The Bewildering Pine - Inspiration Is Found All Around - 4th Friday Post - January 26th

Hi Everyone!

It's time for my fourth Friday post again.. Fourth Fridays area peek into the world I am creating for my fantasy novel titled, "The Ledgerkeepers"


I'll be focusing over the coming moths on the things/places/tales from our world that have inspired my fiction and stories for this book.

Some of you know I began the world building for the book over 18 months ago. A slow process that I immersed myself in fully. I was well aware when I began that I might only use 1/10th of what I create, at least in the first book, but I needed it all to have the world make sense to myself as the narrator.

Choosing what to show is not difficult. Most of it is dictated by the characters actions and the setting they move through but there are always some bits of coolness that you just want to have in there no matter what!

So with my plan being to unveil the near complete Bewildering Pine map here next month, I wanted to talk abut about what inspired that map from our own physical world.

I knew the world was going to be set in a post cataclysmic landscape. The entire geography shifting and leaving many of the inhabitants of the pre "Great Upheaval" world in survival mode. How that might shape this world physically was a lot of fun to ponder.

The idea of a place surrounded by immense sea walls on three sides and incredibly high mountains on the fourth that rose up splitting a larger landscape and basically creating a large bowl shaped land t to the south hat rises to outward towards it's edges and slopes downward from north to south. Accessibility or departure is only via the bay whose natural defenses are tricky and dangerous in their own right and nearly imperceptible from the Great Sea beyond.

The climate is sub arctic but warmer several months of the year to allow for a massively productive growing season (the short-season). An ancient Pine forest spreads along the base of the mountains and there are two rivers that originate in the mountains. There is a round peninsula at the furthest point south that holds a large bog where all the runoff collects and saturates the loamy soil. It's a fantasy novel so I was able to stetch the bounds of reality a bit. It was only necessary that these things were all possible in the climate and then I could bend them to my writer's will a bit.

So in thinking of the form and function of the landscape, I simply looked to our own world for examples that gave me the "ok" I was seeking. I could have done all this research on the internet but I went to the main branch of our county library to try and capture some of that old-time investigative fun of looking through a stack of books!

This image really started the whole notion of the sheer cliffs and a very inaccessible landscape from the sea. 

This pic of the Andes mountains was perfect to inspire the mountain range which I wanted to be volcanic, sharp-featured staggered ridges and massively tall/impassible in my low-tech world. Also, it inspired a legend of the mountains being the remains of the last living giant's teeth. . . and that led led to an expression of surprise used among the folk: "Bezik's teeth!"

These bogs and the walkways that run through them are the inspiration for a similar area, known as Berwick, in my world. 

And this strange landscape in the Faroe Islands gave me the idea for the "bowl" shape with rising cliffs out at the edges. 

 So that's where the world began. Well, my fantasy world.   Having a starting point gave me the canvas for making the map, which is an ongoing work as well, and I hope to share it with you next month on fourth Friday!

Thanks for reading!!

Nicolas

PS: I recently listened to a short Sci-Fi-Fi story called "Repairing the World" by John Chu as read by Levar Burton on his Levar Burton Reads podcast. What I loved most about the futuristic world the story is set in was that there were only a few indicators that it WAS in the future. Rifts in the fabric of time that can be repaired and the use of mechanical dragonflies as messengers.  The story is completely about the main characters and the prejudice that survives in that future world,  the way society views people on it's fringes.  Leaving a very real and scary notion that things may not get better in every way as we move forward in time. . .  Well worth a listen though!

First Friday New Work - Álfablót - November 3rd

Hey everyone!!

Well the holiday season is off and running already around here. My custom work slate is now practically full and I am already a little behind this week.  I'll have another start to finish, work in progress, series of pics for December but this month I'm going with examples of completed new work from the shops.

Speaking of the holidays. . .  we are going to be following along this holiday season with a wonderful book, "The Old Magic of Christmas" which talks about the old traditions and origins of the holiday traditions in many European and Scandinavian countries and, most importantly (for me) the baking that accompanies it. :)  It's ALL about the baking isn't it?

So I'll be baking up a host of special holiday season treats this year. Icelandic Snowflake Bread, Cattern Cakes, Lussekatter, Sisky and others as well.

Tonight we are celebrating Álfablót, a welcoming of the elves, or Álfar, in after the harvest. In Scandinavian tradition this is a local celebration in homesteads after the harvest as winter approaches and the celebration is not only to honor the ancestors, but also other spirits, such as the elves and the land spirits, the "Landvaettir". This is a home/family celebration, doors are left ajar to let the elves in and strangers were not welcomed near the homesteads during the celebration. 

You want to celebrate Álfablót between Samhain and Thanksgiving, tying it in conjunction with the moon (waxing better than waning) and not on a recognized day like St. Martins day (Nov 11th) when the elves would have to share their day with anyone else. :) 

We'll be welcoming the elves with this invocation: "Let them come who wish to come, let them go who wish to go and do no harm to me or mine". It is not considered auspicious to converse with the elves beyond that welcoming. Simply to welcome them in and provide the feast. Of course, we in the human world may talk among ourselves as we would at any gathering.

We'll set out a red table cloth hoping to draw a few elven female spirits, the Dísir, to the feast night as well. There will be no electricity after dark as it can disturb or irritate the sensitive elder folk among the elves so candles or a hearth fire is best. Simple foods like bread, meat and milk are preferred for feasting with the Álfar.

