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.

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.

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.

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.

Magic-Glos with Tiny Clay Sculpture and Inclusions by Karen A. Scofield.

Jewelry Resin (Magic-Glos, Ice Resin) Tiny Sculptures, and Bezels

Magic-Glos

Spelling –Magic-Glos is hyphenated and is spelled with only one “s.”

I’m going to discuss Magic-Glos here more because Ice Resin has books based on it. One such book is “Resin Alchemy: Innovative Techniques for Mixed-Media and Jewelry Artists,” by Susan Lenart Kazmer.

 image

Magic-Glos Resources

Lis Pavelka’s Magic-Glos Tips: http://www.lisapavelka.com/wp-content/uploads/2015/04/Magic-Glos-Tips-Tricks-15.pdf

Magic-Glos MSDS (Material Safety Data Sheet): http://www.artclayworld.com/v/vspfiles/assets/MSDS/magic_glos.pdf

Fire Mountain Gems Magic-Glos Tips and Information: http://www.firemountaingems.com/resources/jewelry-making-articles/f35h

Corrections to My Magic-Glos Video (Always Learning!)

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
  • Airdry 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.

Note: You don’t have to use seven layers like I did. I used so many layers because I made mistakes and was fiddling with different effects. You can use three layers or more, and maybe less. It depends on what you doing, of course.

Ice Resin

Ice Resin Faux Opal, by Karen A. Scofield. 2016.

Ice Resin Faux Opal, by Karen A. Scofield. 2016.

I also did a faux opal with Ice Resin. Fun!

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.

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 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

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.

Strongest Air-Dry Clay for Sculpting Art Dolls?

Note: This page doesn’t cover all the wonderful Japanese resin clays (not to be confused with casting resin). I don’t find them readily available in the US, have no experience with them, don’t know if they’re even suitable for sculpting figurative fine art dolls, but see them used for creating jewelry charms.

Artist Grade Air-dry Clays

Some of the artist grade air-dry clays are great choices for creating artist dolls. They are generally messier to work and unused clay must be sealed in a plastic bag  that the air has been squeezed out of, and then stored in an air-tight container. Finished dolls are usually painted and sealed.

Some Top Artist Grade Air-dry Clays for Professional Art Doll Artists, Specifically, in Canada, the US, Europe, and Russia

In order of strength:

  • Premier by La Doll — Strongest
  • Premix by La Doll — 2nd Strongest — Easier to sculpt than Premier
  • La Doll  Satin Smooth Natural Stone Clay — Often simply called Satin Smooth —  Third Strongest
  • Creative Paperclay (official blog!) — Fourth Strongest — Least Strong Of These Four Choices Here But Certainly Strong Enough for Some Sculpting Shapes and Sizes

To recap, of the air-dry clays Premier is the strongest, followed by Premix, La Doll, and then Creative Paperclay. Premix is very close to Premier’s strength though, considering the whole range of air-dry clays.

Both Premier and Premix are strong enough for hollow sculptures as well as fingers, toes, ears, etc, that won’t easily break off. Premier is the most advanced clay. Premier cracks the least while drying.

Creative Paperclay is pretty sturdy except fingers and smaller part that project out will be more susceptible to breakage. All of these clays, since they dissolve in water, should be sealed once the sculpture is finished.

Top doll artists use artist grade air-dry clays like Creative PaperClay, Premier, La Doll, and Premix. Both BJD (ball jointed doll) artists and other art doll artists use these clays. The late Hannie Sarris mastered both Premier and Premix by LaDoll, but came to favor Premix. You can witness many of their works via my Pinterest page on Art Dolls and Spirit Dolls here.

Where to Find These In the US:

Which Formula is Stronger, More Advanced?

From what I can tell from the more reputable sites, professional art doll artist input, and company descriptions, LaDoll Premier is indeed the most advanced and strongest of their three clays, and Premier is stronger and smoother than Creative PaperClay, the latter which is made by a different company. So, from what I can put together from all the input, Padico’s La Doll Premier airy-dry clay is the strongest, smoothest, and most advanced air-dry clay commonly available in the US (and possible Europe). It’s also the stiffest to sculpt, which is why, I suspect, the late Hannie Sarris, doll maker extraordinaire, worked with Padico to develop La Doll Premix. Premix has properties of both Premier and Stone but is finer than Stone but has more pliability, making it easier to scupt than Premier alone, presumably.

Note that while La Doll Premix is advertised as being so strong that it can be used to make hollow objects, hollow BJD (Ball Jointed Doll) parts for example, a lot of very successful art doll artists, including BJDers, have already been using la Doll Premier for hollow parts and have been doing so with great success. Also, while Padico made their La Doll Premix stronger than what any artist could mix up using La Doll Premier and La Doll Stone, meaning they did something to their proprietary mix and they charge more for that, they still describe La Doll Premier as their strongest and most advanced clay.

So Premix is a mix of Premier and Stone but is stronger than what you could make mixing those two clays, it’s neither more advanced nor stronger than Premier alone. That’s what I could surmise by looking at all the official sites and professional doll artists feedback. Premix sadly isn’t available locally and I have to use what I already have, which is La Doll Premier and Creative PaperClay, as far as the air-dry clays are concerned anyway. (I also have some of the polymer doll clays.)

