My Faux Resin Opal Shown Against Light Then Dark Backgrounds

 

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My Resin Opal I filmed in April of 2017, shown against both light and (wait for it!) dark backgrounds. (I've discovered the iMovie app!) I used Magic-Gloss resin, a Lisa Pavelka product, and five very different glitters and powder products to create a light show within my handmade resin gem. So, both my choice and placement of product is what made the light play back and forth between the various resin inclusions. I did not simply dump it in the inclusions, mix, and poor. They were strategically placed, mapped out. You may not find another artisan-made faux opal made of resin with fire like this on the internet? Not bragging, I've just not seen it. Yet. Not all the inclusions were designed for or are commonly used in resin. I make my own pendant gem molds based on my own polymer clay sculpts, as was the case for this Goddess pendant. Sadly, it perished along with all of my belongings in a house fire on Sept. 4, 2017, but I look forward to creating more like this. Here's to hoping I remember just how I made it. #resingem #resingemstone #goddesspendant #fauxopal #opal #gemstones #gemstone #goddess #diy #symbolsofequality #femininedivine #womensrights #ourbodiesourrights #goddessart #fauxopal #resinopalfire #resinopal #resingems #opalfire #crystalopal #fauxcrystalopal #faux #Magic-Glos #lisapavelkasmagicglos #uvresin #uvresinjewelry #playoflight #lightshow #karenascofield #wisconsinartist #resinjewelry

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I used Magic-Gloss resin, a Lisa Pavelka product, and five very different glitter and powder products to create a light show within my handmade resin gem. Choice of and strategic placement of inclusions made the light play back and forth. 

Not all the inclusions were designed for or are commonly used in resin.

I make my own pendant gem molds based on my own polymer clay sculpts. Sadly, it perished along with all of my belongings in a house fire on Sept. 4, 2017, but I look forward to creating more like this. Here’s to hoping I remember just how I made it.

Sculpey Mold Maker (Formerly Known as Super Elasticlay) FAQ

Pros, Cons, Tips, and MSDS Safety Sheet Link

Cons

  • Cured molds made with this will harden over time — frequently reported
  • Not really comparable with flexible silicone molds
  • Will crack with heavy use — frequently reported
  • Is better for more shallow molds rather than deep ones with noses, undercuts, etc — frequently reported
  • Not suitable for molding resin, but OK for polymer clay
  • Not suitable for a children’s art medium — that information is actually on the MSDS safety sheet (see below link)

The Usual

  • Must be used with a mold release like talcum powder or cornstarch both when originally making a mold and then again when molding an item from it
  • Make sure you follow manufacturer’s directions
  • As with other polymer clays, it’s all fine until you burn it, then it can release toxic fumes
  • Use in a clean work area or you’ll get dust on it
  • You have to clean your hands well after using it and before you touch other surfaces
  • Use on a craft mat of some sort, as opposed to on a plastic table or wood furniture with any type of finish on it or it can permanently mar surfaces

Pros

  • Takes detail well
  • Longer open time — does not harden until cured in an oven according to manufacturer’s instructions
  • Can be used to soften clay
  • Can be used to make texture sheets (see tip immediately below)
  • Can be made more flexible with Sculpey Diluent (AKA clay softener) (Now there’s a tip you don’t see many places. Less is more, meaning you can always add more diluent to Mold Maker until it’s at it’s prime for your needs, but be careful not to add too much.)

Try

  • Mixing it with Sculpey Bake & Bend (doesn’t handle repeated baking well)
  • Mixing it with Sculpey Ultra Light polymer clay
  • Mixing it with a smaller amount of Sculpey Souffle

Note: All three — Sculpey Bake & Bend, Ultra Light, and Souffle — are somewhat more flexible than many polymer clays. So I suggest experimenting with adding these three clays so that the molds have a little more flexibility to begin with and over time. Still, using it straight or in a mixture like this is not really comparable to the flexibility of commercially manufactured silicone mold compounds (unless there’s some manufactured to be stiff).

