tag:blogger.com,1999:blog-63393109958511924372024-03-13T15:18:21.521-04:00ClaymaginationVickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.comBlogger95125tag:blogger.com,1999:blog-6339310995851192437.post-58029865638271665662015-04-11T10:50:00.000-04:002015-04-11T10:50:29.065-04:00Wine Country Tessellated Necklace and Bracelet<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-E5gwiiLVdBE/VSkzLsXKSZI/AAAAAAAACuo/ptZs6NLLJRQ/s1600/tessellation%2Bset%2B002.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-E5gwiiLVdBE/VSkzLsXKSZI/AAAAAAAACuo/ptZs6NLLJRQ/s1600/tessellation%2Bset%2B002.JPG" height="320" width="240" /></a></div>
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The Wine Country necklace is finished. It proved a challenge since I wanted the kaleidoscope beads to not rotate and therefore made two channels for stringing. The round beads only have one hole, so the challenge was to find appropriate accent beads that would gradually channel into the one hole beads. A close-up view is below:<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-aUcDdkV9l_c/VSkzLxMolHI/AAAAAAAACuw/58El6zhe8P8/s1600/tessellation%2Bset%2B004.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-aUcDdkV9l_c/VSkzLxMolHI/AAAAAAAACuw/58El6zhe8P8/s1600/tessellation%2Bset%2B004.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">click on images to see larger versions</td></tr>
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The clasp is also handmade, from coated brass wire:<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-d6GdTSSdlrw/VSkzL1bdEHI/AAAAAAAACus/mBESeY6z-P0/s1600/tessellation%2Bset%2B005.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-d6GdTSSdlrw/VSkzL1bdEHI/AAAAAAAACus/mBESeY6z-P0/s1600/tessellation%2Bset%2B005.JPG" height="240" width="320" /></a></div>
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<br />The co-ordinating bracelet will be auctioned off in the ARCAC fund-raiser tonight and is pictured below:<br />
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<a href="http://4.bp.blogspot.com/-QM1HpuLjj5E/VSkzNG_QLLI/AAAAAAAACvA/Esn3ZJ0_jGY/s1600/tessellation%2Bset%2B006.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-QM1HpuLjj5E/VSkzNG_QLLI/AAAAAAAACvA/Esn3ZJ0_jGY/s1600/tessellation%2Bset%2B006.JPG" height="320" width="240" /></a></div>
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<a href="http://4.bp.blogspot.com/-sA-YQi5ydxk/VSkzNSLDrrI/AAAAAAAACvE/nsweJ__n5n4/s1600/tessellation%2Bset%2B007.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-sA-YQi5ydxk/VSkzNSLDrrI/AAAAAAAACvE/nsweJ__n5n4/s1600/tessellation%2Bset%2B007.JPG" height="320" width="240" /></a></div>
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Please feel free to leave comments or questions below. </div>
Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com15tag:blogger.com,1999:blog-6339310995851192437.post-14598318282880039102015-04-08T20:45:00.003-04:002015-04-08T20:51:57.516-04:00Perfection = Predictable = Boring! The Artist's MarkIt feels great to be back in the saddle!<br />
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<tr><td class="tr-caption" style="text-align: center;">pattern assembled from scraps cut from the kaleidoscope cane</td></tr>
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I've touched on this before. We create art because we have something to say, something that can best be said visually, not verbally. The viewer of our art completes the creative act by responding to the art. One thing that can derail this interaction is boredom (there are other things which I'll talk about another time).<br />
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For many, anything predictable is quickly glossed over. The brain likes to be engaged, and when it can predict the outcome or the continuing pattern or the next step it yawns and moves on.<br />
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Why is it, then, that many artists struggle so hard to make their work perfect?!<br />
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In any work of art it is the unpredictable colour, the unfinished line, the hint of something partially erased, that intrigues and makes the viewer stay a little longer, savoring incongruity.<br />
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In polymer clay, perfection can be achieved and repeated ad nauseum by a well-built machine. Why would we want to turn out art that looks like it was made by a machine?<br />
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The mark of the artist is unique to that artist and distinguishes a piece as hand-crafted, unique, special. That's why I've named my new studio The Artist's Mark. It's to remind me to remember to let my individuality be an integral part of my work, and to leave it visible so no one can mistake it for 1 of 100,000 produced in a factory.<br />
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I'll be demonstrating Kaleidoscope Caning at an art event at ARCAC this Saturday evening. There is very little exposure to polymer clay out here on the east coast of Canada, and I hope to stir up some interest. I've developed a palette for this cane that I call <b>Wine Country</b>. It is rich and elegant with a deep metallic colour that I call <b>Madeira Wine</b> colour, a soft, pale neutralized green called <b>Celadon, </b>a deep woodsy dark green called <b>Deep Woods Moss, </b>a soft white called <b>Ivory, Black </b>and a soft yellow called <b>Sunshine.</b><br />
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If you would like the formulas for the all the colors in the <b>Wine Country palette,</b> leave a comment at the end of this post and I'll make it available at no charge, either via email or in the blog if there are enough requests.<br />
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Here are the beads that will be assembled into a necklace and bracelet to auction off at the event on Saturday.<br />
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<tr><td class="tr-caption" style="text-align: center;">extruded cane slices on co-ordinated spacer beads</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-6Gmm3JgghP8/VSXJmqJ4fRI/AAAAAAAACuA/-K1j7gUaEpI/s1600/april%2B5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-6Gmm3JgghP8/VSXJmqJ4fRI/AAAAAAAACuA/-K1j7gUaEpI/s1600/april%2B5.jpg" height="320" width="271" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">beads ready for backing, then second curing and finishing</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Syp9Xv8EAVQ/VSXJmnRwM3I/AAAAAAAACt8/6YVk3mLl8ns/s1600/april%2B7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-Syp9Xv8EAVQ/VSXJmnRwM3I/AAAAAAAACt8/6YVk3mLl8ns/s1600/april%2B7.jpg" height="274" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">canes ready to tessellate</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Hollow focal bead for the necklace, slightly irregular, definitely hand-crafted!</td></tr>
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I'll post a picture of the necklace and bracelet when assembled.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com13tag:blogger.com,1999:blog-6339310995851192437.post-28137154233179131942015-01-21T09:05:00.004-05:002015-01-22T09:50:14.747-05:00The Beach House and The Artist's Mark<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-HxIGFt2RYvM/VL-tqCJ3hhI/AAAAAAAACfQ/1zHBS63o-Sg/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B096.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-HxIGFt2RYvM/VL-tqCJ3hhI/AAAAAAAACfQ/1zHBS63o-Sg/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B096.JPG" height="240" width="320" /></a></div>
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We survived! What a year! I'm back by the ocean, only the one off the east coast this time, the same ocean I swam in till I was 7. I feel I can wave to my cousins in Sola, Norway and they might see me and wave back. There's something about coming back to the familiar, like putting on an old sweater that bends exactly where you bend. It looks right, smells right, sounds right, and it feels right. I have posted a bunch of pictures at the bottom so you can see the studio, the home, the view, the surroundings, and the moods of the sea. That feels right, too! The Arctic Fox asked if I found the storms and surging waters depressing or unsettling. These suit me. They suit my moods, fire my imagination and I find I sit and watch nature unfold in all it's power and beauty and can't be bothered with television. There is even a sound, quite distinct, that you hear when the tide comes in.<br />
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The new (old) studio is up and running and working perfectly. I can get as messy as I want! I have room to dance and there's even the odd little field mouse that shows up to see what I've been up to.<br />
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Hello, I'm back! Thank you to all of you who have patiently hung in there. I hope to share some interesting things with you this year.<br />
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To start, here are some very rustic, hollow beads. They fascinate me. Pods. In the garden. In the studio. Claire Maunsell gave a 1-day surface technique class in Montreal last spring and I'm so glad I was able to take it before the move. She's a lovely lady, talented, totally forthcoming, and a great example of "mining a vein". Look her up (she has a blog, www.stillpointworks.blogspot.com, a flickr site and an etsy site).<br />
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This is my starting point for this year in polymer clay:<br />
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The bead we made in the class using various surface techniques:<br />
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The goal, in taking any workshop, should be, not to do identical work to that of your teacher, but to apply what you've learned to your own work, thus broadening the creative application.</div>
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Here's the subsequent development in my own work:</div>
