Adding Dimension to a painting with Creative Paperclay®

I wanted to paint a face with raised areas so after sketching in the face with a pencil, I started adding in Creative Paperclay® to the features of the face.

SUPPLIES
Creative Paperclay®
Panel
Acrylic paint
Cookie cutter
Mark making tools

After the paper clay dried the next step was to block in the face with paint. Because my paintings are like doing a puzzle, I started placing objects for size and to see if they would add to the story.

I rolled out some clay on a sheet of plastic and used the cookie cutter to create the shape. Use different mark making tools and stamps, I added the design in the clay. Last, I took a wet paint brush to smooth out the edges. Normally, I use my fingers but because of the detail I used the brush.

This is how I work when I paint. A little here and a little there.

Dream in color!

Darlene Olivia McElroy

Blue Flower Grass - An Experiment in Art

A few months ago I was lucky enough to receive a copy of the book Artful Paper Clay - Techniques for Adding Dimension to Your Art by Rogene Mañas for review.  I really loved this book, and was excited to try the techniques, but at the time, was living in a hotel room while we looked for a new house.  The day finally arrived that we had our new home and I had my art supplies back (Hurray!) so I decided to try the technique with a three-dimensional project of my own design.

Sisyrinchium demissum - stiff blue-eyed grass

For this project I used:

Creative Paperclay® modeling material
a 5 x 7 shadow box
gesso
acrylic gloss medium
acrylic paints
rubbing alcohol
sculpting tools
wood scrap
sandpaper

 I started with a simple sketch of how I wanted the flower placed.

I prepared the two background pieces - one of illustration board and one of wood, by cutting them to size and coating them with gesso (I had more gray gesso on hand than white, so I saved the white for the clay coating)









The upper piece is cut at an angle so only the edge of the wood will be visible, helping to create the illusion that the piece is floating against the background










I taped the larger background piece to a work board, masking off the edge that was needed to fit the board into the frame.

Clay was rolled out to approx. 1/8" thickness and applied to the board, then I pressed in random lines to indicated grass.











I wanted to have more texture in the background, so rolled and crinkled up some Kraft paper and pressed that into the design at various intervals.

















Here is the first background piece, set aside to dry.

I sculpted the second background piece, flower, and stem separately.

When the large background piece was dry I cut a frame into it, per my design.

When the other pieces were dry, the edges were cleaned up, and some of the sections were sanded.

All of the pieces were given a coat of white gesso, then glued together and given another coat of gesso, then two coats of clear medium, as per the instructions in the book.

Next the scary part - painting the entire thing with Mars Black and allowing it to dry.

After the paint was dry, the top layer was removed with rubbing alcohol and then I started adding color to the piece.

















I colored all the layers, then decided the background was more of a distraction than an enhancement, so added a dark wash of green over it.

This is the final piece, with the darker background and with highlights added to the grass stem, some of the grass, and the flowers.

I enjoyed creating this piece and trying the new techniques.  This was one of those cases where the work didn't match my vision of it before starting, but that's okay, I learned new ways of working with clay and acrylic paint, and I will definitely be trying these techniques again.

Thanks for joining me here again!  As always, play, experiment, and have fun!

Tori

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Tori's Tip - Bones, Horns, & Teeth - Painting Surface Finishes

Hi friends! Last month I gave tips for painting on Creative Paperclay® modeling material, and mentioned how the surface texture makes a big difference in the paint absorption.  This month, in preparation for my project at the end of the month, I want to show you an example of some of the surface texture finishes as it relates to making realistic bones, etc.  These techniques are great for adding dimension and texture to other projects as well, of course.

In the example above, some bands of a burnt umber wash have been painted over clay that was dried then sanded to various levels of surface finish.  I used the sandpaper in one direction only to create the grooves of various sizes - this is how the growth lines (and rings) are created on horns. It is also a good technique for adding texture to leaves, flowers, etc.

For bone finishes, what you choose will depend on whether or not you want the bones to look worn, what age and level of decay you want them to appear as, and what area of bone you are creating.  I may have said this a few (hundred) times before, but I'd like to say again that Creative Paperclay® modeling material is great for making bones, horns and teeth of all shapes and sizes!  Often, you don't need to do anything to the clay at all after sculpting it, other than give it a wash of acrylic or watercolor paint to bring out the sculpting details.

 In these photos of a miniature dragon skull, you can see the different finishes between bone, horns, and teeth.  The horns have lines made from the sandpaper, and have also been rubbed with paper to make them slightly shiny.  The teeth have been polished.








   To polish the clay, use fine grit sandpaper, then a piece of torn paper bag to buff the surface, and finally a piece of newsprint or packing paper.  Paint a wash over the clay, then polish again after the wash is completely dry- repeat as necessary until you have the desired effect.

For the miniature cattle skulls, you can see that the lines along the horns follow the shape, and the teeth are polished.  The skull bones were lightly sanded with 320 grit sandpaper stuck on a shaped toothpick.  I think the dirty greenish yellow cow teeth took three or four washes of various tints, polished in between.

This little (less than 5.5" tall) skeleton
was shaped with files and lightly sanded

and this one is a life-size pose-able hand - the clay was only lightly sanded to shape it, and it was painted with a light coat of gesso, then washes were added.  This is a good technique to use if the piece is going to be used in an area that is not well lit, as it will make the "white" of the bones stand out a bit.   This was one of my Halloween projects for the Design Team last year.  If you want full directions, including a pattern, click here  (The project is easier than it looks!)

Thanks for joining me here again!  As always, play, experiment, and have fun!

