On the Edge of a Tin Box

Okay … raise your hand if you’ve never covered a tin box.

Oh, I wish I could actually see the response to that. My guess is most of us have tried to, or still do cover tin boxes with polymer. And why not? They are inexpensive but wonderful little boxes whose curled and folded edges are perfect for holding onto that clay. They go into the oven without warping or deforming, come in many shapes and sizes, and are durable, long lasting forms for your clay art.

But just because tins are simple doesn’t mean they should be treated simply. Boxes as a form for polymer are nothing but a six sided canvas. You can just cover it with cane slices or sheets of treated clay, but why stop there? I’m not saying you need to go wild–although you certainly can if you are so inspired–but just push it a little. Layer on elements, break elements over the edge, use texture, form, pattern, repetition, focal points, movement, and color schemes just as you would with a pendant or bracelet. The form you apply your clay to does not change the standards of good design you should be considering, although it might force you to think of the piece in three dimensions the way a pendant, usually approached in a more two-dimensional manner, does not.

Here are a few examples of tins that don’t go overboard but have plenty of color and texture contrast, tension at the edges where the elements break off incomplete, and active repetition to hold your attention and admiration. Don’t they?

This is actually only a small sampling of what Mary Anne Loveless does with tins. She’s quite the tin box artist actually. Go take a look at her Flickr site for more tin box inspiration, among other things!