Jewelry Making Outside The Box

The NEW Alcohol Inks on Metal....Spectrum Noir Pens

Spectrum Noir pens were originally formulated for use in scrapbooking crafts, paper artistry, etc.

But the great news is that you can use them on virtually anything.....and there is NO learning curve.  If you can color with a marker or a crayon....you have it in the bag.

I recently discovered that they worked quite well on metal!

To show you, I did just a few sample pieces and took some hurried pix....regret they are less clear than I'd like, but!  You will get the idea:

This photo shows you how nicely the colors blend.  I used several colors out of the brown set to do the Art Nouveau fairy on the left.   That piece, as well as the filigree butterfly, were completely RAW BRASS, no color.   I used the ruddy brown, the espresso-type color and the golden color to blend the color.  With a little work, she will look much like the old gingerbread pieces.  

The filigree butterfly is browns and some turquoises blended.  I don't know that I'd do it this way next time, but I wanted in a hurry to show you POSSIBILITIES.

The bottom two leaves are over CHOCOLATE BRASS......look how nicely you can blend tones.  With a little work, you could come up with some gorgeous colored autumn leaves.

The pens feel good in your hand, and there are TWO tips---a chisel tip for broad coverage, and a nib tip for fine coverage and detail work.

THEY ARE NON TOXIC!!   Be careful, wear old clothes when you use them, they will stain clothes and furniture. 

THINGS to remember  if you use the Spectrum Noir pens over brass:

It works over raw brass, brass ox, and chocolate ox nicely.   I have not tried other plating shades yet, but I doubt it will be good on Old Rose Ox findings from B'sue Boutiques because of the shine.

Distressing the metal first, especially if plated, is best. 

Like other alcohol inks, when you use them on metal, YOU MUST HEAT SET THE INK.  So when you get your colorization where you want it, get your embossing heat gun and set the ink.

When it has cooled,  you can distress the color back and add even more if you like.   But when you get it just right.... then you must seal it.   Here are options I have found to work:

1.  Matte spray varnish.

2.  Renwax

3.  Vintaj glaze

4.  Swellegant clear coat   (those two leaf sprigs?  One is sealed w Vintaj glaze, one with Swell clear coat.  The clear coat dried faster and is cheaper to use, but there is little diff).

5.  Nunn Design Sealant

More pix:

Again, a very fast picture, a little blurry....so sorry!   But you see what's going on....

I used reds and browns and did a lot of distressing on this one.  I haven't sealed it yet as I think I want to do more to it.  ;-)

Here are the leaves a little more close-up:

Again, I'd like to try these again and take my time with them, I did them really fast.  They were choxie brass first, I distressed them, added the color.  One is glazed with Vintaj glaze and the other, Swellegant clear coat.  Both look similar, as far as the finish is concerned.   They dried fast, too....

So I'd say you could do your coloring in the morning, let set for a bit after sealing and probably start working with them later in the day.

We have browns, blues, greens, pinks, turquoises, purples.  They come in sets of SIX pens, all nuances of one color family.

There are also sets of brights, darks, pastels....I am experimenting with those and we may have them later as they are large sets and a bit more expensive (but then, they have four times as many pens, so there ya go).

What to do?  What color to chose? 

Choose ANY!  and try them out.  I love how they let the integrity of the brass below (detail-wise) continue to peek through.   It reminds me so much of the old Color Magic I used to carry....but it gave me a headache, it was full of Xylene, very toxic.  While Spectrum Noir is to for kids' use, it is a NON TOXIC product and we can ship them anyplace at all, by air, too.

I always loved using the Color Magic products for the effect....but not the headaches!  With SPECTRUM NOIR, a very very similar look....no headache.  Non toxic, yes!!!

Find them in the Designer Inks section at B'sue Boutiques   I WILL have a video on these by next weekend, but meantime....there is just no big deal to using these pens....fast and easy.   FUN!  Doodlers and scribblers will LOVE them!

AND....they are cool on polymer clay, too!

 

 

 

Hot Weather Tips for Using Swellegant

My pal Christi (Friesen, Polymer Clay Queen!) shot me an email this week asking me to remind everyone that there are a few things to keep in mind for using Swellegant Metal Coatings, Traditional Patinas and Dye Oxides in warmer climates or for the rest of us....summertime.  ;-)

First, it's important to remember that the metal coatings are NOT just metallic paint.

They are  special paint that has metal IN IT, with a resin binder.

Okay:   now we know what happens to resin when it gets warm:  it sets up.  Given that fact, we need to remember a couple of important things when using the metal coatings.

1.  KEEP IT SEALED when you are not using it.

2.  DO NOT STORE it for long periods of time in a warm environment.   For example, if you don't have A/C in your workshop or storage room, and let's say it's getting up over 75 degrees or so in there, you will want to keep your product in a nice plastic box to avoid any bubbling up out of the bottle.   You can also store the bottles in plastic bags.

    The best course would be NOT to store the stuff somewhere that gets really warm, or even hot.  It may dry out if you do, and especially if you don't keep it sealed.  Also, you should be shaking it up well everytime before you open the bottle, and then, when you do, open it away from your face, in case the paint burps a little.

ALSO:  it is very important to keep the patinas cool and moist as you work with them, especially if you are working with them on POLYMER CLAY.

I like to speed the process of using the patinas and dye oxides over METAL with my heat gun, so for use with metal, I don't think it's so much of an issue in that case.

But if you are using it over clay, there will be times you will want to keep the piece moist.  A gentle spritz over water from time to time directly onto the piece as the patina is working, can actually keep the patinas blooming, if that's what you're going for.

Another suggestion, especially when you use this product with media other than metal, would be to add the last metal coating and patina in the evening before you finish up for the day.   Leave a couple of wet sponges around the piece, and let it work its Swellegant magic over night.

