I was working on something else when ideas from my Pinterest packaging research ambushed me, and I came up with this ‘pliers’ design for locking closed a band of paper which passes around the little black boxes I use for my jewellery. Not sure if it’ll fit in the rest of the branding I’m developing, but a fun little notion emphasising ‘handmade’, nonetheless…
Further progress on my indoor tree sculpture – testing out full-sized vellum leaves (with odd-coloured sheet), incorporating a more advanced balance mechanism, with branches constructed from foraged plastic sheeting. I think the proportions are off, but I’m very happy with the look of the leaves, with the pleating of the vellum nicely echoing the texture and transparency of real beech leaves. Next: tweaking proportions, testing addition of hinging to the branches.
Inspired by some beautiful white-on-dark embroideries, I unpicked the lining of a very flattering and comfortable black single-button fabric jacket, to turn it into a wearable star field. I mapped out a star field from Orion near the horizon on the tails, to the pole star on the nape of the neck.
The stars are represented by french knots in a shiny polyester embroidery thread, with size and
I’ve been wearing the jacket a lot since I made it, and it’s always made me smile and got great compliments – when it disintegrates I’ll have to embroider a new one!
I decided I fancied wearing a pair of antlers at a recent event. Here are a few pictures of the process from a foam pool noodle to a wearable set of prongs. I regret painting them gold (mostly an accident!), and if I remake them I’ll take the opportunity to make them more realistically thin, but they’re still eminently wearable.
Hand-painted for a kitchen (floral), and three bathrooms (black, blue, and trees-with-bright-backgrounds).
I created these with Pébéo Porcelaine 150 paints, and Marabu Porcelain Painter fine-line pens. They’re baked after drying to become ‘dishwasher safe’, but we have some concerns around durability, so we may add tile sealant or other protective coatings before using them in anger.
The paint is translucent and shows every brushstroke, dries quickly and subsequent layers lift earlier ones, so it’s really tricky to get consistent results with – I especially had trouble with areas of saturated colour, be they solid or gradients. Textures were much easier to achieve. The pen also was tricky to work with – the ink dries onto the special (and fantastic!) nib within seconds of you getting distracted by something, so I had to keep the lid in my free hand so that I wouldn’t forget to cap the pen. When (and I don’t mean ‘if’) the tip gets clogged, I found the best way to clear it was to soak it in warm water until most of the pigment floats away, then flush it through with clean water. I’d then blow through it to get the water out as much as possible (it mucks up the ink), and use a pin and magnifying glass to remove any stubborn pigment from the weird little flanges that channel ink down to the tip of the soft plastic nib.
A very interesting and tricky medium, but I think after this many paintings I’ve got enough of a handle on things to be able to achieve what I set out to when setting paint to tile.