Day three was a productive day as everyone worked on their projects, there were a few demos but overall people had their attention focused on finishing up their stuff.
Andrew’s Steampunk Journal looked great. He created it using an old clock spring, some watch parts and Ice Resin. I thought the texture he used on the surface of the clay was very nice and was surprised to find out he used some metal corset boning to create it. Andrew is a fashion designer and apparently, he carries some around with him.
Keeley spent the time working on her creatures. Their faces were so perfect that I assumed that they were made from a mold. But as Keeley talked about the work she told me that’s not the case, each one is individually sculpted. Her material of choice is PaperClay and that that I’ve seen a good example of what you can create with it, I may have to reevaluate it as a creative tool.
At least two polymer clay heart boxes were under construction but I know there were more.
Most people settled into the routine of just making things today or journaling today. Several people who had started polymer clay books yesterday finished them today by completing the baking process and painting them. A few people, myself included continued working with the polymer clay and made boxes that were shaped around organic forms. Some molded forms like a heart out of foil, I used a rock.
Some of the other PLAY participants were admiring my tiny jade book and The Books of the Jade Skulls. They asked about the technique I use to create the faux jade with polymer clay so I set up a demonstration and taught them how to make it. The demonstration left me with a piece of faux jade clay, I thought about making another small pocket book with it but instead I decided to make a box. I covered a rock with a layer of gold clay, then covered the first layer with the faux jade.
Day one of PLAY was all about polymer clay. Tracy Moore taught his Relic Journal and demonstrated how to make journal covers using polymer clay and jewelers resin to build. This is a similar technique I used for The Book of Jade Faces, but the surfaces are painted instead of composed using colored clays. Several people were new to polymer so there were lots of questions of questions and some trial and error. There was a wide variety of styles from completely organic forms to some highly structured compositions. I’d have to give the “Eye for Detail” prize to Matt who created a forest of mushrooms on his cover complete with the gills on the underside of each mushroom.
Here are a few more examples of what people were working on in various stage of completion.
In the process of preparing to go to PLAY for a few days I’ve bound two books, the leather wrap and The Book of Jade Faces. I’ve very satisfied with the way they both turned out but something still wasn’t right, I needed more. I wanted something… a little… beefier? I rummaging through my supplies trying to get an idea of what I wanted and then I found a piece of walnut burl, the grain and striations in the wood were fantastic. I only had one piece of walnut but I was able to squeeze two 8 1/2″ X 5 1/2″ pieces out of it. To do that however, I had to cut it so the grain was running horizontally across the cover instead of from top to bottom. Visually I think it works, the burl hides the direction of the grain well and from structural standpoint this is a fairly hard wood so there shouldn’t be any problem with wear or breakage.
The beauty of the wood called for a very simple treatment so after easing the edges and slightly rounding the corners to avoid “pokeage” a couple of coats of Tung Oil were applied, followed by a couple of coats of Carnuba Wax. The book block is 300 gm (140 Lb.) Fabriano Artistico and sewn to a leather spine with waxed polyester thread using a modified long-stitch. As the stitches go down the spine they get progressively longer and a friend commented that it creates an illusion that each series of Xs is fatter than the one above. Here are the photos:
I put the last detail onto The Book of Jade Faces and as stood there looking at it there was a problem. Fabriano Artistico paper comes in 22″ X 30″ sheets and because of the size of these journals, when I tear the pages down from the sheet I’m left with a 3″ x 22″ strip of paper. Normally, I’d just toss them into my scrap bin and use them down the road but this time, the scraps lay there on the counter mocking me. What the scraps didn’t realize is the the polymer clay and all the tools were still out on the counter. They weren’t scraps for long.
This small pocket journal is 3″ X 3″. Both the front and back covers are made from polymer clay. The front cover is made from the faux jade that was used to make The Book of Jade Faces, I added some inlay just to make it a little more interesting. The inlay is gold polymer clay, the design in the inlay was created with a fairly standard mica shift technique. The back cover is the gold clay which I cut the inlay from. I’m not completely satisfied with the way it turned out and I’ll probably replace it, but it’s not bad for a few minutes work.
Unlike Artfest which is several days of formal workshops and classes hosted by Teesha and Tracy Moore, PLAY is a “come as you are and do your own thing, but if you’re interested we’re going to teach a class or do a demo over there” affair. This year, it looks like Tracy is going to teach his Relic Journal class during PLAY. The Relic Journal is made using polymer clay, resin, leather and found objects. I’ve been working with polymer clay for years and teach a similar class but I still like Tracy’s. Tracy limits the size of journals in this class to 5 1/2″ X 5 1/2″ and when I asked him why a few years ago he said it was because of durability and weight considerations. I’ve made bigger structures out of polymer but agree with him on the weight issue, on durability i might argue if it cracks or breaks, I’m okay with that.
