“I’m going to slap up some clay to use. However, this bird now often times because of a slab roller, and I do a lot of projects where I’m just wrapping clay around and getting started that way. Sometimes I can slip out some clay and I have a long plastic bin out in the garage and I can lay a slab out the clay, put a plastic down, put a layer of clay, plastic layer of clay. But anyway, so I fill the box. Then when I know I’m going to be working on something, I can pull out a big slab of clay. Now, the nice thing about this, is I can have that big slab of clay. It could be dry as a bone. And what I do is I can wrap it in a big wet towel and reconstitute it. So then I can go ahead and use that big slab whenever I want all I have to don’t have to, flatten it every time I can just use what I have reconstituted in a way I go.”
“African violet has about four paddles usually. So I started the same way about one inch loop. Don’t forget to pinch with your finger. So you don’t have wire showing that, that if you look at my every now and then that happens to me. Do it twice. And now I just feed some more beats and I go around it like this and I have another loop. See, same thing, one, two. So this is the reason you cannot do 3, 4, 5 twists because you might be thinking, oh, but it’s easier. So I bench, I want them close. Together. Can you do another one? I am going to do four of them. So I have my one inch thing here bench. So the one to the reason I cannot do 3, 4, 5 is look here. I twisted three times and I have a gap here with wire that I will not be able to do anything about it.”
“So the way you start, you don’t have to taper these end, but there is going to be a little space in here. So what we’re going to do is take the first one. You can choose any spoke. They’re all exactly the same. So you start under and you don’t want to extend it past here, but you start under, and then this is over, under, over, and then I’m going to stop. I still have quite a bit of length on here, but you only want to weave as a section about this far. So under, over, under, over, under, and then stop. Now, some people have a tendency to keep going. So if you have to use a closed pen or something to close, been out there to make yourself stop do that. So this is at an angle. So I’m going to work toward the left. I’m going to pick up another piece and I’m going to start under, and then over, under, over under now, I’m going to stop. The reason I am not going any farther is because when I get these all in and I get back here, I’m going to have to do a reverse weave or a back weave or backwards, whatever you’d like to call it, to get those final ones in.”
In this how to Carve on Glass and Stone Course online class, Jack Hoque will teach his techniques and tools he uses to cut, carve and polish semi-precious gemstones and glass into freeform shapes with polished grooves and bubbles. These cold working techniques (also known as a form of lapidary) will help you create one of a kind pieces that will definitely set you apart from the rest!
Create beautiful beaded flowers using the French Beading technique. You will learn: Basic Framing, Spikes, Loops, Loop around Lacing … and much more! All while creating gorgeous flowers that you can use for decor, head bands and art pieces! Come make a whole garden of French beaded flowers. No French necessary.
“So I’m just gonna do this all around the notebook. Now be careful. You have to make sure that the glue gets to the braid part too, but also be careful because between the cover and the braidy, the border, there’s some tiny space where the glue can get out. Just think about how much glue you put anywhere. And now I’m going to take it and place it, make sure you place it the right way. Now, if you use super glue, wherever you put it at first, that’s where it stays. So you won’t be able to move it an inch. So now I’m just going to apply pressure. And I see I have a bump here, so I’m going to insist on this part here and apply some more pressure. Don’t be afraid to push on it. This has to happen to make sure that your cover stays.”
“So once again, I’m going to start with what I know. I want to be a color on, I know the leaves in the, on the stem are going to be green. So I’m just going to start with those. This is transparent paint. There’s no white in this paint. Because it’s transparent, it’s going to let the black show through. So it doesn’t matter if it gets into the crevices. Although remember why the yellow always has. It always has some white in it. So as long as it’s thin, it’s going to work out. But if it’s thick, it’s going to come, you know, it’s going to cover over things.”
“So for the texture on the body, I’m going to use this because I think this just, hasn’t neat, spotted kind of stripey look to it and you can use either side. One, one is more subtle. One is, a little bit more defined and I’m going to use the defined side. Remember this is the shelf lining that you buy at the supermarket. Or you can buy it at your curious Mondo. So I’m just going to roll over that and then you can see it leaves a nice pattern and then decide how you want to cut this out.”
