Genesis® Artist Colors
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Brief Overview

Not Oil or Acrylic

Genesis® Artist Colors are a new paint chemistry, called "Heat Set Artist Oils." Genesis is an artist quality fine-art paint that is ready to apply without repeated pre-mixing and will not dry until you are ready; then it dries very quickly.

Genesis® Artist Colors offer fine control in mixing, blending and application, and can be worked in many states without the addition of mediums. They are very similar to oil paints in feel, opacity and translucence. We encourage you to experiment with your style to achieve the desired effect.

Genesis® Artist Colors stay wet until heated, making them more convenient than oils or acrylics. The paint will not dry when left in the open on a non-porous surface. It is important to use a glass or other non-porous surface such as china, polished marble or porcelain for your palette.

Other paints have very different chemistries from Genesis® Artist Colors. Do not mix Genesis® Artist Colors with other oils or acrylics because the results are unpredictable.

Since Genesis® Artist Colors do not air dry, you do not have to clean your brushes even if you will not get back to painting for days, weeks or even months. When cleaning brushes for quick color changes, simply wipe off excess paint, swirl in rubbing alcohol, wipe and repeat. The alcohol quickly cleans and evaporates out of the cleaned brush. You may also clean brushes by using warm water and soap, such as Dawn® dishwashing detergent. Dry your brushes thoroughly after cleaning.

While Genesis® Artist Colors can be thinned or cleaned with solvents commonly used with oil paints such as paint thinner, turpenoid and mineral spirits, these solvents are not necessary. Most artists prefer rubbing alcohol or non-toxic Genesis Thinning Medium. Genesis® Art Colors are not water soluble.

Certified Non-Toxic

Genesis® Artist Colors are certified nontoxic and conform to ASTM D-4236. They are certified in a program of toxicological evaluation by a medical expert to contain no material in sufficient quantities to be toxic or injurious to humans or to cause acute or chronic health problems.

Background

Oil colors have been available to artists for five centuries. Recent decades brought the advent of acrylics and alkyds. Watercolors evolved from temporary weak paints to having longevity never before dreamed possible. The latest advancement is Genesis® Artist Colors Heat Set Artist Oils.

Developed and patented by professional artists, Genesis® Artist Colors offer the look and feel of traditional oils without the drying time restrictions, toxicity and odor. Genesis® Artist Colors contain a heat activated curing agent that allows for on-demand drying.

However, since they are a completely new medium, in spite of the similarities to regular oils, they also have special characteristics of which the artist can take advantage.

One of the characteristics of Genesis® Artist Colors is that they are thixotropic, therefore although they may be thick and like stiff paste in the jar, it only takes a little stirring or mixing with the spatula, for them to become soft and malleable. Application by spatula or brush is done very easily at this point, even when using the impasto, thick application technique. This painting technique can be used without having to add any thinning or other mediums.

Thin coats of Genesis® Artist Colors are also possible by using the paint straight from the jar. The advantage that Genesis® Artist Colors have when working in thin overlapping layers is that you can dry the painting between layers, thus application can go on smoothly without pulling off the pre-painted surface or intermixing with it. In case of regular oil, you would have to wait until the first layer is dry before continuing the painting, which would take time.

Because Genesis® Artist paint does not dry on its own, it tends to force you into cleaner work habits. One good method is to use paper towels to wipe the brush while working, then dispose of the dirty towel often. A rag is not practical to use with Genesis® Artist Colors because it will transfer the wet paints to your hands, clothes and eventually to things around you.

Transparent washes can be achieved by tinting the Thick Medium. Thick Medium gives you a good layer of paint and the transparency that you need.

If you like to paint with a thinner consistency, you can add a small amount of Thinning or Glazing Mediums. These mediums are very efficient so additions must be very small.

Genesis Mediums

Artists have always added various mediums to enhance control of drying as well as the handling characteristics of their paint. With Genesis® Artist Colors, you will find less need to adjust. They have excellent body, offer fine control in mixing, blending and application, can be worked in many states without the addition of medium and have a thick, rich consistency. Try working Genesis® Artist Colors with your brush or palette knife. Notice how the paint becomes more buttery and smooth? Left alone for a time on a non-porous surface (such as glass), the paint will return to its original, thixotropic state–without having dried.

Thinning

Genesis Thinning Medium or Genesis Glazing Medium are recommended. When adding Genesis Mediums to thin, use just a very little at a time on the palette–it’s very efficient! Adding a Genesis thinning or glazing medium permanently thins the paint.

Using Oil Solvents

Thinning with a small amount of an oil solvent will not permanently thin the paint, as the paint will return to its original state as the solvent evaporates off. This process should be tried by professionals only.

Varnishes

You don’t need to varnish a Genesis painting for protection. Do not use any oil varnish. If you must use a varnish, use an acrylic varnish that is compatible with Genesis® Artist Colors. Test the varnish that you choose before using it on a finished painting.

Genesis® Colors and Pigments

At the dark end of the spectrum, Genesis® Artist Colors are made with pure pigments. Generally, lighter values are more opaque to ensure their covering power. To obtain the light values, a specially blended white is added to a pure color.

Choosing a Substrate

Always ensure that the surface on which you are painting can withstand the drying temperature you will be using. Some painting techniques will require several layers be dried, and the substrate must withstand the number of heatings you will use.

Test heat stability over multiple drying sessions. Certain substrates that might release moisture when heated should be pre-dried as the moisture may result in bubbling and poor adhesion.

Choosing a Drying System

Genesis® Artist Colors are the only fine art paint that offer a true solution to the problem of drying your paint. Unlike other paints, you do not have to decide in advance when you will want the paint to dry. You can dry it whenever you are ready. You will want to decide how you are going to dry your painting before you begin.

In deciding how to dry your painting, consider 1) the sizes of your work; 2) the thickness of paint you are using; and 3) the substrate surfaces upon which you are painting.

Whatever heat source you choose, you must be able to heat the paint and substrate to at least 250ºF/121ºC and not exceed 280ºF/138ºC.

Heat guns such as the Genesis Drying Gun are ideal for drying small areas or only part of a painting.

If your painting is a size that will fit into your oven, this may be your best choice. If an oven is not convenient or you would rather dry your paintings where you are working, drying boxes or radiant heat sources are recommended.

After you have chosen a drying method, two considerations affect the complete curing of your painting: time and temperature. Experiment before starting a painting. You will quickly find the drying method best suited to the style and size of the painting you want to complete. Always ensure you are using a heating method that will get the painting to a temperature of at least 250ºF/121ºC but not exceed 280ºF/138ºC. Depending on the thickness of your paint and the nature of your substrate, you will want to dry your paint for 15 minutes for the first thickness up to 1/4 inch, and dry another 15 minutes for each additional 1/4 inch. The required temperature can be achieved by any method that heats the paint to 250ºF/121ºC-280ºF/138ºC and maintains the heat long enough for the thickness of the paint to be penetrated.

