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Mistakes Were Made

Creating small upholstered, arm chairs

This was a lot harder than I anticipated. Well, not exactly harder. Because I know how to use the tools and the materials. I’m not unacquainted with creating patterns for tiny pieces of furniture. However, I am unaccustomed to creating upholstered tiny furniture.

There were some rookie/newbie mistakes made on my part that I feel will be easily addressed in subsequent attempts at creating tiny upholstered arm chairs. Most of my mistakes had to do with the materials I used.

Cardboard

As always, I tend to work with the materials I have on hand first. Instead of using foamcore, I used corrugated cardboard instead. As I stated, I use what I have on hand during initial attempts at a new technique. I’m not exactly sure where I might procure foam core here in Finland either. Perhaps at Artlo? I’ll have to check. (I checked. They have it.)

I have a few reasons for using carton and cardboard in the creation of my artwork. The first is that it’s free. It’s considered a waste material suitable for chucking in the recycling bin. The second reason I use carton and cardboard is because they are biodegradable. Foam core has a polystyrene center core.

Polystyrene is recyclable. But there is a part of me that doesn’t want to buy the stuff in the first place and create a greater need to figure out how, where, when and how it’s recycled. I live in central Finland, where recycling is the norm. We separate our waste into recycling bins with little extra efforts made. We also recycle our plastic and metal drink bottles and cans at the grocery store to get our deposits back.

Fabric

At least 90% of the fabric I use in the creation of my artwork is recycled. The second hand shops here are fabulous! Sometimes I buy items that I pick apart, like blouses or pillow slips, and use the fabric to create tiny outfits for my dolls. There are other times when I simply buy excess fabric that was donated by a person who was making their own clothing.

The fabric I chose for the arm chairs was from a lavender pillow slip. The fabric type was all wrong for the application. It was much too thick. The fact that there wasn’t a pattern on the fabric didn’t help me either. The single shade does little to hide the mistakes with the glue, or the lumpy bits of fabric being glued over fabric.

Glue

If you’ve read any of my social media, you know I worship at the Church of Eri-Keeper Universal Glue. While this glue is FABULOUS for gluing together the carton and cardboard components, as well as the wooden parts. It sucked at gluing together the fabric and acrylic felt pieces!

Eri-Keeper is very strong glue. While using it, I noticed that it kind of ‘lumped-up’ and dried in hard nodules, even when I made a point of spreading it out to combat this happening. These hard nodules can be felt in the layers of acrylic felt that I used in lieu of quilt batting.

Stuffing

I had no quilt batting, so I used some rather unspectacular, very loose and fluffy, white, acrylic felt instead. I still think this is a viable option for me, but I am going to need to alter how I create the padded bits on the chair so it looks better.

Acrylic felt is another one of those products that I don’t like having to use. I would much rather prefer to use a wool or at least a wool blend felt in the creation of my artwork. But at the present time, it’s just not an option for me. It’s cost prohibitive.

Brexit is also messing with some of my felt supply as well. As I had finally found suppliers of viscose and wool and wool blend felts in the UK that were just inside my budget allowances. Viscose has it’s good and bad points, just like every other art material I use. But I’ve discovered I like working with it, and wish that I could get it more easily, in a variety of colors here in Finland.

My pattern

I opted to create my own pattern for the arm chairs I made. While I like curves that I put on the arms, I think they were a bit aggressively curvy for the technique I was using. The pattern will be altered for any chairs that I make in the future.

There are elements that I want to add to a new chair pattern as well. Those need to be completely sorted out in the pattern making phase for me. I know what I want to do. The materials are at hand. For me, part of ‘sorting it out’ is landing on the correct sequences for construction. This kind of preparation before hand means less cursing as a piece is taken apart or redone.

Now what?

Make more upholstered furniture. Just because I made some mistakes doesn’t mean that I won’t make a second attempt. What use is learning from a mistake if I don’t readily apply that new knowledge to subsequent creations? This could be part of why I create so much artwork. There are always mistakes made and lessons to learn.

Thank you for reading, and I’ll see you next Friday.

 

 

 

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Paper Mâché: Beginning the Work

Beginning

I keep a sketchbook for all of my ideas. It’s not expensive. In fact, it’s about twelve pages of A4 paper, folded over and saddle stitched together. Usually, I make three or four with graph paper, and then two or three with inexpensive white drawing paper. This type of sketchbook works well for me.

A great deal of my sketching is more mental than physical. There is a lot of time spent thinking about the ideas. Moving it around inside my head. Looking at it from different angles. Deciding on themes, colors, sizes, etc.. prior to any serious sketches being made. Sometimes, more thinking and more sketches are required.

What I try hard to keep in the forefront of my mind is to allow the artwork to be itself. If I feel as though I’m forcing an idea or a concept, I drop it for a while. Ideas can always be returned to in the future. Describing how I know when I’m forcing an idea is difficult to pin down. I suppose that at this point in my artistic career; I just know.

Once the idea is decided upon, it’s time to start putting it together in real life.

Patterns

Some pieces require me to create pattern to ensure adherence to a specific size or shape. An inexpensive school-grade graphed paper is used for this. One of the pieces that I’m currently working on required me to create six tiered half circled forms. The patterns I created made sure that the finished tiers were uniform from top to bottom.

There are times that a pattern piece needs to be heavier, because it’s going to be traced many times. I transfer these types of patterns to carton board. It’s easy to trace around and stands up to more abuse.

Some pattern pieces are organically shaped. Making patterns for those also helps in construction. Especially if the organic shape is complicated. Or it needs to fit into a very specific place within a larger, paper mâché piece.

It should be noted that as I have continued working in paper mâché, I don’t cut out patterns for every single piece of cardboard and carton board. In the beginning, I measured every tiny little piece and had a pattern piece for EVERYTHING!

When all needed pattern pieces are completed, then it’s on to cutting out the card and carton board.

Cutting it all out

When using patterns, it’s fairly easy to get started. Pencil or ballpoint pen work well for tracing pattern pieces onto the cardboard. When I’m choosing the corrugated cardboard for a piece, I look for the stronger cardboard for the outer portions of the piece. Weaker, flimsier cardboard I can use within the structure to give it more strength.

The weaker, slightly flimsier corrugated cardboard works well for creating curves. For tight curves, I score the corrugated cardboard so it bends a bit easier. For bigger curves, I usually roll the corrugated cardboard over a cylindrical form. It holds the shape just fine.

For the large, six tiered doll that I have been working on, I did have to sit down and do a little math to figure out how tall I wanted the finished piece to be. Would 7 or 9 cm in height for each tier work better? The drawers needed to be taken into account as well as the space around them. Again, my personal time and experience factors into a lot of my decisions. In the end, I go with what I think and feel is “correct”.

