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AliasGhost In reply to misfitjake [2010-01-08 01:24:55 +0000 UTC]

Thanks man, I'm partial to him most days.

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AliasGhost In reply to KoniraThax [2009-07-29 05:43:40 +0000 UTC]

Thank you very much, I appreciate the kind words.

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AliasGhost In reply to usn1 [2009-03-28 07:35:21 +0000 UTC]

Thanks brother, much appreciated.

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usn1 In reply to AliasGhost [2009-04-01 00:59:25 +0000 UTC]

No problem, the kit should be very cool!

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AliasGhost In reply to tecciztecatl [2009-03-26 23:19:41 +0000 UTC]

Thanks man.

I think my deep seeded interest in Buddhism and Japanese Myth led me to this one first. I also spent a fair amount of time looking for Tengu sculpts and found them to be relatively rare, which is always a bonus for me (if I see one more Predator sculpt I might burst). And yes I plan to cast him myself, when I can afford to.

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tecciztecatl In reply to AliasGhost [2009-03-28 22:41:12 +0000 UTC]

Do you know of any Tengu sculptures made at the time the myths originated?

This might be a question requiring a ridiculously long answer so don't worry if you have to summarise but how do you plan on going about the casting? The silicone molding I've done involves building clay walls all around the sculpt which have to meet it at as close to perpendicular to the sculpts surface as possible. It just doesn't seem feasible on a small model so I'd love to know how you'll do it.

Also I was just talking to another deviant about meditation. Carving requires constant intense concentration and I was considering taking up meditation to try and develop it. I find my mind wandering all the time and that's when I make the worst mistakes so I was just wondering what your understanding of the Buddhist approach was, or if you've tried meditating and how it might have helped?

Tim

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AliasGhost In reply to tecciztecatl [2009-03-30 05:20:02 +0000 UTC]

Hey Tim, I've found relatively few 'ancient' sculpts, though they certainly do exist they are usually small undetailed figures indicative of their time.
I plan on breaking him down, sawing off a leg an arm and the head, it will be a simple two part silicone box mold. Admittedly my first but after researching and looking at the Gnomon Workshop DVD's I feel pretty confident (that I'll make a mistake and start over).

Meditating seriously is something I have neglected for far too long, though I do try to apply the principles while creating art (acting or sculpting). Obviously my medium lends itself better to mistakes than yours but being completely in the moment while creating is my constant goal, shutting out all distractions and concentrating with a single pointed focus on my subject. Breath control helps steady my hand for high detail area like faces, unfortunately I doubt I'll ever be able to sculpt between my heartbeats like a sniper.

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tecciztecatl In reply to AliasGhost [2009-04-02 20:44:26 +0000 UTC]

Oh ok, a box mold makes sense. You'll cut off the wings too?

You'd be surprised how often you can correct mistakes in stone. If something falls off you're kind of screwed (it can be glued back on but the break usually shows) but if you've taken a little too much off one area it's sometimes possible to cut back other bits to match it.

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AliasGhost In reply to tecciztecatl [2009-04-02 21:01:49 +0000 UTC]

Yeah, actually the wings and his drinking gourd are separate pieces sculpted in Castilene Wax hence the green coloration.

Thats awesome, I find the whole sculpting in stone thing fascinating. It does look time and labor intensive, but it's so much more permanent than my medium. I guess Hydrastone, and resin castings might last a few lifetimes, but nothing like the staying power of stone.

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tecciztecatl In reply to AliasGhost [2009-04-05 12:59:18 +0000 UTC]

You'd probably be surprised. In the south of England the most common stone is Portland limestone - most of what I've done at college is carved in that - and it weathers very quickly. I've seen sculptures a hundred years old that are barely recognisable. Especially with the acid rain around today. A letter cutter once showed me a block of Portland that'd been sitting in his garden for just ten years and holes had rotted right through it.

Marble doesn't fair much better either. I went to Paris a couple of years ago and went round Pere Lachaise cemetery, and the surfaces were pitted so that none of the original polish remained. Although to be fair they were still perfectly readable as sculptures. The only stones that really last are the igneous ones which are bastard hard to work.

The ram carving in my gallery ([link] ) is in andesite (named after the Andes) which isn't quite as hard as granite but I was still sharpening my tungsten chisels every few minutes. It's in a forest in the Lake District, off the beaten path, and hopefully that one could last a thousand years or more assuming the place isn't paved over or whatever.

I think resin would probably keep its condition much longer than most limestones.

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AliasGhost In reply to tecciztecatl [2009-04-05 16:10:44 +0000 UTC]

Interesting, I hadn't really considered that. Come to think I do remember someone saying something about the damage to the Lincoln Memorial being caused by Acid Rain.

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AliasGhost In reply to CalvinMudge [2009-03-24 04:16:01 +0000 UTC]

thank you.

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