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Happy autumn friends! It is exciting to bring you the FIRE edition of CERAKANVAS for your reading enjoyment. This is the 1st of 2 parts of our FIRE & ICE edition. ICE will be out in about 7 days. The print version will be combined with a dual cover feature not ever used before on a art magazine. We are very excited to bring you a wonderful interview of Barry Gregg and his work and inspirations in the ceramic field. We know you will enjoy reading his story, and be inspired by his work. We offer a special thank you to Faith Havard Kaiser for doing this interview and writing a great article for us. Enjoy! Tommy Lee - Publisher
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Join us in our very special Fall 2014 edition of CERAKANVAS – The Official Journal of the Ceramic Artist Guild. From stories of how CERAKANVAS was born in May 2009, to great bio pieces on artists like Barry Gregg and business features dealing with sensitive topics of today in the marketplace. Also some great technique feature articles from some of your favorite artists, and some new ones you have not yet met in CERAKANVAS
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The art of the Brushstroke
Paint brushes can be manipulated to create different brush strokes for painting assorted objects and textures. Crescent and comma strokes, for example, are often used in the painting of flowers while comma and S strokes are utilized in stencil creation. Use quality, good-condition brushes and practice often for optimal painting performance
Read more : http://www.ehow.com/list_7624068_differentbrush-strokes.html
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Clay Arts Vegas Our jurors had a very difficult time selecting a best of show for "What Goes Bump In The Night" The work raged from terrifying to disturbing. The level of craft is often exquisite. This being said Magda Gluszek of Show Low, AZ's piece "Keep It Together" has received Best of Show. Because of the difficulty the judges would like to acknowledge a second piece by Suzie Molnar from Buffalo, NY for her "The Place We Call Home". Magda's rabbit, for the judges, is a surrealistic nightmare. Suzie's rats are the horror film you are trapped in that you don't live to see the end. Congratulations to every artist for wonderful work your talents make all of us proud at Clay Arts Vegas Fan Page to be able to share your art with the community. The show runs through Halloween and is a must see!
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. . . It was early spring, still chilly and rainy, when a friend and I walked into the beautiful, beamed barn at “The Bascom, A Center for the Visual Arts”, in Highlands, North Carolina, for what would be the best clay workshop I had ever taken. Barry Gregg of Barry Gregg Clayworks in Decatur, Georgia taught it. The class was about building ceramic animals and totems. I found Barry to be not only a very talented clay artist, but also funny, engaging, an excellent instructor and downright nice. The big barn was full of students; some experienced potters, others had never had their hands in clay. Many considered themselves Barry Gregg groupies. The next few days were filled with clay and laughter, creatures and creativity. Barry’s imagination is endless and he gladly shares all of the secrets of his trade. It was immediately clear that his personality was as big as this barn. When asked to do this article for the Ceramic Artist Guild about Barry, I jumped at the chance. Faith Havard Kaiser Contributing Writer - Artist
When I asked Barry how he describes his sculptures, he said he’s not wild about the word “whimsical”, but has come to embrace it. His work has run the gambit from functional to sculptural to which he responds “A.D.D. is a gift”. His favorite comment, he says, is when people say to him, “Your work makes me so happy.” And happy work it is. He has many inspirations for his works. Barry’s favorite dog, Parker, who lost her leg to cancer, but continued to be active, inspires some of his pieces.
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“How do you come up with the names of your pieces?” “The titles vary. I generally decide a thematic direction of a piece and the names come up after I have completed the piece. In some cases, like “Off to the Piggly Wiggly” (a box, covered in Green Stamps and filled with three pigs), the piece declares its name. Although I like to use humor in my descriptions, I try not to be so literal. I like my work to tell the story each viewer can relate to”.
