3-Generation Household Fire — We’re All Safe, House Is A Total Loss

Had just enough time to get the grandkids out…no shoes even.

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Karen’s High Chroma, Luminosity-Loving Paint Color Palette

Note: Page may be subject to updates.

My Directional Force — Indirct Painting With Glaze layers


Sfumato indirect painting technique
, here I come! I expect to do inital layers of a painting in acrylic and some glazing layers in water soluble oil paints (Winsor & Newton Artisan), for starters. That’s why my previous entry was about water soluble oils.

I also want to try to do the indirect method from start to finish with artist grade acrylic paints. And some wild and crazy experimental Alla Prima.

karensfourthsunblackandwhitetonal

Black and white of Karen A. Scofield’s anthropomorphized sun. Tonal.

 

I’ve only completed 5 paintings thus far, you see a B&W of my fourth, above. These are my notes in preparation of pushing harder and farther, way out of my comfort zone, if I have a comfort zone. I don’t know where my zone is. Yet. But I’ve dug for years now, into paint pigments, direct vs. indirect, sfumato techniques, and many artist materials … in preparation. And I liked it. I am a digger and I tend to over-prepare anyway; it’s very much deeply in my nature.

Note on Paint Brands Used Until They Are Gone

Overall, I am using mainly artist grade paint with the occasional use of some hues or somewhat informed alternative color mixes, wet and layered. Acrylic mediums will help with the sfumato technique. The brands I have include:

  • Golden Acrylics (artist colors heavy body, Open, or Fluid)
  • Liquitex ( heavy body, soft body, spray paint, acrylic ink)
  • Da Vinci Fluid Acrylics.  I have a lot of da Vinci fluid acrylics because they were cheaper, but they  are in some cases made of combined pigments instead of using pure pigment … so this should be interesting. It’ll mess up value ( how light or dark things are in grayscale) a bit and may make me cringe sometimes especially with the yellows.

I will just have to be aware of that, for instance, Cadmium Yellow Light Da Vinci Fluid Acrylics, specifically, might have a lighter value because it includes titanium dioxide. I’ll just have to deal with that because I have mostly, by volume, 16 ounce bottles of Da Vinci Fluid acrylics, as far as the fluid acrylics I have are concerned. (I have the paints I do because I got them after my mom died. I miss her so much!)

A Happy Medium: Making Golden Acrylics Have More Open Time and Act Kind of Like Oils

This happy medium is one suggestion that appeals to me. Not sure if it’ll work as well with regular heavy body colors or fluid acrylics, but it’s worth a try in the upper layer(s) of an indirect method acrylic painting. Do studies first. Read the bottles and manufacturer’s information online. The Golden Paint  Company has an absolute wealth of product and technical information on their website. And as always, remember you can always add more of something but once it’s mixed in then it’s in there.

  • Open Flow Release — a bit
  • Open Open Thinner — a bit
  • Open Gloss Gel — mostly

Paint Palettes: Color Theory, Sfumato, My Own Extended One

In the future, I probably will gravitate towards more Golden Open artist color acrylics?

6 Color Golden Acrylic Artist colors (not including the whites), the palette would include: 

  1. Phthalo Blue (Green Shade) 
  2. Phthalo Green (Blue Shade) 
  3. Anthraquinone Blue (PB 60)
  4. Hansa Yellow Medium 
  5. Quinacridone Magenta 
  6. Napthol Red Light 

The 6 main colors in bold can yield an amazing array of colors. See https://www.goldenpaints.com/technicalinfo_mixguide and https://www.goldenpaints.com/technicalinfo_faq_xv_colorwheel

Studying color theory with Golden Open paints in these colors in a rapid Alla Prima style, I’d put down the basic colors and then create tints of about 5 shades, laid out in rows, using Titanium White and/or Mixing White, and begin to paint. Or so the theory goes.

Additions to the 6 Color Paint Palette (above)

In practice, I’d probably end up slipping in a little:

7. Quinacridone Red
8. Yellow Ochre
9. Mixing White
10. Titanium White

My Main Sfumato Color Palette

This palette would be assisted by the above 6-color mixing palette. The color choices between the two palettes are are my amalgam of pigments traditional and modern — influenced by what Leonardo da Vinci reported using and by my own research on making/using modern equivalents. (Colors are some form of Golden Acrylics artist grade paint unless otherwise noted.)

