The Development of CRUCK ARCH 2 - John salmon - farmer
Elevation drawings front and side views of Cruck Arch 2
SLIDE SHOWS FOLLOWED BY A GALLERY - SCROLL DOWN TO VIEW
SLIDE SHOW 1
Carving and constructing the oak for Arch 2
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Oak Owl Post in progress. This will be a support for the seat.
Oak Owl Post in progress. Carving the face.
Phil made this plaster maquette of a sheep, to aid working out how to carve the sheep sculpture from an oak trunk.
Fallen Oak tree in Lydney Park Estate, Phil has marked out sections for the arch.
Fallen Oak tree in Lydney Park Estate, Phil checked the template for one side of the arch against the branch.
The fallen Oak tree in Lydney Park Estate has now been cut, Phil checked the template against the branch again.
Damon Bramley and Steve Harris moving the huge Oak branches from Lydney Park Estate .
The huge Oak branches from Lydney Park Estate set up at Noxon Farm.
The huge Oak branches from Lydney Park Estate set up at Noxon Farm.
Oak branch with template at Noxon Farm.
Oak trunk top cut for the arch sides.
The Oak trunk with the sides cut off, leaving the central section for making the arch. The sides will be used for the seating.
The central section for making the arch, placed under the scaffolding ready for cutting into two to make the sides of the Farmer Salmon Arch.
Cutting the central section of the oak in half, to make the two sides of the arch. The wedges keep the cut open to avoid trapping the chainsaw.
Cutting the central section of the oak in half, to make the two sides of the arch. The wedges keep the cut open to avoid trapping the chainsaw.
The central section of the oak cut in half.
Frosty start before moving central section of the oak.
Central section of the oak moved and shaping beginning.
The Arch is laid down to fit together and carve the details.
Starting to carve the Acorns and Leaves.
Carving the Acorns and Leaves.
Acorns and Leaves carved.
Horse Chestnut Conker and Leaves carved.
The Banbury Shepherd's weather saying carved on the tie beam.
A band carved around the arch support features a Banbury plush fabric pattern.
The start of roughing out the sheep with a chainsaw.
Roughed out the sheep.
Lifting the sheep onto the trailer, to move to the studio to work on there.
Sheep Maquettes. One in direct plaster the other in carved wood.
Phil started carving the Sheep in the studio, roughing out its proportions.
After Phil carved some more, the Sheep's horns, tail and feet are beginning to appear.
The Sheep's back view, work in progress.
The Sheep's front view, work in progress.
The Sheep's side view, work in progress.
The Sheep's head, work in progress.
The Sheep - work in progress. Surface wool design marked out in chalk.
The Sheep - work in progress. Surface wool design marked out in chalk, and carving of the design begun.
The Sheep - work in progress. Surface wool design marked out in chalk, and carving of the design.
The Sheep - work in progress. Surface wool design marked out in chalk, and carving of the design.
The Sheep - work in progress. Surface wool design carved.
The Sheep - work in progress. The sheep turned upside down, ready for Phil to hollow out the body.
Group shot of Arch 2 elements - The Sheep has had the body hollowed out - Farmer's Salmon just needs edging to his hat the Owl is a work in progress.
Phil has been working on the bench and assembling the various parts. It is supported by props on the lefthand side as these elements will be attached to the arch.
Phil redesigned the ploughing horse image to better fit the bench back. We hope children will be able to make a rubbing of the design using paper and wax crayon.
Phil attached the seat to the arch
Phil attached the seat to the arch
Phil fixed Diane's various bronze and glass elements to the arch , prior to wrapping it, and having Damon lift the arch into its cradle for transport.
Diane's bronze mask of Farmer Salmon cast by Castle Fine Arts Foundry and glass Salmon relief fixed into the arch , cast by Jackson Fawkes Glass and fitted in this circle of wood - made by Peter Chamberlain.