Drying Characteristics of Genesis® Artist Colors

With practice, you will very quickly get to know the characteristics of Genesis® Artist Colors and heat setting will become second nature.

Genesis® Artist Colors utilize a non-drying synthetic oily liquid, imbedded with a heat sensitive curing agent. Genesis® Artist Colors stay wet until heated enough to activate the curing agent. After the drying temperature is reached, Genesis® Artist Colors dry immediately. For thin layers this means very fast times–as little as two minutes. For thicker impastos, longer times are needed for the heat to thoroughly penetrate the paint.

Genesis® Artist Colors require adequate drying time and temperature to deliver the flexibility and resiliency necessary for the longevity of your work. Remember to dry the paint long enough for the heat to fully penetrate the depth you have applied. While it is possible to damage Genesis® Artist Colors by overheating, it is easy to prevent by keeping the heat source at least one inch away from the paint. The drying process is not reversible. After Genesis is dry, it should not be dissolved.

Drying Characteristics

To dry fully, Genesis® Artist Colors the temperature must reach 250°F/121°C to 280°F/138°C for several minutes. Bringing the paint to this temperature without overheating is important. The Genesis Drying Gun has adjustable temperature settings appropriate for working with the paint. Keep the gun an inch or more away from the canvas to prevent scorching the paint or canvas. Genesis® Artist Colors dry better at the recommended temperature range applied for a longer time rather than through extreme heat brought to bear quickly. If you see smoke or fumes coming off the canvas or notice small bubbles forming in the paint, you are overheating. If you do happen to overheat the paint, ventilate your work area and use less heat either by lowering the gun temperature or by holding the drying gun further away from yo ur work.

With a little practice, you will also learn to dry an isolated area so that you can try a change in color or add a detail. With the underlying area now dry, new work can be wiped off and tried again until you are satisfied.

If you paint in thick layers or impastos, experiment drying different amounts of Genesis® Artist Colors and breaking them open once they have fully cooled. If they break open easily and have a dry, cracked texture, the paint did not dry long enough for the heat to penetrate or dried at too low a temperature. This is easily resolved by expanding the heating time, and in some cases, by increasing the temperature applied.

After you have heated Genesis® Artist Colors, allow a few minutes for cooling before applying the next layer. After a few minutes of cooling, the paint becomes firm yet still quite flexible.

About the Genesis Drying Gun

The Genesis Drying Gun was designed to be lightweight and comfortable to use, while delivering an appropriate heat range for drying Genesis® Artist Colors. It is not a hair dryer!

If you choose to use other "heat guns," be careful not to overheat the paint. Most high-powered heat guns will destroy any paint if brought too close. Hair dryers, on the other hand, have too little heat to bring Genesis® Artist Colors to full drying temperature.

Read the Genesis Drying Gun instructions completely before using. Following the instructions and experimenting on trial samples acquaints you with how Genesis® Artist Colors dry. This helps you avoid damaging your work later.

Larger Paintings

For larger paintings, use the convenient "full-canvas’’ (24" x 24") Genesis Drying Box or dry smaller sections of work with the Drying Gun as you go.

Many artists find success drying their works for several minutes in a kitchen oven set between 250°F/121°C and 280°F/138°C. Set the painting on a cookie sheet to avoid getting paint on the inside of the oven.

For larger surfaces, explore drying with a radiant heater.

Oven Method

Preheated Oven

If you are working on surfaces that fit into a kitchen oven (approximately 16" x 18"), you should buy an oven thermometer to check the accuracy of your oven. Test the oven by turning it on and finding how long it takes to get to the desired temperature. Notice whether the thermometer temperature matches the setting on the oven dial and adjust as necessary. Because oven temperatures vary, do not leave your painting unattended.

Preheat the oven to 265°F/129°C. Place your painting on a cookie sheet slightly larger than your frame. You may choose to place some small spacers between the cookie sheet and the painting to allow heat to circulate. Leave the painting in the oven for at least 10 to 15 minutes, and allow longer time for thicker works.

Remove your painting from the oven and allow it to cool fully before handling or overpainting. Never use the broiler to dry, as it is very likely to burn the paint and/or substrate.

Cold Oven

The cold-start method brings the temperature up slowly.

Place the painting on a cookie sheet for easier handling. You might want to place spacers under it to allow heat to flow more freely to the back. Put the cookie sheet with the painting on it on the oven rack at about mid-height in the oven. Close the door and set the temperature to approximately 265°F/129°C.

Allow time for the oven to reach 265°F/129°C and leave the painting in for an additional period of at least 10 to 15 minutes (longer for thicker applications). Do not exceed 280°F/138°C.

Radiant Heat

Paint and dry at least three small paintings before attempting a large canvas using radiant heat. This familiarizes you with the visuals of drying and helps you gain an understanding of drying speed.

Radiant heaters are readily available in hardware stores and in many general and department stores. They are also available through the Internet and mail-order catalogs. Some radiant heaters have fans to help move the air. Fans might blow dust on to your painting and must be cleaned frequently.

Generally, the heaters have at least two settings. The lower one is generally about half the heat of the higher one. Experiment with the heater you choose. We have found several that work very well when placed between one and two feet away from the painted surface. Because radiant heat can overheat a painting, it is very important to attend to the heating process.

• Time has no bearing on your application. When you have completely blocked in your painting or large section, you can chose to dry this layer.

• With the radiant heater, make large slow passes over the area to be dried in either a vertical or horizontal motion. You’ll see the paint dry as you go.

• After the painting dries completely, you can continue to paint.

• Finish painting by using the heat gun to spot dry.

• For added confidence in the finished work, some artists use radiant heat as a final dry.

Drying with a Toaster Oven

For small paintings, a toaster oven is very efficient to use.

Place the painting in the oven and set the oven at 225ºF/107ºC. Heat for five to 15 minutes, canvas board and gesso board will dry evenly over the whole surface. If you are drying a stretched canvas, make sure the edges are dry. Because of the wooden frame, the edges may take longer to heat.

Always place the paintings on the wire rack to help heat circulation.

Drying Box

Drying boxes are excellent because air circulates inside the box and produces an ambient heat. Current models of drying boxes hold paintings as large as 24"x 24".

Place the painting on stilts or put four pieces of wood on the corners. This helps circulate the heat underneath the painting. Set the heat and fan on high. Heat for 15 to 20 minutes. When drying a large painting, make sure the substrate will withstand the heat. Use good quality canvas board with a strong backing. Some canvas board withstands the heat, but tends to buckle or twist when a large piece is heated. Gesso hard board, made of a hard masonite support and stretched canvas, works very well. Because of the hot air circulation, stretched canvas will dry evenly even where the canvas covers the wooden frame.

