Saturday, February 22, 2014

Lost in Translation—WIP’s Art Update

IMG_8414Super Sculpey (polymer clay), pressed into hand-carved linoleum, baked, and painted with multiple acrylic paint glazes (paint on, wipe off, let dry, repeat)
I feel like I’ve been getting nothing done lately, artistically. Like the muse has gone on holidays, and ideas have dried up and gone underground (one hopes the aquifer is deep and strong to be found another day). I’m still fooling about with sculpey, but it feels like a lot of nowhere. So I thought I would blog it, and hopefully realize I’ve been experimenting and learning and that too is time wisely spent.  So the above, is something I love, but I have no clue what to do with it. Well, hang it around my neck, or up on the wall, maybe…it is ready to hang. I spent an entire morning experimenting with hidden hangers. I wanted a hanger that would take a piece from the wall to the neck and back to the wall again. I think I succeeded, so that’s one thing learned.
IMG_8413 Super Sculpey (polymer clay), pressed into hand-carved linoleum, ad libbed cut-outs with art knife, baked, and painted with multiple acrylic paint glazes (paint on, wipe off, let dry, repeat)
Okay, so I’ve learned about colour, and how to apply it to polymer clay. I’ve learned that the basic beige (flesh toned) super sculpey makes for some vibrant colours when a series of thin glazes of acrylic have been applied, and it’s fascinating to work with texture in this way.
IMG_8412Super Sculpey (polymer clay), pressed into hand-carved linoleum, baked, and painted with multiple acrylic paint glazes (paint on, wipe off, let dry, repeat)
This is from a 2.5”x3.5” lino I did for an exchange. I’m not sure if it’s a Wip (work in progress) or if I should just wait until I get translucent and or white premo sculpey and redo.  These are very thin glazes, and the flesh tone is revealed.  Going darker is easier, but adding white looks awkward, so might be better to start with white. I’m all out of titanium white, so this requires more shopping. Still, I really like the way this particular linocut translate into a relief sculpture.
And here’s where things get lost in translation. Ugh.  This is my 2nd carve.  Up is down, down is up, I’m having trouble keeping track, and also having trouble how to keep the strength of the strong stylized line while going 3D.  Which is why I’m here blogging, not arting.
IMG_8415 Initial sketch in graphite. Can I make it happen in polymer clay and living colour???
In the meantime, experiments in colouring up the beige sculpey with my own pigments. I have a box of soft pastels that I don’t use (these pastels just don’t stand up to the abuse I dish out in storage so I don’t use them for art), so I scraped it into little tiny dust piles, and kneaded the pigment into the sculpey.  So now I know I can make my own strong solid colours with basic beige. These are yet to be baked, but I’m pretty sure they should be fine, soft pastel is mostly pure pigment with a little chalk as binder.  I like the ochre ball, which is ochre pastel mixed in. It would be a better ground colour for my sculpture than creepy flesh coloured beige (upper left blob is straight from the package).
Well, hopefully I learned something. At least I can make beads and buttons.  As for the things that are just a twinkle in my eye, a figment of my imagination, a sliver of an idea, or a promising sketch, well, that’s for the future to decide.


Michelle Basic Hendry said...

Those are so cool!!!

kaslkaos said...

Thanks. I think I'll be working on parts of faces before I have another go. Eyeball pendant?

Jennifer Rose Phillip said...

really like how you have cut out areas of the clay, it works very well, nice negative spaces :)

will be curious to know what happens to the colours when you bake that clay with the pastel dust mixed in, if it does work it would be a great way to get the colours of clay you want

kaslkaos said...

I'll take note and definitely let you know how that works. I hope so. I really don't want to buy the coloured clay, I would need too many blocks.
The ones shown were painted with acrylic and baked after painting (it helps set/sink the pigment into the clay)


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