  1. Primrose Yellow (preferred, expensive, pigment PY35, Golden Acrylics, value 9, chroma 16, tint strength 96.49) or Hansa Yellow Light (what I have now, will use first, value 8.25, chroma 13.8, tint strength 96.31, tint strength is low in practice, pigment is PY3 AKA historical “Flanders Yellow” that Leonardo da Vinci mentioned); both lean toward blue on the color wheel
  2. Cadmium Yellow Medium (Golden Artist Color PY35, value 8, chroma 16.1, tint strength 92.5); or Cadmium Yellow Medium Hue (Da Vinci Fluid Acrylic, semi-opaque, ASTM lightfastness is 1 excellent, uses a combination of PY 73, PY 65, and PW6, not sure of chroma and tinting strength yet); both toward red on the color wheel
  3. Quinacridone Red (preferred, a cleaner red, semi-transparent, PB 209, value 3.25, chroma 12, tint strength 76.49), Quinacridone Magenta (value 2.5, chroma 10, tint strength 73.51) , and/or Quinacridone Crimson (value 2, chroma 6, tint strength 72.39)
  4. C.P. Cadmium Red — Because sometimes you need an opaque that plays well with complementary colors. (Pr 108, value 4.25, chroma 16, tinting strength 73.92, opacity/transparency 2, leans toward orange on the color wheel. May become a permanent addition to my indirect paint palette
  5. Phthalo Blue (PB 15 Phthalocyanine Blue. Intense deep blue in mass tone reddish to greenish bright blue in shades. Semi-transparent. Extremely powerful tint strength, usually extended to some degree. Staining.)
  6. French Ultramarine (Da Vinci Fluid Acrylic PB 29, value 2, semi-transparent, chroma 4.5, tint strength 79.94) or Ultramarine (Golden, also PB29)
  7. Burnt Umber 
  8. Yellow Ochre (mixed bias, co
  9. Carbon Black (has a blue bias)
  10. Titanium White (slight blue bias)

Note: The reds in #3 may be switched out or combined in certain works?

The Sfumato Technique

In case you’re curious, the technique started even before canvas or panel was touched and continued on to the last glaze layer. It went something like this:

  • Do numerous studies from real life; don’t copy other artists
  • Perfect a drawing the size of the final work — on paper
  • Stretch the canvas or prepare the wooden paint panel
  • Apply rabit glue and gesso in the traditional manner; and somehow he got this surface to feel glossy, almost like ceramic
  • Apply underdrawing in outline using charcoal
  • Veil it, not obscure it, with a mix of Flanders Yellow and White — this will be the basis for light areas and the yellow tones of warm sunlight or skin tone
  • “Draw” painting with tone using silk brushes placing shadows while paint still wet or use hard (dry, like hard pastel pencils)
  • Do retouches in thicker laquer (they used to boil turpentine that perhaps had some resin in it until it was thick, is that what he meant?) that remains matte
  • To darken shadows, use laquer plus ink and maybe add some azurite in a transparent mix
  • Highlights in mediums and tints
  • Light veil of cinnabar for portrait
  • Change your mind — be experimental
  • I’m really glossing things over in this description. Colors were layered and the effects of light and shade were glazed. For a blue robe, he might first lay down red and then blue over that. Was that a correction or use of complements, and he did mention using complement colors.
  • He attended to reflective colors a lot, colors from objects close by might appear on the skin and light clothing, and he did suggest models wear light clothing or even a white.
  • Final highlights in judicious smidgens were in white?  I know highlights were made like this by many painters, I sm not sure that Leonardo did this though.

For translating this into acrylics, I might use that Golden Open “happy medium” mixture instead of the thick lacquer da Vinci used.

Temperature Underpaintings (Mostly Golden Open Acrylics)

  1. Black
  2. Titanium White  Also used for final highlights in upper layer, used judiciously
  3. Mixing White (Zinc) — Also for use in some final effects in upper layer. May or may not mix it with other paints, as opposed to optical blends and effects
  4. Burnt Umber/Burnt Umber Light — To be used alone and/or with the Ultramarine Blue
  5. Red Oxide — Because I have to try out aux quatre crayon type of temperature “underdrawing” … in paint! I will try it in dry pastel pencils too.  These works may remain at that stage as finished paintings, rather than all being just the under painting of an sfumato work. I may be intuitively good at colors without trying, up to a point, but I am just now teaching myself to paint in my later 50s, regarding value (that grayscale light to dark). I have a lot of catching up to do. I accomplished value rather well in my (my fourth finished painting) anthropomorphic painting of the sun, but I recognize that I have so much farther to go!

