The Stacked Toad Teapot Effigy is alive and well, so far.

After languishing at the back of a shelf in the studio for many weeks wrapped in damp paper towels and layers and layers of plastic film, the Stacked Toad Teapot Effigy has finally been fully sculpted and is drying, awaiting further surface treatment (terra sigillata and slips) and firings.  Between the last episode and now, I’ve added a new under-toad hanging upside down off of the main toad’s belly, and refined the detail of the piece, textured all the toads, and cleaned up the crannies.

If you’re having a tough time seeing why it’s a teapot effigy (and it is Toadlier than Teapotly), here’s a visual aid:

Remember the issue of pentadactyly in the studio and the fact that unlike the majority of tetrapods toads have only 4 digits on their front pair of limbs?  Here are the final numbers:  Potential (actual biological) toe count: 7 (# of toads) x 18 (# of toes each toad has) = 126!!  One hundred and twenty six toes on a piece that’s less than 12″ tall!  Yikes!  Does it have 126 toad toes?  No: Actual toe count = 108:   This is known as artistic license which can also be expressed as Biological digit defecit: 14.3%.  A close call! — it’s generally considered that greater than 15% and it becomes Grossly Inaccurate (over 25% and it’s just Wrong). There are, however, the requisite number of paratoid glands — 14 — in case you were wondering.  And, the flying insect “finial” has no toes at all — too tiny.

…just because this photo of Jack’s King vulture waiting to be taken home makes me laugh.

Here are the exciting final steps of Jack’s King Vulture.  (Previous increments can be viewed and read about here.)

This first photo, Increment 3, is a close-up of what the piece looks like after it’s been bisqued (fired the first time) and then glazed. Pretty crappy looking, isn’t it?  That’s because glaze is a chalky-looking liquid suspension made of clay, mineral pigments and oxides, a flux or glassy component to create various levels of gloss after melting, plus water. If Pepto Bismol came in a lot of different icky-pale flavors, they would look like glazes. Because of this, glazing a piece you’ve already spent hours on can be an act of faith, and once the raw glazes are on, it’s often hard to escape the feeling that now you’ve gone and ruined it, which sometimes you have.  Fortunately the more you glaze, the better able you are to predict what the chalky colors will look like after firing, so the more you trust the materials and the process (=faith, for a potter).  It’s only after the final firing that the glaze colors take on any kind of brightness and glassy quality. Here is Increment 4, Jack’s finished King Vulture, Sarcoramphus papa, photographed in the wilds of Scottsdale:

Check out the pale eye, it’s not a mistake: the King Vulture’s iris is white, which to our eyes looks pretty weird.  In Mayan glyphs King Vultures are readily identifiable not only by the fleshy knob or caruncle atop their strong, hooked beak, but also by the bold concentric depiction of the staring white eye.  Below is a plate from Animal Figures in the Maya Codices by A.M. Tozzer and G.M. Allen (1910) that shows a selection of Mayan King Vulture glyphs.  Of course, I’m not an expert, but Tozzer and Allen report that the King Vulture represents Cib, the 13th day of the month.  And, on an ornithological note, figure 4 in the plate below shows a King Vulture entwining necks with an Ocellated turkey, the turkey of the Maya, which puts our Wild Turkey of North America to shame in terms of colorful plumage and warty wattly facial skin, which is saying something.  I photographed the Ocellated turkey below at Chan Chich in Belize, where they inhabit the immediate area along with King Vultures, like the one in a previous post who tried to hide behind a leaf.

By the way, if you live in the Phoenix area, there are two King Vultures on display in a large aviary at the Phoenix Zoo.  You could drop in any time to visit them.  E and I just did, on Valentine’s Day.  I guess we missed Cib by one day!

Another reason I’ve had vultures on the brain is because I owe a friend a vulture.  Specifically, a king vulture, Sarcoramphus papa, the largest of the Cathartids, the New World Vultures.  They are the largest vulture in our hemisphere if you don’t count the two condors, and they are striking birds (literally — I was given a hammery-beaky once-over by one in captivity long ago, but that’s a different post), with black-and-white plumage and a bare-skinned, froot-loops colored head roped with chicken-skin folds.  If that weren’t enough, both genders sport a caruncle on the top of their bills: a warty, fleshy, bright orangey-yellow knob whose purpose, frankly, I don’t know, if not to gild the lily.

