When I started my clay business, I joined a few polymer clay face book groups. On them are some people who are many years ahead of me and it is obvious in the difference in the things that we produce.
I enjoy looking at their creations and I often try to talk to the artist about their work. I learn a lot this way and I have made some good friends.
I'm really enjoying everything I make and each creation is better than the last. I think I have at least another 2 years, before I will start to level off, but I am happy with that. I am enjoying the journey and I love all my creations. I have had bits I have scrapped, but very few.
It may surprise some of you to hear how many artists out there, give themselves a really hard time. They seek a perceived perfection in their work that is never obtainable.
When they look at work that is better than they are producing, they tell themselves "their work is good and mine is rubbish, no one will like my work and will not buy it when there are things like that available."
If this was true then the art world would just be copies of a very few works.
They see every tiny flaw in their creations and that screams so loud, that they often fail to see their improvement. Some have this so badly that they stop seeing any beauty in their work at all. They torture themselves, believing that every complement comes from pity and often end up either miserable or quitting.
Life is extremely difficult, but there are so many people who make it infinity worse for themselves. Instead of being their best friend, they are their worst critic and sometimes even their own abuser.
I have met online, so many extremely talented artists who hold these beliefs. They often don't show this to most people, but they seem quiet and humble about their work.
If this is you, then I beg you to re-examine your beliefs. The work you create is beautiful and very important. Hand made things are valued for the imperfections and individuality.
I make home décor items from Polymer clay and sell them on Etsy. This blog is to let you get to know me, learn how I make my creations and keep up with everything I am doing with my business. Please feel free to comment, send me a message or share any of my work with your friends.
Saturday, 14 January 2017
Wednesday, 7 December 2016
My garden themed teapot
I thought that you would like to see how I went about decorating this teapot.
If you decide to try this yourself, remember to wash your hands and wipe down your tools between colour changes. Do ask if you need help with anything.
I started out with a plain white ceramic teapot.
I then made a Skinner Blend (explained under the butterflies) from blue to white, covered the pot and lid, then baked it.
Flowers
I then made my flower stems;
1) I cut strips of thin florist's wire.
2) Swarovski crystal beads in clear, yellow, orange, and amber. I have 40 here.
3) I thread the bead onto a bit of wire and move it to the middle.
4) I fold the wire down on each side of the bead.
5) I twist the wire together (pliers help).
6) I wrap the twisted bit of wire in a bit of masking tape. The clay will stick to the tape, where it will slide against the smooth metal.
Now to turn them into flowers;
1) I wrap some conditioned green clay around the stems and roll smooth.
2) In the same colour, I make 2 Sepal leaves for each flower. They are the little ones at the base of the petals.
3) I roll out a small sausage of conditioned clay, in the petal colour and press it flat on a tile.
4) I then indent the clay, so it's 4 bumps.
5) I then lift it with a blade and wrap it around the bead. Then I put the Sepal leaves on.
Grass
This is a far less fiddly stage than the last. I don't even think it is worth a numbered walk through.
I condition several shades of green, roll them into tapered sausages and flatten on a tile. Then mark a line through the middle.
I put the grass and flowers around the bottom of the pot, making sure they are firmly pushed on.
I then roll out several balls of different sizes, in white conditioned clay and arrange these to make clouds. Then I bake it again.
Butterflies
To make the wings, I am going to make a cane.
1) I make a faded Skinner Blend sheet of clay in my chosen colours. I am doing one cane in pinks and a second in purples.
I take a dark and light shade of my chosen colour and make a flat triangle of each and put them together to make a square or rectangle. I make sure that one color is on the left and one on the right . then roll it flat, rolling up and down only.
I fold it in half (bottom to top) and roll it flat. I repeat that around 20 times. The fade will appear from left to right and not in the direction you are folding in.
2) I turn the sheet so that the fade is top to bottom and then I cut the sheet in half and put one half aside for later. Starting from the darkest side, I roll the second half up into a stick.
3) I then get the first half and starting with the lightest side, I fold in a widening concertina. This will leave me with a triangle shaped stick, with the lightest colour at the tip.
5) I roll out some black and wrap it around the outside of the triangle stick (not the ends). I then put black around the outside of the round stick.
6) I put the round sick to one side and I cut the triangle stick in half.
7) One of the halfs, I cut in half length ways (so I have 2 smaller triangles . I then put a strip of black clay over the bare sides of each triangle.
8) Facing all the light tips in one direction, I samwich the large triangle between the 2 smaller ones.