My Golden Acrylics Extended Palette
(for Wet Color Mixing or Additional Sfumato Indirect Painting Effects)

Colors in bold text would be more of a priority in this palette.

  • Phthalo Blue (Green Shade)
  • Phthalo Green (Blue Shade) 
  • Hansa Yellow Light
  • Hansa Yellow Medium
  • Quinacridone Magenta
  • Quinacridone Red
  • Quinacridone Crimson
  • Napthol Red Light
  • Pyrrole Red
  • Quinacridone Burnt Orange
  • Transparent Pyrrole Orange
  • Phthalo Green (Yellow Shade)
  • Phthalo Blue (Red Shade)
  • Ultramarine Blue/Anthraquinone Blue (PB 60)
  • Burnt Umber
  • Black (used judiciously now and then in small touches)
  • Yellow Ochre
  • Titanium White
  • Mixing White

Additional Colors On Occasion or just for Fun (Optional)

  1. Quinacridone Gold (Nickel Azo) — Because it’s fun for color mixing and glazing.
  2. Turner’s Yellow — Fuuuun!

Note: Since I’m autodidactic, I may pull in more readymade colors at any time when experimenting more wildly. Oh, and if you want to see where your colors lay on a color wheel, go here. I can’t resist paint colors, as much as I love limited palettes and minding my values in painting! Because I must experiment. Life is short. And I bought paint colors before painting anything or learning about limited palettes.

Magic-Glos 5-Inclusion UV Resin Faux Opal by Karen A. Scofield

Trial Runs: Transparent Resin Faux Opal Goddess Pendant Using Magic-Glos UV Resin

Better results with a newfound inclusion.

Instagram screen capture of Goddess Pendant resn faux opal shown in different lighting. Karen A. Scofield.

Instagram screen capture of Goddess Pendant resn faux opal shown in different lighting. Karen A. Scofield.

 Why Trial Runs Using Magic-Glos Resin?

Lisa Pavelka’s Magic-Glos UV Resin allows me to work fast (layers cure in 15 minutes), build a focal bead in layers, and experiment. I’m using this resin to try out some new products, techniques, combinations, and sequences as I learn my preferences in resin faux opal making.

Sure, it’s more expensive per ounce, but ruining a whole batch or three of a dozen or more beads at a time is even more disheartening. If I didn’t allow for a leaning curve like this first, I probably would have given up on resin. It can take months or years to really master the medium. (Things seem ridiculously easy in the mind’s eye if our imagination isn’t informed by experience and tried and trusted knowledge base, I’ve found.)

So, here are some of my best results so far, note the slight amber tone at this depth with this resin, and I’m about to Faux Opals in Ice Resin and ArtResin. (See How to Ice Resin, How to ArtResin.) At this thickness, I expect almost no amber tone with Ice Resin and no detectable amber tone with ArtResin.

Magic-Glos Resin Tips

1. Don’t seal paper or cardstock inclusions with Mod Podge or PVC (white craft) glues if you’re using them with Magic-Glos — reactions between water-activated mediums, inks, and Magic-Glos can occur over time.

2. Bubbles can be prevented almost all the time. Read resouces given here. Bubbles can be removed by letting cured item sit one hour, drilling a hole into the bubble, cleaning up drilling debris, adding just enough Magic-Glos, and curing again.

Things Magic-Glos Doesn’t Work Well With

  • PVC glues – your white craft, nearly all decoupage mediums/glues, and school glues are PVC glues — https://thebluebottletree.com/what-is-the-difference-between-mod-podge-and-acrylic-medium
  • Air–dry glues — air-dry glues get trapped under things, don’t cure 100%, then release air bubbles into your curing resin. Use two-part epoxy glue instead!
  • Ice Resin, whether or not each resin is cured or wet (insured) — chemical reaction between the two resins causes cloudiness
  • Water-based sealants – any sealants that are not waterproof after drying (water resistant is not waterproof)
  • Alcohol inks
  • Unsealed inkjet prints
  • Anything that may run or bleed if wet
  • Sharpie markers

If in doubt, test first, often weeks ahead to make doubly sure.