Now to the glue!

Attaching the pieces

Once I have the main corrugated cardboard structure the way that I want it, I begin gluing it together. In my previous post, I mentioned the glue that I use, Eri-Keeper. I have a deep and abiding love for this glue. It does exactly what I want and need it to do. I understand that I’m also a person who doesn’t mind getting my hands messy and sticky as well. So I understand when someone might rather use a glue gun!

If you would like to see some of the work I have been putting together using my own paper mâché construction methods and techniques, take a look at my Instagram here. When working with a very symmetrical piece like this one, I made sure throughout the entire construction process, that I kept the center (90 degree) marked so I could see it.

This six tiered doll was constructed in sections. Each tier was completely separate until I put it together using the bamboo skewers and wooden plant stakes. The construction was planned this way, so that I would be more easily able to create the drawers within three of the tiers.

The drawer holes were measured and cut out of the corrugated cardboard. Then the inside walls were added. They’re not hard to create. The space from top to bottom of the drawer space was measured. Pieces of corrugated cardboard (with the corrugation running vertically) were cut. They were put into the space and marked for length. Then cut to fit then glued in place.

Adding stability

Now, I may be just a little paranoid about my finished paper mâché artwork falling apart. So I add a lot of structurally stabilizing corrugated cardboard to my artwork. In the pictures you can see here of a pervious piece, there are so many little pieces of corrugated cardboard!

Remember that flimsy corrugated cardboard I mentioned above? I use a lot of this inside the cardboard structures. Sometimes it’s used to shim-up a wall or to support a very thin dividing wall. Sometimes it’s little rectangles that I glue in between an internal structure (like a drawer) and the outer wall. This is done so that the outer and inner walls don’t buckle or bow while drying.

This buckling and bowing will happen when you begin adding the newspaper and the PVA glue to the outside of the cardboard structure.

Veneering

Corrugated cardboard isn’t the strongest material on the planet. When it gets wet, it begins to come apart. This has a lot to do with the kinds of paper fibers and the way the corrugated cardboard is created. When newsprint and the PVA glue are attached to it’s surface, it will get squishy. Then when the piece as dried, more often than not, the corrugations (ripples) can be seen through the layers of newspaper and PVA glue.

Again, I’m a little nit-picky about certain things. This ripply surface makes me nuts. I solved the problem by using carton board as a veneer over the top of the corrugated cardboard. The entire surface of the six tiered doll was covered in cookie and porridge cartons, as well as some toilet paper rolls.

Measuring wasn’t really required. I just laid the pieces onto the cardboard and traced them. There were some spots in which the carton board didn’t match. It was more important for the thickness of the carton board matched.

And anyway! It’s all going to get covered with newsprint and PVA glue anyway!

Prep that newsprint!

The size and complexity of a piece I’m creating determines the size of the newsprint pieces that I need, as well as the way that I tear them. Any kind of newsprint will work, as long as the paper isn’t glossy. Glossy papers don’t work! Save those for paper collage work and book making projects!

If you’ve followed my paper mâché artwork for a while now, you know that some of the pieces I create have all kinds of oddly shaped elements. Each of them use a differently torn paper. It’s important to note that the newsprint needs to be torn, not cut with scissors or a utility knife.

For the internal parts of drawers, and where legs are attached, I use thin strips of newspaper. They are about .5 cm wide by about 3 cm long depending upon the specific piece. Larger, flat areas I use 2 cm wide by 3 cm (approximate!) pieces of paper. There are some really tiny pieces I’ve created in which I needed a 1 cm by 1 cm or smaller pieces of torn newsprint to work with.

For some pieces that are not flat, I will tear the newsprint into strips and then again, against the grain of the paper. Giving the paper a somewhat jagged looking shape. This allows the newsprint to adhere to an irregular surface better. I used this kind of paper a lot while creating the head pictured here.

Attaching the newsprint and glue

In the previous post, I mentioned that I use an inexpensive white PVA glue to attach the newsprint to the cardboard forms. A little water is sometimes required to thin the glue a bit. I buy Memoris-Precious Askarteluliima (Craft/Hobby Glue) in 500g bottles. The amount of water needed to thin it a bit, is about 5 to 10 ml. for the entire 500g bottle.

I’m not a person who minds getting her hands messy. For large areas, I usually just use my hands. When there are smaller areas, or I just cannot get my hands into a space to attach the newspaper and glue, I use an old #6 watercolor paint brush. First, I paint down a little glue, then pick up a piece of newsprint with the same sticky brush. I place the newsprint where I want it, then paint it down with a little more glue.

This method sounds time-consuming. And it is. Or perhaps I should say, ‘and it can be’. However, it gets me the results that I want. For pieces that I will be adding gesso, paint and sealant to, three or four layers of newsprint and glue are enough. I make sure to alter the direction of the newsprint in each layer. This helps the surface to be stronger.

For pieces like this one, a finished thickness of 1 to 1.5 mm is enough. There will be additional structures placed inside this piece. So the thinness of the surface is okay.

This and that

While adding newsprint and glue to a piece, I do make corrections as I go. There may be a place where it seems a bit crooked, or too thin. Added layers of paper and glue can help to disguise that. You can see in this piece, where I will have to do some creative paper applications to cover this up!

Sometimes, the time it takes for individual pieces to dry makes me impatient. This isn’t surprising. I’m an incredibly impatient artist. Some paper mâché artists use a hairdryer to speed up the drying process. Personally, I’m not a fan of doing this. It’s possible to dry out one spot a lot, while another spot may still be really squishy. I prefer to let pieces dry overnight before I continue working on them.

There are a lot of essential parts of my personal creative process and how it interacts with the paper mâché techniques I use. To be honest, most of the time while I’m working on a piece, I’m so focused on what I’m doing that even I may not be completely aware that I’m actually doing a specific thing at a specific time.

An example of this would be how I plan out the sequences of work during the creation of a paper mâché piece. Some things must happen before others. And I just ‘know’ how to do it. There’s not a tremendous amount of thinking done regarding this. Again, this is just time and experience at work for me.

Now what?

Anyone reading this two part blog post now has an idea of the tools, materials, preparations and work (mental and physical) that go into how I create my artwork. As I said previously, I know that I’ve left all kinds of stuff out. If I wrote a totally faithful step=by-step account of what I do, the blog posts would be the length of a book!

Thanks for reading, and I will see you again on Friday,

 

 

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Paper Mâché

This post became very large, very quickly. Because of this, I’ve divided it into two parts. Part one is this following post and the second part of the post will be posted on 16 November 2020.

In this post, I’ll be discussing why and how I began working in paper mâché, as well as the materials and tools that I use regularly in the creation of my own artwork.

Isn’t paper mâché for little kids?

