In the course of chatting with a few of the stalwarts in the last few days, a common lament was the "non-linear" nature of the blog (vs. the compartmentalized internally-sequential threads in a bulletin board). And I couldn't agree more. In fact, it will be one of the things I miss the most!
Nevertheless, I believe that navigation will get progressively easier the more one uses the site and distances oneself from the habitual "norm" of the bulletin board platform. And to this end I have rearranged the sidebar. Note that at the top of the sidebar is now what I call the "Site Index". This is a list of the "tags" (keywords, labels, what have you) that describe a given posting, along with the number of postings (in parentheses) in each category. The most important thing to note is that each project will be individually tagged. Thus if you are only interested in the progress being made on the bust of The Mummy, simply click on "Mummy (Bust)", and all the postings in that "thread" will appear in descending order.
Let me know what you think, and how it works for you. And should you have any questions or suggestions, don't hesitate!
Augie
26 March 2009
19 March 2009
And now for something [not so] completely different: Napoleon in Egypt
Immersing myself in the "historically fantastic" has led me to examine the purely historical possibilities. I am a firm believer in maximizing the efforts expended in establishing a sound knowledge base. . .
I am of course talking about "The Mummy". . . though a rendition of a 15th or 16th c. scion of the house of von Frankenstein is certainly not out of the question! ;-)
But I digress. . . While researching the historical basis for no less than three Mummy projects, I ran across a print executed ca. 1895 by Maurice Orange (1868-1916; Fr. military artist and Orientalist, student of Gérôme and Detaille) titled "Napoleon with the Savants Contemplates the Antiquities of Egypt". The work depicts Napoleon and entourage before an Egyptian temple contemplating a mummy in its coffin.
I do not recall ever seeing a vignette or diorama of this scene done in miniature, and the question is, "WHY?!" As to the historicity of the scene, the composition of M. Orange's work speaks for itself; but, there is good chance that this might have been a fanciful, albeit eminently plausible, "what if". And in this instance, that is good enough for me!
There are two 54mm castings of 'Napoleon in Egypt' commercially available; but more on this when the figure arrives. I first wanted to make sure that the critical "scenery" was acceptable and to this end I ordered Andrea's 54mm kit of "The Egyptian Mummy":
TITLE: "The Egyptian Mummy"
MANUFACTURER: Andrea Miniatures
ITEM #: SG-F40
SCALE: 54mm
MEDIUM: White Metal
# of PIECES: 11 + base (2)
SCULPTOR: F. Martínez
REFERENCES: NONE!
COMMENTS: I will begin this review by reiterating that this kit was not purchased for the ©-dodging, eponymous subject. In fact, the figure itself (comprised of 4 pcs.) is the weakest aspect of the kit--though I will be the first to admit that the face, while not a particularly good likeness, has been handled heavy-handedly in the boxart.
The remaining 9 pieces comprise the scenic/decorative elements of the presentation. All but the seemingly de rigeur cobra and the [empty] canopic chest (2 pcs.) will be used. The casting is excellent, and essentially unmarred despite the minimal packaging.
And then there were 6. . . The coffin is cast in four pieces: the 2 halves (excellent fit and finish), and the heqa scepter and flail as decorative sub-accessories. The final two pieces are the groundwork and the backdrop. Please note that the backdrop is bare stone: there is no engraving, etc. whatsoever to assist in reproducing the elaborate mural seen in the boxart. As the vignette will have an outdoor setting, this is of little concern.
NEXT: The General in miniature. . .
I am of course talking about "The Mummy". . . though a rendition of a 15th or 16th c. scion of the house of von Frankenstein is certainly not out of the question! ;-)
But I digress. . . While researching the historical basis for no less than three Mummy projects, I ran across a print executed ca. 1895 by Maurice Orange (1868-1916; Fr. military artist and Orientalist, student of Gérôme and Detaille) titled "Napoleon with the Savants Contemplates the Antiquities of Egypt". The work depicts Napoleon and entourage before an Egyptian temple contemplating a mummy in its coffin.
I do not recall ever seeing a vignette or diorama of this scene done in miniature, and the question is, "WHY?!" As to the historicity of the scene, the composition of M. Orange's work speaks for itself; but, there is good chance that this might have been a fanciful, albeit eminently plausible, "what if". And in this instance, that is good enough for me!