I don’t have a lot of Premier or Creative Paperclay, so I’ll have to build up an armature and add ir-dry clay to it. They say it dries better that way anyway.

Creative Paperclay has a wonderful site full of information. It’s not as strong or suitable for delicate hand sculpts that are positioned away from the body, but it too can be a wonderful clay. Your sculpting style may influence your choice of clay.

Premier Air-Dry Clay

  • Contents — Pumice (a stone), talc (which is processed from rocks), small amounts of paper pulp, and additional binders.
    • As for the paper pulp part, how you process paper pulp and what you use makes a tremendous amount of difference. I found that out from watching a master art paper maker.
  • Is extremely plaint but is stiffer to sculpt than La Doll (“La Doll Natural Satin Smooth Natural Stone Clay”)
  • Is ultra-lightweight
  • May blend with La Doll
  • Has a bright white finish
  • Has exceptional strength — works well for small, delicate areas such as fingers
  • Air dries — no need to bake
  • Is best air dried rather than dried in an oven an even a very low setting
  • Has fine smooth texture, fine body to the clay’s feel
  • Capable of fine detail
  • Doesn’t attract dirt and tiny bits of who knows whats that float in the air
  • Keep it moist so you can work it
  • Add fresh clay to dry by re-wetting, attaching small pieces of new clay, and bleding it in — can work on it for a very long time this way
  • Adheres to any core material — wire, mesh rigid wrap, paper, glass, plastic, wood, Styrofoam, and more
  • Can be stamped, carved, or sculpted with exceptional detail
  • Can be drilled, sanded or sculpted when dry
  • Accepts acrylics, oils, water-based paints, as well as dry finish powders (dry artist pastels, for example)
  • Dissolves in water to be used as a finish coat or to soak paper or cloth in so you can form it in shapes
  • Dries with minimal shrinkage

Doll Artists Who Have Used Premier Clay are Too Numerous to Mention Here, but I’ll List a Few

Vocabulary Notes

Some people, a lot of people, call only Padico’s “La Doll Natural Satin Smooth Natural Stone Clay” just “La Doll” but all three — Satin Smooth Stone, Premier, and Premix made by Padico — have “La Doll” on the package. Even Padico sometimes calls their Natural Smooth Stone Clay just “La Doll.” Also, some packages say “La Doll Natural Smooth Stone Clay” on them and others just say “La Doll” on them for this same clay. To get a bit more confusing, all three clays are listed on their site under “Stone Clay.”

Stone Clays or Paperclays (Air-dry Clay) — Some people call the stone clays by Padico “paperclay.” Many official sites, including Padico’s, categorize them as stone clays. Premier, for example has paper pulp in it, yes, but these clays also have pumice and talc (which comes from rocks) in them, which is why they’re probably labeled as stone clays and why they’re stronger than Creative Paperclay. Some official sites refer to them as polymer clays too. Do they technically fit al three categories? That is quite possible. It seems that users most often call them paper clay and official sites most often call them stone clays.

Epoxy Clays

Magic Sculp and Apoxie Sculpt technically aren’t air-dry clays — they can cure even when wet — their curing process is chemical. Also, if you use these two-part epoxy clays in the construction of a doll’s armature, they’re so tough and strong that if you wanted to cut through it later, you’d have to use a saw and it’d be hard work. Magic Sculp has an indefinite shelf life though and both can withstand heat up to 300 degrees F. One can create entire sculpts out of the epoxy clays, use them for armatures to add strength, sculpt part of the doll with epoxy clays, and/or sculpt props and bases with epoxy clay. They can be painted with acrylic paints. They’re great stuff but they’re not air-dry clays, technically.)

Techniques, Cracks, Storage, Sanding, and Working Time…

Working time with artist grade air-dry clays can extend into weeks. 

Cracks don’t mean that you failed, should give up, or that the clay isn’t artist grade.

