Telephone Ring (get it?) A Resin Tutorial

As I'm sure you all know, I do not fancy myself a jewelry designer by any stretch of the imagination, but I do love to make wearable mixed media art now and then.

When I started working with this ring blank from Susan Lenart Kazmer's Art Mechanique line, I intended to do layers of tissue paper, resin, rub on decals, watch gears and clear mica pieces, but once I started looking at the 7 Gypsies tissue paper I'd just purchased, the project took on a life of its own.

What you'll need for this project:

• Ring blank - this one is the ring bezel in bronze from the Art Mechanique line by Susan Lenart Kazmer - the flange around the edge was an integral design element.
• Numbers - I used 7 Gypsies Collage Tissue in "Numero", however, you can easily create your own numbers using a tape transfer technique and images of telephone dial numbers or old typewriter keys.
• Resin.  I prefer 2-part jewelry grade epoxy resin with a 1:1 mix ratio like ICE or Luxe, both of which I use.  Make sure you have plenty of measuring cups and stir sticks.
• Clear-drying adhesive or sealant/varnish
• A steady hand  try practicing by playing some Operation with your little brother.
• Tools:
  detail paintbrush or bamboo skewer
  sharp, small scissors
  something to hold your ring level
• Acrylic craft paint (optional)

As always, start by opening all of your supplies and by cleaning your ring.  I just use a little 90% rubbing alcohol.

When you are working with a deep bezel in a bronze or dark color like this, layers will show up better if you start with a brighter background.  I just dabbed a little paint (I had Golden's Fluid Acrylics in Titan Buff on hand, but you can use any light colored acrylic craft or artist's paint).  

While you wait for the paint to dry...

Don't sneeze.

This was definitely the most difficult part of this project - cutting out the tissue paper and NOT blowing the teeny pieces across my worktable.  I used a very sharp pair of spring handled Fiskars snips, which made cutting the delicate tissue without tearing much easier. I think it was worth the effort though, because the sepia tone of the paper blends well with the bronze of the ring blank.  

Before we go crazy gluing things all over the place, let's take a look at an actual rotary phone.

Those of you under 30 probably didn't have one of these in your house.

magnifying glass is double plus good

If you look at this like a clock, you'll see that the 3 and the 2 sit right on either side of 12 o'clock and the 8 and 9 sit, similarly, on either side of 6 o'clock.  I know you're already noticing that the 5 and 6 are right at 9 o'clock and the 4 and 7 sit in the space left between (the 1 and 0 just drop in line).

I started off at the top of the "dial" with some glue dots to mark where the 2 & 3 would go.  

I affixed the first two numbers (picking them up with a dampened/blotted detail brush) and tacking them down with some clear sealant - just enough to keep them from 'floating' around when I put down a layer of resin later.  Then I moved to the 5 & 6 and then the 8 & 9 before placing the other numbers.

By dotting clear sealant over the top instead of my usual silicone glue, the tissue paper took on a "wet" appearance and blended in with the bronze of the ring bezel even better.  

While the numbers dry, I'm going to bring the base of my bezel "up" by adding a layer of resin.  

But first, a word on using resin:

Mixing resin isn't as difficult (or as stinky) as it used to be, but there is definitely a trick to doing it well.  I always try to work on a dry day - cold and rain don't mean that I can't pour resin, but it makes it that much more tricky.  The MOST important rule - and it is a rule - is to follow the mixing ratio EXACTLY.  Resin is not something you can just eyeball.  It's best to mix an ounce at a time, but since I use resin in small amounts, it's not always cost effective.  However, the smaller your batch, the more perfect your measurements need to be.  

Add the resin first, adding drop by drop and letting the product level out between drops, until you reach your measurement exactly.  In this case, 2 drams or 1/4 fluid oz.

Add the hardener next, again adding drop by drop until you reach the correct proportion.  Since this resin has a a 1:1 ratio, I want EXACTLY 4 drams or 1/2 fluid oz.

Once you have your resin measured out, you can begin mixing.  I've found one of the best tools is a plastic palette knife - they're plentiful and easy to clean off with rubbing alcohol and a paper towel.  Unlike popsicle sticks, they are not porous and are not going to hold any humidity from the air (I learned this tip from jewelry designer Barbe SaintJohn, who uses a metal knife, and it has been a life saver).

I mix the two elements together by scraping the sides of the cup slowly and stirring gently for about a minute or so until the mixture turns from cloudy to clear.  I don't worry too much about bubbles, they usually work their way out before I get to the piece.  After mixing, I pour the resin into a clean mixing cup -a tip I learned from Annie Howes- being careful not to scrape the resin off the sides or bottom and screw up my nice homogeneous mixture.

At this point, you can release some of the bubbles by letting the resin rest for a minute, then tap the cup firmly on a table or other surface.  

For small pieces like this, I just drip the resin into the bezel using my (cleaned) palette knife - you can control the amount of resin much better than by pouring directly from the cup.

You'll have plenty of extra resin, so plan ahead to do something with it.  I coated some of my little handmade magnets with what I had left over from this batch.  

