Another Notebook Cover

Whoo! My first ‘combination’ project from the PCA courses — another notebook cover, which isn’t remotely similar to the first one I made.

Notebook cover, from multiple PCA courses

I used Sculpey Terracotta clay for the cover’s base, Sculpey III and Fimo Effects for the components, and a whole lot of TLS to bind things together. I’ve used learnings from all these courses —

  • Notebook cover fundamentals from Anke Humpert’s course — the most difficult part here was getting a uniform base layer, since the layer’s bigger than my pasta machine. πŸ™‚
  • Inlay pattern from Suzanne Ivester’s course — this was the one that took the longest time. Also, the non-uniform depth of the stamping at the very edges — I need to figure out a way to handle this. I tried using a paper layer between the clay and the stamp’s edges to prevent it from pressing too much into the clay, but that didn’t help much at all.
  • Succulents from Cindi McGee’s course — I wish I had chalk pastels for subtle shading. I tried paints and it didn’t look so great. Perfect Pearls it is, then!
  • Flower shaping and mosaics from Christi Friesen’s course — I used Perfect Pearls for the shine. I have other ideas for gold leaves / foils, and hopefully they’ll turn out good.
  • Stripey borders from Lisa Pavelka’s course — Of course, the Terracotta clay turned out to be too smooshy to retain the uniformity of layers while cutting, but that does contribute to the organic look, I think?

I’d originally thought of only 2, or 3, projects to combine, but as I kept working on this one, I just kept adding stuff. Good thing I stopped eventually, huh? πŸ™‚

I hope this cover lasts, and doesn’t get damaged while handling. I’ve kept even the raised elements close to the ground, so to speak, so there’s less danger of them getting chipped, but one isn’t usually very careful when using a notebook, right?

New Clay

It’s been a while since I made something from clay, and thanks to a friend who was willing to haul back my order from their short visit to the US, I now have newly-bought clay to work with!

New clay

Of course, I’m still sticking to my plan of combining salient learnings from more than one PCA project into a single project. It’s fun trying to imagine which projects might work well together! I hope I manage to make something this month.

I’ve also been looking at some beading stitches to decide which one works well for a jewelry set I have in mind. I hope that materializes this month too! πŸ™‚

Jewelry Box

Since I barely managed to finish my quota of last month’s PCA courses, I decided to start early this time. πŸ˜€

Jewelry box - after

Jewelry box

Jewelry box - before

Jewelry box (before)
Image used from the online store’s website since I forgot to click a picture before I started. πŸ˜€

Teresa’s course is about beautifying a wooden jewelry box using painting, silkscreening, decoupage and resin. Amongst all PCA projects I’ve worked on so far, the lack of materials where I live is most evident in this one.

For the painting — the acrylics that are available here are kinda tacky, and they dry quickly to a rubbery texture; I find they’re unsuitable for a large variety of ‘advanced’ projects that interest my sis or me. Silkscreens are not available locally at all, and as for the resin, I was going to buy it only if I could come up with a layer that’s worth the gloss. So I set to work on the project with whatever I could use. (I was actually surprised I could find a jewelry box to work on. πŸ™‚ )

I had to first flip the lid of the box inside out, since it originally had a flat outside and an inset on the inside. However, the reverse is what works for this project.

I managed to paint the box fine — a red-brown base layer, and then some white and brown lightly distressed texture over it. I toyed around with the idea of an image transfer onto the surfaces. (Looks like my latest project is still on my mind! πŸ™‚ ) But I’m still not sure that the transfer will turn out 100% alright. If it turns out patchy, that’ll be the end of this box, since I won’t be able to cleanly wipe the ink away. Instead, I tried using a texture stamp to imprint some nice patterns on the box, but it turned out pretty bad. In the end, I just used the texture stamp on a sheet of clay, and lightly ‘antiqued’ it with white paint post-bake. I also added a clay border to the inset since the textured sheet didn’t really warrant using resin. I finished with a thin layer of Mod podge instead.

My project is nowhere like Teresa’s, but I still like it since it turned out perfect to store our antique jewelry. πŸ™‚ My sis wants to decorate it even more, and I can’t wait to see how she’ll enhance it!

Fantasy Scenery on Glass

Fantasy Scenery on Glass

Fantasy Scenery on Glass

Hmm, this was actually supposed to be a sea life vase, if I’d fully followed the PCA course taught by Marlene Brady. As I’ve come to discover, extensive sculpting is not really my favorite. And as I’ve known for the longest time, extensive repetition is not something that interests me either. Unfortunately, this project combines the two. I felt tired just watching all the repetitive sculpting that Marlene does πŸ˜› and decided to make a really sparse version of her vase, just to help me learn about working with translucent clay on glass.

Instead of a large vase, I used a little jar. Of course, the jar is not tinted like Marlene’s is, so I added ‘artistic tinting’ using runny streams of acrylic paints on the inside of the jar. It looked good, and I can tell you I was tempted to call it a day with just that. πŸ˜€ However, I moved on to the sculpting.

I don’t own a sea life mold, and don’t plan to buy one in the near future either, so I dropped the turtles and fish from my version. However, the rest of it is the repetitive bit, so I changed my scenery to a fantasy one, with flower-like and weed-like objects floating here and there, so that I don’t have to make too many of them. πŸ˜‰

Fantasy Scenery on Glass

I don’t own colored translucent clay either — I have some plain translucent clay, and it was still in its pack. I mixed small chunks of ‘regular’ Premo clay to color it. Good thing I’m of the ‘add-in-small-quantities’ type, because I learned that a tiny, tiny amount of colored clay is enough to tint the transparent one. (In my next coloring experiment, I’ll use tiny, tiny amounts of alcohol inks!)

So after a lot πŸ˜‰ of sculpting, I baked the piece, and as you can see, it looks great with light streaming through it! The clay sticks well to the glass, too, although I’ve not tried destructive things like peeling or scratching it away…

Miniature Fairy Garden

Before I saw Lisa’s Fairy Garden Ring video on PCA, I’d not really given much thought to these whimsical creations. Lisa’s course resulted in a whirlwind Pinterest tour of fairy gardens, and it’s quite delightful to look at all those miniatures. πŸ™‚

Miniature Fairy Garden - PCA 2017

Miniature Fairy Garden

For my version of the project, I omitted the ‘ring’ and made only a fairy garden. After all, I don’t fancy wearing a ring that has protruding sections that are in danger of getting chipped or broken. πŸ™‚ This garden is about 2cm across and 2.5cm tall.

I have worked on a sugar skull keychain before, and that involved working with tiny parts, which turned out to be a lot of fun. It turned out that working on a fairy garden is also a lot of fun, and for the same reason. Sculpting tiny landscapes with tinier details is involving and relaxing.

I made the base in a plastic cap so it won’t get squished while I’m working on the surface details. But then, I wouldn’t want the cap to melt in the oven during the bake. (Duh!) So I had to remove the cap later and give some texture to the sides. Thinking back on it, I should just bake a textured base first, and then start work on the surface. That would involve some liquid clay for gluing, of course. Or maybe the plastic cap way isn’t too bad, since it wasn’t much effort to remove the piece and texture it.

I added some mod podge layers for the final gloss, and now the piece is on my desk, and I love looking at it! ❀

Mosaic Notebook Cover

This little blue book cover is my next project in PCA 2017, inspired by Anke Humpert’s course on making mosaic notebook covers. I made one for my sister’s spiral paper pad.

Mosaic Notebook Cover - PCA 2017

Mosaic Notebook Cover

Designing the cover took longer than actually making it, I think! Or maybe I didn’t notice time pass by while playing with the clay because it was so much fun. πŸ™‚

I’m pretty happy with my Skinner blends now. It’s all thanks to my pasta machine that the amount of manual labor involved is reduced a hundredfold when compared to using a roller. Also, like I mentioned in an earlier post, I now prefer drilling holes post-bake, since it gives a neater finish. That’s exactly what I did for the nice little row of holes for the spiral.

It wasn’t all smooth sailing, however. I did have to fix stuff.

The other side of the cover ended up with some cracks, because I traced over some not-very-visible borders with a knife lightly (or so I thought) but at a few places, the blade did make it through to the other side. I didn’t notice it before baking since I placed my working surface directly in the oven. Later, when I did notice it, I just mixed solid clay with liquid Sculpey and smeared it over the cracks, and rebaked it, and that fixed the problem.

While antiquing, I wasn’t quick enough to wipe away the paint, and quite a bit remained on the raised surfaces too, making it look more green/brownish than blue/violet-ish. I found that wiping with rubbing alcohol (or equivalent) removes the unwanted paint well. So now my mosaic pieces are shades of blue again. (Yay!)

I’d love to keep making these covers — there are just so many possibilities here! I’ll need more variety of deeper stamps, though, if I’m to use antiquing. Right now, I have just too few stamps that I can use.

Mixed Media: Hope Canvas

Mixed Media — my latest muse, because, let’s be honest, who wouldn’t want to work with all the things in their project! πŸ˜‰ So it’s no surprise that the next item I chose in PCA was mixed media — a Hope Angel canvas by Barbara. I wanted to have a face in my piece too, but wasn’t too happy with my angel, so I drew upon some inspiration and made a Hope Tree instead.

Mixed Media: Hope Canvas

Mixed Media: Hope Canvas

I didn’t think the delicate background that Barbara makes for her piece would work for my tree, so I added more media to draw out the textures and colors. My! That was a good decision, and I was almost in love with the piece already. πŸ™‚ I experimented with adding this and that to complement the tree, and finally used a bird and a peace sign to complete the piece. I fussy cut the bird (hehe, I’m using terms that I learned from my sis) from a clay sheet that I textured, because none of my stencils worked size-wise. And I die cut the sign, painted it and stenciled in the lettering.

Thankfully, I had enough space in my oven to bake this project. Since it’s still a big piece, I monitored the temperature like a hawk to make sure nothing went awry. (I am soo glad I invested in an oven thermometer!)

Overall, I love how it turned out; it’s totally worth all the effort I put in! πŸ™‚