9) I cut the circular stick into 6- 10 bits, the same thickness as the triangles, then I put them in a line along the dark side of the triangle.
10) I roll out a round stick of white conditioned clay to the same thickness as the round stick I was just using. I cut it into 10 -12 bits (the same thickness as the rest of my project and put them in a line above the coloured round bits.
11) I make sure it is all firmly pressed together, then leave it for an hour or two.
12) I reduce the cane by half its size, by putting even pressure on the middle pressing towards the outside. The ends will look messy, but I cut them off.
13) I cut a third off this new stick and reduce that by half ish.
14) I cut a slice from the larger and smaller teardrops. the big is the large top part of the wing and the small is the bottom bit.
15) I cut a slice off each for the 2nd wing and make a simple body from black conditioned clay. I then assemble the butterfly.
16) I then attach them to the teapot.
Sun and clouds on the lid
Sun
For the sun, I use my swerly pattern (I have a page devoted to showing how to make this on my blog) I use yellow, orange and gold.
Here is a quick run through;
1) I take thin sausages of conditioned clay (one of each colour).
2) I twist them together.
3) I fold it in half and twist the 2 ends together. I keep folding in half and twisting together until it's ball shaped.
4) I press the ball firmly, to stick it together and roll into a sausage.
5) I then repeat steps 2 and 3.
6) I press the ball firmly together and roll the ball to smooth out the surface, I then press it into a cube.
7) I cut a thin layer off each surface, turn it around (so that the inside design is facing outward) and press back onto the cube. I make sure I have done this, so none of the outside design is showing.
8) I roll it into a smooth ball and push it onto the lid's handle. Make sure it is firmly secure.
Clouds
1) I condition some white clay and roll it into balls of various sizes.
2) I position the balls around the sun, to form a few clouds.
I then bake it all and then varnish it to finish.
If you decide to try this yourself, remember to wash your hands and wipe down your tools between colour changes. Do ask if you need help with anything.
I started out with a plain white ceramic teapot.
Flowers
I then made my flower stems;
1) I cut strips of thin florist's wire.
2) Swarovski crystal beads in clear, yellow, orange, and amber. I have 40 here.
3) I thread the bead onto a bit of wire and move it to the middle.
4) I fold the wire down on each side of the bead.
5) I twist the wire together (pliers help).
6) I wrap the twisted bit of wire in a bit of masking tape. The clay will stick to the tape, where it will slide against the smooth metal.
Now to turn them into flowers;
1) I wrap some conditioned green clay around the stems and roll smooth.
2) In the same colour, I make 2 Sepal leaves for each flower. They are the little ones at the base of the petals.
3) I roll out a small sausage of conditioned clay, in the petal colour and press it flat on a tile.
4) I then indent the clay, so it's 4 bumps.
5) I then lift it with a blade and wrap it around the bead. Then I put the Sepal leaves on.
Grass
This is a far less fiddly stage than the last. I don't even think it is worth a numbered walk through.
I condition several shades of green, roll them into tapered sausages and flatten on a tile. Then mark a line through the middle.
I put the grass and flowers around the bottom of the pot, making sure they are firmly pushed on.
I then roll out several balls of different sizes, in white conditioned clay and arrange these to make clouds. Then I bake it again.
Butterflies
To make the wings, I am going to make a cane.
1) I make a faded Skinner Blend sheet of clay in my chosen colours. I am doing one cane in pinks and a second in purples.
I take a dark and light shade of my chosen colour and make a flat triangle of each and put them together to make a square or rectangle. I make sure that one color is on the left and one on the right . then roll it flat, rolling up and down only.
I fold it in half (bottom to top) and roll it flat. I repeat that around 20 times. The fade will appear from left to right and not in the direction you are folding in.
2) I turn the sheet so that the fade is top to bottom and then I cut the sheet in half and put one half aside for later. Starting from the darkest side, I roll the second half up into a stick.
3) I then get the first half and starting with the lightest side, I fold in a widening concertina. This will leave me with a triangle shaped stick, with the lightest colour at the tip.
5) I roll out some black and wrap it around the outside of the triangle stick (not the ends). I then put black around the outside of the round stick.
6) I put the round sick to one side and I cut the triangle stick in half.
7) One of the halfs, I cut in half length ways (so I have 2 smaller triangles . I then put a strip of black clay over the bare sides of each triangle.
8) Facing all the light tips in one direction, I samwich the large triangle between the 2 smaller ones.