MSDS Safety sheet

 

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, an artist grade air-dry clay, and the beginner’s needs or 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) were used. See: https://thebluebottletree.com/seal-polymer-clay/

Out of the air-dry clays presently sold by Dick Blick, the strongest and most artist grade ones used for sculpting, according to many art doll artists, are Activa La Doll Premier, Activa La Doll Satin Smooth, and Creative PaperClay. Creative PaperClay is frequently listed as academic not because it’s strictly academic and you can’t create incredible fine art sculptures out of it, you can, but because students can use it but most, including public school art teachers, don’t know how to get fine art results out of it. In this video, you can see me, starting at 2 min. in, flipping through a book by The late Robert McKinley who made exquisite are dolls with Creative PaperClay. Susie Benes has an excellent basic into page on Creative PaperClay here. She goes into how-to here. Adele Po has some good information and pictures here. You can find some pretty cool Creative PaperClay sculpting videos in this youtube playlist. And of course Pinterest will yield an array of examples.

Durability… (Remember, this page is not covering resin clay from Japan, etc.) Jewelry may take much more wear and tear, so fine art air-dry clays that can be damaged by exposure to water – so Creative PaperClay or Premier Clay usually aren’t used for charms, pendants, and beads. Not unless they’re encased, including inside the bead hole, in resin. For jewelry, oven cured polymer clay is a better choice.

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 like Apoxie Sculpt 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 built on a wire armature, 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. 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 said to be easier to sculpt and blend than Premier. Doll artist Hannie Sarris loved Premix clay. Others love Premier clay. Both 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

Note: 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.

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.

Micaceous Rock and "Yellow Gold Glitter" Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Polymer Clay Micaceous Rock Composite Goddess Pendants, by Karen A. Scofield. 2016.

Polymer Clay Micaceous Rock Composite Goddess Goddess Pendants, by Karen A. Scofield. 2016.

Polymer Clay Micaceous Rock Composite Goddess Goddess Pendants, by Karen A. Scofield. 2016.

Micaceous Rock and

Micaceous Rock and “Yellow Gold Glitter” Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Micaceous Polymer Clay Goddess Pendants, by Karen A. Scofield. 2016.

Micaceous Polymer Clay Goddess Pendants, by Karen A. Scofield. 2016.

Appears more glittery and sparkly in person.

Micaceous rock from family land in South Dakota was crushed and added to “Yelllow Gold Glitter” Premo polymer clay — the stronger polymer clay by Sculpey that’s suitable for making thinner beads like this. (Always wear a mask if working with micaceous rock in this manner to avoid permanent lung disease.)

About 2″ long and 1/4 inch thick. Mica powder patterns, a sun or spirals, were stamped into the raw clay before curing. The sun and spiral symbolism can have significance. E.g. http://www.whats-your-sign.com/spiral-meaning.html. Small bead holes are added after curing (now shown), usually after jewelry design is complete. Design may determine hole placement and number.

The finished beads look very much like some of the micaceous earth in South Dakota. The particular rocks used in making this came from family land right by Medicine Mountain, which is sacred land. So these beads have personal significant meaning for me in at least four ways. They are my creative expression, the rock comes from family land, the rock comes from the vicinity of sacred land upon which I attended a ritual, the rock represents time spent with family, and the symbolism is well chosen, of course.

Medicine Mountain Background:www.flickr.com/photos/sari0009/19354330223/in/dateposted-... There are two Medicine Mountains and only one is in South Dakota. The history and backstory for this particular Medicine Mountain is hard to find, hence my link is offered here.

Interesting Factoid: In some areas of South Dakota, the ground glitters like gold due to the earth and rocks’ micaceous (mica-filled) nature and looks magical.

Hand Sculpted Voluptuous Ceramic Goddess Pendants, by Karen A. Scofield

Finally Glazed my First Ceramic Goddess Pendants!

Two of these darlings are in Red Roses Bead Haven, a local bead shop, to test the waters, as it were.