  • Storage of Opened Packages — Keep a damp cloth or terra cotta disc in with the clay and keep the clay in a zip lock bag with the air squeezed out of it. Keep that bag in an air-tight container.
  • When Sculpting, Keep a Spray Bottle of Water at Hand — Spray areas you’re working on to keep moist, as needed.
  • Joining New Clay to Dried — Moisten the dry clay a bit where you’ll attach the new clay.
  • Sculpt in Stages, Letting Dry Overnight — This makes for better drying and less or no cracks. Stages can be armature, basic bulk out, final layer, fingers, toes, details.
  • Sculpting Details — Can be done through a combination of additive and subtractive sculpting, meaning you can add new clay or take it away. Subtractive sculpting can be accomblished with carving tools (both regular sized and micro, for micro see Dockyard Micro Carving tools), rasps, nail files, sandpaper or even, in more advanced methods, keyhold X-acto blades. You can use dremels too but they’re much more difficult to control, as far as fine tuning sculpts and such goes, and are probably better for drilling holes or major reworking.
  • Cracks May Happen — Cracks are often a normal part of both the drying and sculpting process with artist grade air-dry clays. They can be filled in with more of the artist-grade air-dry clay. Cracks do not mean, however, that artist grade air-dry clays are less worthy or suitable for art doll dollmaking. They shrink a little while drying is all, therfore…cracks. That being said, don’t sculpt air-dry clays over springy, boingy armatures and expect those cracks to be okay. That’s a whole other story. And hey, polymer clay artists have to worry about burning their polymer clay, moonies, and other issues sometimes. Every clay has its quirks artists learn to work until they rock it (masterfully work it to magnificence). When you’re already working with an artist grade clay but cracks stop you, it’s not the clay, it’s the artist that determines success. When I first started with air dry clays, I used it for Ostrich legs. The metal was too sproingy. The clay cracked big time. That was a major structural fault. That this stopped me from using air-dry clays for years was my fault as an artist. I needed to understand more about armature and the nature of the clay. Instead, I thought I was a failure and never finished the sculpture.
  • Smoothing/Shaping — Use wet-dry sandpapers (you can wet them a touch on the back, but keep the sanding side dry, to make them more pliable), nail files, nail file/buffers, dedicated pedicure sanders/scrapers, metal rasps, fine drywall screen, and even flat beach stones that have some texture. I have a jar of “smoothing stones” that I’ve found work for the purpose. I got the idea from professional doll artists who use smoother stones to smooth out raw polymer clay doll surfaces. So now I have smoothing stones for polymer clay and sanding stones for air-dry clays).

Don’t Let The Confusion Out There Get to You

Doing some research over several years, I’ve found different answers on what is the strongest air-dry clay for sculpting art dolls.  Be careful, anyone can make a web site. Some sites didn’t do their homework and tell me that student grade clay, really weak stuff, is the strongest and may not even mention Padico’s La Doll Clays (Stone, Premier, or Premix). There’s also some confusion regarding vocabulary and categories of clay.

Armed with a little of the right and thorough enough information though, you can proceed and have a lot of fun.

Happy Doll Making!

Raised Scratch Foam Designs in Polymer Clay

Raised Scratch Foam Polymer Clay Designs

Raised Scratch Foam Designs in Polymer Clay

Raised Scratch Foam Polymer Clay Design Test, with notes, by Karen A. Scofield

KarenAScofield Spriograph Clay Texture SheetsNote: This page will be updated as examples are made.

The above picture is only a simple and fast test. It’s not meant to be a prime example, just an example to get your creative juices flowing (and mine). It shows a moon shaped piece of clay with a raised scratch foam design that was colored with Pearl Ex.

I haven’t yet seen others doing it, but yes indeedy, spirographs can be used on scratch foam (Inovart Presto Foam Printing Plate was used in this case) with a ball point pen, ball stylus, or Sakura Gel Pen.

Back at it, Dec. 2016.

KarenAScofield Spriograph Clay Texture Sheets

spirograph clay texture sheet by Karen a Scofield

The Basic Idea

Create a design on scratch foam with a spirograph set and a ball point pen. Press  polymer clay into the design and lift. Add bead holes, etc. You’re looking for spirograph sets that won’t make unintended scratches on the scratch foam. Mine came with “The Spiral Draw” Book.

Taking it Further

Pointillism elements or entire designs be be added inside or around the spirograph design with a ball point pen or ball stylus. The result creates raised clay designs once clay is preseed into it.

Ball point styluses that come in varying sizes can be used for added interest and then needles or beed hole makers can be dragged across the surface, at a slant, to add on to the design too.

Scratch foam designs are probably more commonly used for printing monoprints and other techniques … and also by metal clay artists. They can be earthy/rustic looking or linear and crisp ones.

One can create a bezel complete with boarder designs, with scratch foam designs. What you indent on the foam will be raised on the clay. If you add dimensional writer designs to the scratch foam ones, the clay pressed into it will have both raised and indented designs.

If you use Sakura Gel Pens for the spirograph scratch foam deisgns, many of their inks are oqaque and therefore show up on darker clays. You can press the clay into the fresh scratch foam design and then bake. You may want to seal your design afterward.

Any manner of polymer clay extrusions, applique, relief sculpture, lace impressions/molds, designs for faux enamels, crackling, or designs made with cutters/blades can be applied over the spirograph textured clay passages. If you’re worried about pressing clay together to cause adhesion, because you don’t want to ruin more delicate designs, you may want to use liquid clay or Bake and Bond for adhesion purposes.

With single layer or multi layered scratch foam designs, you create mixed media mosaic tiles, embellishments, beads, and larger clay sheets. You can create molds of the larger clay sheets if you want.

Raised designs can be colored with paint, Sakura Gel Pen ink, inks, or Pearl Ex powders (which are a brand of mica powder). I’d apply paint to baked clay but Sakura Gel Pen, Pearl Ex, and alcohol inks can be applied to raw clay that’s then baked.

You may want to seal baked polymer clay items that have Pearl Ex mica powders or Gel Pens baked onto them. Varathane Water Based varnish is a wonderful sealant for polymer clay pieces.