Adhesive thermometers can be used to measure the temperature of your painting when you are drying with any source of heat. By sticking these on to the back of your canvas, you can be sure the proper temperature is achieved. More dense surfaces might require experimentation to find the best position of temperature indicators.

One source of non-reversible temperature indicators is: Paper Thermometer Company, P.O. Box 129, Greenfield, NH 03047.

These non-reusable strips change color to indicate the temperature reached. They can be used several times by taking the temperature to 250ºF/121ºC during the first heating, to260ºF/127ºC during the second heating, and so on. Some artists also cut the strips in half to use them twice. A useful range is the TL-8-250 that measures temperatures between 250ºF/121ºC and 320ºF/160ºC, or Set No. 4 that measures between 240ºF/116ºC and 280ºF/138ºC.

Storage

Store Genesis® Artist Colors away from heat sources. Do not store in the trunk of a car or in places where temperatures could reach 100°F/38°C or greater for a sustained period of time.

Palettes and Work Surfaces

Genesis® Artist Colors won’t dry when left in the open on a non-porous surface. Use a glass or other non-porous surface such as china, polished marble or porcelain for your palette. The recommended mixing surface is 1/4-inch glass. Some of the ingredients in Genesis® Artist Colors have an affinity for wax and plastic and will migrate into these or other porous surfaces such as wood, leaving the pigment dry and difficult to work. If this happens, remedy by adding Genesis Thinning Medium or Genesis Glazing Medium.

After mixing a color you like, you don’t need to keep air away to prevent drying, although you should protect it from dust as you would any wet paint. Use clean glass jars for this. Do not cover Genesis® Artist Colors with plastic wraps because some of the ingredients may migrate from the paint to the plastic if they touch.

Using Other Mediums with Genesis

Mixing Genesis® Artist Colors with solvents commonly used for oil paints is not recommended. However, if you use solvents, remember to protect yourself and follow the directions including the use of protective clothing such as gloves. Genesis® Artist Colors are not water soluble for mixing and thinning.

This is important, so we repeat: Genesis® Artist Colors are not intended to be mixed with other paints such as oils or acrylics or with water. Other mediums have a very different chemistry than Genesis® Artist Colors and results can be unpredictable.

Preparing a Surface Other Than Canvas

Try Genesis® Artist Colors on various surfaces! For best results, prepare the surface with acrylic gesso and roughen the primed surface with 200- to 300-grit sandpaper.

Use any surface that you would use for oil paint. However, make certain to prime with an acrylic gesso. A rabbit-skin glue sizing is not satisfactory.

Do not use any unprimed or porous surface.

Safe Handling Practices

• Avoid contact with eyes.

• Wash hands after use.

For further information or a Material Safety Data Sheet, please write to Genesis® Artist Colors International, 4717 W. 16th St., Indianapolis, IN 46222 or call 800-374-1600.

Morezmore WIP #22:
Rusalka (Part 4)
Part 1 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-1/_W0QQcommentsyncidZ0QQentrysyncidZ556405011QQidZ544278011
Part 2 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-2/_W0QQidZ556405011
Part 3 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-3/_W0QQidZ585978011

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Day 1 (March 8, 2009)

Good morning!
After a few months I am ready to pick up clay again.
I have this incomplete sculpt - Rusalka and that is what I am going to do - finish Rusalka.

What I have right now is the concept and the base. What I need to make - Rusalka herself. The old sculpt did not make it, I decided to redo her from scratch. 

So, to recap - here is the concept:

Rusalka (plural rusalki) - are Russian water fairies. Sometimes "rusalka" is translated as "mermaid" but it is not quite the same thing. Russian rusalki don't have a fish tail like mermaid, but two lovely legs and feet, just like humans.

They are spirits of unbaptized girls, unwed mothers and young women who committed suicide or were murdered near the water or were not given proper funeral rites. 

They appear as young girls and young women - lovely, pale, lithe, with gorgeous bodies and flashing eyes. They have long green hair, worn loose. The hair is always moist. They have pleasing voices and musical laughs. They wear water lilies in the hair. They mostly appear in the nude or decorated with wet water weeds or wearing a long white cotton shirt - wet and clinging to the body.

They live in rivers, streams and brooks and surrounding woods. On clear warm summer nights, they come to the surface and frolic around in the water, splashing, laughing and playing joyously or sitting on the shore in the moonlight combing their beautiful long wet hair. Sometimes during those long summer nights rusalki run through the meadows and fields. Where they step, blue flowers grow and where they dance in the field, the grain grows better. 

No man is able to resist the smiles of rusalki. But if he dares to come close to a rusalki gathering near the water and attempts to peep at those gorgeous bodies through the grass, he is in mortal danger as he risks to be discovered, pulled into the circle, undressed and tickled to death or drawned.



The base and armature:

The base - you can see how it was made in the previous parts of this work in progress:

http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-1/_W0QQcommentsyncidZ0QQentrysyncidZ556405011QQidZ544278011

The armature is one of my 8" Morezmore Modular Brickhouse Armatures, so that part is done. For the detailed information what it is - please see here:

http://search.stores.ebay.com/The-Morezmore-Estate_morezmore-modular-armature_W0QQfciZQ2d1QQfclZ3QQfsnZTheQ20MorezmoreQ20EstateQQfsooZ2QQfsopZ2QQsaselZ58601371QQsofpZ0

To be continued - thank you for watching! :)

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Day 2 (March 9, 2009)

Good morning! Here is the armature covered with magic sculpt going into the oven for 10 minutes to expedite the curing of magic sculpt. It will cure at room temp within 12 hours, but by heating it to about 200 degrees F will cure it within minutes.

In order to make the clay of the head sit securily on the head module - to prevent it from sliding to and fro - here is something that I like to do - wire, then magic sculpt "knob".

And here is the beginning of the face. It usually takes me several attempts to make a face I can live with, this is the first attempt, maybe I can do it without folding it down again and again.

I am out of time, will continue tomorrow - thank you for watching!

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Day 3 (March 10, 2009

Still making the head - making and folding down, making and folding down - but that is normal for me. Meanwhile, nothing to show, other than that I am still sculpting :) Need to start my working day - better luck tomorrow.

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Day 4 (March 11, 2009)

Morezmore Ebay Seller won over Morezmore Artist this morning. Yesterday was pretty much all packing and shipping as everybody decided to check out at once and I want to stand by my secret commitment to ship within 24 hours, so 40 packages need to be put together.

