Wednesday, May 14, 2008

Heart Lab: Nicola Starr



Nicola emailed me samples of her work and I knew right away that I had to get her on the site before she got too big and busy for lil' old me!

Her collages have an air of simplicity, almost Zen in nature. Each element is balanced, right down to the last pixel. The page could have 10 very different elements on it, but somehow everything is in harmony. By no means do I equate simplicity with easy, in fact, I think simplicity is one of the hardest things to achieve (in life, in art, in cooking ... I guess in everything).

Don't take my word for it, have a look at her website and her flickr gallery.

Step 1: Searching
The image search begins. Old magazines (1950's and 1960's national geographics are my favourites), old books, stamps and envelopes. I also take swatches of colour from modern glossy magazines = Usually I spend about 45 minutes finding the images and 30 minutes re-reading the magazines (very bad habit!)

Step 2: Cutting
Now for the cutting out of images and shapes and paper. I have a scalpel obsession, I have to change the blade on mine constantly, I can't stand a blunt blade = I find it beneficial to both my work and fingers if I spend at least 30 minutes cutting out slowly!


Step 3: Layout, layout, layout
Working out my layout/composition can sometimes take minutes sometimes hours. If something isn't working, I flick through some of my favourite design books (End of Print - David Carson, All Messed Up - Anna Gerber) for some inspiration = hard to put a time on this one, on a good day 25 minutes, but I have been known to spend about 3 hours moving a square frame about 2 inches in either direction.

Step 4: Finishing by Hand
I used a lot of lines, letters and general doodles to pull all parts of the collage together = I like to take my time with finishing touches I usually spend about 45 minutes.

Step 5: Scanning
Scan the collage into my lovely laptop = if Butch, my laptop, is behaving nicely this usually takes about 10 minutes.

Step 6: Tweaking
I use Photoshop to clean up the image, balance colours and add a few elements = Again I have been known to play around with one image for at least 3 hours but I aim to get this done in about 30 minutes

Step 7: Uploading
I usually upload to my flickr account or send the image to the printers depending on who I created the collage for = this again is dependent on "Butch" and the interweb so sometimes 10 minutes, sometimes I'm resizing for an hour!!

Thanks Nicola!!

Tuesday, May 13, 2008

Shop + Tell: Melissa de la Fuente


Who: Melissa de la Fuente, desiger of the lovely Acts of Kindness jewelry line, weekly contributor at Creature Comforts and a special friend whom I met through this crazy world of blogging.
How often do you indie-shop?
Once a week, husband says 2x week! :) He is probably right! So, 8-12 items a month Not all for me of course! Truly!
Scores... a DrikaB Giallo Weekender
How does it make you feel?
Happy, stylish, organized, fresh and unique
What made you buy it?
Well, the first thing that made me buy it was it's looks! It was love at first sight! Then, I liked it's size and price. I thought it was a good price and something I could swing as I needed a new purse.


Thanks Melissa!!

Are you an avid handmade shopper and recently bought something that you're absolutely in love with? Share it and help spread the love for handmade on Shop+Tell! Email me at hearthandmade[at]gmail[dot]com w/ subject Shop+Tell.

The Bold and the Beautiful


1. Firenze Necklace by KentonBeadworks
2. Bartletts by polishedtwo
3. Mother of Pearl Solid Circle on Chunky Matte Chain by SueLieu
4. CT 31 necklace Chunky red chain by MadamePlastique

Monday, May 12, 2008

Twiggy


1. The Anti-Bangles (set of 3) by kateszabone
2. Twiggy Kitchen Towel by nutnutgoods
3. Long Gold Twig Earrings by cursive design
4. Wedding/commitment band by bmjnyc
5. Creamy Twig Clutch by brookegalardi

Claire Platt


Claire Platt, London, UK
Brand: xfreshbatteryx
Blogs: xfreshbatteryx.livejournal.com + Flickr
Shop: xfreshbatteryx.etsy.com + The Shiny Squirrel

Claire is no stranger to Heart Handmade, she graciously invited us to explore her unbelievable skills with needles and floss on Heart Lab last month. So now it's time we get to know her a little better...


“You’re going to hand-sew an anatomical drawing? That’s insane! It will take far too long it takes you ages drawing them!” and that did it for me really, I thought it’s a little odd but I think it’ll work.

1. How did you come up with the name xfreshbatteryx?

I actually cannot remember why I thought to carry it over to be my online art-alias as it’s actually my screenname for a No Doubt Fan Forum! I’m a huge fan and it’s a lyric from one of my favourite songs ‘New’ “Like a fresh battery I’m energised by you” but I’m just attached to that expression now! I love it!

2. I know that you were part of a show last summer. Has your work been recently shown in any galleries? What advice could you give aspiring artists on the best way to get noticed and invited to be part of a gallery exhibition?