“I am interested in movement and color. You will see a lot of carts and boxes that I find or make. If it is just a box, I build or find wheels, which are then attached. I love wooden boxes and am inspired by vintage children’s toys. And most recently, a sighting of black bears in the front yard of the home in which I stayed in North Carolina has inspired a series of bears. Sometimes inspiration is achieved organically; sometimes, however, it is just a whack on the head. I try to be very aware of my surroundings and pay attention to the small things that occur. I like to think that there is a story in each completed piece.” Barry’s formal education is in graphic design with a painting major. When asked if he still paints he said “My canvas is now clay. My paint is now glaze. I was not inspired as a painter, but clay is loose enough to paint and the surprise element is the opening of a glaze kiln. The imperfections that occur fascinate me just as much as the perfections. I attempt to let go of preconceived notions of what the finished piece will be. My original idea can take many twists and turns through my creative process”.
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Barry worked for many years as a graphic designer but found that he wanted to do something more creative. Though he had taken a clay class in college, he says it was a small liberal arts school with no on campus clay department. Then, in the mid nineties as a creative outlet, he took classes at a local art center, learned to throw and hand build, “all in a learning environment”, says Gregg. Afterwards, he completed a two-year apprenticeship at Callanwolde Fine Arts Center in Atlanta, where he then taught ceramics for about five years. Simultaneously, he opened his own small studio and began having annual studio sales. While teaching at Callanwolde his loyal pal, Parker, whose resilience and refusal to lie down or be hampered by the loss of a leg, inspired Barry to take the “leap of faith, to go out on my own and make pottery work for me. My mid-life crisis led me to the life of an artist”, he admits. Barry says that his dog Parker was the catalyst for this giant leap. “I wanted to do clay full time but was unsure as how to proceed. I wanted to make it work for me and make a living doing so. So, in 2007, I left my freelance graphic design business and began trying to figure it out. It was a giant leap of faith, but one that I felt I had to attempt. I’ve been very fortunate in regards to galleries picking up my work. I’ve also done street festivals, craft council shows and have exposed my work to as many people as possible. I do not want to be pigeon holed. You just have to put yourself out there.”
“I originally made them for my garden several years ago when we were experiencing a drought. The yard looked like New Mexico and needed some color. I would put one or two pieces in each firing until I had enough to stack. Then I started to make bases for them so they could be table top sculptures and put a few for sale at the Bascom. They sold and continue to be popular.”
“Totems are just one of the many things I create. Themes are limitless and can be reworked until they are just right”, he added. “I do a lot of functional work, also. I make mugs, bowls, lamps, candlesticks, candle snuffers, teapots, face mugs, architectural elements, and lately, a menorah and black bears, just to name a few. My signature piece is ‘Bark Ark’ which symbolizes the journey from one place to the next. I relate to the boat as it gives us endless directions our choices can take us. Each one a new adventure.
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“What are your favorite pieces?” “I can’t really say. They’re all my babies. I often will be very excited by a particular piece or series of pieces I create. Occasionally, they do not make a connection to an audience, and that’s okay. I have come to understand that my number one objective is to please myself with my work. That makes the challenges worthwhile and brings me great rewards. I have never felt that making work to “sell” has been a priority for me. Make the work that I connect to and most likely, my audience will too.” I have to admit, though not a tea drinker, “A Spot of Tea” teapot is beyond fun as is the teapot, “Short and Stout”. “Movers and Shakers”, a salt and pepper shaker in a wagon is also a favorite.
The dogs that I create are not breed-specific, however are intended on capturing the spirit of each animal. My audience generally finds the spirit in a beloved pet through the subtle nuance that each bark ark possesses”. The “Bark Ark” is more than a single idea. Each one has a theme that can relate to the subtleties of life. Each creation is a variation of dogs in a boat, doing different things with little birds perched on the rails of the boat. They range in size from small to large and I have not seen two alike. I proudly own one myself, and yes, I smile each time I look at it.
His work is colorful and fanciful, but cohesive in a way that is artfully hidden. His sculptures are not all dogs. He does wonderful penguins, sheep, birds, fish. If it flies, floats, swims, walks, or barks, it is likely to show up as a wonderful totem, lamp, tea pot or candle holder. Some of this garden totems are as tall as six feet high. Others are small enough to live on your mantle. All are fun, all will bring you joy. Parker has passed over the Rainbow Bridge, but remains an inspiration to Barry. He now has two more dogs that keep him entertained. The oldest, now known as Pickle, started out as Dylan, than Dill Pickle, now just Pickle. The newest addition to his living dog family is Bella, now more than a pup.