Also the glass eyes arrived from Germany, need to be sorted/matched and listed, silk gauze arrived from China, need to be packaged and listed, 4 more colors of Tibetan Lamb is on its way. Too anxious to sit down and relax in sculpting. Too much nervous energy - I need to switch my daily Glenn Harrold's hypnotherapy sessions from Think Positive one to Inner Peace and Calm. I love those sessions - first of all, it is an excuse to just lay down for 30 minutes and rest! But more than anything, they do such a beautiful job on my head. Like a nice warm bubble bath for my poor harried mind.

thank you for watching, talk to you tomorrow!

t
Create your own visitor map!
 

International Art Doll Registry is now open.
This interactive site allows artists to register their art and receive a unique registration number for each doll.  Dolls registered on this database are OOAK (one of a kind) pieces.  The IADR database provides a central site for artists to showcase their work and for collectors to register their collections as well.  IADR also offers membership profiles and a member directory, a tutorial database, monthly shows with great prizes, live chat, forums, a Marketplace and more.

http://www.international-art-doll-registry.com

Become a member of IADR to:

• Promote yourself as a skilled OOAK artist by registering your work at IADR!  You get unlimited registration numbers!  You can even register past work!
• Protect your copyright and your OOAK authenticity!
• Add a professional edge to your work with a unique registration number that can be used in your auctions and COAs!
• Showcase your OOAKs!  The database is accessible to the public and fully searchable!
• Participate in monthly shows with great prizes!
• Access the tutorial database!
• Network with other OOAK artists in the forums and chat room!

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December 24, 2008

New Featured Tutorial!

Eneida Rosa of Fairies and Dreams created a mermaid tail tutorial just for us!  You're going to love this tut!  Eneida is a talented OOAK artist from Spain. 
View Full Tutorial

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January 21, 2008

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February 4, 2008

February's Show "Critters" is now in Progress!  Come see the Show!

ENTER THE SHOW

Create your own visitor map!

Sleeping with Glenn
(or Glenn Harrold's Hypnosis Recordings, To Be Exact,
With Mr. Harrold Being Safely, Thousands Of Miles Away
in Kent, UK).
An uplifting true personal story
with a spot of exhibitionism.

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October 29, 2008

Step by step
So, as I said earlier, the order of steps finally became clear:

1. Build the person in the business - fill up my personal power cup
2. Build the business - fill the financial cup
3. Build the artist - fill the creative cup
4. Build the sculpting expertise - fill the know-how cup
5. Build the non-profit healing arts organization - start filling other people's cups

Mind Control?
All the books I was reading and listening too talked about thinking good thoughts, positive thoughts.

Now, how does one do that? - Well, one has to stop thinking bad thoughts obviously.

That is all very well, but what if I cannot stop?
How do I control what happens in my own mind?
Besides, MIND CONTROL - that did not sound very inviting for a person with a totalitarian home country background.

Rewriting the Code
It started to appear that instead of CONTROLING my mind, I need to learn to make my mind still and quiet, to learn how to stop the constant anxious frantic negative chatter, my own background noise. As this noise is mostly automatic and comes from faulty programming in my head, I need to re-program my own internal software and re-write my own code.

Little Confused Terrified Distrustful Caged Animal
That is how I saw my own Unconscious Mind. Closed off from the reality, constantly bombarded by the negative broadcast from my extremely self-critical, demanding, hard-driving, perfectionistic Conscious Mind, my Unconscious is ever racing, pacing and spinning the wheel in an endless anxiety attack.

There are different ways to re-program one's own mind it and I just tried one of the ways. It happened to have such a perfect fit for me that I am going to stick with this one for a while. The effect was surprising after the first time and it keeps getting more and more astounding with each day.

The way I am talking about I found is Glenn Harrold's hypnosis recordings. I came across him rather by accident: put the word "meditation" in the search box of my Audible.com audiobook club. Searched by best ratings, then by best-sellers, same name came on top. As I had a couple of credits on my club subscription, I got a couple of his books. "Raise Your Energy and Increase Your Motivation" and "Learn How to Think Positively" were the books.

I listened and was completely blown away. The effect on me was and still is amazing, as I listen 2-3 times a day now and intend to continue this way. I also got Deep Sleep Every Night and was in love with that recording as well - on the first listening. I am going to order others - Smoking and Weight Loss and Exercise and other ones, with the exception of golf and pregnancy related, as I don't plan on those activities.

This blog is about my experience with Glenn Harrold's hypnosis recordings. I started to listen to these recordings about 10 days ago. They are so incredibly helpful, I decided to write down and share my experience. I hope some of you will give those recordings a try and I even more hope that some of  you will benefit from them as much as I am right now.

Those who know me a bit, might be able to guess - from the title of this post alone - that I am in a better mood and much closer to my own old self. Yes, big thanks to Glenn.

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November 2, 2008

So, about those recordings. I started listening to them on October 19, two weeks ago. Again, I cannot put into words how helpful they are to me. I will describe my own experiences and what I learned to the best of my abilities here.

Trying to follow directions
The first CD I picked up was "Raise Your Energy and Increase Your Motivation Now". As I had no experience with hypnosis, I really did not know what to expect or how I respond, but I did put myself on a couch, tried to get comfortable, closed my eyes, and started to breathe as directed. Got up, removed the cat from my chest and out of the room. Returned to the couch, trying to catch up. Shortly after got up again and disabled automatic time announcements I have set on my computer for every five minutes (says volumes about the harried state of mind I live in). The automatic time announcement "BLING! THE TIME IS ONE TWENTY PM" was like a bucket of cold water on my poor-unprepared-trying to relax mind. Got back to the couch and tried to continue.

How Glenn got my attention
Listening... breathing... imagining... Next thing I knew, I was crying... or rather, weeping softly, not tears of sorrow or grief - but happy cleansing tears of relief. And I remembered the time when I had the exact same experience, those joyful and bittersweet tears of letting go - it was the last time Mom did her "touchless massage" on me. Mom knows how to do it and has helped many people. Mom lives in Russia and although we talk on the phone a couple of times a week, I have not seen her for 9 years. Last time I visited she did this touchless massage on me - I did not believe in it, of course, but humored her and layed down for the "healing". In a few moments after she started, I had the same tears streaming out of my eyes - almost against my will - the same tears of relief and letting go.

The fact that this recording produced this effect on me made me pay attention. I decided to restart the recording and do it over from the beginning (without the cat and the time announcements this time).

Shutting up the Observer
The next challenge was making my Internal Observer to shut up. That ever-present Vigilante in my head is very well trained to doubt, analyze and disprove any bits of spiritual-supernatural-paranormal-religious "evidence" that ever comes under her radar. She is a materialist and an atheist.

This time the Internal Observer was not being helpful - trying to analyze my own feelings and sensations, as well as making distracting observations and delivering skeptical comments about hypnosis generally - little that I know of it, the speaker's voice and manner of speaking (DEEPER AND DEEPAH...), the wording of the messages and the whole idea in general. After a while, though, surprisingly fast, the Observer did shut up and let me get on with the program. 