Pictures and a short video. These pendants  represent my first experience with teaching myself how to sculpt and work with ceramics. I previously worked with polymer clay. It’s taken me four months to get to this point because I don’t own my own glazes or kiln. I’m lucky enough that a local art gallery will fire them for me and will let me use donated glazes. However, it’s often three weeks or so between firings, more if the kiln breaks down as it did recently.

One is made of red micaceous (contains mica) clay and didn’t need to be glazed like the rest.

Hand Sculpted Voluptuous Ceramic Goddess Pendants, by Karen A. Scofield

Hand Sculpted Voluptuous Ceramic Goddess Pendants, by Karen A. Scofield

Ceramic Goddess Pendants by SE Wisconsin artist, Karen A. Scofield

Ceramic Goddess Pendants by SE Wisconsin artist, Karen A. Scofield

Ceramic Goddess Pendants by SE Wisconsin artist, Karen A. Scofield. 2016.

Ceramic Goddess Pendants by SE Wisconsin artist, Karen A. Scofield. 2016.

Unfired Earthenware Ceramic Amohora, by Karen A. Scofield. 2016.

Unfired Ceramic Amphora Bead, by Karen A. Scofield

It’s my first one, it’s hollow and the cap,  which will be permanently chained to the vessel pendant, is removal. It will be glazed;  my daughter thinks a light driftwood or ivory color but I’m thinking something blue. Decorative slip decorations were added and slip was painted over them in multiple layers to avoid separation while retaining the dimensional  image. Once it’s completely fired and glazed, the tip of cap which fits inside the vessel will get a coating of silicone to make it stay put when closed but still allow the vessel to be open and closed. …If the silicone works out.

Unfired Earthenware Ceramic Amphora with Removable Cap, by Karen A. Scofield, 2016

Unfired Earthenware Ceramic Amphora with Removable Cap, by Karen A. Scofield, 2016

Unfired Earthenware Ceramic Amphora with Removable Cap, by Karen A. Scofield, 2016

Unfired Earthenware Ceramic Amphora with Removable Cap, by Karen A. Scofield, 2016

Unfired Earthenware Ceramic Amohora, by Karen A. Scofield. 2016.

Unfired Earthenware Ceramic Amohora, My First, by Karen A. Scofield.. 2016. Will fire to white bisque, will be glazed. First Attempt. 2016.m

 

Bisque Fired Handmade Earthenware Ceramic Clay Goddess Pendants by Karen A. Scofield. 2016.

My First Ceramic Bisque Fired Goddess Pendants

Bisque Fired Handmade Earthenware Ceramic Clay Goddess Pendants by Karen A. Scofield. 2016.

Bisque Fired Handmade Earthenware Ceramic Clay Goddess Pendants by Karen A. Scofield. 2016.

Yes, another picture and video of my beads but these are my very first ceramic fired anything! It took several weeks for them to get fired (not my schedule, not my kiln), but here they are before an iron oxide wash that will give them an earthy iron color. Weeeeee! I have to grok at them some more because I DID THESE! Me! He he.

Taps all fingertips together at once … what else can I do with cermamic clay without a wheel?

Sculpted Goddess Pendant strung with wooden and ceramic beads, By Karen A. Scofield. 2016.

Sculpted Goddess Pendant strung with wooden and ceramic beads, By Karen A. Scofield. 2016.

 

Earthenware clay figurative pendants, by Karen A. Scofield

Ceramic Clay Dare: I Sculpt a Goddess Pendant on Camera

I sculpted with polymer clay before and, in ceramic clay, I sculpted the backside of a bead without a mold. Now I have dared myself to sculpt an entire bead without the use of any of my molds ( I molded my own beads)in earthenware clay, a medium still very new to me. So I did this on camera.

I’ll get better at filming. And sculpting. But for now, at least I know I can do this and I feel a lot better about doing 20, 50, or more figurative pendants like this, in different sizes and styles of course.