So, here is Jack’s King vulture, in progress, Increment 1.  Having modeled the bird, it awaits slip, with a photo behind for plumage color reference.  I’ll give it a base coat of slip (“paint” made of clay, mineral colorants, and water) in appropriate colors while the stoneware is still damp.  Once it is completely dry, it will go into its first (or bisque) firing.  After that it’ll get glazes and other finishing colorants applied, and be fired again.

As usual with clay, the heaviness of the material requires support, so I’ve had to fudge some physical realities: I can’t make the legs as thin as they are in nature, and I’ve used the wings as the third point of support so the bird stands by itself.  Normally, a vulture’s wings, as ample as they are, don’t reach the ground in a standing bird. But other typical characteristics will carry the likeness through: the hunched posture, the partially opened wings, the body plumage color, and of course, pleated froot-loop head.

Increment 2: Slip treatment.  In this case, the slips were applied with a brush.  They will not acheive their finished colors until the final Cone 5 firing.  For now, the black looks brown and the white looks grayish.  The froot loop colors will be applied as glazes, after bisquing.  Now this guy will sit until he’s TOTALLY dry.  Also, his body is hollow, and this time I did remember to pierce an inconspicuous hole to the cavity.  Stay tuned for later posts for finishing touches.

Most of us think of vultures as being all-dark birds, like Turkey vultures.  But there are predominantly white vultures, like the King.  In the Old World, the Egyptian vulture, also a vulture primarily of hot climates, is mostly white-plumaged.  You would think a large white bird would be disadvantaged by being easily seen.  Actually, King vultures, when roosting and nesting in their tropical forest habitat, are surprisingly difficult to see.  Their white feathers reflect the green light passing through the foliage around them, making them blend in quite well.  They are somewhat shy despite their regal reputation, and tend to assume a self-effacing posture when perched on a limb.  A King vulture in Belize “hid” from us this way.  We spotted it on the ground in a field.  Feeling our “eyeball pressure” it felt safer flying up into a tree, where it hid its head behind a tiny clump of foliage.  The rest of its enormous body remained in plain sight, but it felt better, and would peek out from the leaves occasionally to see if we were gone yet.

In the air, an all-white bird glints in the sun, but of course, up there, they’re out of reach, especially at the altitudes King vultures acheive.  It’s a spectacular sight to see the bright wedge of a King, as white and as large as a pelican, rising on thermals over a mahogany forest.  The photo below is of just such a Belizean forest as a King vulture would favor.  Imagine one soaring just out of frame, with Bat falcons, Swallow-tailed kites, White hawks and other tropical birds of prey swirling on the updrafts from the Escarpment near Chan Chich, one of the few places in that flat country where you can get out and up over the forest.

A vulture blew up in a bisque kiln yesterday.  Dang!  And it was my own fault, too, a foolish, neophyte error: its body was hollow, and I forgot to make a hole in it for the hot air inside to escape, kerPOW.  The carnage is visible, right.  Fortunately, nothing else in the kiln was harmed.

Vultures have been on my mind recently.  Not only because I’ve been making turkey vulture items like the candle-holder that blew up, and the small “bottle” with the movable head in a recent post, but because of a show I watched recently on PBS.

It wasn’t about vultures.  It was called the Dragon Chronicles, and it was an episode of Nature with a genial herpetologist traveling around the other hemisphere finding examples of real reptilian organisms which shared some of the characteristics of dragons, to promote how each could have given rise to the existence of the legendary fire-breather.  It was a pleasant way of spending a TV hour, but the basic premise seemed a bit of a stretch because the narrator put forth several separate organisms rather than one as possible sources of the dragon legend.

I’ve got a different theory.  I think tales of dragons arose from encounters with vultures.  Think about these “known” characteristics of Dragons:  they are reptilian and large, with snaky necks, they fly, live in caves, horde treasures, are long-lived, wise, fire-breathing, and man-eating.  You can make a good case for each of these also being true of vultures:

Eurasian black vulture. Photographed by Julius Rückert.