9) I cut the circular stick into 6- 10 bits, the same thickness as the triangles, then I put them in a line along the dark side of the triangle.
10) I roll out a round stick of white conditioned clay to the same thickness as the round stick I was just using. I cut it into 10 -12 bits (the same thickness as the rest of my project and put them in a line above the coloured round bits.
11) I make sure it is all firmly pressed together, then leave it for an hour or two.
12) I reduce the cane by half its size, by putting even pressure on the middle pressing towards the outside. The ends will look messy, but I cut them off.
13) I cut a third off this new stick and reduce that by half ish.
14) I cut a slice from the larger and smaller teardrops. the big is the large top part of the wing and the small is the bottom bit.
15) I cut a slice off each for the 2nd wing and make a simple body from black conditioned clay. I then assemble the butterfly.
16) I then attach them to the teapot.
Sun and clouds on the lid
Sun
For the sun, I use my swerly pattern (I have a page devoted to showing how to make this on my blog) I use yellow, orange and gold.
Here is a quick run through;
1) I take thin sausages of conditioned clay (one of each colour).
2) I twist them together.
3) I fold it in half and twist the 2 ends together. I keep folding in half and twisting together until it's ball shaped.
4) I press the ball firmly, to stick it together and roll into a sausage.
5) I then repeat steps 2 and 3.
6) I press the ball firmly together and roll the ball to smooth out the surface, I then press it into a cube.
7) I cut a thin layer off each surface, turn it around (so that the inside design is facing outward) and press back onto the cube. I make sure I have done this, so none of the outside design is showing.
8) I roll it into a smooth ball and push it onto the lid's handle. Make sure it is firmly secure.
Clouds
1) I condition some white clay and roll it into balls of various sizes.
2) I position the balls around the sun, to form a few clouds.
I then bake it all and then varnish it to finish.
Thursday, 3 November 2016
The UK government wants disabled people to do what work they can. This is what happens if that is under 30 hours a week. Spoiler alert, it's awful.
I have been disabled with chronic fatigue syndrome and a load of other health problems for the past 16 years . I totally agree with the idea that we should all be doing what work we can, so 2 years ago, I started that quest.
I tried a few hours a week in a local office and got very ill. After a lot of failure, I decided that the only option was to become self employed.
I work from my bed making polymer clay items and sell them on etsy. I manage to work around 10 hours a week from my bed.
I am able to do this under the supported Permitted Work rules.
Supported Permitted Work and Permitted Work rules
The following has been cut from the UK official government website on this.
Claiming ESA if you work
Your ESA isn’t usually affected if you either:
- earn up to £20 a week
- work for less than 16 hours a week and earn up to £115.50 a week, for 52 weeks or less (or for any length of time if you’re in the support group)
This is called ‘permitted work’.
You can also do ‘supported permitted work’ and earn up to £115.50 a week. This must be part of a treatment programme, or supervised by someone from a local council or voluntary organisation whose job it is to arrange work for disabled people.
You must tell the Department for Work and Pensions (DWP) if you start doing permitted or supported permitted work. They’ll send you form PW1 to fill in and send back to them.
Any volunteer work you do needs to be reported. It normally doesn’t affect your ESA.
My problem with this
I have put all my savings into tools and materials, but the benefits system will not look at profit. They look at income. So, the fact that over half of what is paid goes in materials and postage does not matter, it all is held against me.
This leaves me walking a very thin tightrope. I have to try and build my business all by myself, to a point where I am not in the red and I am earning enough to stop calming. But at no point, can I have any income of over £100 per week (they do not average it out, so if I sell well in the Christmas period and sell nothing from January to April, it doesn't matter. If I go over it in any one week, I am screwed).
I feel like I am living under a constant threat of having to fold the business and loose a lot of money.
I have put all my savings into tools and materials, but the benefits system will not look at profit. They look at income. So, the fact that over half of what is paid goes in materials and postage does not matter, it all is held against me.
This leaves me walking a very thin tightrope. I have to try and build my business all by myself, to a point where I am not in the red and I am earning enough to stop calming. But at no point, can I have any income of over £100 per week (they do not average it out, so if I sell well in the Christmas period and sell nothing from January to April, it doesn't matter. If I go over it in any one week, I am screwed).
I feel like I am living under a constant threat of having to fold the business and loose a lot of money.
Also the rules state that I have to be on the books of a company that is approved to fulfil the "supported" part of the conditions. There are very few of these. In Surrey (where I live) there is one. Employability. They are swamped and if you can't get them to take you or they drop you at any time, I either have to stop working or stop calming.