All that having been said:  this is ONE FINE PRODUCT!  and continues to outstrip the sales of Gilder's Paste and the new Vintaj/Ranger 'patina' ink-metal paints at B'sue Boutiques

You will find Swellegant here:

http://www.bsueboutiques.com/mmp_swellegant_products.shtml

And here is a video to help you learn more, in case the product is new to you:

http://www.youtube.com/watch?v=Ir7LDGellDU

and one to show you how it plays with other patina and colorization products:

http://www.youtube.com/watch?v=eDafQii3TM4

And it's all been restocked today at B'sue Boutiques

Someone left a comment on one of the Tubes to mention that Christi didn't develop Swellegant.  I beg to differ:

We only know that it's a Sculpt Nouveau based product because *she told us*.  Otherwise, no one would even know that.   She is also not the first person to private label product, and I'm grateful to her that she did.  When I first found out about it, I was ECSTATIC, because she took on a very large responsibility here.

She took a large, confusing line of highly professional products and through her own diligent experimentation, found out what would work  best on her forte, polymer clay....as well as metal work. 

Because she did that, now YOU don't have to roll through that line, buy huge sizes you won't use, only to find out that some of it is too noxious for safe home use or is not the right thing for what you want to do with it.

Christi discovered what was safe and easiest to use, as well as practical.  Everything she selected is perfect for the home craftsroom, low toxicity, and the fact that it is now in SMALL bottles is great for those who want to learn how to use it and be able to try a lot of colors and types without breaking the bank.

So....to me....YES.  She did discover and develop Swellegant.   If she had not we'd all still be banging our heads and spending too much money on product.

Thanks, Christi!

Art Charms.....From Ex Post Facto Jewelry

Here's a post worth reading, if you want to really see some wondermous art charms.

Heidi Post of Ex Post Facto Jewelry talks about the love of handmade and a cool new Art Bead Love Tour at her blog today:

http://expostfactojewelry.blogspot.com/2012/04/art-bead-love-tour.html?spref=fb

Evidently a charmstring of art beads/charms is sent about to the participants who can pull off what they would like to keep, but they must replace them with beads/charms they have made, and then send the charmstring along to the next participant.

Heidi shows in the post which charms she selected to pull off, but also which she opted to put on as replacements.  They all look MIGHTY FINE.

I'm writing you about her post because I would really love for you to go to her blog and follow it, and learn more about totally handmade art charms and in particular, art beads.   While I like to make them from paper, clay and other things I can work with my hands, I also love to use the elements we sell at B'sue Boutiques and ALTER them....distress, wire, paint, patina, ink, whatever.

In the Art Bead Love Tour, you need to make everything from the ground up.

Please go to Heidi's blog and read about it.  Maybe you'd like to play, too....or just be inspired!

Here is a photo of the charmstring as it is right now.   Wouldn't you love to make things like these?

Patina Color Combinations You'll Want to Try

Over the weekend I introduced the Swellegant family of patina products to our array of mixed media products at B'sue Boutiques

Again, Swellegant is the brainchild of polymer clay artist, Christi Friesen.     I found myself quickly engrossed in this line's possibilities for use on metal.  It is based on Sculpt Nouveau patina products, which in themselves have a very wide use, but the most likely one is as a metal colorant.  

You may have had a look at the line on our website and thought, sheesh, I don't know which goes with what, not sure I want to buy into that whole line, how is it different from paint, from alcohol inks, stuff I might already have?

First of all, as far as paint goes:  it's not your everyday type metal paint.  It's paint that has metal in it, bound with a binder.   The finish becomes stronger the more layers of the paint that are applied.   We recommend you do thin layers, so you don't obscure the details of  the surface you are working on.

Also, we recommend you DAB, not brush,  the product.   Let the layers dry a bit between, if you are simply using the paints to change up metal color, and three coats is optimimum.

Do NOT let the paint dry if you want to add patinas or dye oxides.   Wet paint is a bit of a catalyst IF you want the patina finishes over it.

The patinas are pretty much traditional in nature.  They are acidic,  smell sort of like vinegar and can irritate skin, so gloves are advised and use extra care it doesn't get in your eyes.

The dye oxides are a bit like alcohol inks, and you do need to heat set them on metal.   But, they are a better quality, have  better clarity, and they do not just lay on the surface of the metal like inks do. They bond with the metal. '

BTW:  did I mention?  GLOVES GLOVES GLOVES.   Use GLOVES when you work with any of the components of the Swellegant line.   Keep wet wipes handy.  Soap and water clean up, but the dyes will take time to remove if you get them on your skin...so.  Don't do that!

Anyway!  You're probably  thinking, I'd love to have that whole line, but just like Gilder's paste, I really can only afford to try a few colors at a time.   Where do I start?

We've offered the Swellegant line in single bottles so that you CAN just pick and choose a few things to play around with, before you make the 'big' commitment.     I'd recommend that you select a metal coating, a patina, and a dye oxide.  Three things that complement each other, and I'll help you out with that, too....just read on.

If you don't think you'll be into the dye oxides or metal coatings, then buy one or all three of the patinas.  They  work on raw brass as well as plating, especially the rusty black and chocolate ox brass we offer.  They are also inexpensive, only 6.00 a bottle.  If you sponge them on, they will go a long way and you'll get a lot of use for a small investment.  I love them all, but being honest, TIFFANY GREEN/RUST speaks to me the most....personally.

Here are some tried and true combinations for Swellegant:

BRONZE metal coating, TIFFANY GREEN/RUST patina, SUN YELLOW dye oxide

BRONZE metal coating, GOLD-GREEN/VERDIGRIS patina, TANGERINE dye oxide

SILVER metal coating, DARKENING PATINA, COFFEE dye oxide   this one really intrigues me!