Vultures are very large; in the Old World, the Eurasian black vulture of mountainous regions between the Iberian peninsula and Korea is one of the largest birds of prey in the world, massive by both bulk and wingspan (weighing in at nearly 30 lbs and keeping this heft in the air with a nearly 10 foot wingspan).  Its nearest competitors, the Lappet-faced vulture and Andean Condor, are also airborn giants.  With their bare neck and head, vultures are quite reptilian but, unlike modern reptiles, they can fly.  Their contour plumage is stiff and when a vulture rouses (shakes) to adjust disarrayed feathers it rattles like a scale-covered creature, often emitting scraps of fluff and powdery cuticle flakes from feather sheaths.  They lay eggs which are much larger than most birds’, and if broken, would have a baby vulture embryo inside, looking very dragon-like.  Many species of vulture roost and nest in caves and ledges, often in inaccessible peaks and cliffs, where their (to our noses) malodorous lairs are filled with a loose pile of sticks, droppings, and debris — maybe not golden treasure, but a heap of stuff for sure.  In the case of the European vulture-like raptor the marrow-eating Lammergeier (photo below), there are often bones on the ledge, enhancing its image as horder.  When approached too closely, a vulture will hiss loudly, and when pressed further, will sometimes disgorge the contents of its stomach in a forceful jet — like breathing fire.  This disagreeable material (remember they are carrion eaters) is acid enough to be corrosive. A fine deterrent to an interloper, this is also a way of lightening the load for flight.  Most vultures are long-lived, and there are records of Turkey Vultures living past 60 years in captivity.  They are “smart” in the way people mean it, because to some degree all vultures are social, interacting in large numbers at carrion and in migration.  As for man-eating?  Well, long bones in the lair could be interpreted as human by someone who only got a quick glimpse before being driven away by an enraged incubating vulture’s hot projectile carrion slush.  Grimmer still, in times when battlefields and other human casualties were not always swiftly cleaned up, vultures would have made meals of human dead.  As nature’s “Nettoyeurs” (remember Jean Reno in La Femme Nikita?) it isn’t uncommon even today for vultures to be blamed for deaths of livestock they didn’t cause, but were taking advantage of.

Lammergeier, photo by Richard Bartz.

I should add that there are also dragon-type creatures in the mythology of the New World, like the cliff-dwelling, human-devouring Piasa Bird of the Mississippi valley, and of course, Black Vultures and Turkey vultures live in the U.S., not to mention California Condors which had a range of nearly the entire U.S. in the times legend would have been made.  And this doesn’t even scratch the surface of New World vulture mythology; the King Vulture of Central and South America has a prominent place in the mythology of the Maya.

There’s no way to know for certain that vultures were the source of the dragon myth, but I find vultures to be the closest thing to dragons that I’ve personally experienced.

Right now most Vultures that breed in the U.S. are on their wintering grounds, in the far southern states and points farther south.  Even in toasty Phoenix, we won’t see them again regularly until spring, where as in so many places like Hinckley Ohio their return is celebrated on a specific date.  Here in central Arizona, it will be around the third week of March.  So after that, look up in the sky and see if you can Spot the Dragon.

To the right are Turkey Vulture Candle-holders from Three Star Owl (inquire for pricing).

Bonus fact about turkey vultures:  they have an excellent sense of smell, and I’ve heard that some Gas companies use a rotty-smelling compound called ethyl-mercaptan in their gas, to check for open-country gas leaks by looking for kettles of (frustrated!) vultures circling over broken pipeline.

Bonus bonus trivia about Lammergeier, from Wikipedia:

The Greek playwright Aeschylus was said to have been killed in 456 or 455 BC by a tortoise dropped by an eagle who mistook his bald head for a stone – if this incident did occur, the Lammergeier must be a likely candidate for the “eagle”.

The black and white photo of the very vulturine Dragon Bridge is by Barbara Meadows.

There have been many delays and distractions for the Stacked Toad Effigy Teapot: computer failure and restoration, other deadlines, and Thanksgiving, including a tragic Saguaro Plunge, details to be posted later.

But here is the next phase: the “lid” of the “teapot” is in place, and also the “finial” (knob), with Hector Halfsquid for scale.

