Mosaic Flow
February 24, 2019
Inspirational Art, The Polymer Arts magazine news
Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
How to Make It Your Own
April 25, 2018
Inspirational Art
I know I just featured Katie Way in February, but this is such a great example of taking a technique and making it your own that I didn’t want to pass by this opportunity. This seemed particularly apropos after an incident came up a week or so ago that I was consulted about involving a student submitting something to a contest that they created either in a class or based on a class. The problem was not in taking something that was learned in a class and creating from that knowledge but using the design choices that the teaching artist used. So, let’s just review what that means. In a way, it’s very simple – you can replicate technique, but you cannot use the design decisions of another artist.
I think part of the issue is that there is some confusion as to what’s is technique and what is design, so let me try to define that.
Technique is how you manipulate the material including how you apply texture, the process of forming/sculpting, the mixing or application of color treatments, the creation of mechanisms or use of materials for constructing the piece, etc. In other words, it’s about the process of creating.
Design is about the specific choices you make about how something is going to look. So, your choices about the type of texture (not how you apply it), the shapes you create (but not how you create them), the colors you choose (but not the source of the color), and the arrangement of your construction (but not the mechanisms used to put pieces together), are all design choices. If the majority of your choices are based on someone else’s examples, then you’re in danger of copying their design. Changing the color or shape is simply not enough, nor is it fair to the artist that inspired you and, equally so, it’s not fair to you and your creative growth to skip the exploration of what a piece could be by not making the design decisions yourself.
In the piece we see here, Katie Way took a class with Alice Stroppel and made a piece that is uniquely her own. You can see the influence of both artists in this work. The big, bold cane work shows Alice’s influence, but the color choices and all those bulls-eye circles are absolutely Katie. I would’ve known this was Katie’s right away, but it would’ve taken me a few moments to realize where her change in technique came from if she hadn’t made note of her influencer. And that’s really how it should be.
You can absolutely copy the work of the teaching artist in class as a way to learn. Most of them do prefer that. But when you go home, don’t make that same basic piece ever again. Have enough confidence and belief in your artistic self to work out your own designs. It is far more fulfilling to create from your own sense of aesthetic and ideas than to simply be successful with someone else’s design.
Okay, getting off my soapbox now. If you’re intrigued by Alice’s cane mapping class, go to her website to check out where she will be teaching next. And if you’ve somehow missed Katie’s work, check out her Etsy shop and her Instagram page.
Variation on Time
December 1, 2017
Inspirational Art
I spent a lot of time looking for differently constructed clocks in polymer and couldn’t find much that really illustrated the point I was hoping to make. What I wanted was to show that a clock does not have to be on a flat surface. It can be made of many parts, attached or not, and fully dimensional. As long as you have something that can house or hide the clock mechanism while holding out the hands, the rest is wide open. You can have the hour markers designated by any form and attach them with sticks or wire or be free floating–whatever suits the piece and your inclination.
These two examples are commercial designs rather than polymer art but I think they give you the basics of this idea of moving beyond the flat clock face. Not only do these kinds of clocks make for really interesting wall pieces, they give you the freedom to use pieces you may already have such as large hollow beads, faux stones, unhung pendants, small figurines, flowers, etc.
As a gift, giving a clock that has separate pieces might be best attached to something that can be hung as one piece, like a backing of Plexiglas or painted plywood. Or include instructions for a template to mark on the wall where each piece goes. There is little to no construction to deal with but you will have to make concessions in the design for how the individual pieces will be hung. Alternately, go for a design where the elements are attached like the flowers you see here.
The sky is the limit with these kinds of designs. For more ideas, try searching “DIY clocks,” which was the keyword set that brought me to these two pieces. I hope these sparks some ideas and I look forward to seeing inventive clock designs this month!
The Complexity of Time
November 29, 2017
Inspirational Art
In my search for clock inspiration, I veered a bit off the polymer path, but then again, I kept running into pieces that I thought were polymer but were not. Of course, pieces like this splendid celestial clock by Natalya Polekh could be created in a very similar fashion with polymer. Large textured sheets and fun with alcohol inks and mica powders could produce similarly stunning results so I took a closer look.
