From Raw Material To Art: Bringing Toothless To Life

Words: Thomas Raschendorfer
Photos: Thomas Raschendorfer

“The next project is already waiting in the wings, but that’s another story.” That was how I ended my article on the T-60 helmet from the world of Fallout in the July 2024 issue of Masonry Magazine. And that is exactly where this new chapter begins.

For over ten years, a large block of Kilkenny limestone stood in my workshop, weighing over two metric tons. It was impossible to ignore. A massive presence that served as a daily reminder of something unfinished. In fact, that very block was one of the reasons I chose to go independent all those years ago. Back then, working as an employee, I couldn’t afford material like this or the tools needed to shape it. So I began taking on side projects to fund both. But as so often happens, everyday life took over. Clients, deadlines, and a full calendar pushed the original plan further and further into the background.

Then came the children, and with them a new chapter. Our three kids, now nine, six, and six years old, grew up with the How to Train Your Dragon films. Their rooms are filled with plush toys from Berk, and Toothless has always been their undisputed hero. That’s when the idea took hold: the old stone block should become a young Night Fury, roughly the age of our children and large enough for them to sit on.

Last year, the idea became a plan. The T-60 helmet had reminded me of a simple truth: nothing changes unless you begin. That stone would still be standing untouched ten years from now if I didn’t finally act.

So I set the alarm for 3:45 a.m. and began what I called Dragon Hour. The difference from the helmet project was obvious. Two tons of stone cannot be shaped casually between other tasks. I started off motivated, but my body soon made it clear that sleep is not optional. I reduced the early shifts to two or three days a week, which was the only way to keep going. Still, those summer mornings had something special about them. The cool air, the first birdsong, and my Labrador Fen at my side, probably more interested in the jerky than in me, created a quiet routine that I came to appreciate.

The dragon took shape quickly. First the face, then the back, tail, and wings. One moment that stuck with me was when the kids joined me in the workshop with safety goggles, hammers, and chisels. I had prepared the cuts, and they got to knock out a few pieces. Just a few kilos of stone came off, but it was enough to make a memory. And that’s what matters.

Then winter arrived. The nights grew longer, the cold seeped into every corner, and progress slowed. Motivation dwindled. Even cookies and energy drinks only helped so much. My workshop is unheated in the early hours, and even if I managed to warm it up a little, the dust extraction system would pull the heat right out and replace it with freezing air from outside.

Some mornings I didn’t even let the alarm go off. Others, I started carving and ended up under a blanket on the couch after an hour. I never gave up on the project, but it did drift further from view for a while.

Eventually, the cold gave way to spring. With the first warmer days came renewed energy and a desire to work. I began the final surface detailing, one of the most engaging phases of the entire process.

I wanted the skin of the dragon to feel alive, so I developed several types of scales. For the finer details, I used galvanic ball burrs in various sizes mounted on my 6 mm pneumatic handpiece. These are diamond-coated burrs, ideal for soft stone. The larger scales I sculpted directly into the stone and then smoothed by hand using sandpaper.

Next came a coarse diamond brush, used with water, up to 80 grit. After that, I treated the surface in several rounds using heavily diluted hydrochloric acid, allowing time for it to take effect. As soon as the surface started to change, I continued with finer brushes, again using water, up to 600 grit.

The result was a texture and finish that felt surprisingly lifelike. The Kilkenny limestone had taken on the look of dragon skin.

Eventually, only the underside remained: the belly, neck, and inner legs. To reach those areas, we had to tip the now much lighter block. With some courage and help from my journeyman, we managed it. The dragon balanced on its forepaws and jaw in a pose that could have passed for a yoga position. It looked odd at first, but it was stable enough to let me finish the remaining surfaces.

The last major step was the eyes. Until then, placeholders had served their purpose, but now the sculpture needed something more. Fortunately, I am married to the most talented art glassmaker I know. Together, we created domed eyes from several layers of specialty glass, formed using a complex fusing technique. Emerald green, slightly translucent, with depth and a quiet shine. When I finally set them in place, something changed. The dragon’s gaze became alert and present, as if he might lift his head at any moment.

People say the eyes are the window to the soul. And it is exactly these eyes that turn a block of Kilkenny limestone into a sculpture that may still speak of a special moment for generations to come.

This project is a gift to my children. But it is also a part of myself, carved into stone. It holds a great deal of work, sweat, and heart. Around 300 hours, spread across early mornings, days filled with drive, and others where it took effort just to begin. It wasn’t always easy, which makes it all the more meaningful. Now that the work is complete, space and energy return. And perhaps also the freedom to lift the next block onto the bench.

But that will be another story.

Background: The Magic of How to Train Your Dragon
Since the first animated film premiered in 2010, How to Train Your Dragon has inspired millions of children and parents alike. The story of young Viking Hiccup and his unlikely dragon companion Toothless combines adventure, humor, and real emotional depth. Its visual world, memorable characters, and especially the design of the Night Fury have drawn a dedicated fanbase around the world.

That my sculpture was finished just as a live-action adaptation hits theaters is pure coincidence. When I started the project, nothing had been announced. That it now aligns with the film’s release feels like a stroke of timing no one could have planned.

Which makes it all the more meaningful to me that the sculpture will be on display at the Traumpalast Leonberg for the premiere, the cinema with the largest screen in the world. Being able to show my work there is not just a fortunate coincidence, but a true honor. The dragon will be on display in the main foyer for several weeks, and I sincerely hope it brings a bit of wonder to both young visitors and grown-ups alike.

From Raw Material To Art: Bringing Toothless To Life

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