skullpture Series. For smaller items the molds created were of solid silicone. The larger grizzly skull mold was created inside a fibre glass shell, to reduce the amount of silicone used, saving both cost and weight.
All molds begin by securing the skull to a plywood base. Then it is important to decide on a mid point on the skull, along which the mold will divide. There should be no serious overhangs or undercuts, which would hang up the mold and prevent it from being separated.
In these images, the small wolverine skull has been attaced to the plywood base and a centre line has been drawn on the skull in pencil crayon.
I have fashioned a wall around the skull with a milk carton and filled the carton with plastercine, up to the predetermined midway point on the skull.
Using the other end of the pencil crayon, guide holes have been made in the plastercine. The entire surface has been sprayed with a release agent, prior to pouring in the silicone, which will create the top half of the mold.
(bronze carving, carved bronze sculpture)
One further note: the mold is being fashioned from silicone, because it can be reused. If I were interested in creating a 'one off', other materials would have been cheaper and more suitable, like plaster. The process of creating the mold remains the same.
All molds begin by securing the skull to a plywood base. Then it is important to decide on a mid point on the skull, along which the mold will divide. There should be no serious overhangs or undercuts, which would hang up the mold and prevent it from being separated.
In these images, the small wolverine skull has been attaced to the plywood base and a centre line has been drawn on the skull in pencil crayon.
I have fashioned a wall around the skull with a milk carton and filled the carton with plastercine, up to the predetermined midway point on the skull.
Using the other end of the pencil crayon, guide holes have been made in the plastercine. The entire surface has been sprayed with a release agent, prior to pouring in the silicone, which will create the top half of the mold.
(bronze carving, carved bronze sculpture)
One further note: the mold is being fashioned from silicone, because it can be reused. If I were interested in creating a 'one off', other materials would have been cheaper and more suitable, like plaster. The process of creating the mold remains the same.
'Skullpture Series - Human 1, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Human 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series - Grizzly 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series' - Display Cases Complete
May 06, 2009 Categories: Skullpture Series, 2007
(bronze skullpture carving, bronze skull sculpture)
These show cases in the St Elias Convention Centre, a work of art in themselves, are complete and ready to display the carved bronze Skullpture Series. Total cost $53,000 CND. An unveiling of the carved bronze Skullpture Series, in their wonderful new home, is planned for the evening of Wednesday, May 13, 2009, at the Convention Centre in Haines Junction, Yukon.
'Skullpture Series' (Beginning) by Shane Wilson
June 29, 2003 Categories: Skullpture Series, 2007
skulls left to right: grizzly, black bear, wolf, fox, beaver, lynx, large wolverine, martin, seal, small wolverine, human
The Skullpture Series begins with real skulls. Each skull has been prepped for the mold making process. The natural holes have been filled with Chavant clay to prevent the intrusion of silicone into the skull.
It is necessary to create molds from each of the skulls in order to create wax duplicates, which will then be cast in bronze.
small wolverine skull
Since the technique used to prepare the molds differs depending on the size of the object to be cast, we will follow the mold making process for a small skull, small wolverine (above), and a large skull, grizzly (below).
grizzly skull
(bronze carving, carved bronze sculpture)
'Skullpture Series - Black Bear 2, 2007' by Shane Wilson (carved bronze sculpture)
September 01, 2007 Categories: Skullpture Series, 2007 | Portfolio Images
(bronze carving, carved bronze sculpture)
'Skullpture Series' by Shane Wilson
May 06, 2009 Categories: Skullpture Series, 2007 | Portfolio Images
Skullpture Series, 2007 by Shane Wilson (carved bronze skulls) - Artist Statement
"Just as a fossil uncovered is evidence of life, so too, this carved bronze Skullpture Series reflects the architecture of being alive."
Shane Wilson
Skullpture Series - Black Bear 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Grizzly 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Human 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Large Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Seal 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Small Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Wolf 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
(bronze skullpture carving, bronze skull sculpture)
"Just as a fossil uncovered is evidence of life, so too, this carved bronze Skullpture Series reflects the architecture of being alive."
