I have begun on the shoulder scales, so the character of the dragon is becoming apparent. This will be a a brightly scaled figure, mostly because it reads better from a distance. Without color, the detail has to be pretty agressive to make up for it.

A good day’s work!

[Click either image to see a much larger photo.]

Visit Kim Graham Studios to see more of the sculptor’s work.

A good day sculpting. The anatomy is nearly established; I am working on balancing the volumes so the legs don’t look too massive or the head too tiny. I started on the spine scales, but they’re not yet pointing quite the right direction.

It’s good to review the pictures at the end of each day. They give me a fresh perspective on the shapes and lines of flow that are hard to see while I’m on the stage.

[Click any image to see a larger photo.]

Contact Kim Graham at kimsculptor (at) gmail (dot) com

The dragon after day 2. I have gotten the other arm and neck on the other side done and begun on the head. This picture shows the wrist is still a bit small and the biceps are dull. I’ll fix these tomorrow.

[Click the image to see a larger photo.]

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The beginning of the Auckland demonstration. As you can see in the background, the mall management really dressed up the stage very nicely, far moreso than I thought possible.

I’m doing this demonstration by myself. I have two weeks, and that can be done pretty easily alone. It’s a shame — it is so much more fun to have people helping out! But if it’s done too quickly, I’ll run out of work.

[Click any image to see a larger photo.]

Visit Kim Graham Studios to see more work by the sculptor.

Kim prepared the mall dragon sculpture’s armature in advance. She writes, “The first picture is the welded steel armature built over a rough cardboard cutout version. There will be about half a ton of clay on this, so it has to be pretty strong. It took two days to build.” [Click the photo for a larger version.]

“This is the plaster and burlap covering that will support the clay. I made it small enough that I can fill out the musculature without hitting the plaster. One day to build.” [Click the photo for a larger version.]

Stay tuned for Kim’s updates on her latest dragon!

Contact SilkMermaid.com sculptor Kim Graham at kimsculptor (at) gmail (dot) com

Kim Graham is on YouTube as inventorgal.

About Kim Graham

At last I have finished designing my digigrade leg extensions and am now selling them to costumers, performers, and actors at Kim Graham Studios. Here is a good shot of the finished satyr version, with split hooves. These leg extensions make the wearer 14 inches taller, which makes me 6′ 7″ — and a real crowdstopper!

This one-minute Digilegs video demo on YouTube shows just how naturally they move. The hooves slide on springs; the movement constantly hides the foot mechanism and gives the wonderful impression of an additional ankle joint.

For Steamcon, a steampunk convention in Seattle (October 23-25, 2009), I’m already planning a “steam-powered” version with gears and moving parts. A Jules Verne mechanical satyr — it will be so cool!

If you have questions, please contact me at kimsculptor (at) gmail (dot) com.

Visit Kim Graham Studios to see more of the artist’s work.

I made the original Satyr Legs feet with bicycle tires bolted over the steel feet. The problem with using real tires is they have a lot of grooves and very little gripping surface; this reduces friction on the road. I needed a lot more contact with the ground.

To solve this, I used perforated steel and poured rubber to cast directly onto the steel feet. This is a tough rubber called VytaFlex 60. It is critical you first abrade the steel surface to remove surface oils before casting.

A closeup of the foot after the jump.

After my initial test with the legs, I decided to make quite a few changes. The legs need to be longer. (You can see in the picture where the old foot was cut off and the new, longer version welded in.) The joints are a bit wide and need to be trimmed, and there should be more movement in the foot. The satyr feet are spring-loaded, but not enough to hide the actual foot during movement. I’ll need longer springs and bolts.

Visit Kim Graham Studios to see more of the sculptor’s work.

I created a costume with the new Satyr Leg extensions and then went by the corporate offices of Wizards of the Coast, where I used to work. I still have some great friends there. (The photo shows me with Dawn Murin.) We took it as an opportunity to test the leg extensions for comfort and show them off to a company filled with fantasy lovers. It was a terrific hit.

Two more photos after the jump.

Cynda Calloway (l) and me

As you can see, the full costume allows me to tower over people at nearly 7 feet. The only problem was the ceiling lights!

Cynda Calloway (l)

Contact Kim Graham at kimsculptor (at) gmail (dot) com

I’m building the Red Silk Mermaid as a personal piece, between regular work and paying commissions. I’ve just received a very fun commission from a longtime client, Tyrell Littles. I will document this commission here on this site and return to the Mermaid as soon as we are done.

Photos and more about this new commission, a set of “satyr legs,” after the jump.

