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• Commission Your Own ‘Landscape Gems Collection’ Design

Commission a ‘Landscape Gems Collection’ design of your own with Laura H Elliott BA (Hons)


What Does A Commission Offer and How Are They Presented?

Every ‘Landscape Gems’ design created by Laura H Elliott is like a presentation and not just a design.

I have been selling my work since 2006 and every design is of the highest standard. All my designs are available in Fine 999 Silver Metal Clay for commission with Degree Art Gallery, who represent my work as a professional artist and have extensive experience.

All of my silver designs are legally hallmarked by the Goldsmiths Assay Office, London.

  • Taylor made, hand-crafted from Fine 999 Silver Metal Clay
  • Every design features 100% genuine gemstones ethically and personally sourced by Laura H Elliott BA (Hons)
  • Other features in the designs include 925 Sterling Silver and Vintage Watch Parts

  • Every design is presented in a complimentary, beautiful velvet gift box, which is the perfect way to present each piece.

  • A complimentary 18 inch chain

  • An anti-tarnish strip to keep your work perfect

  • All silver pieces made from or with fine 999 silver and/or 925 sterling silver are legally hallmarked by the Goldsmiths assay office, London

LauraHallmarkSimulatedExample

  • Every silver design comes with a beautiful hallmarking card from the Goldsmiths Assay Office London


How Do I order a Commission: A Step-by-Step Guide:

1) Select Your Designs:

Look through a selection of designs and note down the name displayed at the bottom of the image:

2) Select Your Gemstone(s) of Choice:

The key feature in every design is, of course, the genuine gemstone(s). There are hundreds of types of gemstones, which come in every colour in the rainbow. However, the typical choices are often focused on three key points:

  • Colour preferences
  • Birthstone or Zodiac gemstones
  • Gemstones that are collected by each person, such as the top 4 precious gemstones: Sapphire, Ruby, Diamonds, Emeralds

If you have a gemstone you would prefer or would like to gift in your commission, please do not hesitate to ask. This can include sought after gemstones that could be sourced/ selected from stock include:

  • Tanzanite,
  • Paraiba or Cuprian Tourmaline,
  • Spessartite Garnet

The gemstones below are a selection you can chose from:

This slideshow requires JavaScript.

3) Contact My Representative Gallery Degree Art, London, UK:

I am represented by a highly experienced gallery, called Degree Art, London, UK.

All my designs are available in Fine 999 Silver/ 925 Sterling Silver for commission with Degree Art Gallery, who represent my work as a professional artist and have extensive experience.

I have been selling my work since 2006 and every design is of the highest standard. All of my silver designs are legally hallmarked by the Goldsmiths Assay Office London.

LauraHallmarkSimulatedExample

Above: Laura H Elliott Hallmark

My gallery link is below:

https://degreeart.com/artists/laura-h-elliott

Their team can coordinate with you and we can begin the commission process:

Please contact Isobel Beauchamp (Director of Degree Art) on Isobel@DegreeArt.com or call one of their Art Advisors on 020 8980 0395.

Tell her my name, Laura H Elliott and the artwork that inspires you. The Degree Art team can then explore ideas such as:

Tell them which designs in my ‘Landscape Gems Collection’ you love,
Preferred colour of the gemstones featured…

….and then the commission process starts.


Please Note:

All of my silver designs are legally hallmarked by the Goldsmiths Assay Office London. This process takes between 7-14 days.

These gemstones have been personally and ethically sourced from around the world by Laura H Elliott over the years.

Carat weights stated are ‘average total gemstone weights’ (ATGW).


Commission Feedback:


“Having seen Laura’s work at an exhibition in London, I commissioned Laura to create 2 pendant pieces of jewellery to include birthstones. She was very happy to help and very professional, producing 2 stunning original pieces. They were packaged well and arrived safely. I would highly recommend Laura’s bespoke metal clay jewellery to anyone looking for a special piece of original artwork”

______________________

Dated: 21st April 2017

Lesley Oldaker was a direct commission client Landscape Gems Collection jewellery of metal clay designer Laura Elliott BA (Hons).


Customer Feedback and Recommendations:

I have over 10 years working as both an artist and curator and have references, which can be viewed by clicking here.


About the ‘Landscape Gems Collection’:

“My love of clay was discovered at the age of 14, exploring the endless possibilities of earthenware clay, enhanced with glazes, textures and glass.