You are only allowed to work for 52 weeks otherwise.
You need to be able to work 30 hours a week for tax credits, so no chance of help there.
This is what they do when you actually do what they ask.
This is what they do when you actually do what they ask.
Uk Insurance for a clay artist. Clearing up some of the confusion
I know that a lot of people work without any insurance, feeling like they are too small to need it.
Whenever I break any rules in life, I always get caught (I bunked on day of school in my whole life and got caught out and have a long list like this). I also think that it is important to protect your customers.
Public liability insurance
Most craft sellers know that we need public liability insurance, if we sell at fairs or in shops.
This insurance covers any member of the public against injury in any of your work spaces. It doesn't cover you or your staff.
Product liability insurance
This one is less known about, but just as important. If someone hurts themselves on something that you made (like a kid swallowing a bit that broke off a model, or cut themselves on a sharp edge ect) your public liability insurance will not cover this.
Personal / staff insurance
This will cover you / your staff if you get too ill to work or injured.
I don't have any staff, so I haven't really looked into this. I think that you have to have this if you have staff, but personal cover is not mandatory.
I have chosen not to until I get my business to the stage where it is financially stable enough to come off benefits.
Do remember, if you choose to not cover yourself, to put some money aside for sick pay for yourself. You will need it at some point and the lack of this has ended many businesses. Finding that you can no longer afford to pay your bills, is a living hell.
Stock and tool cover
This is what it sounds like and another one that is not mandatory, but you are a fool to not have it.
You are counting all the items you have made ready to be sold, all the materials you keep to make things (clay, crystals, armatures etc), all the equipment used to desplay at fairs, the tubs and shelves ect that you use to store everything, all the packaging for postal and any stamps for postage, every tool you have for your work. Literally everything you use for work.
Keep a list of everything you have, what it cost with pictures and receipts off of your work premises. Give them to a friend or relative or store them digitally somewhere else. If your workplace is destroyed, you don't want that paperwork to go too as you are going to need it. Make sure it's up to date.
Premises insurance
This one depends on how you work. I work from home and don't have a actual shop (I sell on the Internet or at the few fairs that I am well enough to get to). I also store my stock around my home (instead of at a warehouse). So, I don't think this is applicable for me at the moment.
If you do have a studio that you work in or a shop where you sell your work or somewhere you keep your stock, then you really want to get this.
When your things are somewhere unusual
You may have some of your work at a gallery or exhibition at all sorts of places. You could have an arrangement with a shop to rent you a shelf, or start to store some tools and materials at a place where you teach. Anything that is different from what you have told your insurance company.......
At the stage of negotiations and before you agree, make sure you ask if they are covering your bits with their insurance and what they will not cover. I ask for this in writing.
I have found that almost no one agrees to take any responsibility for these situations. You must then get in touch with your insurance company before you agree the deal. They may say that this is allowed under your current cover or say that it will cost extra. You can then bring this information into the negotiations.
If you don't inform your insurance upfront, you will not be covered. This is why I get a email from them stating coverage.
Tell your insurance everything
All the job roles you perform, your method of sales and the country's you are available to buy in, what you expect to earn, just everything. Spend some time before getting in touch with them, to write down everything you think could possibly effect your policy. No matter how unlikely.
If anything changes throughout the year (you sell more than you expect or do anything new) get in touch with them.
Make sure you have their phone number and email address saved.
Some stings
There are several things I have come across, that made my eyebrows go up for different reasons. Here are the ones that I can think of, but please let me know ones that I have missed and I will add them.
https://www.jmginsurance.co.uk/business-insurance
2) Towergate Insurance Brokers;
https://www.towergateinsurance.co.businessuk/-insurance
Whenever I break any rules in life, I always get caught (I bunked on day of school in my whole life and got caught out and have a long list like this). I also think that it is important to protect your customers.
Public liability insurance
Most craft sellers know that we need public liability insurance, if we sell at fairs or in shops.
This insurance covers any member of the public against injury in any of your work spaces. It doesn't cover you or your staff.
Product liability insurance
This one is less known about, but just as important. If someone hurts themselves on something that you made (like a kid swallowing a bit that broke off a model, or cut themselves on a sharp edge ect) your public liability insurance will not cover this.
Personal / staff insurance
This will cover you / your staff if you get too ill to work or injured.
I don't have any staff, so I haven't really looked into this. I think that you have to have this if you have staff, but personal cover is not mandatory.