Baking Magic-Glos

Don’t. Don’t bake Magic-Glos. Avoid temperatures over 100 degrees F. See MSDS.

Warning: Baking Magic-Glos with polymer clay will cause the resin to amber (brown). See MSDS sheet (link given above) for further info.

Magic-Glos Layers

Doming, Pulling Away, and Self-Leveling Properties and What They Mean to the User — The same properties that allow Magic-Glos to dome causes the resin to pull away from edges/periphery in first layer or two, hence a good dome is built up in layers, each of which are cured before the next is added. The last layers are minimal amounts and it may help to spread the resin nearly to the edge (with a toothpick or small ballpoint stylus) and then let Magic-Glos self-leveling finish the job, finally fully covering evenly and doming. Let it sit 10 minutes to 1/2 hour out of UV light to let it finish self-leveling and to let air bubbles make themselves evident. The self-leveling properties mean that you might think you only added enough, the self-doming is a bit of a delayed reaction, and then suddenly you have Magic-Glos running over the sides. If still uncured, it can be cleaned up with cotton swabs and wet wipes but prevention is better than damage control. Prevention involves adding thinner, multiple layers that are each cured before the next is added and curing your item while on a pedestal — a bit of polymer clay or poster-tx on a craft mirror a bit larger than your piece but small enough to fit in the UV lamp oven.

If the overfill cured, it can be pried off with your hands and/or chipped off with a craft knife.

Minimum Number Of Layers — usually 2 layers, less is more, meaning it’s better to add thin/incomplete layers than to overfill. Thinner layers allows the air bubble popping method of passing a butane mini torch or windproof lighter over the surface of the Magic-Glos for one and only one second.

The Fine Art Air-Dry and Polymer Clay Market Can Be Confusing for the Beginner to Intermediate Artist

What this page is and isn’t about — It’s about fine art air-dry and polymer clays. It’s not about ceramic, cold porcelain, resin clay, epoxy clays, or any kiln-cured products.

This page was written after reading https://www.reviewstream.com/reviews/?p=155083#thoughts-box, which was about Premier clay, which is an artist grade air-dry clay, and the beginner’s needs and understandable confusion.

For jewelry making, Premo!, Fimo Classic, Kato, and Cernit are some of your better choices of oven-cured polymer clays –they’re durable enough and do not have to be sealed unless certain surface treatments (mica powders like Pearl Ex or Perfect Pearls…) require it. See: https://thebluebottletree.com/seal-polymer-clay/

Durability… While people making charms often use various air-dry clays, they usually don’t construct bracelets or rings out of air-dry clays. Jewelry may take much more wear and tear.

Seal it or not? As a rule, air-dry clays generally have to be sealed once dry and finished but oven-cured polymer clays don’t. (Two-part epoxy clays don’t have to be sealed but although they’re often called air-dry, they actually cure by chemical reaction and may even be able to cure under water. They’re not true air-dry clays.)

Cracks in Premier clay.… Cracks don’t mean your air-dry clay is weak. Premier is one of the strongest air-dry clays. Nearly all air-dry clays have some shrinkage and Premier is no exception, although it shrinks less than some air-dry clays. Having a good armature, if armature is necessary, and using minimal amounts of water while sculpting with Premier can decrease the likelihood or severity of cracks. Sometimes cracks happen but they’re easily be repaired with Premier, even if your item dried. See the below video. Cracks may occur if you added too much water while sculpting, used a cardboard armature, used thin clay over a rigid armature (Ostrich legs, for example), let your item dry too quickly, or didn’t support sculpture parts subject to gravity. Don’t dry your Premier clay items under a fan, for example. Do remember to keep unused clay in an air-tight bag and/or container.

For figurative works, Premix, an air-dry clay made by the same company as Premier, is easier to sculpt and blend than Premier. Doll artist Hannie Sarris loved Premix clay. Premier clay may take some different sculpting techniques than what one would be used to with polymer clay and one uses minimal (!) amounts of water are used while sculpting Premier. People working with these air-dry clays might lightly dab their fingers across a wet sponge to keep clay moist enough while sculpting. They may use a mister type of water bottle. Do not use Sculpey Clay Softener or any type of oil to soften, smooth, and blend these air-dry clays — they are hybrid clays and have their own characteristics, sculpting techniques, storage and compatibility considerations. They’re not like the majority of polymer clays that are oven-cured (e.g., Fimo Classic, Fimo Soft, Cernit, Fimo Doll, Premo!). They’re not like most air-dry clays on the market. They are used by a number of very famous art doll artists and others.