COPPER metal coating, GOLD-GREEN/VERDIGRIS patina, KELLY GREEN dye oxide

SILVER metal coating, DARKENING PATINA, Indigo dye oxide   this is another combo I'd use alot

BRONZE metal coating, GOLD-GREEN /VERDIGRIS patina, MILK WHITE dye oxide  sort of a whitewashed metallic effect!

BRASS metal coating, DARKENING patina, AQUA GREEN dye oxide

SILVER metal coating, DARKENING patina, CARIBBEAN BLUE dye oxide

BRASS metal coating, DARKENING patina, BLOOD RED dye oxide

BRASS metal coating, TIFFANY GREEN/RUST patina, TANGERINE dye oxide   I love the look of this one, too!

IRON metal coating, TIFFANY GREEN/RUST patina, SPRUCE GREEN dye oxide....a very different take on a black finish for sure.

BRONZE metal coating, TIFFANCY GREEN/RUST patina, CHARCOAL BLACK dye oxide

IRON metal coating, TIFFANY GREEN/RUST patina, BLOOD RED dye oxide

COPPER metal coating, DARKENING patina, KELLY GREEN dye oxide   this will give you a copper patina look you will love.

Thanks to Christi Friesen who offered the color combo suggestions.

Don't forget, it's best practice to seal your work after you let it fully cure 48-72 hours.   Cure time will vary according to your workspace temperature and humidity level where you are.

You can use the Color Sealant made for Swellegant, but remember...brush it on in very sparing coats.

I've found that Krylon matte acrylic spray lacquer also works very well.  Again, do  two lightly misted coats with cure time in between.   I would imagine their satin finish as well as glossy would also work.

There are probably any number of other products that will also work, but I have not experimented yet.   I do know that ICE RESIN works well over well-cured paint---very well cured!   If you want to try it, my guess is it may well be incredible.   But remember, with ANY resin product, whatever you put it over must be DRY AS A BONE.  Resin will not cure over anything that has water moisture in it.

But as far as Swellegant goes, you just can't wreck it if you follow the simple rules laid out in my earlier post.   You can always add color, change it up, make it more and more interesting.   And don't forget:  you can use Swellegant on polymer clay, ceramic, glass, wood, paper, foam....just about anything.....as well as metal!

Feel free to share any Swellegant discoveries or observations  with us at B'sue Boutiques Creative Group  or at Facebook:  http://www.facebook.com/profile.php?id=100001254562143

 

 

How To Use Swellegant Metal Coatings, Patinas and Dye Oxides

Over the weekend we rolled out a new line of amazing patina products at B'sue Boutiques :  Swellegant Metal Coatings, Patinas and Dye Oxides.

You will want these, OH YES!! you WILL. 

The Swellegant  line  is based on the Sculpt Nouveau patina products.  Some of you know about them and have used them, with great success.

I was thrilled when reknowned polymer clay artist, Christi Friesen, experimented  with and deciphered these patina materials  in a way that is SAFE and EASY!  to use in your home workshop.   The products are packaged in small bottles that are simple to use, and very economical.  You'll be able to afford the whole line and it will provide many hours of creativity and discovery for you.

Swellegant is not a stock-in-trade crafts product.   Let me explain:

We all know there's a big difference between Diamond Glaze and Ice Resin.   We all know Diamond Glaze has its place, but it's a crafts product, same as Ranger Glossy Accents.  If you want a quick finish, you might grab either of those.   But.... if you want to do some serious, durable  resin work, then you use ICE Resin, which is a jeweler's grade product.

Swellegant is of that same ilk, like Ice Resin.  It's the GOOD stuff, the stuff that serious artisans will want to discover and explore.   But, it's NOT hard to use!

There are five metal coatings, which are actually like a  sort of paint that has real metal in it, immersed as fine dust into the medium, with a binder.  

The Patinas are just that:  patina products that will alter the surface of whatever you put them on, making them dark, or rusty, or green, or green-gold----just as patina does.   They are slightly acidic.

Dye Oxides are dyes.  They have a certain transparency to them, but they soak in and become part of whatever you apply them to, making them strong, but still preserving the look, detail and integrity of what's underneath them.

Swellegant will work on a wide variety of materials:  metal, polymer clay, paper, foam, wood, plaster, ceramic, glass.

All of the Swellegant line is shippable as NON-HAZARDOUS and the toxicity is low.   Clean up is soap and water.   Smell?   I don't detect a lot with the metal paint or much with the dye-oxides except when you heat the dyes.  To me, alcohol inks have a stronger smell.   The patinas, being acidic, smell like Gramma's been in the kitchen,  making pickles.   If you get it on your hands it will tingle.  If your skin is sensitive or dry, it may irritate....so:  wear gloves.

Don't eat while using it, never ingest it, keep it off your skin, and an apron is also good as the dyes really are dyes and can be messy.   Keep it away from your eyes.  A pair of goggles in never a bad idea, you do NOT want to get patina products in your eyes.   Having a package of wet wipes near by is also recommended.   And again, you might want to wear a plastic apron that you can throw away, or make a cover for yourself out of a plastic garbage bag.

Shake all the bottles really well before opening, and open them AWAY from yourself.    This is because there could be some natural expansion of gasses when you shake them, and the liquid may burp a little when you open the bottles.

Using Swellegant really just comes down to standard workshop safety.  

GETTING STARTED:

Again, be sure to shake up all the bottles real well, while tightly capped, and open them AWAY from yourself.

Pour out just a little of whatever you are using and then, recap the bottle so the product does not dry out.   I'd recommend picking up one of those little artist palettes w the tiny wells in them, or something you improvise from materials you have in your workshop, that would work in such a way.