Tori

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Tori's Tip - Watercolor Painting Pointers

Last month I showed you a flower image burned into Creative Paperclay® modeling material.  This month I'm going to show you how I colored it with watercolor paint and give you some pointers on using watercolor paints on dry clay.

This is the piece I started with - the dry piece of clay was sanded smooth before I burned the image into it.

My first pointer is to make some extra pieces of flat clay to use for experiments and practice.  Try painting a wash on a section of clay that hasn't been sanded, then try it with various levels of sanding up to a smooth finish.  The paint will be absorbed quickly into the un-sanded clay, which will make it more difficult to create a smooth wash.  I like a smooth, but not polished, clay finish for painting on, but it is somewhat a matter of personal preference.

This is the first wash of color -

The second pointer is to wet the area, apply a wash of paint, then spread the paint with the brush.

In this case, it is easier to keep the watercolor in the areas I want it to be in, since the burned image lines are impressed in the clay.

Here a couple of additional layers of paint have been added.

The next pointer is - let the watercolor dry before the next layer of paint is applied, and don't let the clay get too wet, or you may end up brushing the paint off instead of putting it on.

Now the final paint layers & washes have been added.

The tip for this final step is - use the warning in the last step to create highlights or paint a lighter color.

I "erased" some areas that I thought were too dark by lifting the paint off with a wet brush.  I decided the leaves also needed more contrast, so I lifted some paint off of a few areas and then added a light yellow/green wash on those areas.

Thanks for joining me here again!  As always, play, experiment, and have fun!

Tori

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Painting Techniques And Tips for Creative Paperclay by Gloriann Irizarry

Hi my dear friends, followers and collectors is me Gloriann Irizarry once more with great tips and painting techniques. I wanted to share the many ways you can paint your Creative Paperclay.

 I had try many different ways to do this now I wanted to share them out so you can choose your favorite technique on your next project.

Here is the Genesis Artist Colors

Oil paints that will stay liquid until they are heat set.

I really like the Genesis paints with the paper clay projects.

I can create layers of details heat set them and work with another layer and not be afraid to smear or damage all the details.

It really adhere well and is absorb very nicely.  I like it because it doesn't peel off once is dry and can be easily seal with flat, gloss or mate spray sealant.

I use the Genesis paint in this Project and satin sealant.

Same here this other bunny I used the Genesis heat set paints. I love how well the paint adhere to the clay evenly. First layer is finished and set. Now will be send to the more painting details. 

In this project the bunny was painted with the Genesis heat set paints and seal with glossy sealer.

Here the bunny was painted and seal with mate sealer. The other details were glued and it took very well. No peeling off chips or white spots shown.

For this little Cupid I use the genesis heat set paints once more. I love how easy it is to blush by diluting the paint with mineral oil.

I heat set the body and then work on the details then heat set it once more.

Another technique is adding alcohol inks to the clay and mix it with the paper clay.

I also like this way because you can color the clay before you sculpt.

This will make it easier to add details and don't have to worry about having a uneven coat of paint over your project.

 Here you can see the difference on these 2 sculpts. They are the same shape but using the inking techniques. It dries beautiful . Have in mind to add enough ink to your clay and remember it will dry a tone lighter.

Now here is one of my FAVORITES ever. Sakura hobby craft 3d crystal lacquer and Terri Sproul Mixers by Sakura Hobby CraftsThis paint you mixt it your self. I start with the clear 3D crystal lacquer and your favorite color of the Terri Sproul Mixers.

I can add has much mix to the lacquer until I have the right tone. 

 Once ready paint over your Project. Sakura 3D lacquer is water base. I like to use old brushes, because the lacquer will dry quickly and will need to be wash very well after each use.

It gives a very nice metallic look to any Creative Paperclay creation and will add dimension to any detail you paint with it. 

Let now talk about the acrylics. There so many brands and shines you can choose from. I try to stay away from them because it usually required 2 coats for the pigment to look best and sometimes if peels off showing white patches. But with practice and used you will learn how far you can push it.

The better quality paint you use the better results you will get on your final pieces.

For brighter colors I use 2 coats sometimes even 3 to get a even bright tone all over the piece.

Sealer will also help you achieve the look your trying to achieve. 

Glossy, flat, frost or mate have in consideration the colors might change once they are applied.

For a more natural skin tone I like to use satin tones. These paints will not shine has much with the light and will give your figure a more real skin feel. For skin tones sealer I prefer frost, flat or mate sealers to make sure it will not look fake. Try and see which one you like the best.

I use the liquitex mostly for small detailed projects. The pigments are a lot stronger and it doesn't required has many coats to achieve a nice even tone. 

I love pearl tones over my Creative Paperclay projects. There are many acrylic paints now out there with this great translucent look. I got my self a nice package of the Martha Stewart Pearl Acrylic Paints but feel free to try others and choose your favorite. Now if you dont find your favorite color tone out there  in this wonderful pearl effect you can create your own too. Is very easy to make. Mix and create your own one of a kind color. Once your satisfy you get the Terri Sproul Mixer Shimmer Mica tone and add a little them mix. Now you can keep adding more and more until you achieve your favorite pearl tone. 

Here are some pieces painted on the Pearl Effect Acrylics.

The more coats applied the more brighter will look. I like to seal with glossy to enhance the light tones on the piece and make it more attractive.

Glossy sealed pieces made by Gloriann Irizarry 

Well I hope this help you choose your favorite paint method and feel free to leave a comment or email me any questions at Gloriann@byglori.com

remember to have a bless day and happy crafting. 

Your blogger friend 

Gloriann Irizarry