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    • Surprise, brass repousse and chasing, piece of wild cherry tree. 5" x 7" x 4" [38]
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    • Ella Corn, brass, 9.5" x 9.5" x 4" [44]
      • Ella Corn, How it Was Made [40]
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    • Improvisation #1, 2017, made from scrap of brass sheet, with apatite gem sphere added, 8" x 7" x 2.5" [23]
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    • Big Bill, 2017,Brass and Wood, 6.5" x 7.5" x 9" [26]
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    • Phantom Owl, 2017, Copper, Bronze, Wood, 10" x 7" x 16" [29]
    • Isabelle ( a mechanical bell), 2017, Bronze and Brass, 9.5" x 15" x 9.5" [80]
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    • Poseidon, 2016, Hammer-formed Bronze, 1/2 life-size [6]
    • The Good Old Days, 2016, Brass Chasing and Repoussé, 7.5" x 9" [2]
    • Refuge, 2016, Brass, Copper, Tree Branch, 20" x 4" x 3.5" [5]
    • Swimmer, 2015, Copper, 7" x 4" x 2.5" [3]
    • The Emperor, 2015, Copper, Brass, Elm Stump, 8" x 13" x 14" [3]
    • What to do with a Triangle, #5, 2014, Copper, 6" x 5" [4]
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    • What to do with a Triangle, #3, 2014, Copper, 3" x 6" x 5.5" [4]
    • What to do with a Triangle, #2, 2014, Copper, Brazilian Agate, 3" x 9" [3]
    • What to do with a Triangle, #1, 2014, Brass, 6" x 6" x 5.5" [7]
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    • Fertility-Fetish Jar, 2014, Copper, 4.5" x 7" [3]
    • Cloudburst, 2014, copper and wood. 13" x15" Sold [1]

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brass sculpture copper sculpture hammered metal metal art metal sculpture metalsmithing shelbyvision Steve Shelby
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Home / Recent Work / Ella Corn, brass, 9.5" x 9.5" x 4" / Ella Corn, How it Was Made [40]

  • 1. Starting with a clay model, so I can figure out the shape to cut out of the sheet of brass. 1. Starting with a clay model, so I can figure out the shape to cut out of the sheet of brass.
  • 2. The clay model was dipped in molten Dip Seal. The Dip Seal was cut and opened up and used to make a paper pattern. 2. The clay model was dipped in molten Dip Seal. The Dip Seal was cut and opened up and used to make a paper pattern.
  • 3. I wanted the finished piece to be larger than the clay model, so I scanned the first paper pattern and reprinted it in the size I wanted. 3. I wanted the finished piece to be larger than the clay model, so I scanned the first paper pattern and reprinted it in the size I wanted.
  • 4. The larger paper pattern was cut out and traced onto a piece of 16 gauge brass sheet, which was then cut out and annealed. 4. The larger paper pattern was cut out and traced onto a piece of 16 gauge brass sheet, which was then cut out and annealed.
  • 5. This form requires a lot of stretching, so I'm starting out by pushing out with a large ball on a polyurethane pad with the hydraulic press. 5. This form requires a lot of stretching, so I'm starting out by pushing out with a large ball on a polyurethane pad with the hydraulic press.
  • 6. Using the raising hammer and stake to continue the forming toward the perimeter. 6. Using the raising hammer and stake to continue the forming toward the perimeter.
  • 7. Hammering the ears to stretch them around the curve where they meet the head. 7. Hammering the ears to stretch them around the curve where they meet the head.
  • 8. Using the stake shown in the inset to stretch the outer part of the curve of the trunk. 8. Using the stake shown in the inset to stretch the outer part of the curve of the trunk.
  • 9. After all that hammering, the metal is work-hardened, and needs to be annealed. 9. After all that hammering, the metal is work-hardened, and needs to be annealed.
  • 10. After annealing, the metal is soft enough to press again. 10. After annealing, the metal is soft enough to press again.
  • 11. Using the ball stake shown on the left with the heavy planishing hammer to fill out the form of the head. 11. Using the ball stake shown on the left with the heavy planishing hammer to fill out the form of the head.
  • 12. I made the tool shown on the left to shape the curved crease dividing the ear from the head. 12. I made the tool shown on the left to shape the curved crease dividing the ear from the head.
  • 13. Another tool I made for this project, for shaping and rounding out the trunk. 13. Another tool I made for this project, for shaping and rounding out the trunk.
  • 14. Using that same tool rotated 180° to work on the underside of the trunk. 14. Using that same tool rotated 180° to work on the underside of the trunk.
  • 15. More hammering on the ears. 15. More hammering on the ears.
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