If you are working with metal, you must thoroughly degrease RAW BRASS, which commonly comes from the tooler with a bit of machine oil on it.   Do this by washing with hot water, soap, thorough rinse and dry.

Plated brass is already cleaned but it's a good idea to wipe it down a little, anyway.

Distressing plated brass before using the Swellegant products is recommended, especially flat blanks with no surface texture.   The same would go for the raw brass blanks that you've degreased.   This will give the surface more interest as well as a little 'tooth' for the product to grab onto.   To distress:   a nail reliefing block, or fine steel wool.

For all other materials:   just be sure the surface is free of any other mixed media product or dirt, and you're good to go.

APPLYING THE METAL COATINGS:

Use a soft brush or a bit of sponge, or better yet, sea sponge to DAB the product onto the surface.   Painting it on will usually leave streaks, so a dabbing motion is preferable.   Cover the surface the best you can on the first coating.

On polymer clay:  you can apply before OR after baking, experiment and decide what you like best.   If you're intending, however, to add patinas, etc, you might want to bake first (we will get to why, later.)   If you use the metal coatings over clay, go lightly so that details are not obscured, the same on highly textured brass stampings.

Let it dry for about 15 minutes.   Then you can go back and fill in with a second coat.   Mix the metal colors if you want!  Dabbing on product also can create texture that makes more surface interest that will more easily accept patinas and dyes.

The more metal coating you layer, the stronger and more scratch resistant the work becomes.   A light third layer of metal coating is advised.

If you are happy with the metal coating by itself, let it cure and dry...seal and done.  When dry it can also be burnished or distressed back, just as we do with some of the plating finishes at B'sue Boutiques, like rusty black and chocolate ox.   But most people won't dream of stopping there:

ADDING PATINAS:

If done over metal coating, do it while the coating is STILL MOIST.  Immediately add the patina with a brush or sponge.  You can also put the patina in a little mister bottle like some use for misting paper crafts materials with color, and mist-spray on the patina.

The patinas can also be used alone.  Here is a piece of our rusty black brass that was sponged with Tiffany Green Patina (no metal coating):

In places the blackness cut back to the more copper-ochre under layer and looks almost chocolate!

The DARKENING patina works the fastest, and produces rather a deep verdigris effect.  The TIFFANY and GREEN-GOLD take longer to react.  The piece above took about an hour to 'bloom'.

At first when you sponge on the patina, it may look as though nothing is happening.  Give it a good 5-10 minutes and you will begin to see a little reaction starting.   There are many factors regarding 'bloom time':   it could take 15 minutes, it could take several hours.   Keep an eye on it as you go about another project in your workshop.   

When the bloom reaches the desired level, you must stop the reaction.    Keep a bowl of water nearby, and gently rinse the surface of the piece of with water.  If you do not stop the reaction, it will just keep on going until you do.

After rinsing, gently blot dry with paper towels.   If you aren't satisfied with the reaction, no big deal!   Do it again, until you are!

ADDING DYE OXIDES:

These are colorants in the form of stains.   They are actually a *type* of patina, as they soak into the metal and become part of the piece.   They are NOT just a color that, like paint, lays on top of the piece.  The colors are intense but transparent.  You can add just a whisper of color or layer them for a much bolder look.  Yes!  You can mix them!

Add the dyes right on top of unplated brass if you like.   Here is a great tutorial on how you can dye brass chain with the dye oxides:

Patina a Rainbow: Colorizing Chain

To have success in adding just the dye oxides over bare or plated metal, you need to heat it first.  Please refer to the tutorial above  (or locate it at the B'sue Boutiques website under Tutorials) for instructions on how to use a torch or embossing gun to heat the metal.   But, if you've ever used alcohol inks over brass, the process is similar.

If you are working with metal and have heated it, drop it into the dye oxide (as shown in the tutorial above) or being VERY CAREFUL *not!* to touch the metal, dab-sponge on the color.    After adding the dye-oxide, then heat set it again.  Some use a torch but honestly, I'd go with an embossing gun, I think it's easier and safer and there is no flame.

Want to add more color?  Let it set and cool down about 15 minutes, and then repeat.

Again, you can use any of the products alone, but some of the most interesting patina/colorization looks are achieved by layering them all:   first the metal coating, then patina, then a bit of color with a dye oxide.  

PROTECTING AND SEALING:

It's not totally necessary, but I would seal this product when the desired effect is achieved.   The Swellegant line includes a clear sealant product.   This would go on after you let the piece set at least a day or two:  the full recommend is 72 hours but it may go to conditions in your workshop such as room temperature and humidity.

Shake the sealant well before using.   Brush it on in a VERY THIN layer; if you put it on too thickly, it looks milky and you don't want that.   The clear sealant IS made expressly to go over the Swellegant coatings, patinas and dye oxides.  It's absolutely FLAT and adds no shine.

If you want shine, use the sealant first, and then when dry and cured, use something else to bring up shine.  TEST FIRST so you don't have disappointments.  At this point in time I don't have a recommendation for you except:

I have found that Krylon spray lacquer works well.  I've used it over the patina piece above.  I used the matte lacquer straight over the patina, no sealant, two lightly misted coats.  It worked very well.  Krylon makes a shine product that should work equally well.  You can find it in a hardware store or Walmart.

Clean up your mess with soap and water, and make your new components into amazing new creations!

A FEW MORE TIPS:

After adding all the product desired, maybe you're thinking, hmmm.  Maybe it needs a little something more!

You can pop the metal coloring by going back over everything with just a teeny bit of metal coating on your gloved finger, smearing lightly just over the top of the high spots. 

Sometimes it's even more interesting to go back over with a contrasting color.   For example, brass over bronze is a great look; silver over iron is really pretty.  In the long run, if you don't like it, wipe it off and start over, going over the piece with metal coating again.

