“And now I will, you know, I told you we were going to use a stone here, so I’m already going to see how it looks there. And this is a bead, so it has a hole in it, which is why I’m going to have to, hide that. Cool. So, I’m going to actually, carve some of the clearly, because I don’t, if I just push the stone into this area here, it’ll just expand on the sides and I don’t want that. So I’m just going to get, take out the tiny piece of this and, make it slightly larger using the bowl.”
“So here’s the tip of the chin. Now, one of the things I need to see is the angle that it goes back. And I want to see what is the relationship between the tip of the nose and the chin. What is that implied line there? So the tip of the nose to the edge of the chin is almost vertical. I’m going to draw that angle so I can find this mapping point and his head is slightly tipped back. That’s why it’s looking like he’s jutting out his chin. Then we called this the Lennon pose when we took the picture. So his chin is jetting out.”
“So first step is just going to be to wrap the clay around your foil core and how you do that is really up to you. It’s not, you want to trim off the excess, you don’t, we don’t need all that thickness. If your clay is too thick, it’s going to, it could, it could, crack on you. If you have areas that are much thicker than others. So I try to trim off what I don’t need. So let’s just move this aside for a second. I’m actually gonna get rid of this tile for a minute. I will put it on this because then it’ll be easier to move the tile than it will be to lift the frog once it has its legs on.”
“So this table may be covered with, with white dust, but it’s easy to clean up. Right now. I’m just going over the lines. I want everything to be a nice, smooth motion. I want everything to be as deep as all the way around the cuts. So the cut, I want it to be completely the same depth so that there’s no Rocky movements in these cuts. So if there’s a lot of rocky movements in the cuts, it’s going to be hard to get those scratches out with the polishing steps. And I’m going to kind of want to, change the shape of this stone to make it a little interesting. So I’m going to go around the side of it as well, and kind of change that shape of the sound, just so that….”
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“So we’re working on these feathers to make them so that you can, when I’m in the back end of your bird, or I, you know, sometimes I’ll make little buns for the hair. You can put photos wherever you want to that’s this is your choice, but this is how you do it. All right. So I sprayed this. Remember I’m putting my wire down. I want the wire delay as flatly as possible and laying that down. And then I’m taking my snake and I am laying it on top here. I want this up a little higher because I’m going to pull this down and I could use the extra link up on top to make sure that that wire gets covered.”
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“I bet that’s quite a common problem to have, right. That is the tricky part with the inset eyes. Like the, the hand-painted ones are tricky to paint, but they’re super easy to sculpt in and draw. So the sculpting process with it is really easy that way. but the inset eyes are super easy cause you don’t have to paint them. So you don’t have to deal with any of like the tiny little pupil. But they can be trickier to get looking in the same direction or to not be like walleyed or, so those kinds of the each had their own challenges. So you kind of just have to play around with both of them and get used to how they are.
“So what I’m doing here is just putting acid etching cream on the high parts of the pattern. Now don’t worry too much if you color outside the lines with this, because when we fire it again, the parts that are acid etched, that don’t have mica, we’ll just fire polish. So they will not even be visible. So don’t really, don’t get so wrapped up in the perfection of this, that you paralyze yourself with inactivity. So, there’s the shell and we’re going to do the lighthouse and the turtle very quickly.”
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