So yes, there are indeed air-dry polymer clays — Activa Lumina Translucent Polymer Clay, Staedtler Fimo Air Basic Modeling Clay, and Activa LaDoll Premier clay are examples of air-dry polymer clays. Activa, the company that makes laDoll Premier clay, describes Premier clay as a type of polymer clay on their site. Lumina has long been known to the polymer clay community. Fimo Air Basic is weaker than either of those.

Polymer clays have their own issues — Dirt, lint, hair, compatibility issues, and baking considerations (always monitor your oven with two oven thermometers, not counting the oven’s own temperature reading). If you look at it that way, a few easily repaired cracks in Premier clay items isn’ts a bad deal.

Sculpey Diluent, AKA liquid Sculpey Clay Softener, works with oven-cured polymer clays, specifically, and not with air-dry polymer clays. Here’s the Sculpey Clay Softener Material Safety Data Sheet: https://www.sculpey.com/wp-content/uploads/2015/12/Clay-Softener-SDS-10282015.pdf

In contrast, Makin’s, Hearty, Das, “cold porcelain” clays, Creative Paperclay, Celluclay, and epoxy putties are not polymer clays no matter who describes them as such.

For a whole lot of information on all things polymer and air-dry clay, see:

…Or go to clay manufacturers’ sites and hit their FAQs and MSDS pages. I wish there were sculpting, storage, compatibility, MSDS and other information (to seal or not to seal) with each clay package that one takes home, but that’s sadly not the case.

Karen A. Scofield On “What Makes Me Tick”

Levo App

My Results From the Levo app regarding thinking talents.

image

As you can see, it picks up on my autism-related deficiencies/differences/advantages. My relational quadrant is empty (not in real life), but then the underlying social constructs de rigueur these days overwhelmingly favor charming extroverts, the more gregarious a la neurotypical fashion they are the better. I see it offers are some pointers about things “relational” but ultimately for someone like me, this test may not pick up on social and communication alternatives. Here’s a TED talk that challenges Introverts with a capital “I” being placed at the top of whatever  constructs we can devise without more penetrating examination.

Rethinking Introverts

http://m.huffpost.com/us/entry/3794733

http://www.lifehack.org/articles/communication/top-10-advantages-of-introvert.htmlimage

  • I tend to do my best thinking alone. That is core the body of any Venn diagram about myself).
  • I don’t do well with snap decisions, often go through a vigorous fact checking process, may research a topic north south east and west, and need time to think through pros and cons.
  • I prefer advanced notice about events or needed decisions.
  • I need a good amount of alone time to do my best thinking, stay true to myself, and stay on track.
  • As much as possible, I need to let people know I will get back to them on the topic or decision rather than keep them hanging.

What do I need to work on: I need to devise purposely nurture relationships with “big thinkers.” Spending time with them will nourish and inspire my thinking processes.

Since my relational skills are peculiar or lacking, I do best with other like people, meaning they are rather direct communicators who are or do well with those on the autism range.

imageimageimageimageimageimageimageimageimageimageimage

One Conclusion

It seems I should partner with someone who excels in people, feeling skills and bringing things to action. That sounds like a neurotypical rather than someone who is on the autism range too. Neurotypicals usually shun people like me with a vengeance. What to do? I don’t want a relationship of unequals, so rather than some sort of setup that involves being mentored, I probably would do best in a co-mentoring relationship in which each recognizes the strengths and weaknesses of themselves and each other, without the ego trips or superiority complexes and other such baggage. Ideally. If I can’t get that, I can at least use a certified accountant and other specialists to help me get an art career off the ground.

Keeping the above in mind, the below from my about me page may make more sense!

I design and make figurative bead or art dolls, whip together spirit dolls, art journal, do fine art paintings, create mixed media mosaics, and get into some fabric arts!