Unfortunately it hasn’t! Although I have been involved with a few things on the internet recently, The Shiny Squirrel for one, which is a wonderful site that promotes and sells work by up and coming artists and designers! I was also part of poppytalk's greenpop!


GET ONLINE: I would say the best way to try and get noticed is to have a blog! As mine brought me many opportunities.


NETWORK:
Also just put yourself forward for anything and everything. Write to galleries that you’d like to show at, contact blogs who might feature your work! It also helps to have a good network of other artists to talk to be it online or offline. One friend in particular - Camilla Stacey has been really good for me, thanks to her flickr I got a bit more attention and she invited me to be part of a group show. If you’re a student/ex-student I’d recommend grouping together with some classmates and trying to get some kind of group together for exhibiting as two heads are better than one!

3. How did you come up with the concept of embroidering organs and planes and displaying them in embroidery hoops?

Oddly my mother asked me this exact same question last night and I think the answer is somewhat long-winded, so this is my best attempt at condensing it…

The organs as a subject matter came first. I was given a selection of texts for a project at University and our work had to stem from that. I selected a text called ‘a brief reflection on test tubes’ that discussed the human body in parts and I thought ah-ha! Organs! That led to around 6 months of work that was just drawings with slightly more experimental/texture based embroidery.

In my final year of university I decide to keep on the same theme of Organs but became more interested in anatomical drawings and literally sewing them. I think the thing that did it for me was when a housemate said in response to me drawing one “You’re going to hand-sew an anatomical drawing? That’s insane! It will take far too long it takes you ages drawing them!” and that did it for me really, I thought it’s a little odd but I think it’ll work. The frames were literally some that I had lying around from a bunch of sewing stuff I inherited from my great-grandmother and I was just using them as embroidery hoops! Though I swiftly decided I had to find more of these things and that my work had to stay in them.

Overall I think it started as me trying to cram everything I’d ever considered doing into one project. I like frames, a touch of humour, brushing on feminism, I like old-fashioned silhouettes, I like bright colours, beads, sequins, organs and most of all I love sewing.

The aircraft’s are a new inspiration. I moved back to my parents after my studies and we live fairly close to Biggin Hill Airport, which is a airport for local aircraft use. I went up there and had a look one day and then went and looked up military aircraft drawings and recognition guides and found the drawings have them same technicality that anatomical one do. I guess I have a bit of a soft spot for scientific drawings…
4. How long have you been doing this for and how did it all begin?

When I started college I didn’t really know what to take… so I picked art and graphics! I’ve been studying art as a student for the last 6 years (college and university combined!) I graduated University in June 2007 so I suppose I’ve been doing what I’m currently doing for around eight months. Everything is a little new to me, I feel a bit like a fresher. Also my studying left me out of pocket so I juggle working full-time with continuing my practise!

5. What tool(s) can't you live without?

Lots of different needles and threads, sequins, embroidery hoops (particularly flexi-hoops), Muji pens and those dressmakers pins with the coloured bobbles on top! I even have some with hearts on! They are awesome!

6. If you had to choose one piece, what would be your all-time favourite and why?

Ohhh. That’s really difficult. I’m really rather partial to my ‘golden child’ piece I suppose. I’ve even re-made it a few different ways, with a pink satin for the shiny squirrel and in a square frame for the Abracadabra show. I imagine it’s mostly to do with it being so shiny with all the metallic thread and gold sequins…

7. Who is your idol/current craft-crush?

I have a few actually. Emily Barletta, Suzanne Carlsen, Claire Coles. I was also particularly excited this month as Lizzie Finn’s website was updated, she does amazing mainstream/advertising embroidery type pieces.


8. What are the first 3 blogs that you read every day?

Poppytalk, It’s my home page, so it’s the first thing I see when I start the Internet!

Mochimochi Blog - Amazing free knitting patterns!

ICiNG
- Because it’s fun!

And of course heart handmade!

9. What can we expect to see from you and xfreshbatteryx in the future?

Hopefully a lot more aircraft pieces and hopefully some kind of exhibition involving them. I’ve also been making some little aircraft brooches! Also come October I’m very excited as I’ve been accepted on to an MA course in Textiles, so hopefully my work will be progressing with some more technical knowledge and hopefully the opportunity to mix some printing techniques with my embroidery!

Don't forget to check out Claire's blog and this blog + Flickr gallery + shops at xfreshbatteryx.etsy.com and at The Shiny Squirrel.

Thanks Claire!!