Prior to moving to Finland, I had never created any of my own artwork using paper mâché. As an elementary art teacher I had taught a few lessons over the years that utilized the art form and accompanying techniques.

My personal use of the paper and glue method is partially inspired by some of my former students with allergies. Specifically, allergies to wheat, requiring me to find a substitute for the flour and water paste commonly used for paper mâché elementary school art projects.

It should be known that I have never had anyone sit down and teach me how to work with paper mâché. What I know is what I learned from personal experience as a child, then as an art teacher, and now as a practicing artist. YouTube, as always, has been instructional, as well as various personal art websites detailing paper mâché materials, tools and techniques.

The remainder of my paper mâché education has been gained by creating my artwork. In the rest of this blog post, I will detail, as best I can, my personal paper mâché tools, materials, techniques, as well as any tricks I’ve found along the way.

Materials: Corrugated Cardboard

Part of the reason I began using paper mâché was because a great deal of the materials are free or incredibly low cost. In addition to being low cost, the materials are incredibly common. The two main materials I use are newsprint and cardboard. Both of these materials are quite easy to lay your hands on most of the time.

Most of the cardboard, specifically, the corrugated cardboard, that I use I pick up at the Lidl. Lidl staff stock the shelves in a particular way, having large rolling bins that they chuck empty cardboard boxes into. The staff at the Lidl I shop at are so used to me picking (neatly) through the bins that I don’t get a second look.

Time and experience has taught me what corrugated cardboards work the best for my own particular creative needs. Corrugated cardboard from cookie box shipments (Sondey brand) are one of my favourites. The corrugation is small and strong. Most of the time, it’s two layers of corrugated cardboard, laminated together. The box usually has a heavier glossy paper finish too. These features make it good for what and how I create my artwork.

I take a retractable box cutter with me to Lidl. Any box or carton that is large or oddly shaped I can break down quickly. Again, at this point, none of the staff at Lidl seems to be bothered with this. The smaller pieces just go in my shopping bags for the trip home.

Materials: Carton Board

Carton board is different from corrugated cardboard. Carton board is the lightweight, kind of grey-ish-brown-ish papery-card-stock used in packaging like cereal boxes or frozen pizza boxes. My husband does all the meal planning and cooking for us, and knows when I might like a carton or box. I trim-off the bits I don’t want from these cartons and store them in a reusable shopping bag.

Most of the carton board is used to veneer the underlying corrugated cardboard structure. Some smaller elements of a larger paper mâché piece may be constructed completely out of carton board that I have laminated together using glue to give more strength to the piece.

I will talk more specifically about how I veneer the corrugated cardboard structures with carton board in the second part of this blog post on Monday. Wood veneer is very common. My technique is similar. I just use carton board instead of wood.

Materials: Newspaper

We don’t get the newspaper, but we do get a small free city newspaper every week or so by mail. They are saved in much the same manner as the cardboard and carton board. Several months ago, while putting the recycling into the bins, I came across several bunches of newspapers (that we don’t receive) still in zip tied bundles. Several of them came home with me.

Materials: Glue

There are two glues that I use. Each having a different purpose at different times during the construction of a piece. For gluing cardboard pieces together, I use Eri Keeper. It’s a Finnish brand of all-purpose glue that has a strong hold, especially with cardboard. A glue gun can be used. I just find them expensive, messy and cumbersome.

The glue I use when applying the newsprint to the surface of the cardboard form is an inexpensive white PVA craft glue, thinned with a little water. I don’t like using this kind of glue for anything other than paper mâché. White, PVA craft glue has a bond I find too weak. However, when used with newsprint, in many consecutive layers, it works extremely well.

Tools

For the type of artwork that I create, several tools are used. But you really don’t need incredibly specialized tools to work with paper mâché. A ruler, pencil, cutting blade and a safe surface to cut it on is enough to start out with. Metal rulers are better than plastic or wood though.

There are also several other tools that I use. A compass, a protractor, a multi-use piercing tool and a self-healing cutting mat are also useful. For small pieces that I’m applying newspaper to, I use an old paint brush instead of my fingers as well.

Tools: Cutting Blade

Since I was a freshman in art school, I’ve used an X-Acto knives. An X-Acto knife and replacement blades even came with me to Finland! The blades are a little expensive here, and frankly aren’t what most people use. Retractable cutting blades, the kind you can snap the dull bit of the blade off, are much more common here in Finland. They’re also much less expensive!

It took me a little time to get used to using this kind of cutting blade. But I like it a great deal. My index finger of my right hand doesn’t ache after using them. Plus, they are retractable, so I’m much less likely to cut myself. Personally, I use the cheapest ones from Flying Tiger and the slightly more expensive ones from Motonet.

What’s important is to find the type of cutting blade that works the best for you. One that you’re most comfortable using. And remember to be safe! Never, ever cut toward anything that might bleed! The latter being a reminder to my students when they used anything sharp to cut in the art room.

Even more supplies and materials

There are other tools and materials that I utilize when working in paper mâché. Bamboo skewers in different sizes, small wooden plant stakes, toothpicks, pens, pencils, erasers, markers, scissors, various plastic containers (recycled) to hold torn paper, glue and other supplies, just to name a few. There will be more about these incidental types of tools and materials in Monday’s blog post.

Hmmm…

Wow. This post got very long, very quickly! And I haven’t even gotten to my personal creative paper mâché techniques! Don’t miss the second part of this blog post on 16 November 2020!

Thank you for reading, and I will see you again on Monday.

 

 

 

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Not a Piñata

The two Aino jaatelo containers are there in place of the second piece that will be created for this doll to sit on. I’m not making a chair. It’s not any kind of piece of furniture.

I’ve been working on a large, papier maché doll during the past week or so (Actually around ten days). I tend to lose track of time while working on a piece. It’s flow state in action. Social distancing and being isolating has just meant that I have had even longer stretches of time in which to immerse myself completely and totally into the artwork that I am making. It’s also that time of year in which I look out the window and think, “Oh. It must be around 18:00 or 19:00.” when in actuality, it’s closer to 23:00. I usually start work between 9 and 10 and only break for meals. I’m insanely fortunate as I have a husband who does all the cooking. He’s the one who makes me stop and eat a real meal. (Lunch today is left over sweet and sour pork!)

While working, I’m not only actively working with, and reacting to, the tools and materials directly in front of me. I’m talking to my work and myself then entire time. This on-going dialogue is an integral part of my entire creative process. I cannot imagine creating artwork without it. These artist journal posts are more or less a neater and tidier second draft of the dialogues going on in my head while I am actively creating artwork.