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<tr><td class="tr-caption" style="text-align: center;">1</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-hG_X-9isKl4/VL-qHReLXVI/AAAAAAAACd0/gSzPGVoPAYI/s1600/4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-hG_X-9isKl4/VL-qHReLXVI/AAAAAAAACd0/gSzPGVoPAYI/s1600/4.jpg" height="272" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1a</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-dUM_j7m_2wI/VL-qcudNS_I/AAAAAAAACeE/MF3ipa807DQ/s1600/6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-dUM_j7m_2wI/VL-qcudNS_I/AAAAAAAACeE/MF3ipa807DQ/s1600/6.jpg" height="254" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-EJrLXGEBQDQ/VL-qc-3vasI/AAAAAAAACeI/s24bwcVeHI4/s1600/7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-EJrLXGEBQDQ/VL-qc-3vasI/AAAAAAAACeI/s24bwcVeHI4/s1600/7.jpg" height="191" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">2a</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-B-jhnBiYDMw/VL-qb-SiDAI/AAAAAAAACd8/J-BSI8eEmik/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-B-jhnBiYDMw/VL-qb-SiDAI/AAAAAAAACd8/J-BSI8eEmik/s1600/11.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">mounted as a pendant</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-CeyTEiukXtA/VL-qyAYrtzI/AAAAAAAACeY/_g9LhxWVf5g/s1600/8.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-CeyTEiukXtA/VL-qyAYrtzI/AAAAAAAACeY/_g9LhxWVf5g/s1600/8.jpg" height="196" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hT-ElS9qWck/VL-qyDSB2TI/AAAAAAAACeU/FBtgJUJMqSU/s1600/9a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-hT-ElS9qWck/VL-qyDSB2TI/AAAAAAAACeU/FBtgJUJMqSU/s1600/9a.jpg" height="292" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">3a</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-h5YtoJloyzU/VL-q8CZAZ1I/AAAAAAAACeo/Fro6rQ3yvcM/s1600/1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-h5YtoJloyzU/VL-q8CZAZ1I/AAAAAAAACeo/Fro6rQ3yvcM/s1600/1.jpg" height="196" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-YkiorIuWrk8/VL-q8LunLdI/AAAAAAAACek/sWmRYAOPjGI/s1600/2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-YkiorIuWrk8/VL-q8LunLdI/AAAAAAAACek/sWmRYAOPjGI/s1600/2.jpg" height="233" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">4a</td></tr>
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These beads are all hollow, looking substantial but light in weight, yet very strong!<br />
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Here is our new place:<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Kk74XSydFec/VL-s8hp3iUI/AAAAAAAACfA/OjNyVW_v9E0/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B105.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-Kk74XSydFec/VL-s8hp3iUI/AAAAAAAACfA/OjNyVW_v9E0/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B105.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Unaltered photo!!!!! Sunrise on the salt marsh, from the deck.</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-IIxWJ1OjtTQ/VL-s8iGhWeI/AAAAAAAACfE/5wmpZMNShpw/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B106.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-IIxWJ1OjtTQ/VL-s8iGhWeI/AAAAAAAACfE/5wmpZMNShpw/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B106.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">same time, rotating 45 degrees, ocean view from the deck, tide is out.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-HxIGFt2RYvM/VL-tqCJ3hhI/AAAAAAAACfQ/1zHBS63o-Sg/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B096.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-HxIGFt2RYvM/VL-tqCJ3hhI/AAAAAAAACfQ/1zHBS63o-Sg/s1600/Rossway%2Band%2BJane%2BDavies%2B2015%2B096.JPG" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">view from living room window, tide is in</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Some of our neighbours enjoying the sunlight on the crumbling pier.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">other neighbours going for a stroll on the beach</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">"MY red cliffs"</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">tide is in</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">evening</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">View of The Arctic Fox (in yellow, bottom right), pier and house from 800 feet out (low tide)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">165 year-old house built by Capt. John Ross with beams and planks from a ship that went aground in St. Mary's Bay, across the street</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Artist's Mark, my new studio! Painting</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">metal and wire work</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">more painting</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">polymer Art</td></tr>
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com8tag:blogger.com,1999:blog-6339310995851192437.post-31546849019738507352014-01-01T19:44:00.003-05:002014-01-01T19:44:36.080-05:00Oriental Influence<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-fveOM7OJYRE/UsS04h2nNnI/AAAAAAAACRI/rY_mw14AXSY/s1600/oriental+pendant+burlesque+blend+007.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-fveOM7OJYRE/UsS04h2nNnI/AAAAAAAACRI/rY_mw14AXSY/s320/oriental+pendant+burlesque+blend+007.JPG" width="240" /></a>I</div>
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I'm working with my Burlesque Blend, the red/bronze/black. It's my second favorite colour mix because I love those colours, for one thing, but also because they lend themselves to oriental designs. This is a necklace for a friend. It was a process piece, which took a long time, but was very gratifying since I had no idea of what I was going to end up with. Having spent the last month and a half process painting, I decided to work with the clay in the same manner, letting each choice/decision inform the next choice. I'm very pleased with the result. Earrings to come. I'll try to photograph the earrings at various stages so you can see the process.</div>
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Close up (lousy lighting - it's minus 42 degrees outside, pitch black - what else?!!!!!)</div>
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<tr><td class="tr-caption" style="text-align: center;">please click on images to enlarge<br /></td></tr>
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com4tag:blogger.com,1999:blog-6339310995851192437.post-70203042192095208432013-12-13T14:56:00.002-05:002013-12-13T14:56:24.144-05:00Sorry - I Had to Paint!<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Metro East</td></tr>
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The energy in this amazing city really influences me. I'm just glad I don't have to drive here!<br />
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<tr><td class="tr-caption" style="text-align: center;">Living on The Edge</td></tr>
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I'm still working out the titles - have to live with them a while yet. Below is a new start with the next stage beside it. Much more still to come.<br />
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<a href="http://2.bp.blogspot.com/-nGiGL1H7PN4/UqtkJVIG8EI/AAAAAAAACPw/L_W3QYtcc40/s1600/new+paintings+002+start2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-nGiGL1H7PN4/UqtkJVIG8EI/AAAAAAAACPw/L_W3QYtcc40/s1600/new+paintings+002+start2.jpg" height="320" width="245" /></a><a href="https://2.bp.blogspot.com/-BCwZNlWkSWI/UqtkIAtJklI/AAAAAAAACPg/PoXDKpNy6qc/s1600/new+paintings+002+start.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-BCwZNlWkSWI/UqtkIAtJklI/AAAAAAAACPg/PoXDKpNy6qc/s1600/new+paintings+002+start.jpg" height="320" width="237" /></a><a href="http://2.bp.blogspot.com/-BCwZNlWkSWI/UqtkIAtJklI/AAAAAAAACPg/PoXDKpNy6qc/s1600/new+paintings+002+start.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a>Process painting, that's what I do. Sometimes I'll document my process and put it on my painting blog (www.vickieturnerart.blogspot.com) </div>
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simply because I love to watch the process of other artists.</div>
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I'll continue the process on the other blog.</div>
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Next week, back to polymer clay</div>
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Sometimes we get out of the habit of making stuff, and it's easy to think the well has gone dry - I have nothing more to offer creatively - who do I think I am anyway, an artist? Hah!<br />
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The Creative Well is a very special place. It never runs dry. Every time we look at something or smell something or touch something or hear something we are adding to the Creative Well. It's usually not something monumental and it's frequently without deliberate intent, but just as drops of water can erode rock, so drops of observations can fill that well. We just need to dip in.<br />
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So, when the blank page or canvas stares back, mockingly, haul out your "stuff". Go outside your comfort zone, grab a surface you don't usually work on, do something to it - anything - hammer nails into it, throw (carefully) bleach at it, use a tool you've tucked in a forgotten corner of your stowage, and, once you've done something, scatter your "stuff" around on the surface. Before long your right brain wants to play on the new, unfamiliar surface with old, familiar "stuff" and it starts arranging, manipulating, CREATING.<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com7tag:blogger.com,1999:blog-6339310995851192437.post-59729112901302204782013-10-10T06:36:00.000-04:002013-10-10T06:37:43.501-04:00The Sand Sweeper - Completed<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Sand Sweeper, version #1</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Sand Sweeper, version #2</td></tr>
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As an abstract artist, one thing I sometimes struggle with is getting too literal. This unfolding saga has exacerbated this problem, especially if I name a piece before it is completed. I then agonize over making the piece fit the title. With this one I had partially built the vessel and hung a "tassel" from the keel, including the "brush" and the quartz crystal, and this had led to the name.<br />
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Now, how to complete it! I got stuck until I got frustrated and angry (ok, I got mad!!) and that's when I'm able to throw caution to the wind and just play "what if?"<br />
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I find I tend to set problems for myself, simply because I get a lot of satisfaction from solving problems. In this piece I had created a very strong asymmetry. With jewelry one has to establish not just visual balance but also physical balance - you don't want this thing swinging around as you walk and hanging on an angle, especially since I had restrained the asymmetry with very symmetrical links going up to the neck. The kinetic (yes, it spins) polymer clay "wheel" sitting at the stern of the vessel increased the "weight" on the left side, but continued the visual line up from the tassel, so it "felt" good there. </div>
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I needed considerable physical weight to balance the right, also I needed something relatively dark and not too small to balance the visual weight. I chose a large fossilized shark's tooth, discovered on a beach in Ponte Vedra, Florida, during one of many times my family exiled me to the beach to dispel my depressive episodes (I have over 6,000 shark's teeth! Maybe that says a lot about my state of mind at that time! See, I <u>need</u> the beach - it keeps me sane!)</div>
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The effect was that of an anchor, but it created a problem - it visually takes your eye down rather than up to the face, and that's not good in jewelry.</div>
