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He sort of grew up with the sea and came to know and love its changing moods—its beauty, its cruelty, its fury and its gentle calmness.

"A hitch in the navy took me over the waves to far away places, and brought me even closer to understanding and loving the sea," says Porter. "When I was discharged in 1945, I found I had many mental images of the sea, and I wanted to share their beauty with others.

"One day, as I was looking over my collection of unusual sea shells in my home in Rockland, Massachusetts, I got the idea of making sea shell scenes. Using a large shell as a background, I decided to make a three-dimensional scene with sea coast and sky—made up with a good depth of perspective and plenty of life-like qualities."

That night Porter set to work on the kitchen table to suggest the beauty of the sea in a sea shell scene. On hand to watch the sea come to life under his talented fingers was Porter's new bride.

"My first scene was pretty crude but relatives and friends were fascinated by it," recalls Porter. "They snatched it and subsequent ones away from me, while the plaster was still warm. It has been difficult for me to retain a large variety on hand, for everyone who sees them wants to purchase one."

THE SHELL scenes represent the various moods of the sea, the coast and the beauty of the colorful sky.

"One of my favorite scenes is the storm scene," says Porter. "In this particular scene the plaster went together in such a way as to form a perfect setting for a stormy day. The sea appears really choppy, angry waves are battering the rock bound coast. The dark, threatening sky is frowning upon a lonesome little lighthouse—located on a barren ledge atop the cliff. A little rowboat was placed on the shore which was tied to a stake from a rope leading up the ledge. Thread was used for making the rope, a match stick for the stake and the small boat was carved from a sliver of soft wood. "In painting the scene, I used oil paints and mixed a good amount of aluminum enamel with my other colors, which helped to do the trick in producing a good, strong effect. This first creation I presented to my mother and several persons have offered to buy it from her since, but she won't sell it at any price. I offer others similar to this scene for sale."

Another shell scene of unusual beauty is the "sunken ship scene" in which the dark clouds are lifting—leaving on the distant reef a sunken ship with one end protruding from the water and the other submerged. Driftwood may be seen cast ashore and a few gentle breakers are arriving to meet the beach.

"This scene has a character and an appeal all its own and is very popular," says Porter. "It's near the top of my best selling scenes, and it's typical of the sunken ship I saw on my travels in the navy."

Another shell scene of striking beauty is called "late sunset" and reveals the beauty of the sunset upon the sea.

"I obtained my coloring for the sunset by using orange, red and yellow and blending them," says Porter. "The rim of the shell serving as the sky was accentuated with dark purple, blue-blacks, etc. I have just enough yellow-green and blue-green in the foreground with slight flicks of orange reflecting from the sunset. A gentle orange glows upon the cliffs—making the creation a very peaceful scene. This is a very good seller, too, and many customers select it at once from all the others."

AN UNUSUAL and appealing scene is the one which portrays a sheer cliff rising out of the sea. The cliff is located to the far left center of the creation and is surrounded by water on all sides. The sea appears choppy and large waves rise and break against the sea walls around the cliff—splashing spray into the air.

"My wife's favorite scene is one I made especially for her," says Porter. "Strangely enough, it is one of the smallest scenes I've ever made. This miniature scene represents the sea and coast at peace with one another. A pale blue sky with a few gentle white clouds complement a light, yellow sandy beach. On each side are rocky projections—one which houses a neat little lighthouse, surrounded by green vegetation. A little red buoy bobbing in the distant channel is guiding a trim, little, white sailboat on its way. My wife uses this little scene as a paperweight. A small clam shell of a nice shape was used in making this creation."

One of Porter's most unusual scenes was sort of made by accident and depicts sea gulls, cliffs, breakers, clouds and driftwood. The sea in this particular scene appeared neither calm nor choppy, but it so happened there was a lot of beach area in the foreground, which left sort of a vacant space.

"The people who saw the area thought it should be filled in somehow," says Porter. "So each person who was shown the scene had his or her turn in affixing additional objects in this area. Before I finished completing the scene, the beach was cluttered up with scores of lobster traps, small boats, fishermen, sandpipers, fish and other sundry objects too numerous to mention. Strangely enough, this scene went over big with a customer from Connecticut, who not only bought this scene, but requested me to make him several more just like it. The buying public sometimes surprises you with its desires and likes."

THIS IS the way Porter goes about making his shell scenes.

First, he selects a smooth surface to work upon like an oil-tempered Masonite or smooth surface cardboard. A bread board is all right, too, but newspapers should be used upon it, as it sticks to the plaster.

"I then select a large, smooth surfaced shell, free from defects," explains Porter. "Large clam, or quahog, shells, or even fancy shells may be used, as long as the surface is fairly smooth.

"The next step is to create the base, and I prefer to make the base out of the plaster itself. Experience has shown me that when a base of wood is used, in time the plaster has a tendency to separate from the wood—leaving cracks between the two materials.

