My Latest Faux Opal Using lMagic-Glos UV Resin, by Karen A. Scofield. March 2, 2017.

My Latest Resin Faux Opal

Resin Faux Opal by Karen A. Scofield. March 2, 2017. Magic-Glos, a UV-curing redin, and various inclusions were used and the gem was built up in layers.

Materials Used (Not a Complete List):

  • Lisa Pavelka Magic-Glos Resin
  • Lisa Pavelka UV Lamp Oven thingie
  • Various Glitters
My Latest Faux Opal Using lMagic-Glos UV Resin, by Karen A. Scofield. March 2, 2017.

My Latest Faux Opal Using lMagic-Glos UV Resin, by Karen A. Scofield. March 2, 2017.

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.

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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.

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.

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DIY Blank Canvas Board Book to Use as an Art Journal

I Made 11 x 14 Inch Blank Canvas Board Book Pages

Personalized cover is next.

Basic Instructions

I glued and taped only — no cutting (except cutting tape). Two sides board pages are covered wtih canvas paper, AKA acrylic paper. The board “pages” are ready for a cover. The cover will be made out of Kraft-tex fabric paper with something to stiffen the cover (some kind of paper board probably … whatever I find I have on hand). Time to make this portion of my canvas board book? About 30 minutes of hands-on time, give or take ten minutes, I didn’t time it. Making the cover will probably take more time, as I’ll decorate it.

Materials:

  • 10 of 11 x 14″ Soho Urban Artist Painting Panels
  • 10 sheets of Canson XL Acrylic Canvas Paper (NOT the Canson Montval paper!)
  • Reinforced Duct Tape (the wide roll size)
  • Scissors
  • About 6 or so Scotch Permanent Glue Sticks, the .28 oz size
  • Aleene’s Original Tacky Glue, or something comparative that’s thick but that doesn’t dry too fast
  • Baby powder and and old, clean cosmetic brush, the large kind
  • Large, strong needle with a head wide enough for your string
  • Very strong carpet thread or bookbinding thread
  • Fabric for Cover — I’ll probably use Kraft-tex paper fabric I’ll cut to size, decorate, etc.

Method

On a stable, smooth, and flat work surface, I laid two of the Soho canvas panels side by side in portrait sytle mode — the taller sides will be verticle on my book. That means the book will stand 14 inches call and will be, when open, 22″ wide. The boards will nearly touch each other when they lay open, so I can use two sides of the open book for one finshed picture, save the first and last sides.

For taping purposes, the boards are facing canvas texture side down, with their bare “SpHo” printed backs facing you.

Before taping two boards together, I created a gap large enough so that once the pages are folded, they’ll fold flat without too much slack. This means the finished book will shift around less, making it less likely to come undone. The gap is minutely wider than the thickness of the boards, thus allowing for movement of the pages later.

I taped the pages together with the gap in place, making sure the pages and gap stayed even. I then folded the pages with the canvas paper side of the boards facing each other and the bare sides on the outside. I repeated this process until I had a stack of taped-together SoHo canvas boards. I got my canvas Soho boards from jerrysartarama.com, on sale of course.

Next, I got the glue sticks and bottle of tacky glue out. I got these at Sams Club and Walmart a while back and they need to be used up before they’re not any good anymore. That’s what happens when you buy glue sticks in bulk, I guess. Anyway, I rapidly covered one bare side of one taped set of boards with the glue stick, taking care to cover up to about a 1/4″ from the 4 edges of the board. When using the glue sticks, it helps not to press down to hard or at an angle — you don’t want them to leave clumps of glue all over your board.

Next, I rapidly squeezed out a thread of glue right by each edge and on the duck tape, not on the very edge but right by it, taking care to lay down just enough and not too much. I have previous gluing experience and that helped here.

Without wasting time, I then took one of the Canson XL Acrylic Canvas Paper sheets (which is much better than the Canson Montval or even the SoHo panel canvas panel surface) and laid it onto the glue, with the sheet’s canvas texture side up, facing toward me. I quickly made sure it was positioned correctly.

Using the outer side of a closed fist, I started rubbing the canvas paper into place on the canvas board, rubbing from one side to the other and then around each edge of each side, carefully coming right up to the very edge but without getting glue all over my fingers or hand. Rubbing from one side to the other of the canvas board helps ensure there are no air bubbles and that all areas have made solid contact with the glue below.

Using a slightly damp wet wipe or bit of paper towel, I deftly wiped away the minute bits of glue that were squeezed out during that process. I wiped, folded the wipe over the glue i picked up that way, wiped the next side, and so on. This meant my hands and the canvas paper surfaces stayed free of glue.

I covered only one bare side of each taped set of boards at a time. made sure the boards couldn’t stick together, and then routinely covered only one bare side on each set of taped boards, leaving one bare side for later. I had to go drive my daughter to work while it was drying, so that worked out fine.

I returned to my stack and then closed each set of taped boards so the sticky portion of the tape was peaking toward the outside of each folded set.

It was time for the baby powder. I dusted the strips of sticky tape that were barely showing with the baby powder.

I then poked evenly spaced holes so that the pages are ready to connect them, by way of sewing with the thread, to the cover once that’s done…

As For Sewing the Book Binding…

I had watched several book binding videos like this one. It shows a sewn binding method.