The Finished Pendant (Standing)

Earthenware clay figurative pendants, by Karen A. Scofield

Earthenware clay figurative pendants, by Karen A. Scofield

Earthenware clay figurative pendants, by Karen A. Scofield

Earthenware clay figurative pendants, by Karen A. Scofield

July 21, 2017 Note: I’ve ordered ceramic clay sculpting tools!

Earthenware Clay ceramic Goddess pendants to be bisque fired, by Karen A. Scofield

Earthenware Clay Ceramic Goddess Pendants Ready for Bisque Firing

Earthenware Clay ceramic Goddess pendants to be bisque fired, by Karen A. Scofield

Earthenware Clay ceramic Goddess pendants, need to be bisque fired, by Karen A. Scofield

So I’ve done that.  By the time they’re completely done, to the last glaze firing, each Goddess pendant will have taken well over two or three hours hands-on time, specifically, to make. At minimum.

This does not count the time taken for prototype and bead mold development. I used polymer clays for those steps.

It also does not count the time to transport the pendants to the kiln to get fired several times (they will be glazed) or any effort involved in selling them (websites, teaching, writing, making videos…whatever it takes to beat obscurity and poverty).

I first envisioned popping these beauties out in just seconds, with them ready to be fired.  I found that bead molds for such curvaceous figurative beads are more like guidelines. That might not be such the case with shallower, less curvaceous pendants. We shall see.

I found the trick in creating these ceramic beads is to use perhaps damper clay than usual so I can get the clay smoothly and deeply into the mold without creases or partial filling of deeper areas. However, this means I work on these beauties quite a bit after I pop them out of the mold due to distortion and marring.

When I tried to fix these distortion errors, I create other distortions while doing that, the clay is so soft. So I have to fix those and back-and-forth it goes for a while until I am satisfied.

When I add the bellybutton (which takes 3 tools) and details of the pelvic area and lines of the derrière,  there’s this same back-and-forth process of perfecting and correcting.

Aaaaand the same process happens for the bead holes. In the process of creating them, I create distortions that I have to fix and while  I’m fixing those, that might create distortions…and back-and-forth it goes until I’m  satisfied.

I work on these earthenware pendants both wet and dry — I also sand them and finally buff them carefully on my big, super thick as terry cloth bathrobe.

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield

The Evolution of Karen’s Beads

Shorter Video

Longer Video

Good news! I have found out I can fire and glaze my beads locally. Probably do this in batches of a dozen each. Here is one that has finished drying and is ready for bisque firing.

image

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield

Why Goddess Pendants or Focal Beads?


Before there were pussy hats, there were Goddess pendants. After pussy hats, there will still be Goddess pendants. 

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield

Earthenware Greenware Handmade Ceramic Goddess Pendant, by Karen A. Scofield. 2016.

Why Goddess Pendants? To better answer that, we have to understand the many reasons we make any human figurative art or study female/Goddess figures throughout human history. See http://suppressedhistories.net/

In some languages, the word for history also means storyhttps://en.wikipedia.org/wiki/History

Micaceous Rock and "Yellow Gold Glitter" Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Micaceous Rock and “Yellow Gold Glitter” Premo Polymer Clay Mix, by Karen A. Scofield. 2016.

Through my beads, I’m telling my story — I’m a woman, domestic abuse survivor, an artist, I’m on the autism spectrum, and my Goddess pendants help tell my story in the contexts of an interest in equality, as opposed to abuse and sexism.  My beads are about equality and power — it’s abuse vs. equality. Women’s rights and Goddess stuff are considered too minority interest, too fringe despite the fact that half the world is female, and that’s a problem. Goddess/female figures may even be banned or get demonized.

Handmade Goddess Pendants, by Karen A. Scofield

Handmade Goddess Pendants, by Karen A. Scofield

Example 1: I had drawn renditions of the Venus of Willendorf, a world famous archaeological find, on shrink plastic and made pendants of them. fThese shrink plastic beads were banned on Myspace as obscene. Here’s what they looked like.

