Freshman Year -- Drawing 1 Art Dump

Pegasus Carousel Horse
Last fall was my first "real" drawing class!

My junior (or was it sophomore? I am going crazy!) year of high school I took art classes from a local artist who taught from her basement, but she focused on giving me some some challenges and then just letting me have at it while she (and occasionally another student) also worked. I found that very helpful-- I had never before worked on artwork in the same room as someone else working passionately on a piece of art. She was very encouraging and helped me tremendously, but it wasn't a traditionally structured class.

(For new readers: I was classically homeschooled from sixth grade and and absolutely loved my education. I am not the least bit sore about not taking any "real" art classes. There simply weren't any available in our town, and homeschooling gave me the freedom and drive to pursue art in my own time and on my own terms. I spent a good deal of time drawing and painting, but even more time learning artisan crafts like the jewelry that I sell in my Shoppe. This opportunity to start my own business doing the things I love was amazing, even more so because my family has basically zero artistic background and yet my parents still supported me.)

I still don't know how I feel about my first drawing class. Structured art classes are an interesting thing. On one hand, being forced to sit and work continuously for three hours twice a week (plus homework), helped me out of pure brute force. By taking Drawing I and 2D design in the same semester, I spent more dedicated time on artwork than I ever had in the past.

Being able to make art for SCHOOL and not feel guilty about working on art before finishing other homework is the coolest thing ever.

Art classes are held in an old brick food factory a twenty-minute bus ride away from campus. The room was oh-so-lovely and weirdly creativity-inducing in a dilapidated kind of way.



We got to sit at the most uncomfortable wooden art-horse-benches in the world (who the in world came up with the idea of straddling a wide slab of wood while leaning forward to draw on paper which you clamp onto another sheet of wood, which stays still only by magic and lots of muted swearing?). I loved the days when I got to class early and requisitioned an easel and stool. No sore back!


My favorite thing? We were allowed (and encouraged) to wear headphones. I started off just listening to music, but then discovered the joy of audiobooks. It's true that I do have some slight processing issues-- mostly because I'm such a visual person that 90% of my attention goes to what I see and I easily lose track of what I hear. However, I listened to some books that I've read before and the lack of skim-reading and the beautiful narration brought another dimension to the stories.



Drawing I consisted entirely of charcoal still lifes (except for the homework and final) with no pencil underdrawings or anything. By the end of the semester, I felt like screaming:

"I HATE CHARCOAL"

"WHY DID EVERYONE LET ME RIDE THE BUS BACK TO CAMPUS WITH CHARCOAL ON MY FOREHEAD, CHIN, AND NOSE? WHERE IS HERMIONE WHEN YOU NEED HER?"

"WHY THE HECK DOES MY PORTFOLIO CONTAIN ABOUT TWENTY DRAWING OF GOURDS WITH ELEPHANT TRUNKS, SHOES, VASES, AND BOWLING BALLS?"



(Also, don't forget the chairs).






Click "READ MORE" to see the rest of this post!


At first, I desperately wanted to make my own still lifes. But life for an artist looking for a job doesn't consist entirely of making the coolest, most personal art your whole life.

I believe that it is important for an artist to make a distinction between personal work and work work. Personal work is incredibly fulfilling and enjoyable, and you can obsess over it all that you want. Work work can also be fulfilling, but you are (at least in part) catering to someone else's desires, usually with a deadline. Work work needs just as much dedication and attention, but you have to always remember that it is work work. Otherwise, you will drive yourself crazy and feel creatively stifled.


Once I realized that I would not be making any grand masterpieces in that class, I gave myself the freedom to focus on learning everything I could from simply practicing techniques. So I have to draw another anatomically incorrect headless mannequin bust?



Whatever. Let's see if I can focus on perfecting the lighting and making the charcoal blend smoothly. Focus on better contrast.



How much did I actually learn from that class? I'm not sure. The professor was nice enough and gave me some helpful tips. However, she decided to pick me and one other student to be teacher's pet, and that made the class atmosphere a little tense.

I've actually had fellow students tell me that they really want to hate me but I'm too nice for them to do it properly. I can't tell if that's a compliment or some sort of passive aggressive statement, but considering that the people who said it were very friendly and talented themselves I'm taking as a sort of compliment.



One thing that I DON'T miss are the critiques. Every art class I've had with the exception of Drawing II has a weekly or biweekly critique session that lasts an eternity in one second. To quote John Green, some infinities are bigger than others. Art critique infinities are the biggest I know.

Who knows? Maybe once I've graduated and have all those sessions under my belt, I'll actually appreciate what I learned from them. Right now? I'm glad it's summer vacation, as far as critiques are concerned.