Does anything actually happen?
I don't know whether I went into the trance or not that time (or any other times, for that matter). Sometimes I am fully aware of what is being said - just very relaxed, calm, focused and quiet, sometimes I drift off and fall asleep lightly for a few final minutes and wake up to the words "Open Your Eyes Now... You Are Wide Awake...". Most of the times now (after two weeks of 3-times-a-day listening) my mind quivers right there on the borderline in between the sleep and awareness, I hear the words off and on - in waves, my mind going in and out for a few seconds at a time, - very much like when one wakes up in the morning and dozes off and on slightly, being aware that one is waking up but not quite ready to come to the consciousness completely. I decided not to worry about going into the "trance" at all, as I feel the results happen regardless.

The results
So what about the results. The results are astounding for me. I feel so much better about everything (EVERYTHING). For two-three hours after each listening I feel overflowing with feeling of well-being, health, vitality - just like promised. I don't think I EVER felt so full of hope, eager anticipation and excitement. My mind and spirit feels fresh and clean and ready for anything. As the effect starts to wear off, it is time for my next session - I listen 3 times a day - 30 minutes in the morning and lunchtime and 1 hour in bed. I alternate between 6 different recordings:

Raise Your Energy and Increase Your Motivation
Learn How to Think Positively
Complete Relaxation
Build Your Self-Esteem
Deep Sleep Every Night
Create Unlimited Financial Abundance

If it sounds like a lot, it is. I figured that, due to an incredibly stubborn, non-spiritual, materialistic-atheistic, vigilant-analyzing, skeptical, observing, questioning and doubting nature of my mind, I need bigger dozes than most people. Also, I remembered my experience learning the English language. I studied it hard for 5 years in the university in Russia. I got awesome grades and could read and write better than some native English speakers. Yet, I couldn't speak or understand the spoken word. And only when I came to USA and submerged into the language environment, my English came to life, rapidly coming to the surface and unfolding. When I arrived, I had to write what I want to say on a piece of paper and ask people to write me back. Within 3 months I was fluent. I guess it took 3 months for my unconscious mind to decide that there is no way out of this and it might as well unearth the rich deep-buried deposits of the English vocabulary and grammar collected over the period of 5 years and put it to work.

Coming back to Glenn Harrold CDs. With that experience in mind, I decided to do the same thing here.  I decided that I would SUBMERGE my mind into this environment and re-train and re-program and brainwash myself into the new ways of thinking. My unconscious mind just will not have any other options.

The "safe place"
In the course of the third or forth session I finally saw my "safe place" for the first time. Most people drift away, as I understand, to a wonderful peaceful meadow or to an ocean beach. No such thing here. Mine is bizarre and fantastic, with a sci-fi flavor to it. I had never thought about this place and I had never seen it before, yet I "recognized" it the instant I saw it in my mind.  
 
Now it appears every time I listen. It looks like a large round funnel or a tunnel going vertically down - about 10 feet diameter and deep - very deep. The surface of walls of the tunnel is uneven and smooth, grey in color, with a slight sheen. I slowly very slowly descend down the tunnel, spread out like a star fish, horizontally on my back, seeing the grey shimmering walls going up past me as I drift down - deeper and deeper [DEEPER AND DEEPAH :) ]. I have a sense that the funnel-tunnel is a living and intelligent structure, aware of my presence. It accepts me unconditionally, unceremoniously and generally rather matter-of-factly - the way a canine mother picks up the pup in her teeth and carries it away. There is no anxiety or fear in me resulting from tumbling down a very deep hole (I do have fear of heights, by the way). The feeling is that I am returning home - to the place that I possibly came from originally. The place that perhaps created me and now it is accepting me back for repair and healing and balancing and fine-tuning. 

****************************************************************************
November 3, 2008

I was interrupted yesterday, so continuing...

So I descend, slowly drifting down the funnel-tunnel, suspended horizontally on my back. The movement slows down and pauses at times as I listen to suggestions and then continues as Glenn counts down to the next level. I can feel myself as I experience this - from inside of my body, see the walls going up and the opening above me. I am also able to see myself from outside, just like an outside observer seeing my own body. The view alternates, and if you ever played videogames, like Tomb Raider, you know the shifting angles I am talking about.
 
The good vibrations
The vibration Glenn speaks about started to appear after about a week of listening. It was very soft, pleasant tingling feeling in the pit of my stomach. It grew stronger and stronger as the suggestions kept coming and then -- I recognized it. Oh, yes, I know this feeling very well, but what is it doing here?

I sat up and pondered. It is a most extraordinary thing, but apparently I like hypnosis more than I thought I would. Or is it some kind of lewd subliminal suggestions embedded into the music with some wicked ulterior motive?!! After a while, however, less grasping feelings prevailed and I reflected that it is highly unlikely that it would be the hypnotherapist's idea of fun to attract stampeding herds of middle-aged women with a multitude of physical and psychological problems to his office.

Rather relieved by this thought, I put that conspiracy theory to rest. However, determined to sift it to the bottom, I did a search on google and found out that -- it happens. Why, I cannot tell you, but the fact remains - it just happens. Thankfully, is not something to be concerned about. In the process I browsed a whole bunch of sites on and around the subject, including some fascinating info on breasts enlargement and p e n i s enlargement and breasts reduction through hypnosis (?!). There was no information available about p e n i s reduction through hypnosis, I guess there is no demand for that.

Anyway, I did find a couple of obscure scientific articles about my particular condition and the only thing I could gain from that was to feel more certain than before that the recordings will do me plenty of good.

Since then I have been impelled to the conclusion that this little unexpected side effect of mine is nothing more than Mother Nature at her work. It is really very simple, if you think of it. As the stress is being lifted from my long-suffering unconscious mind, as the anxiety releases its grip, as the doom and gloom dissipates into the clear blue, here comes the bright sunshine of normal healthy human female response to a bit of sweet talk delivered in a deep voice with a sexy British accent. Particularly keeping in mind that for the last year or so I lived a simple and blameless life consisting mainly of packing and shipping. Anyway, I decided to relax [Rrrreellllaaaxxxx-x-x... :) :) ] and enjoy it. I must add one more thing - I was rather impressed - it is quite an accomplishment on the speaker's part, isn't it.