Layering is amazing!  Layer the patinas, dye oxides, metal coatings!

BURNISHING:   Before doing this, you MUST wait 48 hours to let everything cure.  Then, use a cloth, burnishing wheel or the finest steel wool possible.   Burnishing will remove a thin layer from the surface and makes the metal glow.  It is very much like distressing the patina finishes on B'sue Boutiques brass findings.

As you can see, using the Swellegant line is easily done.  It will add a glow and a richness of color to your work that may have been lacking.   It probably will take your colorization expertise to the next level!  I hope you will try it soon!   Meantime, here are a few more photos to pique your interest:

Chain from Linzi Alford's Patina a Rainbow tutorial.

Over polymer clay, done by artist Christi Friesen:

Octopus necklace by Linzi Alford, using brass components patina'd with Swellegant:

Learn how to make it here:  Depths Necklace

A little heart pendant and a cuff  I put together.....I left the photos very large, so you could get a really good look at what this stuff does:

 

 

The full Swellegant line is now available at B'sue Boutiques

Inspiration......Five and Dime Style, Bakelite, and Polymer Clay

Inspiration comes from so many places.  

As far as polymer clay is concerned, however, I took my initial cues from THE BAKELITE JEWELRY BOOK by Davidov-Dawes......came out early 90's.  There have been MANY since.   This is the OLD Five and Dime Style jewelry AT ITS BEST.

I have always been a big fan of 20th century plastic jewelry; composition, celluloid, bakelite, hard plastic, lucite.    Looking at this book, however, my creative heart lept up and cried!  FIMO!   Let me try stuff like this in FIMO......I think I can, I think I can.....

I think YOU can, too....and should.   First, to inspire:

Here's a photo I found at Pinterest the other day; it's a very valuable and rare red bakelite heart and key brooch:

Here are some of the ways you know a piece like this is bakelite....first the FEEL of it, which of course since we only have a picture, you can't do...but bakelite is thick, chunky, slick.   When you briskly rub it with your thumb, your thumb will smell like formaldehyde.

All findings would be inlaid (as you can see, they are).  Never glued on.   Also, you can see the material is not molded, but carved.  Inside that keyhole you would see marks from carving.   If you see mold lines, I'll lay you odds it's not gonna be bakelite.   Can you see the small dark spot on the key part?  That would be from the inlay of the pinback on the other side (which of course we can't see here.)

You can do this, and better, with polymer clay.  You could try to totally reprise the piece in a bright red, and then get the gloss by  buffing on a muslin wheel---or other methods as described in the polymer clay instruction books.

Better yet....be inspired.  Take the shape, the feel, the vibe....and bring the Five and Dime nature of this brooch forward to 2012.  How would you do it?

Here are some bakelite (bakelite being a phenolic resin that also contained wood filler) and wood composition  pieces that I own:

The yellow flowers brooch is a two part brooch and is a better piece.  It's the only one of the better pieces I had, back when I was dealing in bakelite jewelry, that I ever kept!   Sigh....but anyway:   The back (not shown) is an ebony black ring that is screwed or sort of even riveted to the back.   Not REALLY riveted...you wouldn't want to do that, it would crack.  But looks like that sort of thing.   The bottom piece is an Art Deco dress clip with inlaid brass wire, it is not a highly collectable piece but still very very nice in the translucent swirly root beer color.  

The top piece is not bakelite, but carved wooden cherries on a composition leaf base, strung with the same sort of string that so often, was used to affix the bakelite carved cherries to a 'log' base, on the cherries brooches, which are very desirable.  The wear is to be expected; many of these pieces have wear as they were INDEED *real* Five and Dime Style jewelry from back in the day, not made from high-end materials.

About 12-13 years ago I made my own version of the cherries brooch.  It is far from perfect as a freshman endeavor....but I did love it and wear it often:

I used a form of craft wire called Twisteez for the cherries, in fact I'm working on getting that for the website again.   It's the closest thing to old phone wire that works, unless you want to use coated string which is virtually unavailable, and really, it didn't endure well, then....and it won't now.

Originally the piece had leaves, I kept the last one that fell off ( I wore this ALOT!!)  and the one you're seeing here flipped over when I made the photo, so that's the back.   Doesn't look so good.  See my holes?   We want to ream out our holes nicely whether working in clay, ceramic, whatever.   I am still working on getting that better and better.  I love to see a good, round, clean hole in clay/ceramic.

I do like how the bow part came out!   I think the piece was glazed with Fimo Lak, which I used to use back then.   The Sculpey finishes work as nicely and are less toxic.  You could use a light coat of resin, too, but you'd have to be careful....you might have some dripping off the round bead.

Here is a closer look at the vintage 30's wood cherries pin:

This gives you a real nice idea of how it was made, and how you might try it...in clay...and refine it. The little cherries are actually on old brass headpins!  

Here is another cool idea made of vintage hard plastic buttons---probably 50's, but could be older:

Wait til I show you the back, to see how it is composed:

Just wire strands, looped through the buttons, then bunched, and the bunch wound.   Reminds me a lot of how I made this brooch a little while back:

Anyway.....Five and Dime Style ROCKS, and it's the base inspiration for everything I have ever made as a jewelry designer. 

It comes from my love of old things, my days in the trade as an antiques dealer specializing in vintage jewelry.   The thrill of the hunt and the big score were BIG rushes, I won't lie to you!

But the inspiration of holding a piece of old bakelite in your hand and thinking....now how does this translate to mixed media?  surpasses it all a HUNDREDFOLD.

We were just all made to create.  That's what B'sue Boutiques is all about!

So....take it to the next level....take it to the limit.   Where will YOU go with this?