“I’d like to go ahead and make a dried leaf that we will drape over the edge of the pond. So to do that, I’m just going to mix up some random colors. I’ve got a crew here. This is sort of a gray scrap looks like it’s got some purple in it. We’ll use a little bit of the cianna. And how about maybe a little bit of orange, basically. It’s not going to be a real, pretty color and that’s okay. I just want it to have that kind of doll, you know, after a leaf has sat on the ground for awhile, it sort gray, grayish brown. So we’ll see what this comes out to be.”
“I wanted to start off by showing you how to put a backing on an ornament or, you know, any free form piece that you do. And, so these are the backings. I’m just going to show you. I have a, just a simple heart here and I cut out, I put it on a piece of paper and I traced around it and they cut the paper out and I’m just gonna glue it on the back with some white glue and just paint that on, paint that on the back. There’s really not much to it other than one little part. And that is the, when you put it on, you want to make sure that you don’t rub down the top of it because that’s where I’m going to put a string. I’m going to just set that on there.”
“What I’m going to do is kind of cut in or the toes will be kind of just like that. Then I’m kind of pushing in on this side a little bit more so we can kind of give it its endemic shape there and then move it towards the heel. Have to pick it up. I just kind of bring that all back to the heel there. See, from the side, that’s looking pretty cute. A little bit on the tiny side now. So I’ll just push that up a little bit more. I kind of stretch it out a little bit again, too.”
“So I’m going to grab my sandpaper and kind of shape, shape this and shaping it on, on a flat surface helps a lot. Grit of the sandpaper. The grit of the sandpaper is three 20 grit wet, but I would recommend getting a nice wood sandpaper. That’s a little bit faster than this. This is just kind of all I grabbed when I left the door from home. So right now I’m just kind of, I’ve got it at an angle. I’m kind of creating a point on it again, kind of like the top part, but then I’m going to roll it like this to kind of create that ball right now. I’m just sculpting it into the small ball shape that I want.”
Learn how to make 3 different polymer clay pendants: a big-eyed chameleon on a leaf, a tropical tree frog, and an exotic goldfish. You will learn how to blend the clay and shape each animal, how to add texture and attach all the features. Great tips provided on ways to help strengthen the pendants, and ensure they hang properly. Join us for this fun and educational Animal Pendants in Polymer Clay online course.
Curious Mondo is a proud winner of the Telly Awards. Bronze in the online category.
The 42nd Annual Telly Awards Honors Winners Netflix, Jennifer Garner, HBO Latin America, Microsoft, RadicalMedia, Condé Nast, Adobe, Nickelodeon, and Partizan
Continued surge in remote and virtual productions embodies ingenuity of creative leaders while Al Jazeera Media Network takes home esteemed ‘Telly Company of the Year’ award
New York, NY (May 25, 2021) — The Telly Awards, the world’s largest honor for video and television content across all screens, has announced this year’s winners, including Jennifer Garner’s “Pretend Cooking Show” series, RadicalMedia’s “Crime Scene: The Vanishing at the Cecil Hotel” documentary series, Partizan’s “Fantastic Voyage” campaign, and much more. Under this year’s “Your Stories Defy The Limits” theme, standouts encompass the artistic and technical innovations that have surfaced in direct response to the challenges presented by 2020 and 2021. Additional winners range from Netflix, Microsoft, Condé Nast, HBO Latin America, and Nickelodeon to BET Digital, Adobe, Playstation, BBC Global News, and PAPER.
Founded in 1979, the Telly Awards honors excellence in video and television across all screens and is judged by the Telly Award Judging Council, a group of leading video and television experts from some of the most prestigious companies in entertainment, publishing, advertising, and emerging technology, such as WarnerMedia, NBC News, Framestore NY, and Vimeo to name a few.