Shane Wilson
Skullpture Series - Black Bear 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Grizzly 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Human 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Large Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Seal 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Small Wolverine 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
Skullpture Series - Wolf 1 and 2, 2007 by Shane Wilson (carved bronze skulls)
(bronze skullpture carving, bronze skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 1) by Shane Wilson
June 01, 2000 Categories: Yukon Seasons, 2003
As noted in the commentary on the other drawing, the migratory birds will 'fly' down towards the nose of the skull on the other side. This will lead into the fall pattern of salmon spawning, up from the nose on this side and into the antler, to be caught by the grizzly.
The major seasons of summer and winter are therefore represented on the main portions of each antler, with the transition seasons of spring and fall forming the transition between the antlers and over the skull.
Work on this sculpture is scheduled to start in April 2001.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 2) by Shane Wilson
June 15, 2001 Categories: Yukon Seasons, 2003
On the right side, the design elements have been extended from within the composition out onto the border. In some places, the lines will match exactly, whereas in other places the lines are a little out of sink, as if a long object were viewed, partly submerged in water. I will maintain an edge between the border and the composition, in order to entice the viewer around to the proper perpendicular angle for viewing, as if to get a better look through a window at the scene.
The background elements in the composition will be cut out in an outline pattern, suggesting mountains, a lake, the river up which the salmon swim, and even some of the salmon in the river itself. This approach allows me to include a great deal of information about the two scenes of summer and fall as background, while allowing the bulk of the relief work to be used within the figurative elements. Otherwise, if the mountains and the river were done as objects with mass, thereby consuming more of the depth of the antler for greater relief treatment, the figures would have less depth of material available, appearing flatter against a solid background, and not as interesting.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 3) by Shane Wilson
June 22, 2001 Categories: Yukon Seasons, 2003
I decided to leave the cuts that I had planned for the water falling behind the 'fall' bear until the carving proceeded a little further. It may be that the three sections of falling water will look best carved in relief. If not, then it will be appropriate to remove the planned sections at that time. The key with carving is don't take it off until you're sure.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 4) by Shane Wilson
August 03, 2001 Categories: Yukon Seasons, 2003
I have roughed out the main planes with both straight and tree shaped burrs of various sizes. I find it works well to define a plane on the side furthest from the viewer with a smaller straight burr, then remove the material toward that line with a tree burr and finish with the straight burr to clean up the line. I find that this process repeats itself throughout the roughing out process, using burrs of various sizes depending on the area being worked.
One visitor to my studio commented that the carving looks to be almost completed. It would certainly be great if that were true, but the majority of time has yet to be spent on the details and finishing. The analogy I often use is that of the building of a structure. Once the shell is up, it appears the building is nearly completed. But that is deceiving, because the inside work always takes most of the time.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 5) by Shane Wilson
October 30, 2001 Categories: Yukon Seasons, 2003
In this phase, I have worked the upper portion of the right antler, further refining the planes and shapes. The eye and mouth regions of the two bears have been left to a later phase. My decision to make the border portion blocky and square may not work on the tines, which seem to give the appearance of being cut off. I'll leave them for the moment and see how they look when the whole right side has been worked for the second time.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 6) by Shane Wilson
November 26, 2001 Categories: Yukon Seasons, 2003
The bear and fish have been further refined and await the final detailing.
The water is almost finished, with interesting patterns in the lower palm of the antler and around the lower border. I have added a whirlpool design to two of the lower tines and on the shaft of the antler. The area around the butt of the antler has been cleaned up but retains the original shapes to represent splashing water.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 7) by Shane Wilson
October 29, 2002 Categories: Yukon Seasons, 2003
This phase has been one of the trickiest and most time consuming to date. The mother bear in the summer scene has been further defined. The section of antler is extremely thin here and the challenge has been to design the mother so that she looks substantial from the probable vantage point of the viewer. The antler curves toward the viewer, exposing the thinness of the antler along its edge. The best solution has been to carve the body texture of the bear deeply in relief, permitting a rounding of the multiple surfaces, while finishing the nose and mouth area in the round, providing a pleasing illusion of substance which works from every vantage point.