PS....here's a newspaper post about a big bakelite auction....you might find it interesting:

http://latimesblogs.latimes.com/alltherage/2009/12/bonhams-butterfields-auctions-vintage-bakelite-jewelry-draft.html

 

My Experiments with Crystal Clay/Made in India Lakh Bangles

I'm a big lover of *polymer* clay.  I love it because the possibilities are endless, anyone can use it---if you played with clay as a kid, you can crack open a pack, condition it and have some fun RIGHT NOW.   It's also forgiving and cheap.  

Those are three big criteria for today's busy crafter:  instant gratification, hard to mess up, doesn't cost much.   All of that....

And it's still a highly respected art medium.  Yes!

A friend mentioned a few weeks back that Crystal Clay, something I'd sampled a number of months ago, was gaining in popularity and deserved a second look.  

Crystal Clay is a two part RESIN clay that comes in a decent variety of colors.  It's easily mixed and can be, according to the manufacturer, formed into any shape.  You simply pinch off equal parts of #A clay and #B clay, included in the mini kit (see below), condition them and blend them together.   You have about 60-90 minutes working time before it will begin to set up.   The product will be fully cured in 12-24 hours, depending how thick your project is.  *There is no baking.*

The mini kit is sweet:   Open it, and you have pretty much everything you need to start having fun.  You'll get 50g of clay (it's enough to make several bezels as well as coat a bangle, or a bunch of small beads) , a pair of vinyl gloves (essential) a beeswax dop stick for picking up stones and itty-bits, and even a little bag of SWA (Swarovski)  stones (36 teensy ones)....as well as full directions.

All you need is a flat surface....and maybe some more of your own itty-bits and rhinestones .....and you're good to go.

AND....it's MADE IN THE USA.  

The pix on the box are inspiring, but most of all, this product (as well as numerous others very much like it, currently on the market---just like polymer clay, you can take your pick which one you like best!) reminds me SO MUCH of vintage low-end 60's resin inlaid jewelry made in India. 

Perhaps you remember this type of vintage jewelry.    It's called lahk, or lac jewelry, and it was mostly inlaid with little seed beads and tiny mirrors as well as tiny rows of fused beaded plastic chain.    This jewelry is still made today, but it's far more glitzy and sophisticated.

Here's a link where you can go and check out new lahk, or lac jewelry bangles, via a very active Ebay seller:

Lahk Bangles from Ebay Seller, Sushila-Art

And, if you have a bit more time, a link to a brief YouTube presentation on the value of bangle bracelets in East Indian culture.   You'll see quite a number of lakh style bangles.

Lahk Bangles Video

Back in the late 60's and early 70's, Indian lahk bangles, pendants, dangly earrings, ornaments, dresser boxes, even mirrors and key chains! were everywhere.  I've dug through my vintage jewelry chests for quite some time this morning looking for the bangle I know I still have.....but it was too elusive to find to photograph....sigh!

I was always intrigued with the technique of setting little objects into whatever that STUFF was---lahk, or a type of resin!---and making my own jewelry.

The blinged out look on the box might also make vintage afficionados think of the glitzy resin inlaid jewelry made by companies such as WEISS back in the 50's.  I remember when you used to be able to pick up the blingy inlaid Weiss earrings for 5.00 or less, and the clamper bracelets for 20.00.  Those were the days, my friend!

Anyway....with Crystal Clay, there is a definite vintage vibe going on here.   In the long run, however, the texture of the cured clay is totally more like Lahk than slick resin like was used in the 50's domestically made jewelry.

With Crystal Clay, this can be achieved....a new coup for those who like to collect itty bits like buttons, broken shards, ball and shard glitter, seed beads, and rhinestones----as shown in the photo.   These clays are highly promoted as vehicles for Swarovski stones.

So....without further a-do, I 'clayed around' with this stuff last night and here's what happened:

More than finessing the stuff----which will definitely come later!  I wanted to see how it responds, ease of use, how it would work with disparate itty bits and how the different itty bits set up. 

1.  Mixing the clay is easy, just be sure you eyeball equal parts.  You won't want to consciously use more of part A with part B, or vice-versa....it won't set up.  Just like all other Resinology....part A and part B need to be equal.  

2.  You MUST use the gloves in the kit or if you would rather, grab a tight pair of nitrile gloves.  Next time I work with this stuff, I'm going to opt for the tight nitrile gloves, I think I would have had an easier time.   

      The product is a bit tacky and the color will leach out all over the gloves....so where ever you decide to work with it, be sure you don't get it on anything you don't want it on.     You will definitely only be able to work with one color at a time, unless of course you figure out a plan and swap out gloves.

3.   This product works best, IMHO, in a form of some kind, like a bezel.   As the photos on the instructions show, you can make cool little studded beads with them.   I would advise that you learn to fill bezels and level them first.  It's not terribly difficult, but it's a bit trickier than using polymer clay.    Better that you get a good feel for how much to put in the bezel and how to set materials into it.   As you can see from the photo, the look is rather like the designer-crude old 60's Made in India lahk pieces---even down to the turquoise color of the clay---but you might want to set a pattern and go for a really professional look.

   In that case, buy several packages and devote the first package to the learning process.   I can't say I am satisfied with what I made, but I DID learn a bunch from working with it, and how I'll proceed next time out.

4.  Another thing to watch for:  don't get any residual glue in filigree, or on the backs of your bezels as you will definitely be spending some time cleaning it off.  I'd recommend softening with goo-gone, then peeling off, picking off, or filing off.   UGH.  I hate clean-up.

    If you learn to be neat, however, it won't be an issue.  For me, it may be TWO boxes of the product before I get 'neat' down.   Like I say, the stuff is tacky.

