My self-directed studies of surface design on polymer clay has opened up an array of options. I’ve always wanted to apply oil/acrylic on canvas, but realize I lack an innate talent for drawing. With polymer clay as a canvas, investigating the use of different mixed-media techniques satisfies my desire to paint.
Blog post, On The Grid, dated July 7, discusses applying texture and paint to the surface of a Mokume Gane enhanced sheet of black clay.
I looked at the piece for a week trying to decide what to do with it.
Today’s polymer clay post explores surface design. In previous posts, I’ve discussed the ability to make impressions on a layered block of polymer clay using a variety of tools and rubber stamps. The imprinted layers of a block of clay is an attempt to adapt Mokume Gane or “wood grain metal” a Japanese metalworking technique.
Yesterday, I had a discussion with Andrea Chebeleu, the owner of A Work of Heart about the experimentation process vs. producing an end product. I believe, it’s necessary to gather a wide variety of process driven experiences, in order to develop a subconscious database of knowledge. Taking Myself To Camp (blog posts 1, 2 and 3), did just that. My plans were to adopt and adapt the various surface design techniques to polymer clay.
Instead of imprinting the polymer clay with tools or rubber stamps, I manipulated the clay replicating wood grain. Sliced portions were applied to a conditioned piece of clay.
After using a texture sheet, Lumiere metallic acrylic and opaque acrylic paints an interesting textural surface appeared. After the paint dries, something amazing will happen.