The brown marks are made by a pencil crayon and serve as reference points for further refinement. I find that pencil crayon is preferable to pencil, as pencil leaves fragments of graphite which persist in the pores of the antler. The pencil crayon's waxy consistency tends to remain on the surface of the carving and comes away easily during subsequent work.
The small holes represent Yukon's ever present summer environment: insects. Yukon's summers belong to the blood suckers, save in the small oases human bug killing technologies have carved out of the wilderness, which are our towns. With such an influence, nay, dominance over the summer landscape, I felt it necessary to include them in the sculpture, along with the creature we typically assign to that role.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 8) by Shane Wilson
November 19, 2002 Categories: Yukon Seasons, 2003
I have completely redone the 'frame' or antler border. Not happy with the effect of carrying the background lines of mountain and sun onto high relief along the border, as it flattened out the image, I have carved away these effects. Replacing these with a continuation of the sun ray and insect theme, it seems much more pleasing. The mountain and sun appear to recede and the rays carry the wavy pattern of sun and mountain into the lower half of the antler, where the pattern changes to water. The insects now appear to cluster, as they are wont to do. I have refined their shapes, adding larger and smaller holes to give the impression of 3D clusters, with some bugs closer and some further from the viewer.
Another element of the design that was troubling me and seemed to flatten the scene, was the connection point of mountain line and mother bear. Since the medium of antler is 3D and can be viewed from multiple points, the mountain and horizon line did not recede as in a 2D drawing or picture, where the use of darker and lighter shades push the background into the distance. I decided to create the effect of distance or separation using another visual illusion, whereby the background around a near object does not seem to exist, blocked by a kind of halo effect around the object. While this adds to the fragility of the carving, I decided to cut the mountain from around the mother bear.
The horizon line will also be removed along the orange line, once the cub has been roughed out. In the meantime it will remain for support. Since it is not possible to put material back, once removed, I used the clone brush in Paint Shop Pro to eliminate these sections in a digital image, to see if the effect worked. It did, to my satisfaction, and I think the initial removal of the mountain connections would bear this out.
The sun and mother bear have been completely reworked and refined, bringing them to a finished stage. So it's on to the cub and the buck brush in the foreground.
I think I can finally see the light at the end of the tunnel! How much longer 'till the whole is done?
(moose antler skull carving, moose antler skull sculpture)
Another element of the design that was troubling me and seemed to flatten the scene, was the connection point of mountain line and mother bear. Since the medium of antler is 3D and can be viewed from multiple points, the mountain and horizon line did not recede as in a 2D drawing or picture, where the use of darker and lighter shades push the background into the distance. I decided to create the effect of distance or separation using another visual illusion, whereby the background around a near object does not seem to exist, blocked by a kind of halo effect around the object. While this adds to the fragility of the carving, I decided to cut the mountain from around the mother bear.
The horizon line will also be removed along the orange line, once the cub has been roughed out. In the meantime it will remain for support. Since it is not possible to put material back, once removed, I used the clone brush in Paint Shop Pro to eliminate these sections in a digital image, to see if the effect worked. It did, to my satisfaction, and I think the initial removal of the mountain connections would bear this out.
The sun and mother bear have been completely reworked and refined, bringing them to a finished stage. So it's on to the cub and the buck brush in the foreground.
I think I can finally see the light at the end of the tunnel! How much longer 'till the whole is done?
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 9) by Shane Wilson
December 01, 2002 Categories: Yukon Seasons, 2003
I have included a pic of the entire sculpture so that you can get a sense of the whole.
In this phase the grizzly cub has been completed, save only for a few minor adjustments. The horizon line, which passed behind both bears, has been removed.
I am now using a Canon S30 digital camera with a 3.2 megapixel image size. My hope is that you will see greater detail with a little more clarity.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 10) by Shane Wilson
February 11, 2003 Categories: Yukon Seasons, 2003
In this phase, I have designed the cut patterns for the hair. I am attempting to create a design that will be pleasing to the eye (since it represents a large portion of the sculpture) yet still conveys the impression of a wet bear.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 11) by Shane Wilson
March 18, 2003 Categories: Yukon Seasons, 2003
It feels so good to be working on this bear. The lines and curves melt underneath my blades in sumptuous abandon, revealing what, I hope, looks like a wet bear with fish. Pure joy.
