Musings from the Moonroom

Thoughts on Art, Inspiration, Creativity and Spirit


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Grabbing the Brass Ring

During the winter, my local art guild had a creativity challenge for members. We’ve had these “exercises” before and it’s always fun to see what people create when challenged to think out of the box, out of their comfort zone, and/or out of their usual medium.

In this particular challenge we were asked to create something inspired by, or with, a found object. But not just any ol’ found object.  Nope. This time members brought a found object from their home, placed in a paper bag, to our monthly meeting. All the bags were put in the middle of the table. Then we took turns, kind of, choosing a bag from the pile. No peeking. Off each of us went with our little found object of inspiration. The deadline for revealing our found object creation would be the next month’s meeting.

What was my found object? Two brass rings about 1″ in diameter. They look like rings you might find on an apron or a belt. My first reaction? What the heck am I going to do with these?

My Creative Process

I looked at those rings and my brain came back instantly with a big blank. Kind of like a sheet of white paper or an empty canvas. Absolutely NOTHING. I put the brass rings on one of my work tables and let them sit there for a few days.

Finally, feeling a bit like Pooh Bear when he starts to think, I decided to use a word association game to stimulate some creative ideas.

poohbear_think-1

I looked at the brass rings, held them in my hand, and started writing in my sketch book. I wrote down anything that came to mind when I looked at the rings. Things like “One ring to rule the world” and “Circle of Life” and “Two rings for marriage.” Even completely unrelated phrases such as “Cool runnings” and “Square peg in a round hole” were fair game.

Then I let the list sit for a few more days. Because no ideas were coming to me. Yet. I believe you can’t force the process.

Breakthrough

This challenge came during the time I was taking Flora’s class. That meant I had several canvases strewn about the studio in different phases of creation.  A few of them were used to collect excess paint. If I had extra paint on my brushes or on my main palette at the end of a painting session, I would swipe the brushes clean on a blank canvas. This is when my breakthrough happened.

I remembered Flora telling us that one way to create an intuitive painting is to work with shapes. Repeating shapes. Abstract shapes. It didn’t have to be complicated. KISS, I say. Keep it simple, stoopid.

I picked up one of the excess paint canvases and a Sharpie marker. I started to write all the phrases from my sketch book, the ones from my word association game, onto the canvas. I started writing on the long side of the canvas, turned it 90 degrees, and continued writing on the short side. Turned it 90 degrees again and kept writing on the long side. As I wrote, even more words came to mind. I did this until all the phrases were written on the canvas in a continuous square-circle shape. It ended when I was almost near the center of the canvas.

Somewhere along the way I had an idea to paint the brass rings white and where I would put them on the canvas. I would use the circle shape as my inspiration.

Result

I don’t have a lot of process pictures. You know how it is when you get into the flow and just keep working. Who has time to think about stopping and taking pictures along the way?

This is the canvas at a very early stage when it was used to collect excess paint.

BeforeBrassRingBy the time I started writing words all over it, several more layers had been applied to the canvas. The face disappeared quickly.

The picture below is one of the few in-process pictures I found. The brass rings that started this whole piece are in the lower right corner. I attached them to the canvas with heavy gel medium.

Brass Rings In Process

Brass Rings In Process

The remaining pictures show the finished canvas.

Brass Ring Detail

Brass Rings Detail

Brass Rings Circle Detail

Brass Rings Circle Detail

Brass Rings Full Length Detail

Brass Rings Full Length Detail

"Brass Rings"  Amy A. Crawley, 2014

“Brass Rings”
11″x14″
Acrylic, Sharpie marker, found objects
Amy A. Crawley, 2014

Most of the words I wrote on the canvas were covered by paint. Though if you look at it real close, you may see a few words or letters peeking through the paint.

This piece taught me how to work with a limited color palette, repetition of shapes, and creating movement in the piece so your eye travels around the canvas.

Thanks for stopping by.