It was in 2012 when I discovered the fresh, up and coming medium of metal clay in: Fine 999 Silver, Copper and bronze. Step by step I began to explore the possibilities of this medium and after 2 years of development it transformed into the body of work I now call the ‘Landscape Gems Collection’.

When fired, an elegant transformation takes place, turning each design from the pliable clay into solid metal designs. Each piece is sculptural and unique, which often include an unusual mix of high quality gemstones along side beautiful elements, such as glass, enamel, vintage watch parts or even bolts and screws.

This series was given new momentum when I exhibited my collection at The Royal College of Art with Flux exhibition in December 2015. Since this date, my designs have adapted into a series of ever changing mini sculptures and I have not looked back since.”


Fill Out the Contact Form Below to Inquire About Any Of the Pieces Above:



All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

Facebook: https://www.facebook.com/laurahelliottart

Twitter @laurahelliott

Pintrest https://www.pinterest.com/lauraelliottart/

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• Review: Artsy Editorial – Kandinsky’s How To Be An Artist

Above:

Above: “Composition VII” (1913) by Wassily Kandinsky – In Collection At: The State Tretyakov Gallery

Review: Artsy-Editorial – Kandinsky’s How To Be An Artist

“I came across a fascinating editorial article on the Artsy website, written by author Rachel Lebowitz, about a master artist whom I deeply admire, the Russian painter Wassily Kandinsky. As I always do in my blog’s, I will interpret this article and apply it to my personal experience and practice in the arts.

Kandinsky taught at the Bauhaus for an 11-year period and detailed his art theories in books. He had complex and detailed ideas to convey about the practice and philosophy of art. This Artsy Editorial focused his ideas into five points of interest or “lessons”. Although I feel they are interesting “lessons” for my own painting practices I really believe they show only 5 of a complex and involved philosophy of the past master Kandinsky.

The true depth of Kandinsky’s concepts are in his books he authored. The first book he wrote was titled ‘Concerning the Spiritual in Art’ (1911). Within this book he laid out his tenets for artistic creation as a spiritual act. Kandinsky wrote a book called ‘In Point and Line to Plane’ (1926) in which he expands on elements such as rhythm and amplification. Each of these books delve in detail into his progressive practice and exploration as both a painter and tutor and could be of great interest if you wish to read about Kandinsky’s theories of practice.

The article author Rachel Lebowitz states:

“…Kandinsky did not intend for his theories to be prescriptive. Art making, he insisted, was about freedom. Nevertheless, there are several lessons that artists should heed if they are to meet Kandinsky’s requirements.” (1)

In my opinion, this article describes how Kandinsky felt his theories as ideas which can be drawn from, by artists. Therefore, although this article refers to each point as “lessons”, my opinion is that I do not think they should be so finite, maybe they should be guides, not lessons.

Kandinsky did not intend for his theories to be prescriptive. Art making, he insisted, was about freedom. Nevertheless, there are several lessons that artists should heed if they are to meet Kandinsky’s theories.

We start with five below that where highlighted in the Artsy article and the five “Lessons” are as follows:

Wassily Kandinsky  Dreamy Improvisation, 1913  Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen,

Above: Wassily Kandinsky ‘Dreamy Improvisation’ (1913)
– In Collection At: Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen.

Lesson #1: Express your inner world, not the latest artistic trends

If we reflect on the history of art, it is littered with ever changing movements in art, which I feel could be referred to as “trends”. I always want to stay true to who I am as both a person and artist; therefore, I always draw on who I am as a person, with my artworks interpreting my persona and life experiences. I try to not focus on external trends and influences towards my work, but I do use this to progress and push my ideas forward.

The meaning of the word “merit” or the phrase I would chose to use is “artistic merit”. This phrase was not 100% clear to me when considering if that was directly relevant, so I looked up the definition of “artistic merit”:

“Artistic merit is a crucial term, as pertains to visual art. However, many people fail to distinguish between the problem of distinguishing art from non-art and the problem of distinguishing good art from bad art. In many cases, people claim that such-and-such object is “not art” or “not real art” when they intend to say that they do not consider it to be good or successful art.” (3)

I believe that art trends are interwoven with the concept of “artistic merit” or what people consider the value in art is always subjective; therefore, it is intrinsically linked with “artistic trends”.

