Wooden Canes and Turquoise Veins
September 23, 2015
Inspirational Art
I was going to focus on mixed media this week, but I have run into a plethora of fabulous faux wood work, so I can’t resist showing some more. Where is this coming from? Is someone out there teaching a class or sharing a tutorial that I missed? Well, for whatever the reason, the trend has brought us some truly lovely faux wood like we’ve rarely seen before.
This ring by the ever-exploring Cara Jane Hayman just knocked my socks off. What a wonderful mahogany and inlaid look she achieved here. It’s dramatically paired with an almost graphical looking faux turquoise filled with a bold spiderweb veining. It’s terrifically real looking but aside from the impressive faux work, the pairing of visual textures in an uncomplicated form highlighted with a meticulous finish makes for a beautiful piece.
If you happen to be in the UK next year around, say, March 18th-20th, you absolutely will need to go to Polymania 2016 where Cara Jane will be teaching this ring as a workshop. You will also be able to take workshops with Claire Wallis, Bettina Welker and Donna Kato at this 3-day event. Check your calendars and get more information on this event and the skinny on this ring on Cara Jane’s website.
Like this blog? Lend your support with a purchase of The Polymer Arts magazine and visit our partners:
Pushing Faux Organics
September 2, 2014
Inspirational Art
Another article in the fall issue that could have had a lot more examples in it if we had the room was about playing with faux techniques. The ideas outlined in the article are about emulating something that you find in nature, but adjusting characteristics to create something that doesn’t exist. A number of fantastic artists contributed their versions of this with examples.
Page McNall contributed an example of faux wood. A small faux log to be exact, but that is hardly the end of her beyond-natural faux examples. She is definitely one of those exploratory artists I often talk about, never really settling into one form or style, but does gorgeous work in her variety of approaches. One of her newer explorations that I just love and would have liked to have included are these this faux semi-translucent organics. This is really pushing the idea of natural faux polymer. The pieces look like they could be something in nature, but I’m pretty sure there is nothing quite like the majority of these.
To get a better view of the individual pieces here, as well as her rather fascinating work, visit her Flickr page. And for more ideas on how to play with and push faux techniques, well, see the latest issue of The Polymer Arts!
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
A Slightly Different Stone
December 31, 2013
Inspirational Art
I think most of us have a repertoire of faux techniques we use regularly but how often do you push that technique, changing up the colors used, the finished texture or even going from solid clay colors to translucents?
Christine Michel created these gorgeous river rocks using what looks like a standard approach to emulating the water smoothed stones and their variation in color and inclusions. It’s a great, realistic looking choice of colors and the use of translucent clay gives the color in the ‘rocks’ additional variation.
If you haven’t tried your hand at faux river rocks, here is a great tutorial by Maria Jam Brown that shows how to create a few different types of rocks (scroll down and click on the red link.) Go have fun with it!
You can also see more of Christine’s work on her Flickr site.
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
The Faux Enamel Options
May 16, 2013
Inspirational Art
First, because people are waiting to hear, we’d like to announce that the winner of the Sample Cosmic Ceramic project is … Karen Donald! Congrats!
Thank you all for chiming in on the faux versus variation question and taking part in the giveaway. I’m going to line up more giveaways so we can do this regularly. Write me with any suggestions for things you’d like me to try to get for these contests. Or if you’re a retailer of any kind and have something you’d like to giveaway from your shop, let me know. Write me directly at sbray@thepolymerarts.com
So … it would be remiss of me this week not to bring up what may be the faux techniques most widely experimented with when it comes to emulating other art forms–enamel. The common approach usually involves liquid polymer and alcohol inks and/or mica powders. The challenge tends to be in creating a base that has borders and/or channels to hold in and control the faux enamel. And there are a lot of different approaches for this.
At the beginning of the month, we visited Eugena’s artwork … she uses wire as her loose borders. It’s a gorgeous effect. It does take precision and patience, well worth the work, but isn’t for everyone. My favorite is the wax impression technique (See the Winter 2011 issue of The Polymer Arts magazine for the tutorial on this) because carving the wax to create the negative design has endless possibilities and there is nothing I’ve found that allows finer detail. But if you want to try something more straight forward, take a look at these “molds” cut into erasers and clay by Madrid’s Fabi.
She briefly explains the process on her Flickr page (although I think it was sent through a translator as it has some ‘interesting’ terms.) The advantage of erasers is the crispness of the lines although curves have to be more difficult to cut. I think her “gouging” tools must be engraving tools. You can get an inexpensive set at art and craft stores if you want to get into this. They can be used to easily cut into cured clay for other effects as well.
