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I’m starting to get back into my metal clay again (yay!). It has literally been months since I have gone near any metal clay work – I am a little faddish, and jump around from medium to medium anyway, but commission work had pushed everything back a bit too.
So this week I have been doing a few experiments, drawing inspiration from my zentangle doodle thing that I posted previously
www.flickr.com/photos/amadoradesigns/7144894749/in/photos... .
I took a few elements from the illustration and tried to bring it to life in metal clay. I’ve posted one or two of my experimental “chimeras” made by randomly combining various design elements I’m interested in
I kind of love the “centipede” - and the “chimera” one is really weird isn’t it lol...I think it will sit on my desk as a reference guide. I’ll be making a proper metal clay piece next, incorporating some of these ideas... it feels sooo good to be back in the metal clay groove again
Written & Directed by Mario El Caponi Mendoza
Co-Created with Ray Ockenfels & Melissa L. Gilbert
Photo by Melissa L. Gilbert
Warwick Arms
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101 West 80th Street
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Catalog #: 01_00086647
Title: Pflalz, D Experimental
Corporation Name: Pflalz
Additional Information: Germany
Designation: D Experimental
Tags: Pflalz, D Experimental
Repository: San Diego Air and Space Museum Archive
The XV-15 was somewhat of a crowd pleaser, at last as long as I was playing around with the Circuit Cubes app, that controls its motors! A lot of people mistook it for an Osprey, though.
The materials required for this experiment are simple: a stick of incense, a lump of clay, matches. Any straight, uniform incense stick of the variety consisting of a slender bamboo splint dipped in an aromatic, combustible slurry as commonly manufactured in many parts of the Orient is suitable.
The setting for the experiment is most important. The experiment shall be carried out in a small inner room without windows and free of draughts. The room shall be darkened and provided with subtle illumination such that the visual effects of the smoke will be accentuated. A small table or suitable stand shall be provided upon which the experiment will be conducted. Arrangements should be made beforehand so that the room shall not be disturbed for the duration of the experiment. In lieu of a windowless room, a room with windows and portals sufficiently occluded may be substituted.
The procedure is thusly: The lump of clay is formed into a spherical mass and carefully pressed down upon the center of the tabletop. The stick of incense is inserted into the lump of clay at a thirty-degree angle from the vertical, that is, at a two to one slope. A match is struck, the incense is ignited, and the flame extinguished leaving the incense to glow and smolder on its own.
The results are observed from a comfortable stationary position; horizontally is found to be ideal, however, a traditional lotus position is acceptable.
Once the prevailing room conditions have stabilized somewhat, it will be observed that the smoke arises essentially vertically and appearing to be a parallel streams that are fairly straight, and then changing rather abruptly into less orderly and varying patterns of flow at some distance from the burning incense. Although there appear to be two parallel streams of smoke shooting up from glowing incense end, upon closer examination this effect is illusionary for the smoke arises generally in a cylindrical fashion so that the edges as seen from the side appear to be separate parallel streams that undulate together exactly when a slight amount of air disturbance is present. Even the most gentle wisp of wind will cause the uniformity of the laminar flow to become jumbled into turbulent flow as the smoke first emerges from the incense. The cylinder of smoke move quickly up and away from the hot incense and may widen gradually into a narrow funnel of smoke before breaking up into many continually changing patterns of rippling or the cylindrical smoke may emerge directly and suddenly into swirling and rippling designs. The smoke is forever making an infinite number of changes. At times the cone or funnel of smoke seems to flatten out and undulate quickly back an forth forming smooth waves in midair before fading into the haze which is accumulating in the upper regions of the room. Sometimes the turbulent flow will be fast, confused, and dramatic; at other times it will merely roll off lazily, but at all times moves uninhibited. Traveling in the general direction of the ceiling, the flow of the smoke may occasionally lean from side to side or may slowly rotate around a vertical axis, as well as going straight up. The limitless motions the bluish smoke make freely provides visual fascination in addition to a pleasing aroma.
As the incense burns downward, ash accumulates above the point of combustion. The ash may persist undisturbed for quite some time while the glow moves gradually down the stick emitting smoke and leaving ash in its path. Then without warning the residual ash will suddenly topple and dangle precariously by fragile strands of bamboo fiber. Particles of loose ash fall to the tabletop while the bulk of the ash remains suspended. Unmolested the glow continues its journey down the incense leaving the ash to accumulate until the time it in turn tumbles and thus forming another link of this charred chain. As the burning progresses, the dangling ash grows longer and longer while the sections of ash become shorter and shorter as the links fall more frequently each time. The burning ceases when the last of the incense preparation is encountered and all that remains is the leftover piece of bamboo splint from which ashes clinging to fibers are hanging vertically, enclosing a thirty-degree angle, and a roomful of diffuse smoke.
It can be concluded that the above phenomenon will reliably occur if the splint was taken from an inter-nodal piece of bamboo and the conditions of the experiment are met. Any significance attributed to the smoke in making the various fluid designs is left entirely up to the observer's imagination.
© Phillip Hughes
I’m starting to get back into my metal clay again (yay!). It has literally been months since I have gone near any metal clay work – I am a little faddish, and jump around from medium to medium anyway, but commission work had pushed everything back a bit too.
So this week I have been doing a few experiments, drawing inspiration from my zentangle doodle thing that I posted previously
www.flickr.com/photos/amadoradesigns/7144894749/in/photos... .
I took a few elements from the illustration and tried to bring it to life in metal clay. I’ve posted one or two of my experimental “chimeras” made by randomly combining various design elements I’m interested in
I kind of love the “centipede” - and the “chimera” one is really weird isn’t it lol...I think it will sit on my desk as a reference guide. I’ll be making a proper metal clay piece next, incorporating some of these ideas... it feels sooo good to be back in the metal clay groove again
Actually they are regular mallard ducks （真鴨／マガモ） and there is little experimental about them. I think. I don’t know what secrets they are keeping. At any rate, “experimental” refers more to the processing for this photo, but more on that later.
I came across these guys while exploring a part of the Oto River I don’t normally follow. It was early afternoon, so maybe they had just eaten and were relaxing in the sun for a few hours while the meal (whatever ducks eat) digested. Siesta time, basically.
I didn’t have my long lens with me, so I couldn’t get a better shot. I did try to move closer, but they started making some angry noises that made me rethink the idea. I don’t think ducks bite (or pinch and twist, anyways) like geese do, but then again, I thought it probably best to respect their warning.
I cropped the photo pretty wide. As I’ve mentioned before, I like experimenting with different “widescreen” ratios. This is at 1.85, slightly wider than 16:9, which I’m sure most of you are familiar with. It is the standard for 35mm films. I think it makes what might otherwise be a boring shot a little more interesting. I also gave the colors a hint of cross processing.
The real experiment for me is I added a small inline frame and faded the colors outside that frame. I know this is a common enough technique, but I’ve never tried it before. I liked it at first, but the more I look at it, the more unsure I am. I thought to reprocess it without, but then again, a daily photoblog should include lots of experimentation, so I decided to post it as is.
What do you think?
just playing with Gimp... what a result
it start with this picture:
www.flickr.com/photos/gfje/12540123303/in/set-72157640937...