Artist Profile Pt. II
Over the course of more than
fifty years, the last thirty-five or so having been serious ever-maturing
efforts, I have sculpted a great many subjects in a wide range of treatments
and degrees of importance. Among them have been whimsical little
creatures, big game animals in every-hair detail, nudes, science fiction
heroes and creatures, portraits large and small, historical and prehistorical
figures, cowboys, Indians, and the odd monument here and there. Almost
universal among my subjects are living creatures, and I guess I've sculpted
everything that moves under its own steam but a Lithuanian wombat, and
I might try that next.
Given the ability to execute
a recognizable likeness of almost any creature I can think of, over the
decades I have been repeatedly drawn back to the wonderful worlds of Edgar
Rice Burroughs as a source of inspiration. I have never been able
to resist the urge to put his astonishing creatures into the full round.
Whenever I get bored with the earthly and urbane subjects of our world,
I climb back into his pages, and leave this dull place behind for a while.
One of my favorite places to escape to is Barsoom.
Deep in the winter of 1996,
a look out my window revealed two feet of snow on the ground, and the thermometer
read in the teens. It was too cold to work in my poorly-heated "dirty"
studio -- a small out-building where I do my casting, sanding, grinding,
and general mess-making, so I decided to chuck work and leave Jasoom for
a while. By nightfall I was riding around in Tara's pocket-purse,
dizzy and breathless and spinning high above the ochre moss, and knowing
not whither we were bound, yet kneading with my left hand my ubiquitous
ball of wax. Soon the aged Ace paperback found its place on my crossed
knee, and both hands went to work on the happy ball of wax, and within
an hour Gahan of Gathol was perched grinning on my table-top. By
the end of the next day he was a Chieftain of Jetan, with six accomplices
and a beautiful, beautiful Princess, wearing next to nothing and worried
about her future.
It is said unarguably that
ERB's cornucopial imagination was the source of many wonderful things of
our world, from xerox copiers to organ transplants; I know for a fact that
he indirectly sired several chessgames authored by myself -- but more about
them later. Very soon it became clear to me that I was making a Jetan
set. After a few days of my typical nitty-gritty application of details
to the eight little figures they were ready to mold. In a few days
more of repeated castings I had my set of forty, and a complete, detailed,
paintable Jetan set. Another day's work with masonite, good enamel
and brushes, with some judicious touches of gold paint-pen, produced a
quite proper and fitting board, quite striking in its black and orange,
and upon which my little platoon looked businesslike and ready to slash
it out. It was a splendid souvenir from my latest trip to Barsoom,
and I was elated. I shared this delightful treasure with one or two
of my closer pals, and we found out that Jetan is actually a very fun,
very playable game, made even more fun by the delicious, selfish knowledge
that I had brought it back straight from Barsoom, and that I was the only
person in the universe who had one, and that lovely, lovely little Princess,
such a joy to behold.
There was another element
about the set of pieces that appealed to me, that I only came to realize
later, and that was that the little sculptures were "empowered," by their
roles in the game; they actually "do" things among themselves -- an element
usually missing with sculptures which stand alone, loaded with symbolism
as they may be. This was a fun new feature, and I had to mess with
it some more.
Thuvia and Banth
SARANG IS BORN
One day I sat pondering the
wonderfulness of my handsome little Barsoomians, and the helpless dependency
of the lovely little Princess, whose future is ever in doubt, and it came
to me that she might like a feminine companion to swap girl-notes about
who was the best fighter, and commiserate in their hours of dark despair.
Promptly I measured off the required 2/3-of-a-hen's-egg of wax required
for a figure that size, then another, and another, and it came to me that
a series of Jetan games could be played with a different Princess for each
game, or something like that.
So I rapidly commenced forming
a few more little Barsoomian women, and hit the books again for character
studies. The first lady had been Tara, but how about Dejah Thoris,
and Thuvia, and who else? This was starting to turn into a serious
sculptural effort, and I've always considered it important to get the facts
straight, if possible, and there were--uh--other considerations.
First there was the problem
of costuming. In most events throughout the Barsoomian stories, ERB's
Martian characters are wearing strips and straps, jewels and weapons and
very little else. This I'm certain was a large part of his appeal,
even in 1912, and by being circumspect in his particular verbage was able
to carry on his titillating scenarios through eleven novels, printed in
millions of copies, second only in numbers printed to the Bible.