 

 


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Experiments in Intuitive Painting

A year ago, in February, I pulled some muscles in my back and spent several weeks recovering. I call that time period the “Universe tried to kick me in the a** and missed” month. During that February, I spent time learning about  St. Hildegard of Bingen. One of the practices I engaged in was creating mandalas or other forms of painting images inspired by daily readings and prompts.

It was during this time that I reawakened my love of painting and sketching. I also became more intrigued with using words or phrases as the catalyst for the pieces I created.

Fast forward several months. I’m pondering what direction my art wants to take me. Polymer clay is still my first love. But, realistically, sculpting is not agreeing with my hands. After a few hours, I can feel my thumb joints starting to ache. I am reminded of that time in February. I find an old email that contains a video interview with Chris Zydel of Creative Juices Arts. I remember being intrigued with the concept of intuitive painting the first time I heard about Chris and her work.

I start poking around the Internet for information on intuitive painting. Fortunately, I didn’t have to go too far down that rabbit hole before I found Flora Bowley’s website. I’m drawn in by what I see & read.

A few clicks later and I’ve ordered her book and some tempera paints to play with.

As my holiday show schedule came to a close, I set aside some time to read Flora’s book and play with my paints. I chose the tempera paints because they’re relatively inexpensive and figured it would be a good place to start playing with this form of painting. I also didn’t want to waste the few acrylic paints I did have on this experiment.

So I pulled out an unused watercolor pad, tore off a few pages, and began to play. Here are the first few intuitive paintings I created using those tempera paints.

Experiments with Tempera Paint

Intuitive Painting #1

Intuitive Painting #1

Intuitive Painting #2

Intuitive Painting #2

Angels in the Mist

Angels in the Mist

Flying Blue

Flying Blue

Tempera paints are, um, interesting. They dry pretty quick and don’t mix well unless you immediately put wet paint on top of wet paint. Granted the watercolor paper probably wasn’t the best substrate. But, you rock what you’ve got when you’re experimenting and playing with a new medium.

The Acrylics Arrive

A Christmas gift to myself was a sampler set of Liquitex soft body acrylics, plus a few other assorted colors, and a new assortment of paint brushes. Now I was ready to give this intuitive painting play some serious attention.

Here are two pieces in progress using the acrylic paints. Each is on a 5″x7″ canvas panel.

"Cellular"

“Cellular”

"Two Faces"

“Two Faces”

The acrylics are, for the most part, fun to use. The colors are more vibrant and tend to blend better than the temperas. I am having some interesting results when I spray water on the Liquitex paint. It often lifts right off the canvas, leaving behind either small water spots or larger blank spots. Sometimes the color layer underneath is retained. Sometimes it pulls right down to the white canvas.

I consider it a happy “accident” and try to work the effect into the overall painting. After all, I am trying to do this intuitively.

During this time I also signed up for Flora’s online course, BloomTrue

It was a slightly spontaneous decision. I had read about the course last fall. Then a couple friends recently told me about their experience taking the class. It started to feel like the Universe was putting it out there for me to make a choice. So I listened. Class starts February 10. I can’t wait to delve deeper into the process and share more paintings with you.


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Art I Created This Summer

I’m embarrassed to see that I haven’t posted an update since the beginning of August. The month passed quicker than I expected. And though I thought about posting something here or there, my priorities were focused elsewhere. So, much like that first essay the teachers used to make us write in grade school, here are some pictures of art that I worked on this summer.

Anemia

Anemia is an art doll that I first wrote about in June. Here are a few pictures of the finished piece. I hope to some day share more about the process of Anemia’s creation.

Anemia-Detail

Anemia-Detail

Anemia-Detail 2

Anemia-Detail 2

Anemia

Anemia

Trees Through The Forest

This piece was first introduced to you during the month of July.