Natalya looks to be a well-known mixed media artist in Eastern Europe and Russia and when I say mixed, I mean all kinds of things. Her primary materials look to be various types of acrylic paint, dimensional and pearling paints, 3D gel, embossing paste, and glass and metal accents of different types. She works in texture, mosaics and layered media that is applied in such a way that knowing the materials is rather superfluous. She creates a beautiful complexity of texture and motif with shine and shimmer applied in abundance but always in a tasteful and often intriguing manner.
She does much more than clocks although she has done quite few of them. Take a look at her shop for more clock and textural ideas as well as very well priced tutorials on how she creates this work. Her VK.com page has more images.
Peeking Through Layers
November 3, 2017
Inspirational Art
A lot of the peek-a-boo designs you see peer in at just one contrasting surface although there are a few out there who add in a little charm or an additional focal point. But I really like what Czech Republic’s Jitka Petrů did with this opening in her pendant’s surface.
The many overlapping layers look like they are moving back, one depth at a time and seem like we will soon see the inner surface although it stops at just giving us the tiniest of peeks. But that effect really draws your eye in. When you pull back, it even has a bit of an optical motion effect, in part because of the angling of the layers but also because of the very slight change in color value and hue which makes for a gradual transition to the center.
Jitka plays around with this peek into layers in a number of ways as you can see in her shop here.
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A Peek at a Letter
November 1, 2017
Inspirational Art
Since we started out this week with a spooky something or other peeking out at us, I thought I’d try to make a theme of it and the idea of peeking into things is always intriguing. Spaces that allow us to look into things beyond is like the revealing of a tiny mystery, a look into a place that we might otherwise be shut off from. When this is part of a design, I think it automatically will draw the eye. Whether you can keep a viewer looking is up to the rest of your design.
The idea of a partly revealed letter that Samantha Burroughs chose for this beautifully textured pendant is certainly alluring. Who doesn’t get a little bit of thrill from the possibility of seeing the inner thoughts of another person? We are also very drawn to text in general as our brain wants to immediately read and decipher it so it was a good choice for the interior content of the holes here. It also creates a contrasting texture to the organic surface of the piece.
Samantha has honed her skills in a variety of established techniques and looks to be fully exploring quite a few of them. You can find her work on Etsy.
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A Spooky Peek
October 30, 2017
Inspirational Art
Being that tomorrow is Halloween, I could not help but get in one last spooky bit of polymer creativity. The thing that makes something truly scary is the stuff you can’t see, or so I have always felt. The bogeyman under the bed, the creature in the closet, the shape of some beast in the bushes … just the hint that something is there allows our imagination to run wild. And in the dark and the shadows, our imagination comes up with some pretty scary stuff!
So, seeing the pair of eyes staring out from the forest in this polymer illustration by Korrina Robinson, what are you thinking is in there? You know I was thinking those eyes need to be glow in the dark and then I would so want this to be a light switch plate because how freaky would that be in a shadowy room to have to reach into that to get the light on and banish the very fears it invokes? Can you hear your inner voice saying, “Don’t do it! You’ve seen this seen in the movies and someone always loses a hand!”
Okay … enough with trying to spook you all. Especially since I think I am very much spooking myself in the process. But isn’t it neat how our imaginations can add so much to what we look at? And isn’t it great that polymer clay allows us to create any such thing our imagination comes up with?
For those of you who celebrate this holiday in which we face and often embrace our fears, have a very safe and happy Halloween.
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Vessel Unexpected
October 25, 2017
Inspirational Art
I was going to start off a week of spooky ghoulishness but I have to delay that for one more post as I wanted to take the opportunity to share a beautiful piece recently created by the ever-surprising Beth Petricoin. The glass vessel you see here, accompanied by a similarly styled neckpiece was part of an entry for a decorated table contest in a local town. I choose this image so you could see the work but it is best displayed in a darker setting when the side-sitting vessel and the necklace both are lit up by hidden LED lights.
Beth did not win the contest which was a disappointment for her but if originality and hard work had been what they were primarily grading on, it would have been an easy winner I think. But as she says in her post, it is easier to have your work appreciated by fellow artisans and this, unfortunately, was not really an art contest. But I thought we all could sure show our appreciation for the beautifully applied and finished work as well as the ingenuity of the design, especially in regards to its function as an eye-catching table centerpiece.