5.  Re: setting stones and itty bits:  You need to push them down, level, into the stuff.   Not part way.....all the way to the top edge of the stone, bead, doo-dad, itty bit, you're using.   You also might want to plan a pattern, first.  I didn't, as I was more interested in the experimental side of things.   But having a plan before mixing this stuff up (given it has a limited play time) will be important for best success.

   Use the little beeswax applicator/dop stick, you will be REALLY glad for it.  I love that it's included in the kit, it REALLY helped. 

I'm happy to say that when I checked my experiments this morning, they were nicely cured.

Our first shipments of Crystal Clay have arrived and more are on their way.   For now, you will find it in the Polymer Clay, Polymer Clay Tools section at B'sue Boutiques   Soon, I will have it in its own section. 

You should be able to colorize white resin clay by dotting with colored pens.    Probably alcohol ink would be a good vehicle.   As the clay is resin, water-based color would not be the way to go.

Feel free to comment here, about YOUR findings!

 

Boldly Going Where You Haven't Gone Before: Tamara Jones Jumps In

So many times when a new media is presented, we tend to recoil and resist.  I know, I know:  I do it all the time.

Polymer clay is such a love of mine; so forgiving, so inexpensive, so much like PLAY that I couldn't believe anyone would ever resist trying it.     But, when I introduced the idea of my next blog hop, Polymer Clay Beads Party, some at the B'sue Boutiques Creative Group  did worry and resist! 

Would they be able to make beads from clay?

My reply to that was, basically.....does a duck swim in a pond? 

OF COURSE you can!!

I began to make videos about clay, and we started carrying it at B'sue Boutiques....and most of those who worried and resisted at last,  stuck a toe into the waters.... and then waded in.   I must say, most of them are swimming now!

Tamara Jones of Irrysistable Jewels veritably DOVE into the waters and discovered her new specialty!   Let me just SHOW you:

Tamara discovered that she is a sculptor....and her little lion head focal is spectacular.

And how about this:

What about that peacock?   Most of the focals were also made with polymer clay, accented with goods from B'sue Boutiques

As we all step into a brand new year of creativity, I thought it was essential to focus on someone who was newer to jewelry making as well as unafraid.   Too many of us think our work will not be good or polished enough for publication.  Egad, I don't know WHAT we think, WHAT makes us hold back like that, except fear of rejection.

If Tamara had felt that way, we would never have seen her amazing new projects....which provide US with inspiration.

Tammy says, "I've always told myself that if someone else can do it, then so can I.   This is how I approach most new things I try.

"I was born into a family of talented artists and thankfully, some of that spilled over to me.    Watching my Mom and Grandmother paint always excited me and piqued my creative interest.  Without their influence, I might not be doing this, today."

But how did Tammy learn to make jewelry?

"I'm self-taught, alot of trial and error a long the way.  I've been an oil-pastel artist for many years....but!  recently I discovered polymer clay through one of your (B'sue's) videos and thought I would try it.   My first few attempts were horrible.  I didn't think I had a feel for it!  But I'm determined to figure things out. 

"And I found out what was wrong:  I was trying to do what others have done rather than doing my own thing.  Once I let go and just did what came naturally, I KNEW I had found my special niche.  I love this medium and feel I was just meant to be doing this."

I can't agree with Tammy more....there is a huge lesson here for all of us in her words...trust your own unique voice.   Doesn't that sound alot like the old adage, "To thine own self be true"?

Tammy's goals this year ate to focus on polymer clay work and learning new techniques---maybe even creating some new ones!   She'd like to get her work published in a magazine.   That's an amazing, yet achievable goal, and I can't wait til I can report to you that her goal has been met.

You can find more of Tammy's links here:

blog:  http://IrrysistableJewels.wordpress.com

Facebook:  http://www.facebook.com/page/Irrysistablejewels

What are YOUR creative goals for 2012?   Go ahead....sign in and tell us about them here.

The Utter, Fantastic, Euphoric, Delightful JOY of Making Beads

I never thought I could call myself a bead maker...but I guess I've become one.

Beads can be made of so many things...

Wood!  Remember the big fat painted macrame beads?

Glass...but of course:

Old Czech firepolish and new India glass lamp beads....and some plastic caged pearls.

Plus some very rare old soldered filigree metal beads.

I love filigree beads.  I love metal patterned beads, too, like this one we carry at B'sue Boutiques:

The brass goes through a rolling mill and then is hand formed in the vintage style.  Looks tres cool with our cone caps:

http://www.bsueboutiques.com/item/Floral-Tube-Bead-5316  for the bead

http://www.bsueboutiques.com/item/Brass-Ox-Filigree-Cone-Caps-273   for the aforesaid cone caps.

But my biggest joy is a bead I make myself.  I don't make glass beads OR metal beads.

I DO make clay beads.   Polymer clay.   Want to see what I made over the course of the last couple of weeks?

A basket full!   I had a blast with the new Lisa Pavelka Steampunk Texture Stamps:

http://www.bsueboutiques.com/item/Steampunk-Texture-Stamps-8507

I used Ranger Glossy Accents on some, for a high shine.   For others, Gilder's Paste.   Yet on others, the new VIVA Decor Precious Metals:  http://www.bsueboutiques.com/paints_pearl_ex_mica.shtml

Some close ups:

You can see part of a large polymer clay centerpiece I did in RED with Inca Gold Gilder's Paste wash.  I'm ruminating on what it will become as a finished piece. 

The spiral beads remind me of coral, kind of.  Except I never saw any real coral beads like this.

See the ones with the gold flecks?   This is from gold leaf sheet.  I rolled it into the clay; it's AWESOME.   Gold leaf sheet is a little pricey, though.  I had some from a long time ago.   I'll check on it and see what would be involved to get some for the website.

You can RALLY see the gold leaf flecks in this photo!   Also the texture from the Steampunk stamps.

