The Faux Enamel Options

First,  because people are waiting to hear, we’d like to announce that the winner of the Sample Cosmic Ceramic project is … Karen Donald! Congrats!

Thank you all for chiming in on the faux versus variation question and taking part in the giveaway. I’m going to line up more giveaways so we can do this regularly. Write me with any suggestions for things you’d like me to try to get for these contests. Or if you’re a retailer of any kind and have something you’d like to giveaway from your shop, let me know. Write me directly at sbray@thepolymerarts.com

So … it would be remiss of me this week not to bring up what may be the faux techniques most widely experimented with when it comes to emulating other art forms–enamel. The common approach usually involves liquid polymer and alcohol inks and/or mica powders. The challenge tends to be in creating a base that has borders and/or channels to hold in and control the faux enamel. And there are a lot of different approaches for this.

At the beginning of the month, we visited Eugena’s artwork … she uses wire as her loose borders. It’s a gorgeous effect. It does take precision and patience, well worth the work, but isn’t for everyone. My favorite is the wax impression technique (See the Winter 2011 issue of The Polymer Arts magazine for the tutorial on this) because carving the wax to create the negative design has endless possibilities and there is nothing I’ve found that allows finer detail. But if you want to try something more straight forward, take a look at these “molds” cut into erasers and clay by Madrid’s Fabi.

She briefly explains the process on her Flickr page (although I think it was sent through a translator as it has some ‘interesting’ terms.) The advantage of erasers is the crispness of the lines although curves have to be more difficult to cut. I think her “gouging” tools must be engraving tools. You can get an inexpensive set at art and craft stores if you want to get into this. They can be used to easily cut into cured clay for other effects as well.

One of the things I wonder is whether we have really pushed faux enamel enough. I think there are possibilities, especially with the translucent clays, that we haven’t really seen. I’ve been playing with an idea myself but it’s not quite ready for prime time. However, tomorrow I am going to show you an artist that I think will knock your socks off, not just because it’s gorgeous work but because of the possibilities it shows us as polymer artists. She worked in real enamel and metal but the way it’s done, it actually reminds me of polymer and could be done in a way that would really push what we do with faux enamel right now. Intrigued? Well, tune in tomorrow …