A Shrink Plastic Representation of the World Famous Venus of Willendorf, by Karen A. Scofield
Example 2: I wore a Goddess necklace to Walmart. The cashier suggested I could make money selling them as rather, tee-hee, lewd little party favors at bachelor or bachelorette parties. She had absolutely no inkling that she shouldn’t simply sexualize and peg them in such a narrow, restrictive manner, as opposed to all that the Goddess concept can potentially encompass on a daily basis. Equality touches all all aspects of life, and this shouldn’t be marginalized, pegged as a lewd/lesbian thing, or treated as a fringe topic. Anyway, my Goddess pendant was profane image to her, but to those that wear them, Goddess art and pendants are more of a spiritual and intellectual thing and, more specifically, symbolize spiritual and social equality. They embody, invoke, and evoke this.

As an artist, I cultivate messages and images that are needed, rather than what people are conditioned to lap up from the pundits, pulpits, and consumerism. It concerns me that the world is full of “sanitized,” corporate-made, mainstream images and messages about women and their bodies, messages that are loaded with sexism both overt and/or insidious.

The pussy hat phenomenon shows us that feminine symbols of equality ARE needed. There is the desire to create our world pluralistically without the reality filters of sexism, cultural triumphalism, racism, or creedism (religious prejudice). I desire more autonomous and honest dialog and equality, and I hope you do too.

We still live in a world in which women often don’t get paid the same amount for doing the same job no matter how well they do it, or even if they do it better. As a US citizen, I live in a country in which a considerable majority of art gallery artists are male. It’s a country in which women’s art generally sells for only a small fraction of the profit that art made by men can fetch. We live in a world in which the majority of religion is really male-centric and male-dominated. We live in a world in which men’s voices are given more weight and are heard more. It’s not Goddess, it’s God with no room for any female divine. Instead, we still have the Madonna-Whore Complex. The feminine divine either is falsely demonized, socially/theologically outlawed (or banned), or turned into a whore.

Anti-intellectual, male dominated paradigms hold feminine equality at odds with more formative power structures, be they economic, religious, artistic, or what have you. How is sexism considered to be the fabric of society? And what does that have to do with domestic violence anyway?

See “The Ascent of Woman”http://www.bbc.co.uk/programmes/b0693dsh

Domestic Abuse and the Metaparadigm (Mother World View) of Abuse/War

the most reliable indicator of whether or not there is violence inside a country, or whether it will use military violence against another country, is not poverty or access to natural resources or religion or even degree of democracy. It’s violence against females.” — from “Gloria Steinem’s new show links global instability to violence against women: “For the first time there are fewer females on earth than males

The Power and Control (Abuse) and Equality (Nonviolence) wheels, what they mean, what they look like in current events or everyday situations are sadly only usually discussed, shown, or used during domestic abuse prevention/recovery. They are, in fact, paradigmatic and are applicable on a personal, local, national, and global scale. Here’s what goes on with the Power and Control (Abuse) paradigm.

Methods of abusive power and control have been and continue to be used as social, legal, religious, and financial weapons and they often result in violence, be it domestic or wartime violence. The Power and Control wheel/paradigm is diametrically opposed to Equality because it relies on abusive imbalances of power. This is true whether they pretend to protect us and have our best interests in mind or whether they lay bare their prejudices, sexism, and ambitions.  It takes power and rights away from others in order to feel powerful and it’s a massive failure of imagination.

Here’s a page from my art journal on the Equality (nonviolence) power wheel. Notice the notes on imagination.

image

Art Journal. Equality. Power. Tools of Change.

Art is the Antidote

How is it that society today hasn’t quit its addiction to prejudice, bigotry, sexism and the like? I don’t pretend to understand all that and I hope I never do. I can imagine many other paths to power. I can imagine sharing it. And as a woman and an artist, I shape a more inclusive world in clay, canvas, paper, fiber, cloth, and words. Art is an antidote. Symbols matter. Symbols are powerful and my art beads are ones I can bring into all sorts of every day settings.

