Today Sophie came in to look at painting effects with us.
The original door is made from bronze and so we need to be able to replicate that kind of effect.
Looking at different photos of the door was the best way to find the right kinds of references because it allowed us to see how the colours may have changed and darkened in certain areas over time.
This is the process of colours that I used in order to create the effect required:
I have spent most of today using a chisel to chip off the little bubbles that were sitting on the surface of my cast. I was very cautious at first and worried about the chisel causing too much damage to my piece but it turns out that it actually worked quite perfectly and only pulled off the bubbles, leaving all the details and figure nicely in tact.
I also had time today to cast my second panel, but after watching some of the other methods used by everyone else I decided that the jesmonite worked best for me.
I removed the silicone and fibreglass cases from the original plasticine model this morning and spent some time making sure I removed all of the excess plasticine from the mould. This revealed a lot of air bubbles within my silicone mould (Karen believes that this is because the silicone we are using isn’t great quality as Meggie and Lola had the same kind of issues) but this problem cant really be solved until after I have casted the jesmonite, at which point I should be able to sand down my piece.
The next step was to prepare the the base of my mould before casting.
First of all I had to rub bees honey wax around the edge of the fibreglass case (2 layers works best) and then an application of the Blue PVA Gloss Release Agent (again, 2 layers is best).
The correct mixture measurements for the Jesmonite is 1 part liquids:2.5 part powders. The mixture needs to be mixed thoroughly before it can be poured into the mould. I used a wooden modelling tool to make sure that I pushed all of the mixture into all of the spaces and then left it to dry for half an hour (40 mins ish).
Once dry I scored the back of the block in order to make sure that the next lot of mixture would join with the dry areas. I then mixed up another (smaller) batch of the jesmonite and prepared a sheet of fibreglass.
I worked out that the best way to apply the fibreglass was to spread a thin layer of the Jesmonite mixture on the surface of the dried block and then lay the fibreglass sheeting over the top of it before applying the rest of the mix with a paintbrush, and again, leave to dry.
I was able to remove my first cast by the end of the day and am very happy with how it turned out. The only problems that I have come across are the bubbles on the surface and one of the leaves on the structure had snapped (not sure why).
After building a small wall around the outside of my piece (that had to be taller than the highest points in my model) I was able to create the silicone mould.
Photo Update!
Surprisingly it didn’t take me very long to sort out the angels face; all I needed to do was make sure that the chin came out more and the rest of it all seemed to just fall into place (I think I had just been looking at it for too long the other day)
This all made it a lot easier to work on Marys face quite quickly and gave me plenty of time to build up her body, clothing and then start on the finer details.
In order to get the detailing right on the clothing I used the tip of a pen (the kind that you click to use) because the little circular hole made the perfect indents to match the image of the original.
I have now finished with the modelling process and will be able to start the casting process.
Photo Update!
I have spent most of today working on the angel figure. This has actually taken a surprising amount of time as I kept removing the face and attempting to recreate it; I could not seem to get the right kind of shape to it. I believe that this is because of the wing that protrudes from behind it. I can’t seem to get the right roundness to the face either. It has been driving me a little bit crazy so I have decided to leave it for today and come back to it tomorrow.
On the bright side, I have figures out the perfect way to get the creases within the clothing to look realistic; by making very thin sausage-like rolls, lying them in position and then using a small flat-ended modelling tool to smooth one side of it out over the space where the fabric would fall.
Photo Update!
Today I have Spent quite a lot of time working on the lettering in the top right hand corner of the piece. It took a while to get used to the technique I found that best replicated the writing on the panel, but once I had the hang of it I believe it worked very well.
I then spent the rest of the day focusing on the detailing of the main structure; this may not have been the best idea as I realise that I have left the figures until last and I believe that they will be the most difficult and detailed parts of this piece.
Photo Update!
I believe the height is alright for the main structures and have started to fill in the spaces where the figures will be. I have focused more on the approximate height of bodies than the actual features so far to make sure it all looks proportional.
I have also discovered that I will have to fill in a lot of the empty space that is shown in the images of the panel in order to make sure that the casting process works well. For example: the area behind the little bridge wall will have to be solid to avoid any issues with the making of the silicone mould.
Photo Update!
I have been focusing mostly on trying to get the right height for the structures, which will have to fit well with the figures when I get around to them; it is difficult to make it as exact as possible when working from flat images.
Note to self: it would have been useful to see in person. It might be a good idea to go back to the V&A when the exhibition opens again.
In the process of recreating the door we are choosing and replicating a singular panel each; as there are 6 of us that will be modelling these we will be producing a panel each (which will be cast twice) and another panel between the group in order to make sure that the correct amount of panels will be made. We will also be modelling and casting the rosettes and barley twists as a group so that we can evenly split the timing.
I have chosen to work on the “Annunciation” panel. I believe this panel is showing us the scene when Mary is old that she has become pregnant by the Angel Gabriel.
I chose this panel simply because I thought it was the nicest to work from in terms of detail; I was certain that I wanted to work with an angel because the wings fascinate me.
For today I have drawn the outlines of the figures, structures and writing, in order to make a start on the modelling. I am using plasticine to model with as it is easily shapable and becomes firm when cold.
Porta Di San Ranieri Project 