Above: Wassily Kandinsky ‘Composition in red and black’ (1920) – In Collection At: The State Museum of Art, Tashkent

Lesson #2: Don’t paint things. Paint in abstract form

I understand the thought behind this lesson; however, I do not agree with blanket opinions on what an artist should or shouldn’t create.

On a personal level, lesson #2 has an interesting point regarding my own artistic journey and practice. Over the years I have always had the desire to further abstract my ideas and this is a style that I now feel freedom and peace within. However, I am talking about my work and this does not apply to each artist.

Above: ‘Mirage’ (2016) by Laura H Elliott

Every artist interprets life in their own individual way. This reiterates that art is highly subjective and also highlights how trends can impact in the arts and highlights how lesson #1 is hard to follow.

It was during the time when I was 16-18 years old that I had a teacher who always pushed me into direct replication or realism. This was evident in both her projects she gave us and her regular interventions when I was creating artworks. It was only aged 17, that I rejected her beliefs and I began to create what I wanted. It was at this age when I created an abstract sculpture. This piece was inspired by Picasso and based on an amphibian, often named as a ‘Jesus Lizard’ as it runs across the surface of water.

When I was 25 I began studying an Art and Media Diploma. It was during this time I was guided by a vastly different, vibrant tutor who encouraged a self-directed practices. It was a refreshing change and has directly contributed to my current practices to this day.

The article states how art is an “…outward manifestation of the artist’s psyche—of his or her authentic thoughts and feelings” (1).

I was 25 when I returned to studying and practicing art, having worked in the nursing field for years. I left behind direct ‘replicas’ of the world I saw around me and began to relax and move towards abstraction or simplification in my art. I find my abstract work a relaxing and deeply enjoyable experience, a new freedom. I think this lesson does not address how complex and intricate the process of development is an artists and, therefore, this lesson is not a belief I would support.

Above: Wassily Kandinsky ‘Gespannt im Winkel’ (1930)
– In Collection At: Collection Kunstmuseum Bern

Lesson #3: Approach color as a window into the human soul

The article states that inspiration for Kandinsky was found in the

“…Fauvist paintings he saw while living in Paris from 1906 to 1907—with their wild hues that were entirely divorced from the real world—proved to be even more influential. Embracing this type of freedom in color.” (1)

I think this encompasses my own practice and passion. I find freedom in colours, with each choice expressing my inner emotions and moods, allowing them to be expressed to the world. When I paint in an abstract expressionist style it allows me to relax and find true solace from both my mental and physical disabilities. In a way, they are a window into my soul and the soul of every artist, including Kandinsky.

Wassily Kandinsky ‘Violett’ (1923) – In Collection At: Redfern Gallery Ltd.

Lesson #4: Inject rhythm into your painting, like a musical score

I am not sure how to explain my own work in relation to music. I have had a deep seated passion and ear for music and the layers contained in every piece I hear. I have previously written about the impact of music on my work and this passion and inspiration has not dissipated. Granted, I do not deafen both myself and family with heavy metal anymore, but I listen and enjoy all types and styles as time passes.

Above: ‘Joy’ (2003) by Laura H Elliott

This article says Kandinsky felt “…as an artist used colors, he or she was in effect playing different musical notes, causing [he said] vibrations in the soul” (1).

Different colours resonate with each of us in different ways and this is how I interpret this idea by Kandinsky. When collectors buy my work, I see a tangible response and this could be the vibrations Kandinsky speaks of.

The article goes on to state that “…a painting would do well to be composed like a musical score.” I see a rhythm in all artworks, but I interpret this in an emotional response due to the person I am: emotional, complex and passionate.

I use my art as a therapy and see vibrations as emotion during and after creating each piece of work. My work since 2016 has contained a new wave of colours and this might enhance and develop my work like a piece of music, thus creating a rhythm.

Wassily Kandinsky ‘Composition’ (1925) – In Collection at: Leila Heller Gallery

Lesson #5: By creating original work, you will further the cause of humanity

This is a grandeous statement, however, I agree with its sentiment. It has to be said that art has been academically proven to be a key component in our lives and well-being, a therapy, so lesson #5 is the truth. Speaking for myself, art is a fundamental part of who I am as a individual and gives me clarity, solace and strength.

Above: ‘Forever Grateful’ by Laura H Elliott

I have to agree with lesson #5 as it highlights my own belief in work as an artist. I truly believe that art helps humanities living and well-being, despite the commonly held point of view that art is not as fundamentally important as academic areas.”

So….What do you think of Kandinsky’s five lessons?

Wassily Kandinsky ‘Untitled’ (1921) – In Collection At: Kunstmuseum Basel, Basel

Sources and Useful Links:

1) https://www.artsy.net/article/artsy-editorial-artist-kandinsky/amp

2) http://www.wassilykandinsky.net/book-117.php

3) http://www.definitions.net/definition/artistic%20merit

4) http://www.wassily-kandinsky.org/

5) http://studiosixtysix.tumblr.com/post/151158596757/13reasons

6) http://www.forbes.com/sites/drewhendricks/2015/01/12/can-office-artwork-influence-employee-productivity/#243c119d2c44

7) https://m.facebook.com/story.php?story_fbid=1138946616232550&id=100003516670643

8) http://studiosixtysix.tumblr.com/post/151158596757/13reasons

9) http://www.forbes.com/sites/drewhendricks/2015/01/12/can-office-artwork-influence-employee-productivity/#243c119d2c


All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

Facebook: https://www.facebook.com/laurahelliottart

Twitter @laurahelliott

Pintrest https://www.pinterest.com/lauraelliottart/

Linked In https://uk.linkedin.com/pub/laura-elliott-ba-hons/6b/959/533

#art #britishlandscapes #britain #landscapes #buybritish #laurahelliottart #laurahelliott #lhe #painting

• My Guide: What is Silver Metal Clay?

My Guide: Silver Metal Clay


What is Art Clay Silver?


Art Clay Silver is precious metal clay that looks and feels like ordinary sculpting or porcelain clay, with fine particles of pure silver mixed with a non-toxic organic binder.


What is metal clay and what work do you create from that medium?

Metal clay is an exciting art medium consisting of very small particles of metal such as silver, gold, bronze or copper which is mixed with an organic binder and water for use in making jewelry, beads and small sculptures. This is an Eco-friendly metal clay silver, containing recycled silver.

Originating in Japan in 1990, metal clay can be shaped just like any soft clay, by hand or using molds. After drying, the clay can be fired in a variety of ways such as in a kiln, with a handheld gas torch, or on a gas stove, depending on the type of clay and the metal within it. The binder burns away, leaving a pure sintered or solid piece of metal.

Above: ‘Wave’ – On the Left = Unfired and On the Right = Kiln Fired

After being fired, you are left with a fine silver piece that can be hallmarked as fine silver. This new formulated silver metal clay combines the best features from the former types of Art Clay – easy molding, slow drying, and a low firing temperature. The new silver clay formula has a better work-ability and longer working time, retains and accepts moisture easier, staying supple and easier to reconstitute, and also carves and files easier in the dry stage.

Every design I sell in Silver is hallmarked with my personal LHE hallmark, according to UK law (example shown above).


How do you fire the clay?

This art clay silver can be used with a torch/ gas stove or kiln for 30 minutes at 650°C or 5 minutes at 800°C. Shrinkage is 8-9%.

Image Courtesy of Cookson Gold #cooksongold

Different Silver Clay Products I Use:

1) Silver Clay:

I use Art Clay fine Silver clay, which is beautiful to work with and creates top quality designs:

2) Silver Metal Clay Syringes:

Use syringes to decorate your clay with squiggles and lines, to create little bezels to set lab created stones in, or on its own to make hollow filigree like designs. Simply create a core shape with cork clay and cover it with the syringe. When fired, the cork clay will burn away leaving a hollow delicate piece. Keep your syringes standing in a glass of water when you’re not using them. Remember to put it back as soon as you finish so the tip doesn’t dry out.

3) About Silver Metal Clay Paste:

Use the paste to glue (wet or dry) clay parts together, to repair cracks and fill in marks and bumps, and to add a textured surface to the clay. It can also be painted onto a burnable core, like a leaf, twig or cork clay, to create a fine silver replica.


My Journey Starting In Silver Metal Clay

Due to my life-long passion of clay and sculpture, I expanded my work in 2012 to use the exciting medium of silver, copper and bronze metal clay, in concert with my ‘Landscape Moods’ series of paintings. Metal clay allows me to sculpt work in a free form and expressive manner, allowing me to create a wide range of sculptural metal jewellery and this has been titled the ‘Landscape Gems’ series.


Can You Hallmark Silver and Gold Precious Metal Clay:

Yes, it is UK law that Silver, Gold, Platinum and Palladium have to be hallmarked over a specific weight. The information sheet below explains the law and it assures you that you are buying genuine precious metals:

Every design I sell in Silver is hallmarked with my personal LHE hallmark, according to UK law.


Are There Other Types Of Metal Clay?

Yes, there is other types of metal clay in many other brands: Different Brands of Silver Clay, Gold, Copper & Bronze:


All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

Facebook: https://www.facebook.com/laurahelliottart

Twitter @laurahelliott

Pintrest https://www.pinterest.com/lauraelliottart/

Linked In https://uk.linkedin.com/pub/laura-elliott-ba-hons/6b/959/533

#art #britishlandscapes #britain #landscapes #buybritish #laurahelliottart #laurahelliott #lhe #painting #metalclay #gemstones #artgallery #gallery #flux #fluxexhibition #degreeart #degreeartgallery #painting #artlover #artist #artwork #artcollector #contemporaryart #originalart #ownart #rca #contemporaryart #originalart #commissionart #buyart #buyartonline

This entry was posted on November 1, 2017, in Art Projects.

• My Guide: Learning From Masters, Picasso to Pollock to Dali 

My Guide: Learning From Masters, Picasso to Pollock to Dali

Remember © Copyright – These Are Not For Sale!!

Just Inspiration and Learning!!

ALL of my studies are now in my loft, safe and sound! They are only for me to mentally reference and to draw inspiration from, as I have explored the vastly different techniques each artists used to create every stunning artwork. I loved every piece I re-created; however, I have not re-created any artists work since 1994-1995.


Why Re-Create Masters Work?

Simply put, to learn from their expert hand and varying techniques in art. There are endless guides and techniques on how masters created artworks, this shows how much you can learn from a simple collage or drawing or study or painting. I found it a really enlightening experience to truly learn how an artist created their work. I found that t

They are a challenge to reproduce, but that is why they teaches you so much. I think master studies are worth every minute. When I re-created Picasso’s cubist work, the complex gradients of colour and shade are a lesson for perspective within painting:

In addition, when you map out the cubist artwork you learn about proportion and dimension. I think this is a way round not having to learn perspective by drawing buildings, especially as I personally dislike drawing architecture.


What Do You Mean By “Master Studies”?

During my formative years navigating the arts, I found that the way I learn how, was by doing or creating.It was aged 17, that I was set a task to create a visual and written visual essay about a master that you wished to focused on as a study, for my A Level Art and Design course… this was when I found the idea of “Master Studies”.

My A Level Art and Design

The general gist was to write about a focal style in an artists work, with visuals to support. Most of these essays ended with a simple combination of written text and postcards or printed images of their chosen artists work. I decided to challenge myself to learn even more, so I began painting the works onto canvas boards or by re-creating the sculpture to sit along-side my own original work.

I felt that this theory applied to the all artists who inspired each painting I created for the course and the subsequent final exhibition of the course in 1995:


What Masters Did you Explore?

I studied a select few during my A Level Art and Design during 1994-1996, I studied the masters:

  • Pablo Picasso
  • Claude Monet
  • Edgar Degas
  • Salvador Dali

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BELOW SHOWS THE ORIGINAL ALONG-SIDE MY MASTER STUDIES:

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Pablo Picasso:

Below: My master study of a Pablo Picasso painting (1909-10) ‘Figure dans un Fauteuil (Seated Nude, Femme nue assise)’, Displayed at: Tate Modern, London

Left: My Master Study | Right: Original By Picasso

Below: My master of a Picasso artwork ‘Guitar’ (1913) At: The Museum of Modern Art, New York
Left: My Master Study | Right: Original By Picasso

Below: My master of a Picasso artwork ‘Siphon, Glass, Newspaper, and Violin‘ (1912) At: The Moderna Museet, Stockholm

Left: My Master Study | Right: Original By Picasso

——————————–

Salvador Dali:

Below: My master of a Dali painting ‘Gala and The Angelus of Millet Before the Imminent Arrival of the Conical Anamorphoses’ (1933) the original is displayed at: National Gallery of Canada, Ottawa

Left: My Master Study | Right: Original By Dali

——————————–

Edgar Degas:

I took this literally and I began to draw masters works, with a Degas Conte Pastel drawing (shown below) titled ‘Girl drying her feet after bathing’ by Degas:

Left: My Master Study | Right: Original By Degas

Above: Master Study ‘Girl drying her feet after bathing’ by Degas


What Modern Masters Do You Admire?