The Mad Art Doll Sculptor Experiments — A PaperClay-Premier Slurry Mix (Slip)

He-he-ho-ho-ha-ha! Mwha-ha-ha-ha-ha-HA!

It’s kind of like that for a few seconds but then days (and into some mornings) were spent examining many different art doll mediums, sculpting techniques, youtube videos, and pinterest pins. But you know, that initial glee does infuse a peaceful and intense joy into hours of research.

Related Pinterest Boards

I’ve built up little libraries on my Pinterest boards. It’s not all the usual, so you may want to check these boards out.

La Doll Premix Clay, an Air-Dry Clay

https://www.pinterest.com/pin/444941638163831573/

https://www.pinterest.com/pin/444941638163831549/

Official sites refer to La Doll Premix as a stone clay, a paper clay, and a polymer clay  — a hybrid clay! It has paper pulp in it as well as two types of finely ground stone – talc and pumice. It also has other stuff in it that allows it to dry to artist grade strength and you can make hollow dolls with it just as you can with La Doll Premier clay. Premix is a proprietary mix of La Doll Stone (often just referred to as “La Doll) and La Doll Premier, their most advanced clay. It is stronger than if a customer mixed the two, I’m not sure how.

Unfortunately, I can’t find Premix locally and shipping costs are financially prohibitive so I turned to an experimental mix.

Considering Air-Dry Clays … Paperclay and Premier

I have some delightful polymer doll clays (Cernit, Puppen Fimo), but have become quite fascinated with the air-dry clays suitable for art dolls, mainly Padico La Doll Premier, one of if not the strongest air-dry clay on the market. (Clays that seem to dry in the air but that really cure by chemical reaction not included.)

Air-dry Clay Directory: http://newclaynews.blogspot.com/p/adc-brands.html

Many of the renowned figurative art doll artists on my pinterest  boards use these two air-dry clays. Others most commonly use artist grade polymer doll clays, often Cernit and Fimo.

Air-dry Clay Slip … What For?

Padico makes Premier, Premix, and La Doll (meaning their original Stone clay) and  La Doll Cloth Clay, a clay slurry/slip version of Premier air-dry clay, essentially.

Slurry, n. — a semiliquid mixture, typically of fine particles of manure, cement, or coal suspended in water.

In the ceramics world, clay slurry is referred to as “slip.” It’s used to coat or join pieces. It’s also a handy way of recycling dried up bits of clay, as they can be rewetted (providing they weren’t fired, I presume).

The Cloth Clay page states: It is a liquid air-dry clay sure to inspire some new styles of doll crafting. It can be used in a manner similar to the clay-over-cloth technique currently used by many cloth doll crafters or used for draping fabric on a sculpted clay figure. It can also be used like a clay slip, to fill small holes or cracks on finished surface of a sculpted figure.

If you go to the video on youtube, “Japan ‘Ichimatsu’ doll Making (without subtitle),” you’ll notice they’re working with a surface clay made of pulverized shells (must not breath in while dry!) and do wonders with clay slip. They don’t just use it to join things like the ears. They also use it to create the eyes — to embed the eyes. They later carve them out in a highly stylized way. Captivating.

Ecorche (sculpting of the muscles, often over a wire armature), such as what sculptor Julian Kohr accomplishes, involves sculpting the fatty padding and skin for a more realistic appearance.

https://youtu.be/SXmtItK9SmE

Can an art doll artist do that with Premier and other artist grade air-dry doll clays, maybe like this at times? It’s a WIP (work in progress) by russian art doll artist extraordinaire, Михаил Зайков (Michael Zajkov). Such an approach would better portray all sorts of people — young, old, female, male, active, inactive and an artist could better portray the body as a living, breathing, body, a person with a story.

