Vintaj Patina Time
January 14, 2015 Inspirational Art
Who here likes mokume and also likes working with inks? I bet I’d see a lot of hands raised if I could actually see you all. This link will send you to a kind of exploration, that doubles as a tutorial, on working with Vintaj inks with a mokume technique. Vintaj is an opaque ink created to be used with metals, but Amy Crawley decided to try it out with polymer.
What I’m getting from her experiments is that this is a good alternative for opaque color layers. We already have metallic foils and gilder’s paste, and you can use oil paints or alcohol inks for varying levels of transparency, but we don’t have any good opaque options. Acrylic paints, because they become a stretchy plastic when dried, stretches when cut, so it makes a rather funky color layer that can also pull your layers apart when cutting. Trust me, I tried, and it was a mess. But the Vintaj ink doesn’t stretch. It will crack, though, which is actually kind of cool.
So I thought I’d share this with you all as an alternative idea for mokume layers. It made me think that maybe tempura paints would work in a similar manner — crackling, not stretching, when manipulated and cut. In any case, if you are up for exploring mokume layer options, this set of three blog entries and her results may get you thinking and get you playing.
Her original experiments with Vintaj just on the surface of clay is the first post Amy write on Vintaj. Then go here for the first half of her mokume and Vintaj process, and here for the final steps.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
The Infinite Colors of Nature
August 8, 2013 Inspirational Art
I grew up in California, in a coastal desert region where natural color commonly comes in muted tones. In art school, though, I was exposed to landscapes from the southwest that were painted in all kinds of bright and what I thought were unnatural colors. It wasn’t until I actually moved to New Mexico that I saw, even though I was in another desert, that the landscape paintings I witnessed were not an exaggeration. Those deep pinks and oranges, the brilliant greens and purples … they existed even there. It was then that I realized every color we know exists in nature. So thinking that a natural color palette should be restricted to earth tones is really selling nature short.
The other association with nature which is also incorrect is thinking that the natural world is all about growth and life. It is, but life is not all about growth. There is a cycle to it and part of that cycle is the mortality of all elements, the breaking down and return of things both living and inert to the earth and to their most basic components. There is such beauty in this part of the cycle–rust, cracks, crumbling, even organic decay reveals textures and colors to be appreciated.
I have to say, this kind of natural beauty is well represented in polymer. Who doesn’t love a well-done crackled surface or faux patina? Ivana Brozova from the Czech Republic has a body of work that looks to be quite heavily inspired by this side of nature. She combines crackling with some of nature’s more brilliant colors in this pendant.
If you didn’t read yesterday’s post, you should go do so. Compare this pendant, which is very similar in basic design, to the pendant from yesterday–a domed form with a single large gem for a focal point. They are both working with organic elements, but with quite divergent styles. Ivana uses a faceted gem (which, if you recall from yesterday, I said would kill off the sense of nature in that pendant) and bright colors here, but they still evoke a sense of something more organic than man-made. Chances are, if someone is asked what is represented here, I think the most common answer would be sun or sunlight. There are few things more natural than the sun, the one thing that allows nature and life to exist.
But the same goes here as with yesterday’s piece: if the surface treatment of this pendant had been some well-defined graphical pattern with perfectly straight lines or a machined look, the idea of sunlight would not have been conveyed. Cracking is a natural, organic pattern which helps keep the ray-like lines and the sparkle in the faceted gem well within our sense of natural sunlight.
Ivana has a truly lovely collection of work both similar and quite different from the piece here. For a truly special visual treat and great color inspiration, spend some time on her Flicker photostream.
Aging Like Porcelain
August 15, 2012 Polymer community news, Technique tutorials
I restrained myself from presenting any crackling techniques lately (cracked textures being a weakness of mine!) but I figure enough time has passed to share this beauty and mention a couple of polymer friends along with it.
This if the work of Tonja Lenderman. She developed this technique which is posted on Polka Dot Creation’s page for free viewing. It looks like the full-detail tutorial is being published in the upcoming issue (Pink) of From Polymer to Art, due out in less than a month. Although Polka Dot Creations is phasing out their retail shop, Lisa will still continue to distribute the next couple print issues of From Polymer to Art in the US. So do get your copy reserved through them here.
