I’ve used the hard chalk pastels that you can scrape [...]]]> Here’s another idea if you’re interested in using chalks on clay. Dana from Solafar had an interesting blog post on weathering with pastels. He applies powdered pastels to baked clay, then seals it for a very nice effect.

I’ve used the hard chalk pastels that you can scrape to make a powder, I’ve also used some softer Decorating Chalks (I think they were from the scrapbook section in Michael’s) that you could apply with a tiny sponge applicator. But in both cases, I’ve always applied it to raw clay.

I’m going to have to try this – it looks like it will give you a bit more control and subtlety.

The tiles are used as [...]]]>

Inch by Inch - one inch tiles

For the past couple years, our guild has done a one inch tile challenge, something like Artists Trading Cards. Each of us makes 2 one inch polymer clay tiles, using any technique we like. (We also tend to trade tiles with other artists at our clay retreat but that’s optional)

The tiles are used as mosaic tiles on two mirror or picture frames. Everyone who made a tile gets a chance to win one, and the other goes into the guilds traveling exhibit. The exhibit gets displayed in various places (mainly libraries) throughout Connecticut.

I almost always sculpt something but this time I decided to make it a two parter. One of the people I work with is always quoting the kids book “Inch by Inch” when we’re behind and it seemed applicable to the theme. So on one tile, I sculpted a little inchworm, and on the other, I used letter stamps to press in the words.

I used a two part silicone molding putty to mold the designs so I can make multiples in an ivory colored clay. (Premo white, translucent and ecru mixed)

The two on the left were colored with Prisma markers after they were baked.

The rest were colored with Decorating Chalks using little Micro brushes while the clay was raw. It’s not the most precise of techniques but it gave me the soft quality I was looking for.

The chalks will come off without being coated in some way, so I used a barely damp brush coated in TLS to seal them in. That smeared the chalks a little more. Once they were baked, I used burnt umber acrylic paint to bring out the detail and give it the browner cast you see.

The carving at the bottom left is on the back of the second piece. I wanted to play around with it and the plain black background seemed to need something. If I can make my pieces reversible, it’s [...]]]> These are the pieces from Kathleen Dustin’s class. Click on the image to see the full view.

The carving at the bottom left is on the back of the second piece. I wanted to play around with it and the plain black background seemed to need something. If I can make my pieces reversible, it’s a plus point.

I was going to antique it with white or red acrylic paint to highlight the carving, but the first paint tube I picked out of the drawer was an irridescent bronze. I really like how it contrasts with the black.

The amazing piece in the bottom right was one I bought from Kathleen. The photo really doesn’t do it justice. You can see the slight difference between her carving and mine, can’t you?

I need a lot more practice. But I enjoyed it enough I bought a set of Dockyard 1.5 mm mini carvers. I haven’t had a chance to use them yet, but I’ll probably try them on the back of the teal piece.

I was too busy to take many pictures, but here’s what my workspace looked like at the end of the first day. Why is it that however big a space I have, I always end up with [...]]]> I took a wonderful workshop with Kathleen Dustin this past weekend on her layered translucent techniques.

I was too busy to take many pictures, but here’s what my workspace looked like at the end of the first day. Why is it that however big a space I have, I always end up with about 6 inches square to work in?

I’ll post the pieces I made once I get a chance to take some better pictures.

The things she could do with translucent clay were amazing but I think I learned as much or more from little throw away comments and just watching her work. For example, she showed us how she integrates pinbacks elegantly into her pieces and that gave me a couple different ideas that I may adapt for pendants instead.

She also led us through a critique exercise that was all about asking open ended, nonjudgemental questions. It started with us asking the artist questions. “What was your inspiration?” “What emotional reponse are you trying to convey?” etc

Then we made comments and suggestions – being very careful to keep it open still. There was no telling the artist what to do – just what we felt and why.

Then the artist asked us questions and made a few more comments of her own…

In the 20 minutes or so that we spent on it, we delved deep into motivation and inspiration and process, and we were all thinking about where we wanted to go with our art by the end of it.

The original was sculpted in relief on a smooth ceramic tile and I made a mold of it so I could try [...]]]> I did take a few in-progress photos while I was making stuff for the Bead Bazaar and I thought I’d start with this little guy.

The original was sculpted in relief on a smooth ceramic tile and I made a mold of it so I could try some variations. In this case, the bull was in Premo gold mixed with a touch of black and baked before I set it into the textured black frame.

I wanted to give it a patina affect so I dug out the acrylic paints. I gave the bull a light wash of black to give it some depth and bring out the texture. When that was dry, I used a brush with only a tiny bit of bronze paint to drybrush the high spots.

I used a loosely mixed combo of white and turquoise (you could also use white, blue and green) on the black clay. I made sure there was variation in color and amount of paint – take a look at real aged copper or bronze for ideas.