I have purchased an "Ott Light" to aid me in my endeavors, and the difference is truly remarkable. The full spectrum, florescent floor lamp, was developed for Disney to provide natural-artificial light for a flower photoshoot. I don't know how I have managed all these years without it! It is so easy on the eyes, reducing strain and illuminating hard to see areas that I may not have treated adequately in the past.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 12) by Shane Wilson
April 09, 2003 Categories: Yukon Seasons, 2003
I have included two 'in progress' images with this update.
The first picture shows the head and neck completed, the front leg in a nearly finished stage, the shoulders, back and chest in the first stages of carving and the rear leg as it is originally sketched out. The second picture shows the carving with the bear finished up to the rear leg. If you scan back and forth between the images, you can spot the differences and refinements, especially along the front leg. The third pic shows the bear in the context of the other figures on the antler.
I think my Elector GX micromotor carving tool has finally given up - so it will need to be sent off for repairs. My guess is that the bearings are shot and need replacing. The handpiece was heating up prior to it ceasing function. This will slow things down for a while, but I'll see what headway can be made with the flexible shaft Foredom in the interim.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 13) by Shane Wilson
April 27, 2003 Categories: Yukon Seasons, 2003
The micro-motor carving tool is still not back, but I thought I'd share the work done with the Foredom. It is a larger instrument with a flexible shaft that can be a little awkward for working the finer details, but things went pretty well. The Foredom has come in very handy a number of times for bulk removal with larger 1/4" burrs. This is the first time I have used it for fine work, using 1/8" and 3/32" burrs. I'll clean up the lines one more time when the Elector returns.
I changed the flow of the waterfall and decided to eliminate the raised border around the rear of the bear. My initial thought for this side was to create a border with continuous design elements from the carving within. I eliminated this from the upper half of the design, and it just didn't make sense on the lower half, with the exception of the water below. My problem with carrying the composition into the border was that it flattened out the design and in some places created visual confusion. Thus, the water on the left flows from the border; the buck brush on the right border has been preserved and the tip on the left has been removed, to create the illusion of the land moving into the distance; the bear's rear goes out of the antler (my hope is that the eye will fill in the gaps) and the water flows around the back feet and down into the pool below.
(moose antler skull carving, moose antler skull sculpture)
I changed the flow of the waterfall and decided to eliminate the raised border around the rear of the bear. My initial thought for this side was to create a border with continuous design elements from the carving within. I eliminated this from the upper half of the design, and it just didn't make sense on the lower half, with the exception of the water below. My problem with carrying the composition into the border was that it flattened out the design and in some places created visual confusion. Thus, the water on the left flows from the border; the buck brush on the right border has been preserved and the tip on the left has been removed, to create the illusion of the land moving into the distance; the bear's rear goes out of the antler (my hope is that the eye will fill in the gaps) and the water flows around the back feet and down into the pool below.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Right Moose Antler - Phase 14) by Shane Wilson
May 15, 2003 Categories: Yukon Seasons, 2003 | Portfolio Images
In this phase the bushes, rear of the lower bear, the salmon in its mouth and the water have all been cleaned up and finalized.
LINKS: In Progress Slide Show - Right Antler
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 1) by Shane Wilson
June 01, 2000 Categories: Yukon Seasons, 2003
In order to represent the four seasons of Yukon, I decided to use animals engaged in typical seasonal activities. This drawing will be done on the left antler, as you face the carving. The winter scene on the top, changes to spring through the representation of ice breaking up, morphing into birds migrating back to the Yukon for their annual ritual of nesting and rearing young. The birds will 'fly' off the antler and down towards the nose of the skull. This will lead into the fall pattern of salmon spawning up from the nose on the other side and into the antler on the right.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 2) by Shane Wilson
June 15, 2001 Categories: Yukon Seasons, 2003
Well over 150 hours has been spent on this phase. Once the drawings were transferred to the antler, it was necessary to create the remainder of the design in such a way that the animals received maximum exposure for relief work and still looked reasonable from all angles.