There are two 54mm castings of 'Napoleon in Egypt' commercially available; but more on this when the figure arrives. I first wanted to make sure that the critical "scenery" was acceptable and to this end I ordered Andrea's 54mm kit of "The Egyptian Mummy":
TITLE: "The Egyptian Mummy"
MANUFACTURER: Andrea Miniatures
ITEM #: SG-F40
SCALE: 54mm
MEDIUM: White Metal
# of PIECES: 11 + base (2)
SCULPTOR: F. Martínez
REFERENCES: NONE!
COMMENTS: I will begin this review by reiterating that this kit was not purchased for the ©-dodging, eponymous subject. In fact, the figure itself (comprised of 4 pcs.) is the weakest aspect of the kit--though I will be the first to admit that the face, while not a particularly good likeness, has been handled heavy-handedly in the boxart.
The remaining 9 pieces comprise the scenic/decorative elements of the presentation. All but the seemingly de rigeur cobra and the [empty] canopic chest (2 pcs.) will be used. The casting is excellent, and essentially unmarred despite the minimal packaging.
And then there were 6. . . The coffin is cast in four pieces: the 2 halves (excellent fit and finish), and the heqa scepter and flail as decorative sub-accessories. The final two pieces are the groundwork and the backdrop. Please note that the backdrop is bare stone: there is no engraving, etc. whatsoever to assist in reproducing the elaborate mural seen in the boxart. As the vignette will have an outdoor setting, this is of little concern.
NEXT: The General in miniature. . .
17 March 2009
Re: Comments
First of all, I would like to thank all of you who have taken time to visit the site AND post a comment or two. MOST welcome and gratifying! I do not have a means to track the number of visits (which is in any case largely counter-productive), so I'm always happy to see a comment.
Having said that, you should know that comments are under full moderation. Unfortunately it is an "all-or-none" setting, with no option to "grant voice" as in our previous homes. Once the dust settles and I am more comfortable with the features and 'rhythm' of the blog, I might allow "free" posting; but for now, I ask your patience and understanding.
All this means is that your posting might not appear for 24 hrs., depending on the circumstances. Please know that they will be read in the order that they are submitted, so you can write as many as you'd like and they will appear in the proper chronological order.
And with that. . . keep 'em coming!
THANX!
Augie
Having said that, you should know that comments are under full moderation. Unfortunately it is an "all-or-none" setting, with no option to "grant voice" as in our previous homes. Once the dust settles and I am more comfortable with the features and 'rhythm' of the blog, I might allow "free" posting; but for now, I ask your patience and understanding.
All this means is that your posting might not appear for 24 hrs., depending on the circumstances. Please know that they will be read in the order that they are submitted, so you can write as many as you'd like and they will appear in the proper chronological order.
And with that. . . keep 'em coming!
THANX!
Augie
14 March 2009
Research: the ever-ongoing endeavor
RESEARCH--the means by which an invaluable intimacy with the subject of the work is cultivated, nurtured, and finally established--is the linchpin of virtually any artistic endeavor. This sweeping statement is hardly news to those who know me, since it has been my credo since I took my first tentative steps in historical modelling/art.
But what of non-historical modelling? [NB: by way of contrast, ahistorical modelling is that to which we have been unmercifully subjected for nearly the last decade!] Does research play a rôle in these supposedly free-flights of fancy? The answer is a resounding, "YES!" In fact, I would assuredly posit that our non-historical colleagues execute their investigative due-diligence much more assiduously--and consistently!--than we have in the last 20 years!
And why might that be? Why is it that painters and modellers--to say nothing of patrons!--of the fantastic naturally, rigorously, and seemingly effortlessly clave to the "rules" of their worlds and their inhabitants; and are incisively and vociferously critical of perceived shortcomings? I could ramble on until the vast majority of you would be bored to tears; but in a word I would say: PASSION.
But whether or not the historical figure industry's passion is at low ebb, or why, is not the purpose of this posting. Rather it is to provide the core cinematographic references being consulted in the two featured works to-date:
Curtis, James. James Whale: A New World of Gods and Monsters. Minneapolis: U. of Minn. Press, 2003.
Lanchester, Elsa. Elsa Lanchester, Herself. NY: St. Martin's Press, 1983.
Milano, Roy. Monsters: A Celebration of the Classics from Universal Studios. NY: Del Rey, 2006.
And of course, the movies themselves. As a final note, an extensive list of references, printed and on-line, have been and will continue to be consulted for the setting and groundwork of "The Mummy" pieces.
But what of non-historical modelling? [NB: by way of contrast, ahistorical modelling is that to which we have been unmercifully subjected for nearly the last decade!] Does research play a rôle in these supposedly free-flights of fancy? The answer is a resounding, "YES!" In fact, I would assuredly posit that our non-historical colleagues execute their investigative due-diligence much more assiduously--and consistently!--than we have in the last 20 years!