I have chosen not to until I get my business to the stage where it is financially stable enough to come off benefits.
Do remember, if you choose to not cover yourself, to put some money aside for sick pay for yourself. You will need it at some point and the lack of this has ended many businesses. Finding that you can no longer afford to pay your bills, is a living hell.
Stock and tool cover
This is what it sounds like and another one that is not mandatory, but you are a fool to not have it.
You are counting all the items you have made ready to be sold, all the materials you keep to make things (clay, crystals, armatures etc), all the equipment used to desplay at fairs, the tubs and shelves ect that you use to store everything, all the packaging for postal and any stamps for postage, every tool you have for your work. Literally everything you use for work.
Keep a list of everything you have, what it cost with pictures and receipts off of your work premises. Give them to a friend or relative or store them digitally somewhere else. If your workplace is destroyed, you don't want that paperwork to go too as you are going to need it. Make sure it's up to date.
Premises insurance
This one depends on how you work. I work from home and don't have a actual shop (I sell on the Internet or at the few fairs that I am well enough to get to). I also store my stock around my home (instead of at a warehouse). So, I don't think this is applicable for me at the moment.
If you do have a studio that you work in or a shop where you sell your work or somewhere you keep your stock, then you really want to get this.
When your things are somewhere unusual
You may have some of your work at a gallery or exhibition at all sorts of places. You could have an arrangement with a shop to rent you a shelf, or start to store some tools and materials at a place where you teach. Anything that is different from what you have told your insurance company.......
At the stage of negotiations and before you agree, make sure you ask if they are covering your bits with their insurance and what they will not cover. I ask for this in writing.
I have found that almost no one agrees to take any responsibility for these situations. You must then get in touch with your insurance company before you agree the deal. They may say that this is allowed under your current cover or say that it will cost extra. You can then bring this information into the negotiations.
If you don't inform your insurance upfront, you will not be covered. This is why I get a email from them stating coverage.
Tell your insurance everything
All the job roles you perform, your method of sales and the country's you are available to buy in, what you expect to earn, just everything. Spend some time before getting in touch with them, to write down everything you think could possibly effect your policy. No matter how unlikely.
If anything changes throughout the year (you sell more than you expect or do anything new) get in touch with them.
Make sure you have their phone number and email address saved.
Some stings
There are several things I have come across, that made my eyebrows go up for different reasons. Here are the ones that I can think of, but please let me know ones that I have missed and I will add them.
- Selling to America. UK insurance companies hate it and would rather you don't. It has a massive premium on it, that they divide into percentage of total sales. I am in the bracket of no more than 25%. If I think I am getting close, I have to get in touch to pay to go into the higher bracket. America has the reputation for a suing culture.
- If you are found to be knowingly negligent, then you are on your own.
- They don't cover copy write disputes.
- They all have various excess you have to pay on a came.
- They seem to charge you more in your first year, because all you have is a prediction of earnings.
- If you call the mane companies that find you a quote twice and make sure that they don't use the same company as the fist serch, you can get a bidding war going on for your business. Really is woth the extra effort!
You tell each company the same
information and inform them of the
other ones quote. I guarantee that they
will come back with a better offer. Mine
started at £660 for the year and I am now at a £220 for the same cover. I am about to inform them that they have just been undercut by the first again, so I will let you know who wins me.
Be nice to your brokers
These people are nice guys doing a complicated job (even when you are not making them work far harder with the bidding war). Remember to be nice to them both.
I have a rule that if I get a good service from someone, then I email their boss to say so. They are all going to have a end of year appraisal and their boss will have all the complaints lodged that year. We are all good at complaints (as we should be if something was wrong), but we do not leave positive feedback. It is actually just as important.
Where I went for my insurance
The first company that I went to, to get the 2 different insurance brokers was;
BIBA Commercial (British Insurance Brokers’ Association)
https://www.biba.org.uk/find-insurance
They put me in touch with;
1) J.M. Glendinning;
https://www.jmginsurance.co.uk/business-insurance
2) Towergate Insurance Brokers;
https://www.towergateinsurance.co.businessuk/-insurance
Monday, 17 October 2016
Fimo is not poisonous (Polymer clay)
One of the most pervasive myths about polymer clay, is that it is poisonous. I am telling you now that it is not.
How this myth got started
I have heard that it was spread around by the first generation of polymer clay artists, because they saw that the clay was so perfect that the market could very easily get flooded with competition.
There is no actual proof of this that I have seen and even if it is true, they where not successful. There are tones of excellent artists selling their creations.