Part of the challenge with this piece has been to create a design that is pleasing from the front, as the work will most likely be viewed initially from this angle. If you note from the initial pic of the whole, the antlers are tilted in towards the centre. This means that it was necessary to incorporate the borders of each antler into the overall design, so that the eye is drawn into the composition and the viewer moves unconsciously into a position to see each antler from its most advantageous angle. Otherwise, the relief work, which is intended primarily to be viewed from the perpendicular, will seem flat, distorted and poorly executed.
On the left side border, I have chosen to represent the predominant atmospheric conditions during winter in the Yukon, snow and ice fog. These create the impression of a frame around the central composition, enticing the viewer to move into a better position to see the relief work from the proper angle. These two design elements, snow and ice fog, are represented by geometric shapes, hexagons and triangles, and will be carved in shallow relief and of different sizes to represent depth of field, as if the viewer was in the midst of a snow fall or peering through ice fog on a -40 degree day.
The trees at the top of the antler are either stripped of leaves (deciduous) or burdened with snow (coniferous). They are meant to appear at various distances from the viewer - and the ground, composed of negative space, is meant to be covered with snow. In the winter, there is normally less snow beneath the trees, so I have chosen to ground each tree by creating the image of an ovoid depression (in nature, a negative space) as a positive space, relief element. (How true, in art, that often to achieve a realistic effect, "you must 'lie' in order to tell the 'truth'"!)
The moose and the wolf are surrounded by the continuation of negative space, the continued representation of snow on the ground. The back right leg of the moose, seems to disappear behind the wolf because it is in the deep snow. In fact, wolves are able to hunt moose in the winter when the moose are slowed breaking through the crust into deep snow. The wolves, with their large paws and lighter bodies, remain above the crust, retaining superior maneuverability. The lower border of the winter scene is a positive representation of snow on the ground. Note, the paw of the wolf barely sinking into the skiff of powdered snow above the crust.
The segue into spring occurs below this line, with the bank of a river. The rotting blocks of ice that normally line the banks of a river in the spring are represented by the angular edge. The negative space below this represents open water, which always seems to appear along the banks of both rivers and lakes. The larger geometric shapes below the open water, represent the large blocks of ice that race downstream, colliding with each other in their chaotic race for the sea, and which often form the ice jams which cause flooding in riverside communities throughout Yukon and Alaska.
As a final element of spring, I had intended to morph the ice flows into migratory birds, however, the design just didn't work when applied to the antler. Instead, I have created an abstract Sandhill Crane within the ice flow itself. The wings and tail project over the border of the antler, while the neck and head extend along the shaft of the antler that attaches to the skull. The Sandhill Cranes are my favorite migratory bird, as they pass over my home in Faro each spring (and fall) by the tens of thousands.
(moose antler skull carving, moose antler skull sculpture)
Part of the challenge with this piece has been to create a design that is pleasing from the front, as the work will most likely be viewed initially from this angle. If you note from the initial pic of the whole, the antlers are tilted in towards the centre. This means that it was necessary to incorporate the borders of each antler into the overall design, so that the eye is drawn into the composition and the viewer moves unconsciously into a position to see each antler from its most advantageous angle. Otherwise, the relief work, which is intended primarily to be viewed from the perpendicular, will seem flat, distorted and poorly executed.
On the left side border, I have chosen to represent the predominant atmospheric conditions during winter in the Yukon, snow and ice fog. These create the impression of a frame around the central composition, enticing the viewer to move into a better position to see the relief work from the proper angle. These two design elements, snow and ice fog, are represented by geometric shapes, hexagons and triangles, and will be carved in shallow relief and of different sizes to represent depth of field, as if the viewer was in the midst of a snow fall or peering through ice fog on a -40 degree day.
The trees at the top of the antler are either stripped of leaves (deciduous) or burdened with snow (coniferous). They are meant to appear at various distances from the viewer - and the ground, composed of negative space, is meant to be covered with snow. In the winter, there is normally less snow beneath the trees, so I have chosen to ground each tree by creating the image of an ovoid depression (in nature, a negative space) as a positive space, relief element. (How true, in art, that often to achieve a realistic effect, "you must 'lie' in order to tell the 'truth'"!)