Many of the questions I ask myself are fairly easy to parse out and resolve either on my own, or with the help of a discussion with my husband or a fellow doll artist online. Talking to others when I cannot come to a conclusion myself is a much needed element. Without it, I would become what my husband calls “axel-wrapped” and make myself miserable. Sometimes, there are questions that I have to become a little axel-wrapped over, before I talk to anyone. I think the questions that have been coming to the forefront of my thoughts over the past week or so are those kinds of thoughts. I think because they each speak to the uniqueness of each artist. And that sometimes, there just may be no easy, clear-cut answers to some questions.

The arm mounts look like little rocket-type booster thingies to me.

Here are the questions that have been banging around inside my flow-states while working:

What do my choices of materials say about me as an artist?

If I were being cheeky, I’d say that my choice of materials says, “Yes. I’m poor.” but I don’t think it’s quite as easy as that. These larger dolls are made with papier maché, using newsprint and PVA glue instead of wheat paste. I use a lot of corrugated cardboard and carton board. I make my own gesso. I use inexpensive things like bamboo meat skewers and toothpicks. I use paint and pencil to decorate the surfaces, along with embroidered elements on felt.

I often wonder if my artwork would be taken more seriously if I just stopped after creating the cardboard substructure covered with newsprint and glue. Or what if I just stopped after covering the components with gesso and sanding them. Maybe if I carved words in surfaces? What if I covered the surfaces with used bits of trash I find when out walking? Maybe I could light the piece on fire and then film it? Perhaps I’m just thinking too much. Maybe I should just make the entire doll out of wood, like a puppet? Or stone, make it a “Why Not Sneeze, Rose Sélavy” kind of homage?

The short answer to that is, “Because I don’t want to.” I’ve had some people tell me that they like my large papier maché dolls when they are left white, with no further work done to them. I’ve had others tell me that they don’t understand why I make them moveable. I should just make them static, like a statue. Some have said that the large dolls are a bit of a visual overload for them, and maybe I should just do less embellishment work on them. When confronted with these sorts of comments or unsolicited advice, I remind myself of Bowie Rule #1 for Making Art: Make your art for yourself and no one else.

So. No. I won’t do any of those things, because I’m making my artwork for myself first and foremost. This still doesn’t answer my question though. What do my choice of materials say about me as an artist?

Let’s start unpacking it.

The first thing they say is that I’m resourceful. I cannot work in ceramics right now, or in woodworking, both being mediums that require more expensive materials, more space and more tools that are all way outside my ability to pay for them at present. I’m resourceful because I’m not looking at what I don’t have to make art with and being depressed about it. I’m looking at my environment and see what I do have and designing ways to make it do what I want it to do.

My choice of materials says that I can look at the potential of seemingly unrelated items and imagine how I can bend them to my own creative will to make art. In the creation of the large papier maché doll I’m currently working on, I needed a spheroid piece for the upper part of the leg where the legs are attached to the torso. I had nothing on hand that even remotely fulfilled my need. I could have altered the structure of the torso and created flatter joints, but I didn’t want to. Instead, I created two cubes of corrugated cardboard and carved the spheroid forms with blade. The other option I had was to create the spheroid forms using a paper fiber and glue. I thought that the form I needed was too large for it to dry completely, so I went with the corrugated cardboard option.

When using materials that are not necessarily standard art-making materials, I’m required to use my accumulated knowledge of art production, including my time as an art teacher, as an art student in the early 1990’s to guide my art practice. Gesso in Finland is more expensive, so I make my own. I’ve found two of the required components that I can easily acquire for less than 8€, and they’ll make a lot of gesso. The white paint that I get at a local art supply store is a little more expensive, but since I’m saving money on the vast majority of my materials (some being free), I feel as though the expense is well worth it.

I also shop a lot at second hand stores. This again requires me to look at an object and not just see what it is, but imagine what it could possibly be made into. I also pick up a lot of threads, yarns, fabric and storage containers (so many tins!) at second hand stores as well. Yeah, the tin used to be for a Russian made loose tea, now it holds some of my art supplies.

What this all says about me is that I can take objects from my immediate environment and shape them to my personal creative will. I can imagine things and make them with my own two hands. So yeah. I’m poor as in, I have less cash to work with, but I’m certainly not poor in ideas for creating my own personal artwork with the things around me.

Knee joint assembled. There are around five coats of gesso on this. I’ll sand it down prior to painting it.

My second question (related to my first question):

What to the techniques I employ with regard to those materials say about my art?

I kind of addressed this above, through the, ‘Why don’t I just leave the large papier maché dolls as is with newsprint or gesso showing?‘ Again, uh…because I don’t want to…? No. That’s too easy. I paint the surfaces of the dolls, sometimes using different painting and simple printmaking techniques. I draw on the surfaces of the dolls. I add a significant amount of embroidery to the surface of the dolls. I add elements that move, or can be discovered. I hide things in the drawers of the dolls.

Why do I do all of these things?

The short answer is that I like to sew by hand. I find it exceedingly enjoyable to create my own embroidery elements to add to my the larger papier maché dolls. I come from a long line of women who sew, and I’m continuing this tradition, just in a slightly different way. I also have experience in fine art printmaking, and bookbinding, jewelry making, crocheting and knitting and other artistic mediums that require a modicum of knowledge and experience to utilize their techniques correctly. I love mixing my mediums and my techniques. I’m just not one static thing, so why should my artwork be one, static thing? I often feel as though my education and experience as a graphic designer and illustrator (largely two-dimensional) is just as important during the creation of my personal artwork as any of my experiences as an art teacher (working in two and three-dimensions).

The question of technique, brings me to craftsmanship. I know what the average person thinks of papier maché as a medium. It’s something that little kids do in elementary school. They make volcanos out of it. There is a ‘lesser than’ idea about it. I think part of the reason I like using papier maché is because of some of these erroneous beliefs. I want to show people what can be achieved with the medium through attention to detail and craftsmanship. Craftsmanship and technique go hand-in-hand I think.

Anyone can mix up some water and glue and apply it to a form, making it look the way that you want it to, that’s a different matter entirely. Getting the paper to lay flat and adhere to the layer beneath it. Do I use a brush or my fingers. Which fingers? Index? Middle? Thumb? How much glue do I use? Should all the newspaper go the same way, or should just paste it on all willy-nilly? Through time, and attention, and repetition, I have refined my personal papier maché techniques. I know when I should create separate components, and attach them at a later date with papier maché. Some components I create entirely separately, and only join them after painting and finishing the surfaces of them. Some components remain completely removable. No one taught me this. I learned it through my personal art practice.

That to me says that I like problem solving. I like being challenged. I love gaining the knowledge and experience through encountering these problems in my art creation so that I can keep building upon them as a practicing artist. I think one of the questions on the Proust Questionnaire is something like, ‘What do you regard as the lowest depth of misery?’ Boredom always comes to mind for me (among many other things). I do not like being bored, and being that I’m a fairly self-contained person, I can spend endless hours creating artwork by myself. (Who am I kidding? I can spend weeks making artwork on my own.)