Let this cure on a level surface overnight before moving to the next step.

This little center piece, which just happened to be the same size as the bezel, is what changed the direction of this piece - I realized while I was dry fitting it the first time, that this would make a fun "telephone."

Like the numbers, I affixed this piece of tissue paper to keep it from rotating or curling when I apply resin later.  I used a clear sealant instead of glue - making sure that the unprinted portion of the tissue looked nice and evenly translucent.

I cut the tip off of a larger "5" to
create a dial stop.  Clever girl.

Once the sealant is dry, mix up another batch of resin and place your ring somewhere so the bottom is level.  You don't need a fancy fly-making rig like I have - just put a couple of popsicle sticks over a cup and place the ring on top.  Voila!

Apply some resin around the edge, over the numbers and out to the edge.  Next, use your palette knife to drip resin into the bezel.  You could repeat the layering process and add another element in at this point, but I decided to pour the resin right up to the top of the bezel so it will dome nicely.

You can also bring any bubbles to the surface with a heat gun on low or a hair dryer, but be careful, especially if you've filled the bezel to the top.  

Allow your piece to cure for 24 hours before you move it and 3 days before you wear or ship it. I won't be shipping this one anywhere.  I love it and am keeping it for my very own.

Crafty love,

Krissi

p.s.  Please ask questions if you have any in the comments here - if I don't know the answer, I'll find out or make something really convincing up.

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Revel in your Geekocity!

I understand there is now an "Embrace your Inner Geek" day (July 13th).

OK.  Fair enough....

But in all honesty, I'm not sure I HAVE an inner geek - I think everything geeky and dorky is pretty much out there for all to see.  I mean, I open my mouth and I'm sure people mentally label me DORK! within the first 2.25 minutes.  Maybe less.  I was called an egghead in college for reading Hamlet instead of watching the Superbowl but I figured I didn't go all the way to Oxford, England to do stuff I didn't like when I was in the US!

Of course, there are some who mistakenly label me cool, but I can say with some assurance that they're just as much of a doofus as I am and it is actually an attempt to reconcile their own feelings of being a complete and utter goober with the need to relate.  The cool label also comes from those who have their geek buried  deep within and are not giving it the hugs that it needs.  Heck, they may not even know it's there.

Of course, the worst label we geeks get isn't a word, it's a tone of voice.  Anger.  These people have no geek in them  and, fearing what they do not know, make fun of it - this geekless state is such a frightening concept that I dare not explore it any further.  I liken it to not having a soul.  ::shudder::

Anyway, no matter where your personal geek resides, find it and give it a hug.  And maybe a cupcake.  With sprinkles.

Now go make one of these:

River Song's book of spoilers, aka the TARDIS/time travel diary

Here.  I'll show you how.

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Two Finished Pieces and One in the Works

Here is a picture of the painting I created in almost record time (less than a week) for Allyson Seconds' birthday this -OK, technically last- year.


Allyson is a singer/musician and loves bats, hearts and milagros.  She is also my personal trainer, but aside from the heart itself, that imagery will be saved for another painting.

"A Girl and her Cat" is a piece I seem to have been working on FOREVER.  It gave me quite a bit of trouble since I kept going after I should have stopped.  I ended up sanding the background down and building it back up again.  What a nightmare.

Anyway, my skele-likeness and Skelekitty are now on their way to Atlanta, GA and the "Not You" self-portrait show at the MINT Gallery curated by my pal and fellow artist, Travis "Mr. Purty" Smith.


Finally, as many of us mourn the loss of David Tennant as "The Doctor," I offer you a little piece of cuteness in progress from the 2008 season to help cheer you up.

I've decided to sell this painting of an ADORABLE little fat cell on Artfire when he's all finished, and I fear that there may be something of a scramble when he finally gets listed.

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Putting It Out There

This thread-painted art quilt of my Oscar, the Military Macaw, was the very first piece I ever put in a group "art" (i.e., non-quilt show) show - the January 2006 "National Bird Day" art show in Sacramento, CA.



Since that first night, I gradually increased the number of works in group art shows.  First I showed just with The Scary-Art Collective at Body Tribe where I nervously listened to criticism (positive and negative, but all constructive).





By early 2007, I had started showing at other Sacramento galleries like Side Show Studios and the former 24th Street hot spot, Cool Cat (R.I.P.).




I tried some new techniques and played with new mediums while I continued to find my voice. 









In the last half of 2009, I finally submitted some pieces to out of town (actually, out of State) shows to a positive response.

Now, with four full years of group show experience (not to mention the long list of commissions I just completed), I feel confident enough to consider a solo show.  So I'm putting it "out there" that I'm ready to put it out there - you know, putting it in writing as a promise to myself and so y'all can keep me accountable.





I've already started working on a "theme" involving hearts and skulls with various things growing from them, and we'll see where this leads me. 
So far I'm planning on doing most, if not all the pieces using my pyrography and acrylics on wood techniques.