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MY INSPIRATION “Parker” I thought it was a sprain; at worst, a fracture. When I heard the word “sarcoma”, I froze . . . then wept, and then felt helpless. After a torrent of emotions ranging from fear to pity, I took action. Parker has been cancer free for four years. She ran up the stairs on the day of her surgery excited to be home. Parker runs, jumps, swims and dances. Most of all, she inspires. No pity here, only inspiration. She takes life one day at a time and accepts life as it comes at her. She is a loyal friend, my muse and teaches me life lessons daily. Growl only when growled at, let unimportant (and some important) things go, remain loyal, bark less and wag more. . . . Barry Gregg
Upcoming Events of Barry Gregg
October 18, 2014- "Build Your Own Totem Day" at The Bascom, Highlands, North Carolina December 2014- Studio Open House and Studio Sale, Decatur, Georgia December 2014- "Nativity and Menorahs" at Signature Contemporary Craft Gallery, Atlanta, Georgia January 2015- "Candy Land" March 2015- “The American Craft Council Show" Spring 2015- "Animals, Totems, and Spirits of Nature Workshop" at The Bascom, Highlands, North Carolina
The CAG would like to thank our guest journalist Faith Havard Kaiser for her delightful interview and feature article on our featured artist for this edition, Barry Gregg. Barry’s works are unique, whimsical, full of spirit and inspiring. He definitely embodies the aspiration of a ceramic artist who thinks outside the box. We want to thank Barry for sharing his life’s love clay with our readers. Faith had discussed the possibilities of a feature article being done on one of her favorite artists, Barry Gregg for well over a year. In true professional journalistic manner, Faith brought us not only a wonderful overview of his works, but also a delightful introspective look at the artist himself. Faith is a notable artist in her own right. She was recently featured as an artist in CERAKANVAS where she also shared the heart touching story of her grandson, Spencer and his battle with cancer at such an early age. Thank you!
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The art of Realism Realism (or naturalism) in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in large part a matter of technique and training, and the avoidance of stylization. In the visual arts, illusionistic realism is the accurate depiction of life forms, perspective, and the details of light and color. Realist works of art may emphasize the ugly or sordid, such as works of social realism, regionalism, or Kitchen sink realism.
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Just what is a Keep (Kype) We are pleased to bring our readers another great ceramic piece by artist Ruby Means from Kentucky, USA. Ruby has contributed many articles and pieces from herself, her students and her beloved grandkids over the years that CERAKANVAS has been published. She is a talented and delightful ceramic artist working in many mediums and medias. Ruby has also served as a CAG Ambassador for Kentucky and other southern states since our Ambassadorship program began in 2009. Ruby has always upheld the true meaning of professional, and helped to build the industry and keep it alive. Thank you Ruby for all you have done for the CAG and for the ceramic industry. (The technique for this dragon is on the following page.)
A keep is a type of fortified tower built within castles during the Middle Ages by European nobility. Scholars have debated the scope of the word keep, but usually consider it to refer to large towers in castles that were fortified residences, used as a refuge of last resort should the rest of the castle fall to an adversary. The first keeps were made of timber and formed a key part of the motte and bailey castles that emerged in Normandy and Anjou during the 10th century. The Anglo-Normans and French rulers began to build stone keeps during the 10th and 11th centuries; these included Norman keeps, with a square or rectangular design, and circular shell keeps. Stone keeps carried considerable political as well as military importance and could take up to a decade to build.
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Supplies Needed: 04 Bisque KI2046-2047 Kimple Dragon Brushes: #4 Soft Fan, 3/0 Round and Script 10/0 Mayco Glazes: EL131 Turtle Shell, EL121 Copper Aventurine, EL101 Oyster Shell, and CG723 Reptilian Green.