And why might that be? Why is it that painters and modellers--to say nothing of patrons!--of the fantastic naturally, rigorously, and seemingly effortlessly clave to the "rules" of their worlds and their inhabitants; and are incisively and vociferously critical of perceived shortcomings? I could ramble on until the vast majority of you would be bored to tears; but in a word I would say: PASSION.
But whether or not the historical figure industry's passion is at low ebb, or why, is not the purpose of this posting. Rather it is to provide the core cinematographic references being consulted in the two featured works to-date:
Curtis, James. James Whale: A New World of Gods and Monsters. Minneapolis: U. of Minn. Press, 2003.
Lanchester, Elsa. Elsa Lanchester, Herself. NY: St. Martin's Press, 1983.
Milano, Roy. Monsters: A Celebration of the Classics from Universal Studios. NY: Del Rey, 2006.
And of course, the movies themselves. As a final note, an extensive list of references, printed and on-line, have been and will continue to be consulted for the setting and groundwork of "The Mummy" pieces.
11 March 2009
GEOmetric's 1/4 "The Bride of Frankenstein" bust--INTRO
This project is more in line with what most of my readers are used to seeing me tackle; hence, I am taking it slow and easy, picking it up every third day or so. . .
The piece is GEOmetric Designs' 1/4 scale bust of Elsa Lanchester as "The Bride of Frankenstein", sculpted by Jeff Yagher. Mr. Yagher is one of the best known GK sculptors in the biz, and not without good reason. Unfortunately, I do not feel that this is one of his better works, though the casting was certainly nowhere near the quality of that of "The Mummy".
My sample of this kit is also one of the original castings; however, whereas "The Mummy" was an AAA+++ casting, I would be hard pressed to give "The Bride" a C+. It reminded me of the casting quality of the bust of "Nosferatu" I did over a decade ago; on the plus side, this was a "clean" casting.
Work began on this piece the day after the Atlanta Show. Clean-up will be extensive, but the major shortcomings have already been addressed: a severe step on the back of the neck; and restoring the texture on the bottom edge of the gown. The masterfully sculpted hair (including the accurately offset temporal "blazes") will have to be examined carefully (air holes and voids) prior to priming.
Now for the fun part. . . The face will require considerable restorative efforts to get it "right".
[You may click on each thumbnail individually]
The images are fairly self-explanatory to this point. The restorative work, still very much in its early stages, can be readily seen as the grey-green MS. The "scenic base" has been extensively modified (read: reduced; see below): additional work will be forthcoming.
As I knew this piece would hit my bench this year, the weeks leading up to Atlanta were spent compiling an extensive "folder" of shots of Ms. Lanchester in--and out(!)--of make-up. This makes the work so much easier--and hopefully the end-product that much better.
As with "The Mummy", I took a chance on the aftermarket scenic base. In keeping with the underlying theme of this posting, this one doesn't work quite as well. This is really nobody's fault: a bust with a 180° orientation is very difficult to pose without creating a LOT of dead space! As you can see in the above image, most of the "reducing" has been already done (the base was "trimmed" at both ends). Those of you familiar with the base will immediately notice the elimi- nation of the molded nameplate. . . is ANYBODY not familiar with The Bride? And if they aren't, will the nameplate serve any purpose?? Now I have an approximately circular pedestal that will provided ample support and center the subject on its presentation base.
More to follow. . .
The piece is GEOmetric Designs' 1/4 scale bust of Elsa Lanchester as "The Bride of Frankenstein", sculpted by Jeff Yagher. Mr. Yagher is one of the best known GK sculptors in the biz, and not without good reason. Unfortunately, I do not feel that this is one of his better works, though the casting was certainly nowhere near the quality of that of "The Mummy".
My sample of this kit is also one of the original castings; however, whereas "The Mummy" was an AAA+++ casting, I would be hard pressed to give "The Bride" a C+. It reminded me of the casting quality of the bust of "Nosferatu" I did over a decade ago; on the plus side, this was a "clean" casting.
Work began on this piece the day after the Atlanta Show. Clean-up will be extensive, but the major shortcomings have already been addressed: a severe step on the back of the neck; and restoring the texture on the bottom edge of the gown. The masterfully sculpted hair (including the accurately offset temporal "blazes") will have to be examined carefully (air holes and voids) prior to priming.
Now for the fun part. . . The face will require considerable restorative efforts to get it "right".