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Furthermore, the piece hung too low for such a relatively large focal point, so I enlisted the eye of a fellow artist (my younger daughter - I knew all the difficulties of raising children would pay off someday!) and the decision was made that the piece had to hang higher, which meant the two mokume gane beads had to go. </div>
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<a href="http://3.bp.blogspot.com/-z_y74c-8rBs/UlaBn3YzA4I/AAAAAAAACOE/umkxkizgW0k/s1600/sand+sweeper+finished+003.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-z_y74c-8rBs/UlaBn3YzA4I/AAAAAAAACOE/umkxkizgW0k/s320/sand+sweeper+finished+003.JPG" width="240" /></a></div>
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The shark's tooth "anchor" was exchanged for a heavy, dark glass bead bracketed by two heavy copper endcaps to bring the eye up on the right.</div>
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The three white seaworm casings with swarovski crystals at the tips are very kinetic and also move along the black wire, creating a strong, light focal area as well as eye-catching movement. They also add a feeling of fragility to an otherwise substantial piece.</div>
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Detailed images follow:<br />
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Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com9tag:blogger.com,1999:blog-6339310995851192437.post-17054067012792854772013-10-05T18:37:00.004-04:002013-10-10T06:38:49.284-04:00Gamla : The Saga ContinuesBack home, house is listed for sale, you could definitely say my trip to the beach was eventful! We're moving - to the ocean. I guess you can only keep a Norwegian away from salt water, seaweed, wind, sand and smoked mackerel for so long before she starts to shrivel and become nasty!!! So, the excellent adventure continues. It probably explains the sea-related sagas that have taken up room and board in my head.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-T1qrKjVMg18/UlCSukw0QQI/AAAAAAAACMw/3_sOniZgzMY/s1600/Tre+Bukkenne+Bruse+001.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="217" src="http://4.bp.blogspot.com/-T1qrKjVMg18/UlCSukw0QQI/AAAAAAAACMw/3_sOniZgzMY/s320/Tre+Bukkenne+Bruse+001.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Troll from the Tre Bukkene Bruse Book Bracelet </td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-xMTrukuFj3c/UlCSutRU9HI/AAAAAAAACMs/SvPIj-_fnek/s1600/Tre+Bukkenne+Bruse+005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-xMTrukuFj3c/UlCSutRU9HI/AAAAAAAACMs/SvPIj-_fnek/s320/Tre+Bukkenne+Bruse+005.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">thatch-roofed house</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ezH0zAbrAFc/UlCSvVOL5eI/AAAAAAAACNA/nahMPEffQGI/s1600/Tre+Bukkenne+Bruse+007.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://1.bp.blogspot.com/-ezH0zAbrAFc/UlCSvVOL5eI/AAAAAAAACNA/nahMPEffQGI/s320/Tre+Bukkenne+Bruse+007.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the complete bracelet with the oldest Billy Goat Gruff</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-M-YVBg8mt3w/UlCSvZwjCgI/AAAAAAAACNM/PotH3Sak7sg/s1600/Tre+Bukkenne+Bruse+010.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="207" src="http://4.bp.blogspot.com/-M-YVBg8mt3w/UlCSvZwjCgI/AAAAAAAACNM/PotH3Sak7sg/s320/Tre+Bukkenne+Bruse+010.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The bridge under which the troll lives</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-92s_4dfNqXs/UlCSvshhBpI/AAAAAAAACNI/NHIOzAKVSro/s1600/Tre+Bukkenne+Bruse+011.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="217" src="http://2.bp.blogspot.com/-92s_4dfNqXs/UlCSvshhBpI/AAAAAAAACNI/NHIOzAKVSro/s320/Tre+Bukkenne+Bruse+011.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the book</td></tr>
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More characters have appeared and I'll introduce them as they develop.<br />
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<b>Gamla </b>(The Olden One): More feared than the Krakken, more terrifying than Surt, the Fire Giant, Gamla sits in her rocking chair, wizened and shrunken. A mountain of pillows add nothing to her diminutive size and the heavy blankets do little to keep the cold from chilling her bones. No one is sure of just how deep her knowledge of the olden ways goes, or of how far reaching her inner sight. None call her kin, yet none dare to send her away.<br />
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Gamla stretched out a gnarled hand, gripping my arm with surprising strength. Her skin like thin parchment stretched over a bony frame with veins dancing beneath the surface like swollen worms pulsing with life. Her years stretched thin: her body a frail 4 stone, her will - iron! Fierce determination gleamed in her eye. She had lost none of her passion. "You must tell the story, Anne-Brit!" she rasped. "It cannot end with me, for then there will be no escaping the fjaerning! " Gamla coughed and wiped some spittle from her lip, "Someone must keep watching" she hissed. "Call The Gatherer." Closing her eyes she seemed to shrink into the blankets, dismissing Anne-Brit with a deep sigh.<br />
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Liv tugged urgently at her mother's skirt. Anne-Brit was white as the lace on her blouse. "Mama, what was she talking about?" she asked, fearful as much for the look on her mother's face as for the words she had just heard. "I don't know, child...... I don't know." Her mother's voice was low. "Is she a troll?" Liv's words drew a quick glance from her mother. "Don't be rude, child." she admonished. Liv couldn't stop, "But she looks just like a troll with that one big eye glaring at me like that," she muttered.<br />
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to be continued.......Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com3tag:blogger.com,1999:blog-6339310995851192437.post-21115965577830576312013-09-24T16:09:00.002-04:002013-09-24T16:09:47.974-04:006 Days and counting!I'm on the road - one last meeting with the Sand Sweeper, then home and on the brink of another adventure. There is a need at the beach - more is unfolding than was anticipated and an awakening stirs urgently below the surface. I'm writing with tiny keys on a mobile device (does anyone have fingers that fit these things???????? Mine cover 5 keys at once, and each key has several possibilities...) Uffdah! My sincere apologies for the delay. 6 days and I will explain everything. I really appreciate your patience and your interest. I will do my best to make the wait worthwhile. A bientot!Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com1tag:blogger.com,1999:blog-6339310995851192437.post-43534198441953941362013-06-06T06:51:00.000-04:002013-06-06T06:51:04.099-04:00I'll Be Back - In The FallSummer is here and lots of company coming and activities planned. Jazz Festival is near the top of my list, as is pushing paint around. Hope y'all have a fabulous, creative summer. See you in September.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com8tag:blogger.com,1999:blog-6339310995851192437.post-39385780539095549242013-05-29T08:42:00.001-04:002013-10-10T06:39:54.199-04:00The Sand Sweeper<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-vc5qawkr6AQ/UaXxI_u2OuI/AAAAAAAACL4/ZkykEC5yXH8/s1600/urban+infrastructure+and+creche+014.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://4.bp.blogspot.com/-vc5qawkr6AQ/UaXxI_u2OuI/AAAAAAAACL4/ZkykEC5yXH8/s320/urban+infrastructure+and+creche+014.JPG" width="320" /></a></div>
As is so often the case these days, I'm obsessed. This time it's The Sand Sweeper. Perhaps it's this time in my life that has me dreaming and imagining - no, I guess I've been doing that since the day I could put together two coherent thoughts. The storyteller has been awakened. The one who thought she could only say it visually, through her paintings, is now streaming words. These vignettes seem to end in cliff-hanging anticipation and I realize, finally, that it is because they are related. They are all fragments of a larger picture, an epic Edda/Rune/Skald that has been percolating for quite a while. I look forward to each segment revealing itself, and then, to the angst of bringing them all together.<br />
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Here is the beginning of the next character - The Sand Sweeper:<br />
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The Sand Sweeper walks the beach in the grey of the early morning, as the spray from the roiling surf shrouds the driftwood in glittering capes of moisture. She studies the sand, looking for disturbances in the patterns traced by the sea nymphs. These she sweeps urgently back into the relentless waves, doing her part to ensure that the balance between sea and land is maintained, that Gjettling won't be disturbed.<br />
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"I saw her this morning, Mama!"<br />
"Who did you see, child?"<br />
"The Sand Sweeper! I saw her but she didn't know I was watching."<br />
"How do you know she didn't see you, child?"<br />
"Because she was making strange motions with her hands and singing and then she started sweeping very hard". Liv's voice dropped to a whisper, "and, besides, I was hiding" she breathed. Mama smiled, "Maybe your were dreaming. The sunsprites often play games with young children in the afternoon, when the gentle breeze helps lull then to sleep."<br />
"No Mama, it was real! I know it was her! She looked just the way you told me when you read me the poems from the Northern Skalds. She was tall with long, silver hair. Wisps of foam clung to the strands and crystals were twined in between, crystals that made song!"<br />
Her mother turned sharply towards Liv, "what do you mean: the crystals made song?"<br />
Startled, Liv looked at her mother, "I don't know how to explain it, Mama. There was a beautiful sound in my head and I knew it came from the crystals and I knew the melody and I knew the words and I was singing the song - I just knew it...... somehow."<br />
Anne-Brit's breath caught in her throat. "She saw you," she whispered. "She knew you were watching!"<br />
Grabbing her daughter's arms and pulling her close, Anne-Brit demanded, "This is important, Liv. Tell me everything you remember."<br />
Liv's beautiful, hazel eyes grew large with fear as she looked at her mother..........<br />
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<tr><td class="tr-caption" style="text-align: center;">Unfinished</td></tr>
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com7tag:blogger.com,1999:blog-6339310995851192437.post-39480655628490862482013-05-28T19:18:00.002-04:002013-05-28T19:18:08.526-04:00Burlesque Blend Workshop Finale<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Carole, Ellen, Evelynn, Gaby, Bunny, Lynda and Georgia</td></tr>