STEP by STEP: 1. Apply 1 coat of EL131 Turtle Shell over entire piece with fan brush let dry, wipe back with damp sponge to remove glaze on high spots leaving glaze in crevices. 2. Apply 3 coats of EL121 Copper Aventurine to belly and underside of tail. Apply only 1 coat of Copper Aventurine to ears and back spine. When dry apply 2 coats of EL101 Oyster Shell to Ears and Back Spine. 3. Apply with wet fan brush CG723 Reptilian Green to Dragon’s body. Allow to dry. Thin Copper Aventurine to wash consistency and using same brush apply highlights to leg haunches. 4. Using detail brush make round dot with Copper Aventurine in eye sockets and paint nose holes with 1 coat. 5. 5. Apply 2 coats of Oyster Shell to talons on feet and back of legs. Allow to dry thoroughly. 6.
Stilt and fire to cone 06.
If your company is considering the idea of investing in a booth, it is important to understand the basic options that are available to you. This list gives a brief description of each type of trade show display so that you can better understand their function and which is right for you.
Portable Displays: Small But Mighty Though these custom displays are small, they are still highly effective. This category encompasses tabletops, 20-foot displays, 10-foot displays, banner stands, and tables and kiosks. The portable display’s unique advantage is increased flexibility. Since they fit into one or two small boxes, they can easily be transported anywhere. With hassle-free set-up, exhibitors
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will spend less time and energy setting up, and more time and energy interacting with visitors. These high-impact displays are also cost-effective because businesses can transport, store, and assemble the exhibits themselves.
Modular Inline Exhibits: More Than a Billboard These booths offer a bold, professional look as well as a functional workspace. They are ideal for exhibitors who want more presence than a portable display, but who don’t quite need an island exhibit. Adding a modular table or kiosk to the modular inline booth makes it the ideal space to interact with customers or members of your team. These booths also offer flexibility. The graphics can easily be re-skinned to promote a specific product. They layout can also be rearranged or expanded according to the company’s needs.
Small Island Exhibits: Stand Out from the Crowd This custom trade show exhibit is ideal for companies who want their display to stand out from the crowd. “Small” may be in its name, but it is larger than the portable displays and inline booths. It typically ranges in size from 20′ x 20′ to 20′ x 30′, providing sufficient space to interact with
visitors and showcase new products. The option of expanding in the future is always available.
Large Island Exhibits: Steal the Show Nothing is more attention demanding at a show than a large island exhibit. It is utilized by industry leaders to make a statement as well as to create a large space to interact with potential customers, display products, and communicate information. Starting at 30′ x 30′, it gives exhibitors the freedom to get extremely creative so that they can create an unforgettable experience for visitors.
Trade Show Exhibit Rentals: Ultimate Flexibility Many exhibitors may not realize that they also have the ability to rent equipment. In fact, this opportunity gives them extreme flexibility. Perhaps a company wants to try out a booth or display prior to purchasing it. Renting would allow them to do so with less cost than if they were to go ahead and purchase the equipment. In some instances, an exhibitor may already own some hardware, but may opt to rent additional equipment in order to enlarge their trade show exhibit for a particular event or show. With rentals, companies can expand or change their booths as needed. Remember that this is only an overview, and each type of display has a plethora of exhibit options under each type. But now that you have a general understanding of your trade show booth options, you can further explore your company’s needs and start digging deeper into creating the perfect booth. Information courtesy of SKYLINE SALES http://www.skylinetradeshowtips.com/understanding-your-basic-trade-show-exhibit-options/