These two questions can be answered sarcastically by me, and dismissively by those who see my artwork. Those who dismiss me and my work perhaps are leaning on their own preconceived notions regarding what they think art is and isn’t. Perhaps they think my choice of theme is juvenile, or they think dolls are creepy, so they just don’t even stop to look. For those who stop and look and then think about my medium and technique choices, they will find that they each say a lot about who I am as a person as well as an artist.

Thanks for reading, and I’ll see you again next Monday.

 

Links:

Vanity Fair, Proust Questionnaire

Marcel Duchamp, Artist (creator of ‘Why Not Sneeze, Rose Selavy’) He’s one of my favourite artists. Dada and Surrealism shape a great deal of the artist I am today.

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Tuesday for Monday

This is a dry-fit of the papier mache doll that I’m currently working on. Needed to see if the arms, legs and neck all fit correctly and were in the positions I wanted them to be in.

I started working on a larger papier maché doll during the past week. It’s a piece that’s been getting noisier and noisier inside my brain for quite a while. The doll itself is one component of how I imagine the completed piece. This second component I won’t start until I’ve completed the doll first. I don’t have the work space to start the second component now anyway. I also think that my attentions would be divided by attempting to work on two fairly large pieces at the same time too. The second component could go a couple of different ways. I feel as though I need to think more about it more before starting it as well.

Pineapple does belong on pizza. Ham, pineapple and blue cheese on pizza is one of my favourites!

I used a balloon to create the torso for this doll. It’s a simple technique. Blow up balloon to the desired size. Cover it with layers of papier maché. I’ve never attempted this method of papier maché construction before. It seems a pretty common form to use for this medium, especially for school aged children. I never did any kind of papier maché during my time in public school or university. Perhaps this is a contributing factor in my fascination with it.

The pictures above are of the torso insert. I made it completely separate, so that I could more easily attach the newsprint to the inner cavities. I’m not sure if they will be drawers or cabinets or maybe just completely open. At this stage, they could easily be any of them. I think it’s interesting to see what the under side of my artwork looks like. It reminds me of a description of a duck: all placid gliding on the surface of still water, while at the same time, there’s wild, furious paddling going on just below the surface of the water. All the pretty stuff is on the surface of my work, while the backside is just a total mess of cardboard shims and up-cycled frozen pizza cartons. It looks like a shanty town from the Great Depression if you ask me.

To make these large, papier maché dolls, I use some pretty simple tools and materials. The newsprint and cardboards are free. I get most of my corrugated cardboard at Lidl. None of the stock workers bat an eyelash at me when they see me pawing through the cages of cardboard. I always carry a utility knife with me, so I can break down more oddly sized boxes into more manageable pieces. Again, no one looks at me weird when I spend a few minutes at an empty cashier stand breaking the boxes down either. I use scissors, a couple different utility knives, ball point pens, a triangle, a straight edge, a few coloured pencils, an awl and PVA glue and Eri-Keeper all purpose glue. Eri-Keeper is like if Aleene’s Tacky Glue and Gorilla Glue had a baby.

There is also carton board packaging from items we regularly purchase that I use in my artwork a lot. Frozen pizza cartons are one of my favourites. It’s flexible and somewhat malleable, once the glue has been applied. I hit the shiny, printed surface of the carton with some 240 grit sandpaper to rough-up the surface, to give the glue a more secure attachment when gluing pieces together. I tend to layer the carton board as well, altering the lay of the fibers, so that when dried, it’s very sturdy and strong.

I do the same kind of altering with corrugated cardboards as well. A lot of this depends on the quality of the corrugated cardboard. Cheap cardboard, with loose fiber and a lot of acid content is what I use to shim things, like the backside of the cavities for the torso. This kind of cheap cardboard crushes easily and I can worm and wiggle it into tight spaces. Stronger corrugated cardboard is what I use for things like the joints for the tops of the legs on this doll. The stronger cardboard, coupled with the Eri-Keeper glue and some added wooden pins for stability, make the form very strong and stable. I’ll add papier maché around the entire piece and do additional sanding and light carving as needed. Some of the best corrugated cardboard is from the boxes for reams of paper or from the boxes that canned and jared foods are shipped in.

I just made two cubes with the stronger corrugated cardboard and started carving with a new utility knife. I changed blades often because as anyone who uses cutting tools knows, you tend to cut yourself more easily with a dull blade than a sharp one. I managed to only give myself a blister and suffered no cuts at all while working on these ovoid forms for the leg/hip joint.

I constructed the head out of the stronger corrugated cardboard, but then covered the surface with some gray carton board. I do this because no matter how good the corrugated cardboard is, and no matter how many layers of newsprint, gesso, paint and sealant is put on top of it, the corrugation always, always, always shows through. This bugs me so much. The veneer of carton board over the corrugated cardboard solves this problem nicely, and only adds a few millimeters to the size of the specific body components of a doll.

When I started creating papier maché dolls, I did so much measuring. I wanted everything to to be “correct”. After creating quite a few of them, I now rarely measure anything. Most of the time, the measuring I do is to make sure that my proportions of a piece are correct. I do a lot of ‘eyeballing’ measurements too. I do use a straight edge for cutting, however when the materials kind of start going a little cock-eyed, I don’t loose my mind. I just go with it. I do a lot of marking pieces to keep components facing the right way, or so that they will be attached to the correct side or portion of the doll I’m working on. You can see in the picture above the ‘R’ on the side of the head. The head is about 2 mm off square on one side, so to make sure that the frame I added to the face fits correctly, I make the sides so I know which side goes where. You could also see a red A and a blue B on the corrugated cardboard pieces I carved. Each of the legs has a corresponding A and B, along with marks to make sure that the front of the legs faces the front.

The picture above is of the two arm mounts. I think they look like tiny hammers. You can see where the A and B are marked. I use a colored pencil for this, because sometimes markers can bleed through newsprint and gesso and even give a paint layer a weird cast depending upon the type of paint and tint or shade of paint chosen. Coloured pencil is also easier to sand off in case I need to make changes with placement of components as well.

I made the arm mounts out of toilet paper rolls. You can see that I laminated them together with glue for the smaller parts. I added a heavy-duty bamboo skewer through the center of the smaller cylinder and used some of that more easily crushable corrugated cardboard with Eri-Keeper to stabilize it. The arm mounts will be papier maché’d, then attached to the torso with Eri-Keeper, then the seams papier maché’d over to hid them. I will use Eri-Keeper, watered down, instead of the regular PVA glue for the seam-hiding papier maché.

