Further Dragon Drawing
After my Dragon Drawing in week 5, I decided to begin another larger scale version (A3). I measured out certain aspects of the dragon symmetrically such as the head and face features alongside the wings and tail. I sketched out this base outline in pencil before carefulliy outlining the dragon in black ink.
After outlining the head and neck crest, I measured out more detail and sketched it in for the wings. I always find symmetry and control important aspects when drawing, and I have always involved this into drawing dragons as my father used the same method and put a lot of thought and preparation in to his work.
After finishing the entire outline of the dragon, I darkened certain lines such as the neck crest , face details, spine and tail. Additionally, I added dual pupils to the three eyes and exoskeleton plates to the dragon’s underbelly.
This photo shows how I shade using biro to create depth and detail, this part focused on the dragons tail. I use small lines that vary in pressure to create gradients and shape. It’s a very time consuming way of drawing, but the outcome is rewarding.
I managed to finish the detail and shading in black biro on the dragon’s tail this week , using curved lines to create definition and shape. I’m happy with how this drawing is progressing, but I am unsure if I will complete it as I want to experiment with different designs before I spend too much time on one piece.
Dragon Sculpture Progression
Once the clay wings had fully set, I was able to continue to develop the rest of the model. The next step I wanted to attempt was moulding a head crest. I began this by moulding a smooth rectangle of clay to fold around the head of the dragon.
Because I wanted spikes in the head crest, I figured after some experimentation that I would need to mould the spiked before smoothing them into the sculpture, rather then cutting them out afterwards.
I moulded a smaller piece of clay into the base of the head crest with the pointed spikes to go underneath the head of the dragon as a base to mould the rest of the crest onto.
I smoothed this addition into the sculpture and flattened it against the base of the dragon to avoid inconsistencies.
While this piece was drying, I moulded two small balls for the dragon’s eyes and smoothed them onto the head of the dragon.
Once the eyes and the base of the head crest had dried, I moulded two triangles of clay into two of the spikes of the head crest and smoothed them into the base.
I had to wait for this part to fully set so that the final two spikes of the head crest would be fully supported and not bend whilst drying. I used the same method as before and moulded the two triangles into the rest of the structure.
This image shows a top-down view of the head crest to present it’s dimensions and shape.
Once the base of the head crest was set, I was able to add detail by moulding thing long strips of clay and smoothing them onto the spikes of the head crest.
Following this, I used the same technique to add spikes as detail around the nose and eyes of the dragon to provide more definition in the facial features.
I waited a full three days for all of the clay to fully set, and bought some emery boards with the intention of carefully sanding some bumpy parts to produce an overall smooth and even texture.
I cut the emery boards into small, different shaped pieces and used them to smooth different areas of the clay model, evening out any bumps and creating an overall more polished look.
After sanding and smoothing, I fully dusted off the dragon, alongside fully wetting and then drying the final product for it to completely set in the final state. Next week I will begin painting the now finished model.
Bibliography:
Louise Bourgeois: Moma (no date) The Museum of Modern Art. MOMA. Available at: https://www.moma.org/artists/710 (Accessed: February 22, 2023).
Tate (no date) The art of Louise Bourgeois, Tate. Tate. Available at: https://www.tate.org.uk/art/artists/louise-bourgeois-2351/art-louise-bourgeois (Accessed: February 22, 2023).
Peterson, S. (1995) The Craft and Art of Clay, A Complete Potter’s Handbook (2 vols). 2nd edn. London: Laurence King Publishing (The Complete Pottery Course).
Potts, A. (2000) The Sculptural Imagination – Figurative, Modernist, Minimalist. London, New Haven: Yale University Press.
Scott, P. (2001) Painted Clay (1 vols). 1st edn. London: A&C Black Ltd.
Slee, R. (1990) Ceramics in Studio (1 vols). 1st edn. London, 7 Southampton place: Bellew Publishing.