One of the things I wonder is whether we have really pushed faux enamel enough. I think there are possibilities, especially with the translucent clays, that we haven’t really seen. I’ve been playing with an idea myself but it’s not quite ready for prime time. However, tomorrow I am going to show you an artist that I think will knock your socks off, not just because it’s gorgeous work but because of the possibilities it shows us as polymer artists. She worked in real enamel and metal but the way it’s done, it actually reminds me of polymer and could be done in a way that would really push what we do with faux enamel right now. Intrigued? Well, tune in tomorrow …
A Little Faux Lampwork
May 15, 2013
Inspirational Art
Wow … thank you all for chiming in with your comments and emails on what to do with the rest of the week. It’s really very cool to hear from you all. Perhaps we’ll pose options (and giveaways!) for upcoming weeks on a regular basis. You can tell me what is of the most interest … I get very energized writing because of your feedback rather than the ideas that pop into my head, out of the ether. And who doesn’t like a chance to get free stuff! Sounds like a win-win to me!
So, faux came in heavy right off but a call to see more about variation started coming up from behind as the evening went on. The end result is … we are going to start with faux this week then look at how to work out variations next week.
Since Iris and Hilla brought to our attention another art form emulated in polymer, why don’t we stick with other craft arts that we can create in polymer? Try to keep in mind as we look at these techniques that the objective is not to find other arts to emualte but to see new directions that polymer can be pushed in your studio. For instance, I thought we’d start with an artist who’s faux lampwork has fascinated me since I stumbled on it a few years back. I love experimenting with liquid polymer and I was fascinated by how high Sharon Solly makes her glass like dots and how well controlled they are.
Sharon may have an bit of an advantage over the rest of us as she actually does lampwork. I am really curious as to how similar the work is. I know I experimented for a while trying to get the dot not to spread. My solution was to either add just a smidge at a time, hitting it with a heat gun between dabs or preheating the base clay so the dot of liquid polymer would start to solidify immediately. The pre-heat worked well on flat items as I could lay the base clay on a hot plate/mug warmer and work on that but the round beads … I just couldn’t get the same effect that Sharon is getting. But if you can work on building up liquid polymer like this, you could add a bit of the faux lampwork look to many things you couldn’t add glass to in the first place. There are tremendous possibilities for decorative dotting!
If you are in the least bit interested, do look through Sharon’s Flicker pages. This one image is a bare tip of the iceberg … she has a broad body of work showing her on-going experimentation with this process. Actually, Sharon looks to be a major faux experimentator with a large variety of stones and dichroic-like pieces done in polymer.
So go explore some faux! Tomorrow we’ll announce the winner of the Cosmic Ceramic giveway as well. See you then!
I was going to focus on mixed media this week, but I have run into a plethora of fabulous faux wood work, so I can’t resist showing some more. Where is this coming from? Is someone out there teaching a class or sharing a tutorial that I missed? Well, for whatever the reason, the trend has brought us some truly lovely faux wood like we’ve rarely seen before.
This ring by the ever-exploring Cara Jane Hayman just knocked my socks off. What a wonderful mahogany and inlaid look she achieved here. It’s dramatically paired with an almost graphical looking faux turquoise filled with a bold spiderweb veining. It’s terrifically real looking but aside from the impressive faux work, the pairing of visual textures in an uncomplicated form highlighted with a meticulous finish makes for a beautiful piece.
If you happen to be in the UK next year around, say, March 18th-20th, you absolutely will need to go to Polymania 2016 where Cara Jane will be teaching this ring as a workshop. You will also be able to take workshops with Claire Wallis, Bettina Welker and Donna Kato at this 3-day event. Check your calendars and get more information on this event and the skinny on this ring on Cara Jane’s website.
Like this blog? Lend your support with a purchase of The Polymer Arts magazine and visit our partners:
Another article in the fall issue that could have had a lot more examples in it if we had the room was about playing with faux techniques. The ideas outlined in the article are about emulating something that you find in nature, but adjusting characteristics to create something that doesn’t exist. A number of fantastic artists contributed their versions of this with examples.
Page McNall contributed an example of faux wood. A small faux log to be exact, but that is hardly the end of her beyond-natural faux examples. She is definitely one of those exploratory artists I often talk about, never really settling into one form or style, but does gorgeous work in her variety of approaches. One of her newer explorations that I just love and would have liked to have included are these this faux semi-translucent organics. This is really pushing the idea of natural faux polymer. The pieces look like they could be something in nature, but I’m pretty sure there is nothing quite like the majority of these.
To get a better view of the individual pieces here, as well as her rather fascinating work, visit her Flickr page. And for more ideas on how to play with and push faux techniques, well, see the latest issue of The Polymer Arts!
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
I think most of us have a repertoire of faux techniques we use regularly but how often do you push that technique, changing up the colors used, the finished texture or even going from solid clay colors to translucents?