Several years ago I made a full set of insect armor for Tyrell in lightweight fiberglass and riveted leather. He has asked if I would modify his costume to accommodate satyr legs, like the ones in Pan’s Labyrinth. Since I had been working on a design of these for some other costuming friends, this is a great opportunity to improve on the idea.

Most werewolf-demon-monster costumes are really limited. Human legs are pretty short; when an actor is bulked out in costume, his legs are way too short by comparison, and they don’t bend the right way. We all imagine the backward leg of a dog or a goat with the elongated foot. This set of leg extensions is designed to look just like that. They hide under a costume and fit very closely to the actor. They also make the wearer 18 inches taller. A 5′ 5″ individual like myself becomes almost seven feet tall. Not only does this look really cool, but doorways become a real concern.

I’m making the leg extensions in steel. Aluminum would be lighter, but steel is easier to weld and modify. The feet are cast rubber. In the picture of me, you can see the sheathing cloven hooves. These hooves are spring-loaded to move and flex like the real thing without interfering with walking. They weigh about six pounds each; it takes about 20 minutes to learn to walk in them. People with snowboarding or skateboarding experience learn in about 60 seconds!

The tendon on the back of the leg is steel cable. When designing this version, we learned a great deal about just how strong human limbs are. The original cable was rated for 1,500-lb snap strength. We broke it.

Now we use a cable rated for twice that strength. Pasha ran stress projections in a CAD program, and we discovered that areas of the steel structure were being bent under 2,000 lbs of force. Though we are constantly trying to make these lighter, we are more determined to make them robust and comfortable. Our whole costuming group is building sets now for this year’s convention season.

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At long last we are removing the rubber molds from the clay. It slips off with astounding ease. This haunting image shows the inside of the face mold. Good, clean, and without flaw.

Two more photos after the jump.

The volunteers did a very good job of making the rubber uniform and very thin. We are only planning to make six castings, so the rubber is a spare 1/8-inch thick! (You may note a lack of tools in these photos. I’m in the process of moving my studio to a new, larger location.)

The necessary job of retrieving the plasticine clay from the sculpture and cleaning it of aluminum foil. This will take an entire day. I will recycle most of the steel armature and scrap the remainder.

Visit Kim Graham Studios to see more work by the sculptor of the Red Silk Mermaid.

We have chosen a stretchable silk that can handle all the movement without too much buckling.

We drew the pattern for the dorsal fin with a light pencil and masked the white areas with a liquid resist, then allowed the resist to dry. Next, we stretched the silk on a wooden frame with bulldog clips and rubber bands. After treating the fabric with vinegar, we drew the two silk dyes, intense yellow and magenta, onto the surface. With the vinegar treatment, it is astonishing how much control you can have with the movement of the color; it is very much like watercolor painting.

After the silk dries, Owen will steam it tonight to set the color into the surface.

Contact SilkMermaid.com sculptor Kim Graham at kimsculptor (at) gmail (dot) com

[Left to right: Jasmine Gilbert, Kim Graham, Owen Wolf]

We have begun experiments on the silk for the fins. Owen Wolf, who has been dying fabrics for more than a decade, is working with us find the right look for the Mermaid. My good friend Jasmine Gilbert, a fabulous costumer, is helping with the coloring.

This is the first layer of intense silk dyes. We will set these with steam tonight and then do the second layer tomorrow. It may take many layers, and quite a few attempts, to get the complexity of texture we are looking for. But it is a joy to finally be working with the colors.

Contact SilkMermaid.com sculptor Kim Graham at kimsculptor (at) gmail (dot) com

Here are some tricks for sculptors frustrated by bilateral symmetry.

First, impress a brightly colored string on the exact centerline of the face, then shine a light exactly on the center string. This makes the differences between sides glaringly apparent and consequently easier to fix.

Second, notice the terminus line — the delineation between light and shadow. You can get this line really sharp by bringing the light close to the sculpture. Concentrate on just sculpting along the terminus line. By moving the light up and down along the centerline, you can capture the volumes more accurately.

Last, take a picture of the piece and put it on your computer screen. Even now, I noticed a bunch of problems just writing this entry! Flipping the image horizontally also makes problems, and therefore solutions, really obvious.

Contact SilkMermaid.com sculptor Kim Graham at kimsculptor (at) gmail (dot) com

Yeah! The benefit of a Seattle snowstorm that put a foot of snow on the ground: five uninterrupted days trapped in the studio, sculpting.

She is pretty much done and ready for molding. We will begin the molds in four days, the day after Christmas. This will give me time to go over every inch of her to recheck the subtle details, and give my friends time to come over and see her.

Exhausted, happy, elated!

(More photos after the jump.)

Contact SilkMermaid.com sculptor Kim Graham at kimsculptor (at) gmail (dot) com