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Such a great workshop to finish up with in Montreal! An enthusiastic, youthful and obedient class - what more could an instructor ask? They responded to my encouragement and gentle prodding (ok, they responded to the lashings and browbeatings) and turned out some beautiful pieces.<br />
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We worked hard and had a ball:<br />
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<tr><td class="tr-caption" style="text-align: center;">Nicole's fabulous studio added to the creative "ambiance"</td></tr>
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<a href="http://3.bp.blogspot.com/-sfzc16DiFrQ/UaU4ZRz3vNI/AAAAAAAACLA/m1Srx0SDA-o/s1600/photo+%25286%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-sfzc16DiFrQ/UaU4ZRz3vNI/AAAAAAAACLA/m1Srx0SDA-o/s320/photo+%25286%2529.JPG" width="240" /></a></div>
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<tr><td class="tr-caption" style="text-align: center;">Georgia concentrating</td></tr>
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Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com2tag:blogger.com,1999:blog-6339310995851192437.post-86282261996999406172013-05-07T12:30:00.001-04:002013-05-07T12:30:45.949-04:00Burlesque Blend - More Color Variations<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-McWaKJY1Yik/UYkpzKk3JtI/AAAAAAAACJw/fOLEBMlsvAM/s1600/workshop+2+001+copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="164" src="http://2.bp.blogspot.com/-McWaKJY1Yik/UYkpzKk3JtI/AAAAAAAACJw/fOLEBMlsvAM/s320/workshop+2+001+copy.jpg" width="320" /></a></div>
In preparation for the final workshop this coming weekend, here are a few more color variations. These are less dramatic, but very elegant. When exploring a particular technique, keeping certain design elements similar, really helps you to see the impact of the elements that you are experimenting with. In this case, the shape of the bead and the shape of the "path" are similar and this makes it easier to concentrate on color.<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com2tag:blogger.com,1999:blog-6339310995851192437.post-22051880708560559792013-04-12T10:24:00.000-04:002013-04-12T10:24:17.872-04:00Pretty in Pink<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-peWswlbdw2Y/UWgVc01kIXI/AAAAAAAACJM/_KCXwg69fN4/s1600/The+Burlesque+Blend_Pretty+in+Pink+014.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="http://2.bp.blogspot.com/-peWswlbdw2Y/UWgVc01kIXI/AAAAAAAACJM/_KCXwg69fN4/s320/The+Burlesque+Blend_Pretty+in+Pink+014.JPG" width="320" /></a></div>
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More Burlesque Blend pieces as I prepare to teach these upcoming workshops (yes, I'm anal-retentive, obsessive-compulsive!) The interesting thing about this particular colour combination is how beautiful it looks on all types of skin. Pasty-white or deeply-tanned, this just glows.<br />
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<a href="http://2.bp.blogspot.com/-6ZcjDPlnMGI/UWgVcI8h0tI/AAAAAAAACJI/nWPlqHgM_IQ/s1600/The+Burlesque+Blend_Pretty+in+Pink+003a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="149" src="http://2.bp.blogspot.com/-6ZcjDPlnMGI/UWgVcI8h0tI/AAAAAAAACJI/nWPlqHgM_IQ/s320/The+Burlesque+Blend_Pretty+in+Pink+003a.jpg" width="320" /></a>The design in this piece works well for me. The asymmetry of the pattern in the focal piece keeps the necklace from becoming boringly symmetrical; the large amount of pink in the two pieces flanking either side of the focal element draw the eye away from the middle and up towards the face; the next two flanking pieces, with the diagonal patterning moving diagonally down and out stop the eye from leaving and pulls it back to the central elements.<br />
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The finishing details often get neglected because one gets so focused on the clay technique. In this case, although the pink is very cool, suggesting silver would be a good accompaniment, the metallic sparkle in the 3 central pieces is more muted and casts a bit of a gold tint, which knocks back the colour intensity in the polymer and also allows me to choose spacer crystals that are metallic gold-tone with a hint of pink interference. These crystals are flanked on each side by an oblong, faceted black crystal and this combination really enhances the sparkling feel of this piece.<br />
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To finish off the necklace, round black agates are used instead of crystals, keeping the focus in the main polymer area and providing a very comfortable feel on the neck. Notice, though, that it is not just a bland, monotonous strand of beads. These agates are broken up periodically with a pink/gold interference tube seed bead, again adding interest, but not detracting from the main attraction.<br />
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I'm working out more colour combinations for variety for the students. It's not logistically feasible to structure a workshop so every student can choose every element, but colour is very personal, and where possible, I like to provide that choice while maintaining limits on size, shape, pattern, etc., as seen here:<br />
<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com0tag:blogger.com,1999:blog-6339310995851192437.post-66867287031004235122013-04-10T08:39:00.000-04:002013-04-10T08:42:06.684-04:00Studio Tip #5: Slicing a Round Log<div class="separator" style="clear: both; text-align: center;">
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I'm up to my eyeballs preparing for the upcoming workshops that I'll be teaching over the next 4 weeks! In the meantime, here's a short video to show you how I slice round canes/logs, keeping them from flattening out on the bottoms or from squishing them. If your clay is very soft, let it sit for about 20 minutes before you slice (I must admit, I never have that amount of patience!) Polymer clay is "thixotropic". That means, like yogurt and acrylic paint, when you work it it becomes thinner, but when it then sits for a while, it firms up again (to varying degrees). Sorry about the music - I always have it on in the studio and consciously don't notice - it's that much a part of my creative process, lol.<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com4tag:blogger.com,1999:blog-6339310995851192437.post-66325863047321377302013-04-05T11:14:00.000-04:002013-04-05T16:35:20.252-04:00Polymer Clay 101 - Chapter 1: Think Wax!I have decided to post a series of basic information in addition to my regular posts.<br />
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This is the beginning of a monthly (hopefully!) series of posts that are intended to give you my experience with polymer clay and my observations of this unusual medium, from the bottom up. I would like to help new clayers to understand the medium, to become familiar with its quirks, so they can concentrate on creating, not getting bogged down because of "failures" due to technical problems. I'm a firm believer in there being no mistakes in creative endeavors, but it's heartbreaking and frustrating to have your efforts end up broken, burnt, or otherwise useless. This is meant solely to offer my lessons learned, observations made and conclusions drawn during my 24 years' progress as a polymer clay artist.<br />
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1: I don't think of polymer clay as "clay". It does not act like earthen clay at all. I have come to think of it in terms of "wax" as it behaves similarly to wax, and this reminder helps me when I'm working absentmindedly and not getting the results I would like. Wax softens with heat. So does polymer clay. I often pack the clay into my clothing before starting a day in the studio, and this warms up the clay safely. That does not mean warming up the clay results in "conditioned" clay - it just helps with the conditioning process. The clay still needs to be thoroughly mixed to redistribute component chemicals and yield a good, strong, final product.<br />
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Earthen clay takes an impression quite easily. Wax does not, neither does polymer clay, especially if it is not warm, soft and pliable, so there are several things you can do to help it warm up. Friction transfers kinetic energy to the clay, thus warming it a bit as you roll vigorously across the surface with your acrylic rod. Putting hard pressure does not do much to help. Think of putting pressure on a wax candle - see? Warming up your instruments (pasta machine, tile or glass work surface, etc. will help, mainly because these items tend to be cooler to the touch and suck the heat out of the clay as you work on it! So warming these up with a hairdryer (or a heating pad) before you start working, really helps.<br />
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Speed also impacts on the results. Unless your polymer clay is very warm, soft and pliable, you need to affect it slowly in order to achieve good results. For example, the images below show fairly softened clay run through the pasta machine rolling slowly (#1 - on the left) vs rolling quickly (#2 - on the right):<br />
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These pieces were conditioned, the same size, rolled on the same setting on the same pasta machine, using the same rubber stamp. The difference is due to the speed of rolling. Rolling slowly allows the clay to "yield" to the pressure and conform to the stamp shapes whereas rolling quickly causes a wave of clay to move ahead and the impressions are not as deep and are quite distorted.<br />
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Thinking of polymer clay as similar to wax helps to understand other things that happen. For example, translucent clay has a property known as plaquing - forming small, flat, roundish discs below the surface when baked. This is a wonderful quality when you want to mimic jade or some other stones, however, it can be a nuisance when you don't want it. The reasons for this occurrence are not fully understood, although some feel it may be moisture from your hands that contributes to it happening. In watching what happens when I run translucent clay through the pasta machine, it became evident that rolling too quickly tended to trap minute amounts of air in the clay, which looked like small, whitish striations barely visible below the surface. Rolling slowly, this did not happen. I feel that this is another situation where rolling quickly doesn't allow the clay to conform to surface differences, whereas rolling slowly does, and it gives the clay time to fill in depressions and air does not get trapped. This seems to be particularly important in translucent clay which, for some reason, seems more waxy than pigmented clay.<br />
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'nuff said! Please feel free to leave feedback.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com10tag:blogger.com,1999:blog-6339310995851192437.post-22655179773333760392013-03-28T14:06:00.000-04:002013-03-28T14:06:24.536-04:00Mokume Gane - My Way: The Burlesque Blend<div class="separator" style="clear: both; text-align: center;">