This bicycle drawing is my favorite piece from Drawing I! It took a couple of weeks... plus weekends. Unfortunately it looks best close-up. I had some difficulties making it look very cool from a distance. So try pulling the full-size picture up on your moniter if you feel like it. The drawing is quite big like all the pieces from this class. It's 18" x 24" I think.


Here's just a couple more pieces: a really poor self-portrait (I CAN'T DRAW MYSELF) and some sort of taxidermy animal on load from Bass Pro Shops. 

There were many more drawings but for the most part rather boring so I won't bother photographing them all!

Oh, fun fact: This beauty is written above one of the toilets in the art building:





Most of our homework had a weird theme: carousel horses.

Thankfully I really like carousel horses.

I even took my siblings out to a local carousel one weekend I was back home, so I could get some reference photos!





The finals project was to create a super-huge drawing of a carousel-horse hybrid. What did the hybrid have to be? Just about anything. Some of the more interesting ones were a skeleton, a centaur, a flowering vine, and a lamp shade.

I opted for a pegasus.



THIS THING IS HUGE.

(The flash washed out the colors but at least you can see the size).

YES THE WINGS ARE NOT MATHEMATICALLY POSSIBLE. My dad is an engineer and kept pointing it out, but 1) I have no idea how to draw wings to begin with and a huge drawing like this isn't the best start, and 2) the HUGE paper was not huge enough! :)

I did it in chalk pastel (my first chalk pastel work since fourth or fifth grade), and it took ages. I kept having to check out the conference room in my dorm in order to get a table big enough to work at.





Chalk pastel gets EVERYWHERE.


Handy dandy Nupastels, I do love you so.


Finals week for art students is a whiz. Just critiques and picking up graded portfolios. The real terror is the two weeks before finals, when you have to do your finals projects.
I had intended to make this a piece to be hung in my baby sister's part of our parent's room, but it was TOO BIG. Right now it's thrown up on the wall in our TV room (see our awesome projector?).

I'm thinking of taking an X-acto knife an cutting out just the horse and hanging it up in the room that my baby sister and little sister will be sharing in a few months. Part of the wing will have to be cut off but I don't really care. It's not a great masterpiece that I want to preserve for a long time, and I'd like it to be put to use. It's dead creepy in the dark TV room with eerie reflected lights on it at all times.


(Sidenote: Art students don't wear ponches to keep themselves dry during a downpour. They tape their ponchos onto their portfolios to keep their semester's worth of work dry.)

Here's a peek into my sketchbook for Drawing I! Lots of carousel horses, of course!


They were all assignments, so some don't reflect my normal drawing style or subject matter.






























One of the most peaceful pages from this sketchbook was actually one that didn't turn out (the ink I used wound up not being waterproof as I thought it was). I got to my Honors English class early-- I always tried to, as it was my all-time favorite class of the fall semester. My professor was one of the nicest people I've never met and made everyone love her even when she assigned multiple giant research papers.

Anyway, I was camped out at my tiny baby thing of a desk, with my Altoids watercolor box and watercolor crayons, drawing, talking with classmates, and having Starbucks for breakfast. Our campus has this thing where you are required to buy a card for the restaurants on campus, none of which are the best, so I found myself splurging on Starbucks a lot so I wouldn't waste the money! (Of course, I always enjoyed the chai tea lattes, too!).



The above drawing was so much fun that I wrote a quick, rambly post about it over on my Tumblr.

Hello, Steampunk Pennyfarthing Mechanical Carousel Horse. I hereby name youKtesibios after a Greek inventor in Ptolemaic Egypt who is considered the “father of pneumatics.” Sorry I have no idea how to pronounce your name, Ktesibois.  [...] I hereby declare that Ktesibois the Steampunk Carousel Horse with Invisible Pegasus Wings is also a time traveler. He is the Time Lord version of a Middle-Earth Mearas.
(you can read the post here)

Fun fact: carousels were invented as a tool to help young squires and knights practice jousting.

Here's a short video tour of the sketchbook:





My class got to be filmed while drawing out mascot (my drawing was from the back of the Bear) and they stuck the camera over my shoulder for quite a while. It's supposed to be featured in the video for incoming students! :)

Below are the "gallery shots" of some pieces from our class section:



Well, this truly was an art DUMP-- lots of stuff here. I spent WAY too long writing this blog post-- but that's what iced chai tea and a quiet evening is for!

So far I've written a blog post about my other freshman fall art class-- 2D Design. As I keep writing posts about my college art classes, you'll be able to see them under the "college art class" tag {link}.