The moose and the wolf are surrounded by the continuation of negative space, the continued representation of snow on the ground. The back right leg of the moose, seems to disappear behind the wolf because it is in the deep snow. In fact, wolves are able to hunt moose in the winter when the moose are slowed breaking through the crust into deep snow. The wolves, with their large paws and lighter bodies, remain above the crust, retaining superior maneuverability. The lower border of the winter scene is a positive representation of snow on the ground. Note, the paw of the wolf barely sinking into the skiff of powdered snow above the crust.
The segue into spring occurs below this line, with the bank of a river. The rotting blocks of ice that normally line the banks of a river in the spring are represented by the angular edge. The negative space below this represents open water, which always seems to appear along the banks of both rivers and lakes. The larger geometric shapes below the open water, represent the large blocks of ice that race downstream, colliding with each other in their chaotic race for the sea, and which often form the ice jams which cause flooding in riverside communities throughout Yukon and Alaska.
As a final element of spring, I had intended to morph the ice flows into migratory birds, however, the design just didn't work when applied to the antler. Instead, I have created an abstract Sandhill Crane within the ice flow itself. The wings and tail project over the border of the antler, while the neck and head extend along the shaft of the antler that attaches to the skull. The Sandhill Cranes are my favorite migratory bird, as they pass over my home in Faro each spring (and fall) by the tens of thousands.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 3) by Shane Wilson
June 20, 2001 Categories: Yukon Seasons, 2003
This phase saw the removal of the antler forming the negative spaces. In addition to a counterweight, an assistant helped steady the work, while I removed the material using a scroll saw. As in other carvings, the scroll saw blade used was multidirectional. It is important to ensure that you have many blades, since they break rather frequently. With the counterweight system bearing most of the weight, and with an assistant helping to steady the work, I went through far fewer blades than usual. But they do wear out and break after a few cuts.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 4) by Shane Wilson
August 09, 2001 Categories: Yukon Seasons, 2003
Similar to the fourth phase for the right side, I have roughed out the main planes with both straight and tree shaped burrs of various sizes. I find it works well to define a plane on the side furthest from the viewer with a smaller straight burr, then remove the material toward that line with a tree burr and finish with the straight burr to clean up the line. I find that this process repeats itself throughout the roughing out process, using burrs of various sizes depending on the area being worked.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 5) by Shane Wilson
October 11, 2001 Categories: Yukon Seasons, 2003
A great deal of work has gone into this phase of the left antler. The moose, river ice and snowflakes have all been roughed in. The refining of the moose and the detailing of the snowflakes will be attended to in a later phase.
I have decided to carve the base of the antler, where it joins the skull, in a way which reflects the nature of ice, thus the overlapping geometric shapes. The base of the other side will be carved almost as is, to represent flowing water in a splashing effect, as over rocks in a stream.
The background of each antler will be carved to contrast with the major shapes represented on the antler. Thus the background carving on the tines of the left side will be rounded to contrast with the geometric emphasis of the ice and snow. Consequently, the right side tines will be carved more sharply to contrast with the smooth flowing lines of the water, land and sun.
Please do not despair about the blockiness or 'rivet-like' quality of the snowflakes. Each will be carved with a unique design or pattern, reflective of the absolutely unique character of every real-world snowflake!
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 6) by Shane Wilson
October 14, 2001 Categories: Yukon Seasons, 2003
The ice fog, represented by raised, random triangle shapes, has been carved into the right side of the border of the left antler and the wolf has been roughed in, in a rudimentary fashion.
I am not sure whether to carve a bit of the ice fog below the wolf, or leave that space blank.
Ice fog is the same as normal fog, except composed of tiny ice crystals instead of water droplets. It generally forms around bodies of open water or settlements at temperatures of 40 degrees (C or F) or colder with no air movement.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 7) by Shane Wilson
April 03, 2002 Categories: Yukon Seasons, 2003
In this phase I have carved the snowflakes and redesigned and roughed out the spring ice and sandhill crane.