I won’t go on too long about this as Beth has written at length about the event and the piece. I do hope it gets a few creative wheels turning with some pondering on larger polymer pieces and maybe a few of you will now want to keep an eye out for more unique shapes for polymer-covered decor. Do jump over to her blog to see the lit up images and to read about how she created these beauties.
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Exploring Points
October 18, 2017
Inspirational Art
Last week I had the very fortunate opportunity to spend a couple days chatting and exploring Los Angeles with Christi Friesen and one of my oldest polymer pals, Debbie Crothers. We definitely did more talking than anything else and one of the subjects that kept coming up was exploration. Exploration of a technique or of a design element in your work can reveal much about what you personally prefer to do in your work not just what the technique or element offers.
One great way to explore is to make a lot of elements using the same technique or the same design element. In this bold neckpiece by Hélène JeanClaude there are several variations on the dot. The dot as a colored accent, as repetition defining the structure of a visual pattern, and as negative space are joined together, linked by that same color of blue and the coppery brown. The curve of the shapes, as well as the colors and the dots themselves, create a cohesive whole of these three very different explorations of the way a dot can be used.
Hélène’s work often appears to be an exploration of a particular design element or perhaps she is simply not satisfied with an element being presented in just one way. Regardless, it presents a high level of sophistication and energy to her tribal-leaning aesthetic. You can explore the fruits of her explorations on her Flickr photostream and here on her blog.
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One of my personal favorite articles in this issue is the interview of Wiwat Kamolpornjiwit. He has been one of my top jewelry designers since I saw his work some 9 years ago. I don’t think anyone does anything quite like what he does, not in polymer.
He really seems to approach his work from a purely construction and sculptural aspect, instead of getting into all the many ways polymer can be manipulated, putting the design first and the material second, if that. I love that. It should never matter what the material is if the design has not been well-considered. This is not to say that he doesn’t play with canes and surface design but they tend to be accents or focal points rather than the bulk of the work. This piece is actually a bit unusual for him, that I know of, as it incorporates a druzy stone moving the work into a bit more mixed media than in the past.
I believe this piece is from the collection shown at his recent American Craft Council show in Baltimore, Maryland. Cynthia also showed off his work on the Polymer Clay Daily blog a couple of weeks ago so he’s getting his share of attention right now, and for good reason. He has an interesting story so be sure to read that in the latest issue of The Polymer Arts magazine and see more of his work on his website and his Facebook page.
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The Spring issue is out and as usual, there is a bit of chatter on it out there in the social network world but there is an unusually high level of enthusiasm out there this issue. Is it that fabulously colorful cover? The wide variety of articles by or about amazing artists like Donna Greenberg, Christi Friesen, Wiwat Kalmpornjiwit, and Sylvie Peraud? So far the most talked about articles are the Lariat making, Donna’s inspiration from the past and Christi’s treatise on armatures which was pretty eye-opening since she picked the brains of some of the most amazing artists for which armatures are essential, namely Ellen Jewett (with that incredible opening piece!) and Adam Thomas Rees who I knew built his own animal shapes but had no idea how he did these huge things. But Christi revealed that for us.
The one thing we couldn’t do in Christi’s article was blow up some of the images so you could really see the detail of the work these artist’s do. Adam layers canes onto animal shapes in a manner reminiscent of Jon Anderson though they were developing their work around the same time so I don’t think Adam came to this idea from seeing Jon’s work although either of them may have influenced the other since. But other than canes on animal shapes, they have different approaches. Adam’s pieces are huge and his canes are large, broad patterns and often very bright. He sometimes mixes up other sculptural textures and additions to his creatures that create a feast of interesting details for the eye to roam over. The hanging matted hair like texture built up on this one creates a swath of white to give the eye a resting place below all that intense color and pattern above.
Just open Adam’s website and try not to be startled by the creature staring out at you. It’s beautiful but intense! Take some time out today and enjoy Adams colorful patterns in his galleries. And grab your copy of the Spring issue of The Polymer Arts on our website here.
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Ta da! The first issue of 2017 is coming out today (scheduled for 11am PST) and, I know I am usually extremely enthusiastic about every issue but this one has so many wildly passionate artists sharing their process and their secrets. It is really heart-warming how much these people share. There are also a lot of cool techniques and new forms to learn, not to mention a few different ways to get and stay inspired in your own creative polymer endeavors. We really hope you like it!
