Beadwork: Floral Necklace 2

Floral necklace, beads, nymo, polymer clay

Floral Necklace 2

Oddly yellow beads are the foundation for this palette departure. I have had these beads for many years. They look like "greasy yellow" seed beads, as they have a strange translucency. This effect is called, "Vaseline" glass, which is a darn good description. True Vaseline glass, however, fluoresces under black light and these do not. The yellow seed beads are large and irregular. They are woven into a necklace using a technique called free-form peyote.

The accent beads are my favorite - alabaster. They have a subtle, pearl-like inner glow, with a touch of pink and amber. Mmmm. These are the last of the one tube I found at the gem and mineral show. The tiniest beads are silver lined pale yellow.

This light brings out the amber in the alabaster beads. The next photo shows how they respond to blue by reflecting that color.

I am a big fan of color-shifting glass.

The little purple blossoms and petal coins are made of Premo and Studio clays - both by Sculpey. The studio clay has a matte finish and texture. It feels soft and velvety.

The floral "coins" are slices of a cane, with a single hole made for stringing in this way. I use a large eraser to neatly flatten them without leaving fingerprints. The cupped blossoms are flat, then rolled into a hollow shape with a ball stylus.

The triangular style blossom is formed on a cake decorating tip.

Each floral element is then painted with a thin layer of transparent, iridescent paint.

Branch-like fringe gives this collar-length necklace a nice feel and movement.

The contrast of the yellow and the violet make for an unusual palette.

Beadwork: Bella

Bella, miniature collage cabochon, polymer clay, Nymo, glass beads

Bella is a collar-length portrait necklace. I begin with a clear acrylic cabochon, which is transformed into a miniature collage by applying images to the back of the cab. I work backwards, because the first images glued on will be seen as the top layer. This one uses a rose motif as a frame for the portrait, (a tiny reproduction of an antique photo). After the portrait is applied, the background is accented with a couple of pieces of iridescent "snow" flakes and finished with variegated gold leaf. The cabochon magnifies the collage. The layering is noticeable, the depth is a pleasure to gaze.

The collage is adhered to a stiff felt backing. Glass beads and polymer clay pods are embroidered around the cabochon. The back is finished with a final layer of felt, stitched in place.

I use fine beading needles: John James, size 13. I will use other needles, but only in a pinch. They are strong, thin and bend, rather than break. Mine begin straight and end up completely curved. As long as a needle stays sharp, I will use it until it breaks. John James.

A palette for fall-rich purples of the tiny iris beads, deep red of the garnet chips, cranberry, mink, orange and touches of blue-gives abundant versatility for autumn moods.

Bella is is a unique flavor of ornate and simple. The scale of the focal piece is compact, but heavily beaded and embellished. The sparse fringing at the center of the piece reflects the structure of the necklace. The pods and berries on the necklace are minimal, but add volume visually.

Winfield Photo Shoot

Ce Ce, Me, Winfield 2010

Temporary Tattoo Art

Winfield, Kansas hosts a Bluegrass festival in September each year. Although I appreciate the music and am married to a musician, my instrument of choice is a paintbrush.

This tattoo design features a dimensional miniature collage dome and jewels adhered to the skin. The design is a jagged root, piercing the skin, with drops of blood. Ruby red jewels enhance the effect of the blood. Instead of standing out, these jewels look as if they are concave. One person told her the design was "frightening". For an artist who makes miniature shoes and fairies, it is nice to visit the darker side.

The design is painted with a brush, then set with iridescent powder and sparse glitter. The iridescence is mica powder in blue and violet. It allows the detail of the paint to show through, but is metallic at other angles.

Phanie, Ce Ce, Siamese Twin Study

I discussed a concept with Ce Ce and before I knew it Phanie was in and the photo shoot was on. Aside from Ce Ce's tattoo, which was done the day before, we must have spent 6 or more hours working this idea.

By the end of the day - no more natural light - we were ready to shoot. Linda Cunningham stepped up to be our lighting tech. I think the effect is haunting.

Ce Ce styled the costume. I love the shared belt! I completed my concept with the dark and dramatic make up. We talked about the character of the sisters and how they do not shy away from their unique fashion just because they are conjoined.

This shot is completely raw. This shows off the belt, but the shadow on Phanie is too dark and the shared arm is awkward.

Sisters is an enhanced photo. I cut the girls out, then gave the background a chalk filter. I straightened Phanie's candle, which was leaning far to the side. I isolated Ce Ce's tattoo from another photo and used it to frame the photo. I finished the piece with multiple edgings and digital airbrush details. I may go in and give Ce Ce a flame for her candle.

Watercolor: Phoenix

Phoenix : watercolor on paper

Originally painted in the early 1980's, this motif must have been imagined as a plate or card design. My wonderful Dr. P.H. Martin concentrated watercolors were my medium of choice for quite awhile. Unfortunately, I lost them along the way. Luckily, my works from those days are still vibrant.

Phoenix was lightly sketched in pencil, then applied in washes to obtain the shading and blending. The saturated areas utilize the watercolor's full strength and as they pool, they create a stained look.

Polymer Clay: Sleeping Mermaid

Mermaid: Polymer clay, mohair, glitter, half shell, oil paint, approximately 5"

Mermaids are one of my favorite subjects of fancy. This little lady must be dreaming of pearls.

She is sculpted of polymer clay - sometimes with a needle, to get fine details. Her scales and fins are made from original canes. The scaling is in a loose style, more graphic than fishy. Her lacy top is made of thin slices of a crackle cane. I chose gold for the crackle.

In this close-up, you can see her delicate little fingers and soft blushing of the flesh. I use water-based oils, lightly applied with a soft cloth. The details are then applied with a tiny (000) brush.

Water-based oil paint is beautiful on polymer clay. It seeps into the surface of the clay, so you get staining that seems to come within. Acrylics are plastic and though some will stain, most will lay on the surface of the baked clay. I use them for eye liners, sometimes lips and eyebrows. I often mix the water-based oil with a touch of acrylic indoor/outdoor paint for the parts I want to have a stronger pigment.

The hair! Her long locks are made of mohair. This mohair is produced for dolls. It is very soft and obviously dyed. It comes in a hank. A hank is a bundle of strands put up in a consistent length and weight.

I pull a strand, wet it and twist it in my fingers until there is a point at either end of the strand. This dries quickly and holds. I apply glue to the top of the mermaid's head, let it get tacky. I then lay the strand in the glue so there is even length on both sides of the head. This is the start of my wig. I end up twirling the ends of loose strands and then shape them to the sculpture to look care-free.

The final touch is displaying my mermaid with acrylic "ice". You can find it in the floral department. It is pretty to photograph. It is not fun to step on.

Digital Collage: Who Shall Lead?

Who Shall Lead? Digital Collage

Angels of stone gather around her. Who shall lead? illustrates a diversity of angelic iconography in several styles. She, who is floating above stepped passageways, is surrounded by angels who seem more curious than helpful. The roses suggest a recent passage of a woman who appears to surrender to uncertainty. Her arms are relaxed and vulnerable, her feet do not touch the ground. She is floating just above and her dress is made of burning candles.

Digital Collage: Lonely

Lonely, digital collage

Lonely speaks of the odd, the off, the different. What is this man's story? Is he angry, resolute? Does he play music or only wish so? The eye in the box gives the sense of him never feeling quite free of judgement. The discarded doll; a discarded childhood? The man is eccentric and alone, standing at the edge of the composition. Soft shadowing keeps him feeling outside of things. Broken and degraded is the environment. Lonely is the mystery of the outcast, the forgotten. From where has he come, where has he to go?