DIY Simple Ear Cuff Tutorial {Video}

Awhile back, I made a picture tutorial on how to make ear cuffs. Amazingly, it has been my most popular blog post to date!

I've had several people write to ask questions about how to do certain steps, and I felt that a video tutorial would probably be helpful!

The video is embedded below, but if you can't get the embedded video to work, here's the link!



Here's the picture tutorial for how to make a simple ear cuff. I also have tutorials on making a swirly ear cuff which can have interchangeable dangles and a double-loop swirl ear cuff!

The Making of Hand Drawn Copper Jewelry

Today I finished listing some new jewelry in my Shoppe that I am honestly very proud of. Making these copper components was one of the most complicated jewelry-making processes I've ever attempted. This was also my first first non-class project with a jeweler's saw (I took a Metals 1 course last semester, which I will be blogging about in two or three days!). Altogether the jewelry took a full workday to complete and photograph.

This isn't a tutorial so much as just an overview of what I did to make these pieces, but if you have any questions about the process feel free to ask in the comments or via email and I can explain in more depth.

(While I occasionally do use store-bought pendants in my jewelry, it's projects like this that make me want to laugh when people ask where I buy all my jewelry parts from. Thankfully I don't because that would be rude, but it's lots of fun to explain the processes!)


I started with a sheet of solid 18 ga copper and drew the designs I wanted to make with Sharpie.


The next step was sawing out all the individual pieces, bit by bit, completely by hand. 


I managed to break three saw blades and then break the fragments which I was still using to saw. I'm not particularly proud of that; my sawing technique needs a lot of help.

The bench pin I am working at is made out of pine. I simply cut out a v-notch and clamped it to my workbench. The yellow and black thing you see on the right of the picture is beeswax. I originally bought it for my pysanky egg-decorating, but it works pretty well for conditioning the saw blades.


At this point the pieces looked like this. (For those who don't get the reference, "OKAY" is an important line in The Fault in Our Stars by John Green. The movie just came out and, of course, my cheeks turned into rivers and the shoulders of my tshirt into overtaxed sponges. The story is so sad and so beautiful.)


Next, I etched the designs.

Sharpie works as a resist, so everywhere that I drew with Sharpie remained raised and everywhere else got eaten away by the Ferric Chloride acid. After soaking the copper in the acid bath I neutralized it in a solution of baking soda and warm water. To be on the safe side, after that, I dusted pure baking soda onto the dried-off copper and rinsed it off.


Copper looks like this after etching. It's not much until you attack it with steel wool.


You can't imagined out relieved and excited I was that this actually worked well!

The raised designs weren't very obvious, so the next step was oxidizing the metal!

I used my metal/leather hole puncher to punch the pieces (so I could string them on thin copper wire so  they wouldn't be so difficult to remove from the acid bath-- I learned that the hard way with the ferric chloride) and, wearing gloves, thoroughly scrubbed the pieces to remove debris and fingerprint oils.

(Fixing a the broken schnozzel for my hole puncher wasn't fun. I mostly bring this up because I love the word schnozzel. SCHNOZZEL.)


Then I prepared a Liver of Sulfur bath. This stuff smells like... well, sulfur. The rotten-egg variety of sulfur scent, to be more accurate. BLECH.


After neutralizing and cleaning, the copper is basically just black. Then I begin the process of very gently brushing with steel wool and polishing with three different grades of sandpaper. After a while, the raised designs are shiny and the recesses are dark brown or black (depending on how long I had them in the LOS).


Next, I filed and then sanded the edges. Sawing metal can create lots of nicks. You definitely don't want them catching on your skin, so I file every single edge. The sanding is to create a smooth, even shine on the surface of the copper.


Some of the pieces required more sawing at this point. The Celtic trinity knot was saw pierced, a process that lets me meticulously cut shapes out of the inside of a metal design. The new edges were filed and sanded, too.

I then used a spray called ProtectaClear (a body-salt resistant resin) to seal the oxidation and ensure that the nice polished raised designs won't naturally oxidize over time.

(Raw copper pieces-- like all of the copper wireworking I've done in the past-- naturally reacts with oxygen and turns dark brown over several months. A gently scrub with vinegar brings back the fresh, shiny copper).

One of the best things about the spray is that is keeps your skin from turning green! The greenness is not actually an allergic reaction, as I was taught growing up. It actually is a chemical reaction very akin to oxidation (the reason that pennies turn brown then green) and is just a buildup of molecules that washes right off the skin with soap. It's never a fun thing to deal with, though, which is why I am so fond of this spray. It's nontoxic, don't worry. :)


I used a dapping block on this small pendent to dome one of the pieces.