SLIDE SHOW 2
Devolpment of clay fish into cast glass for Arch 2
Diane made this armature to support the clay relief of the Salmon.
Phil made this scraper to form the circle and depth of the clay relief.
Diane modelled the clay relief of the Salmon. The armature was fixed to the angled platform of the modelling stand with G clamps.
Clay relief with perspex and clay walls ready to make an alginate mould.
The alginate cast - forming a mould of the clay relief
The perspex and clay walls reused to cast plaster into the alginate mould.
The plaster relief was cast as a spare, shown next to the alginate mould.
Clay relief at Jackson Fawkes Glass - they are the glass artists casting the relief into glass.
After discussion Diane modified the relief so it would work better with glass.
Jackson Fawkes Glass made this refractory mould of the clay relief. Photo by Jackson Fawkes
Jackson Fawkes placed glass into the mould in the kiln. Photo by Jackson Fawkes
A quick view of the molten glass in the mould during the kiln firing. Photo by Jackson Fawkes
Photo we took on a visit to Jackson Fawkes showing the cast glass, after its removal from the mould and clean up. Hand polishing sections of the flat side is the next stage.
Photo by Richard Jackson of the next stage having polished the glass.
The veiling effects in the glass were made by using carefully placed separate blocks of glass when loading the mould. Photo by Richard Jackson.
The final stage will be for the highlights to be polished. Photo by Richard Jackson.
Completed -with highlights polished. Photo by Richard Jackson.
Diane's glass Salmon relief fixed into the arch , cast by Jackson Fawkes Glass and fitted in this circle of wood - made by Peter Chamberlain.
SLIDE SHOW 3
Making wax shoe and clay mask to cast into bronze for Arch 3
Wax melted in a slow cooker and ladled onto a tin baking tray covered in cling film, to make wax sheet. The Buckle shoe's sole drawn with a felt tip onto wax sheet, and cut out with a metal modelling tool - made hot in a flame from a gas burner or candle.
Sections of the wax sheet warmed in a bowl of hot water - just bearable to the touch. This makes the wax soft and easy to model, sections welded together with the hot blade.
Roughed out oak heads to support the bronzes masks for Arches 2 and 3. The mask for the Farmer Salmon mask is on the right.
Diane's clay mask for Farmer Salmon, the early stage on the left, the nearly completed clay mask is on the right.
Farmer Salmon - the nearly completed clay mask.
Farmer Salmon - the mask's mould cast by Dorota Rapacz. Shown here just after it was removed from the clay.
Farmer Salmon - the wax mask removed, after Diane had painted the wax into the mould.
Farmer Salmon - the wax mask held against the oak - Phil will carve the oak so that the mask fits it.
Farmer Salmon - mask cast into bronze
Fitting the mask of Farmer Salmon. The oak will be carved into hair and a tricorn hat.
Phil has carved the top of the head to fit the Tricorn hat he is making for Farmer Salmon. This shows the cardboard template for the hat. The oak for the hair will be carved into waves.
Phil has made Farmer Salmon's Tricorn hat in copper, it will have edging and be folded back more, he has also started carving the hair.
Phil has carved more of the hair.
Phil has fixed Diane's bronze mask of Farmer Salmon to the Arch.
Diane rubbed back the patina of the bronze shoe's buckle, so it contrasts with the rest of the shoe.
Phil has fixed Diane's Farmer Salmon's bronze shoe to the Arch.
GALLERY OF DRAWINGS
CLICK on one to see them on Lightbox
Initial drawings showing details of Cruck Arch 2.
Owl post carved for a section of the bench.
A ploughman and horse relief design carved on the back of the bench. Image taken from a Book of Hours the prayer book of Saint Thomas of Aquinas.
Pine Cone and Acorn forms carved under the tie beam of the arch.
18th Century Buckle shoe to sit on the tie beam. Old shoes are often hidden in old houses to ward of bad luck.
Supporting sheep sculpture for the bench.
18th century textile pattern carved around the arch cruck .