This involved the addition of more toads — the final toads — to represent the top of the “teapot”.  The visual theme is toads-upon-toads, stacks of toads, piles of toads.  During the Couch’s spadefootlet episode, I was reminded of the toadly practice of Climbing On Your Neighbors.  When kept in captivity in large numbers, toads (and other amphibians and reptiles) will climb on each other with no regard for personal space, or any politeness at all.  I wanted to capture this “toe-in-the-eye” sense of physical involvement in the Toad Stack.  So on went two more toads, atop the base grouping of four toads.  Despite more than a week having elapsed this was not a problem, because even in the desert clay can be kept workable if enough dry-cleaners’ plastic and moist towels are employed. On the right is a shot of damp paper towels swathing the heads of the toads; they will need to be textured at some point, and if they’re too hard, it won’t work and the moist towels keeps the clay pliable and soft enough to receive an impression.

The effect of the two new toads, striving against each other on top of the pile, was what I wanted, but they needed a focal point — a flying insect they’re both trying to swallow.  This was the finial, or knob, of the “teapot” “lid”:

At this point, I always feel a piece is almost finished: the basic elements are sculpted and in place, there are at the moment no structural crises to solve.  But it’s far from the truth: a lot still remains to be done — texturing, refining shape detail (toes!), cleaning up stray clay bits and meaningless marks, applying decorative slip, etc.  For instance, I’ve forgotten until now about parotoid glands, which will have to be added.  And, other time-consuming details like compound eyes on the flying prey item.  So stay tuned for the next post on the effigy teapot: Texturing the Toad.

(Potential Toe Count: 104; Actual Toe Count: 49 so far; current Biological Digit Deficit, 53%)

Increments so far:

Why is a toad not a frog?

You almost certainly know this, but a toad isn’t a frog.

If that came as a surprise, it’s time for a speedy round-up of amphibian facts:

In general: toads have dry warty skin, frogs have moist slick skin. Toads need little or no water except to breed; frogs are usually amphibious. Toads have large kidney-shaped swellings behind each eye called parotoid glands; frogs have round hearing-related structures called tympani behind each eye. Most people think toads are gross but frogs are cute. That isn’t science; it’s just bad taste. Frogs croak, but many toads like  Woodhouse’s toads have beautiful muscial trills. ( If you were a Woodhouse’s toad, you’d think that was beautiful…) Toads have stout compact bodies with short legs for hopping; frogs are often svelte and long-legged for leaping.  Most frogs have webbed feet, most toads are not or only partially web-footed.  Frogs are more inclined to climb; toads are more inclined to dig.  Both can secrete irritating or even poisonous compounds that deter predators.

To the right above is a photo of a Ramsey Canyon Leopard Frog being aquatic.  Contrast it with the photo below it, a tropical toad from Belize. (photos, A. Shock)

In fact, these distinctions are generalizations and don’t hold true for every frog or toad. For more detail, I recommend the Dorling-Kindersley Eyewitness book Amphibian, by Dr. Barry Clarke.  It’s meant for kids, but it’s really all anyone but a real herpetologist needs to get the gist of of toads, frogs, and caecilians.

The Stacked Toad Effigy Vessel is being built from the bottom up, with a brown, groggy, stoneware clay. The working composition is in my head, informed by pictures of desert toads on the work bench, and adapted as it goes. A small maquette modeled last week is nearby for reference, although the maquette has species other than toads in it as well. The Toad Stack is on the scale of a teapot, so in addition to being a Toad Effigy, it could be considered a Teapot Effigy as well: a vessel in the shape of a teapot, if your concept of teapot is broad. Perhaps it will be a Stacked Toad Teapot Effigy.

The Base Toad was modeled solid, allowed to set up to a manageable firmness, then hollowed out and slightly expanded in size by pinching. When firm enough, each limb was cut off one at a time, and a tool was inserted up the center to create a tunnel, then the limb was scored and slipped back into place. The smaller toadly elements are pinched informally into toadly shapes. Each new toad is added when the clay has “set up” — when it’s stiff enough to hold its shape, but still pliable enough to conform to the surface it rests on, and also support the next element. TOES are beginning to appear (Potential Toe Count: 72; Actual Toe Count: 19 so far; current Biological Digit Deficit, 73.5%). Because the interior is hollow, there are a couple of small invisibly placed outlets for air to escape. This speeds drying and will allow the piece to be fired without exploding as the heating internal air expands. When all toadly elements have been added, the surface will be textured in a toadly manner: bumps, bugs, and paratoid glands.