I haven't finished it yet but I'm doing another piece that is purely saw work with no etching or oxidizing.


The next several hours were spent doing techniques I am far more familiar with: beading and wireworking.

The results?



This "Mischief Managed" bracelet is inspired by the Marauder's Map in "Harry Potter" and has chainmaille in Gryffindor colors.



The bold, fantasical swirly thing bracelet (I literally can't come up with a nice, catchy, cheesy name for it-- sometimes coming up with names for pieces when listing them is really hard), modelled by my little sister.



 Medieval Swirl Hair Fork-- the front design was inspired by some circular knotwork I saw in some medieval manuscripts I was studying. Yes I do that. Yes it is fun. Some of the artwork in old manuscripts is beyond amazing.


The Fault in Our Stars inspired necklace-- the iconic "OKAY".


Another piece difficult to name-- "Etched Leaf Pendant" which is this cool fern-like leaf design that I use in a lot of my drawings.



Another TFIOS necklace-- "Okay? Okay. Necklace"



Triquetra (or "Trinity Knot") necklace.

I am SO BEYOND EXCITED about this technique, even though it's crazy complicated. The possibilities are well nigh endless!!!!!!!

That being said, what do you think I should make? I am looking for ideas because when I try coming up with ideas on my own I get so many that I can never narrow in and decide and can thus wind up using none of my ideas!

3 More Ways to Wear a Hair Fork -- For Long Hair


Hair forks are two-pronged hair sticks which can be very decorative and can hold up complicated buns for an entire day! I've made a bunch in the past week (five of which are pictured above) and during this time I've experimented with different ways of wearing the hair forks.

To learn how to do 5 different hairdos using the basic twist bun, please visit my blog post from earlier this week.

The following 3 hairdos are designed for those with longer hair-- at least shoulder bone length, I'd say. These styles are slightly more complex but still very easy to do. I recommend that those with long hair use large size hair forks-- 3 to 5 inch prongs. If you have especially thick hair, try a hair fork with wide prongs.

You can find all the hair forks I currently have in stock here, or send me an email at shealynnsfaerieshoppe {at} gmail.com for a custom piece.


Click "READ MORE" to see the picture and video tutorials:


(Hair forks pictured above and in the tutorial: Purple and Gold Twilight Hair Pin Fork and Midnight Blue Celtic Hair Fork).




LAZY WRAP BUN

1. Start by gathering your hair as if you were going to make a ponytail. Wherever you hold your hand is where the bun will be situated. This bun can be worn high or it can be worn as a chignon. 


2. Fold (don't twist) the hair up around the front of your non-dominant hand.


3. The next step is complex to explain, and I recommend you watch the video. Basically, after you have the hair folded around your hand, you take the remaining tail and coil it under your palm, around the "ponytail" part of the bun.


4. Here's a shot from the side to illustrate.



5. Insert the hair fork by sliding it along your fingers, through the big loop you made with the hair folded around your hand.


6. Finish inserting the hair stick. As always, the movement is not "push." You need to weave the fork by going back and forth, then wiggling up and down through the middle of the bun. Again, watching the video will be helpful.








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(Pictured: Art Nouveau Blue Flower Copper Hair Fork)



FIGURE 8 BUN, AKA "INFINITY BUN"

1. Begin as if you were making an ordinary twist bun. Hold your hair as if you were making a ponytail, and twist the tail.


2. Instead of coiling around each previous coil, coil under the previous coils. 


4. Take the top coil and lift it up so that it separates from the bottom coil. Hold it up against your head.


5. Just another picture showing this process.


6. Secure with a hair fork!


Since the lighting in my video wasn't the best, here's a better picture of a figure 8 bun. The picture is from "Lady Long Locks" and was found here.



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TWIN TWIST BUN

Although this takes the longest to do (about one minute after you get some practice), I like it the most because it both looks fancy and feels incredibly secure. 

1. Make a half updo twist bun and temporarily secure it.

2. Make another twist bun directly below it. 

3. Don't use all the hair for the second twist bun. Instead, take the very end of the tail and coil it up around Bun #1 then back down around Bun #2. Watch the video if that didn't make sense. :)


4. Secure with a hair fork.


5. When securing with the hair fork, be sure that you weave through BOTH buns in an up-and-down motion, or else the hold will not be secure.


I especially love wearing hair forks inserted from the bottom. I don't know why but it feels a little more modern-elegant.

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P.S. Can I just say, making video tutorials can lead to some really bizzare screencaps... 

Anyway, if you do any of these hairstyles or come up with any other hairdos with my hair forks (or forks of your own), let me know in the comments or via email or facebook, etc! :)