If you are a digital subscriber, look for it in your inbox (or check your junkmail/spam folder if it’s not there) or, if you have a print copy coming to you, they were shipped out yesterday.
If you don’t have your copy on order yet, head over to the website and get yours now. www.thepolymerarts.com
Now I am going to go play with clay. That’s how I relax after a new issue goes out! How about you?
Weekly Inspirational Challenge: Let’s make this weekend simple. Create something in a familiar, easy and uncomplicated design and set of techniques. See what design choices come to you instinctively and just enjoy the process!
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So many artists spend an inordinately large amount of time looking for the next really cool and totally different thing that will get them all kinds of attention and make their work stand out. But here is the thing … nothing is really new anymore. It’s just a variation of something that was done before. Thinking and creating with this in mind can be so freeing. It allows you to just create what you love or what you want to express.
And some days you just want to be simple, clean and use some no-fuss forms and applications. Nothing wrong with that. Go for it. You can see how a basic striped composition on a bangle shape and a couple of lentil earrings did for Julia Peker‘s approach. Choosing an array of both visual and tactile textures gives this variation within the limitations of a palette of subdued and tinted cool colors. Nothing crazy or new design wise, but it pulls off a tasteful and understated elegance that most anyone can appreciate.
Julia takes notes from a lot of other polymer artists as can be seen in her work so I suspect she is still working on her voice but I think I see it emerging. Her postings look to be relegated to Instagram for the moment but I would be interested to see how her work develops. We’ll keep an eye out!ow
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Some days, you just want things simple. You know … you head off to the studio or to work and you hope for something that is not going to bend your brain or make you feel all beat up and worn out when you’re done, even if it is successful. Some days, you just want to take it easy.
You can do this in the studio any time and, regardless of your simple approach, you can still get stunning results. The funny thing is, you can set aside all the complex techniques and the tricky materials and you may still end up making something that takes you all day. I think that once we engage the creative mind, it will just keep going on its own momentum even when you were thinking that you wanted to do something quick and easy.
I think that is what Veruschka Stevens was thinking when she first sat down to create this necklace she calls Prorsum. As she says:
I generally use different techniques that vary in complexity for making our jewelry. This necklace in particular was made using the simplest technique I know. However it is equally one of the most time-consuming and very much detail-oriented as well.
You can see some great close up views of this piece as well as its inspiration and a “how I made it” video on her blog. Also stop to take a look at her interesting approach to marketing herself and her jewelry on her website here .
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Okay … so you know how I’ve been saying all week that you can’t lean on pattern alone. Well, I meant it but there is one kind of exception to that rule and that is, if you are going to do a lot of pattern, go all out with a lot of variation and then be reserved in other design elements so it doesn’t look messy. And this is what I mean by that.
Louise Fischer Cozzi focuses on pattern a lot. She will silkscreen, image transfer, etch, stamp or whatever suits to get the pattern down. I know this would have been made after she got more heavily into silkscreening but I can’t actually say whether any of it is. But that is fairly irrelevant because the idea is that you can see what using a lot of pattern, and successfully, looks like here.
There are more patterns here than I have been able to count but for all that chaos of pattern, there is this very clean collection of circles carrying it all along. Some variation in size and solid versus donut type circles mix it up some, but they are placed at regular intervals to keep everything orderly. A little order in the chaos allows the viewer to enjoy the variety without feeling lost in it. Plus this works as both a necklace and a belt so for those of us that like versatility, this piece has quite a bit going for it.
Louise does a lot of wholesale and a lot of shows so you don’t see her stuff bouncing around the internet too much. To see her latest work, just pop over to her website or check out what she is selling to us mere mortals in her shop.
Weekly Inspiration Challenge: Focus on pattern this weekend–bit it silkscreen, stamps, image transfers or even hand made marks. You could pick one pattern and see how many ways you can use it. It could be an accent on a bead or the background on a vase upon which you lay other elements. How does the use change how you see the pattern? Or go for an all out piece like the one here, using as many patterns as you can while keeping the design in check.