As to the size of the area to serve as the base, I usually provide about the same area as in the shell itself. For instance, if my shell is approximately four inches in diameter, the base should cover approximately this much area for good proportions."

Porter has found that if the base is formed into an oval shape (instead of a round or square shape) the results have proved more satisfactory. He then proceeds to mix up a batch of plaster of Paris—using warm water and estimating the amount needed for the first application. Stirring the mixture with a teaspoon until it becomes fairly thick (but not lumpy), he then applies the plaster directly to the working surface.

"I use a bread board as a rule, and I estimate the area to be covered with the plaster mixture, but another good idea is to draw a pencil line on the board in an oval shape," explained Porter. "Then as I apply the plaster, I'm careful to fill in the area-outlines on the board. If the plaster has a tendency to run over the line, it is too thin and should be thickened up a bit. By adding more plaster, I build the base up to about one inch in thickness. I don't try to smooth out the edges, as it is better to let the plaster form its own contours."

Before the plaster becomes too hard, it is time to insert the shell into the plaster. The shell of course should be inserted at the rear portion of the base—approximately three inches back from the front.

"I simply take the shell and insert it into the plaster about ½ or ¾ inch deep," says Porter. "Holding the shell into place with one hand, I apply additional plaster around the lower area of the shell itself with the other hand. This is necessary at this stage, to assure that the shell will adhere to position—otherwise the weight of the shell falling over may crack the plaster. This completes the first step."

WHILE PORTER is waiting for this plaster to harden and set, he usually cleans out the mixing bowl and spoon and prepares for the next step.

This consists of mixing up another batch of plaster into a thick, doughy rough consistency (just a little short of becoming completely solid). Then, scooping up a heaping spoonful of the mixture, he pushes it off the spoon onto the front area of the base with his thumb. This is "dumped" on the left side of the plaster base, and he continues to apply several layers—one over the other, until he has used up his plaster.

"I don't try to shape these gobs of plaster into any particular form," says Porter, "I just let nature take its course and form them naturally. I also drop gobs of plaster in a pile to the right of the base in the same manner."

After this step, it is best to allow several hours of drying time, before attempting the next step.

During this interval, Porter studies the shell and lets his imagination go to work for him. If the contours of the plaster are rough and rugged, a storm scene is suggested. Or, the smooth and placid form may suggest a calm or maybe a sunset. Sometimes the plaster in the foreground has formed some excellent breakers.

"By letting my imagination run riot, dozens of ideas come to light," says Porter. "For instance I may think to myself, 'That spot over there would make a swell place for a miniature lighthouse, and that would make a nice cliff, and over here I could put some driftwood. Or, maybe a lobster-trap cast ashore on the beach, or maybe a sunken ship out there in the sea.' These are all ideas that dash through my mind."

WHEN THE plaster becomes dry, it is time to apply a good filler. The tough plaster is very porous and needs to be filled before the affixing of additional objects and the landscaping.

Porter uses a mixture of good, heavy white enamel and spar varnish. He covers the entire area of the shell and plaster—brushing it on and pushing it into indentations of the plaster to make sure the entire area has been filled up.

"For the best results, I've found at least a day's drying time should be allowed for the enamel and varnish filler," says Porter. "Room temperature is fine. I've tried other types of fillers, but this one is best for my purpose."

When the paint-filler is dry, it is time to affix additional objects to the scene. A portion of a flat toothpick will be fine for driftwood. Round toothpicks are useful for making the miniature lighthouse towers. The ends of wooden match sticks are fine for buoys. Sailboats may be cut from light tin and fishing shacks can be carved from soft wood scraps. These may be fitted to the scene with china cement.

"Decorating should not begin until the cement is really solid," says Porter. "I use poster paints for decoration, as a rule. I have found I can get an excellent effect on the cliffs in the foreground of a scene by first splashing on some dark shades such as dark purples, blacks and blue-greys. This is followed by another brushful of very light yellow, buff or pink—splashed over the same area in one big stroke, with plenty of liquid on the brush. The darker colors will stay in the crevices of the plaster and the outer portion of plaster will wash off—leaving an effective tint and very realistic effect."

The poster paint will cover the china cement very effectively, particularly if it is put on fairly heavy without too much water.

PORTER USES the same technique in coloring the ocean. He first splashes on a dark color such as blue, black or green mixture. Then with a very pale blue, yellow or green (with plenty of liquid on the brush) he splashes over the ocean area in one or two good strokes—allowing the indentations on the waves to retain their darker hue and to let the extremities wash off—leaving an attractive light tint and realistic effect.

Another trick of the trade is to (if possible) leave a few spaces absolutely free from color for white caps.

Sharp contrasts of density of colors in the foreground are also effective in giving the scene a life-like quality. For instance, a splash of dark purple opposite a space of clear white, which graduates into a gentle shade, is very effective.

The aforementioned effects are made possible with the help of the enamel-varnish filler previously applied.