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Spring is finally here, and, along with spring rains comes a packed spring teaching schedule! I'm home now for a couple of weeks, then off to Florida and after that, a final workshop to be given back here, in Montreal. I'm focused on teaching the Burlesque Blend this year, so, for now, the rustic, gritty, organic stuff will have to take a back burner. I find it interesting to see the effect that teaching has on my creativity - it squelches it totally!!! I get so left brain that my family refer to me as "Sheldon". For those of you who watch The Big Bang Theory, you'll get the point. It becomes all about the chemistry, the physics, the engineering, even the mathematics (even Sandra is working out the math of her latest effort!) of the project. For me, it's important that students not only understand the "how" but also the "why" of a particular aspect of the technique. I've always felt that an artist who understands his medium is in the best possible position to explore and take risks, and therefore is more likely to make new discoveries. Putting all this information into digestible form is time-consuming and laborious, but I started out as a "lab rat" and I love it there!<br />
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I've come to realize that there are many new artists coming to polymer clay who don't have a solid background in the medium or in the basics of working with the medium. I would like to do a <b>Polymer Clay 101</b> post, once a month, with progressive technical as well as technique information. Some of it you will undoubtedly already be familiar with, but there may be little tidbits that will help you with a niggling problem.<br />
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For example, I was asked to look at a bracelet that had broken after wearing. The artist asked if I had any idea what the problem was. She had not reinforced the bracelet with wire, but stated that she thought maybe the problem was that she had used an inferior clay, Premo. After picking my jaw up off the table, I told her that Premo is a high-quality, artist-grade polymer clay and not likely the cause of her problem. Ultimately it turned out the problem was not knowing what time or what temperature was needed to cure Premo properly. The result of too low a temperature and a very short cure cycle led to the breakage.<br />
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If you think this kind of monthly post would be of benefit, please leave a comment and let me know. If there are specific questions you have that you would like to see addressed in this post, please let me know. I'll be glad to do my best to deal with it.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com8tag:blogger.com,1999:blog-6339310995851192437.post-76679164655483995972013-03-05T13:27:00.000-05:002013-03-05T22:19:42.052-05:00Rustic Relics<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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Yin and Yang, contrast - it is as vital in approach as it is in design. We've talked about taking a class - controlled, anticipated outcome. Now we'll talk about the contrast: the "fly by the seat of your pants, breathlessly, fearlessly, giddy with fear and expectation of what lies over the next rise" kind of contrast - going into the unknown, risking, experimenting. This is where intriguing discoveries are made, most often disguised as so-called mistakes. Judging an outcome as a mistake reveals that one has already set the parameters for the outcome of the effort. There is an expected result, and, barring achievement of that result, we judge the outcome a failure, a mistake.<br />
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Here I present my latest Eureka! Pretty? Not by any definition! Fabulous? Absolutely!<br />
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<tr><td class="tr-caption" style="text-align: center;">light shining through behind to show translucency of top</td></tr>
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Here's how it came about. It was time for me to<br />
experiment. I wanted to work with the ivory and add the feel of glass and get really rustic - the primitive ceramic/pottery/faience type rustic. My studio does not even remotely resemble those pictured in glossy magazines. I usually have to search around for a clear space that will hold my backside, so fat chance of finding a clear space to park a sheet of clay! (The Arctic Fox often suggests that he hang a large sheet of melamine/plywood from a pulley system bolted into the ceiling above my work surface. That way, when I run out of space, I can just winch a clean surface down onto the existing chaos and start fresh). He thinks he's witty!!!<br />
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I try to find a used piece of wax paper to place the sheet of bone/ivory clay down onto. I don't want to use deli wrap (silicon-too hard to find, or dry wax-leaches plasticizer) or plain paper (leaches also). I spot a piece and plunk the clay down. I make up the translucent, adding dry pigment, white acrylic paint, embossing powders-just a trace (white, black and pale turquoise) onto half the clay, roll out thinly, tear in half, place the relatively clean half on top, roll out thinly, then roll up roughly, leaving creases and overlapping edge, cut into sections about 1/4 the height I want the finished bead to be.<br />
<a href="http://1.bp.blogspot.com/-ElrkaVOg5s8/UTYytA06QRI/AAAAAAAACGk/72teLON9Wm0/s1600/rustic+experiments+014a.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ElrkaVOg5s8/UTYytA06QRI/AAAAAAAACGk/72teLON9Wm0/s320/rustic+experiments+014a.jpg" width="279" /></a><br />
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<a href="http://2.bp.blogspot.com/-HXxEJugebPA/UTYytWjjzOI/AAAAAAAACGo/uChkabGebQE/s1600/rustic+experiments+017a.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="305" src="http://2.bp.blogspot.com/-HXxEJugebPA/UTYytWjjzOI/AAAAAAAACGo/uChkabGebQE/s320/rustic+experiments+017a.jpg" width="320" /></a> I then pick up the bone/ivory sheet and notice something has stuck to my clay. It is thin, transparent, and brittle. I realize it is dried white glue. I use wax paper under items that I glue, and now I have dried glue on my clay. No problem. I know that PVA glue is very compatible with polymer clay (I bake it into the cores of thin bangles braced with paper). I'll just leave it. It will probably just disappear. I roll up the bone/ivory, shape it into the bead, affix the translucent on top, blend the two, distress with my favorite texturizing tools (another post another day) and bake. I decide this time to antique with black acrylic paint because I don't want oil paint staining into the surface of this bone/ivory (maybe my right brain knew something I didn't!).<br />
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<tr><td class="tr-caption" style="text-align: center;">without the red outlines</td></tr>
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<a href="http://1.bp.blogspot.com/-7ESqWL1BbSY/UTYytagJbZI/AAAAAAAACGs/Npy7r5C4pzY/s1600/rustic+experiments+018a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-7ESqWL1BbSY/UTYytagJbZI/AAAAAAAACGs/Npy7r5C4pzY/s320/rustic+experiments+018a.jpg" width="316" /></a>I wipe off the excess paint with a damp rag and notice distinct spots that have taken no paint at all, smooth in the midst of texture, outlined with strong detail! I love the look! It has to be the dried glue. It prevented the texture from affecting that area and being dried and brittle when attached, it "broke" when manipulated into shape. (I will play around with this and see where it takes me) Knowing that I've used acrylic paint for the antiquing, and that acrylic paint buffs to a beautiful high gloss, I use the buffer to make it gleam. It really fascinates me! I ask The Arctic Fox why I find this so much more intriguing and delightful than all the "pretty" pieces I make periodically. He responds, "Because you love the process!" He's absolutely right! Don't tell him - he's already too male!<br />
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Sometimes it's good to push through your "mistakes"!<br />
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Some more images below:<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com13tag:blogger.com,1999:blog-6339310995851192437.post-3290904114197684402013-03-01T12:25:00.001-05:002013-03-01T12:56:20.832-05:00Annus Horribilis! <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">My first attempt at a Rock Cuff Bracelet</td></tr>
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After the fire at Buckingham Palace, The Queen stated the above! Ditto! 6 weeks of Whooping Cough, a failed colonoscopy (the doctor finally told me he was going to stop the procedure and end the <i style="font-weight: bold;">torture</i>), and now major dental work on all 4 quadrants - I'm swimming through a red fog of pain and wondering if this is what the writer meant who said, "old age is not for the faint of heart!" My poor little right brain is cowering in a far corner, whimpering and making weird gestures with her hands. Will she ever risk the cold hard light of reality again? What to do? What to do?<br />
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I know! Take a class!<br />
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<a href="http://2.bp.blogspot.com/-ugxxMIVC5m0/UTDhPuks5DI/AAAAAAAACFc/boUNKZ0CC6U/s1600/022.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="286" src="http://2.bp.blogspot.com/-ugxxMIVC5m0/UTDhPuks5DI/AAAAAAAACFc/boUNKZ0CC6U/s320/022.JPG" width="320" /></a>Not only does a class relieve you of having to make any decisions, it's delightful and approved playground time <u style="font-weight: bold;">and</u> it keeps you current with progress being made by leaders in the field. Regardless of how many years you have been working with polymer clay, there are still new techniques being developed and you may find it sets you off on entirely new path in your efforts. If you find that the work of a particular artist is intriguing, beguiling and leaves you wondering how certain aspects were done, take the class. If you can attend one in person, that's even better. The camaraderie will lighten your spirits considerably, and, as my Arctic Fox says, "Creative people need to be with creative people." However, if that is not possible, this is the age of technology and classes are given on dvd, online, and through podcasts, and they are frequently of high caliber. Thank you <b>Melanie Muir</b> and <b>Alison Lee</b> of <b>Craftcast</b>. Melanie has a Craftcast class (moderated by Alison) that is fabulous. She has amalgamated many existing techniques and added her own twist and come up with a wonderful, entertaining, instructive class on her <b>Rock Cuff Bracelets</b>. For over an hour I lost myself in her wonderful Scottish burr and her lucid and logical instruction. She holds nothing back, and, what makes me happy, does not require you to purchase scarce items to accomplish a beautiful end result. Thanks again, ladies. You managed to get me hoping this new year will be an <b>Annus Mirabilis</b>!<br />