Since every snowflake in nature is unique, I decided to carve each snowflake with a unique design. Some resemble real snowflakes and others pick up patterns from the rest of the carving. As such, this allows for the environmental element of snow to serve as itself and as a unique border, blending harmoniously with the whole. Since there is a large sun on the right antler, representing the sun's omnipotence during the summer, there is a correspondingly smaller and less prominent sun/snowflake on this antler (8th from top right). The snowflakes above the sun take on the shapes of winter's night, symbolically representing stars, constellations, the moon, northern lights and the north star (first on right, above the ice fog pattern).
Needless to say, the carving of the snowflakes was delicate and painstaking, involving the NSK micromotor tool and small dental bits.
Moving down along the sculpture, you come to the section representing spring, with large blocks of ice breaking up. Though it may have been difficult to see, there was an abstract sandhill crane built into the arrangement of the ice blocks. When I came to refine the area, I noticed that the crane looked a bit like it had been crushed under the ice, splayed out like a bug on a windshield.
So it has been redesigned. The crane (a little more realistically portrayed) now appears to be in flight, emerging through the ice, as spring and new life emerge from the deep-freeze of winter. It has been roughed out in this phase; I'll come back to it again after refining the winter figures in the next phase.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 8) by Shane Wilson
April 15, 2002 Categories: Yukon Seasons, 2003
In this phase, the trees have been refined, the moose and wolf have been mapped out for refinement and the antlers on the moose have been begun.
I have tried to capture some of the unique looks of the various varieties of trees in winter. The aspens are slender and barren of foliage. The pines are blanketed with snow in that Christmassy way, and the gnarly pine supports stooks of snow on its hardy satellites of growth.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 9) by Shane Wilson
May 02, 2002 Categories: Yukon Seasons, 2003
The moose has been refined in this stage with a relief design meant to portray something of the power of the animal in its winter coat. You can see the top of the wolf marked with the pattern to be carved in the next phase.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 10) by Shane Wilson
May 20, 2002 Categories: Yukon Seasons, 2003
The wolf has been completed in this phase.
It was a challenge creating the impression that the head is angled toward the moose. I wonder if the medium lends itself better to relief efforts that are parallel with the surface of the antler. Though it is technically possible to carve anything that can be drawn, the surface and thickness of the antler creates its own impression of the form which militates against images which are angled into or away from the viewer across the antler surface. A case in point is the carving I did for FNAWS, 'Faro Fannin.' In that carving the sheep's head is turned on an angle toward the viewer. Though the carving is correctly executed, the viewer does not necessarily pick up on the details of the carving, such as the 3/4 view of the nose, which would indicate the head is angled toward the viewer. Instead, the viewer sees the head as a profile and assumes the sheep is looking away from the viewer at a right angle and is then puzzled why the back horn is so much further ahead than the front horn.
It is hard to overcome the limitations of the medium!
If the image were to be carved on a solid background it might be a little easier to introduce the subtler angles, but I am not willing to sacrifice the illusion of fully rounded figures. Each of the figures in this piece are set on an angle, and they seem to work fine here, but in future I may limit the figures to profiles.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 11) by Shane Wilson
May 28, 2002 Categories: Yukon Seasons, 2003
The Sandhill Crane has morphed again into a more realistic bird. Co-incidently, while I was working on this part of the sculpture the Sandhill Cranes migrated through, passing over my studio in flocks of hundreds and thousands. I was able to observe their feather structure and flight pattern with an eye to duplicating the same in antler. It was indeed fortuitous that they passed by when they did, because the pictures I was using for reference were simply not adequate! There is a little more work yet to do on the receding wing, which will be attended to later, when I change the position of the work on the carving bench.
I have found that my back has been giving me a little trouble lately, due to inadequate support from my old chair and the need to work in a reaching or stretched position. I broke down and purchased a new office chair, with a very comfortable seat, firm back support, adjustable arm rests and the ability to raise and lower the chair on a gas cylinder. The new chair has made a real difference, providing great support while allowing my hands and arms to work, on each section of the antler at a consistent height and with consistent support.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 12) by Shane Wilson
April 27, 2003 Categories: Yukon Seasons, 2003
The effect that I was attempting to create with the crane and the ice was one of melding them into one. They are inseparable in nature, the cranes migrate north when the ice goes out and south when the ice returns.
