These scenes were drawn from photos I took and they are both from very close to home. The gas station is in Abington, PA, about 2 miles from me, and it’s where our car gets all her fuel when she is in town (as she mostly is – I don’t go far in my usual round).
The cars driving along the road are also done from a photo, York Road in Abington, PA, in front of the new Wawa gas station and market (if you are from around here, you know the one I’m talking about…)
I do an art show every summer in West Park, Allentown, PA. I’ve gone there for 20 years or so and I love doing the event. It’s held in mid-June in a city park, an arboretum about a century old in a historic district. The bandshell is host to concerts all summer – one is held during the art fair. There are benches provided but many people bring lawn chairs from home.
Here is a drawing I did from a photo I took this year, 2016. I’m not so satisfied with the structure itself, but I do like the audience’s look.
Here you have the story of the cylinder figurines, from the Art Camp Claudia McGill.
They first appear as slabs turned into cylinders, and then they are given faces, of a sort.
You can see them in this picture on the kiln shelf, just bisque-fired.
I wanted to keep their faces clear but add some liveliness to them so that they would not look ghostly. I gave them colorful “outfits” using Velvet underglazes and some sgraffito, in which I used a pointed tool to scrape into underlying layers of color to make contrasting lines.
More Art Camp Claudia McGill results. Here are some figurines – two ladies and a cat. The ladies are in the wet-clay stage; I don’t seem to have a photo of the cat.
Wait! Yes, I do.
Here are the figurines, waiting to be unloaded from the kiln.
And here are the lady figurines in final form. Now, the one with her arms at her sides, that’s a form I’ve made many times before. The one with her arms flung out, I’ve never made one like that, and I like it. As far as glazing them, I did them the same way as the figurine in the previous post, including the flung-out arms one getting a partial washoff due to excessively fussy dress decoration.
I’m not thrilled with the way their faces came out – they look ghoulish, with the stark white clay and black details – I think this style of face works better with the softer tones of the stoneware clay I have used in the past. Still, I like them. They know who they are.
The cat got a simple styling – I painted it black all over with Velvet underglaze and then washed it off, leaving the details. Enough said. Cats always know who they are.
This creature emerged from the Art Camp Claudia McGill and is now finished. Take a look. Here it is, in the wet clay stage:
The figurine on the kiln shelf after bisque firing:
When it came time to glaze the creature, first I painted its face area solid black with Velvet underglaze, and then washed it off, leaving it in the depressed areas. I then gave it a variety of colored patterns all over its body. I overdid it, and the patterns got too fussy. Annoyed, I went to the sink with the idea of washing it off and starting over (after all that painting, you bet I was annoyed, but it just didn’t look right to me). I washed part of it off and liked the result, so I stopped right there.
Then I wrenched its arm off and felt even better about things. I thought the arm was just too diminutive for the body – the colors seemed to accent that for me, where it had looked all right up to now, in the unpainted stages. I left the white clay showing where the arm had been – now that looked fine to me!
Do you remember the word tiles I made in Art Camp Claudia McGill? As a refresher, here they are, just formed:
Here they are, bisque-fired and still on the kiln shelf:
And now – drum roll – here they are, finished. To produce this effect, I swashed Velvet underglaze over the whole tile and then scrubbed it off the flat surfaces, leaving it in the pressed-in letters to form the words. I decided not to put a shiny glaze on them – I liked them as is.