The first cast with no finish applied to it yet
Seeing how the lion head fits, the 11″ long backing form looks just right to show that nice classic double curve an inch or so on either side of the lion while keeping the whole thing small and compact .
I have to see if the boxes of clay I have had sitting around are still useable, but once I start making the clay backing form in the template box it all has to be done quickly, including making the complete rubber mold before the clay starts to shrink, including making the plaster support shell since if the clay shrinks the rubber will move with it, so the shell has to be done as soon as the last aplication of rubber is no longer tacky.
Right now I don’t have the molding plaster to make the shell.
Maybe next weekend I can form the clay backer if that clay is ok, and it will firm up a little over a week without shrinking, and then I’ll order what I need in 2-3 weeks and press the lion into the still soft clay and then make the rubber mold.
The template for the lion is done except for attaching the one side piece once I decided how wide the sculpture was going to be, after coming home and measuring the lions head and found it was 9″ wide, I decided on 11″ wide for the backing block, so just like they did the old plaster ceiling moldings this box and template is used the same way but on clay.
I have the 1st section of the little mold made, after it hardens I can mold on the next section, it will take 3, maybe 4 pieces.
I went ahead and shaped the clay backing block for the lion with the template box and just set the lion in it’s approximate position for the photos and then sealed it up in a plastic bag to keep it from drying too much too quickly, once the clay sort of firms up I can remove the sides of the box and finish and tool texture the 4 sides and the face nicely, and then look at setting the lion in and filling the gaps around the sides of it.
Since I have most of the 2 gallon kit of mold rubber left over that needs to be used up, I decided to set up this clay model I did in 2008 after an original polychromed terracotta at the 14th st subway station in Manhattan. A volunteer back then took several photos and obtained measurements for me to work with. The model has been kicking around in the studio, the basement and elsewhere around the house while I decided on how I wanted to do the molds.
Originally I was going to do 2 molds, as a one-piece panel, and as thinner tiles in terracotta. For now I’m going to caulk-in the seams to have it as a one-piece panel with the seams looking like mortar joints.
Setting up the model for the mold involves cutting a sheet of drywall in one piece to surround the assembly so I can raise/lower the drywall to get the final depth of what I want for the resulting castings’ thickness.
I wanted to keep as thin as practical to lessen the weight, but the lower tail fin section was thinner than I felt it should be, so I lowered the drywall down 1/2″ from where I originally thought it might go, that leaves the thinnest portion 1-1/2″ thick.
I started caulking in the seams between pieces to fill, but not obliterate them- so the liquid mold rubber can’t drizzle down through the spaces before it sets up.
Only the rubber portion will be done for now, the plaster support shell for this and the plaster mold for the beaver will have to wait until I order some of my casting material, molding plaster, and a few boxes of clay if they clay I have on hand is not usable (been sitting around for a couple of years it still dries out even in the unopened plastic bags)
It might be a month before I order that stuff since I still have 3 bags of casting material on hand and it all has to be freight shipped, so it’s about a $600 outlay for what I’ll want to order.
One of the original polychromed terracotta eagles at the 14th St platform.
Started on the positive mold of my beaver sculpture by bringing the negative mold up from the basement and applying the release agent to it, after I have dinner I’ll be applying the rubber compound.
The mold in progress, and just after the 2nd application of rubber started to gel I poured the warm plaster in for the support shell. The heat from the setting plaster will help cure the rubber faster too. To-morrow I can take the negative mold apart and peel that rubber off the new and I’ll have a rubber positive with this plaster support inside it.
After filling the cavity with plaster for support
And here’s the rubber positive to use for making the plaster piece-mold to press terracotta in.
I haven’t posted anything here since last July, since there’s been very little happening sculpture wise, plenty of other non-sculpture stuff I’ve been very busy with though.
I took a break from doing any further new models since I have a bunch of completed clay models sitting all over and not even one inquiry on any of those, so I have not made rubber molds of them and have no plans to do so in the foreseeable future. There’s not a lot of point in continuing to create large, fragile clay models and having them sit stored around the house where they are in the way and easily damaged.
We’ll see what happens this year.
I decided to put my gallery building up for sale and bring the contents back home.
After being open for 3 years I’ve found absolutely no interest, participation or much of anything from the residents of the city for the arts, history and culture the gallery/museum brought in.
Even the city’s “betterment’ group which for years has been yammering on and on about desperately wanting to bring new businesses into the town were completely and utterly silent the whole 3 years the gallery has been here, not even one line about it on their web site, not one resident of the town ever called or emailed asking to visit or take a tour, I may as well have opened a frog pond, it would have probably generated interest or something!
After a fair amount of work I finally completed moving two domains and their associated web contents to different hosting that will save about $100 a year.
Other than that, there hasn’t been much to update, I’ve become busy with other projects and I’ve taken a break from making further models so I haven’t started the West Side Highway model beyond making the wood form for it. I might get started on that in a couple of weeks, we’ll see.
I’ve discontinued my mailing list which had only about 32 subscribers to it all these years anyway, other than Rick and maybe one other client, I never heard a peep from the others in years, so I figured most of the mails were going in the junk folders or they were no longer interested.
That’s about all that’s new for now!
I decided on the width of the model and I took the old photo I have and sized it proportionally in CAD, then I decided to experiment with making the sides “torn” so I could get a better idea the effect. I think with the right amount of “tear” texture it will be just what I had in mind.