I'll try to photograph it and post pics mid week. :)

 Next weekend we will be celebrating Martinmas or St. Martin's Day November 11th by making Turnip lanterns (if we can find big enough turnips) and Martinmas Horns. They can be made with a cookie dough or with a yeast dough and are filled with apricot jam and a touch of marzipan.  I'll probably make the yeast variety since I don't get to do nearly enough yeast baking these days!

For now, I hope your November is off to a lovely beginning and to close this First Friday post, here are a few new creations from the Enchanted studio.

Thank you, as always, for dropping by!

Nicolas

I love the sod topped houses of the Faroe Islands. The black houses (color provided by pitch on the real houses)
are as much a favorite as the red ones which I also make! 

Three Mushroom Fairy Houses on Stars. Always a holiday favorite and I am
trying REALLLLLL hard to get ahead on them! 

A custom request for a little Glitter Shoppe on a star. New Pink trees and the druzy disc
on the roof gable add something magical too I think.

I've been making these translucent "alabaster" Egyptian pieces. In making them I realize how much I count on the aged patinas to cover the dings and blemishes where as these require more attention to getting the smoothness of the sculpt.

A special request from a customer for this piece with two angels sitting on the bench conversing,
representing two family members who had passed.

These are hand-painted N scale figures that are about 1/2" (1.25cm) tall and check out those tiny little metal wings!

Faroe Island Houses - N Scale

I am continuing to explore the very small world of N scale work this month. I had received a special request for an Adobe house in this small size and, once immersed in the scale, I decided to take the time out to try something I have been wanting to do for quite awhile. . .

Faroe Island Fairy Houses

The houses are made of scale model clapboard siding, polymer clay stone foundations, rooftops and chimneys ( not many actual stone chimneys to be found in the islands but I made the concession for my little "fairy" Faroese houses!) and N scale windows, doors and, of course, tiny sheep!

The Faroe Islands are found between Iceland and Norway in the North Atlantic Ocean. 18 islands make up this archipelago and the population is just around 50,000 total with several islands inhabited by less than 100 people. Now, those of you who know my preference for solitude, nature, a lack of hot weather and less-of-humanity-in-general may see why this is, in my opinion, a virtual paradise.

And the traditional HOUSES! Oh how I fell in love with these as a child while pouring through an encyclopedia (remember those?).  The following is from faroeislands.com



The Faroese Houses

The grass roofs are probably the first things you notice, and these have been a feature of the houses since the islands were first settled. In the Viking Age farmhouses had curved stone walls and the roof was supported by two rows of posts in a large common room with a longfire in the centre. Along the outer walls benches or seats were placed, a Faroese home today is still called a sethús (seat house) after these seats. And there is a good reason that the ancient name has survived, for on the Faroes the original longhouse lasted longer than any other place in Scandinavia.

The house, with its protecting stone walls and the large grass roof, gradually developed into the traditional Faroese dwelling with the stall at one end, in the middle the smoke room with the working and sleeping areas, earth floor and the open fireplace with the louver in the roof as smoke outlet and light intake. At the other end of the house was the glass room, the farmer’s fine parlour with windows and jamb stove. Inside the smoke room and glass room there were vertical planks set in a groove between the posts and sills.

This is the same construction that was used in the historic Norwegian stave churches, but in tree rich Norway the stave constructed houses were gradually replaced by the shorter loghouses with horizontal logs. The stave constructions, which required less wood continued in the Faroes until the beginning of the twentieth century. Gradually the stonewalls were replaced by wood, except perhaps in the ends of the houses oriented against the fiercest wind direction. From this originated the classic Faroese house a low and small longhouse, tarred brown or black with white painted mullioned windows, blending into the terrain under a large grass roof.

The churches were built in the same way. They were modest buildings, not much bigger than the other dwellings, but with a distinct difference: the little white bell tower, placed parallel or diagonally over the ridge of the roof. The inside of these churches are like chests made of untreated timber. All the designs are visible and simple, but every detail has its own special carving or image and the chancel wall, the half open wall between the nave and the choir, received the finest treatment.

Times changed and with the development of sea fishing new kinds of houses appeared. The longhouse was superseded by a more refined house on a high basement, and with dormers in the attic, but still tarred and with turfs of grass over a layer of beech bark. Then came fervent individualism, corrugated iron was placed as protection on the outside of wooden boards and together with the corrugated iron came paint in many colors. This colorful individualism has become respected through the years and even the authorities have supported it in later years, most directly in some experimental construction with individually built terraced houses in the northern part of Tórshavn.

The painted roofs dominate, but you can still see new buildings with green grass. The most important of these is the Nordic House, where, as in the older dwellings, the roof lies over the house like a protecting wing and enhances the lines of the landscape. The grass still has something of a symbolic meaning and maybe it is a type of nostalgia when it is used on private houses. On the other hand it is a living material, which insulates and protects and requires very little  maintenance. It also follows the beautiful seasons of the year and paints itself: brown in the autumn, white in the winter, burgeoning light green in the spring and lush green in the summer.

 

Yes, this is a place I imagine to be populated by more fae than humans. . . do an image search for the islands and you'll instantly see why. :)  

 

These will find their way into the shop soon but I am finishing a Faroese church before listing all three pieces at the same time. 

Thanks for looking!

nicolas