There's gotta be something
RIGHT about THIS, and who am I to alter it? However, the wordsmith
can get away with nudity much more easily than the graphic artist;
the "naughty" exponent images form in the mind of the reader, not the writer,
once the condition of near-nudity is literarily laid. A graphic artist's
work, on the other hand, especially sharply realistic images, are in your
face, and you don't have to imagine them to see them. I find Burroughs'
Mars stories to be particularly challenging for this reason.
The big question for myself
and many others considering or executing graphic portrayals of these tales
is "Can we, and should we, portray these scenes as they were written?"
We are stuck with the dilemma of balancing fidelity to a revered author's
imagery as written with judgments about what our public is willing to see,
and sadly we must respond to the emotionally crippled judgment of our many
emotionally crippled peers, lest they scream and throw things.
is, I am certain, partly why there has been such waffling on making the
movie "A Princess of Mars"--the first book Burroughs ever wrote, and why,
except for the most enlightened viewers, most Barsoom artists expand Burroughs'
minimal costumes to include enough fabric to cover the really interesting
anatomical parts, as I have grudgingly done, at least for public consumption.
I have kept the top coverings
of the girls minimal, yet colorable, "pastie-"wise, in keeping with some
of the modern treatments of fantasy heroines, and indeed have found that
the simple display of full frontal nudity does not bother most people nowadays,
as long as the nude character seems oblivious to it. I have yet to
hear the first complaint or negative comment about it on my website, which
has more than a few nudes therein.
At this point I was beginning
to assault a sculptural project of some magnitude, and felt it incumbent
upon myself to give serious consideration to the matters of physique and
dress; given a choice I've always preferred to sculpt accurately and as
plausibly as possible. These little women have obviously female forms,
but how did they differ from women of our species?
My questions regarding the
differences between Barsoomian figures and Jasoomian figures, and any other
general anatomical characteristics between the two species, aside from
egg-laying and navels (when I called a couple of local veterinarians and
asked them if chickens had navels, they hung up on me.), were resolved
early in A Princess of Mars, wherein John Carter describes the pretty Thark
prisoner as "identical in every detail to the earthly women he had known."
In Burroughs' typical blithe
circumscription the question is never asked nor answered just how well
John Carter knew Earthly feminine anatomy, but as is mentioned in a foreword
"there is much I dare not tell you (about Barsoomians), and one might assume
that a healthy, mature male soldier would have at least a working knowledge
of--er--How To, ifyaknowwhaddimean.
Remember, too, that Dejah
Thoris was wearing a belt and some doo-dads, and maybe some sandals.
It has been noted that possibly he couldn't see the lack of a navel at
first because of the harness belt. Anyway, I'm content to believe
that there are no significant differences between the average dimensions
of anatomical parts of Barsoomians and Jasoomians.
I would assume that the same
ranges of build and weight variations would apply equally to Barsoomians
as Jasoomians, with Ectomorphs, Endomorphs, and Mesomorphs -- skinnies,
mediums, and chunkies, --and part of the charm of Burroughs' stories is
that he has provided a variety of Barsoomian characters thuswise to fulfill
the individual preferences of his readers. Everyone's got their druthers
regarding the shape of their opposite-gender ideal, which I suspect is
formed by some happy event early in one's maturing process.
My apparent preference for
large breasts is largely a result of my ability to make the breasts on
my little figures any size I want, and with small sculptures such as these,
a little exaggeration makes it easier to identify the genders of the characters.
Also, in pieces of sculpture showing rapid motion such as running figures,
the free movement of breasts, unsupported by bony structure, behaves to
some extent as long hair, in travelling freely with the motion, and is
useful for endowing a rigid sculpted object with the illusion of movement;
longer hair and bigger breasts do this more dramatically.
Aside from a very few references
to "soft roundnesses," Burroughs refrained from juicy details about his
girls. I suspect that he knew full well that to do so would have
been to invite censure, as well as to slow the rapid pace of his stories,
It wasn't but a few days
before I had nine Barsoomian women, of various sizes and shapes, and was
in love with them all. What am I going to do with NINE? Hey,
how 'bout a bigger game? With THREE rows of pieces, and a 12 x 12 board?
Well, why not? Who's in charge of this detail, anyway. And
MORE Barsoomian critters--a Thark, a Banth, a Calot, a Teedwar--hey, now
I'm ONTO something.
And we'll call it -- call
it -- SARANG! Oh, yeah! "Sarang" is a Korean word meaning "Love,"
and also an East Indian family surname, like, uh, "Barsoom," heh-heh-heh.
I think ERB would have approved. And let's do an Assassin--a Gorthan--and
some women warriors, like the THA, as in THAN, and a PANTHA, as in PANTHAN.
Oh, this is gonna be so-o-o cool! But what are all these new characters
going to do as chesspieces? This was clearly going to be a real PROJECT.
After my sidekicks and I
had played Jetan a few times, we discovered it to be quite fun, and my
friends really liked the playing set I'd made; the pieces were large enough,
at five inches or so, and detailed enough that when simply parked upon
the board, made for an interesting decorative item for anyone's den or
livingroom, and one fellow wanted a set of his own.
It was around this time that
it occurred to me that Edgar Rice Burroughs fans might also like some of
them, and after some telephone exploring I located George McWhorter, Curator
of the Edgar Rice Burroughs Museum at the University of Louisville, and
asked him if he knew of a way to get the word out. George immediately
responded with some interest, and was so kind as to advise me of the unusual
and rare nature of an actual Jetan set, and answered many questions I had
about how to go about fielding my games, and the accuracy and appropriateness
of the changes I was considering regarding the expansion of the game.
This was the beginning of a firm friendship.
Jetan is a frisky, close-range
game, as explained to me by Larry Lynn Smith, who sponsors a website for
Jetan play: Larry Lynn Smith's JETAN
WEBSITE and who has explored the potentials of Jetan play in considerable
depth. Larry has covered the elements of "gambling," series play,
and move-limitations of each individual piece in a thorough, creative way,
using terminology that I'm sure ERB would have loved--"Free Panthan," "Chained
Princess," "Wild Thoat," and other exciting descriptions, as well as program
a method of points accounting for series of ten games; he has covered many
elements of Jetan that I missed completely, my simple-minded focus being
mostly on what the creatures and pieces look like.
Aaron Smalley maintains another
Jetan website, symbiotic to Larry's, called the
TOWER , where one may compete against other Jetan players for skill
rankings up to and including "Warlord," and offers a significant prize
to anyone who attains that exalted rank.
A Frenchman named Jean-P.
Cazaux has also fielded a Jetan site, mostly patronized on the continent.
These three gentlemen have
exerted considerable thought and effort into making this game playable
online, and in my opinion deserve some acclaim and patronage.
By early Spring I had made
twenty-five different Barsoomian figures for my new game, and was now faced
with the pleasant problem of how to make them move in character with their
characters in Burroughs' books, and make a workable, playable chessgame
out of it.
The board was 12 squares
on a side--rather large, as chessgames go, so I'd need a few powerful pieces
to move as the Queen, the Rook, and the Bishop, able to cover a lot of
ground in one move, some medium-range pieces which could cover three or
four squares in one jump, and short-range pieces for close-in confrontations.
I did not feel entitled to alter the moves of any of the eight original
Jetan pieces, so I left them alone--in Jetan-Sarang they move just as they
do in Jetan--and I rounded out the game with the new pieces. After
some experimentation, I arrived at the following rule-sheets
Jetan Rules Sheet
Click for Full-Sized
Click on each for Full-Sized
The result was a
large chessgame that was very exciting to play, though it took a while.
Several games I played with my son and some of my friends ran over three
hours, but it was fun, and some people really like long games. Additionally,
I had hand-painted a set, with great care, and set up on a table prior
to play, or just to look at, I thought it was awesome. The smallest
board I could practically use for these big, fancy pieces was thirty-two
inches square, and dominates a card table, and the three-deep, twelve-wide
armies of Barsoomians are intimidating. I felt that I had accomplished
a true work of art.
Well, apparently, so did
George McWhorter. He asked me if I'd like a write-up in the Burroughs
Bulletin, the lovely slick Quarterly he puts out as the Burroughs Bibliophiles,
of which, incidentally, number 30 was to cover The Chessmen of Mars.
How perfect! Well, okay.
Soon thereafter I began getting
calls about the Jetan set, and began producing them for others. Without
boring you with details, I managed over the next couple of years to produce
from the original molds, four 96-piece Jetan-Sarang sets, and six Jetan
sets, most with some extra Princesses, and several hundred individual figures
and small groups which have trickled away as small sales and gifts, for
a total of perhaps 1000 figures. I still am able to produce these,
with increasing difficulty, and have some on hand; if I manage to squeeze
the twelfth Jetan set out of these molds, I shall let them fade into history.
I have a new, smaller set coming soon, easier to produce.
The original molds for my
Jetan pieces are called "sandwich" molds, and are literally a sandwich
of plaster, rubber, figure, rubber, and plaster, which allow for very complex
and highly detailed castings. They must, however, be assembled and
disassembled for each and every casting that is produced, which is very
These molds must be made
with great care, or you will suffer misalignments, excessive flash, incomplete
fills, and a myriad of other problems that lead to wasted material and
time. I have had to learn how to make my own molds, because there
was no one to teach me, the materials cost $l50 per gallon, and I make
original figures for which there are no molds, and sometimes I really push
the envelope. I've always believed that the form of the sculpture
comes first, and the mold can by-golly accommodate it or bust.
After casting and hand-finishing
several sets of Jetan and Jetan-Sarang, I had tried several different methods
of coloration. The styrene resin-plastic from which the castings
are made is similar to that of model airplanes and cars and what-have-you,
and may be finished with the same types of paints and glue and fillers.
Anyway, the first two sets
of Jetan I painted in yellow/orange with light blue clothes for one team,
and jet black with red clothes for the other, following the Burroughs description.
I found this less than satisfactory because the detail of the black pieces
was harder to see, even though the sharp contrast made the metallics and
harness details look really sharp; Burroughs purists like black and
However, I thought I could
do better. For the third set I made one team somewhat dark-skinned,
like American Indians as Burroughs described--"a light coppery color,"
with light blue clothes, and the other team still rather dark-skinned but
clearly lighter than the first, with red clothes. The flesh-tones
were different enough to easily distinguish between the teams, and still
endear one to one's own players. Burroughs had some peculiar ideas
about race and color typical of his times, and I found it desirable to
experiment with other types of coloration, for reasons of ethics and aesthetics.
For a fourth set, I painted
one team dark Indian red with orange clothing, and the other lighter brown
with black clothing. A fellow from Raleigh bought a whole 96-piece
Sarang set, and just recently brought up forty or so of his paint-jobs
to show me--stunning detail, with jewel-paints, wow--and he's doing them
in matte dark Indian red with black clothes on one team, orange on the
other. His pieces look eerily REAL, and he has surpassed me in the
finishing department by several orders of quality.
For two of the big Sarang
sets, I did one team in Indian flesh-tones and the other in light blue,
which I decided was the highlight of black, with light blue and red clothes,
respectively; the set I have is the twin of the one in the Burroughs Museum
Here I must insert a comment
about the feathers, which are a fun part. The feathers indicate rank,
and I assumed that each piece's first feather would be the same color as
their teammates, their second feathers would be the same, their third,
etc. The higher-ranking pieces with five, six and seven feathers
would be rewarded with a rainbow, similar to the fruit salad of medal-ribbons
on the General's chest, y'see? The consistent feather-painting adds
identifiability and harmony to the teams.
Boards upon which to play
the two games I made out of 1/4-inch masonite, triple painted with Rustoleum
oil-based enamels, and decorated with 1/8-inch paint-pen lines across the
tediously hand-painted borders, with a red edge or tabling around the whole
board, and some decorative scallops and squiggles to border the whole.
Two-and-a-half-inch squares work well with these large chess-pieces.
It's one thing to hand-paint
and finish a set of cleaned Jetan or Jetan-Sarang castings for yourself,
but it's something else again to go into production for others. The
time required to hand-paint a set is about two weeks, for me, and that
drove the cost beyond most people's budgets, the hand-painted board takes
ALL DAY, also prohibitive in cost, and after some time Meester Arteeste
was getting a little tired, so I let it rest, selling a few pieces here
and there, and moving on to other things. I had never thought as
I began that I would go so far as to produce so many of these pieces, and
it was not, and is not my intention to go into mass production.
As I realized that others
like these sets, I asked Danton Burroughs what he felt about my selling
them, and he said at the time that it was all right to sell a few sets
to fans, but advised me not to go overboard with it, in order not to intrude
on the market of any bigger outfit who might want to license the product
for mass-production. I am a product designer, not a mass-producer,
and it's fine with me to make a few; I do have other projects.
At this time I do not feel
that there exists a large enough market for full injection-tooling of Jetan
sets, UNLESS the game is included in some scenes and events of the coming
MOVIE, A Princess of Mars, or its sequel, and the product is ready for
marketing as the movie is released.
have discovered that there is considerable interest among fans to obtain
Jetan sets, and because of that I am in the middle of creating the same
figures again in 2/3 scale, with some simplifications for ease of production.
So far the new, smaller figures average about 4 inches tall, are almost
as detailed as the larger originals, are unmistakably similar in appearance
to the originals, and, to me, have a charm of their own. I plan to
make gang molds with no parting lines to clean, so I'll be able to cast
a whole team at one time, and expect these molds to last for perhaps 40
or 50 castings before they start to tear and burn; so far I have
found new homes for ten of the new sets, minus the board, which anyone
with a modicum of skill can make for himself.
I had learned to like making
chess-sets, and my Jetan and Jetan-Sarang games were some of my favorite
and most satisfying sculptural efforts. Better yet, George had accepted
a large set for the ERB museum and this gave me a huge feeling of satisfaction,
knowing that I had contributed something significant to the body of ERB,
that many others could enjoy seeing. One day it dawned on me that
I could make a "FIDE"-Chess-type expansion, similar to the way I had expanded
I called it Imperial Chess,
because it had two Kings, two Queens, an Emperor and Empress, and Princes
and Princesses and Catapults and more Knights, and I made it for a 12 x
12 Board, with three rows of players, and except for a few not-too-important
differences in player moves, it was Jetan-Sarang's twin game. It
worked just as well, and after some fiddling and inspiration, even better.
In a flash of inspiration,
I realized I could shorten the game to maybe an hour, as opposed to three,
by instituting an element called the CHARGE, wherein, if one has no fewer
than six of his men within one move of direct attack position, one may
call a CHARGE, and move one man from each of his twelve rows, setting up
a bunch of fights and casualties at once, and causing great panic and excitement
until it's all resolved and one-by-one play is resumed. A little
more on this shortly.
I made a big fancy set of
playing pieces for Imperial Chess -- as big and detailed and nice as the
Barsoomian pieces -- a direct spin-off from them, and one night, tossing
and turning, invented Chess for Three players, on a triangular board.
I'd noted that if three guys want to play Chess, one must wait. How
cool it would be for all three to be able to play together, and I'd been
wrestling with the problem of how Rooks and Bishops could move for days,
and suddenly, like a teleportation to Barsoom, it came to me. I made
a board, some sets of small playing-pieces, and played it a bunch with
some friends. It's a HOOT, as chessgames go, but enough of that--the
point is, both these games are ERB's red-headed grandchildren. He
started it with Jetan, a major chess variant, and a viable game all by
Years went by. James
Killian Spratt, Master Sculptor, finally wised up and went online with
his own website. Feeling that my games had considerable merit, I
dropped a note to an online chess variant site, www.chessvariants.com,
aptly named. One look through their MASSIVE collection of chessgames,
their obviously open-minded and inventive activities, including the ability
to play many, many chess variations online, and the sophistication of their
programming and functions told me very quickly that I'd found the right
place. So I dropped them a note, mentioning my games.
I had almost forgotten about
it, but one bright day I received an email from one of the Chessvariants
Tony Quintanilla, who almost instantly linked me up every which way
from Sunday to the correct spots in their huge-but-beautifully-organized
Within a few weeks Imperial
Chess had been programmed for online play by a system called Game Courier,
which is a most excellent, fun method to play by email. Tony is an
Engineer at the biggest water treatment facility on earth, in Chicago,
and his fellow Editor, Fergus Duniho, who colored the little pictorial
icons I drew for the Imperial game, is the inventor of Game Courier.
At first I was a shade intimidated.
These guys KNOW Chess--they're the EDITORS of the biggest chessvariant
website on EARTH; they play six or eight games at once--I'll be MINCEMEAT!
But they didn't program this game for nothing, and I KNOW it's a good game;
Tony showed me very quickly just how good it could be made.
His first response to a CHARGE
by me was not to chew his nails and try to minimize damage -- he COUNTERCHARGED
-- something none of my buddies had ever done -- and then commenced the
friskiest chessgame I've ever been in.
As we played we discussed
what was happening via the handy private comment-mechanism, in which one
may make irreverent comments and rude suggestions to one's opponent, and
tweaked the rules into a great game. Imperial Chess has now had expert
polishing, and Jetan-Sarang, also being currently programmed for online
play, is in line for the same treatment.
I had pretty well resolved
the rules of Jetan-Sarang, until Tony and I determined that it, like Imperial
Chess, benefits greatly from three new rules, and they are:
THE CHARGE: When
one has no fewer than six of his pieces within one move of direct threat
position, one may call a CHARGE, wherein one moves one man from each of
his twelve rows one move (the move the piece normally takes). This adds
an element of danger and caprice to play that results in multiple casualties
at once, and one really gets the feeling of playing General. Strategy
takes on a "gestalt" feel and specific tactics are delayed until the endgame,
which usually arrives after fifty moves or so.
THE ESCORT: Any
female piece located in front of, behind, or beside a horseman (or Thoatman,
or Flier) may be moved with him, as long as she is clear to land in the
same relative position to him at the end of his move.
With this kind of skilled assistance,
Jetan-Sarang is now a helluva chessgame, and I'll be having new rules sheets
made up to accompany the new sets, including these new rules, which shall
remain optional. Some people like it the long, slow way.
A player is entitled to move all twelve pieces of any unbroken rank (twelve
men in a line) one space forward, whether the rank is in its initial configuration
(of men) or not. This speeds up getting the men out across the large
board and eliminates the tedium of one-by-one deployment, if you just want
to get out and start slugging.
As of this writing,
I have onhand enough of the original Jetan and Jetan-Sarang pieces to make
up one or two more sets of Jetan -- 40 pieces plus some extra Princesses
-- and one or two more sets of Jetan-Sarang, which is 96 pieces, and includes
the Jeddak, Jeddara, all the other Princesses and females, the Tha, the
Tavia, the Pantha, the Thark, Jedwar (Banth), the Teedwar, the Calot, the
Assassin, and Male and Female Slaves.
The molds are getting temperamental
with much use, and without a major rework their days are numbered; some
of them remain easy to use and some are truly a headache, so I'll continue
to use them until they're just too cranky, then I'll quit.
I am making good progress
on thirty new original models for Jetan-Sarang; the pieces are on average
4 inches tall, rather well detailed, and will be much easier to produce,
although they'll still be a significant amount of work. I expect
to have the Jetan set of the new ones ready to cast in about ten days,
and the full Jetan-Sarang set producible a couple of weeks thereafter.
SO, I suppose you're interested in HOW MUCH?
ORIGINAL 6" FIGURES
l. Cleaned unpainted
casting in pecan/resin--$5, figures vary between 3 1/4 and 6 1/2 inches
2. Cleaned unpainted
casting in marble/resin--$6, same patterns, heavier castings, nicer unpainted,
but can be painted if so desired
3. Complete Jetan Set,
cleaned and unpainted in pecan/resin--$200 (with some extra Princesses)
4. Complete Jetan Set,
cleaned and unpainted in marble/resin--$220 (with some extra Princesses)
5. Complete Jetan Set,
painted and felted, w/board and extra Princesses--$1000
6. Complete Jetan/Sarang,
finished w/velveted box, museum-piece--$5000
NEW 4" FIGURES
l. Cleaned unpainted
casting single piece--$1
2. 40-pc set w/extra Princesses--$40
3. 96-pc set Jetan-Sarang--$96
4. Boards not currently
available, but I'll see what I can do about getting some printed up if
SHIPPING--Please add $12
for shipping, and a physical address for UPS or FEDEX
1. "Cleaned" means
that the bases have been leveled/sanded flat for vertical posture and stability,
and the parting line flash has been fairly well removed. Some pieces
may contain a few small bubbles which can be filled with bondo or modeler's
putty if you desire to paint them, which I recommend.
2. Pieces can be painted
with any good oil-based enamel/model-builder's paint, or simply spray-bombed
in orange and black for a quick, easy finish.
3. Prices for hand-finished
sets (by me) may seem high, but believe me, it's a lot of tedious work;
It's one thing to finish a few pieces, or a set for yourself, but it's
something else again to go into production, which was never my intent.
4. I made these pieces
originally because I wanted a set, there weren't any, and I was able.
Danton Burroughs advised me that it would be okay to make a few sets for
the "fans," but not to go overboard with it, therefore I'm not going to.
I do know that anyone who wants a set most likely IS a fan, or a rare chess-set
collector, but I don't expect to make any fortune with these items.
The molding rubber I use costs me $150 per gallon, the time to sculpt the
originals is a day or two apiece, the time to make the molds is some hours
each, the time to cast and finish varies, and the time it takes to learn
how to do all this -- well, I've been at it for over 50 years. You
might call the entire project a "busman's holiday," done for the love of
it, and I gave this my best efforts.
5. Prices and availability
are subject to change without notice.
OTHER ERB STUFF:
l. I still do the little
THUVIA & BANTH piece for $50 (it's a booger to hand-clean) in marble/resin,
and $500 in bronze
2. Sometime in the
very near future I intend to execute five pairs of ERB bookends, of a size
to fit 5 x 8 books--a pair for Tarzan, Mars, Venus, Pellucidar, and the
Moon, and maybe a few more, we'll see.
3. I also intend to
do ERB's portrait, lifesize...