I did Viva Decor Gold Paint over the white...I think it's awesome.  I didn't stir it up so it came out like a gold wash glaze with a little glitter.   So festive!

More closeups!  The leaf shapes will become earrings for sure.  I am trying to make smooth, even holes.   I'm getting better at it!

Some of my organic style beads from a necklace made in ....04? Was it?

I have an old texture stamp that is like tire tread.  I love what it does to the clay!  The slash marks were made w a serrated knife.  A serrated knife makes a lot of texture.  

These beads are from my zebra spiral bracelet, shown on one of the polymer clay videos.     I think it's this one:

http://www.youtube.com/watch?v=zvHuUrJUa5k

We have a large and growing section of Polymer Clay at B'sue Boutiques

Do you make clay beads?  Do you like our website?  Do you use our stuff?   Or stuff like we use?  Or would you just like to join us for more....JOY OF MAKING BEADS....and lots of other stuff?

I would like to personally invite you to join us at B'sue Boutiques Creative Group

All you need is to be registered at Yahoo.   Then set up a Flickr account, which is a great tool and is FREE.  It takes a whole 15 minutes....maybe!  to get started.   Then come to the group, read what we do, why we do it, and what we allow at the group (it's loose....and mostly about your IDEAS....and it's fun)

CLICK!   and join.  You can then add photos to our Group Pool through your new Flickr photo album.  ;-)

And please check the discussions link, because we're having some GREAT ONES!

You Don't Have to Be Perfect With Polymer Clay

I remember the first time I had a date with Fimo.

You know what?  I did not like Fimo, I still do not like Fimo.  It just didn't work out between us, LOL!

BUT....I am grateful there was a Fimo, because thereafter came Sculpey and Premo, which I do very much like.   Sculpey, Premo and I have a viable relationship.  ;-)

Back in the day when the veritable 'primer' for budding polymer clay artists,  "The New Clay" came on the scene, ( Nan Roche's well-known and loved book ), I was  so intrigued by the unbelievable designs of City Zen Kane (wasn't it?) who did this remarkable, intricate caning.   There was another artist whose work spoke my name...regrettably I'm having a bit of a senior moment and can't remember HERS~!---but she did such lovely, colorful, floral work, and strung it on brightly coated telephone wire....and got big dollars for it.

Sigh.  I loved that stuff.  If you know who I'm talking about, prompt me. 

Right about then--or was it just a bit previous?-- the Davidov-Dawes book on BAKELITE hit the bookshelves, creating *such*  a stir in the vintage collecting world.   When I saw it, I thought...sheesh.  Why couldn't we duplicate some of these designs in polymer clay?

Since then, any number of people HAVE.  I made my own version of bakelite cherries....it came out pretty well, and was a lot easier to do than CANE.....which I'm sorry, I love to look at, but my darling, it is NOT something I will ever do.

HA!  I consider myself fortunate to understand how to do the Skinner blend.  No, please!  Don't ask me to teach it to you.   There are serious polymer clay artists out there who will laugh.

What I HAVE learned to do, is ENJOY polymer clay.   I love to play, to experiment, accept what happens, enjoy the successes as well as the failures.   I don't worry if people will laugh at my work; my first body of polymer clay work was made around 2003, in a very loose, organic style....and everything I didn't want to keep of it, SOLD.

Here are a few pictures:

The beads are just rolled out layers of clay, stacked one on top of the other, rolled into log, reduced and cut, then pierced, or rolled into a round bead, distorting the colors and creating cool variations.   I still own this piece and frequently wear it.   The centerpiece is flattened, awl-punched for the dangles, and topped with a bit from a broken earring out of a big warehouse buy I had made at around the same time this was made.   We still sell the cone caps and the toggle.....the cone caps are a fave component, I believe I have it in every finish we offer at B'sue Boutiques

If you stack colors, roll into a log, and reduce and then TWIST, you can produce amazing effects.  And it's no harder than a kid playing with clay in kindergarten:

I don't know if anyone was making this sort of crude work back then....if they were, you didn't see a lot of it.   I love the designer crude look....and I love piercing the clay, baking and glazing, and then running random wire through it.   Here is another example from the same period of work:

I would love to repeat this design one day soon.   Here is one of my faves:

 

I love making the spiral beads.....I had one in the necklace I showed you on this blog a couple of days ago:

Some of my Facebook pals have been saying, hey, teach us how to work with polymer clay.

I'm humbled.  When I consider the great work that went before me, and my crazy, playful, random style, I feel MOST unqualifed.  

Also:  we don't sell polymer clay at B'sue Boutiques, and there are so many other products begging attention, show you what you can do with them, so we can make our paychecks here.   Sound mercenary?  Forgive me!  LOL   But for some strange reason, the crew here wants to be paid, and so do my creditors.  I've got to consider that.

All things considered though.....there are so many things you can do with the clay USING our components, filigree beads, mixed metals, etc.  Here's a big 'for example':

I applied my Geisha Girl stamping to a texturized plaque made of polymer clay, very successfully, too, I think!   Our cone caps are in here and filigree beads, too.

I'm thinking about carrying some lightweight polymer clay in white, so you can colorize it yourself WITH GILDER'S PASTE.  You can do awesome things with gilder's and polymer clay.  It can be layered in your stacks, and you can scrape it back (Mokume-Gane). 

I could show you that!

A new book you might want to check out (I love it, just got a copy couple of days ago) is PATTERNS IN POLYMER by Julie Picarello.  AWESOME new ideas, and while her work will take some practice, I believe good results could be achieved in a shorter period of time than say, learning to make exacting canes.   And so random!  I believe each session using polymer clay and her techiniques might prove to be a new revelation!

SO.....lemme get on it.  You shall have your polymer clay video.   Perhaps...a series of them.  ;-)