This time, translucent clay and pan pastels. I formed shallow bubbles using thin Premo translucent (#9 on Atlas pasta machine) then adhered those to a raw translucent over white background using diluent.
This is a good example of how differently the pastels stick to baked and unbaked clay.
Interesting… But I’m not sure what I’d do with this technique yet.
I think I may be making more griffons in the future… When I got to the edges, I was a little disappointed because I couldn’t finish the rest of him.
I baked the clay first this time, and used the pan pastels afterwards. I wanted a softer subtler look for the feathers.
Don’t ask why. There is no why.
There is only the tired brain and whatever happens to flit across it.
And a 4″ canvas painted with acrylics to look like the sky that I wanted to experiment with. I did add a little white pan pastel to the clouds.
I found out that at least this type of mini canvas can be baked in the oven. And that Genesis medium works really well to adhere raw clay to canvas.
I also found that canvas is really too flexible to sculpt against so I sculpted the heroic Weasel freehand then attached him to the canvas before baking.
I usually use a background of clay but that limits me to the size of my oven. Good to know this is an option if I ever want to make larger pieces.
There’s really no reason the clay had to be baked on the canvas in this case. I was just curious if it could be.
I also love how the plovers run along the beach, their legs moving so fast you can barely see them. Then Full Stop! And they’re off again…
“It looked goodnatured, she thought: still it had very long claws and a great many teeth, so she felt it ought to be treated with respect.”
I’d sculpted the cat’s face and front paws as a pin quite awhile ago, so I re-used that part. I sculpted Alice and the tree, and added a few fading strips and the Cheshire cat’s tail. The text is a toner transfer on to translucent clay – you’re looking through a thin layer of polymer to read it.
Here’s the final version. I was happy with most of it, but I wanted to add a little more depth to the tree, and details to the cat. I came in with acrylic paint and a tiny tiny brush to highlight teeth and claws, and repainted the eyes. I also used some lavender to tone down the colors of the cat a bit…
Or am I allowed to say that about my own stuff? Considering I can usually see more flaws than anyone else can, I think I can enjoy it once in awhile Just look at his tiny watch – I re-sculpted that 3 times before I got it right.
Here’s a good example of what I mean by antiquing. And I baked that layer of paint so it wouldn’t smudge into the color I added afterwards.
The gold watch is acrylic paint.
The caterpillar (with elements from a couple versions of Alice in Wonderland) is one of the pieces that made me say previously unfinished work is fair game. This sculpture took much more than a single day. I worked on this and the white rabbit (tomorrow) off and on over a couple months, refining and tweaking tiny details until I was finally happy with it.
But it’s been baked and unpainted for a few months now.
I’ve been afraid.
Seems rather silly to be afraid of a piece of clay, doesn’t it? But I was so happy with how it came out that I was afraid I’d ruin it in the painting stage.
I am planning on molding it and turning it into a pin/pendant, so there will be other opportunities to paint it, even if I did ruin the first one.
But it didn’t seem to matter. There was that block – the sure knowledge that as long as I left it alone, it would stay forever perfect in my own head.
But it’s kind of hard to wear a virtual pin So that’s one of the best things about this 30 day challenge. It’s helping me get over my perfection procrastination and fear of failure. I just have to finish it.
It doesn’t have to be perfect; it doesn’t even have to be good.
It just has to be done.
I can always make another. Or something else.
There was too much tiny detail for pastels on this one. I used Genesis heat set oils (not really oil paints – they’re closer to polymer clay in formulation). The great thing about them is that I could paint in layers, and set one area before continuing on.
The brass effects were from metallic acrylic paint.
You can do it with two colors of polymer but I decided to try it with the pan pastels. I used black Premo, then patted on a pretty opaque layer of white pastel, followed by a graduated layer of blue with some yellow and white to indicate filtered light.
With a toy plastic shark as my model, I used my smallest loop tool and had a bit of fun carving/drawing through the layers.
I originally tried some shallow cross hatching with another tool (the larger black areas) but it ended up looking muddy and hesitant so I carved them away. The best marks seemed to be quick, decisive and free flowing.
It was actually a lot of fun and I can see doing more of these.
So, I figured I should either resurrect it, or get rid of it as a lost cause. I’ve been trying to clear a bit of space in the studio here and there.
First thing I did, was transfer it onto a thicker backing layer of clay – you can see it cracked. Then I pieced in around it to bring everything to the same level. I painted on a coat of diluent (clay softener) thanks to a tip from from Leigh Ross of PolymerClayCentral, and let it sit for a few days.
It worked wonders. The diluent sank in and made the clay pliable again and I was able to finish sculpting.
I used pastels, but I think this may have been a case (tiny and very detailed) where I should have stuck with paint. A bit of antiquing and a dry brush of white would have brought out the details better – It felt like I lost a bit in the final pasteled/painted version. I did end up giving it an antiquing wash, added a bit of yellow acrylic to brighten up the beak, and gave it a dry brush coat of white as well.