I think it is more likely that it was a combination of the fact that it is a plastic and the fact that responsible sellers say ( like I do in my literature) that their clay products are not to be in contact with food or drink. When you put clay on the outside of glass or ceramic, it's OK. Here is why we say this;
If you put baked clay under a microscope, you will find it has a pitted surface. This means that it is hard to get the surface germ free. See porous, not poisonous.
But what about the fumes when you bake it?
While it does omit a slight chemical smell while baking, fumes is really far too dramatic a word.
If you chose to spend the whole day huffing them, you would have no effect other than waisted time. If you don't like the smell in your oven, simply cover the tray with foil.
Certified safe for children
Above is a pack of Fimo. If you look in the bottom left corner, you will see the symbol below.
The AP (Approved Product) Seal
This identifies art materials that are safe and that are certified in a toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans, including children, or to cause acute or chronic health problems. Such products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236, and the U. S. Labeling of Hazardous Art Materials Act (LHAMA).
And finally....
The last bit that should convince you. I have eaten Fimo myself and I am fine.
I do my clay work from my bed and I also have a snack supply (some healthy and some naughty). I have lost count of the amount of times that I dropped a bit of chocolate and found brown clay. I know my mistake only by the fact that it basically is tasteless.
So let your kids loose on some Fimo. You will then get to treasure their creativity forever.
How this myth got started
I have heard that it was spread around by the first generation of polymer clay artists, because they saw that the clay was so perfect that the market could very easily get flooded with competition.
There is no actual proof of this that I have seen and even if it is true, they where not successful. There are tones of excellent artists selling their creations.
I think it is more likely that it was a combination of the fact that it is a plastic and the fact that responsible sellers say ( like I do in my literature) that their clay products are not to be in contact with food or drink. When you put clay on the outside of glass or ceramic, it's OK. Here is why we say this;
If you put baked clay under a microscope, you will find it has a pitted surface. This means that it is hard to get the surface germ free. See porous, not poisonous.
But what about the fumes when you bake it?
While it does omit a slight chemical smell while baking, fumes is really far too dramatic a word.
If you chose to spend the whole day huffing them, you would have no effect other than waisted time. If you don't like the smell in your oven, simply cover the tray with foil.
Certified safe for children
The AP (Approved Product) Seal
This identifies art materials that are safe and that are certified in a toxicological evaluation by a medical expert to contain no materials in sufficient quantities to be toxic or injurious to humans, including children, or to cause acute or chronic health problems. Such products are certified by ACMI to be labeled in accordance with the chronic hazard labeling standard, ASTM D 4236, and the U. S. Labeling of Hazardous Art Materials Act (LHAMA).
And finally....
The last bit that should convince you. I have eaten Fimo myself and I am fine.
I do my clay work from my bed and I also have a snack supply (some healthy and some naughty). I have lost count of the amount of times that I dropped a bit of chocolate and found brown clay. I know my mistake only by the fact that it basically is tasteless.
So let your kids loose on some Fimo. You will then get to treasure their creativity forever.
Sunday, 16 October 2016
Why I want to be a polymer clay teacher
If you decided that you liked to mess around with polymer clay, you might consider methods to learn more about it. While there are a range of books out there (your local library will have some), online tutorials, websites, if you encounter any problems then you are left asking around on forums.
So, it is worth paying for lessons. There are some who run online courses and others who teach in person. I am planning to become the latter.
My main reason for wanting to become a teacher, is actually to get to know new people. I know that there are a lot of teaching roles where you are not allowed to make friends with the students, but since this is a adult teaching adults and there is not any big power difference, then this is fine.
Having a lot of long term health problems prevent me from getting out and about, so I don't get to meet people that way. Since I work for myself from home, that takes away all the people who we meet through work. I am not Billy no mates by any means, but I think I really need to work at that part of my life.
I have looked around the UK and found that there are quite a few teachers out there, but none of them are in Surrey and there is no clay groups either. The teachers I did find, teach either jewellery and bead making, canning, flower making and one or two who teach various model making or sculpting. I plan to be a little different.
I am planning to run classes for 8 people at a time. They will pay for one lesson a few hours long, rather than a long course, but I also plan to run a much larger clay group, which I will explain more about at the end.
Lessons
I will start the lessons the same, with showing how to use the clay and tools properly.
The main body of the lesson will have several options. I am making worksheets that are the step by step process to make different items. Each step will have a photo and a explanation. The help sheets are divided into two types;
1) Design
How to make a type of pattern or effect with the clay.
