Yeah…she’s had a hard life. And been sick a lot. I think she might be a bit of a drinker too.
Post-reduction, she was even more afflicted; her eyes droop and her pursed mouth telegraphs her displeasure very effectively.
There was a heck of a lot of waste at the ends, despite the precautions I took, and I somehow ended up with approximately the same amount of waste flesh coloured clay as I started with after I trimmed all the bad stuff away:
Still trying to figure that one out.
Do you think there’s a market for ‘Angry Women’ beads?
This has been looking at my across my desk for a few days while I waited for more clay to make the other parts to a face cane:
I followed Donna Kato’s tutorial for this particular cane – I didn’t dare wing it on such a large piece!
Eeeeehehehehe….Another lampworking post. By the way, I really do giggle like that when I lampwork, because I loves it. Certain steps are becoming easier, and it’s really great feeling like I’m learning something again, doing research and practice, and seeing the improvements (however slight!)
From left to right –
Gaia encased in clear – I’m really pleased with this encasing because there’s no apparent bleeding of the core glass into the encasing layer. On the other hand, the core glass was meant to be a reactive glass, and instead it stayed a lovely but plain emerald green, and I also used Effetre 004 clear for the encasing; the scummiest clear known to the glass world!
Colbalt Transparent rolled in silver foil with a Pale Blue Transparent encasing – I love this effect, even though there’s less encasing, and more intermingling of the glass! The silver foil has also fumed a bit, I think, where the ‘encasing’ is shallower, but where it’s silvery, it’s lovely.
Colbalt Trans rolled in silver foil with clear encasing – same as above, but the encasing is better except for a few spots where the clear layer had gaps in it, and the base colour was drawn up through them. Quite cool appearance though; I know some people do this on purpose to get a more dramatic effect.
I’m not neglecting polymer clay though – I made a kaleidoscope cane a few days ago and produced these (and as you can see, I may be learning lampworking and kaleidoscope caning, but my photography skills are staying pretty level at the ‘what on earth is that in the picture?!’ stage):
And I’ve put them up at Continuum Designs
I’ve mostly stayed away from kaleidoscope (or mirror-image) canes because getting an aesthetically pleasing colour mix *and* mix of components has proved quite challenging. However, I was reading through Carol Simmons’ blog (a master of complex caning) and found an older post about experiments using only a monochromatic colour scheme. So I forgot about colour and stuck to tones of blue, with some white and black, and concentrated instead on putting together the canes – and it really helped, thank goodness.
You know, some canes you make to use, and some you make just because you want to see if you can. I had a real longing to make a poppy cane a while ago, and ended up with this cane. I’m quite pleased with it, to say that I mapped/designed it myself: this was my third attempt – let’s just say I currently have a LOT of muddy red clay to use up due to this project!
It’s been languishing at the back of my box for a while, but I rooted it out today and it’s inspired me to try some more ‘realistic’ flower canes. Usually I make canes according to the pattern or colour I want, with little concern for them being anatomically correct!
Now I just have to figure out which flower to start with…