We have three lights [...]]]> Thought I’d post a few more photos of the new improved SCPCG display. Last year it was all grey, this year we had black risers, and black trays. Each artist got one tray. I think it worked really well. The black looked elegant and unified the different styles.

We have three lights overhead. The table is raised up to a customer friendly height using pvc pipe extenders below the bend in the legs. Our extra beads fit under the table – easily accessible when someone is interested in a particular artist, and the risers give us space to put the order books, packaging, etc out of sight but right at hand.

We had signage and information about the guild at each end of the table. I think we may get a few new recruits. Several people seemed seriously interested in checking out the guild.

My work

RAM beads - proceeds donated by artists toward museum exhibit

I’ll be working the table first thing on Saturday morning. If you’re in the area, stop by. It’s [...]]]> I’ll be at the Bead Bazaar this weekend, along with a number of others from the Southern Connecticut Polymer Clay Guild. We’ll have a great selection of polymer clay beads and jewelry from over 15 different artists.

I’ll be working the table first thing on Saturday morning. If you’re in the area, stop by. It’s a nice show with some really gorgeous art beads and supplies – the only problem I have is that I always spend more than I make

2011 BEAD BAZAAR Sponsored by the CT Bead Society
NORTH HAVEN Holiday Inn
201 Washington Ave, North Haven, CT
Saturday, Sept. 10 10am – 5pm
Sunday, Sept. 11 10am – 4pm

You can find more information and a coupon at the Connecticut Bead Society’s site.

This is a relief sculpture I did a few months ago. It’s currently part of our guild’s (Southern Connecticut Polymer Clay Guild) traveling exhibit.

I sculpted it in black Premo clay on a 6″x6″ ceramic tile which I removed after baking. I left this one a little rough because I wanted [...]]]>

This is a relief sculpture I did a few months ago. It’s currently part of our guild’s (Southern Connecticut Polymer Clay Guild) traveling exhibit.

I sculpted it in black Premo clay on a 6″x6″ ceramic tile which I removed after baking. I left this one a little rough because I wanted to highlight the texture with the Pearlex mica powders.

I used my fingers to apply a light coat of Flecto Varathane on the highspots after it was baked. (You could use a brush but I wanted a little more control) That sealed in the mica powders but left some of the black clay in the deeper areas matte.

I used my brand new Knew saw to cut the birdhouse shape from 24g copper sheet, including the interior hole which the bird peeks out of. Using metal stamps and hammers is fun – [...]]]>

Liquid Gun Blue and stamped copper with patina

I used my brand new Knew saw to cut the birdhouse shape from 24g copper sheet, including the interior hole which the bird peeks out of. Using metal stamps and hammers is fun – there’s such a satisfying Thwack when you get it right. They added detail and grain, and then I used gun-bluing to patina the copper. Fine grade sandpaper took the patina off the high spots and left the stamped detail darkened.

I filed and sanded all the edges, then sculpted the heart on the back using a needle tool to write “Home”. A little extra clay forced through the hole of the pendant allows the heart to act almost as a rivet once the heart was baked and gave me a secure base to sculpt the tiny bluebird.

After the final baking, I antiqued the heart with blue paint, the bird with light brown and added a touch of glaze to make his eyes and beak shine.

The top row is a similar button that hasn’t been washed. The bottom row is after one wash and dry cycle with an ordinary [...]]]> I made a number of samples for my button workshop. I knew a plain polymer clay button would survive being washed and dried, but I wasn’t sure about more delicate techniques.

The top row is a similar button that hasn’t been washed. The bottom row is after one wash and dry cycle with an ordinary load of laundry.

The first button was antiqued with white artist-grade acrylic paint. Any paint on the surface or edges was buffed away, leaving only the areas where it was recessed. Not bad really. I’m thinking sending a strand of beads through the wash repeatedly would probably give you a nice muted sheen–but I’m too impatient, so I’ll probably still just buff the clay on my jeans for that sort of effect.

I did also do another button completely painted with a shimmery pink craft acrylic. The paint was partially removed and collected a ton of lint from the t-shirt material it was sewn on. The lint seemed to be embedded in the paint at the end of the cycle. Not a success.

The second buttons were black clay with Perfect Pearls mica powder, followed by one coat of Flecto Varathane to protect it. I was amazed at how well that held up. Some of the mica on the edges did get buffed away and I think repeated washings would eventually wear through the Flecto. It would be fine for handwashing though. And it would be worth trying a few more coats of Flecto or some Kato liquid clay to see if that would hold up to repeated washings. I do love the shimmer of mica powders.

The last button had inclusions of dried flower petals mixed into white clay. I gave it a coat of TLS before I baked it, and I didn’t notice any change at all after washing. I was expecting the surface bits of flower to flake off but they stayed on.

Top row of buttons is pre-wash. Bottom row is after 1 wash and dry cycle