I know that I’ll make a Relic Journal while I’m at PLAY but I decided to make one to take with me, maybe it will be my primary journal for the next few months. I think one of the reasons I like Tracy Moore’s work is because like be he’s drawn to what I would consider dystopic forms. Most of the journals I’ve seen come out of this class in the past have at least one skull and almost all are painted in browns and blue-green hues to give the feeling of antiquity. On my leather journal I used some faux bone for the closure, when I make faux bone I generally make a large block of it and use it in several projects over the course of time. I decided to use the bone and built up the cover using a layer of the bone on top of the basic structure, I liked the way it looked but I wanted something to provide contrast with the bone. After think through a variety of options Jade seemed like a good fit. Here are some photos of the completed journal, The Book of Jade Faces.
Here’s a more detailed image of the faces, when I made them using molds I laid a paper thin layer of the bone in the mold before pressing the jade into it.
Over the past couple of years I’ve started to use PLAY as a way point for a fresh start. I usually bind a book just before I go, take it to PLAY and then it becomes one of my primary journals for the year. I haven’t really produced anything over the past couple of months except for one book which was a birthday gift for a friend. She had mentioned what she wanted some time ago in a casual conversation and probably forgot about it. She had talked about what I typically just call a wrap, a single piece of leather that wraps around the pages to enclose them.
I made one for her with some grey leather, the dimensions were about 5″ X 8″ and although I’m not a fan of this style, I actually liked it when it was done. Later that week I stopped by the Leather Factory and found a great half-hide which was kind of a mottled milk chocolate brown… nice. The only logical thing to do? Make a journal out of it.
I bound this journal using the leather I found at the Leather Factory, 200 gsm (90 Lb.) Fabriano Artistic and 4-ply waxed Irish Linen thread. The closure is made from polymer clay using a faux bone technique. My original idea with this was to slip strips under the closure and then tuck them in on the back side of the journal. Here’s a detail of the closure.
I’ve been participating in Someguy;s 1001 Journals for a while now. I started out doing Traveling Journals which were based on the original 1000 Journals project but several of them disappeared. I decided to try location journals instead and I’ve had really good success with them, normally I leave them at coffee shops in the area and periodically I take them home and scan them. When they’re full, I do a final set of scans.
Journal 3885, The Book of the Salmon Latte was recently filled. I’ll be getting the final scans up over the next month or so and you can view them at the 1001 Journals website (http://1001journals.com).
I like the work of Portland based artist Theo Ellsworth. Theo lives in a world of creatures, monsters and people who can morph into their worst fears and intentions. I wish his work was more accessible in my area but more often then not, I have to be content with just reading his blog at Art Capacity. I’ve watched him draw and the intensity and focus he puts into his work amazes me.
Last month he wrote about some wood cutouts he made as a Christmas presents for friends and family. I was drawn to one in particular which I believe he drew for his sister. Here’s a shot of it from his blog:
Much like Adam Savage, I’ll freely admit that I’m not a sculptor but I wanted to try and bring his creature into the 3D world anyway. I knew I was going to see Theo at PLAY and wanted to bring him something as a gift. The picture I had to work from wasn’t the greatest and I’m fairly sure the colors I used are more vibrant then Theo’s drawing, but I think did an adequate job.
For those of you who may not know, PLAY is an annual journaling retreat hosted by Teesha and Tracy Moore. One of the features of PLAY is a optional swap. For the past two years, I’ve bound a small 3 1/2″ X 5 1/2″ pocket journal for each participant. For the last two years I’ve made the same book, I settled on the design the first year because they’re easy to make and sew and since I’m putting about fifty of them together, well… you can see the logic. I do change the cover design and last year I also included a second small book which was based on the design of a Moleskine Cahier.
I thought about doing some small leather books this year but as time got tight, I decided to do the same one yet again. This year, I ran into a problem with the covers. I make the covers using two sheets of paper glued together, I use Rives BFK on the outside and black Rising Stonehenge on the inside. In the past I’ve decorated the cover with a simple acrylic wash and then printed the cover art with a Gocco. I wanted a little more texture this year so I went with Paste Paper, when I Gocco’ed the design on the prototype I found that the text and the artwork got lost in the design or the paste paper. I mentioned the problem to Cindy Iverson at The Paper Studio and she suggested using the letterpress; we set up the job so the design would have a little punch. The embossed quality the letterpress lent to the cover makes it work. Here’s a photo of the printing job in process.
Once the cover design wan printed the rest of the process was fairly straightforward, throw on a movie and just keep sewing like a madman until their all done. I ended up making 53 books, enough for everybody attending and a couple of extras — one for Andrew Borloz at Urban Paper Arts and one for Cindy at The Paper Studio for her help with the letterpress. Here are a couple of photos as they near the end of the process, the Gocco printing of the Colophon and the books waiting to have the Colophon pasted and then get packed up.