The legs are also toilet paper rolls. I used eight total. I just taped them together and added a couple layers of newsprint and glue for strength. I added some circular pieces to the insides to stabilize the leg forms too. I made the knee joints first. They’re super-simple. I didn’t add a knee-cap stop on them, so they will bend forwards and backwards right now. I’m still mulling over adding those stops. There are pros and cons to adding these stops. I added the cavities in the bottoms of the feet because I have plans for them.

The cavities in the bottoms of the legs, as well as the frame piece for the dolls face were two things that I created on the fly as I was working on this doll. I didn’t have anything in my rudimentary sketches about these features. They just seemed to be ‘right’ as I was working on the piece. Each of them are rooted in something that is from my distant and more recent past. I liked the ideas and added them to the piece. These kinds of changes aren’t something that I can necessarily plan. There comes a point while I’m working when the artwork begins to take over and I, to a certain extent become the one with the eyes and the thumbs. The artwork is going to be what it wants to be.

Which brings me to something I’ve been thinking about for more than a week. People who copy another persons artwork. Or, those who try to copy an artists artwork.

I just wrote a fairly detailed account of how I’m creating this papier maché doll. I talked a lot about the tools, materials, and techniques that I’m using and why I use them. I detailed where I get most of my materials, at least the free ones. I suppose that a person who wanted to copy my artwork could quite easily look at the pictures of my artwork in process, gather the same or similar-enough materials, tools, etc., and attempt to make a doll like the one that I’m currently creating. Or for that matter, a person could go through my entire Instagram account and save pictures and posts and try making those dolls as well. The patterns I create for the felt and fabric dolls I make are rock-stupidly simple. Anyone with eyes and hands could make them if they tried to.

I recently had a back and forth with an artist and a doll maker about this same subject; people copying artwork. This artists makes amazing dolls. One look at them and you can see how much time, effort, creativity and love goes into each and every doll they make. This doll maker doesn’t sell patterns of their work, nor do they create what I would call a ‘lower price point’ doll for persons who might think their doll work is on the expensive end. They recently had a person contact them with what I think were intrusive questions regarding specifics (materials, techniques) on how they created their dolls. It was obvious that this person was wanting specifics so that they could create a doll like this doll artist, without having to pay her for it. This person was effectively wanted to steal the creation of a practicing artist.

Why would anyone do that?

To merely say that this was annoying is an understatement if you ask me. I’ve gotten some strange inquiries regarding the potential purchase of my artwork along with questions about the techniques and materials I use to create them. I trusted my gut, and stopped communicating with these particular people. I didn’t sell my work to them either. Questions like, “How do I get the material do the same thing yours does?” or “Where do you get that kind of (insert item here)?” are the types of inquiries from an unknown entity, (Read: “Not a Known to Me Artist or Creator”) that sets the alarm bells ringing in my mind. When another artist or creator asks these kinds of questions, I’m much more likely to discuss it with them, or even show them how I actually do the technique.

“DANGER! DANGER WILL ROBINSON! DANGER! DANGER!”

I sometimes wonder about why there are people who think they can just take another artists creation without paying for it. I wonder if it has anything to do with the fact that doll makers (among the myriad of other fiber and textile artists and creators out there!) utilize patterns in the creation of their artwork. Does the idea of a pattern to some mean that the artwork created from it is ‘less than’ other art? Would these kinds of people ask the sculptor or painter for directions and lists of materials needed to re-create their artwork? (Sadly, I think the answer may be yes.) Do they think that artwork, “real” Art (with that capital A qualifier) is only the work in galleries, museums or rich peoples houses and yachts? That somehow, a doll maker, who uses patterns, isn’t creating unique, one-of-a-kind pieces of artwork? That their materials, tools and techniques are something that can be easily replicated by just anyone who thinks that the artwork must be ‘easy’ because a pattern in used?

A pattern doesn’t make a piece of artwork ‘easy’. A pattern is just a tool that many artists working in a variety of different mediums utilize. The pattern doesn’t ‘make’ the artwork. The artists’ skills, knowledge, curiosity and imagination make the artwork, in tandem with the tools and materials, all of which are driven by the intrinsic need to create. Those are the things that create the artwork, regardless of whether the artwork is a painting or a doll. We’ve all seen knock-off products. Don’t tell me that you can’t see the difference. The knock-off is a poorly constructed facsimile lacking true creativity and originality. What burns is when the person who is trying to copy your work actively seeks you out and effectively tells you about what they’re doing. I wonder if this person thought they were giving the doll maker a compliment? “I like your art so much, I will copy it and tell you about it! Isn’t that just the coolest!” This takes passive-aggressive behavior and elevates it to almost a god-like level.

As an art teacher, I never wanted my students to copy my artwork examples, or to copy from their fellow students either. I had some lessons in which I would actually take down my examples, because the urge to copy could get strong for some students. This is not to say that a student of visual art cannot learn from copying. That kind of practice has it’s place within the education of any artist. This kind of artistic practice work is not meant to be an expression of the art student. It’s not to be signed and displayed as their original artwork either. That’s called stealing, and I learned a lot about it as a graphic design student. Copyright and Trademark exist for everyone, including artists.

A persons artwork should be a true expression of who they are as a person. It should be as unique as they are. Knowingly copying someone else’s art is to sell yourself short as an artist and as a human being. If this person wants to make dolls, then yes, at some point, they may follow other peoples patterns. At some point though, they begin to alter how they create the doll. Choose the colors and textures they want to use. Add in new elements. These choices are their creative contribution to the creation of a doll using someone else’s pattern. I would hope that this happens organically, allowing the person creating the dolls to take a great deal of satisfaction from their work. At a point, perhaps they decide to start making alterations to the pattern. Perhaps they decide to create their own pattern to fulfill their own personal needs/wants. But to just say, “Oh. You’re doll is better. Mine’s bad. I want to copy yours.” that’s just…no. Don’t do that. No. It’s just so wrong.

Artists spend decades honing their skills and their craft. It’s truly insulting to have someone ignore all of that expertise and hard-won knowledge and think they can just take a pattern and copy what the artist does.

ANYWAY…

This post got a little long and a a lot preachier than I had originally intended.

Be inspired to create art the artists you see, read, and listen to, but don’t copy them. Go and make your own artwork. It’ll be much more satisfying for you as an individual.

Thank you for reading, and I’ll see you again next Monday (even through I know it’s Tuesday),

Links:

Lost in Space 1965

Lost in Space 2018

Alan Alda and Marlo Thomas. “William Wants and Doll.” Free to Be You and Me. 1972

The New Seekers. “Free to Be You and Me.” Free to Be You and Me. 1972

 

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I Detect a Pattern

Teeny, tiny tunics! Now with wing holes!