The 42nd annual Telly Awards received a 15% increase in entries from the previous year. The growth was driven by a significant rise in remote and virtual productions, with many brands taking to animation for the first time. The Telly Awards is also proud to name Al Jazeera Media Network as this year’s ‘Telly Company of the Year’. A trailblazer in bringing to life limit-defying content, Al Jazeera’s breadth of work, particularly its “A Day in Wuhan” and “Stricken Beirut” along with “About Cinema” series, perfectly embodies the creativity and storytelling efforts the Telly Awards have long shined a spotlight on.
“In the face of a year like no other, the visual storytelling community has continued to defy the limitations of our new world. Achievements have been both societal, such as embracing social media platforms to raise awareness about injustices and promote solidarity for movements, as well as geographical, like developing fully remote pipelines for dispersed teams”, says Telly Awards Executive Director Sabrina Dridje. “This year’s submissions doubled down on what we already know about the industry. Creativity cannot be stopped. Collaboration will always prevail. New ideas and stories will always find a way to break through to an audience.”
In recognition of the industry’s evolving cultural change, The Telly Awards continued its commitment toward supporting the talent, voices, and narratives of underrepresented artists around the globe. At the start of the season, The Telly Awards welcomed Ghetto Film School and UK-based We Are Parable as media partners. This mission was also reflected within the international and multidisciplinary judging lineup, which was bolstered by the joinings of Shalini Sharma of NBC News, Ryan Honey of Buck, Andrew Wareham of Taxi Group Australia, Karyn Spencer of Whalar, Amy Tunick of WarnerMedia, Jamie Elden of Shutterstock, Kavita Lokchander of Thrive Global, Meghan Oretsky of Vimeo, and Andrew Rowan-Robinson of Framestore NY.
On the heels of a hugely successful virtual screening series, The Telly Awards has also rolled out its first-ever original and monthly interview series to further celebrate creators who have pushed the boundaries of possibility.
Finally, it was a standout year for the ‘People’s Telly Awards’, which are given to the most-loved pieces chosen by the Telly Awards audience and, this year, received the most public votes in the history of the category. Winners include Square’s “Black Owned”, a stirring film series chronicling the lives of Black business owners across three of the nation’s most populous cities, the Walt Disney Company’s “Cooking with Pixar”, and WeTransfer’s “Doubt. Create. Repeat.” global brand campaign. The latter boldly calls on the creative community to harness feelings of doubt in pursuit of their ideas.
View the 42nd Annual Telly Awards Winners Reel below!
42nd Annual Telly highlights from this year’s winners include:
Use of Stock Footage
The Walt Disney Company won for “Star Wars: The Animals Strike Back” in Branded Content
Adobe won for “Adobe Care Help Channel” in Non-Broadcast
Les Beaux Films won for “Bob Dylan Retrospectrum – On The Road” in Non-Broadcast
Viewstream won for “Meet Zazu” in Online Commercials
Virtual Events & Experiences
PBS NewsHour Student Reporting Labs won for “Face the Facts: Election 2020 Youth Town Hall” in Online
Christie’s won for “ONE: A Global Sale of the 20th Century | Livestream” in Online
CK Productions won for “Tomorrowland – Around The World – First Digital Festival” in Immersive & Mixed Reality
Jump! Creative won for “YouTube: Dear Class of 2020” in Social Video
Influencer & Celebrity
Viacom Velocity won for “Bad Boys For Life – Couples Therapy” in Social Video
CBS Interactive won for “The Late Late Show: Best of Gordon Ramsay & James Corden” in Social Video
The-Artery won for “The Small Things (ft. Snoop Dogg) | SodaStream” in Branded Content
FORTUNE won for “Collin Morikawa – The Sky’s the Limit” in Branded Content
Remote Production
The Walt Disney Company won for “Our Star Wars Stories” in Branded Content
ViacomCBS won for “U.S. Cellular – Fathers On the Frontline” in Non-Broadcast
Nickelodeon won for “Staff Meeting Quote Tape” in Non-Broadcast
Partizan won for “Pictures” in Branded Content
Museums & Galleries
Smithsonian National Museum of African American History and Culture won for “gOD-Talk 2.0: Digital #BlackFaith” in Social Video
J. Paul Getty Museum won for “The Getty Villa” in Non-Broadcast
Christie’s won for “Jonathan Yeo Studio Visit” in Branded Content
Litton Entertainment won for “The Henry Ford’s Innovation Nation” in Television
This is a fun and educational Polymer Clay online course. Learn how to blend the clay and shape each animal and how to add texture and attach all the features. You’ll learn tips on ways to help strengthen the pendants, and ensure they hang properly. We’ll also discuss paint options and other embellishments.