Back to the tunnel
So, as I am drifting down the bottomless tunnel and feel the vibration, I also see and feel the green light originating from my stomach - a kind of a green fluorescent light (more sci-fi), spreading out to all my limbs and head, getting brighter and finally enveloping my whole body in an egg-shaped aura. Suggestions about Creativity add yellow light, Courage - blue light and Self-belief - red light. Then the lights merge in a kind of Aurora Borealis or Northern Lights effect. The light is soothing, calming, comforting, healing, repairing, balancing, aligning, strengthening, enlightening, astounding. I googled for "egg-shaped aura" and to my surprise found a picture of it on one of the websites - that is very close to what I saw... interesting, isn't it 

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November 4, 2008

Control Room
As Glenn counts down to one [ONNNNNEEEE...], the descent comes to the end and I find myself in front of the door with a sign:

This is the door to my own personal CONTROL ROOM. This is the place where my unconscious mind functions. Where all really important things ensuring my survival take place. Heart beat regulation, breathing, blood flow, chemical reactions, cell formation, hormone production - all of these functions are behind this door, in a secure place. All automatic, self-regulating, balanced, perfect. No need to go there and mess with them.
But this is also the place where all my beliefs, habits, paradigms and thinking patterns reside, including my creativity, self-belief, courage and confidence. Also that is where I might find OFF-switches for such things as fears, anxiety and negative self-talk and multitude of other things, from addictions and procrastinating to nail-biting. If I want to Change my Mind, that is the place to go.

I push the door and find myself suspended inside a VAST ENORMOUS Place - the Cosmos of my own.
And it is spectacular:

those are

And as I get over my first overwhelming feelings, I can see more clearly that some neuron clusters are calmly glowing in blues and greens and other clusters are firing excitedly in reds and purples.

You can see my (and your own) brain on the video here:

http://www.youtube.com/watch?tab=iv&eurl=http%3A%2F%2Fvideo.google.com%2Fvideosearch%3Fum%3D1&q=neurons&v=ysDGX6bOgAw&sa=N&ie=UTF-8&ndsp=20

to be continued...

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Morezmore WIP #22:
Rusalka (Part 3)
Part 1 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-1/_W0QQcommentsyncidZ0QQentrysyncidZ556405011QQidZ544278011
Part 2 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-2/_W0QQidZ556405011

*******************************************************************************
Day 44 (August 26, 2008)

By the way, if you are not yet a member of ODA forum, please come and register - it is free. ODA (OOAKDollart) forum is a GREAT place to learn and share and my favorite place to hang out (other than Morezmore blog). Here is the link:

http://www.ooakdollart.com/forums/

***************************

Same day, 9 pm. This makeup dilemma was killing me, so I put the hair on her to see what happens. I don't know about you guys, but I like her! Actually, A LOT!! A rather respectable #22, in my opinion :) :)

A friend of mine, Eneida made a good point - Rusalka is 100% Morezmore and I should stop fighting my style. Well, she has a point - my girls are juicy, with full red lips, arched eyebrows and striking eyes. Anyway, Rusalka stays the way she is and we will try subtle next time! :) :)

Here she is - dripping wet - straight out of the kitchen sink.



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Day 56 (September 7, 2008)

I woke up this morning, went to look at Rusalka - I still like her! So I am going to stop torturing myself and poor Rusalka and move on.

What is next:
- the outfit/decorations. She will have traces of weeds barely covering some parts of her body. I have a product here that I am going to try and post step-by-step. Nipples need to be painted.

- hair will need to get the final styling, green highlights and something to create/preserve a wet look. I have an idea, will try on a spare piece of fur and post the results.

- water lilies - for her hair. Again, I think I have an idea how to make them, will post.

- the base needs clear spray all over, felt on the bottom and a name plaque

As I did not do much work on my store yesterday, I have to do that today and will continue working on Rusalka, hopefully, tomorrow.

I need to start my working day, talk to you soon! :)
Many thanks for watching!


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Morezmore WIP #22:
Rusalka (Part 2)
Part 1 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-22-Rusalka-Part-1/_W0QQcommentsyncidZ0QQentrysyncidZ556405011QQidZ544278011

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Day 11 (July 24, 2008)

Good morning! So, about that "fat suit technique" that I wanted to try (pack the clay around the armature, cut off the excess - basically carve the body out of the lump of clay). Well, I did not find it practical. My problem was that I kept losing the armature in all that clay and cut too much/too little. Perhaps, with more experience it would be something I would want to try, but for this one I returned to my old ways - "pancake technique". It is simple and very controlable, the only thing one needs to pay attention to is avoiding trapping air under the layers of clay. So I go slower and really work every pancake into the sculpt. Here is the pancake technique:
- take a piece of clay, condition until soft and pliable, roll into the ball and flatten.

- put onto the sculpt


- press down from the center to the edges, squeezing all the air from under the pancake, seal all the edges so it becomes one with the rest of the sculpt

 Working like that, I arrived to this:

Because it is such a large sculpt, I am going to stop bake all this clay - normally I don't, I just sculpt the whole thing. The reason for baking now is those large lumps of clay move under the pressure of my hands and I ruin the parts that are good by refining the parts that need work. The problem with this mid-way baking of course is some parts are not correct all all (too much clay). But I figured, I will be able to just shave the baked clay off with a knife, if I need to.

So, here she goes into the oven. It is new Puppen Fimo, so the temperature should be 230 degrees and I am putting her for 30 minutes, not-preheated Deni oven. The thermometer on the pictures is my liquid commercial oven-testing thermometer. I scraped a thin line with a needle right onto the thermometer (on 230 degrees and on 240 degrees), so I can see right away if the current temperature is right on the dot - between those two settings, even if the temperature in the oven fluctuates a bit. Puppen Fimo cures at 230 and should not be heated over 265.   

That's all for today!

I need to start my working day, talk to you soon! :)
Many thanks for watching!

Morezmore WIP #22:
Rusalka
(Part 1)

*******************************************************************************
Day 1 (July 14, 2008)

Good morning! It is time to pick up the clay again! While I am waiting for the Fool Muse, I decided to create Rusalka.

Rusalka (plural rusalki) - are Russian water fairies. Sometimes "rusalka" is translated as "mermaid" but it is not quite the same thing. Russian rusalki don't have a fish tail like mermaid, but two lovely legs and feet, just like humans.

They are spirits of unbaptized girls, unwed mothers and young women who committed suicide or were murdered near the water or were not given proper funeral rites. 

They appear as young girls and young women - lovely, pale, lithe, with gorgeous bodies and flashing eyes. They have long green hair, worn loose. The hair is always moist. They have pleasing voices and musical laughs. They wear water lilies in the hair. They mostly appear in the nude or decorated with wet water weeds or wearing a long white cotton shirt - wet and clinging to the body.

They live in rivers, streams and brooks and surrounding woods. On clear warm summer nights, they come to the surface and frolic around in the water, splashing, laughing and playing joyously or sitting on the shore in the moonlight combing their beautiful long wet hair. Sometimes during those long summer nights rusalki run through the meadows and fields. Where they step, blue flowers grow and where they dance in the field, the grain grows better. 

