..The leaves should not be arranged chaotically. . The harmony is achieved by means of rational distribution of limited space between the elements of the composition .The leaves should not touch each other or the trunk of the tree, or to stick out excessively .
The gap in between - at least a few millimeters . There should not be too much or too little..The leaves cannot exactly repeat the angle and the position to the surfaces of each other, but should follow definite directions and lines in general .
...I call the Tree " Medusa" ..
Each leaf should be accessible visually
and have some space around it..
.... The "Hedgehog effect" .. I call the Tree "Medusa", the view of the branches from above reminds me allegorically spread tentacles of medusa circling in the dance in the water column of the sea...
I didn't seek to this effect consciously. Visual demonstration of the process cannot demonstrate the problems of "Techno - Engineering" character I had to cope with in the process of recreation of the Tree..On the one hand -there are frameworks of the genre, subject and traditions of European Porcelain in general which should be considered. The Art component : I think I came quite close to that notion .On the other hand I had to reckon with properties of the materials used, their compatibility and limitations. Careful planning several steps ahead ,some skill and a lot of patience, as well as the ability to see the problem from different angles.. ...
Fingers are the weakest points of any figural composition ..
I always prefer to create the fingers manually only. Without random molds and casts..Modelling takes time ,but its worth it.And No "Bunch of bananas " effects after treatment....
... Completely manual process, millimeters, centimeters ,drops..10 types of different appropriate materials,10 variations of pigments. Many hours Every centimeter of the surface of the trunk, each of 67 leaves 1,5 mm thick ,face and rear surfaces - created, polished and colored .Made to last for decades to come. The Girl with Hurdy Gurdy under the Oak Tree. The Autumn…. ..
..There were some rules of the compositional arrangement of the leaves as single units and at the same time - as the parts of the whole compositional formation of the body of the Oak Tree..Some leaves were twisted with rear surfaces up /or with different gradations of the angle..To make them look "naturally " I deliberately changed the angles and intensity of the bending of the blades of many leaves and their cuttings, which initially were mostly identical in shape and curve after casting and polishing..
If you have any precious item made of porcelain
which needs attention of a restorer...Please contact me and I will try to do my best to meet your requirements ..
These firmly attached leaves can withstand the touch and
reasonable pressure of your finger , just like those made of true porcelain ...
These images here give you a good aportunity to see the classical "Invisible restoration" of the broken finger... :)
Restoration of Porcelain figures , Restoration of Biscue porcelain , Restaurering af Porcelæn figurer ,Restauration des figurines en porcelain , Restaurierung von Porzellan-Figuren ,
Porzellanrestaurierung , Restaurierung von Porzellan , Restaurierung von Majolika ,
Restaurierung von Gipsgegenständen , Restaurierung von Steingut , Restaurierung von Steinzeug,
Restaurierung von Marmor , Restaurierung von Alabaster , Restauration de la porcelaine,
Restauration de Ceramique ,Restauration de Faience , Restauration de Terre cuite,
Restauration de Porcelaine , Restaurering af keramik og porcelæn , Restaurering af lysekroner,
Restaurering af antikviteter , Restaurering af samlerobjekter , Meissen porcelain , KPM porcelain ,