More progress was shared in the early part of August

This piece now hangs at the Nashoba Valley Winery in Bolton, MA in the Bolton Artisans Guild’s display “Themes From Our Town” as part of Bolton’s 275th anniversary celebration. A few pictures of the finished piece is below. (Click on the first photo to start the slide show.)

Inspiration From Nature

As summer moves forward in our garden, I often find interesting mold and fungus sprouting on the mulch. Some of it can be both intriguing and repulsive. For a long time I’ve wanted to make something inspired by these molds and fungi. And this summer, a technique I found in Cynthia Tinapple’s new book, Polymer Clay Global Perspectives, made creating these fungi pods a lot easier.

For lack of a better phrase, as this work in progress as no formal name, this piece is simply inspired by nature.

The Inspiration-Pod Fungus

The Inspiration-Pod Fungus

Creating Hollow Pods

Creating Hollow Pods

A Few Pods with Texture

A Few Pods with Texture

What did you create this summer?


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24 Tips on Sparking the Creative Muse

I’m sure you’ve been here. You have a deadline to meet. You’re knee-deep in a flurry of activity. Ideas seem to ooze from your brain. Maybe you write them down. Maybe you don’t and later forget them. And then it happens. That big, bad vacuum of black emptiness opens up. No ideas come to mind. You have no clue what to do next in the studio. You stare at the white canvas. No words come to mind and your fingers are frozen on the keyboard.

You have hit the proverbial wall in the creativity department.

My friends and I often talk about how we keep our creative muses active, especially when our muse decides to take an extended vacation. It seems to be a common topic that we re-hash over and over.

This time, instead of just talking about it, I decided to ask my friends and cohorts to send me their tips for sparking the creative muse. What follows is a collection of 24 tips to jump-start the muse.

Dr. Finkelstein (image from the book "Tim Burton's Nightmare Before Christmas" by Frank Thompson)

Dr. Finkelstein (image from the book “Tim Burton’s Nightmare Before Christmas” by Frank Thompson)

Tips to Spark the Creative Muse

1. Keep a notebook: Jan Warren of Broadbrook Art recommends keeping a notebook handy at all times. Jan keeps her notebook next to her painting area. When she rinses her brushes or changes a paint color, Jan uses the pages of the notebook to remove all the color from the brush. Then, Jan says, “When I am feeling particularly bereft of creativity I open up the notebook and use whatever I have on hand to layer images or color over those paint blotches. This mixed media notebook then serves as color studies, technique trials…some even become final pieces for sale.”

2. Music & nature: Pat Krachune shares “When I need some inspiration, I listen to classical music and that usually gets my juices flowing to create.  I also sit in my courtyard and look at my fountains and watch the birds….nature relaxes and inspires me! ” Pat also finds inspiration watching other artist’s videos on YouTube. Check out Pat’s work on her blog, Art 4 Liberty.

3. Schedule the time: Judy Warner tells us, “I go in my “studio” at the scheduled time and start something, or work on something that needs improvement whether I feel “creative” or not—and that usually seems to get me going.” Check out Judy’s paintings on her Facebook page

4. Take an adventure drive: Photographer Roxanne Marshal takes what she calls an  “adventure drive”.  “I just pick a direction and go.  I usually come across landscapes and water vistas perfect to photograph and sometimes even some other interesting items as well.  This really gets my brain cranking ideas for framed images – possibly even 3D or a mixed media piece.” See Roxanne’s photography on her site, A Picture’s Worth

5. Take a break: Deb Wolf of Deb Wolf Designs recommends taking a break for a change in perspective. “Step away from the painting with your hands behind your back. Taking a break and viewing your work with a fresh pair of eyes can really give you a new and fresh perspective on your work.” Deb also shared “Stress breeds Creativity, at least for me it does.  While our work can be a stress inducer when we hit the proverbial wall, it also acts as a stress release sometimes producing good results on a piece.”