“Okay. So now we’re going to give her a little bit of a fat rolls. Let’s see. I want to use Johnston three and one. It’s a good one to do. And what I like to do to just kind of score them in. So you’re not really cutting. You’re just like, kind of pressing it at an angle a bit. And then usually you do a couple of them as they go. Let’s see, I’m going to do some rights. I just want to push on that a little bit to make that look a little bit more elbowy and then up here, and then I like to do it right here, too, right on the elbow.”
“So I have a really dark, dark chocolate brown, and I’m going to start painting that and I painted over everything, except the eyes. I try to avoid the eyes and I’ll start with just one side of the frog too. I’m I’ve the, paint’s not going to dry, but I don’t want to get my hands in it. I’m trying to avoid is his belly.”
“So I’m just gonna put a couple of dark. So usually on a face, the darkest dark should be the eyeball area, and I’m just going to hint at it. Must’ve been an American, ask him that question And I’m just going to soften that whole area. Try to get a hint of a pupil and that. Face of the eye. Notice I haven’t gone to my little brushes and I’m going to take this blue and I’m going to create this cast shadow from the lens or the, your piece of the glasses and the cast shadow.”
“When you go to make something like this, that has a lot of little pointed edges. those are more easily achieved after it’s, after the clay is dry and I’ve got one here, that’s got some little ragged edges on it. And so I’m just going to start cleaning that up. And I’m just pressing down on a cutting mat with my knife.”
“When you’re doing bird. So I have used a lot of color on my birds. It’s a partly artistic license, partly because most birds, I mean, if you get the light hitting on them, just right. All the colors that show up in that bird are amazing. So here I’m putting on this color. And you can see why I tell you not to use your best brushes for doing this. Well, this does look a lot more jade when you put it on.”
“With weight before I placed this, I want to do something else. I want to add some texture to this area. So I will use the tip of, for mechanical pencil to do that. Okay. You see, it makes those tiny circles. Now we won’t see much of them, but especially on the top area, we won’t see them at all. So it’s done and now I’m really going to take my noodle back and I will place it. It’s deep. We’ll go here and it will go like something like this.”
Learn more about the courses here: https://www.curiousmondo.com/dragonfly-notebook-cover-course
Creating is an adventure! The better we learn to express ourselves and create with our hands, the more possibilities we bring into our lives! Our hands have power to change lives! Come experience a new age in online courses at Curious Mondo, where you conquer new possibilities! https://www.curiousmondo.com
“I think the eyes are always going to be the most important of any little animal that you make. But all these extra little details and ridges, and that’s what really makes them special. So just doing as many spots as I can. And then when you get, you run out of clay or you get sick of doing this, you can stop and put them on and see how they look. So I think I’ll do that. We’ll stop right here and just carefully remove your plastic wrap. Some of the spots will, will come out on the foil. So you should just generally start with those. So now I keep saying foil it’s plastic wrap. So let me move those aside for a second. Okay. We’re running out of room here. Saw me, I’m doing here. Okay. So just take your spots and start putting them on to the frog’s back. And I generally start with the larger ones and don’t pay any attention to the colors. I just randomly put them on.”
“So I had a lot of questions about what do you do when you run out and as you can see, I’m running out. But I still have to go, Oh, a big chunk over here. Very easy. What I’m going to do is I’m going to go back. I always weave these as far as I can. And splicing, triple twining can be very tricky, very tricky. And if you don’t get the right weavers in the right order, it will just be wacky. So after I’ve gone under this first, the first spoke that I took, I’m just going to clip that off on the inside. And then immediately I’m going to insert a new piece and all I’m doing is putting that right behind it.”