I’ve been working on three new tiny fairy dolls. Well, I’m not sure as to what I want to call them. The first two of this series that I created I purposefully gave Finnish names to. I found the names Inkeri and Maija online. I’ve found different meanings and origins for each name. Inkeri is a Finnish form of Ingrid, and some sites say it means ‘Heros Daughter’. I picked it because I thought it was pretty. Maija is a variant of Mary/Maria, and could mean ‘bitter’. Again, I picked the name because I thought it sounded pretty. I also have a love for names that have Mary as the root. Marielle, Maya, Maia, Maarit, Marisol, you get the idea. I think it stems in part from the fact that Mary is an anagram for Army, which I think is pretty cool.

Continuing with the Finnish theme I have given to these fairy-like tiny dolls, I thought that maybe I could name the series in Finnish to perhaps ease my weird inner problems with calling them straight-up fairies. A Finnish friend suggested niittykeijuja, meadow fairies or metsäkeijuja, forest fairies. My spelling is in Finnish still isn’t fabulous, so these could be not spelled correctly. I like the idea of a meadow, since I did give them butterfly wings, so for now I’m leaning in the niittykeijuja direction. I had two other friends offer pixie and sprite as options as well. I like pixie, mostly because I’m a Pixies fan. Ha! I like keiju, because it’s similar to kaiju too!

I’ve been thinking a lot about the embroidery work I create. I’m largely self-taught, with help from other needleworkers here and there. Much of what I’ve learned I’ve picked up from YouTube videos and online embroidery sites. There are some amazing needleworkers out there in the world and I tend to consider myself a novice in comparison to many of them.

I started sewing by hand when I was very little, maybe around eight years old or so. Sewing fabric with needle and thread is very different from decorative embroidery. I think a running stitch and a backstitch were all I really needed to know at that time. I didn’t really learn how to operate a sewing machine until I was twelve or thirteen years old, in a sewing class in school. The only think I remember from that class is that I made a skirt I hated and that a boy named Larry sewed through his finger while operating his sewing machine. I didn’t enjoy the class at all, and learned next to nothing.

I come from a family of women who sew. Mostly on machine, using patterns for clothing and other useful household items, like quilts, pillows, curtains, etc. I own a sewing machine and do use it on occasion, mostly for sewing things like curtains and the clothing for some of the dolls that I make. I do like using a sewing machine, especially a well maintained sewing machine. I’ve gotten the chance to use some really chonky metal behemoth sewing machines here in Finland, like Husqvarna’s and Janome’s. I’ve even gotten to use some really nice newer model sergers too. If I had the want or need, I’d love to have any of these sewing machines.

But…there is just something about the feel of pulling a needle and thread through cloth. I don’t know what it is, but it just feels incredibly ‘right’ to me. I cannot adequately explain the sensation, but it’s just right. And in a way that machine sewing just doesn’t (please forgive my turn of phrase) do it for me. I think this is why I enjoy the embroidery work I create so much.

I was looking through my Instagram feed a few days ago and I came across a post by an artist I follow. She’d created a new sewing and embroidery pattern and had posted pictures of the project. I really liked the project a lot and the embroidery pattern was excellent. One of the pictures had a picture of the pattern for the embroidery and my brain just kind of clicked to the off position. I could imagine myself using her pattern to create the object, but somehow not creating the embroidery work.

I’ve always called this the ‘Baroo Look’ from dogs and puppies. It’s when then cock their heads from side to side trying to make sense of something that’s confusing to them.

It wasn’t because I didn’t like the embroidery work that the artist had chosen to use on her work. I think it had something to do with the use of the pattern for placement of the embroidered portions of the piece. I think what was being used was an embroidery stabilizer. The pattern in printed onto the paper and the paper then attached (temporarily) to the fabric being embroidered. I tried imagining stitching through paper stabilizer on fabric. I wasn’t sure that I could create what I would want to create using this method. Even within my own imagination it felt alien and weird.

I was then struck by the thought, “You mean people just don’t think of what they want to embroider and then just do it?” I know. This seems like such an ignorant thought. “There are people OTHER than ME that create ART?” Then my face would look like this:

Sudden realizations require the clutching of pearls, real or imagined.

Yeah. I sound like a total moron. I know this.

I started tugging at this thread to see what would come of it. I could imagine using someone else’s pattern for creating an object, but not for the embroidery work. Huh. Interesting in a kind of ‘what is wrong with me’ kind of way. I had to think about my own process for embroidery work and see how I couldn’t fit someone else’s designs or patterns into them. What’s my embroidery work process?

1. I rarely, if ever make any kind of in-depth sketches for the embroidery work that I do.

Yep. I’m more or less making everything up as I go. Well, no. That’s not totally true. I do make choices regarding color. This starts with the color of the doll, then the clothing, and THEN the embroidery work. I chose the colors I feel will work the best together, or will pop forward, or that will blend well.

The only stitch I know that I will do on every piece is the blanket stitch. I have this incredible unease about what I feel are unfinished edges. Especially regarding felt, which I use the most in my artwork. I start with a blanket stitch around all of the edges of felt. Without the blanket stitch along certain edges, I feel like the piece is just raggedy. I have no idea where this comes from. It’s just there and I go with it.

So, I plan the blanket stitch and that’s it.

2. I don’t know what stitches I will use or in what combination.

Once I complete the blanket stitch around the edges of the piece, I choose the next color or embroidery thread first, then think about the type of stitch I want to do. I have no idea what the final embroidery will look like. I just start working.

I tend to work from the biggest stitches to the smallest stitches in each piece I embroider. I sometimes know that I want to use a chain stitch to create a shape, but I don’t draw it down onto the fabric. I will evaluate the space I’m working within, and there are times in which I do pull a few stitches out because I made something the wrong size or decide I want the shape to go in a different direction.

What the final embroidery looks like is always a surprise to me and I kind of like it that way.

3. I embroider portions that I know will never be seen. I do this on purpose.

It’s a weird idiosyncrasy of mine. Part of me kind of likes knowing that it’s there and I know it, but no one else does. I think I started doing it simply so it didn’t look like I was avoiding spots on a finished piece, because I didn’t want to ‘waste time’ on portions that would never be seen.

4. I don’t like the reverse side of my embroidery to be a knot-filled mess.

Many years ago, when I was part of a local doll making club, I was working on some embroidery and appliqué work while chatting with a woman in the club. She’d had real training as a needle worker and had been working for several decades honing her craftsmanship. She told me that she’s been taught to keep the backs of her pieces as neat as possible. It made for easier repairs and/or additions. I took this to heart and can get positively anal-retentive about how the back sides of my embroidered pieces look.

I still thinks this looks like a rats nest. I don’t like knowing that the mess is there.

As I said earlier, I consider myself a novice at embroidery and needlework. I use basic stitches, and change up the combinations, compositions and the colors. I learn new stitches here and there and add them in when I feel like they would look good, like a herringbone or bullion stitch. There are stitches that I know, but don’t use much, like satin and split stitches.