6. Observe: Paula Berry suggests observing everything in your environment. “While hiking, gardening or at the beach, I look really hard at some things.  Texture and shape get my attention, whether it’s a natural item, waves, clouds, greenery.  A plant from the time it emerges from the earth, grows, flowers and seeds intrigue me.”

7. Distraction: On the other hand, ideas often happen while working on another project. Again, Paula Barry shares “Drawing in my mind and problem solving while working on other clay work or while in the garden, walking or even driving in the car, when I least expect it, an idea comes to mind.  I then find myself obsessing about the new idea until I can put in into action.  Of course, at the time I tend to think it was a great solution to a problem or a great new idea.  Sometimes, the idea is good. Sometimes, it doesn’t work out as intended, but the whole process is exciting.” You can see Paula’s ceramic art at Paula Barry Ceramics.

8. Drive, she said: Gina Belio of The Color Blue, also likes to take a drive to spark the creative muse. “Whenever I need inspiration, I drive.  Sometimes I drive to the ocean or the mountains and sometimes I drive to a nearby store like Barnes & Noble.  Partly this works for me because the art of driving frees up my mind from thinking and then it’s recess for my brain (and subsequently my muse!)  The other reason why driving works for me is because I am mostly inspired by color and I can find color in any of these places – nature, books, cards, even in a cup of java! “

9. Go shopping! Seriously. Ritva Ojanen, jewelery designer, tells us that while many girls like to shop for shoes, for Ritva it is beads. “I have the same passion for beads. I shop on-line and go to bead stores and supply shows. I have to see with my own eyes and touch with my hands to make my choices from the seemingly endless array of colors, finishes, textures and shapes. I will buy whatever catches my eye even though I may not have a planned design in mind at that moment. I leaf through magazines, whether it be on art, nature, or fashion and these images will spark ideas for trying new color combinations. When I have a supply of beads handy it’s easy to just play and see what happens. This is the intuitive process I’ve developed and trust that something new will always come of it, just keep working.” This definitely results in beautiful pieces of jewelry. Visit Ritva’s website, Ritvaliisa Ojanen to see her eye candy.

10. Put your butt in the chair: For mixed media artist Sue Landsman, sparking the muse begins by putting your butt in the chair. “If you wait around for the muse to come, not only are you holding yourself hostage, but you’re also not doing your part to meet her half way. If you train yourself to just sit down and work, regardless of how you feel, more often than not you’ll find yourself getting into the groove. And anyway, something is better than nothing.” To see Sue’s imaginative work, visit Landsmania

11. Get back to nature: Art and tea enthusiast Karen Park recommends getting back to nature. According to Karen, “spending time in nature – watching a sunset, walking in the woods, working/puttering around in my garden – always helps me reconnect with my creative soul.  You’ve probably noticed that some of my jewelry pieces are named after a nature experience – “Albuquerque Sky” or “A Winter Walk in the Woods under a Full Moon“, for example.  Those are the moments that truly inspire me.  My creative voice speaks in beads!”

12. Looks to her son: Dannylion tells us her son is her source of inspiration. “My son – who loves to work with his hands. He strings beads and when I see how hard he works for something vs. person who does not have autism or mental retardation doing that same task, it fills me with such emotion that I could do a bit of everything – I could write, I could work with polymer clay (my favorite), I could work with wire, I could make different things[knit or crochet], (cannot sew); but more importantly – I reinvest my time back into my son – reteaching him another creative method or project… He is my best teacher in life.”

13. Make some noise: Monotype & pastel artist Ann Gillespie suggest making some noise to wake up the creative muse. “I DO bang on a drum, shake a shaker, take a walk in the woods, sketch, do meditative collages etc, These things all help put me in a more intuitive mood for art. But sometimes they are also just creative ways to avoid getting in the studio to do the work I really want to! So for me these practices are best combined with my regular studio work. In general getting into the studio first thing in the morning is best, but I have also been trying to get used to working at any time of day. Short periods of time on a regular basis are infinitely better for me than no time at all, but also much better than long days just once in a while.”