Maybe adding about 50% more raggedness and rounding/curving the tear here and there on the clay model will do it, the CAD version is just a real quick/easy use of polygon hiding.
Oh and if anyone is wondering about the street name “Desbrosses” street and how it might be pronounced, this explanation from an 1880 book should do the trick:
In the city of New York there has been of very late years a remarkable change of name effected by this rule of spelling-book. “What,” said to me an elderly gentleman, a member of a highly respected old New York family, “what do these people mean by Dezbros-sez Street? There’s no such street. The name is De Broose Street.” He then informed me that the street was named after a family whose name was spelled ” Desbrosses,” but pronounced De Broose, and that until it appeared on the street cars it was always so pronounced. I myself have been astonished to hear the family name of an old friend and college classmate of mine—Van Schaick, which time out of mind was pronounced Von Scoik — lately spellingbooked into Van Shake. This solicitude to conform sound to letter has become a disease among us. It exists in no other country; and here it is due chiefly to common school teaching.
I scaled off a large format B&W .tif image obtained from the Library of Congress’ historic American building survey to find the dimensions. The technique is easy with this photo since not only is it a straight-on shot with no distorsion, but I have one known measurement to use to calculate the scale of the objects in the photo with.
Using the ruler in an image editor I found the measurement of one of the medallions I own (not shown in the view) which is 18″ to come up with a pixel measurement of the section where the yellow line is. I found that yellow line compared to the size of the line for one of the medallions that was cropped out of this view makes it 470 px which came to 34,” so using those two values I came up with a divisor of 13.8 px per inch.
Now it’s simply a matter of taking pixel measurements and dividing by 13.8 to get inches, and then by 12 to get feet.
The pixel value and pixels per inch will of course change with every photo, it is not a constant number.
Using that method I found the white line is 23″ the blue line should have stopped above the street name to show that upper section’s measurement, but from the name to the yellow line is 48″ and the long blue line is 81.”
The long red line is 15 feet 6″ while the “wingspan” above which is not color lined is 11 feet 8,” so it should be obvious how massive this ironwork was.
The smaller winged piece on top the white and yellow line measure was made separately and it was 500#.
So to make a model of this, probably 36″ is going to be about the maximum width I’d want to go and would include everything in the photo, including the riveted railing which in this photo is 9 feet 4″ high.
That would mean a model scaled down to represent 16 feet of width, if it is 36″ wide (X,Y) then that scales to about 32″ high (Z) in CAD software rounded out to the nearest whole inch.
I’ll have to play around with the scaling to come up with the best size.
I think I want to do some kind of model of one of the historic West Side Highway street/pier markers, these were extremely heavy cast-iron and as far as I know only one was saved when the highway was demolished in the 70s/80s, the rest were scrapped.
The designs were made by renowned sculptor Rene Chambelain and I have seen photos of his original plaster mockups or models for these in his studio.
I’m thinking of doing a “section” of this elevated highway side, not just the sculptures but to include the interesting riveted background and the partially pierced railing section above too.
The smaller “eagle” on top was made in two styles, one with the hour glass and one with a propellor, I managed to remove one of each when one of these massive sections was dropped on the street below and left there for the weekend. They were held on with four large bolts which amazingly I was able to get loose.
These small pieces weighed 500# each so it’s easy to imagine how much the rest of this ornament must have weighed.
I also found a fragment of the lower section in the form of a gear, one of which is just above the number 3 and another just above the letter I, it weighed around 90#
I had tried to hacksaw off one of the eagle heads, one on the left and one on the right projecting laterally near the bottom, but the cast-iron of their neck area was completely SOLID and it was around 5″ thick, I wound up walking away from that since the eagle heads were so minimally done, more of a suggested head from the shape really, not a lot of detail to them.
I think this model will pretty much use up most of the clay I have on-hand and I think until things change on the economics side I’m going to take a break from making further models at random since I have quite a few finished models still sitting around with no interested clients inquiring about purchasing casts of them. Off the top of my head I have that “Roman Ruins” panel, the horse head keystone and a number of others which haven’t generated any interest so I’m going to focus on other things and also work on pushing custom commissions.
This includes Faraday, ADT, Edwards and a number of other makes.
Back in the 70s and 80s when I had a collection of of over 100 local fire alarm boxes salvaged from numerous buildings in NYC, a few of them still had their “break glass” hammers attached with a chain. These hammers were often stolen or just missing from boxes in service.
Of the several styles of hammers there were I have two that I like the best, one is steel, and the other is solid brass and a little smaller, I decided to offer hand-made replicas of the larger hammer, made after the original.
This is made from two pieces of solid steel rod, the handle hole is drilled on a Bridgeport milling machine and the handle is pressed in tight with an interference fit, no ugly welds, brazing or crappy epoxy stuff used.
The hammer is patterned after the antique original, and it has a hole drilled to accept a chain of your choice (available at any hardware store) Most of the chains were sash chain, some used other styles but the sash chain was very common and it’s easy to find today in any length you desire in both steel and brass.
The hammer is nominally 4-1/2″ long like the original and it is primed and ready for you to paint in your choice of appropriate paint for your project.
The hammer is just shown hanging by a Gamewell and a local fire alarm box that would or could use this item, no box is included of course.
The hammer hanging on a hook and chain by your fire alarm box display would be a perfect finishing touch that adds an authentic look.
Currently one is available, I will make a few more to have on hand, but for the most part they will be a made-to-order item if you wanted more than one, or I run out.