My blog pages reflect my intense, playful nature that leads me to intermittently research art mediums/techniques N, S, E, W, and outside the box for years on end so that I can readily dip my hands into multiple art mediums and play, sometimes exactingly and sometimes experimentally. To the core, it’s my nature to take things art further and I have no qualms about expanding and correcting my pages as new products or information comes along. Making art stirs up a deep-seated sense of awe, a child’s sense of wonder, a well-seasoned intellectual curiosity, and the sense that creation is a spiritual experience. Ideas for art constantly fly into my head and I keep notes. Days are never long enough.

A little background... Some of my polymer clay beads appear in the book Polymer Artists Showcase, by tejae floyde. My 1st two art dolls were in Kenosha Wisconsin’s Lemon Street Art Gallery, where I was a member from 2005 to 2007. Lovely place. (I had no idea I could sculpt until I was in my mid to late 40s. It turns out that my dominant dominant intelligence is spatial, helpful in more 3D arts.)

Eclectic Focus

Sculpting figurative beads of polymer or earthenware ceramic clay, resin, making my own prototypes and molds, art dolls, spirit dolls, mixed media mosaics, art journaling, water-based painting, and bouts of fabric arts (cotton, Kraft-tex, paper cloth AKA fabric paper).

Communication Style

I’m socially awkward (autistic) and do best with kind but exquisitely forward people who don’t infer or beat around the bush so if you talk with me, just say what you mean/feel yet remain respectful. (Hint: I love pluralism, eclecticism, constructive criticism and civil rights. I’m incredibly tolerant up to the point of intolerance, brainwashing, purposefully burdensome learned helplessness/ignorance, and other stupid toxic people tricks.)

Watermedia Warning: I’m an unabashed Cretacolor, Liquitex, Golden, and Da vinci fluid acrylics fan.

FAVORITES

Favorite Clays:

Ceramic — Earthenware, Raku
Polymer Clay — Cernit, Fimo Doll/Professional, Kato, Pardo, Premo, Sculpey UltraLight for under structures/armature
Air Dry Clay — La doll Premier, Creative PaperClay, Professional Cold Porcelain
Apoxie Sculpt

Favorite Artist Paints:

Winsor & Newton Watercolors
Golden Acrylics — Fluid Acrylics, Heavy Body
Da Vinci Fluid Acrylics
Liquitex — Soft Body, Heavy Body, Spray can), Basics

Favorite Acrylic Craft Paints (Art Journaling):

Delta Ceramcoat
Jo Sonja
SoHo

Favorite Watermedia Pencils and Water-Soluble Oil Pastels, in Order of Preference:

Cretacolor (artist grade) — AquaMonoliths, AquaStics, AquaBricks
Albrecht Dürer Watercolor Pencils
Caran d’Ache Neocolor II Artists’ Crayons (not as lightfast as Cretacolor, across the board)
Inktense Pencils (the more lightfast shades)

Note: In any fine art, I only use water-soluble oil products on top of acrylics or watercolors, for final finishing touches, if I use them at all.

Favorite Opaque Markers and Pens for Art Journaling:

Uni Posca Paint Pens (remain water-soluble — judiciously seal with 3 layers spray sealant)
Sakura Gelly Roll Pens (no sealant
100% Satisfaction Guaranteed
Sakura Pigma Micron Pens (permanent, can watercolor and paint over them!)

Favorite Sketching Pencils and Powders:

Cretacolor — Artist sketching pastel pencils, carre hard pastels, sketching leads and holders, sketching powders.
Pitt Pastel pencils
Prismscolor sketching pencils
Unison Soft Pastel Red Earth 10

Favorite Papers:

Canson, Strathmore 400 or 500 series, Canva-Paper, Stonehenge, Fabriano Soft Watercolor Paper, Yupo

Favorite Art Board:

Ampersand (especially their Aquabord)
Fredix Archival Watercolor panels

Favorite Illustration Boards:

Stathmore
Crescent

Favorite Canvas:

Fredrix — Watercolor Canvas and their canvas for acrylics

Favorite Canvas Pads:

Fredrix — Regular and Watercolor
Canva-Paper
Strathmore Acrylic

Favorite Mixed Media Pads:

Canson XL Mix Media (for art journaling)
Stathmore 400 or 500

Favorite Gesso:

Liquitex (not Basics!)
Golden
Winsor & Newton
Martin F. Weber Prima (art journaling and DIY art boards, has a lovely matte eggshell smooth texture)

Favorite Fixatives:

Krylon — Matte Finish, Workable Fixatif, or UV Resistant Clear Matte
Lascaux UV Protect 2 or 3
Blair Very Low Odor Spray Fix
Plaid Patricia Nimrocks Clear Acrylic Sealer Matte (for crafts only)

Favorite Colored Pencils:

I can’t afford those! Nevermind. Sigh.