[You may click on each thumbnail individually]
The images are fairly self-explanatory to this point. The restorative work, still very much in its early stages, can be readily seen as the grey-green MS. The "scenic base" has been extensively modified (read: reduced; see below): additional work will be forthcoming.
As I knew this piece would hit my bench this year, the weeks leading up to Atlanta were spent compiling an extensive "folder" of shots of Ms. Lanchester in--and out(!)--of make-up. This makes the work so much easier--and hopefully the end-product that much better.
As with "The Mummy", I took a chance on the aftermarket scenic base. In keeping with the underlying theme of this posting, this one doesn't work quite as well. This is really nobody's fault: a bust with a 180° orientation is very difficult to pose without creating a LOT of dead space! As you can see in the above image, most of the "reducing" has been already done (the base was "trimmed" at both ends). Those of you familiar with the base will immediately notice the elimi- nation of the molded nameplate. . . is ANYBODY not familiar with The Bride? And if they aren't, will the nameplate serve any purpose?? Now I have an approximately circular pedestal that will provided ample support and center the subject on its presentation base.
More to follow. . .
08 March 2009
GEOmetric's 1/4 "The Mummy" bust--INTRO
This project is currently on the front-burner on the workbench. After a hectic 10 weeks of juggling painting, sculpting, and research--to say nothing of work, I am in dire need of some relatively mindless and uncomplicated modelling relief. . .
The piece is GEOmetric Designs' 1/4 scale bust of Boris Karloff as "The Mummy", masterfully rendered by Swedish sculptor Kenneth Nyman. My sample is one of the original castings: buff yellow resin with a circular plinth for a base and a white-metal nameplate. The quality is, in a word, PERFECT! Current releases are in a softer, pale grey "polyvinyl" resin about which, as most of you know, I am less than enamoured. On the plus side, current releases include a scenic base that complements the figure very nicely, and is fortunately affordably available as an aftermarket item.
[You may click on each thumbnail individually]
The first is image is a 3-d'al conceptualization pending approval. The scenic base has been extensively modified: e.g., the canopic jar with the lid representing Duamutef has been relocated to tighten the presentation. Additional work will be forthcoming. The other two images provide an unbiased view of the quality of the casting, to say nothing of the sculptural excellence.
As I mentioned, the casting quality is superb--very little clean-up involved. As is my wont, I have already "fired" the casting, and it is "clean": no sweating; no soft-cures. Hence most of the work in the immediate future will focus on the base.
Until then. . .
The piece is GEOmetric Designs' 1/4 scale bust of Boris Karloff as "The Mummy", masterfully rendered by Swedish sculptor Kenneth Nyman. My sample is one of the original castings: buff yellow resin with a circular plinth for a base and a white-metal nameplate. The quality is, in a word, PERFECT! Current releases are in a softer, pale grey "polyvinyl" resin about which, as most of you know, I am less than enamoured. On the plus side, current releases include a scenic base that complements the figure very nicely, and is fortunately affordably available as an aftermarket item.
[You may click on each thumbnail individually]
The first is image is a 3-d'al conceptualization pending approval. The scenic base has been extensively modified: e.g., the canopic jar with the lid representing Duamutef has been relocated to tighten the presentation. Additional work will be forthcoming. The other two images provide an unbiased view of the quality of the casting, to say nothing of the sculptural excellence.
As I mentioned, the casting quality is superb--very little clean-up involved. As is my wont, I have already "fired" the casting, and it is "clean": no sweating; no soft-cures. Hence most of the work in the immediate future will focus on the base.
Until then. . .
2009: What lies ahead
In spite of the uncertainty that will no doubt be a hallmark of 2009, I am looking forward to a productive and creative year on the respective benches.
If last year was the "Year of the Daimyō", and 2007 the "Year of the Rovers", then 2009 will go down as the "Year of the Monsters"! Hot on the front burners is the in-progress painting of my original creation of "Der Vampyrjäger". The theme will then take a more 'Universal' and "classical" tack with three offerings from GEOmetric Designs: the 1/4-scale busts of "The Mummy" (Boris Karloff--masterfully sculpted by Kenneth Nyman) and "The Bride of Frankenstein" (Elsa Lanchester--sculpted by Jeff Yagher); and the resin version of William Paquet's brilliant 1/12th scale full-figure of Karloff as "The Mummy". The first two mentioned pieces will hopefully soon grace these pages, though all are on one table or another as I write.