2) Project
How to make a home decor item from clay, either patternedor plain. These will be things like bud vases, little boxes, tea lights, decorative bowls etc.
I know that I will need to have all 8 students working from the same 2 cards, but I am not sure how I am going to do this. These are the options, let me know which one you think is best;
1) The democratic option
Once 8 people have signed up, allow them to vote between them.
The benefits to this is that I can run a class as soon as I have 8 people. The down side is if someone want to do one in particular and it doesn't get voted for.
2) Advertise them as different courses
I would permanently pair the designs and the projects and then advertise each option as individuals classes. When I get 8 people I run the course.
The benefit to this, is that everyone gets what they want. The downside is that it will take a lot longer to get 8 people who want to do that specific course, so it would make organising the dates for the class very difficult.
3) Cycle the lessons
This is my least favourite option. Like before, I pair off the designs and projects, I then run each pair one after the other.
The reason why this is my least favourite option, is that I really am not sure how to deal with it if I have too few people who sign up for the class.
So....
I will need at least 6 people attending in order for me to make it so that I make any money for my time.
I have already bought all the tools and equipment needed to teach 8 people, so that I know that I will definitely be doing this as soon as I am well enough.
Clay group
As I said, there is no clay groups going on locally, the nearest is London.
One of the first places I checked was with The British Polymer Clay Guild. Since they had nothing in Surrey, I have decided that I am going to do it myself.
A lot of the different guild groups organise tutors for each of their meetings and charge £10+ for members to attend the meeting/ lesson, but I as usual want to do it different.
My plan is that everyone comes along and works on their own thing in a social environment. I will keep a loose eye on things and help anyone who wants some help, but I will not be a tutor.
I will be happy to supply the clay (which I will sell to people at the price I got it. They will get to use my tools on a "you damage any, you replace it" basis, but it will be encouraged for them to bring their own.
Doing it this way, all people would need to pay, is enough to cover the room between them. If I get a church hall or scout hut, then this should be very cheap.
This really would be me on my own time, organising a social event for like minded people to have fun claying around.
So, it is worth paying for lessons. There are some who run online courses and others who teach in person. I am planning to become the latter.
My main reason for wanting to become a teacher, is actually to get to know new people. I know that there are a lot of teaching roles where you are not allowed to make friends with the students, but since this is a adult teaching adults and there is not any big power difference, then this is fine.
Having a lot of long term health problems prevent me from getting out and about, so I don't get to meet people that way. Since I work for myself from home, that takes away all the people who we meet through work. I am not Billy no mates by any means, but I think I really need to work at that part of my life.
I have looked around the UK and found that there are quite a few teachers out there, but none of them are in Surrey and there is no clay groups either. The teachers I did find, teach either jewellery and bead making, canning, flower making and one or two who teach various model making or sculpting. I plan to be a little different.
I am planning to run classes for 8 people at a time. They will pay for one lesson a few hours long, rather than a long course, but I also plan to run a much larger clay group, which I will explain more about at the end.
Lessons
I will start the lessons the same, with showing how to use the clay and tools properly.
The main body of the lesson will have several options. I am making worksheets that are the step by step process to make different items. Each step will have a photo and a explanation. The help sheets are divided into two types;
1) Design
How to make a type of pattern or effect with the clay.
2) Project
How to make a home decor item from clay, either patternedor plain. These will be things like bud vases, little boxes, tea lights, decorative bowls etc.
I know that I will need to have all 8 students working from the same 2 cards, but I am not sure how I am going to do this. These are the options, let me know which one you think is best;
1) The democratic option
Once 8 people have signed up, allow them to vote between them.
The benefits to this is that I can run a class as soon as I have 8 people. The down side is if someone want to do one in particular and it doesn't get voted for.
2) Advertise them as different courses
I would permanently pair the designs and the projects and then advertise each option as individuals classes. When I get 8 people I run the course.
The benefit to this, is that everyone gets what they want. The downside is that it will take a lot longer to get 8 people who want to do that specific course, so it would make organising the dates for the class very difficult.
3) Cycle the lessons
This is my least favourite option. Like before, I pair off the designs and projects, I then run each pair one after the other.
The reason why this is my least favourite option, is that I really am not sure how to deal with it if I have too few people who sign up for the class.
So....
I will need at least 6 people attending in order for me to make it so that I make any money for my time.
I have already bought all the tools and equipment needed to teach 8 people, so that I know that I will definitely be doing this as soon as I am well enough.