I did unwittingly get Prismacolor pencils from after their factories moved to Mexico and too many leads fall out of the pencils or break. Grrr.

I’m not so much in love with colored pencils, presently.

Favorite Fabrics:

Quilting cottons
Kraft-tex

Favorite Thread:

Carpet thread
Strong quality cotton threads
Silky threads

Favorite Languages:

English, Estonian, French, German, Swedish, Dutch, Norwegian, Punjabi, Spanish, and Italian.

Favorite Cuisines in Order of General Preference:

Punjabi, Chinese, Mexican, Greek, Estonian, French, American.

Note that all my work is copyrighted and you may not use it without explicit written permission.

Viva Decor Precious Metal Colour Paint in Gold Was Heat-set on Cured Premo Polymer Clay, by Karen A. Scofield

Viva Decor Precious Metal Colour Heat-Set on Premo Polymer Clay

The Clay

I added crushed, shiny micaceous (meaning it’s loaded with mica) rock, fine gold glitter, and Blank Slate Gold and Silver Flake Mix, in order of volume, to some Premo! polymer clay (a Sculpey product). That’s why it’s sparkly and can appear darker or very light depending on how the light shines on it and it moves, you see sparkles as well as flashes and glints.

Aside: The Backstory on the Micaceous Rockhttps://www.flickr.com/photos/sari0009/19354330223/in/dateposted-..

The Paint (and A Closed US Office)

Spelling

Viva Decor’s US office closed in 2015 and my bottle is labeled “Precious Metal Colour” because that is how the UK spells it. Many sites and blogs still use the US spelling (Precious Metal Color), you may notice.

Viva Decor Closed Their USA Office in 2015. European Offices remain open. 2016.

Viva Decor Closed Their USA Office in 2015. European Offices remain open. 2016.

Inclusions Added to the Paint

Precious Metal Colour gold colored paint, specifically, has larger glitter-like particles while the mica powder has super fine (!) particles.

  • Alone, Pearl-Ex mica powder has a very slight orangish undertone by comparison.
  • Alone, Previous Metal Color is a bit bright and silvery.
  • Combined, the color is amazing and the larger particles of the paint aren’t glaringly evident.

So, I added a decent amount of Pearl Ex mica powder to Viva Decor “Precious Metal Colour.”

Rule: With mica powder, less is more, meaning you start by adding very small amounts and adjust according to your liking. I found my mix pleasing as a 14 karat gold color.

This doctored up Viva Decor “Precious Metal Colour” acrylic/enamel paint was painted in 3 or 4 layers on an already baked Premo polymer clay mix.

The bezels were entirely painted with the paint while the figurative beads only had detail work painted.

Heat-setting

All but one were heat-set at 275°F  for 30 minutes. There was no visual or tactile difference between the baked and unbaked paint.

I couldn’t scratch the paint off with a fingernail once the paint was heat-set. The paint looks the most like real gold. I finally, after years of looking for a rather durable solution, now have a tremendous amount of confidence regarding gold detail work on my beads and pendants.

Although Varathane Gloss sealant is one of the top choices for sealing polymer clay, it’s water-resistant, not waterproof. I’d prefer not to have to seal my beads at all.

Acrylic Paints — Drying Time vs. Cured

Note: There is A difference between drying time in curing time. Drying time might occur within minutes or a few hours for acrylic paints while curing time might take a few days. This difference might help explain some problems with heat-setting acrylic paints a polymer clay.

I say it might help explain some of the problems because, according to Blue Bottle Tree, there was a correlation between painting the paint on raw polymer clay before heat-setting and the paint bubbling. This was dependent upon brand of acrylic paint and/or polymer clay, whether the clay was raw or cured, and other factors. For more information, see that Blue Bottle Tree blog post.

One Minor Problem to Solve

When removing these painted bezels from the glossy tile they were baked on, some of the gold paint stuck to the tile. There was enough paint remaining on the bezels so this wasn’t a problem but I’d would still prefer this not  happen.

Perhaps baking on a silicone mat would improve things.