While I'm working on the pieces, I will also be looking around for a gallery to host this currently imaginary solo exhibition.  Oh, the joy of cold calls, how I look forward to it!   I have a short list of places I'd LOVE to show, a medium sized list of places I'd seriously consider (both of which I'm keeping secret to avoid jinxing myself) and a blank list of places I haven't even thought of yet.

If you have a gallery and would like to talk to me about the possibility of doing a solo show, please contact me with your list of demands.

Wish me luck and inspiration and I'll send some right back to you (I'll send you some anyway).

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FINALLY I Can Talk About This!

I'm sure it will shock each and every one of you to the core when I say that I have a difficult time with keeping information to myself.  I know, you're thinking, "but Krissi, you are so quiet and shy!"  Go figure.

Anyway, I've been working on a commission that I couldn't post updates on since the person it was being commissioned for is on all the same networking sites that I am.  Well, he opened his Chanukkah present (the aforementioned commissioned painting) today and NOW I can spill the (Kosher) beans!


This young man is Samson Mordechai Wezenheid, an applehead teacup Chihuahua belonging to San Franciscans, artist Mim Weisburd and her 'hubbear' Michel Chagall.  Michel describes himself as "married, queer, eco-kosher Jew, San Franciscan, dog lover, baker of challah who works with developmentally disabled adults (no relation to Marc Chagall)."   Thanks so much to one of my favorite people, Mim, for commissioning a piece from me and to Michel for just being yourself and giving me such great material to work with!


I think Samson approves!

As always, you can visit Flickr to see photos of this work in progress.

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Sale!

The skelefied goddess mixed-media painting on wood is home from the October Scary Art Collective show and has been relisted in my online shop.

Pieces of this size (8x10") with such a large time investment usually sell at $100, but because of the economy, I had priced this one at just under $80.  BUT WAIT!  THERE'S MORE!  To celebrate Halloween and Day of the Dead, I will reduce the price by a further 25% when you enter the code SKELEGODDESS at checkout.  The coupon is only good for this one of a kind piece, however, if she sells before All Saints Day, I'll create another special coupon for one of my original pieces.  Deal?

Here's a picture with the piece at an angle so you can see the texture effects. 

 This painting is approximately 8x10" (1/4" thick) and was created using papers, pencils, acrylic paints & mediums, and inks on wood. The entire work is sealed with a low-sheen UV protectant to keep your painting's colors vivid for years to come.

If you are interested, please visit the listing in my Artfire shop, where it is always free to shop and where you are not required to sign up for an account (like that 'other' handmade online site).

Did I mention this would make a pretty danged awesome Christmas present?

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A New Name & Maybe A New Look

Hi everyone!  As I'm sure you have all noticed by now, the name Krissi's Stitchery really doesn't really reflect this blog or the medium of my work anymore.  Therefore, the name, along with the old banner, has gone bye bye:

and has been replaced with the name "Krissi's Studio" (tagline yet to be determined).  Skelekitty's blog, "Skelekitty and Friends," may get a little makeover, but the name and content will continue on as-is.

I thought maybe some of you would have opinions (ahem, or rather, "I KNOW"), so this is your chance to vote on possible backgrounds for the blog.

INSTRUCTIONS (not really much):

1. I am looking for something that captures my artistic style & sense of fun, as well as the spirit of my blog's content.
2. Remember that text will be covering a good portion of the image
3. Post your likes, dislikes, suggestions in the comments section, on Flickr, under the facebook post (if you're reading from there) or send me an e-mail.  Whatever form of communication you like is fine with me.
   

And now, in no particular order (click on images to view details):
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I started with a few and then got totally overwhelmed and ran out of steam.  Therefore, if you would like to suggest another (non-Skelekitty) image, please feel free to write your candidate in!

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Because I Need More to Do

Those of you who have been following my Flickr photos or blog posts for a year or more are familiar with the "Les Petites Dolls" techniques class I took online with Suzi Blu exactly one year ago.


Just the layering techniques I picked up in that class were worth the cost of the class (and then some). We also learned some drawing techniques from her and for the first time, I drew people. OK, they were VERY stylized ones that looked a LOT like Suzi's (with a wee bit of "Krissi-ness" insinuated):


Since then, I've taken classes and workshops from several artists and crafters and experimented with some new ideas (some worked, some failed). Having added what I learned there to the info from Les Petites, am thrilled to say that I've been working on developing my own unique and recognizable style.





It would be SO easy to sit back and keep making the same stuff over and over again, but I'm pretty sure it wouldn't be fun. In the spirit of my new life-axiom, "Never stop learning or trying to do things that don't come easily," I've signed up for yet another Suzi Blu workshop. This time I am taking her portrait & journaling class, "The Goddess and The Poet." I already kinda want to pull my hair out.

Pretty easy:


More difficult:





Thinking of throwing the Moleskine sketchbook out of a moving vehicle:




Why was it that I thought taking a portrait journaling class would be a good idea?

Oh yeah, BECAUSE it wouldn't be easy.

Right. (Brilliant.)

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