Christine Michel created these gorgeous river rocks using what looks like a standard approach to emulating the water smoothed stones and their variation in color and inclusions. It’s a great, realistic looking choice of colors and the use of translucent clay gives the color in the ‘rocks’ additional variation.
If you haven’t tried your hand at faux river rocks, here is a great tutorial by Maria Jam Brown that shows how to create a few different types of rocks (scroll down and click on the red link.) Go have fun with it!
You can also see more of Christine’s work on her Flickr site.
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
First, because people are waiting to hear, we’d like to announce that the winner of the Sample Cosmic Ceramic project is … Karen Donald! Congrats!
Thank you all for chiming in on the faux versus variation question and taking part in the giveaway. I’m going to line up more giveaways so we can do this regularly. Write me with any suggestions for things you’d like me to try to get for these contests. Or if you’re a retailer of any kind and have something you’d like to giveaway from your shop, let me know. Write me directly at sbray@thepolymerarts.com
So … it would be remiss of me this week not to bring up what may be the faux techniques most widely experimented with when it comes to emulating other art forms–enamel. The common approach usually involves liquid polymer and alcohol inks and/or mica powders. The challenge tends to be in creating a base that has borders and/or channels to hold in and control the faux enamel. And there are a lot of different approaches for this.
At the beginning of the month, we visited Eugena’s artwork … she uses wire as her loose borders. It’s a gorgeous effect. It does take precision and patience, well worth the work, but isn’t for everyone. My favorite is the wax impression technique (See the Winter 2011 issue of The Polymer Arts magazine for the tutorial on this) because carving the wax to create the negative design has endless possibilities and there is nothing I’ve found that allows finer detail. But if you want to try something more straight forward, take a look at these “molds” cut into erasers and clay by Madrid’s Fabi.
She briefly explains the process on her Flickr page (although I think it was sent through a translator as it has some ‘interesting’ terms.) The advantage of erasers is the crispness of the lines although curves have to be more difficult to cut. I think her “gouging” tools must be engraving tools. You can get an inexpensive set at art and craft stores if you want to get into this. They can be used to easily cut into cured clay for other effects as well.
One of the things I wonder is whether we have really pushed faux enamel enough. I think there are possibilities, especially with the translucent clays, that we haven’t really seen. I’ve been playing with an idea myself but it’s not quite ready for prime time. However, tomorrow I am going to show you an artist that I think will knock your socks off, not just because it’s gorgeous work but because of the possibilities it shows us as polymer artists. She worked in real enamel and metal but the way it’s done, it actually reminds me of polymer and could be done in a way that would really push what we do with faux enamel right now. Intrigued? Well, tune in tomorrow …
Read MoreWow … thank you all for chiming in with your comments and emails on what to do with the rest of the week. It’s really very cool to hear from you all. Perhaps we’ll pose options (and giveaways!) for upcoming weeks on a regular basis. You can tell me what is of the most interest … I get very energized writing because of your feedback rather than the ideas that pop into my head, out of the ether. And who doesn’t like a chance to get free stuff! Sounds like a win-win to me!
So, faux came in heavy right off but a call to see more about variation started coming up from behind as the evening went on. The end result is … we are going to start with faux this week then look at how to work out variations next week.
Since Iris and Hilla brought to our attention another art form emulated in polymer, why don’t we stick with other craft arts that we can create in polymer? Try to keep in mind as we look at these techniques that the objective is not to find other arts to emualte but to see new directions that polymer can be pushed in your studio. For instance, I thought we’d start with an artist who’s faux lampwork has fascinated me since I stumbled on it a few years back. I love experimenting with liquid polymer and I was fascinated by how high Sharon Solly makes her glass like dots and how well controlled they are.
Sharon may have an bit of an advantage over the rest of us as she actually does lampwork. I am really curious as to how similar the work is. I know I experimented for a while trying to get the dot not to spread. My solution was to either add just a smidge at a time, hitting it with a heat gun between dabs or preheating the base clay so the dot of liquid polymer would start to solidify immediately. The pre-heat worked well on flat items as I could lay the base clay on a hot plate/mug warmer and work on that but the round beads … I just couldn’t get the same effect that Sharon is getting. But if you can work on building up liquid polymer like this, you could add a bit of the faux lampwork look to many things you couldn’t add glass to in the first place. There are tremendous possibilities for decorative dotting!
If you are in the least bit interested, do look through Sharon’s Flicker pages. This one image is a bare tip of the iceberg … she has a broad body of work showing her on-going experimentation with this process. Actually, Sharon looks to be a major faux experimentator with a large variety of stones and dichroic-like pieces done in polymer.
So go explore some faux! Tomorrow we’ll announce the winner of the Cosmic Ceramic giveway as well. See you then!
Read More