3301 Nocturnal-Modeling 3301 Practical-Sculpture arts

Term 2/3 Nocturnal-Beasts

Moving to my phase 2 method of Elemental-Beasts only this time is working onto nocturnal animals that were appeared in night-time, as if my counterpart of Blazing Solgaleo is a replica of Lunala wanted to name my masterpiece batnala merging with bat DNA. Alongside my nocturnal theme are selecting small animals as prototypes via raven and snowy-owl and wolf versions to begin crafting their unique appearances in my own way of evolution experiments.

Viewing on Term 2 blueprints of how I was drawing my nocturnal-animals in a careful means of shaping various resources in mix-media, just like last term using assembled wood/plastic-foam into skeletal figures, wrapped in molded plaster followed with surgical carving to drill in loop hooks only to adjust my models weight with blacken rope/loop wires, then using doodle-painting as my methods of shaping netsuke-evolution and manipulate bizarre but realistic appearances using taxidermy materials of fur/feathers.

  • Taken DNA samples of selective Pokemon to experiment their evolutions to my plaster animals
  • Worked on their inner structures like an surgeon doctor only to use this as my carving method
  • Also to keep my resources intact I’d decorated my sketchbook with materials I used to build my models/forest props from installation methods
  • Using workshops via AV loans to craft six skeletal wooden figures
  • Absorbing my blueprints to manipulate their three-dimensional state
  • Sorting out my forest props to make a native-american theme were spiritual-beings roam these woodlands as if doing a dueling habitat or doing a storytelling

Operating in workshops has enabled my motivations to assemble multiple wood, trimmed, saw and wood glue them all together also including shaping metal-wiring giving each one perspective appearances to go with all kinds of DNA combinations via wrapping chicken-wire, molding in plaster, painting in doodle scheme, manipulate fur/feather materials within taxidermy development and I’d put all of my talents/strength into building my hybrid-beasts together even though it can be tough but I managed to keep pushing on forward not letting fear or muscle-strain to hold me back.

  • Used surgical methods to carve into the deeper layer of my model structures to find and drill in hoop hooks to figure skeletons
  • Redo in plaster-arts to tighten the hooks in effectively
  • Sorting out taxidermy materials of giving them perspective way of showing their graceful way of roaming in my studio-space

Tidying up my models new look requires my use of hairbrush to brush off any trimmed fur, to get a better reflection of their textures like expressing my magical influences of put on a theater referred to be a storytelling and to focus on my primary motive in mix-media sculpture.

3301 Fine-Arts/Taxidermy 3301 Practical-Sculpture arts

3301 Origins of Taxidermy-Art

Finding out animals being in our presence was mainly found in zoos or even in wildlife, but for others were used in art reveals a dark-secret of Taxidermy, it’s a cruel method of poachers to hunt endangered animals for sport. After being captured or killed they are manufactured as stuffed models like living-trophies, been mounted on walls, displaying plinths in galleries and private museums.

TalkAboutIt: Five things you may not have known about taxidermy - ABC News
Taxidermy - this hobby is dead cool | The Independent | The Independent

By searching for the truth of these figures used as prized artworks, normally it could be a negative influence of used from taxidermist techniques via skinning, carving and manipulated their own pattern materials. At my investigation of building my own creations as a positive motivation when shaping with plaster, also for mix media painting into doodle development.

Taxidermy Comes Alive! On the Web, the Silver Screen, and in Your Living  Room | Collectors Weekly,and%20burying%20them%20in%20tombs.

UK ministers accused of 'dithering' as trophy hunting law delayed again |  Wildlife | The Guardian
Mounted Taxidermy Scottish Red Deer Head - Georgian Antiques

Searching for answers about this cruel method in animal skin patterning, was digging deep into origins of mummifying the deceased as the very source of Egyptian influence. Almost like my identical technique of shaping into assembling my wooden skeletal figures and wrapping in plaster arts, very first taxidermists were making these samples of dead figures as well of living replicas. It all started in Egyptian era of 2200 BC, were to develop these early preservation from injections, spices, oils and many sorts of resources. This lead me to dig in their roots of these old models buried in ancient tombs, such purpose of creating their existence through art even in death as a similar form of shaping a balance of life.