No man is able to resist the smiles of rusalki. But if he dares to come close to a rusalki gathering near the water and attempts to peep at those gorgeous bodies through the grass, he is in mortal danger as he risks to be discovered, pulled into the circle, undressed and tickled to death or drawned.



********************************

I happen to have around an already made Morezmore Modular Brickhouse Armature, so that part is done. For the detailed information what it is - please see here:

http://search.stores.ebay.com/The-Morezmore-Estate_morezmore-modular-armature_W0QQfciZQ2d1QQfclZ3QQfsnZTheQ20MorezmoreQ20EstateQQfsooZ2QQfsopZ2QQsaselZ58601371QQsofpZ0




Posing:

Magic Sculpt to freeze the position, reinforce the entire skeleton and build up a bit of bulk in chest, hips, head and thighs:



20 minutes at 250 F in Deni oven (or 12 hours at room temperature) sets it to rock-hard state.

Two unfinished manzanita burls flats for the base. The base will be mossy, with tufts of grass, etc. The pieces of wood when put together, create this opening in the middle. I want to make an illusion of one of those small deep and dangerous pools - deep holes in the ground filled with dark water and weeds - which can be found in swampy areas in the woods. A while ago I promised to experiment with faux water and post the results - here is a great opportunity to do it.

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Day 2 (July 15, 2008)

Good morning. It is 8 am and I am sculpting since 6. I am making the head and it usually takes forever. So far I made and folded down 5 heads. The main problem is the inset eyes - this is my second time - first was Fortuna, and yes, it was a nightmare with her as well. So I will keep going and put the pictures when I have something worth taking pictures of.

Rusalka is supposed to be very pale. Yet, I don't want her to be stark white. So I decided on 1:1 mix of Puppen Fimo Rose and Porcelain - the shade is very pale pink.

The aids that I am using in making head are pictures from the book by Andrew Loomis Andrew Loomis - Drawing The Head & Hands. It is out of print, several sites, including mine, host online copies of these incredibly useful practical books by this wonderful artist. If the above link does not work for you, you can find and download a copy here:

http://www.morezmore.com/links.html

These are the pictures which are in front of me right now:

Anyway, recently I watched Jack Johnson's DVD (the creator of prosculpt) on dollmaking. What he does with the head - he presets the eyes into the skull, makes sure they are aligned correctly, bakes to set them and then builds a face around it. So I decided to give it another try. I tried this method before, it was not successful - the position of the eyes was wrong to start with and my face did not work. However, I think it is possible, with practice, to set the eyes just right, and in that case, it is so so much easier to deal with the face.

Here is what I have right now - it is baking at the moment.

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Day 3 (July 16, 2008)

Good morning! I have something to show! The face!
Not complete, need to clean the dirt and smoothen out and touch up the symmetry, but it is a face! As usual, I never know before hand what they will look like - so when this face showed up I decided that this will work for what I have in mind.
Rusalka appeared to be young and slightly naive and sweet. The mood is melancholic, pensive, deep in thought. That might change (the mood).

I sure hope that I can improve on this particular head without starting it all over. I don't know how many heads I folded down - it is always such a struggle for me.

Oh, the experiment with prebaking the inset eyes did not work again - the eyes were too deep, so this head was done old-fashioned way - insetting the eyes into the raw clay.

anyway, here are the pictures! As I said, I will clean up the dirt, smooth it out and touch up on the symmetry tomorrow - I am out of time for today, but wanted to keep up with my decision to post every day.

 

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Day 4 (July 17, 2008)

Well, by some amazing luck, I was able to complete the same very head as I started yesterday. It seems to me that all I did was clean up, touch up the symmetry and smoothen, but somehow she looks different now. How did that happen, I have no idea, but it is baked, moreover it is baked perfectly (!!!) no flaws, I generally rather like the face and it stays. :)

On the pictures you see the baked face and some added raw clay on the back of her scull and on the neck. Once I took the pictures I can see that I need to cut the of of the lids just a tad to make them symmetrical, but other than that I am going to proceed with torso.

Now, with the torso - I packed the clay around the skeleton - sort of making a tight fat suit. It will sit like that until tomorrow and that is a good thing - the clay inside will have time to cool off and solidify in the middle so that it has less chance to shift/move under my hands tomorrow and it is a bit easier to sculpt.


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Day 5 (July 18, 2008)

Guess what - as I started to sculpt the torso, a suspicion started to creep into my head - there is something wrong with proportions. I measured the head - SURE ENOUGH! the head belongs to 10" sculpt, not the 8" sculpt as I have the armature for! Darn, I made the head too big. Well, I have two options now - make another head or make another armature. I opted for another armature - so, here we go - 2 steps forward, one step back. Will make another armature and post the pics.

Another afterthought - I forgot about reference pictures! What usually happens - I start a sculpt, think of a pose, pose my sculpt, start to put the clay, get into an anatomy roadblock and start to look for anatomy reference pictures that will be in the same pose as my sculpt. Of course, it is usually very hard to find. Wouldn't it be much easier, I thought, to FIND the reference photos FIRST and THEN make the pose? Yes, it would.

So, with this bright idea and the fact that I need to redo the armature anyway, this morning I went on the search for reference photos on Female Anatomy for the Artist website. I found a nice set. Here are the pose and anatomy reference photos for Rusalka. I have them in large resolution in front of me, but for copyright and modesty reasons I am putting just small thumbnails here:

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Day 6 (July 19, 2008)
Good morning! As you might recall from yesterday, I needed to make another larger armature. So I did. The head is 1.25" tall, the entire height is 1.25 x 8 =10". Printed Ms. Bones in 10" scale, wire, pliers - that drill is easy enough for me by now. 

A eureka moment - once I put the magic sculpt on the armature and tried to smoothen it out, I discovered that wetting the entire armature in the sink and just rubbing with wet hands all over the surfaces speeds up the process of smoothing quite a bit.

Another eureka moment - she was not sitting quite right and I realized that she needed those bones on the very bottom - you know those bones that hurt if you sit too long. Once I added those two bumps, her pose immediately adjusted and became so much more natural looking.

I played with the head angle and incline a little bit (it rotates 360 degrees at the moment) - not sure what will be the best one. But that can wait perfectly well until later, of course. The point is I really like this feature about modules - the ability to keep the options open until the very end for the final subtle turns and angles of head and limbs. Once all the body parts are sculpted, it is very nice to be able to play with them and pinpoint the positioning just so - perfect for what you have in mind.

Here are the pics - they came out - rather unintentionally - with a ghostly bluish glow.

Overall, she looks good to me - I can move forward with the torso tomorrow.




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Day 8 (July 21, 2008)

Good morning!

I have something to show - the base.
So the idea is to make a base out of two manzanita burls with an illusion of a a deep mossy swampy overgrown water hole in the middle.