Useful tools: teaspoon and loop tool for hollowing; palette knife and small knife; Tiranti hardwood sculptural tools knobbed at one end and pointed at the other for smoothing internal seams and detailing; toothed metal rib; smooth plastic rib; cheap blow dryer for force-drying clay; wooden paddle made by L.

Our autumnal weather has slowed drying time, so there are lots of gaps in toadly modelling activity while waiting for wet clay to set up. These times are spent in making the next toads, working on other pieces, or going out for excellent sushi at Dozo. In order to prevent the Stack of Toads from settling under its own weight, it will stay loosely wrapped in plastic until tomorrow, with a smooth river cobble wedged under its left front limbpit to help support it until work can resume. What will the Toad Total be?

Increments so far:

How many toes a toad has: useful information put to use almost immediately: here’s a Stacked Toad Effigy Vessel just underway. Potential Toe count so far: 36 toes. Actual toe count: 0 (they’ll be added later). Watch here for progress reports. More toads-toes coming soon…

…with a guest appearance by Charles Darwin

Marine iguana hands, Galápagos Islands. Photo E. Shock.

Pentadactyly, from Greek πέντε “five” plus δάκτυλος “finger”, is the condition of having five digits on each limb.

I make a lot of TOES. Gila monster toes. Crane toes. Jaguar toes. Hummingbird toes, owl toes, and roadrunner toes. Toad toes. A lot of TOES.

For the last week, I’ve been detailing Horned Lizard effigy bowls. This involves rendering a lot of small features like scales, horns, cloacal slits, pineal glands, and TOES. So it takes a long time, and that length of time is repeated for each horned lizard bowl, leaving plenty of opportunity for wistful thought about such subjects as, how can I finesse five toes on each tiny, fragile, rapidly hardening clay foot, and would anyone notice if there were only four?

“What could be more curious than that the hand of man formed for grasping, that of a mole, for digging, the leg of a horse, the paddle of a porpoise and the wing of a bat, should all be constructed on the same pattern and should include similar bones and in the same relative positions?” –Charles Darwin, On the Origin of Species

Okay, so Charles Darwin would notice. Darwin suggested pentadactyly was strong evidence in support of evolution. So, five digits is significant. A horned lizard has five digits on each limb, just like us, and just like many other animals, whether they are lizards, bats, or whales. With some exasperation, I realized I had no idea why this was — why five?

Needing a break from TOES, I headed to the computer: this is what the Internet is for. A quick search on the web produced the slick answer that we all have five digits because the ancestor of all tetrapods (four-limbed organisms) had five digits, and any modern organism that doesn’t (snakes, horses, most birds, etc) has lost digits through evolution. Well, alright so far as it goes — although it’s more of a description than an explanation — but why didn’t the ancestral tetrapod have 8 digits, or 4, or some other number?

It turns out they did: 8, and 6 and 7, among others. In the last few decades, paleontologists have found some fascinating tetrapod ancestors with a variety of phalangic arrangement probably related to the shift from fins to feet, at least partially connected with the shift from aquatic life to life on solid land. Does all this sound inconclusive? That’s because the significance of “Why Five?” is still being manhandled, pinched and slapped around with the discovery of each new ancient tetrapod, mostly in the North Atlantic land areas like Greenland and Scandinavia, which used to be swampy and warm, prime habitat for critters who wallowed in and out of muddy shallows on iffy substraits. Think Muddy Mudskipper, but Big, and with weird feet. Lots has been written about this, if you crave more detail than can be supplied here, check out an older but seminal essay by Stephen Jay Gould, “Eight (or Fewer) Little Piggies” and Jenny Clack’s website. She’s a professor at Cambridge University in the UK, and seems to be the reigning Queen of Early Tetrapod Research Especially As It Relates to Limb Development. (The image above of Acanthostega is from her site.)

Which brings me back to toad TOES (regular toad, not horned “toad”). As sometimes happens while riffling though the internet, I didn’t find an exact answer to my original question. But a lot of useful info accrued along the way. Like, now I know something I’d had a hard time finding out from pictorial sources, and forgot to count on the Couch’s spadefootlets: how many toes does a toad sport on its front feet? The answer is four (five on the back feet, the opposite of cats), and the next time I make a toad, I’ll have the right number. And be thankful, because it could have been eight.