14. Change the beat: Needle felt artist Lyn Slade recommends changing the beat to tempt the creative muse. “I’ll shake up the music in the studio, putting on a completely different style of music sometimes gives me a jump start.” Check out Lyn’s needle felt pieces on her website, Lyn Slade.

15. It’s a puzzle: Lyn also owns a bed and breakfast. Recently some B&B guests, who are also artists, suggested pulling out a jigsaw puzzle for sparking the creative muse. They commented that when they get stuck some times they pull out a jig saw puzzle…something about the different parts of your brain used in assembling a puzzle helps them. Oh, to read more about Lyn’s B&B, visit Charlotte’s House B&B

16. Listen: Watercolor artist Brenda Evans offers this advice. “I think the creative muse is always there and we have to learn to listen to it. I think it is a persuasive voice in our heads, not an imperative voice. Often we are too busy, maybe working to a deadline, but the inside voice is always there saying things like, “is that right?”, “stop and think about that”. I think when we are hands on being creative, the voice gets stronger and says things like, “but you could do this”, “look at it from this angle”, “there is something more exciting, you could do”, “stop now and do this”. It’s a wonderful voice, always looking out for your best interests, a bff if ever there was one.”

17. Shake it up: Karen McMillan, a Master Certified Retreat Coach, suggests variety when it comes to motivating the muse. A walk in nature, looking outside at trees and birds, listening to music, or breath and meditation.

18. Make a bargain: Jody Arthur, a Children’s Clothing Designer, suggests making a bargain with yourself. Look at your to-do list then make a bargain. “I’ll give myself permission to do this or that creative thing in return for getting this or that other thing done.”

19. Move it: Shelley West, a User Experience Specialist, suggests getting up and moving. Make a dance play list on Spotify or your music device of choice. When the muse is low, put on the play list and take a dance break. Exercise also works in the same way.

20. Rinse: You know how our minds seem so clear in the morning? Shelley also shares that the morning shower and humming while washing and rinsing her hair sparks new ideas.

21. Daydream: Barbara J Bolls-Guillory, Graphic Designer, Illustrator, and jewelry artist, reminds us that it is good to take time to daydream. She tells us that “going within to journey or indulging in daydreaming to open myself up to other ways of seeing/feeling/thinking.”

22. Delight the inner child: In addition to daydreams, Barbara also suggest delighting the inner child by “playing a game, drawing or coloring, or whatever fun activity that delights the kid in me.”

23. Eye-candy: With Internet bursting at the seams, eye-candy inspiration abounds. Pinterest. Flickr. Blogs and websites. Don’t forget the more traditional venues either-local art museums and art galleries-to spark the creative muse. Some museums also offer free drawing days where you can sketch inspiring images in the different galleries.

24. Clean it: One of my trusted approaches to waking the creative muse is to clean the studio. When work tables and the floor get too cluttered, the muse can’t breath. Taking time to clear the clutter opens up that breathing space and soon new ideas flow again.

How about you? How do you spark the creative muse? Please share your suggestions in the comments section below.


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Using Vintaj Patina Inks with the Mokume Gane Technique-Part 2

Welcome Back!

When I last posted we were discussing Part 1 of the Mokume Gane technique using Vintaj Patina inks. You can read that post here.

By the end of Part 1, I had showed you the conditioned clay sheets, painted and stacked the sheets. You learned how to texture the clay stack, called a “billet,” and saw what happened when a release isn’t used with rubber stamps.

After the billet was textured, we let it rest. Letting the stack rest means setting it aside for 30 minutes or so. If you don’t want to wait that long, put the stack in your freezer for several minutes to firm up the clay.

Here is the textured stack of clay.

Fully textured clay stack

Fully textured clay stack

Revealing Layers

After you have textured the stack of clay and let it rest, it is time to reveal the layers underneath. To reveal the layers, you need a sharp cutting blade. Why? Because you’re going to start slicing off the top layer of clay.