Originally, the crane was to be represented abstractly in the shapes of the ice. No one 'got it', so I added a bit of definition to the crane ice blocks. Still no one really seemed to 'see' the crane. In the previous phase, I defined the crane and kept it merged with the ice. But the more I considered this section over the past year, the more it looked to me like the crane was trapped in or crushed by the ice. So I removed the ice blocks from over the crane, created a back, defined the rear wing vanishing over the edge of the sculpture, and tied all the body parts together, since they were on different planes of the carving.
I am pleased with the effect, as it gives the appearance now of the crane flying over the ice.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 13) by Shane Wilson
June 15, 2003 Categories: Yukon Seasons, 2003
The crane is finished along with the water pattern, flowing beneath the ice. The ice has been cleaned up and finalized.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Left Moose Antler - Phase 14) by Shane Wilson
June 29, 2003 Categories: Yukon Seasons, 2003 | Portfolio Images
In this final phase, the ice fog has been cleaned up and the tips have been reduced to match the right side.
LINKS: In Progress Slide Show - Left Antler
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Beginning) by Shane Wilson (carved moose antlers and skull)
December 05, 1999 Categories: Yukon Seasons, 2003
This commission will represent the four seasons of Yukon. The commissioner's request was that the commission be carved on a full moose skull with antlers.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Moose Skull - Phase 1) by Shane Wilson
June 01, 2000 Categories: Yukon Seasons, 2003
In the initial design, the migratory birds 'fly' down towards the nose of the skull on the other side. This will lead into the fall pattern of salmon spawning, up from the nose on this side and into the antler, to be caught by the grizzly.
The major seasons of summer and winter are therefore represented on the main portions of each antler, with the transition seasons of spring and fall forming the transition between the antlers and over the skull.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Moose Skull - Phase 2) by Shane Wilson
June 15, 2001 Categories: Yukon Seasons, 2003
This section of the sculpture has changed the most from the original plan. This is due in large part to the fact that the migratory bird motif entering from one side and the salmon swimming up on the other side, was not going to work. The scale was wrong and the strength of the base section of the antlers needed to be preserved, due to the fact that the finished sculpture will be mounted by those sections.
What I have done instead is to carry the themes of ice floes from the left, and water from the right, down onto and across the skull. A raven, representing all four seasons, is situated, flying along the top of the skull, between the antlers. The ice fog and snow motifs are set down the centre of the skull, in the 'air' along the path of the raven. On the right side of the skull, two curly patterns further represent spring as emerging plant life (fern: fiddle-heads).
(moose antler skull carving, moose antler skull sculpture)
What I have done instead is to carry the themes of ice floes from the left, and water from the right, down onto and across the skull. A raven, representing all four seasons, is situated, flying along the top of the skull, between the antlers. The ice fog and snow motifs are set down the centre of the skull, in the 'air' along the path of the raven. On the right side of the skull, two curly patterns further represent spring as emerging plant life (fern: fiddle-heads).
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Moose Skull - Phase 3) by Shane Wilson
July 25, 2001 Categories: Yukon Seasons, 2003
I have begun to rough out the shapes on the skull. You can see the raven, as well as the snowflakes, water and ice patterns beginning to emerge. I am a little uncertain about the trail behind the raven. It is meant to be an indication of the wake behind the bird as it flies through the ice fog, but it looks a little more like an extension of the tail at this point. I'll pursue the design a little further before deciding on whether or not to remove it.
What you can't see in this shot are the wonderful holes emerging in the design in the thin sections along the side of the skull. I am going to play with these a little more and show you the results next time I update this section of the sculpture.
(moose antler skull carving, moose antler skull sculpture)
What you can't see in this shot are the wonderful holes emerging in the design in the thin sections along the side of the skull. I am going to play with these a little more and show you the results next time I update this section of the sculpture.
(moose antler skull carving, moose antler skull sculpture)
'Yukon Seasons' (Moose Skull - Phase 4) by Shane Wilson
August 23, 2001 Categories: