Tag Archive | Gallery Fifty Five Holt

• Commission a painting by Laura H Elliott from the ‘Landscape Moods Collection’

Commissions Are Always Welcomed

I am always delighted to create commissions, as I see each piece as a collaboration, which creates a personalised and truly unique final painting.

How do I place a commission order?

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

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: size, any of my art you love, colour scheme of your home or project and then the commission process starts.

What can I expect?

All my artworks are available 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 artwork is of the highest standard. I have never had a return and every artwork is painted on a high quality canvases by either Loxley or Winsor Newton.

Every artwork is hand signed with my initials LHE, as below:

Inspiration from the collection, so far:

Shown below is a slide show for inspiration from my portfolio of paintings in the ‘Landscape Moods Collection’:

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Are there different paint effects?

Yes, every painting contains a unique combination of effects, with each effect adding a dimension to the final painting. Should you like any effects, they can be added to your commission:

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Feedback From Commission:

Type: Painting Commission

Location: New York, USA

“I recently purchased a beautiful piece of art from Laura Elliott. Not only was the piece exactly what I wanted, but Laura handled the whole transaction very flawlessly. I was looking around for something colourful and luckily stumbled upon this website. I saw something I loved but when inquired about purchasing it, Laura told me it was already sold. That certainly didn’t stop the search and Laura quickly responded saying she could paint one like that if I was interested and I could even choose the colours.

The next few interactions with Laura involved choosing colours and getting a proof of the painting before I had to commit. Paying was very simple through Pay Pal and we managed to come to a financial arrangement that fitted my budget. The painting was couriered as soon as my payment had gone through and it arrived within a few days. The whole transaction was dealt with very professionally and was very simple. Laura is an enthusiastic and energetic artist who has a passion for what she does. I could feel this through the friendly and personal e-mails we exchanged while she was painting my special piece.

Thank you Laura.”


See more about my work at:

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

My artwork gallery link is below:

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

To read more customer feedback:

https://laurahelliott.wordpress.com/customer-feedback/

Contacting Laura H Elliott BA (Hons)


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/

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

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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:

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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/

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

• My Guide: The Worst Kiln Ever Bought & the Perfect Replacement Kiln

My Guide: The Worst Kiln Ever Bought and the Perfect Replacement Kiln

It was back in 2012 that I took an exciting new step in my artistic works, by starting to create mini landscapes in metal clay. I then decided to buy a kiln; however, this was a step I did not properly research and the consequence was my choice to buy a cheap, generic, untested and un-recommended kiln.

The beauty of having your own kiln is that you can fire multiple pieces at the same time and you can fire larger pieces of work. In addition, you no longer need to fire your metal clay with a blow torch on a firing brick, which takes a painfully long time. The piece below was one of my first simple bowls I created, featuring metal leaf, which was later sold with my representative gallery Degreeart.com.:

Above: ‘Fallen’ by Laura H Elliott – Sold with Degree Art Gallery

Later on I created a larger design, a clock made from two slabs of clay and a copper sheet, shown below:

Above: ‘A Stitch In Time, Saves Nine’

When I bought the kiln I really only looked for the most affordable kiln which offered me with the most space. I came across a generic or none branded kiln and bought it. My kiln was shipped to me by courier and the first one arrived damaged. The company delivered me another kiln and I began to use it. Having no knowledge about kilns and no advice really meant I was buying ‘blind’.

As you can see, the element was in-set into the back of the kiln wall and you could see the element turn bright orange when you opened it, having fired your work. Having the element exposed in the back wall created just 1 of number of issues, all detailed below:

1) The Hole In The Door:

The most dangerous aspects of the kiln lay in the instructions. The kiln stated that the small hole on the kiln door could be used as a peep hole.

Warning: Do NOT look through the hole in the door!!!! To look into the kiln would be absurd, as you would need to get so close to see anything that you would damage your eyes.

This is a crazy suggestion so please do not do this. This hole is a vent for smoke and a way oxygen enters the kiln during firing. Every kiln has a vent hole to remove fumes as shown below; however, this is not a viewing hole!! You can see in the left picture below that the hole glows red during firing, so always a danger sign:

The image below is the Prometheus Pro 7 kiln and the image below shows the muffled viewing hatch:

2) Keeping The Set Temperature:

The kiln temperature during firing was never even. The front of the kiln was cooler than the rear, thus causing uneven firing. This meant my hard work creating metal clay designs where ruined 6+ times due to the temperature difference (see below):

3) The Dangerous Element:

The element was open and vulnerable to damage. Eventually the element burnt out and was irreparable (see below)

4) The Element/ Heat Distribution and How It Broke Down:

Surrounding the element was firing brick and as the kiln was used the rapid temperature change cracked the bricks. Once the bricks where cracked this meant the temperature was even more uneven (see below):

The Prometheus Pro 7 kiln has a muffled design which distributes heat throughout the kiln evenly, as shown below:

5) The Dangerous Door:

The door was very hard to open and shut which is very dangerous, especially at temperatures of 900 degrees (see below). The door was covered with a thin plastic covering and went soft and was NOT heat-proof. I had to use my Kiln gloves to open the door to avoid being burnt.

In comparison, the Prometheus Pro 7 kiln has a lift door, much safer if you lift it fully back, slowly:

6) The Outside Surfaces of The Kiln:

The external surfaces of the kiln where dangerously hot. I suspect that this worsened as the firing brick wall cracked, broke the element and would no longer work.

7) Controlling The Temperature:

The kiln temperature it stated on the controller was incorrect and was always firing about 150-200 degrees higher. This caused my work to be ruined. In addition, during the allotted firing time the temperature never stayed at the same level.

So…out with the old and in with the new…

…The Prometheus Pro 7 PG kiln:


This kiln is of “muffle” construction which means that the element is wrapped around the chamber and so is safely hidden away, leaving the kiln safe to use without a door switch.

Above: Image Courtesy Cookson Gold

Prometheus Pro 7 Official Kiln Text

About this kiln:

“Prometheus 7 Programmable Kiln is our larger kiln (similar in size to the Paragon Lilly Kiln and Paragon SC2), suitable for both personal and professional use. It is perfect for Art Clay, PMC, and glass fusing. It is also great for enamelling, low fire ceramics, and china painting, as well as annealing and hardening silver, gold and other metals.

It’s a 1100°C front-loading kiln, with a built-in, easy-to-use, 3-key digital programmable controller.

PROGRAMMABLE CONTROLLER

The programmable controller means you can set what temperature you want the kiln to fire at (target temperature), and also tell it how fast you want it to heat up (ramp speed), and how long you want it to hold at the firing temperature (hold/soak time), and the kiln will then turn the heating off once it has completed the programme. If you want you can also say how slow it should cool down, and if it should hold at a temperature whilst cooling down.

You can set 9 programmes, and each programme can have up to 8 segments. A segment could be like this: heat up at 300° C per hour, until you get to 800°C, then hold that temperature for 45 minutes.

To be able to set several segments with different heating speeds and temperatures are very useful if you’re firing base metals, like copper and bronze (where you want to heat up slower and hold steady to burn the binder out at a lower temperature before the full firing at a higher temperature), or doing glass fusing (which needs a slow heating, and a slow cool down, with a soak/hold at a low temperature to anneal the glass once fused).

A good thing with programmes is that you only set them once, and they will stay there until you change them. So you could set one programme for firing silver clay, another for fusing glass coasters, and another for that perfect BRONZclay firing schedule you’ve come up with.

This kiln has a Orton AutoFire Express Digital Programmable Temperature Controller (like the one on Paragon, Sierra, and Evenheat kilns) which is programmed exactly like the one used on the Paragon SC2 Kiln.”


Sources and Recommendations:

  1. Cookson Gold: http://www.cooksongold.com/
  2. Prometheus: https://www.prometheushobby.com/
  3. Prometheus Kilns: https://www.prometheushobby.com/Kilns/Prometheus-Kilns-PRO-7-PRG-p123c59.html

All artworks & designs displayed are © Copyright artist Laura H Elliott BA (Hons)

Laura Elliott represented by Degree Art Gallery: http://www.degreeart.com/artists/laura-elliott

‘Laura Elliott BA Hons – Artist & Metal Clay Designer’ Facebook: https://www.facebook.com/laurahelliottart

The Palette Pages Artist Interview Laura Elliott: http://www.thepalettepages.com/2016/03/28/lauraelliott/

Laura Elliott Art Website & Blog: https://laurahelliott.wordpress.com/

View my Professional Profile at Linked In: http://www.linkedin.com/pub/laura-elliott/6b/959/533

#art #britishlandscapes #britain #landscapes #buybritish #laurahelliott #lhe #painting #metalclay #gemstones #artgallery #gallery #flux #fluxexhibition #degreeart #mardleyburygallery #painting #artlover #artist #artwork #artcollector #contemporaryart #originalart #ownart #rca #contemporaryart #originalart #prometheus #prometheuskiln

• 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

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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

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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

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

• My Guide: An Introduction To Metal Clay

My Guide: An Introduction To Metal Clay


What is metal clay?

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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. 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.

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Above: ‘Spring Blossom’ feat Red Garnet, Amethyst, Citrine, Blue Apatite and White Topaz

The piece below is pre-firing Prometheus copper metal clay:

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Above: Pre-fired piece from the ‘Landscape Gems Collection’

The following image shows post-fired Prometheus copper metal clay which has sintered into solid copper. A sheet of solid copper in the middle as a comparison:

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Above: Prometheus Copper Metal Clay after firing. In the center is a solid sheet of copper as a comparison.

What work do you create from that medium?

LE004-ShootingStar

Above: ‘Wish Upon a Star’ feat Tanzanite, Fine 999 Silver Metal Clay & 9ct Gold Plated 925 Sterling Silver
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.

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Above: ‘A Stitch in Time, Saves Nine’

My metal clay work has enabled me to indulge my love of sparkle and genuine precious and semi-precious gemstones in both faceted and bead form. I personally source all the gemstones I use, which include: Diamonds sourced via the ‘Kimberley Process’ (faceted and rough), Ruby, Garnet, Emerald (Brazilian and Colombian) and my personal favorite gemstone which is Paraiba Tourmaline (from Mozambique).

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I have called this series of jewellery the ‘Landscape Gems ‘ series which is sculptural and organic which are designed with a range of media, including: high quality 100% genuine gemstones, gemstone granules, gleams, mica powder, solid silver, enamel and recycled elements such as vintage watch parts. I additionally incorporate media such as metal sheets, gemstone settings, wire, beading thread, metal findings, charms and polymer clay. Each of these mediums provides me the opportunity to further develop and enhance the beauty in each piece of jewellery in this series. By combining all these elements it, therefore, enhances the unique fingerprint of Mother Nature found within all genuine gemstones featured.

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My artwork and jewellery both explore colour and form and I feel that one informs the other. Metal clay is such an exciting progression and this medium allows me to further explore my distinct signature painting style within a three-dimensional framework.


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

View my professional gallery of works at: 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

• My Guide: Saving Your Paint Brushes

My Guide: Saving Your Paint Brushes ~ Acrylic Paint

I know our brushes will not last forever, but they are our tools of the trade and they last longer when cared for correctly. I have learned the hard way and now have 20+ year old brushes I use today, as I changed the way I handled, cleaned and stored them. I think, the better you care of them, the more money you save as brushes are expensive investments.

BEFORE CLEANING:

Here is the way I clean and care for my brushes:

  1. Leave used brushes in water to make cleaning acrylic paint easier.
  2. Wash each brush separately as holding all your brushes in one hand means they damage each other.
  3. When you wash each brush, run the cold water over the bristles and use your fingers to separate the brush fibers to rinse the paint out until the water runs clear.
  4. While rinsing the brushes use a moisturizing or brush cleaning soap by stroking them across the soap. Hold the bristles and gently move the handle to create suds to create a foam. Doing this, will gently push the soap up into ferrule, deep in the bristles, to clean away any paint that is there.
  5. Rinse the bristles thoroughly.
  6. When the brushes are still wet, gently use your fingers to put the bristles into their original shape. If they are flat edged then pinch the flat edges between your fingers to re-create the chiselled edge.
  7. There are two ways to dry brushes : standing them handle down in a brush ‘rack’ or lying them flat on top of kitchen roll or a towel.
  8. Once completely dry storing the brushes in plastic brush tubes protects them from any damage or being transported.

AFTER PHOTOGRAPHS:

My Natural Bristle Brushes After Deep Cleaning

My Natural Bristle Brushes After Deep Cleaning – Although they are not new looking they are 80% clean as they are old and used every time I paint.

Goats paintbrush re-shaped after cleaning

Laura H Elliott BA (Hons) Art

Paintbrush re-shaped after cleaning

My essential brush

Paintbrush re-shaped after cleaning

My top tips on caring for your brushes:

  1. The key to cleaning your brushes is not to use warm or hot water. The heat hardens the paint and makes the task more difficult.
  2. Don’t leave your brushes so that the paint drys as it makes cleaning harder and it is best to only have the water covering the bristles.
  3. I find if the brush handles are in the water the wood, handles absorb the water and this starts to crack and peel or crack the varnish which then breaks off.
  4. Some alcohol based brush cleaners dry the bristles as well as cleaning them. They can be useful for dried on paints but use them with care.
  5. Don’t rub brushes on or at the bottom of your jar or water palette as this will damage the brush. See below:

wp-1465323270587.jpg6) Blot them with kitchen roll or a towel.

7) Dry your brushes naturally in the air. Heating them on something like a radiator is not good as the bristles and the varnish on the handles can get brittle.

8) If there is paint stuck in the bristles, use a very fine tooth comb/brush, as shown below

Steel Comb For Combing Out Dry Paint

9) If there is dried on paint, there is many products on the market you can try.

What brush cleaners do you use?

I mainly use the ‘Colourful Arts Brush Cleaner and Preserver’ brush cleaner which does not dry the brushes out and is not abrasive. Shown below:

Brush Cleaner

The brush cleaner I use for stubborn paint, which I feel is a efficient cleaner with a slightly mild exfoliation type of product called ‘The Masters Brush Cleaner and Preserver’. I feel it is okay to use, but my brushes are getting dry. I will keep this to combat dry paint on brushes due to its abrasive qualities, but I need something that cleans and moisturises, a bit like a facial cleanser.

Brush Cleaner

The following Winsor Newton Brush Cleaner works well for me. It removes the hard, stuck on paint from one of my most used brushes which is a 3 inch hog hair brush. It isn’t expensive, but creates the effect I want when I paint and I have been unable to find a replacement. The following Winsor Newton Brush Cleaner works well for me:

Laura H Elliott BA (Hons) Art

This is the Winsor & Newton Paint Brush Restorer Official Product Information:

“For dried acrylic, oil, and alkyd colour, this is a non-toxic, biodegradable, non-flammable, non-abrasive, low vapor product that safely and easily cleans both natural and synthetic brushes without damage to the brush head. It is not recommended for use on painted or varnished surfaces; contact with brush handles should be avoided. Not for use with polycarbonate or other plastic surfaces.”


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

View my professional gallery of works at:

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

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• My Guide: Learning from Metal Clay Disasters

My Guide: Learning from Metal Clay Disasters

Art is always a dose of luck and a large portion of experience.

Nothing more was true when I set myself a goal to create a metal clay clock, with a completely different technique and design. This was my key piece of work for my exclusive collection of work at The Royal College of Art at Flux Exhibition, London, UK.
The clock was to contain the following key components:

  • Copper metal clay
  • Sheet of Copper metal
  • Brass nuts and bolts x 4
  • Clock mechanism and clock hands
  • A simple, metal stand
  • 224 carat Labradorite round cabochon genuine gemstone

Above: The stunning 224 carat

Labradorite round cabochon genuine gemstone as the central feature of the clock. It took me many tries to get the clock to work!! This is especially the case, now that I reflect on this process.

THE FIRST DESIGN:

My first attempt to create this clock using 400 grams of Copper metal clay only with a sheet on 0.8 thick Copper sheet 15 x 15 cm. I rolled the clay into 2 tiles each using 200 grams each and I engraved the detail of trees, horizon and other details. I realize now that the clay needed to be thicker and use more clay. Once I fired this first attempt, I realized that the detail I had scored into the clay split during firing and both sheets where bowed.

Above: This was too thin and I carved the clay too deep, so it split and you can see daylight through because of the split clay

THE SECOND DESIGN:

In the second attempt I used 300 grams of clay for each tile. One this design I used a flowery texture sheet, used syringe clay to add the trees and details.

Above: It wasn’t fired correctly and it crumbled!

This piece was ruined for 2 key reasons:

  1. The texture pattern de-personalized the design and took away my personal touch.
  2. My kiln was one of the worse purchases for this medium. This meant that when firing the tiles could not be fired flat. The kiln also, unbeknown to me, was not firing hot enough. When this second design was removed it was brittle, not sintered or under fired and meant to split and fell into pieces.

THE THIRD AND FINAL DESIGN:

Here are a few pictures pre-assembly:

And… this is the final design below:

A Stitch In Time, Saves Nine’ by Laura H Elliott

'A Stitch in Time, Saves Nine' by Laura H Elliott BA (Hons)

‘A Stitch in Time, Saves Nine’ by Laura H Elliott BA (Hons)

Above: The final piece ‘A Stitch In Time, Saves Nine’ by © Laura H Elliott BA (Hons)


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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