I put it together - so far so good and very easy, no water yet.
step-by-step:
- put the burls on cardboard (priority box)
- trace the outline with a pen
- cut out the outline - this is the bottom for the base
- mix magic smooth
- spread magic smooth on the cardboard - thin layer - full coverage
- spread magic smooth on the bottom of the burls - full coverage
- press burls on the cardboard
- plug and fill the gaps with small pieces of wood and magic smooth in the "water hole" - to make it leak proof
- create a bit of a landscape with small wood cuttings on the top - the ugly magic smooth spots will be later covered with artificial moss.

Here are the pics:

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Day 9 (July 22, 2008)

I am doing the inventory - updating all counts. This must be done as quickly as possible, because everything is off the shelves and it is impossible to ship until the inventory count is completed. So everything is on hold until I am done with the inventory and put everything back to the shelves and resume normal operations.

Thank you for watching and sorry for the hold up :)

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Day 10 (July 23, 2008)

Good morning! I am continuing with the base. It looks like I got carried away with all that landscaping on the top of the base - Rusalka did not have a place to sit on. I figured that out, of course, after it is all hardened. So with the help of the icepick, by brutal force, I removed some of the wood cuttings to make the surface more flat.

Next step - the moss. That is an easy fun part - pour fabritac on the surface - a couple of square inches, take bits of faux moss and press it down using the fingers and toothpick, trying to create as little glue strings as possible. I used three colors of moss - Forest, River Bank and Meadow, because I like the varigated look. I also used this chance to try faux grass in Medium Green. It was my first time and I like the results - it does look like little tufts of glass and a little goes a long way.

Next step - water. The pit on my base is lined up with moss and I figured I just pour the faux water into that hole and that should look just right. I grabbed one of those 2 oz samples of Liquid Illusion Faux Water, emptied both bottles into a paper cup, stirred it well and poured it into the hole - filling it completely up. Immediately I noticed that the level is going down - I have a leak! I had thought that I sealed it rather well. Apparently, it is going down into that space between the burls and the cardboard bottom. The bottom is dry as of now, but the level of the liquid definitely went down quite a bit. Oh well, I figured, let it be. I sat it on waxed paper and left it alone. If waxed paper gets stuck to the bottom, no big deal. I am going to let it harden over the period of 24 hours and pour another 2 oz portion on top of the surface tomorrow. I think that should be just fine. Meanwhile, the moss through the water does look really nice - you can't see on these pictures, I will take a better shot next time! Here are the pictures:





END OF PART 1 - PART 2 CAN BE FOUND HERE:

http://blogs.ebay.com/morezmore/entry/rusalka/_W0QQcommentsyncidZ0QQentrysyncidZ556405011QQidZ556405011

COMMENTS SECTION IS CLOSED AS WELL - IT IS FULL
IF YOU WOULD LIKE TO COMMENT,
PLEASE POST YOUR COMMENT ON PART 2
THANK YOU!!

That's all for today!

I need to start my working day, talk to you soon! :)
Many thanks for watching!

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Morezmore® WIP #NEXT: 
Behemoth (PART 2)
Part 1 can be found here:
http://blogs.ebay.com/morezmore/entry/Morezmore-WIP-NEXT-Behemoth/_W0QQcommentsyncidZ0QQentrysyncidZ439192011QQidZ439192011
Last Update: May 17, 2008
DONE!

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Day 31 (May 16, 2008)

During these several days I spent all my morning "sculpting" time on the Morezmore packing room - inventory, organizing and cleaning. It is almost done and I am very pleased with it. That was much needed. Here is what it looks like now:




This morning I picked up Behemoth again and here is the status report. The cat's hands still need to be furred - one more session, hopefully tomorrow morning.

I spent this morning putting together the scene and setting it in epoxy.
Behemoth will be a birthday present to my sister. As I can just hand-deliver this sculpt to the final destination, for simplicity I am going just attach it all together. The cat will still be removable and the tray will be removable too, but all the tiny pieces will be glued to the tray.

Collected all pieces that will be part of the scene, then put it all together for one more dress rehersal, marked the board by scratching - to figure out where what will go

The furniture has little pieces of wire sticking out at the bottom of the feet so that the feet can be anchored in the base board. Drilled the holes, filled them with Magic Smooth epoxy:

Then just kept attaching everything with Magic Sculpt epoxy. In addition to what I already described, a couple of new little details - I love details (at the risk of overdoing it, but more is more at Morezmore).

Made two candlesticks with real candles out of metal beads, metal buttons and birthday cake candles - you can see one of them on the back of the tray, and another one on the floor by the champaigne bucket.

Remembered that I used to have a bunch of tiny wooden carved chess pieces somewhere - searched for them and found the knight! Perfect! Just like in the book.

... Besides these, there  was an enormous black cat sitting on a stool in front  of the  chessboard  and holding a knight in its right paw. Hella stood up and bowed to  Margarita. The cat jumped down from its stool and did likewise, but making a flourish he dropped the knight  and had to crawl under the bed after it..."

"The Master and Margarita" by Mikhail Bulgakov
http://lib.ru/BULGAKOW/master_engl.txt

I decorated the Morezmore key with faceted iridescent glass beads and made a really cute Morezmore logo keychain:

Overall, here is what I have now - all pieces are epoxied together, the only thing that is removable is the tray, but all the pieces on the tray are attached to the tray.

Thank you for watching, ALMOST DONE!

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Day 32 (May 17, 2008)

Good morning! Behemoth is done! I finished flocking on his paws. Also there was a couple of changes, namely Behemoth is wearing a white satin bow tie now (I have just finished reading the part about the Springtime Ball of the Full Moon)

... 'Never, messire! ' howled the cat, crawling out with the knight in its paw.

     'Allow me to introduce  to you . . .' Woland  began, then interrupted himself.' No, really, he looks too ridiculous! Just look what  he's done to himself while he was under the bed!'

     The cat, covered in  dust and  standing  on  its  hind legs, bowed to Margarita. Round its neck he was now wearing a made-up white bow tie on an elastic band...  He had also gilded its whiskers.

     'What have  you done? ' exclaimed Woland. 'Why have you  gilded your
whiskers? And what on earth do you want with a white tie when you haven't
even got any trousers? '

     'Trousers don't suit cats,  messire,'  replied  the cat  with great dignity. 'Why don't you tell me to wear boots? Cats always wear  boots in fairy tales. But have you ever seen a cat going to a  ball without a tie? I don't want to make myself look ridiculous. One likes to look as smart as one can'.

"The Master and Margarita" by Mikhail Bulgakov
http://lib.ru/BULGAKOW/master_engl.txt

I also made another fancier fork. Anyway, all is done, and here are the pictures of Morezmore® #21 Behemoth! :) I hope you like him! 

 

 

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