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PS. No, this is not a paid advertisement. These ladies do not know I'm posting this (I hope they don't mind!)<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com8tag:blogger.com,1999:blog-6339310995851192437.post-83913339158546303972013-02-13T13:10:00.000-05:002013-03-01T12:55:47.866-05:00Mokume Gane<div class="separator" style="clear: both; text-align: center;">
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I just finished my babysitting gig and I must admit - 3 young boys (my grandsons) wear you out!!! I had 2 girls and they were emotionally draining, but boys - let's just say I need about a week's bedrest!<br />
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My last post detailed the cane I made from the scrap left over from my first attempts at mokume gane, 18 years ago. The slices from the mokume gane stack that I demoed turned out so well I made some beads from them. As you can see, even this primitive form of mokume gane yields some nice results.<br />
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The key with mokume gane is CONTRAST. That's a very important design principle. To me it's one of the most important. If I show you a sheet of white paper what would you see? Probably not much. However, if I put two black dots and a larger black triangle between and below them, you could see that it obviously is a picture of a polar bear in a snowstorm :-)<br />
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The point is that the white defines the black and the black defines (or "informs" as some purists put it) the white. There are many design elements that can be manipulated to provide contrast: shape (organic vs geometric), line (thick vs thin), texture (smooth vs rough), colour (hue, saturation (pure vs dull), temperature (warm vs cool), value (light vs dark), just to mention a few.<br />
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Over the next few weeks I'll be discussing my experimentation with mokume gane and give a few tips on my way of doing this amazing technique.<br />
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<br />Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com5tag:blogger.com,1999:blog-6339310995851192437.post-15101186848864902122013-01-26T13:15:00.003-05:002013-02-21T07:59:10.361-05:00Old Canes Never Die....... unless they are cured! But here's the reality of clay - it can start to cure at 90 degrees Fahrenheit (Kato starts to cure at 115 degrees F)! So those of you living in warm climates - beware!<br />
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I've seen a fair bit on blogs and pinterest lately about warming up old clay. The suggestions have been to put the clay in a ziplock bag and drop it into a bowl of hot water, or to put it on a heating pad. These ideas are only of use if you carefully monitor the temperatures involved, otherwise you may be shortening the shelf-life of your clay.<br />
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The best way to store clay is in a cool, dark place. Light, even artificial light, affects clay because UV radiation breaks down polymer over time.<br />
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Warming clay up against your body is a good idea because, although your internal temperature is around 98.6 F, your surface skin temperature is usually around 10 degrees lower. This bead was just made with clay that is 18 years old!<br />
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<a href="http://1.bp.blogspot.com/-OWcQuhsMccI/UQQEata4N6I/AAAAAAAAB6s/xaaYXG5A6pM/s1600/old+canes+006.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="297" src="http://1.bp.blogspot.com/-OWcQuhsMccI/UQQEata4N6I/AAAAAAAAB6s/xaaYXG5A6pM/s320/old+canes+006.JPG" width="320" /></a>I've decided to use up all my old clay canes and other experiments. With the pendants I'm currently making,<br />
like the Wind Whisperer, I want some rustic, ancient, woody/bone/resin type beads, and I saw this cane buried under a pile of old experiments. I had made my first mokume gane and didn't understand the role translucent played in highlighting metal leaf in this process so the result wasn't totally satisfactory since much of my silver leaf disappeared, hidden by the opaque bone layer. I then took all the scraps and stacked them and rolled a log, sliced it lengthwise into long, 1/4 rounds, flipped and reassembled them to experiment with the Natasha bead technique. the result was this cane.<br />
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I only have 4 inches left, and, although I'm taking thin slices and covering scrap clay to make the beads, I'm a post-war baby and start to panic when I think I'm running out of something I find useful, so the following is to show you my process for reproducing this look (since I didn't keep lab books for my clay experiments when I first started out!)<br />
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I used Premo white, beige, ecru and burnt umber. I used silver leaf (aluminum, not sterling)<br />
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I had mixed up an ivory using ecru, white and burnt umber but I've since changed to cad yellow, white and burnt umber so I'm using the new formula for ivory. I then mixed up some of this ivory with more burnt umber and beige to make the mid-brown, more translucent piece shown here.<br />
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The sheets were rolled out on the thickest setting and cut the same size and shape and the silver leaf adhered to the medium brown piece.<br />
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These were stacked from dark to light. You'll notice that they are not perfect rectangles. I prefer to do mokume gane this way since I pinch and stretch and compress the stack till it takes the shape of a rectangle. In doing this I am distorting the layers slightly and I find this enhances the variation of the colour patterns when I slice thin sheets off.<br />
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Flatten this sandwich out till it fits through the thickest setting on the pasta machine. Roll through. Cut in three, stack, roll through again, cut in three, stack, press onto a tile or glass surface so it adheres well and then even up the edges a bit.<br />
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Spray the surface with water as a release agent and use various implements to distort the surface. When using straws or metal tubes to cut small circles, I spray water up into the tube to help keep the clay from sticking and getting pulled out of the stack. I use a rocking/circular motion as I gently press down and also as I slowly remove the texturizing tool. This helps keep the clay in the stack.<br />
Use a paper towel to remove as much water as you can, flipping the tile over to drain any water out to the surface so you can absorb it. You don't want water trapped in the clay.<br />
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Press the stack together and roll your acrylic rod to compress the stack a bit to adhere the cut pieces so they don't fall completely apart when you slice.<br />
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For slicing I use the Thomas Scientific blade(shown in the post "Demo Part 1: The Ossifibulous Bracelet"), a new one. I clean the blade with a baby wipe between each slice. If you have difficulty controlling the blade, raise the stack up onto a scrap stack BEFORE you begin making the patterns in the stack (so you don't lose the tight grip the clay has on the surface). Take your time slicing. It is easier to feel the angle of the blade and make minor adjustments if you are going slowly. The movement that works best for me is a slicing movement slightly on the diagonal as I am drawing the blade towards me. That way you are cutting, rather than pushing the clay.<br />
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Check out both sides of the slice to see which one you like the best. I place my slices on wax paper so I can lift the paper afterwards, look at the patterns from underneath and decide which slices I want to flip over.<br />
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This tiny stack and slow slicing yielded 8 full and 2 3/4size usable slices - that's great!<br />
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<a href="http://2.bp.blogspot.com/-CRiPWs7pVSY/UQQbOY4-HhI/AAAAAAAACAc/0pt7SR1ABLg/s1600/old+canes+027.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="215" src="http://2.bp.blogspot.com/-CRiPWs7pVSY/UQQbOY4-HhI/AAAAAAAACAc/0pt7SR1ABLg/s320/old+canes+027.JPG" width="320" /></a>This was a nice side benefit of reconstructing the old scrap cane, but now it's time to stack the scrap left over, including any solid pieces of ivory. I stack it all, stretch, adding thinned out ivory to separate the darker layers, then roll this stack into a log. Cut the log lengthwise, then cut each long half in half lengthwise again so you have four longish quarter rounds. Flip these over and assemble as per a Natasha bead (if you don't know or can't find instructions for the Natasha technique, leave a comment and I'll show it on the blog)<br />
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The original bead made 18 years ago from the original mokume gane scrap (I like to keep one bead for reference and future development)<br />
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The new bead.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com7tag:blogger.com,1999:blog-6339310995851192437.post-76929492532154253832013-01-18T11:18:00.002-05:002013-02-21T09:13:06.583-05:00Demo Part 2 (of 2): The Ossifibulous Bracelet<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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I'll have to rename my studio the "Turner Trench" because of all the ancient relics that have been unearthed here - faux fossilized bone, fossilized husband (aka The Arctic Fox) - just kidding, honey! I've just been told that the above line is classic passive/aggressive behaviour - no! Really?!!<br />
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Let's pick up where we left off.<br />
When you have covered the entire bracelet with the faux bone it should look something like this (I couldn't get the auto focus to work until I placed a strong contrast shape in the field!)<br />
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There will be variation in thickness of the slices, overlapping areas and bare areas - in other words, it will be very irregular.<br />
