As promised, pics of the glass I’m using for the bear.

This post has pics of the glass that I’m using on the bear.

I’ve got three different textures of glass; a deeply furrowed glass, for the neck and other areas where the fur would be divided, and rolled, that’s the second pictured glass.

I’ve gotten a lovely white that when lit from behind, looks just like matted fur; that glass is going to be on the belly, under the arms and in the neck in spots with the thick drapery glass.ImageImage


The third white has a herringbone type of ripple that will the glass for the rest of the body. Texture is really important to the concept of “bear”. The fur, the movement of that fur, not just the color, are crucial to the concept of “bear”.

These are magnificent creatures that deserve to be treated with respect; not just by hunters, but by artists, too. These are an animal in serious trouble as our climate changes around them. I want the piece to reflect a respect for this powerful animal.

Now, for some claw images:

I’m using the lost wax casting process for all of the pieces being cast. For the claws, this process involves mold making material, that I press the claw into. Then I pour the wax into the mold, pop ’em in the refrigerator, and wait for them to cool. Image

They are in two pieces because I want to put fiber optic line into the center. It’s easier to cast in two, use a diamond bit to carve a channel for the fiber optic line, then glue them back together with glass adhesive. I may just put them back in the kiln for a tack fuse.  The dark part on the top of the claw is a wax piece that it needed to make these so that they are able to attach easily to the end of the paws.

I’m rather irritated at this blog; it’s not being very helpful today. More images below. Sometimes it works, and sometimes it does not. Sigh…damned program anyway!

Back of the bear, neck and head

bear’s head. Blue tape marks thin spots to even out before second coat is applied.

Bear bottom half after sanding

Bear booty!


Underneath the bear tail

Close up of the underside of the tail.

Wax claws

The wax models used in for the lost wax casting process


Another view of the wax claws.

Down here are images of the second coat, so nice and shiny; so water clear, which was what I wanted. Everything in this is as clear as I can get. From the fiberglass form to the acrylic armature for the lights, I’ve managed to get it all wonderfully clear!
Two more coats to go after it gets cut off of the form. But that won’t happen quite yet.

I do have my pieces for cutting marked out, and the order they need to go in, follows the numbers. For the very final coat, the one that the glass is going on, will be slightly sanded to provide tooth for the mosaic adhesive and the final grout. I’m going to order some pigmented, clear grout. I saw this stuff in a group posting for a mosaic group and this stuff is GREAT! I think it would be best for this piece to have the grout also translucent, so the entire bear glows, with cool white light.

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