“So I want to start adding color. So here we go gets kind of scary. I want to use a higher value in the temple area and as outside light, tends to get cooler as it goes into the light. I’m going to start with yellow just because yellow gets, polluted easier. I’m going to go into the pure yellow and go ahead and break the form a little bit. And I’m going to kind of go to the blue in the outside light at the top of the head and where they meet. It’ll start to create a green tone. I like to put the blue in the eye socket area and let it sort of drain down the head.”
“I’m trying to stick the, noodle to the body of the dragonfly so that it won’t move anymore. And, now I’m going to place this all around the wing, and I’m going to use this tool, to make sure the noodle is straight and just flows nicely. To make sure that your noodle won’t go out of the wing because they tend to do that. If you push it too much, it will just stay in the air. And that’s not good because, it’s not very stable there, which is why you’ll see that. I always try to, I will always secure, not secure, but, adjust the, the new on both sides. So both from the interior of the wing and then from the exterior to make sure that, it’s exactly on the line of the wing. So I have some extra clay there, which I’m going to cut and now I’m going to continue doing the same thing with all the wings. once you’re happy with your, contour, just push it a bit onto the clay so that it sticks to it. and then you’re good to go.
“I’m going to start showing you some texture. I haven’t put his wings on him yet, but this part of the texture, I want to make sure I do before I get the wings on. Cause I want to make sure there’s plenty of texture underneath his wings, and I’m going to do this text. You’re very much like the idea on the thigh feathers, when I showed you how to do those. And so I, again, I’m using my wipe out tool. I’m using the pointy end and anytime I’m working on the top, I’m holding up the bottom. So I went my tool and I’m digging in deep because I want this texture to really show up.”
“So now I’m going to go ahead and add in those cheeks because that’s going to help me see the rest of the shapes much better. So I’m just going to make some little balls of clay and I’m going to keep them about the same size. So I’m adding the same amount to either side, or if you notice that one size side is off, like maybe you made it too big or one side is too flat or something.
“With larger pieces of glass, sometimes it is easier to isolate the thing you want to cut out, before you start cutting the details, because if you have an errant run, like for example, if I were trying to run this little square right here around the edge of the head and it went wrong, it could actually take out that whole side of the glass too. So this way, if I do go right down that centerpiece, I minimize the possibility of ruining the whole piece of glass. And this is true of art glass as well. Just gives you a greater ability to maneuver around it.”
“So when I do leaves smooth this over here, I often will do them separately and place them. So a one trick you can do to, to start off your leaf making is kind of to cut some, what is that like a diamond shape, because that is kind of a leaf shaped to begin with. So I don’t need to trace off those leaves as long as I can make them put this here can make them about the the size that they’re supposed to be. I don’t really need to trace those.”
“So, what I do is I just roll up that foot piece or the hand, I guess I should be calling it and I’m going to flatten it out and I make sort of like a paddle shape, kind of like that. And then I’m going to do the same for the other side. I always lay my hands and feet out. Side-by-side because so many times I’ve done hands where I’ve done two left hands and it’s Oh, it makes me so mad. Cause I’ll, I’ll come up with one and I’ll think it actually looks pretty good.”
“So here’s the tip of the chin. Now, one of the things I need to see is the angle that it goes back. And I want to see what is the relationship between the tip of the nose and the chin. What is that implied line there? So the tip of the nose to the edge of the chin is almost vertical. I’m going to draw that angle so I can find this mapping point and his head is slightly tipped back. That’s why it’s looking like he’s jutting out his chin. Then we called this the Lennon pose when we took the picture. So his chin is jetting out.”
“So first step is just going to be to wrap the clay around your foil core and how you do that is really up to you. It’s not, you want to trim off the excess, you don’t, we don’t need all that thickness. If your clay is too thick, it’s going to, it could, it could, crack on you. If you have areas that are much thicker than others. So I try to trim off what I don’t need. So let’s just move this aside for a second. I’m actually gonna get rid of this tile for a minute. I will put it on this because then it’ll be easier to move the tile than it will be to lift the frog once it has its legs on.”