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As mentioned yesterday, silkscreen is great for adding pattern to a piece but you want to be careful that you don’t lean too heavily on the pattern to carry your design. As fun and novel as silkscreening can be for the maker, it is still just a visual texture. Something else has to come into play.
So, of course, I had to check out Helen Breil’s silkscreened pieces because I knew she’d have a fabulous example for us. This gorgeous bracelet gets energy and an interesting texture from the silkscreen but if it weren’t for the color choices of gold against a rich red and the undulating form, the pattern would not be overly interesting. But with texture, color and form combined, we have a very dramatic and energetic piece. Let’s not forget the anchor of that black focal point. Without it, all the movement and energy might be a bit much but the button in the middle gives the eye a place to rest before heading back out to take in beauty of this great combination of elements.
Of course, Helen’s shop is an excellent source of silkscreens as well as instruction on how to use them. You can find both on her website here and her Pinterest board of examples here. Also take a look at her video classes, including her new Magnetic Pendants class, all on her website.
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I just realized the other day, as I was admiring a slew of silkscreen work by one Noelia Contreras, that I don’t think I’ve ever spent a week admiring this little gem of technique. So as I keep focused on fixing a couple snags that are in the way of getting the Spring issue off to the printer, let’s admire a some nice silkscreens and look at ways it can be used.
Noelia’s set seen here shows a number of applications for silkscreened clay. It works as a background, a foreground, a peek-a-boo ground (yes, I just made that up) and even to create singular objects to raise about the surface. I enjoy these pieces because they all have focal points, some more subtle than others, but it is more than just a swath of pattern. What I assume are brooches on the right side are probably my favorite designs because of the energy of their shape, just off-center focal point, and the couple of layers there that lead to a small spot of negative space. A bit of the cloth those will be set against will be framed in those negative spaces which integrates the brooch and its background. It’s a nice touch.
The silkscreen and patterns are the primary focus in these pieces, which can be a little tricky. Just using lots of pattern can make for weak design if the artist depends on it to be the sole point of interest. As much as we might like a pattern, it needs contrast and context, at the very least, to create strong design. Here there is a mix of pattern that invites the viewer to find relationships between pattern choices and enough contrast in other design choices, including those bold black outlines, to show the pieces were well thought out. You can see alternate views of most of these pieces on Noelia’s Flickrphotostream and in her website gallery.
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To finish up a stretch of blog posts on vessels, I have for you this interesting ceramic vessel done in a style easily translated into polymer. The technique is referred to as sgraffito. The beautiful texture and imagery are created by scratching into a surface that reveals a contrasting surface beneath it.
This vase is the work of Terri Kern whose choice of large bold scratches add to the illustrative and dreamy quality of her imagery. The way she has to work in ceramics makes the process all the more impressive. “Black is painted on in a small section and while it’s still wet, a carving tool is used to carve away the black to reveal the color underneath. It normally takes as long to apply black as it does to apply all the other colors combined on any given piece.”
This is where polymer would have the advantage. Although I have only done this in small decorative swathes, it is quite easy to lay a very thin layer of clay on top of a thick contrasting color, run it through the pasta machine until the top layer is even thinner and then you can scratch or carve the raw clay. It has got to be faster than the process necessary to scratch wet glaze out on ceramic clay. You can also shape and cure the polymer layers and then scratch or carve the surface afterwards since cured polymer, especially when still warm, is quite easy to carve.
The two approaches yield a different kind of mark with soft edges in raw clay and very sharp and smooth edges in cured clay. Although I have not tried it, I imagine you could apply a very thin layer of raw clay to a cured piece and scratch the raw clay which would create a uniformly shallow mark. It would be fun to try and I have it on my to-do list!
I was thinking you could also go over the scratched areas with paint, the way you apply an antiquing effect. I got the idea while I was analyzing Terri’s work since it looks like some colors would have been laid back in after scratching. That could really add up to some beautifully complex and intriguing color.
You can also use oil paints on raw clay as shown here by Kate of Kalinkapolinka. This is actually the page through which I found Terri’s very intricate work. Want to see more from Terri? Go to her website here.
Weekly Inspiration Challenge: Scratch out a little something this weekend. Whether you try one of the sgraffito ideas listed here or just scratch at the clay for textural purposes, let you mind go as you doodle-scratch your way to some interesting effects and imagery.
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