Yep, after all that work poking and pushing and tickling that stack of clay, you’re going to remove layers in what might feel like the destruction of hard work. Removing the layers is how you’re going to see just what all that poking and prodding did to each successive layer.

This is an exciting and sometimes nerve wracking process. I love it because of the element of surprise. You really never know what patterns are going to emerge each time you slice off a layer of clay.

Okay, I’ll stop my yammering and show you the patterns that were revealed in my stack of clay.

Word of warning! As I said, you need to use a sharp blade to make it easier to remove the layers. You also want to make sure the billet is secured to your work surface (either a ceramic tile or acrylic work surface) before you start slicing. If the stack of clay isn’t secured to your work surface, it will start sliding around when you make your slices. Not fun.

To take a slice and reveal the layer, hold your blade with both hands. Place the sharp edge of your blade at the top edge of the billet. Bow the blade slightly and start to pull the blade TOWARD you.

Don’t press down too hard or deeply. You’ll end up with a crater in your clay and a thick slice.

Don’t worry if you pull through and only get a small piece of the clay. Put that slice to the side and keep going.

Layer One

This is what appeared after removing most of the top layer of Vintaj Patina onyx ink. I like how the onyx ink pull into the circular holes. The ink is a little crackled as well. Often, for me, when I remove the top layer, I get lots of little bits of clay coming off. Never can seem to get a nice completely intact layer.

Layer one revealed

Layer one revealed

Layer Two

After taking off a bit more, here is layer two poking through the clay. This second layer is the ochre ink.

Layer two revealed

Layer two revealed

I like this subtle color shift as the ochre ink is revealed. But remember that word of warning earlier about applying too much pressure when you slice through the stack? I did just that on layer 2.

MokumeGaneLayer_Crater

Now don’t fret when this happens. The simplest solution is to take small slices off the lumpy side until you even out the surface of the billet. Easy peasy and you’re back in business.

Here are some of those smaller slices that came off the first two layers.

MokumeGaneLayers_BlogPost

These slices are what I’ll use to create my final piece. You can see that as you slice through the layers, you start to reveal the colors of paint. The textures you applied way back in the beginning help compress the stack and drag the colors through it.

Your texture tools createt these very organic patterns in the clay. What’s neat is you often have two very different patterns on each slice. A front side (the top layer you see as you slice through the clay) and a back side (the pattern on the back of the layer.) Now you can choose which side to use in your finished piece. Inevitably, one side is going to be more interesting than the other side.

Final Layer

This is where I stopped slicing through the billet. I loved how the ochre ink circles surrounded the black dots.  I like this pattern and haven’t decided what to do with it yet.

Final layer (for now)

Final layer (for now)

So What Did I Make?

About a year ago, I became quite fascinated with circular shapes. I’ve always liked circles. But this time I started making a variety of circle or disk shaped pieces. Some had patterns, some had faces. I haven’t done much with them, just tossed them into a box for future inspiration.

And that is what I decided to do with the layers of patterned clay that I sliced off my clay stack. I applied the slices to white clay, cut out circles and oblongs, and then formed the clay over domes.

Five Disks

Five Disks

You can see how taking your slices and re-arranging them onto a sheet of clay once again changes the original pattern.

Convex, Concave, and Oblong

Convex, Concave, and Oblong

The oblong piece was created with a shaplet template. The slices were put on textured black clay. The gold is Rhine Gold mica powder.

More circle love

More circle love

VintajInks_Test2_MG_4Disks

And this is as far as I’ve gotten with these pieces. I would like to mount them onto a board. Wood? Cradle board? Something with encaustic? Not sure yet.

Disks on Green

Disks on Green

Well, I did have one idea of incorporating wire, maybe copper, into the design. But that is just a spark of an idea in my head. I haven’t sketched out the full design yet.

So there may be a Part 3 still to come in this adventure.