“So this table may be covered with, with white dust, but it’s easy to clean up. Right now. I’m just going over the lines. I want everything to be a nice, smooth motion. I want everything to be as deep as all the way around the cuts. So the cut, I want it to be completely the same depth so that there’s no Rocky movements in these cuts. So if there’s a lot of rocky movements in the cuts, it’s going to be hard to get those scratches out with the polishing steps. And I’m going to kind of want to, change the shape of this stone to make it a little interesting. So I’m going to go around the side of it as well, and kind of change that shape of the sound, just so that….”
“So we’re working on these feathers to make them so that you can, when I’m in the back end of your bird, or I, you know, sometimes I’ll make little buns for the hair. You can put photos wherever you want to that’s this is your choice, but this is how you do it. All right. So I sprayed this. Remember I’m putting my wire down. I want the wire delay as flatly as possible and laying that down. And then I’m taking my snake and I am laying it on top here. I want this up a little higher because I’m going to pull this down and I could use the extra link up on top to make sure that that wire gets covered.”
Learn more about the course here: https://www.curiousmondo.com/sculpting-fiber-clay-course
“So what I’m doing here is just putting acid etching cream on the high parts of the pattern. Now don’t worry too much if you color outside the lines with this, because when we fire it again, the parts that are acid etched, that don’t have mica, we’ll just fire polish. So they will not even be visible. So don’t really, don’t get so wrapped up in the perfection of this, that you paralyze yourself with inactivity. So, there’s the shell and we’re going to do the lighthouse and the turtle very quickly.”
Ever wondered how polymer artist Melissa Terlizzi sculpts her whimsical frogs and toads? Here is your opportunity to find out, as she shares with Mondo Makers all the techniques and tricks to making a big green bullfrog! In this 3 Day sculpting course, Melissa will not only demonstrate how to make the frog, but will also create a raised pond for it to sit in, elevating a simple “sculpt” into a story-telling piece of art. With swamp-tastic bonus classes also planned, this course is a must for anyone who loves creating animals out of polymer clay, and enjoys getting carried away with color and detail. Great course on polymer clay!
Join Colleen Reynolds and learn the basics planes of the human head and evaluate pigment choices for a variety of skin tones. Make your next masterpiece by taking this watercolor portrait online course.
“When you’re working in rock mainly silica, make sure you have a good mask. I have a better one at home, but it’s gonna, it would be hard to talk through it. So I’m hoping this one’s better because at some point in this carving course, I’m going to be using this Silicon carbide wheel, which is not good to breathe in. It’ll silicate, your lungs you’ll get silicosis or whatever. It’s just really, really bad to breathe in. Pretty much any dust from lapidary is bad debris then. So if at any point you’re hafting to work at dry, which you shouldn’t really, unless it’s part of my policy. For pre polish, but mainly you work in water. So if you’re working in water and you keeping it wet, or you’re working with, with a, extended fluid, which is a Silicon based fluid that keeps the diamond on your bits. You’re not going to have to worry about a mask as much.”
“So you’ve got your length. So what you do is you find the good side of your read. Of course, you need to take it under, you can start anywhere. You take it under so that this is sticking out on the outside of the basket. Then my piece of round red, I’ve put the ants together and I’ve put it together like a hair, a pen, you know how a hairpin has that, that looped look that I’m going to hook it over this. This is the hardest part of this technique is getting it started. So I hooked it over there. I’m not going to push this down just yet, so you can really see the technique. So we’re going to have X’s on the outside of every other one. So I’m just going to take this. It doesn’t matter which one you take first, as long as you’re consistent with it. So this I take down this one up, so I make this X.”
“I think first we’re going to put some of the clay on, on this armature, cause I’m just itching to get this clay on there. So what we’re going to do is that just to kind of take these pieces that I’ve needed and conditioned, and I make them into little pancake shapes, and these are probably about a quarter of an inch thick and I’m just going to wrap it on, I’ll wrap it around. And when you put this on, you just want to make sure that you’re pressing the clay up snug against the armature. So you’re not leaving air pockets and speaking of air pocket, that was great timing.”