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At this point I use my handy-dandy WABL wand (designed by me, named by me after me, purely for posterity's sake; no ego involved whatsoever, I swear!) You could use a large knitting needle. I like this thin acrylic wand because I can see through it. Anyway, I use this to smooth out all the irregularities by rolling them out to the outer edge, following the direction of the striations on the faux bone slices. I also use my fingers to smooth areas difficult to reach with the wand and to distort the striations a bit.<br />
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This helps to create randomness in the outer edge because areas with thick or overlapping slices will bulge out slightly on the outer edge, creating irregularity which, if you choose, you can remove, or keep as part of the design shape.<br />
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All smoothed out.<br />
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It's time to create the focal edge. The original bracelet has a dark grey, almost leather-look edge and it goes very will with silver accessories.<br />
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<a href="http://1.bp.blogspot.com/-bn01JNW3F7s/UPlvzIdX3XI/AAAAAAAAB1I/5LtGYlMHrRY/s1600/demo+part+2+ossifibulous+016.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="304" src="http://1.bp.blogspot.com/-bn01JNW3F7s/UPlvzIdX3XI/AAAAAAAAB1I/5LtGYlMHrRY/s320/demo+part+2+ossifibulous+016.JPG" width="320" /></a></div>
<a href="http://3.bp.blogspot.com/-vPMJEM8ndeI/UPlvy6JHVUI/AAAAAAAAB1E/WLp9vo3Wn_8/s1600/demo+part+2+ossifibulous+018.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="211" src="http://3.bp.blogspot.com/-vPMJEM8ndeI/UPlvy6JHVUI/AAAAAAAAB1E/WLp9vo3Wn_8/s320/demo+part+2+ossifibulous+018.JPG" width="320" /></a><br />
I wanted this one to have a more mechanical, steampunkish remnant that related to gold, or warm tones.<br />
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To find more detailed directions for making this, please go to the Scrap Clay Process post earlier in the blog. You can find this easily by going to the small "search" window on the left, lower down, of the main page and typing in "scrap clay process". Any of my posts that involve this process will come up in a list and you can choose the one you want - in this case I believe it is Sept. 29, 2012 - Scrap Clay Process. Ok, ok, I know, I am Sheldon incarnate (with a touch of Penny thrown in to humanize me!)<br />
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Tear off (or cut - your choice) a piece and apply over the edge. Add some detailing (in this case I want to simulate riveted plates of metal)<br />
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Distress the faux bone veneer if desired as described in the first faux fossilized bone video. This picks up the paint used to antique and adds a lot of interest to the piece. You will see this at the end.<br />
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It's time to add the finishing touches - bling!<br />
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You will need to experiment with the amount of black clay in the little ball that forms the bezel around the flat-backed crystal. You want enough that it bulges up around the sides and holds the crystal in place, but not so much that it overwhelms the crystal. I make all the balls at the same time so the sizes will be the same for all crystals of a particular size. It's frustrating when you get the perfect crystal setting and don't know how big a ball you used to get it! Flatten the ball slightly before you set it in place.<br />
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<a href="http://4.bp.blogspot.com/-ihKzcniCv1w/UPlyUMB0KeI/AAAAAAAAB2o/Ln3ANV3pglI/s1600/demo+part+2+ossifibulous+025.JPG" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="320" src="http://4.bp.blogspot.com/-ihKzcniCv1w/UPlyUMB0KeI/AAAAAAAAB2o/Ln3ANV3pglI/s320/demo+part+2+ossifibulous+025.JPG" width="281" /></a><br />
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<a href="http://2.bp.blogspot.com/-DW7-AyM_LmA/UPlyVs813FI/AAAAAAAAB28/QZb1WDChCno/s1600/demo+part+2+ossifibulous+030.JPG" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="320" src="http://2.bp.blogspot.com/-DW7-AyM_LmA/UPlyVs813FI/AAAAAAAAB28/QZb1WDChCno/s320/demo+part+2+ossifibulous+030.JPG" width="300" /></a><br />
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Place the flat-back crystal (I use Swarovski's - they are really beautiful!) on the flattened ball. Use the flattened back end of a paint brush or rubber-tipped clay tool to gently, evenly push the crystal down till the sides come up and encase the crystal. If you want you can use a rubber-tipped clay tool to gently push the edges in so they hold the crystal firmly. If you are worried that it won't hold, gently pry the crystal off and glue down with a tiny bit of cyanoacrylate glue.<br />
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Here is the bracelet ready for the oven. I place it on a double layer of polyester batting and cover with foil. Bake about 1 hour.<br />
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Here it is after sanding to 1000, antiquing with oil paint (half black, half burnt umber) and buffing on the Foredom.<br />
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Both sides of the new one. You can see the difference in the faux fossilized bone in the two bracelets. The one with the charcoal attachment has a finer, more even bone striation, whereas the one with the bronzey metal attachment has a more irregular striation with much more translucent, yielding more dark areas peeking through. </div>
Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com8tag:blogger.com,1999:blog-6339310995851192437.post-21275938137153414642013-01-17T09:19:00.002-05:002013-01-17T11:49:46.990-05:00Ocean Waves Jewelry Collaboration<br />
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<tr><td class="tr-caption" style="text-align: center;">Please click on pictures for larger image</td></tr>
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You will have noted that I don’t have ads on my blog. That is by design. But sometimes I find an entity that shares my obsession for doing it right.<br />
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Ocean Waves is such a company. They are small by design with a passion for producing very high quality polarized sunglasses. I got to know them when I lived in Florida and they got to know of my work. For the past 23 years, they are the only sunglasses I have worn because, in my opinion, they are the best available- at any price.<br />
What does all this have to do with jewelry, you ask? Well, a while back they contacted me and asked if I would consult on a jewelry project and while the end product is very different from my personal work I thought it would be interesting. It was!<br />
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I consulted on colours and frame designs and the result is now available as the Ocean Waves Diva Collection. Swarovski Crystals are used to create a high fashion look of elegance and matching earrings and necklace are available.<br />
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One of the benefits I received was the ability to offer you a special deal on ANY pair of Ocean Waves sunglasses you might buy (not just the Divas). So if you want to protect your eyes and look like a Diva, go to www.oceanwaves.com and check them out. I’ve included a link on the left.<br />
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They make models for the whole family and if you use my promotional code- SFREE- you will get free basic shipping.<br />
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I rarely recommend products but Ocean Waves has the best warranty in the business and I like them because they spend their money on product development- not advertising (<b>that </b>they get by word of mouth!). If you decide to buy a pair I know you’ll be more than satisfied.<br />
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So here’s the <b>studio tip:</b> this project had nothing to do with polymer clay- that’s why I wanted to do it. Sometimes as artists we get stuck in a closet of our own making. Some of us even carpet our ruts (to quote Mary Stewart) to make them nice and comfortable. We need to be constantly stretching ourselves and getting new inspiration.<br />
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Yesterday I was at the Montreal Museum of fine art looking at hundreds of millions of dollars in post impression art. I am absolutely sure that at some point, the inspiration from that visit, along with my Ocean Waves project, will show up in my work.<br />
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P.S. Their website is undergoing major reconstruction so please be patient with them.<br />
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<tr><td class="tr-caption" style="text-align: center;">Ocean Waves Sunglasses - DIVA Collection</td></tr>
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Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com0tag:blogger.com,1999:blog-6339310995851192437.post-31680086178868593672013-01-14T13:49:00.001-05:002013-02-21T09:14:23.830-05:00Demo Part 1: The Ossifibulous Bracelet<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-5O7Jjz2qaYA/UPNZk9uqBVI/AAAAAAAABfw/VHWKmID4zj0/s1600/faux+bone+bangle+002.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" src="http://1.bp.blogspot.com/-5O7Jjz2qaYA/UPNZk9uqBVI/AAAAAAAABfw/VHWKmID4zj0/s320/faux+bone+bangle+002.JPG" width="320" /></a></div>
In following along with my process for creating this bangle you may decide that it is too work intensive and that it would be easier to just cut out a black circle, cover it with faux bone slices and be done with it. My goal is to make a piece of art that looks like it could be the real thing and that would be unique. A second bangle would appear related, but would not be able to duplicate this one exactly. I also want these to be high quality, sturdy and solid, even though they are relatively thin, so this is an opportunity to show you how I reinforce the strength of thin bracelets. I also must admit that I love the process. If you ever get the chance, read "Mastery" by George Leonard. To master something you have to fall in love with the doing; in other words, the journey is the joy, the destination being merely the beginning of the next journey.<br />
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Randomness is difficult to achieve. Our culture defines perfection as something flawless, and rewards us accordingly. However, as I've said before, perfection doesn't interest me, so I work hard to create flawed, uneven, irregular, intriguing beauty. It's not easy - sit down with a bowl of bead soup and try to string a totally random necklace. After a few minutes, you'll be looking for shape or size or colour to balance or break up a pattern that is emerging randomly, thus forcing a deliberate pattern. The secret is to limit time. If you don't think you have the time to complete it you'll just do it and not think about it. Or do it while you're engaged in something else, something left brain, like conversation. That helps also. I mention this to explain some of my decisions in the process; they keep me from being a perfectionist.</div>