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SUPPLIES NEEDED Creative Paradise Inc. TL1121-Count Frogula Tools by National Artcraft 271-011-04 Cleaning Tool 271-046-03 Stylus 295-026-06 Sponge Americana Colors by DecoArt: DA01-Snow (Titanium) White DA03-Buttermilk DA016-Burnt Orange DA034-Lavender DA061-Sable Brown DA065-Dark Chocolate DA067-Lamp (Ebony) Black DA101-Dioxazine Purple DA128-Deep Burgundy DA133-Hauser Dark Green DA132-Hauser Med Green DA155-Soft Black DA173-Khaki Tan DA174-Milk Chocolate DA194-Marigold DA200-Primary Blue DA228-Bright Orange DA308-Cinnamon Drop DA310-Spiced Pumpkin DA312-Irish Moss Glamor Dust Glitter Paint DGD03-Sizzling Red DGD22-Princess Purple Brushes by Royal & Langnickel: Majestic Series R4160, Filbert size 4,6 Majestic Series R4595, Short Liner 10/0 Crafter’s Choice White Bristle Round size 2-8
Contact Shirley at Allmom47@aol.com or find her on facebook
STEP by STEP: 1. Scrape the seams off the greenware with a cleaning tool. Sand the seams with green grit. Wipe the imperfections off the seam area with a silk sponge that is lightly moistened with water. Replace any detail lost in cleaning with a stylus. Fire the piece to cone 04. 2. Paint the entire piece with Lamp (Ebony) Black. Let the piece dry completely. Drybrushing: Use the size White Bristle Brush that allows the most control in an area. To drybrush, dip the tip of the brush into the paint. Scrub the paint out of the brush on a brown paper bag or cardboard. Apply the paint by lightly scrubbing the bristles over the area. Always drybrush in the opposite direction of the detail. Drybrush until the color is as intense as you desire. 3. Drybrush the all the Frog's body areas with Hauser Dark Green. Using the same brush dip into Hauser Med Green and re-drybrush. Try to leave the first color showing near the edges. Using the same brush dip into Irish Moss and highlight the knees, fingers and toes until color desired. 4. Drybrush the collar on the Frog's cape with Deep Burgundy. Using the same brush dip into Cinnamon Drop to lighten until the desired color is achieved. 5. Drybrush the Pumpkin with Milk Chocolate allow piece to dry between coats. Using the same brush dip into Burnt Orange until color intensity is achieved. Use the same brush and highlight with Spiced Pumpkin. 6. Drybrush the Frog and Pumpkin's teeth with Buttermilk allow to dry. Using the same brush, dip into Snow (Titanium) White and re-drybrush up to color intensity desired. 7. Drybrush the Bats with Dioxazine Purple. Using the same brush, dip into Primary Blue and re-drybrush the same areas trying to allow some of the first color to show. Again with the same brush dip into Lavender to highlight the body and faces. 8. Drybrush the sign and post with Dark Chocolate. Using the same brush, dip into Khaki Tan and re-drybrush, allowing the darker color to show near edges. Using the same brush, dip into Soft Black and drybrush randomly to give appearance of rotted wood. Details: 9. Paint the Letters on the sign with Bright Orange. 10. Paint the eye area with Marigold on the Frog and Pumpkin, allow to dry. The iris on the Frog will be Sable brown. Use Lamp (Ebony) Black for the pupil on the Pumpkin and Frog. Place an accent dot in both sets of eyes with Snow (Titanium) White. 11. Paint on the fangs on the Bat's face with Snow (Titanium) White. 12. Apply Princess Purple Glitter to edges of the bat's wings. 13. Apply Sizzling Red Glitter to the inside of Collar. Highlight the high spots on the back of cape.
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SUPPLIES: DecoArt - Americana® Acrylics DAO1 Snow (Titanium) White DAO9 Antique Gold DAO16 Burnt Orange DAO52 Avocado DAO64 Burnt Umber DAO67 Lamp (Ebony) Black DAO93 Raw Sienna DAO95 Neutral Grey DA131 Hauser Light Green DA164 Light Buttermilk DA227 Bright Yellow DA229 Jack-O'-Lantern Orange DA235 Citron Green TG01 Triple Thick Gloss Glaze DAS13 Americana Matte Spray Sealer Brushes by Royal & Langnickel: Majestic Series: R4160 Filbert size 2, 4, 6, 8, & 10 R4585 Script Liner size 10/0 R4595 Short Liner size 10/0 Soft-Grip Series SG393 size 3/8" Crafter’s R9325 White Bristle size 6 Acrylic & Oil Palette Paper RD350
STEP by STEP Cleaning: Scrape the seams off the greenware with a cleaning tool. Sand the seams with green grit. Wipe the imperfections off the seam area with a silk sponge that is lightly moistened with water. Replace any detail lost in cleaning with a stylus. Fire the piece to cone 04. Glazing: Roll glaze the inside of the lid and the dish with any glaze desired. Make sure the glaze is food safe. Before roll glazing, take care to wipe out any dust with a damp sponge. Thin the glaze with water to the consistency of milk. Pour the glaze into the piece and roll it around the inside about 2 times without pouring the glaze out between coats. Fire the glaze to cone 06.