Clay group
As I said, there is no clay groups going on locally, the nearest is London.
One of the first places I checked was with The British Polymer Clay Guild. Since they had nothing in Surrey, I have decided that I am going to do it myself.
A lot of the different guild groups organise tutors for each of their meetings and charge £10+ for members to attend the meeting/ lesson, but I as usual want to do it different.
My plan is that everyone comes along and works on their own thing in a social environment. I will keep a loose eye on things and help anyone who wants some help, but I will not be a tutor.
I will be happy to supply the clay (which I will sell to people at the price I got it. They will get to use my tools on a "you damage any, you replace it" basis, but it will be encouraged for them to bring their own.
Doing it this way, all people would need to pay, is enough to cover the room between them. If I get a church hall or scout hut, then this should be very cheap.
This really would be me on my own time, organising a social event for like minded people to have fun claying around.
Thursday, 6 October 2016
My Christmas range so far
I have always found that the majority of Christmas decorations are all the same basically and I wanted to offer something different. I like to use animals that are not associated with Christmas, but make them have a Christmas theme.
Tree decorations
These are what is left from last year, but I plan to make more shortly.
A sheep wearing a raindear's horns on a headband and a red rouldolph nose.
Penguins in red party hats.
Bats holding Christmas stars.
Stegosaurus in santa hats.
Siameese cats in Christmas stockings.
Rabbits holding a big carrot shaped present, with fairy lights tangled round them.
Elephants holding Christmas presents.
Ginger tabby cats playing in a holly wreath (this is my favourite).
Hedgehogs holding Christmas presents.
Grey tabby cats holding Christmas puddings.
Swans with Christmas puddings on their backs.
I am planning on octopus with paper chains, a lion with a roast turkey, polar bears with mince pies, hippos with a Christmas ballball in their mouths, a badger with a candy cane and squirrelswith bowls of nuts.
I have no idea if I will manage them all, but I can always make more next year.
Christmas boxes
I have made a couple of boxes for the shop. They are swirling Christmas colours, with a Christmas tree on top. All but one have cats on them.
I have had many criticisms of these. That they are too loud and busy, but this is how I see Christmas. I understand that they are not for everyone, but no art should be. I make things that hold meaning to me, things that make my heart leap. If I don't love it, I will not sell it.
A black cat sitting near to the tree. The box is Christmas tree shaped.
A grey cat sitting near the tree. The box is Christmas tree shaped.
A tree (no cat) on a star shaped box.
A grey cat playing with the tree. The box is Christmas tree shaped.
There was a tree shaped box with a black cat playing with the tree, but it has gone to its forever home and I can't find its picture.
Kind of Christmasy
There are several bits I have made that I don't think would look out of place in a Christmas setting, but where not made with Christmas in mind. Well, see what you think......
It has a snowman, but I really had no idea when I started, that I was going to make this. I don't usually work with such little plan, but I am very pleased with how it has turned out.
This is my arctic box. I agree that I am really stretching it here, but it has ice and I have seen many people who go for the light blue, silver and white colour scheme for their Christmas decorations.
I personally go for purple (my favourite colour), magenta, turquoise and silver. Not really Christmas colours, but I have never had a problem with getting copious amounts of bits in these.
Tree decorations
These are what is left from last year, but I plan to make more shortly.
I am planning on octopus with paper chains, a lion with a roast turkey, polar bears with mince pies, hippos with a Christmas ballball in their mouths, a badger with a candy cane and squirrelswith bowls of nuts.
I have no idea if I will manage them all, but I can always make more next year.
Christmas boxes
I have made a couple of boxes for the shop. They are swirling Christmas colours, with a Christmas tree on top. All but one have cats on them.
I have had many criticisms of these. That they are too loud and busy, but this is how I see Christmas. I understand that they are not for everyone, but no art should be. I make things that hold meaning to me, things that make my heart leap. If I don't love it, I will not sell it.
There was a tree shaped box with a black cat playing with the tree, but it has gone to its forever home and I can't find its picture.
Kind of Christmasy
There are several bits I have made that I don't think would look out of place in a Christmas setting, but where not made with Christmas in mind. Well, see what you think......
It has a snowman, but I really had no idea when I started, that I was going to make this. I don't usually work with such little plan, but I am very pleased with how it has turned out.
I personally go for purple (my favourite colour), magenta, turquoise and silver. Not really Christmas colours, but I have never had a problem with getting copious amounts of bits in these.
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