The rest of the time will be spent on more usual fare, at least for me. At this early date, I don't anticipate launching any "major" new projects--rather I am hoping to wrap-up some projects that for one reason or another have lamentably made little progress in the face of unforeseeable headwinds.
More to follow soon . . .
If last year was the "Year of the Daimyō", and 2007 the "Year of the Rovers", then 2009 will go down as the "Year of the Monsters"! Hot on the front burners is the in-progress painting of my original creation of "Der Vampyrjäger". The theme will then take a more 'Universal' and "classical" tack with three offerings from GEOmetric Designs: the 1/4-scale busts of "The Mummy" (Boris Karloff--masterfully sculpted by Kenneth Nyman) and "The Bride of Frankenstein" (Elsa Lanchester--sculpted by Jeff Yagher); and the resin version of William Paquet's brilliant 1/12th scale full-figure of Karloff as "The Mummy". The first two mentioned pieces will hopefully soon grace these pages, though all are on one table or another as I write.
The rest of the time will be spent on more usual fare, at least for me. At this early date, I don't anticipate launching any "major" new projects--rather I am hoping to wrap-up some projects that for one reason or another have lamentably made little progress in the face of unforeseeable headwinds.
More to follow soon . . .
07 March 2009
Welcome to my new home
First of all, allow me to apologize aforehand, as I am new to this “blogging”, and have yet to get my “sea legs” under me—which means there will be a lot of stumbling, editing, etc. to suffer through at first. . .
As most of you know, this medium is not my preferred venue. After over a decade of moderating forums dedicated to the historical depiction of medRen (1000 AD-1700, including Feudal Japan) subjects in miniature, I greatly valued the vibrant interaction and exchanges
that were once the hallmark of our “forums”. The last three years or so, however, have seen a steady, seemingly inexorable, decline in participation and involvement that, save for precious few individuals—and even rarer occasions, reduced the site to an on-line magazine, if not an exhausting monologue.
But as an artist, I firmly believe that one cannot live, much less flourish, in a closet: one must show one’s work! The Web, if not an ideal venue, undeniably provides the greatest and most timely [potential] exposure, as well as affording complete editorial control of the content— good or bad. Thus I decided to try blogging: at worst, it will be little more than an on-line personal journal; at best. . . well let’s see what the Fates might have in store. . .
One thing that I am looking forward to is being able to share with the readership my other areas of artistic/modelling interest. While the medRen genre is, and will remain, first and foremost in my heart, I too like to occasionally venture into the relative unknown, and a thematic, niche forum simply did not afford this latitude. An eponymous blog is perfect for such “detours” and you can look forward to seeing projects dealing with such varied subjects as WWI aviators, the Universal monsters, historical fantasy, etc.
And with that, come on in, pull-up a chair, and make yourselves at home. If you'd like to comment on ANY posting, feel free to do so. If you have a question about a non-related topic, feel free to email me and I will either answer your question; or if warranted, create a posting around the topic. And remember that El Passo Honroso will continue to remain accessible at Delphi's pleasure.
Augie
As most of you know, this medium is not my preferred venue. After over a decade of moderating forums dedicated to the historical depiction of medRen (1000 AD-1700, including Feudal Japan) subjects in miniature, I greatly valued the vibrant interaction and exchanges
that were once the hallmark of our “forums”. The last three years or so, however, have seen a steady, seemingly inexorable, decline in participation and involvement that, save for precious few individuals—and even rarer occasions, reduced the site to an on-line magazine, if not an exhausting monologue.
But as an artist, I firmly believe that one cannot live, much less flourish, in a closet: one must show one’s work! The Web, if not an ideal venue, undeniably provides the greatest and most timely [potential] exposure, as well as affording complete editorial control of the content— good or bad. Thus I decided to try blogging: at worst, it will be little more than an on-line personal journal; at best. . . well let’s see what the Fates might have in store. . .
One thing that I am looking forward to is being able to share with the readership my other areas of artistic/modelling interest. While the medRen genre is, and will remain, first and foremost in my heart, I too like to occasionally venture into the relative unknown, and a thematic, niche forum simply did not afford this latitude. An eponymous blog is perfect for such “detours” and you can look forward to seeing projects dealing with such varied subjects as WWI aviators, the Universal monsters, historical fantasy, etc.
And with that, come on in, pull-up a chair, and make yourselves at home. If you'd like to comment on ANY posting, feel free to do so. If you have a question about a non-related topic, feel free to email me and I will either answer your question; or if warranted, create a posting around the topic. And remember that El Passo Honroso will continue to remain accessible at Delphi's pleasure.
Augie
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