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The Process:<br />
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<tr><td class="tr-caption" style="text-align: center;">re-inforcement template</td></tr>
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Draw out your bracelet on paper. Measure and draw the wrist opening, leaving a little bit of room for wrapping faux bone slices around the inside edge. Within that shape, draw the paper reinforcement slightly inside the outer edge and slightly inside the inner, wrist edge. Trace that reinforcement shape and cut it out. Use it as a pattern for drawing two reinforcement shapes onto heavier paper (I use manila file folders). Cut these two out but leave the wrist hole intact until after the next step.<br />
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<tr><td class="tr-caption" style="text-align: center;">wrist template</td></tr>
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Draw the actual wrist hole (don't have it perfectly tight at this point because you still need a bit of room inside to wrap the faux bone around) within the inner circle and draw two registration marks across all three circles. This will help you line up your reinforcement template to see where you will cut out the wrist hole. You'll see what I do with this later on. Cut out the reinforcement template, leaving the inner circle with the thin strip around it. Cut off that thin strip and discard. Label the front of one wrist hole template (you only need one of these) and the two reinforcement templates.<br />
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Run the registration marks around to the other side of both reinforcement pieces (and on the wrist hole piece) so the marks are on both sides. Lay one reinforcement piece on wax paper and brush on white glue. Let dry. Lift and flip over and glue the other side. White glue is usually PVA (polyvinyl acetate) which is closely related to polymer clay which contains a basis of PVC (polyvinyl chloride) resin and a liquid plasticizer (making it a plastisol), so they work well together. The glue bonds to the clay during baking. Just what you always wanted to know, right? ;-)<br />
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While the glue is drying, use the second reinforcement paper form to cut out the scrap clay, rolled out on #4 on a #1 (thickest) to #7 (thinnest) pasta machine. Position the tip of the blade at approx. a 45 degree angle so the edge is beveled, tapering towards the outer edge. I put the clay on a sheet of dry wax deli paper so I can easily rotate it as I cut. Important: Flip the paper form over and cut out a second one, mirroring the first. Do not cut out the inner wrist holes in either one. This is one area where randomness comes in. Using a ready-made cutter would not be my choice.<br />
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I work with scrap clay at this stage in part because I like to use up the scrap clay, but also because, should I make a big cutting mistake, I can just ball the scrap<br />
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When the glue has dried, place the glued paper support shape into position on one of the cut scrap clay shapes. Make sure to put it in the proper orientation (that's why it's good to draw it freehand and slightly irregular. You'll notice my shape bulges out more on one side and is flat in one area - helps to align things as I go)<br />
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I now check to make sure the two halves are fairly even in shape. Spritz the back of one with water (so the second one won't stick to it) and line up the back of the second shape against it. Trim with scissors to even up if necessary.<br />
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If you had to trim, bevel that area to 45 degrees again.<br />
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Dry off any water before proceeding.<br />
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Place both scrap clay shapes onto a sheet of black clay rolled out on #5 (thinner). Use the existing beveled edge to cut the black in an extended bevel.<br />
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Close-up of the edge.<br />
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Flip both shapes grey side down onto a sheet of dry wax deli paper. Gently push the edge down all around, curving the black outside edges of both halves.<br />
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Ouside edge curved.<br />
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As you smooth down the outer edge, check for any air bubbles and pierce them now. I use a #15 quilting needle which leaves a very small hole relative to the holes left by my X-acto knife tip or a needle tool (see picture to the right). Smooth lightly over the holes with your finger to close them up a bit.<br />
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<b>Studio Tip #5</b>: These needles are quite brittle and break easily. They are also difficult to pick up. Put a little thread through the eye, wrap the eye end in scrap clay and bake. Now it's easier to pick up and use. It's still brittle and needs protection (these things aren't cheap!) So I wad up some cotton fluff and stuff enough down a plastic syringe type vial that the needle is held high enough up the tube for me to grab and is protected for travel or whatever.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-zA-EtqXS6Iw/UPRE_si6MmI/AAAAAAAABmw/MYMpZg96hqU/s1600/Faux+Bone+Bangle+process+027.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="316" src="http://4.bp.blogspot.com/-zA-EtqXS6Iw/UPRE_si6MmI/AAAAAAAABmw/MYMpZg96hqU/s320/Faux+Bone+Bangle+process+027.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">#15 quilting needle on left, acupuncture needle on right</td></tr>
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Place the glued paper support back into place on the grey scrap clay on one half of the bracelet. place the corresponding wrist cut-out, with the thin strip removed into place, lining up the registration marks.<br />
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Cut all the way through along the edge of the wrist template for about an inch at each registration mark, cutting the specific registration mark as well.<br />
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One of the two registration marks cut through to the outside. (You only need to do this on the one half)<br />
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<a href="http://1.bp.blogspot.com/-6aGN0MuFOys/UPRKOmZxyjI/AAAAAAAABpo/3-JsQnIVNWw/s1600/Faux+Bone+Bangle+process+037.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="298" src="http://1.bp.blogspot.com/-6aGN0MuFOys/UPRKOmZxyjI/AAAAAAAABpo/3-JsQnIVNWw/s320/Faux+Bone+Bangle+process+037.JPG" width="320" /></a>Flip the wrist template over and place it on the outside of that half to check the registration marks are lined up. This is how you will know where to cut the circle for the wrist hole.<br />
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Place the second half on top, aligning edges, and gently press together.<br />
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Press the edges together all around and smooth out any seams.<br />
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Place the bracelet down so the registration marks show through. Put the wrist hole template in place, aligned with the registration marks.<br />
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Cut along the edge of the wrist hole template. I make several passes (around 6 to 7), going a little deeper each time. If you try to cut all the way through on the first pass you are more likely to distort this cut and distortion here is not a good thing. Remember there is a paper form inside and the difference between the embedded edge and the wrist edge is only as wide as that thin strip you cut and discarded, so you need to be fairly precise here. Remove the cut-out.<br />
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It's time to slice our faux bone. I use a Thomas Scientific tissue blade for this (see the smaller, notched blade on the left, beneath the usually blade). I find this to be the best for thin slices.<br />
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Make a plethora of slices - ok, make a bunch! They can vary in thickness and don't dump any that are irregular. They work great in areas where you need to patch, as you'll see.<br />
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Start wrapping slices around the bracelet. I try to keep the slices going into the wrist hole thin or tear them there and stretch to bring them together. You don't want too much thickness there. Otherwise, I tend to line up the striations across the bracelet so it looks like it was cut from one piece of bone. that's a matter of preference and you could certainly wrap yours any way you choose. In lining up the striations, however, as the bracelet curves, you have excess faux bone angling down, so I tear these because I prefer a rough edge which I'll smooth out later. It gives me more random texture.<br />
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You will want to flip and rotate your slices so you get a random pattern in the faux bone. Otherwise it will become a very strong repetitive, unnatural pattern in the overall bracelet.<br />
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Continue to add faux bone slices until the entire bracelet is covered, front and back. You may choose to leave some small black areas open. Part 2 to come.<br />
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Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com2tag:blogger.com,1999:blog-6339310995851192437.post-45517443896978424422013-01-09T20:15:00.003-05:002013-01-09T20:28:34.835-05:00Video Demo #2 - Faux Fossilized Bone for Jay and Katina<div class="separator" style="clear: both; text-align: center;">
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Here is the second video demo, this one showing my process for making faux bone. It's a bit better, but I can see that I need to play around with the settings and the positioning of the camera relative to the lights in my studio.<br />
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Ran into a real problem trying to upload the video onto the blog. I was able to get it onto Youtube, so the link is here:<br />
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<a href="http://www.youtube.com/watch?v=CJrH4zrl_pI&feature=youtube_gdata">Faux bone demo on Youtube</a><br />
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I'll demo applying the slices to different shapes, including the making of the bracelet pictured above over the next few weeks.Vickieafcahttp://www.blogger.com/profile/01327189080611033972noreply@blogger.com9