I know that the reason I can work with a kind of a ‘que sera sera’ attitude is due in large part to my own level of comfort and efficacy as an artist. I know what I know how to do and I just do it. If I mess something up, I know it’s not the end of the world. I can either fix it or disguise it. If I can do neither one of those, I know at least I can gain knowledge from the mistakes made. And I move forward.

I suppose that my inability to understand how to use a pattern, especially for embroidery work is because of two factors: 1. I want to make up my own designs and 2. How can I learn how to do something if I can’t possibly fail miserably? Again, this is due to my own personal efficacy as an artist.

Even after everything I’ve written above, those of you who read my blogs about my art, know that on occasion I do use other doll artists patterns as a means of making myself think differently and work with ideas other than my own. Even with those patterns, I cannot resist adding my own creative twist on the final products. I just can’t help myself. It’s what I do.

Thank you for reading, and I’ll see you again next Monday.

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Fairy Wings

I started experimenting over the weekend. I didn’t intend to create a bunch of sets of fairy wings. As with most of my artwork, it started out with a me asking a question. I wanted to see if I could take pieces of rigid plastic packaging and make something approximating insect-like wings for the tiny dolls I’ve been working on for since January.

I’m limiting my time out of the house to once a week, so I had to use the art supplies that I have on hand. I didn’t want to order any art supplies, or have to figure out how to combine several errands into one trip that would coincide with the opening hours of a shop, or the specific errands I needed to run either. So, not only have I asked myself one question, but then set up several additional parameters for the project as well.

I like setting up different problems (challenges?) for myself. I feel like it keeps me from getting too stale in my thinking or in the artwork that I produce. At least I hope that it does. It never seems to take the route that I imagined in my head, and it always teaches me something new. Sometimes what it teaches me is that I don’t know nearly as much as I think I do.

In the case of these fairy wings, I did arrive at a product that I like quite a bit. What I found surprising was the fact that what I thought would be a ‘quick and dirty’ method of creating some okay looking wings, turned into a much more complicated and involved creative process that had me reaching into my knowledge of fine art printmaking.

I took a lot of printmaking while I was in art school. I have experience with stone lithography, wood and linoleum cut, etching, and monoprinting processes. I loved the physicality of stone lithography. There was an element of flying by the seat of your pants with wood and linoleum cut, especially since I did a lot of ‘suicide prints’. I was poor and couldn’t afford a separate piece of wood or linoleum for each color run. Etching seemed like magic to me. I loved everything about printmaking. I loved that you could make multiples of the same piece. I loved that you could alter the image or create separate monoprints that you could work back into with other mediums. It was a lot of fun and the processes all made sense to me. They seemed logical and orderly.

Once printing process I never really got into was intaglio. I just couldn’t physically handle the way in which the drawing is created on the matrix. The scratching on the metal or the plastic just makes me nauseated! It feels like the scratching and scraping are being done inside my stomach. Yuck! So it makes perfect sense that intaglio, crossed with a little scrimshawing is the way in which I think I can create fairy wings.

I thought that what I would do is take some of the plastic packaging that I had pulled from the trash for this. My initial idea was that I would take a metal needle tool and quickly scratch some wings onto it. Then I would use paint (in this case, acrylic, because it’s what I have) and paint it onto the surface of the plastic. Then I’d wipe off the excess. The paint would stay in the scratches below the surface. Then I could cut out the wings and attach them to a doll. Easy! Right?

Well…no.

Here is the first set of wings. More of less a ‘proof of concept’ construction. This was to answer the questions: will the plastic I have work? Does the paint stick to the places I scratched? Can I sew the wings together easily?

The first wings were wonky and frankly, sucked. So I went on to the second set of wings. For this set, I created a drawing to work from that was placed beneath the plastic. I taped the plastic down and then scratched the lines on the wings onto the plastic.

This second try was better in that they looked more like butterfly wings, but I just couldn’t get the paint to stick inside the areas that I scratched. I think I’d applied paint and buffed it off three separate times and there were still spaces where the lines were thin and scraggly looking.

On to the third try. This time, I decided to add two more colors. I thought by adding different colors, I could add some dimension to the wings, while at the same time hiding some of the areas where the paint would not adhere to the plastic scratches.

The third try was wonky. I got some better coverage, but the way in which I was removing the second and third colors (robins egg blue and a yellow) were just cruddy. I used too little paint and it dried more quickly that I thought it would and it was hard to wipe down with either paper or even to get off with at a q-tip.

On to the forth try! I used a different plastic for this set of wings. I think the container held some kind of refrigerated pasta salad or something like that. It was slightly thicker, almost spongy compared to the other rigid plastic I had used for the previous three wing attempts.

I feel like I figured out what I wanted to do with the wings by this set. I don’t like the plastic itself. The way the painting turned out, as well as the sealant, I liked very much. I also learned that I need at least two holes poked through the center of the wings so that when I sew them together, they hold well and don’t wobble back and forth too much.

I decided that for the 5th and 6th sets of wings, I would change up the color schemes. One was done with red, orange and yellow(s) and one was done with blues, purples and pinks.

 

I used four colors; red, orange and two different yellows. With the 5th and 6th attempts at these fairy wings, I realized that I needed to scratch the stylus into the plastic much deeper than I had previously done. The plastic is thin, and there are a few places where I kind of started a repoussé technique with the plastic. It’s only visible when you’re really looking closely though.

With the 6th set of wings, I used blues, purples and pinks. I left much, much more of the color on the plastic than I did in in the 1st, 2nd, 3rd and 4th sets of wings.

You can see how much paint I left on the reverse side of the 6th set of wings. I sealed the sides with paint on them with a sealant, which is just Eri-Keeper, slightly modified. I like how it begins to make the see-through portions of the wings look like glass from windows prior to the turn of the 20th century; wavy and uneven. These last two sets of wins I think are the ones that I think I will be using on the two tiny dolls that I intended to have wings.

I had a lot of fun creating these sets of wings. I already have ideas for other techniques I would like to use to create wings for dolls, or just to create interesting surfaces for larger, more complicated pieces of art that I would like to create. I think there is a lot to explore using plastics and paint, as well as the intaglio/scrimshaw treatment of the plastic sheets.

The one thing that is kind of gnawing at me a bit is the fact that I’m not a big fan of fairies per se. I mean, I don’t hate them or anything. They’re just not my thing. Same thing with angels. I tend to root for the monsters and creatures other than fairies. ANYWAY…I’m not sure what possessed me to create fairy wings. The wings I made looks more like butterfly wings, but since they will be attached to tiny dolls, it makes them fairy wings by default.

Thanks for reading, and I’ll see you again next Monday.