“So the first thing I’m going to do on my nice smooth piece of clay is I’m going to just put this off to the side here and now I’m going to trace around that actual actually that’s remind me that that’s upside down to you. So turn it around here. If I put it right in the middle of the clay, then I, then I’ve, you know, have to roll it out again. And I want to keep all that because I have all these other leaves and stems I’m going to put on there. So I’m just going to take a ballpoint pen and go over my bird with a ballpoint pen. In terms of pressure. It’s the same pressure as if you were riding on it. You’re writing on a paper, but you also, you know, you can poke through it. So, and I probably will do that a couple of times. “
In this Fiber Clay Sculpting Class, you’ll learn to make a bird out of Fiber Clay, an easy to use medium that doesn’t have to be fired. I use only four shapes, a ball, snake, potato, and pancake, to teach you to create sculptures you’ll be amazed you built.
For plaster of paris, we use two parts plaster to one part water. We’ll just do it that way. Let’s just regular plastic. Regular plaster paris. You can get at a home Depo or a hardware store or a craft store. Two parts class, or one day. Part water, two parts plaster, one part water. By volume. Get it in the mold before it sets up too much.
“What we’re going to do is take one of the leaves and just place it on the clay. Actually, you know what, I’m going to place all of them right now. And I’m going to apply some pressure to the paper. No idea why, but lately my lifts have become kind of crunchy. I’m afraid that when I tried to take them off the clay, they might break now. I really hope it will happen. But, I know it might, so I’m going to apply, some pressure on the entire leaf and then I will just take them off the clay.”
We’re playing leap frog. So you have two friends and yourself, and you’re playing leapfrog where you jump over the people in front of you. Typically, you can only play with two people where you leap over, but we’re going to pretend like you’ve got really long legs. So I’m going to leap over these two and under this one. Okay. Now I like to teach with different explanations, different analogies, so that if you didn’t understand that you can understand a different way. So we’re going to play the train game. So we have a train here and this one is the engine. This middle one is the dining car, and this one is the caboose. So poor caboose always wants to be the big engine because the engine gets the most attention. So he’s going to jump over the dining car and that one in there he is. He’s now the engine.
I’m going to put a little bit glue down, trying to get it as flush to the face as you can. So what I mean by that is it’s not bubbling up off your face. You just want a really thin layer. This is where that nozzle comes in useful, and you take your nippers. Let’s see if I can get this up here to take your nippers, find your edge, and then just cut off some of that for. So with fur, so you don’t have to cut a ton. I cut a little bit more than I normally do. I usually cut about this much, just so I have a little bit to work with. If you have a straight edge, great. If you don’t cut a straight edge and you can feather it too, if any of you have done Cedar makeup or anything like that, what I mean by feathering is you’re going to put your thumb. You’re going to slide it back a little bit. So what it’s doing to the fur is it’s taking this top layer and it’s scooting it back, but the bottom layer is still on this finger. And so it’s staying forward. So now I have a little bit of variation in where my foot is going to end up. So it’s not a straight blunt line. It’s more feathered.
Anytime you put into your armature, it’s always going to pay you back in dividends by just making it so much easier. Taking the test scope. I know when I first started, sometimes it was recommended to just use skinny little wire with no padding or anything underneath it. And I think a lot of people had trouble with that method because the clay needs to have something to press against. Otherwise, if you’re just pushing into it, there’s nothing to stop that pushing. And it’s just going to keep going. So if it has something underneath it to press against, then it’s much easier to get the shapes that you want without having to push so hard in. And it just makes the doll a lot more customizable. So it’s not because it’s a small that it shouldn’t have an armature because it has a, another purpose. It does exactly control more.
To get started here, we’re going to just make a simple flour. And when you roll the clay out, it’s really important to always lift it first, before you start doing anything, because it’s so sticky that it’s going to want to stick to this plastic piece. And if you start cutting things out and you haven’t lifted the clay, they’re going to be stuck. So you want to always pull the clay away from the plastic. I’m just going to use a little, a little box top here to cut a circle, and I’m going to make a little flower shape out of this circle, going to actually do two. I’m going to take the top of, of a glue stick, which just happens to be about the right size for a smaller circle. It’s going to go inside. So there we have these two little pieces.