"In painting the shell-sky, I first cover the sky with clear blue, or blue-grey with little water in the brush," explains Porter. "Then I gradually add my white or pink to form clouds. The highlights in the clouds may be brought out by dabbing on clear, thick white—right out of the jar. With a very fine brush, sea gulls may then be painted against the clouds.

"When I'm satisfied that enough color has been applied to the sea shell scene, I allow a few minutes for the paint to dry. Poster paint dries very fast, so I then cover the entire area of the scene (shell and plaster) with a good coat of spar varnish. You may also use clear glaze for this purpose. When the varnish or glaze has dried thoroughly and is not sticky, luster powder may be brushed over the entire area of the scene. Using a soft flannel or wool rag and rubbing the surface with it, a high gloss can be obtained. This completes the process of making a shell scene from a sea shell."

IN MARKETING the sea shell scenes, Porter lets nothing stand in his way in making a sale. He exhibits them at craft shows, fairs, art exhibits and bazaars.

"You generally hear of such affairs well in advance of the exhibiting date, so you can make arrangements to enter," says Porter. "It's a good idea to get in on those shows and display your product to the public. You are generally asked to stay and keep charge of your own booth at these shows, and it gives you a fine opportunity to display them to the public and talk with the visitors. It is at these shows and exhibits that you walk away with many sales, and also obtain orders (made according to the customer's directions) that will keep you busy for the next few weeks."

There are always hobby shows going on during the fall, winter and spring months in surrounding towns, so Porter makes it a point to get in on them. It helps to promote his sea shell scenes and also drums up business for his product.

Porter has found, too, that by placing a small advertisement in hobby and homecraft publications he can get many orders. He simply places an advertisement in the classified section reading: "Unusual sea-shell-scenes for sale, $10 each." This is followed by his name and address.

"This advertisement is enough to arouse the interest of many people who generally write me a letter asking me to send them more details about my sea shell scenes," says Porter. "You'll be surprised by the number of letters you'll get from a small advertisement if your product sounds different and interesting. People always seem to be on the lookout for something new and want to be the first to own the new product, so my sea shell scenes strike them as something unusual. I receive many letters from customers expressing their delight with my plaster scenes, so it makes me very happy and proud of them."

Porter has received orders for his shell scenes from New York, California, Iowa, Michigan, Missouri, New Hampshire, Massachusetts, Maine, Connecticut, Virginia, North Carolina, Texas, Arizona, New Jersey, Washington, DC., Florida, Pennsylvania, Maryland, Colorado, Georgia, and Canada.

PORTER'S CREATIONS bring the sea into your living room and are something new and novel—selling at $10 each. If Porter works on a number of them at one time (sort of factory style) he can turn out several dozen of them a week.

"My wife and I get tremendous pleasure from going on shell hunts during the warm weather," says Porter. "One of our favorite places for hunting shells is at Scituate Harbor, Massachusetts. There are two large breakwaters there—extending out into the bay. We like to fish off the breakwaters for perch and flounder until the tide goes out. Then with buckets in hand, we explore between the huge boulders of the breakwater and the beach for shells of unusual shape, size, design and coloring. It's sort of a game with us to see who can find the most beautiful and most unusual shells of the largest size. When we arrive home, we sort the shells. The ones with the defects, such as rough edges, cracks or holes in them are discarded.

"Generally about half of the assortment are discarded because of defects. The survivors are washed and graded according to size and shape and put into an appropriate place, until they are ready to fill their roles as a part of shell scenes."

Porter has a secret desire connected with his shell scene making, and that is to acquire a giant size clam shell from tropical waters and build a permanent out-door scene. Instead of using plaster in the make-up, he would use cement and special permanent coloring for the entire creation. This will make an excellent advertising medium for his shell creations.

"One special service I offer my customers is to reproduce postal card scenes in the form of shell scenes in plaster," says Potter. "It's a little more difficult to do, but I have done it successfully repeatedly."

PORTER'S NAVAL travels have taken him to many interesting places across the ocean, and he hopes to create many plaster scenes to preserve the memories of them and share their beauty with others.

"I've many memories of beautiful scenes I've seen in Gibraltar, the Isle of Capri, Canary Islands, Azores, the Court of Morocco, etc.," says Porter. "One memorable scene I particularly want to reproduce is the coastal scene of Safi, French Morocco. I was stationed at that port for several months during World War II. The rough sea pounds heavily against the sea-wall of this ancient walled city—sending clouds of spray fifty or sixty feet into the air. In the moonlight, this sight is really beautiful, as it reflects clearly on the white mosques and native dwellings."

When ordering shell scenes, the customers have the opportunity to order scenes titled, "Approaching Storm," "Squall," "Sunset," "Breakers," "Driftwood," "Calm," etc.

Porter has found that Florida shell supply houses have a wide selection of sea-shells to choose from, too, and he often sends for "Irish scallop" shells to create large scenes. He finds that by using a variety of shells, you can create different effects in painting the scenes.