I hope you’ve enjoyed learning about one approach to using the Mokume Gane technique. Now it’s your turn to give it a go.

If you do make something with the Mokume Gane, please leave a comment on this post and include a link to your blog post, Flickr page, or website. I’ll post your links in a separate post so we can see what you created with this fun technique.


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Teaching Polymer Clay Boot Camp in January, 2013

I’m happy to announce that I am teaching my Polymer Clay Boot Camp at Emerson Umbrella in Concord, MA. Class begins on Thursday, January 10, 6-9pm, and runs for a full 10 weeks!

Four fundamental canes

Four fundamental canes

Here is the full class description:

Do you have some packages of polymer clay sitting on your craft table but you aren’t sure what to do with them? Are you a fan of polymer clay art or jewelry and would love to learn the secrets to make high quality pieces yourself? Or maybe you’ve played with polymer clay but need more direction on how to use it?

If you’re ready to explore this fun and versatile medium then Polymer Clay Boot Camp is just for you. In Polymer Clay Boot Camp, you’ll become familiar with polymer clay from the ground up. We start with a discussion of polymer clay basics, including brands, handling, safety, and basic tools. You’ll learn several foundation techniques including

  • easy fundamental canes that are the foundation for more complex canes
  • an ancient metal work technique applied to polymer clay for creating fascinating, one-of-a-kind patterns
  • how to make faux gemstones and imitation natural materials with polymer clay
  • professional quality finishing techniques

As you learn these techniques, you’ll use your newfound skills to create a variety of polymer art including home décor items and jewelry.

Ancient metal work technique

Ancient metal work technique

At the end of this class, you will have learned how to

  • Prepare, condition, and safely cure polymer clay
  • Build simple and complex canes
  • Create fascinating patterns from multiple thin layers of clay
  • Design a polymer clay “fabric”
  • Use polymer clay to imitate a variety of natural materials
  • Create a variety of polymer clay art from home décor to jewelry
  • Professionally finish your work
Faux gemstones & imitative materials

Faux gemstones & imitative materials

You can register directly through Emerson Umbrellla. All materials are included for a nominal fee.

This is a fun, interactive class, perfect whether you’re new to polymer clay or looking to sharpen your skills.

Still not sure? Check out this video on YouTube where I give you an overview of the class


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New Art Friday: Teaching Found Poetry Artist Trading Cards (ATCs)

I’m happy to announce that I am teaching my new class, Found Poetry Artist Trading Cards (ATCs) on Saturday, August 25, 2012, from 10:00am to 3:00pm at Ink About It in Westford.

What are Found Poetry ATCs?

Found Poetry ATCs are the artistic blending of artist trading cards and the random expression of found poetry. When combined, these two art forms result in funny, imaginative, and quirky ATCs.

Found Poetry Artist Trading Cards (ATCs)
Amy Crawley (2012)

In this class, we will

  • create inspired phrases from randomly chosen words
  • create polymer “paper” using liquid polymer clay
  • embed the phrases, add color and images to the polymer “paper”
  • attach the polymer “paper” to a substrate
  • add additional embellishments for a truly inspired ATC, and
  • swap ATCs at the end of class.

The Gentle Class
Found Poetry ATC
Amy Crawley (2012)

In class, you will receive a materials kit that includes polymer clay faces, napkins, ATC cards, paper beads, alcohol pads, a small palette, & white paper.

Your Hardwired Eyes
Found Poetry ATC
Amy Crawley (2012)

In this class, you get to play and experiment with liquid polymer clay, alcohol inks, rubbing alcohol, paintbrushes, colored pencils, water soluble oil pastels, black paint, rubber stamps, and ink pads.

Small Stories For Her
Found Poetry ATC
Amy Crawley (2012)

For an overview of the class, watch the YouTube video below.

I hope you can join me on Saturday, August 25 at Ink About It for my Found Poetry ATC class.

Have a great weekend.

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