The History of Taxidermy - Kodiak Bones and Bugs Taxidermy
Animal mummy - Wikipedia
Researching Animal Mummies | National Museums Liverpool

Over time in Victorian times, taxidermy became a popular form of sculptural development for British Taxidermists as do most European scientists would examine them otherwise like never seem to give feedback to audience were only to view in private events. But these studies are very strict by the law which includes illegal killing of certain or exotic animals, often to being mislead by negative doubts when threating wildlife as if also meant on mounting them as trophies. Shown by their true motive of crafting them not just for sculpturing but also a quality of extending their artistic ability of modern materials used by fashionable means to showcasing them in public events or mounted in galleries.

At my theory to clarify this evidence of animal reproduction through Taxidermy, are only to adapt with their original purpose of manipulating inner bodies used by mixed media arts and of course molded by plaster resources to reach bigger heights during my term 2 planning of Elemental-Beasts phase 2.

3301 Practical-Sculpture arts

3301 Studio-Practical

Beginning year 3 projects to continue drawing my new blueprints which involves in large-scales developments, building my models to extensive heights instead of using reused-foam from last-year. Focusing onto skeletal methods leading to searching for woodworks near the design-wing, plasterworks near reception asking technicians-Robin and Nick for advice around equipment.

  • Showing my diagrams to craft my prototypes of lion/gorilla replicas
  • Characteristics of mythical-animals within Japanese-culture
  • Experimenting Pokemon-evolutions for their large-scales to manipulate in AV-Loans workshops
  • Molded my prototypes in plaster, giving them perfect appearances
  • Smooth-trimming their outer-surface
  • Making them look mythical
  • Wooden-shaver to trim wood-surface
  • Add stronger wood with another piece
  • Wood-glue and drill together
  • Stabilise body of work without breaking-apart
  • Covered via chicken-wire, giving them appearances
  • Hessian-fabric to wrap my models dipped in plaster
  • Doodle-paint in black lines around bodies and colour-patterning
  • Almost building a familiar-model of a Trojan-Horse

Manipulating with metal-wiring is easy but with needed protection of reinforces-gloves avoiding cut/scratches carefully metal-bend these wires in several ways after another.

  • Shaping inner-structures into a creature of my imaginations, adapting to Japanese-influence
  • Gathering materials at B&Q warehouse
  • Molded all models in plaster getting them to studio, real challenge
  • Maximum 4 people to transport via trolley took a month in October


Direct-Fabric Website:

  • Sightseeing in plaster-room to manufacture my large-scale figures
  • Used dipping combinations of hessian-fabric/ceramics-powder
  • Resulted in my models weigh a ton adjustments in trimming to ease their weight
  • Measuring weighs, lengths and height of each area of my replicas
  • Mixture of bright-acrylics to doodle-paint separate slots
  • Given my prototypes dazzling appearances in evolution sharing beauty/frightening results
  • Revealing Solgaleo/Rillaboom’s characteristics
  • Setting up a theatre-background with my monsters in a gurgle-match
  • Putting up a theatre turning my studio-space into a dueling stage to two-beasts fighting for territory
  • Attached marble eyes to my gorilla
  • Reflections of Legendary-Pok√©mon and Peter-Jackson’s King-Kong
  • Codenames: Blazing-Solgaleo and Grillboom
  • Two models sharing face to face of different-oppositions

Positioned my two-alphas staring face-to-face as ancient rivalry with each of their open-spaces at floor 9/Crit-room. Audience given me feedback, they really like my animals-presence even if hunted in wildlife.

  • Manufactured animal fur/patterning supplies
  • Mounted as living-trophies
  • Focusing on Petrit-Halilaj’s role of setting a home-turf stage with desert/rainforest props.
  • Using MDF hardwood to buzz-saw them into desert/forest props
  • Setting up fire/blooming-forest via two dueling-habitats
  • Once stabilized I’d coated them in white-paint then decorated
  • Sorting my visual-props once positioned near my beasts
  • Adjusting studio-lights given them inner dimensional state
  • Opportunity of putting on a visual-theatre
  • Studying on my phase 2 “Nocturnal-Beasts” to work on Solgaleo’s counterpart Lunala representing eternal-night throughout mix-media techniques

Term 1 project: Elemental-Beasts

Term 2/3 Nocturnal-Beasts: