Tuesday, November 8, 2016

Qulliq Reproduction

Soapstone lamp
This is a reproduction of an Inuit soapstone lamp, or qulliq, that will accompany the set of Inuit artifact props that I shared on Saturday.  I dragged my feet a little on this one and suggested some places around town where I'd hoped that the props department could find an Inuit artist to do the work.  This style of oil lamp is still made and used today, however, I guess they couldn't track one down in time, so they asked me to make one.    
Lamp with wood wick trimmer.  The wick
trimmer is important to tend to the flame and
spread the wick evenly along the edge of the
lamp.
Behind my workshop, I found a nice piece of soapstone that I'd collected for a project like this years ago on the Baie Verte peninsula.  The finished lamp is about nine inches across.  I wanted it to look well made, but functional and worn.  I left some tool marks and finished it with layers of polish, sanding, and scratches.  I wanted it to have a nice form, but it should look like it's spent years travelling around the tundra by pack and dog sled.  I was secretly hoping that it would break so that I'd have an excuse to repair it with some holes and stitching, but it held up to the carving and test burns, so no luck there.
Burning lamp with a lamp stand.  This
is the back view of the lamp.  The
person tending the flame would sit on
the opposite side.

The bottom is flat, so it will sit level on a flat surface, but lamps would usually be elevated on a lamp stand.  The simplest stand would be three rocks at one end of the sleeping platform.  An elevated lamp will radiate heat for long after the flame has gone out.  The lamp burns oil, which would have usually been seal fat and the wicks would be arctic cotton or dry moss.  In this instance I'm using canola oil and cotton balls.  For filming, I'll suggest adding some floating chunks of fat in the oil.  The cotton forms a continous wick that burns along the top of the long straight edge and trails down into the oil.  I experimented a bit with the lamp last night to see how much tending it would need.  A wick that is soaked in oil, but isolated from the oil reservoir will burn on it's own for about 15-30 minutes.  If the wick is connected to the oil, it will burn continuously as long as the oil is replenished.

You can see the flat cotton wick in the flame along the edge of the pot.  The pot gets hot.  I have had soapstone lamps shatter from thermal shock, but if that is going to happen it should happen in the first five or ten minutes.  I've had this lamp burning for hours and it seems like a good piece of stone.

Top view.  I left some tool marks inside the lamp to emphasize that this is a functional lamp, not an art piece.

The underside has a more polished surface.  I wanted it to look like it spent as much of it's life tied to a sled as it did sitting lit on a stand.

Shallow lamp.

 Photo Credits: Tim Rast


Saturday, November 5, 2016

Arctic Artifact Reproductions for Film

Reproduction knifes made from slate, whalebone,
caribou bone, wood, antler, metal, rawhide, sinew,
artificial sinew, red ochre, hide glue, and epoxy.
This is the complete set of Inuit artifact reproductions that I made for a period TV production that will begin filming next week.  The general time period is the end of the 18th Century/early 19th Century, when the Hudson Bay Company was active in Northern Canada. Often film work is quite rushed, but this one came with a month's notice, which gave me enough time to plan out the project with the Props Master, discuss options that would contribute to and work within the story, and finish the tools with some thought about how they would appear on camera.

Bow drill with mouthpiece socket and iron and
nephrite blades
We discussed the various scenes and the sort of objects that the actors would need.  Sometimes they would require specific objects to advance the story, like a knife, or a harpoon, or a needle and sometimes the ideas were more general, like "the character is working on a tool" and I could help flesh out the sorts of actions and items that would be true to the culture and time period.  Hopefully we see a bow drill being used to make a slate knife and when a character needs a needle, they can find it in a caribou bone needle case.

Steel knife with antler handle
The time that I had to work with the reproductions also helped me antique them in an appropriate way. A newly made tool looks the way that it would have appeared to the person who made it, when it was first finished.  Often that is the goal when I make a reproduction.  At the other end of the spectrum, there are reproductions that are meant to show a tool as it appears archaeologically.  It may be broken and discarded, with deep soil stains, root etching or lichen growing on it.  That level of antiquing is too much for this type of project.

"Dirt under the
fingernails" on
a slate adze
In this case we want the tools to look worn and used, but still functional.  They should look a few months or a few years old, but not hundreds of years old.  I wanted them stained from use, but not from centuries of neglect. One of the places that use shows up on tools is where the blade meets the handle. Stains build up on the handle and people may wipe the blade clean, but grime and hair and debris from past jobs collect in any gaps or cracks where the blade meets the guard.  To achieve this look quickly, I smooshed wet, punky wood from the burn barrel into the blade sockets.   The usual assortment of nicks, cuts, oxidation, and stains helped age the tools, but I found that cramming some "dirt under the fingernails" really helped make the tools look like they were just laid down in the middle of a job. If it works, it shouldn't be noticeable at all on film.  One of the things that I find really distracting is when I see tools in a period show that look way too new to have ever been used. 

Three complete harpoons.  These harpoons are fully functional with some modifications to materials and construction details that will not show up on film. The biggest changes that I made were substituting wood and antler in place of some of the whalebone and ivory components.  The main shafts are also made from a single piece of wood with the ends painted to look like ivory/whalebone sockets and ice picks.  The same is true of the foreshafts, which are made from wood.  
Antler harpoon heads.  The one in the foreground has a steel endblade and the one in the back is ground slate.  The colour is comparable, but the big difference with ivory is that you can get a lustre or shine to the tools.  I don't think that will be apparent on film and if they appear a little more dull than normal, then perhaps that will read as usewear on film.

I used whalebone for the line toggles and finger rests.  This was one instance where it was just easier to make them in the correct materials than try to fake them with a substitute.

All of the pieces move and detach properly.  Usually the socket on the mainshaft would be a composite piece made from ivory or whalebone.  In this case the main shaft is all one piece, with the socket painted on. 

This was a fun one to make.  The props department provided me with a forged iron blade and I modified and drilled the tang.  The handle is whalebone and the blade is secured in place with copper rivets.  What you see is what you get with this one.  It's one of the more authentic and durable pieces in the set.  

A slate knife with whalebone handle.  It is based on artifacts from northern Labrador.  This one is lashed together with artificial sinew and is designed so that it can be disassembled.  The construction or repair of this tool may be shown on camera. 

A curved whalebone knife and a metapodial dagger.  These pieces are for a bundle of miscellaneous knives.  The metapodial dagger is made from a ground and polished split caribou lower leg bone and has a caribou rawhide lashing that was stained with red ochre and leftover from a previous job.  The whalebone knife could be a flensing knife or a small snow knife.
This one is still one of my favourite pieces in the set.  I started out making a single edged slate blade with a tang, like a steak knife, but the tang broke off and I modified it on the fly.  That change of design built a randomness into the finished piece that I think gives the knife a very authentic feel.  I finished it with a wooden handle and braided sinew lashing.  I used epoxy for the glue to make it a little more durable and waterproof.

All of the knives in the set.

Slate and whalebone blanks.  Perhaps we'll see one of the characters making the knife shown above.

Slate Adze, with whalebone socket, wood handle, and rawhide lashing.  A functional adze, although apparently any of the tools that will actually be used on film are going to be cast and copied in rubber. 
A soapstone man and narwhal.  Soapstone carvings like this were challenging to find archaeological analogs for from the desired time period, but they are important to the script, so I found other models to base them on.  I used ivory and wooden figures as the inspiration for the man and Thule seal carvings, contemporary Inuit art, and photos of narwhals as models for the whale.
Caribou bone needle case with awl, needles and thimble.

The open case with more bird bone needles. 

Selfbladed harpoon head toggling.  I don't think there will be any specific shots of the harpoon heads in use, but they are all functional if the need arises.  This specific style of harpoon head is a few generations earlier than the period shown on film, but it has a nice silhouette.  Maybe the guy using it didn't like change. 

The full set.
Photo Credits: Tim Rast

Tuesday, November 1, 2016

Some very clean props...

Caribou bone needle case and awl, with bird
bone needles, bone thimble, antler toggle, sinew,
sealskin.  This is one of the pieces that didn't
require any substitutions.
I'm wrapping up a set of film props based on Inuit artifacts this week.  Working with the props master, I tried to keep the reproductions as faithful as possible.  Some of the pieces are exact reproductions with all of the original materials and styles exactly duplicated.  Others swap out some materials that should be indistinguishable on film, but save on cost or make for more durable or weather resistant props.  I have most of the pieces assembled and I'll spend the next couple of days giving them a bit of usewear.  I don't want to do too much antiquing - they shouldn't look 250 years old in the TV show, but they also shouldn't look like they were made yesterday.  I don't know exactly what I'll do to give them a worn look, but it'll probably involved fire and knocking them around a lot.   

This harpoon head is a little anachronistic for the time period, but maybe it was a hand me down?  The form is right, but all of the materials are substitutions - the harpoon head is antler instead of ivory, the lashings are artificial sinew and the foreshaft is wood instead of whalebone or ivory.  

Slate knife with a whalebone handle.  This one is based on artifacts from Northern Labrador.  The time period allows for a fun mix of stone and metal blades.

A sealing harpoon head.  Ground slate and sealskin line, but the harpoon head is antler (instead of ivory) and the endblade is held in place with epoxy.  

A slate adze with a whalebone socket, wood handle and rawhide lashings.  I like the shape of this one, but it's going to need a good coating of grease, scars, and dirt to make it look like a well worn tool and not something fresh from a workbench.
Photo Credits: Tim Rast

Tuesday, October 18, 2016

Fall Projects

Whalebone knife and slate knife
I'm back in the workshop and filling orders.  I have a handful of requests for custom Arctic and Newfoundland and Labrador artifact reproductions.  These photos are in progress shots of a set of late 18th century tools that will be used in a locally filmed TV series.  The tools include whalebone, antler, slate, iron, bird, and caribou bone knives, needles, and other implements.  They aren't based on specific artifacts, but it's important that they have the right feel and should look at home in the Arctic above Hudson Bay 250 years ago.   It's giving me a chance to revisit some of my favourite reproductions over the years, with a bit of freedom to try making some tool forms that have been on my wishlist as well.

Needle case blank and needles

A slate and whalebone knife, based on artifacts form Northern Labrador. 
Assorted bone, stone, and metal knives.

A roughed out adze blank.
 Photo Credits: Tim Rast

Monday, June 27, 2016

Fisher's Loft, Port Rexton

Lori overlooking the view
beyond the two main
buildings at Fishers' Loft
Earlier this spring, Lori and I spent a few days at Fishers' Loft in Port Rexton.  We lucked into perfect weather and had a fantastic time hiking, dining, and exploring the surrounding coasts and communities on the Bonavista Peninsula.  The trip was a much needed breather from a hectic spring and what promises to be an even busier summer.  It also gave me a chance to reconnect with an established Elfshot customer and send out a new order of Newfoundland and Labrador inspired knapped jewellery. Here's a look at Fishers' Loft and the neighbouring towns, plus a sneak peak at the Elfshot jewellery that you can now find in the Fishers' Loft gift shop. 

Port Rexton

Puffins nesting near the town of Elliston.

Moose at Fishers' Loft 
The beautiful dining room and guest house at Fishers Loft.

Sunset glow over Trinity

Reproduction Beothuk earrings available at Fishers' Loft Gift Shop
 
The full order of chert necklaces and earrings, plus a few colourful fibre optic pieces. 

Brilliant fibre optic glass
Dorset Palaeoeskimo necklace and earrings
 Photo Credits: Tim Rast

Friday, June 10, 2016

Newfoundland Harpoon and Arrow Reproductions

The pointy ends of harpoon and arrow reproductions
I completed a set of artifact reproductions based on artifacts found in Newfoundland and Labrador this week.  The set included a complete Groswater Palaeoeskimo harpoon, a Dorset harpoon head with a tip-fluted endblade, a barbed Maritime Archaic harpoon head, and a Beothuk or Little Passage style arrow.  These pieces are on their way to Nova Scotia right now and will be used by an archaeologist friend of mine in school talks.  
 

The set is intended to represent four different cultures and illustrate some of the different technologies used in the pursuit of food over time.  The complete Groswater harpoon can be used to demonstrate how a toggling harpoon works.  The small Dorset harpoon head fits onto the whalebone foreshaft on the Groswater harpoon, although it lacks an harpoon line.  The barbed Maritime Archaic harpoon head belongs to a completely different time period and cultural group so it isn't compatible with the Palaeoeskimo harpoon.  It shows a contrasting technology that would have been used for the same purpose; hunting seals.

I modeled the main shaft of the harpoon on the wooden harpoon shaft found at L'Anse aux Meadows.   
The Groswater harpoon, with it's distinctive harpoon head and endblade in place.

Ochre staining the Maritime Archaic barbed harpoon.  Unlike the Palaeoeskimo harpoon heads with a line hole centered in the middle of the harpoon head, this style of harpoon head has a single line hole positioned close to the base.  It relies on the barbs for gripping the seal and won't toggle in the wound the same as the Dorset and Groswater harpoon heads.
Another view of the Groswater harpoon head with a shelf cut on one side and lashing holes gouged through the nose to tie the plano-convex, box-based endblade in place.  The endblade is knapped from local Newfoundland chert, the harpoon head is antler, the foreshaft is whalebone, and the mainshaft is wood.  Sinew and sealskin are used to tie the various pieces together and to create the harpoon line.
 
Side views of the reproductions.  From left to right, Maritime Archaic harpoon head, Little Passage Arrow, Dorset harpoon head, and Groswater harpoon.
 
Dorset harpoon head made from antler with a tip-fluted chert endblade.
 Photo Credits: Tim Rast

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