In the meantime, if you are in a crackling mood, take a crack at this technique (I had to say it!) then you can review the full tutorial to improve upon what you’ve learned.
Who here likes mokume and also likes working with inks? I bet I’d see a lot of hands raised if I could actually see you all. This link will send you to a kind of exploration, that doubles as a tutorial, on working with Vintaj inks with a mokume technique. Vintaj is an opaque ink created to be used with metals, but Amy Crawley decided to try it out with polymer.
What I’m getting from her experiments is that this is a good alternative for opaque color layers. We already have metallic foils and gilder’s paste, and you can use oil paints or alcohol inks for varying levels of transparency, but we don’t have any good opaque options. Acrylic paints, because they become a stretchy plastic when dried, stretches when cut, so it makes a rather funky color layer that can also pull your layers apart when cutting. Trust me, I tried, and it was a mess. But the Vintaj ink doesn’t stretch. It will crack, though, which is actually kind of cool.
So I thought I’d share this with you all as an alternative idea for mokume layers. It made me think that maybe tempura paints would work in a similar manner — crackling, not stretching, when manipulated and cut. In any case, if you are up for exploring mokume layer options, this set of three blog entries and her results may get you thinking and get you playing.
Her original experiments with Vintaj just on the surface of clay is the first post Amy write on Vintaj. Then go here for the first half of her mokume and Vintaj process, and here for the final steps.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Read MoreI grew up in California, in a coastal desert region where natural color commonly comes in muted tones. In art school, though, I was exposed to landscapes from the southwest that were painted in all kinds of bright and what I thought were unnatural colors. It wasn’t until I actually moved to New Mexico that I saw, even though I was in another desert, that the landscape paintings I witnessed were not an exaggeration. Those deep pinks and oranges, the brilliant greens and purples … they existed even there. It was then that I realized every color we know exists in nature. So thinking that a natural color palette should be restricted to earth tones is really selling nature short.
The other association with nature which is also incorrect is thinking that the natural world is all about growth and life. It is, but life is not all about growth. There is a cycle to it and part of that cycle is the mortality of all elements, the breaking down and return of things both living and inert to the earth and to their most basic components. There is such beauty in this part of the cycle–rust, cracks, crumbling, even organic decay reveals textures and colors to be appreciated.
I have to say, this kind of natural beauty is well represented in polymer. Who doesn’t love a well-done crackled surface or faux patina? Ivana Brozova from the Czech Republic has a body of work that looks to be quite heavily inspired by this side of nature. She combines crackling with some of nature’s more brilliant colors in this pendant.
If you didn’t read yesterday’s post, you should go do so. Compare this pendant, which is very similar in basic design, to the pendant from yesterday–a domed form with a single large gem for a focal point. They are both working with organic elements, but with quite divergent styles. Ivana uses a faceted gem (which, if you recall from yesterday, I said would kill off the sense of nature in that pendant) and bright colors here, but they still evoke a sense of something more organic than man-made. Chances are, if someone is asked what is represented here, I think the most common answer would be sun or sunlight. There are few things more natural than the sun, the one thing that allows nature and life to exist.
But the same goes here as with yesterday’s piece: if the surface treatment of this pendant had been some well-defined graphical pattern with perfectly straight lines or a machined look, the idea of sunlight would not have been conveyed. Cracking is a natural, organic pattern which helps keep the ray-like lines and the sparkle in the faceted gem well within our sense of natural sunlight.
Ivana has a truly lovely collection of work both similar and quite different from the piece here. For a truly special visual treat and great color inspiration, spend some time on her Flicker photostream.
Read More
I restrained myself from presenting any crackling techniques lately (cracked textures being a weakness of mine!) but I figure enough time has passed to share this beauty and mention a couple of polymer friends along with it.
This if the work of Tonja Lenderman. She developed this technique which is posted on Polka Dot Creation’s page for free viewing. It looks like the full-detail tutorial is being published in the upcoming issue (Pink) of From Polymer to Art, due out in less than a month. Although Polka Dot Creations is phasing out their retail shop, Lisa will still continue to distribute the next couple print issues of From Polymer to Art in the US. So do get your copy reserved through them here.
In the meantime, if you are in a crackling mood, take a crack at this technique (I had to say it!) then you can review the full tutorial to improve upon what you’ve learned.
Read More