Sunday, May 11, 2008

Weekly Re-Cap


Artist Spotlight

:: Hanna Melin

Editorial Picks
:: Zine Machine
:: English Country Garden
:: Rock Around the Clock

Weekly Specials
:: Shop + Tell: Erin Loechner
:: Heart Lab: Bailey Doesn't Bark
:: Retail Therapy: IDOM
:: Craft 101: Encaustic Painting

Friday, May 9, 2008

Craft 101: Encaustic Painting

Marija sent me an email to share her paintings and she described her technique as "eco-conscious encaustic". So I began looking into it and discovered lots and lots of wonderful work available on Etsy using this technique...


I'm not sure how many of you are already familiar with encaustic painting, but since I knew absolutely nothing about it, I asked Marija if she would be willing to give us a primer. Of course she went above and beyond and created this wonderful tutorial!

Take it away Marija...

Encaustic art continues to attract increased attention, from its unique aesthetic properties to being a forgiving medium, encaustic painting can be eco-conscious and easy to learn. “Encaustic painting” – generally refers to a painting that is comprised of pigmented wax. The most commonly used wax for encaustic is purified (white) beeswax. Although many artists have their own specific encaustic formulas, which may include other types of waxes and/or polymers, I tend to use 100% beeswax.

SAFETY FIRST

There are a few safety tips to keep in mind right off the bat when working with encaustic. Firstly, ensure that you are working in a well-ventilated area throughout your process. To my knowledge, it is not the beeswax itself that may be most hazardous to your health, it is the inclusion and heating of oil paint, so be careful. Secondly, encaustic painting requires heat, from electric grills to heat guns, etc. so make sure that you are fully aware of your equipment and temperatures at all times.

There are many ways to incorporate eco-consciousness to your encaustic art. I use 100% renewable windpower produced paper for my eco-conscious encaustic collages along with a medley of reused papers (poetry, wallpaper, scrap paper, etc.), reuse is key here! Feel free to approach local shops in your neighborhood for reuse materials, from scrap fabrics to wallpaper samples, there is a lot out there. Contact a local interior designer, or architect for scrap materials, be creative, you never know what you will find for free.

Although I first learned encaustic in a classroom environment and I highly recommend taking an encaustic art class/workshop, here's an outline of one of the techniques I use to create my collages. Enjoy!

SET-UP

1. It is best to work on wood board or thick paper (50lb or above), not canvas. If working on wood board, cut a piece of thick paper the size of your wood board and use white glue to glue the paper onto the face of your wood board.

tip: I use painter’s tape (lower tack) to mark out my collage surface on paper so that I don't get paint into the margins.

COLLAGING

2. Begin collaging by either drawing out your design, or cutting and gluing your elements. I like to glue my assorted papers first (this is where I begin using all of my delicious reuse finds) and then draw my additional components. I complete my collage by painting.

tip: I recommend that you paint with acrylic paint. Not only is acrylic paint non-toxic (read the label first) but it is also water-soluble and no fumes. I also love the fact that you can use water to stretch and blend acrylic paint and that it dries so fast (instant gratification!). Once your collage is complete and has fully dried, you are ready to apply the encaustic treatment.

>> continue reading "encaustic painting" tutorial


All steps below should be done in a well ventilated area.

PREPARING COLORS

3. You need to decide what colours (if any) to mix into your wax treatment in advance. You must use oil paint to apply colour to your wax (oil and wax mixes together, wax and water do not). You really only need very little oil paint and it's much better to apply several coats of your encaustic treatment than to have a darker coloured wax (because after a few strokes, your work will become too opaque and the collage underneath will not be visible, unless this is the look you are going for).


To prepare the oil paint, take a small piece of paper towel and fold it in half (double thickness). Draw one small vertical line of paint in every single color that you'll be using. After 10-15 minutes (longer is much better), you'll see a golden stain around your oil paint colours. This is a good sign, it's actually excess oil that you don't need nor want in your encaustic mix.

tip: I love to add white paint to my beeswax, I use it most, but you should know that Titanium white and Zinc white are quite different. Titanium white is often a truer white, while zinc white has a hint of yellow and can give your painting a cloudy and uneven finish (which you might like, so go ahead and experiment!)

PREPARING THE WAX

4. Although there are several encaustic wax concoctions out there, purified beeswax is really all you need. If possible, buy the beeswax in strips or pellets. Contact a local honey farm (another way to keep it eco-conscious). My advice for beginners is to make sure that you buy purified beeswax, as apposed to regular beeswax, which is yellow. The yellow in the regular beeswax is pollen and other organic (as in carbon based/nonsynthetic product not pesticide free) components that will be visible in your work and may affect its consistency. Purified beeswax is much better for archival purposes as well. You can prepare your beeswax by ensuring that it is broken into small pieces for melting.