It was during my A Level that I was lucky to meet and spend a whole day interviewing and exploring the studio of Royal Academian Anthony Green. He was fascinating and charming and it was a day I will never forget. The painting below is by the amazing artist whom I had the privilege of interviewing in 1995, Anthony Green RA:

Since then, I have continued to learn about artists work past and present through academic routes, including my Art and Media Batchelor of Arts with Honours. I also cannot express how important it is to visit exhibitions at large museums and galleries, such as the Tate Modern, London and so on.

One artist I adore is the mixed media creator, David Hockney. I think of him as almost like a kindred spirit to me, with his exploration of perspective in both photography and painting. The way he flips perspective strikes a cord with me as that is something I like to explore in my paintings.

David Hockney:

Above: Created by © David Hockney

Maggie Hamblin:


What past master do you recommend as a starting point?

I think Vincent Van Gough is a great starting point and you are able to see his work at major museums around the world. He has a distinct technique and lends itself to high viscosity/ 3D paints or oil paints and a really appealing subject matter and colour scheme. In addition, his work is familiar with most people and this makes him a perfect first choice.

The artwork below is ‘Sunflowers’ by Vincent Van Gough:


Who are your favourite artists and why?

My first and most enduring love is Picasso and his cubist artworks, exploring colour, perspective and the transition of three-dimensional objects into a two-dimensional framework. I believe art that resonates and moves me on a personal level has the most long lasting influence on my work.

The deepest reaction I experienced was around 1996, when I visited the Tate Modern. I walked into this high ceiling room and was faced with an enormous series of paintings by Mark Rothko. The works and atmosphere had a profound impact and I needed to sit down. After a short time, I read the information on the artworks and the pieces were painted during a dark emotional period in Rothko’s life. Certainly, this was what caused be to feel emotional, it was like the artworks and colours swallowed me into his life. I can understand his need to express himself in this manner, something I have in common with artists such as Rothko.

Every exhibition I have visited has driven my work and have explored a large range of mediums both practically and from academic reading. I have enjoyed viewing Cypriot English artist Tracey Emin’s work, feeling that her freedom of her self and her personal experiences in life move me, as she is such an open book.

In addition, contemporary British painter Jenny Saville and American photographer Nan Goldin, but the artist I feel I relate to and am directly inspired by is the British contemporary artist Maggi Hambling due to her passion for expression of her life and visual diary. Maggi’s work is expressive, fascinating and her passion for the arts and other artists work is something I admire and hope to emulate.

Other artists I would recommend are:

Picasso, Monet, Degas, Dali and Jackson Pollock


How Do I Move Beyond The Masters?

This is hard to answer, but I think you need to consider what art inspires you, what medium you enjoy and what makes you happy. I have written a blog about a simple project idea below:

https://laurahelliott.wordpress.com/2016/09/07/%e2%80%a2-%e2%80%8bartist-project-1-abstract-expressionist-landscape/?preview=true

I have a few pictures below of an original design created by me of a three-dimensional sculpture of a Jesus Lizard, inspired by Picasso and made out of painted, slotted card:

Sculpture Trail 3D Lizard by Laura H Elliott BA (Hons) 1994

Sculpture Exhibition, Wokingham 1995: This sculpture is based on a ‘Jesus Lizard’ and inspired by my ‘muse’ who is Picasso. This piece was made in a jigsaw type of design. Each piece or facet was a piece of cardboard, hand painted and slotted together to make the lizard in this picture. I loved this project and it was very ‘out of the box’ for the project.


All artworks & designs displayed are © Copyright by artist Laura H Elliott BA (Hons), Dip or the artists stated.

Quick Link @ http://www.lhe-art.co.uk

Blog Web: https://laurahelliott.wordpress.com

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• “Forever Grateful” Representing the Poppy & the Royal British Legion

“Forever Grateful” Representing the Poppy & the Royal British Legion

In my own family I am deeply honored and proud of family who has served our country, home or abroad. I have honored those who served from my family at the end of this page.

I created this shadow box design in 2015, but it failed to correctly fire and had to be put to one side. I was delighted that I re-created this piece successfully in August 2017.

This design features a barren land, filled with only dotted red poppies, to represent the symbol of the British Legion, the poppy appeal and the selfless sacrifice given for our way of life today, we are honored to live life freely in the UK.

About the poppy and how it came to symbolise the sacrifice past and present, at home or away:

The British Legion Poppy Logo

It was during the First World War a Canadian physician Lieutenant-Colonel John McCrae wrote the poem “In Flanders Fields”. He was inspired to write it on May 3, 1915 and it reads as follows:

“In Flanders fields the poppies grow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw

The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow”

By: Lieutenant-Colonel John McCrae

Above: Immortalised in marble the poem “In Flanders fields”.

I treasure the way of life I live in the UK and below are a small selection of photographs of my late family in uniform. I will be “Forever Grateful” and love them deeply, as I do all my family:


Sources:

The British Legion: http://www.britishlegion.org.uk


All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

Facebook: https://www.facebook.com/laurahelliottart

Twitter @laurahelliott

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This entry was posted on October 22, 2017, in Art Projects.

• My Guide: Using 925 Sterling Silver As A Base Instead Of Fine Silver Metal Clay

My Guide: Using 925 Sterling Silver As A Base Instead Of Fine Silver Metal Clay

I think I am not the only person who always tries new ideas and ways to include an affordable, yet luxurious alternative to fine or pure silver metal clay. After all, Fine 999 Silver metal clay is expensive. I had a stock of some 925 Sterling Silver connector/ blanks and thought they’d be a new idea.

The piece features a 925 Sterling Silver blank as the base for this pendant, which I decorated with Fine 999 Silver, a swirl of hammered 925 Sterling Silver wire and Paua Shell cabochon.

After it was fired I noticed that it had a great deal of dark fire scale, which took a lot of scrubbing and cleaning.

After sanding, firing, buffing, polishing, waxing and mounting the Abalone Shell cabochon:

I think that I would use this idea in the future, but I will plan the type of background material I use to ensure the following key points:

  1. The final product will be of the best quality
  2. It will shine and the final look has no tarnish/ fire scale remaining
  3. That I consider *how* to ensure that the metal clay added sinters or attaches correctly to the base and looks of a high standard

All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

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This entry was posted on October 16, 2017, in Art Projects.

• My Guide: My Basic Tool Kit For Metal Clay

My Guide: My Basic Tool Kit For Metal Clay

My experience in metal clay has been a fun, steep learning curve and over time I have gathered tools to help. I wrote this guide to help you learn from my experience, to share ideas and places to source products (listed at the end).

Please note: Health and Safety precautions must be taken to protect yourself and others during use and storage of any tools and clay you use or have in stock.


1) Clay:

You need to chose which metal clay you wish to focus on. I advise silver metal clay, though this is a more expensive, due to the ease of use and success rate. I advise trying:

Art Clay Silver 7g (shown below)

There are three types of metal clay products:

  • Clay: Slabs weighed in grams

  • Syringe: Clay with added water which adds a flow and you can use it to stick clay together, dot or place clay in lines or swirls

  • Paste: This is a cross between slab clay and syringe clay, which gives it the ability to build thicker layers and details


2) Basic tools to start creating designs with metal clay?

Simple tools are needed and these are as follows:

* Teflon Mats: A4 and smaller mats to dry designs on

* Cutters: Round, Square, Oval, Rectangle. I recently came across a fantastic mini round set of cutters called ‘Tubey Cutters by Joy Funnel’ which I bought from Metal Clay UK (link at the end).

* Balm: A product that reduces sticking, sometimes called ‘Badger Balm’ featuring lavender or olive oil.

* Hard Clear Plastic Rollers: These rollers are best to be clear plastic, because you can easily see what you are doing through the roller.

* Rolling Slats: The original method used to control how thickly you roll the metal clay in Japan was by using playing cards. I find they are fiddly and so I invested in a set of plastic strips at different thicknesses, as shown below:

* Water Pen: This is a perfect tool to add water in a controlled manner from the water storage part, into the bristles. I also find this useful to smooth edges and to stick layers gently together.

* Carving Tools: These tools enable you to handle clay, gently stick layers and edges. I use a set which are used for wax carving, but perfect for metal clay as well.

* Tissue Blades: I use one that is inflexible and one that is bendable.

* Mist Spray: This is a small mister spray that creates a light, fine mist of tap water.

* Tupperware Containers: I use a lock tight Tupperware container once I have opened a packet of clay, in order that the clay stays at its best condition. I also add general household cling film into the container and spray a light spray mist of tap water into it before closing the lid.

* Cutting Blade: I found that a craft knife, often used for card making and Sculpey Polymer Clay is useful. This must be handled with care and following health and safety precautions

Capture+_2017-09-28-11-46-02-1Capture+_2017-09-28-12-31-48-1

* Perforating/ Point Tool: I found a perfect tool to make holes or designs in the clay.

* Texture Sheets: There are an endless array of texture sheets made out of soft rubber or clear/ opaque plastic


3) Sanding Your Designs

To finish my designs I use 4 different types of sanding tools, taking a great deal of time to remove even the smallest flaw. The sanding tools I use are:

Sanding Paper:


Sponge Backed Sanding Sheets
Sanding Blocks:

Sanding Needles or Strips: Plastic and Metal:


4) Making Your Designs Shine:

* Polishing Wax:

This cleans and shines your work with lots of shinning.

* Agate Burnishers:

These tools use a piece of a genuine gemstone called ‘Agate’ carved in different shapes, mounted onto a wood or metal handle. These tools mean you can get a mirror shine on your work. They come in many sizes and shapes.

I have written a blog about Agate Burnishers you can read by clicking here


5) Setting Gemstones:

Gemstone Tweezers: I thought that any tweezers would be fine, but they do not grip the gemstones properly. I advise you to buy a pair, which will make your gemstones easy to handle and avoid dropping them, thus damaging them.

Bezel Settings: These are machine made cups, which are either fired in place or soldered after firing to mount gemstones, mainly cabochon cuts.

Prong Settings: These are machine made ‘settings’ that look like a crown of sorts, which are fired in place in order to mount gemstones, faceted gemstones. They are sunk into the clay, fired, cooled and then the gemstones are set with gemstone setting tools.

Bezel Wire: This is a thin, rectangular wire which is submerged into an extra layer of clay and then fired in place. Once this is done, you put the gemstone in place and rub or bend the wire over the edges with a metal or agate burnisher. This bezel wire can come in many designs and means you can set both cabochon and faceted gemstones.

Glue: Yes, this is a very controversial option of setting gemstones or components. It is very commonly used in major retailers and jewellery sellers, so do not discount it. It is a simple tool or method to mount your gemstones. I would suggest to use E6000 silicone glue as it is permanent, flexible and does not go brown or brittle.


6) Other Tools For You To Consider In The Future:

Rotary Tools: This tool can range in price from £20 GBP to £200 GBP+. I have found that there is the best/ most expensive in the market by a branded company called ‘Dremel’; however, my years of experience has taught me that even a cheap rotary tool can last and work perfectly well. Mine has, so test the tool by buying a cheap version you can afford is best to test how a rotary tool can help your work. A rotary tool can:

  • Polish
  • Shine
  • Grind
  • Drill
  • Cut


7) Other Types of Metal Clay to Consider:

  • Silver: 925, 950 and 999
  • Copper
  • Bronze: Classic, White and Sunny
  • Goldie Bronze: This powder comes in a huge array of colours, which is hydrated with water to make clay just like the ready hydrated types, such as brands like ‘Art Clay’

Product Sources:

  • Metal Clay UK: They sell a starter kit and many other products along with amazing Customer service

http://www.metalclay.co.uk

  • Cookson Gold:

http://www.cooksongold.com

  • Metal Clays 4 You:

http://www.metalclays4you.co.uk


All artworks & designs displayed are © Copyright by Laura H Elliott BA (Hons), Dip

Buy my work online @ http://www.lhe-art.co.uk

Facebook: https://www.facebook.com/laurahelliottart

Twitter @laurahelliott

Pintrest https://www.pinterest.com/lauraelliottart/

Linked In https://uk.linkedin.com/pub/laura-elliott-ba-hons/6b/959/533

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