The Questions, They Burn!
  1. Why not do an adapted version of ecorche and then dip the sculpture in a clay slurry to add fat/skin?
  2. Why not dip armature in a clay slurry to start coating the armature with clay?
  3. Why not, at various stages, dip WIPs in clay slurry to smooth things out and bulk things up at the same time?
  4. Will slurry be smoother and easier, more magical, than traditional additive and/or subtractive methods, litterally and figuratively, pardon the pun? If it is, can a slurry open doors when working with air-dry clays? Is it part of how to work air-dry clays masterfully? Is it part of that toolbox?

Slurry Creation, a 3:1 Mix, and Testing it Out

https://youtu.be/ri6UQKRJZPU

I got two larger jars, put in a block each of Creative PaperClay in one jar and Padico La Doll Premier clay in the other, in chunks. I then added water and tried to break the clay down  and create that magical slurry. Apparently, that was going to take forever so I transferred the clay and water to a blender and added enough water to make smooth slurry of each kind of clay. I added cling wrap over each open jar then closed the lids.

I started testing. I wanted slurries to provide a smooth and an even enough coat and then sanding can take care of the rest.

  1. PaperClay slurry was too gritty in a coarse way.
  2. Premier clay slurry was so smooth and gelatinous-like that it bunched up when I tried to smoothly apply it over a sheet of paper with a brush. Nope. Neither were quite what I wanted.
  3. A mix of the two?! In mad scientist mode, I got a trusted dual ended measuring spoon out — a teaspoon on one end and a tablespoon on the other end, and made a 3:1 Creative PaperClay Premier clay mix, meaning one part Premier (1 t) and three parts PaperClay (1 T). “T” is for tablespoon and “t” is for teaspoon.  I mixed it up well, applied with a brush to paper, applied it to a papier-mache egg, filled a mold with it, and dipped a wooden skewer in it.
    1. The 3:1 molded clay slurry has dried.
      1. Dried, the molded clay slurry is close to a thin wafer like medallion and it broke easily. Curious, it’s strong if it’s coating something, even a thin wooden skewer normally used in BBQing, and is whacked against something hard but if strong shearing force is applied, if on its own, the dried 3:1 clay slurry breaks. So it has some kinds of strength but not others. Unless someone tried to snap doll in two, dried slurry remains incredibly strong. This is a vote for using this slury as part of the sculpting process, but only in thin layers over something else — the first coating of armature, coating musculature to soften appearance, adding sculpted eyebrows/moles/elbow skin. I will not use it for joining limbs, other body parts, or digits. It’s a vote for either decreasing amount of Creative Paperclay slurry in the mix or switching to a premade slurry of eithre La Doll Stone (regular) or La Doll Premier. The slurry for La Doll Premier is called Padico Cloth Clay. I just now ordered some Padico Cloth Clay for $11.20 US dollars. I must compare, of course.
    2. The clay slurry dried on the wood, paper, and papier-mache very nicely, stayed put, dried overnight, and sands ever so easily.
    3. Strength and other qualities will be continually checked as I use this mix.
    4. The clay slurry I haven’t mixed will be kept separate by brand and used with the clay it’s made from…unless I mix it for certain purposes. I don’t know if I will?
    5. Two coats of 3:1 slurry on a wooden skewer, letting the first dip dry overnight before dipping again, made the stick at least twice as thick as its original width. It does not easily chip off even though I whacked the coated skewer against many surfaces many times.
    6. One coat of 3:1 slurry dried on paper does crack and separate one dry when you fold the paper.
    7. Testing of brand-pure, 3:1, and other ratio mixes of slurry will be dried over armature and tested.
    8. Putting clay slurry in a thin line squeeze bottle to write, create brows, create moles and other details is still a monstrously good idea. I was incredibly pleased with the results.

Conclusion

I am more interested in Premier, Cloth Clay, and Premix than ever. Premix is not available locally or from many o the major art supplies online stores.

The book Yoshida Style Ball Jointed Doll Making Guide, by Ryo Yoshida just arrived. I got it for 20-something US dollars, a good price. It came weeks early, a rather pleasant surprise. Now I must find help with translation or find ready-made translations of chapters online. No one’s Japanese here is that strong.