MELTING THE WAX

5. Melting your wax is a fine science. The best way I discovered, is to use a counter top electric pan/skillet that has temperature settings. If you don't have a temperature setting on your electric skillet you will not know what approximate temperature your wax is being heated at and this can be very dangerous. The smaller the skillet the less energy you'll use. So there is no need to spend a lot, you can easily buy a small skillet for less than $40 or buy a used one. NEVER use your skillet for food preparation once you've used it for encaustic painting. You should melt your wax at a temperature between 200-250°F. Sometimes I keep it closer to 250°F in the beginning and reduce it to between 200-225°F once melted and while I am working with it. You can always bring the temperature up close to 250°F again for a few minutes if your wax begins to get thicker or harden.

You will need one can per color, plus one extra. The extra can is for melting uncoloured beeswax (always helpful to have).

tip: You want to use clean cans, my favourite are tuna cans. Smaller cans fair better, remember that heat needs to travel up, so wider and shorter cans are better than taller cans. Do not use cans that have a colour coating (white is very common) on the inside as this coating often flakes off with heating and can ultimately contaminate your wax (a big no no, you will be quite sad). Make sure that all of the paper and glue on the outside of the can are completely cleaned off (warm water helps speed the process along).


6. Once your temperature is set, fill your cans (at most half full to start) with small pieces of purified beeswax and transfer the cans into your skillet.

Wait for the beeswax to completely melt before adding colours.



ADDING COLOR

7. To add colour you need to use your encaustic painting brushes. Brushes for encaustic CANNOT be synthetic as synthetic brushes will melt (and release fumes). I use hog hair brushes. They are the cheapest non-synthetic brushes. Although I would never eat pig, I have to tell you that your encaustic brushes should last a long long time, the wax will also help preserve the hairs so you shouldn't have to buy many brushes at all. You do need one brush per encaustic colour. The other eco-conscious aspect to encaustic painting is that there's no need to ever clean brushes. So no water, soap or toxic cleaning products needed/wasted! To add colour, once your wax is melted, take your brush and dip it into a very small amount of oil paint from your paper towel and mix it into a can of melted beeswax.

NEVER leave your brushes sitting in cans of hot wax, you are likely to end up hitting your hand against a brush and tipping the whole can of hot wax all over your skillet (it happens). Always, designate a place (old ceramic plate is best) to set your brushes down. Don't worry about your brushes stiffening, you simply need to gently swirl the brush a few times in your melted wax.

If you do spill wax on your skillet, ONLY use non-synthetic fiber (an old cotton tea towel, cotton t-shirt, etc.) to clean (soak up) the wax. Synthetic fibers (i.e. polyester) and blends will also melt in your skillet (yikes!).

READY TO PAINT

8. Once you have coloured your wax do try to reduce and maintain your heat to 225°F or slightly under. You are now ready to paint! Gently soak your bristles in one of the melted waxes and test on a scrap piece of paper (the same type that you're using for your artwork). If your paper becomes transparent, your wax is too hot and you should slightly reduce your heat. Once the test patch doesn't turn your paper transparent, then you are ready to go.

Dip you brush into your wax again and brush over your collage.
Even melted wax stiffens quite quickly, so you will need to repeat this process many a times. Dip your brush and stroke over your collage, dip, stroke, dip, stroke, etc. until you have a few layers of wax. On paper, I usually do 3-5 layers of wax, but this is completely dependent on your colour and the effects that you wish to achieve.

9. Once you have completed applying the wax treatment, turn off your skillet.

Allow your cans to cool and remove them from the skillet. Store your cooled cans in a cool place so that you may use them again (you just remelt the wax in the cans as described above, nothing wasted here). One quick note about remelting, make sure that you poke a few holes, either with a fork (or other metal object that you will now only use for encaustic painting) into the wax that has hardened in the cans to allow gases to escape, very important

DRYING TIME

10. To complete your encaustic process you need to seal your wax,
which is often done with a heat gun (I have to admit that I have been known to use my hairdryer at times, talk about reuse). Again, ensure that you are in a well ventilated area before you begin. You want to turn the heat gun to a low setting (NOT high). DO NOT work on a carpeted or other flammable surfaces, such as newspaper, etc. You want to gently run the heat over your encaustic painting. Using circular motions (working within a small area at a time) and keeping at least 5 inches away from the surface of the wax coating (DO NOT touch the wax). As soon as the wax coating in an area begins to look moist (evidence of the wax melting) then move to another area of your painting. This process usually takes me 5 minutes, but it is completely dependent on the size of your piece. Be careful where you set your heat gun after you are finished, as even on a low setting it is going to be VERY hot, so leave it in a safe place within sight to cool.

11. Voila! Your eco-conscious encaustic collage is complete.

Please be sure to send me an email mahamarija[at]gmail[com]com if you have any questions and because I would love to see your work! For more of my work, please visit my *new Etsy shop.

Recommended book:
The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax

Credit: Tutorial and associated images courtesy of Marija Hamed

Thanks again Marija!!


>> see other Craft 101 features