…continued
Starlite Molds Scioto #2900 Large Ghost Candy Dish National Artcraft 271-011-04 Cleaning Tool 271-046-03 Stylus 295-026-06 Sponge 290-118-14 Orton Cones 04 290-116-16 Orton Cones 06
Basecoating: Paint entire piece Snow (Titanium) White. Paint two coats to ensure coverage. Let dry completely between coats. Once the dish is base coated; trace pattern onto piece. It is easier to transfer the pattern onto the dish, if you cut out the pattern and place it where it goes. Basecoat as follows, using Filbert brush that affords most control in area: (For very small areas, use 10/0 Short Liner.) Paint the pumpkins-Jack-O'-Lantern Orange The pumpkin stem-Raw Sienna The tombstones-A Mixture of ½ Neutral Grey + ½ Snow White. The spiders and floating eyes-Avocado The sign post and sign background-Raw Sienna The signs-Antique Gold. (Create “streaks” with paint to simulate wood grain.) Paint the stars-Bright Yellow. The bats, tree, spider web, and spider legs-Lamp (Ebony) Black. The leafs-Hauser Light Green. (Leafs are formed by using #2 Filbert brush and the press and pull technique.) Highlighting and Shading: Use size Filbert brush that affords the most control in an area to be shaded and highlighted. Side-load the brush; and use it to shade and highlight. Highlight around eyes, eyebrows, lip, arms, and nose using Citron Green. Lightly highlight pumpkins using Bright Yellow. Highlight one side of leaves with Citron Green. Shade the outside edge and section lines of pumpkins with Burnt Orange. Shade outside edges of ghosts in pumpkin patch and ghost doll with Antique Gold. Also create nose with Antique Gold. (Refer to photo for placement.) Line and Detail Work: Small detail work is done with 10/0 Short Liner brush. Line work is done with 10/0 Script Liner brush. Place a Lamp (Ebony) Black dot in each floating eye for a pupil. Add a tiny Snow White dot for highlight. Outline eyes with Lamp (Ebony) Black. On ghost in the pumpkin patch and the ghost doll, paint the eyes and the mouth line with Lamp (Ebony) Black. Put a tiny Snow (Titanium) White dot in the eyes for highlight. Using Raw Sienna, paint a hit and miss outline of ghosts in pumpkin patch and the ghost doll. On the bats, paint two tiny Snow White dots for eyes and Snow White line at top of each wing for highlight. Paint the tendrils Avocado. The lettering and the cracks on tombstones are Lamp (Ebony) Black. Paint an outline around the stars using Antique Gold. Draw lines in the pumpkin stems using Burnt Umber. Paint the pumpkin treat bag’s handle, eyes, nose, and mouth using Lamp (Ebony) Black. Paint Bright Yellow highlights in eyes. Paint the sign post line work and the sign lettering, Lamp (Ebony) Black. The irises in ghost dishes’ eyes are Avocado and are highlighted with Hauser Light Green. Paint the pupil Lamp (Ebony) Black. Star shape and dot highlights are Snow (Titanium) White. Paint the inside of the mouth Lamp (Ebony) Black. Lightly drybrush the inside of the mouth Neutral Grey using the Round Bristle brush. To make blush, mix Snow (Titanium) White with small amount of Burnt Orange and use this mixture to drybrush some blush on cheeks of ghost container using the Round Bristle brush. To paint the grass, load Deerfoot Stippler with Avocado on heel and Hauser Light Green on toe. Pounce some of color on paper to blend, and then pounce this on grass area. Lightly pounce with Citron Green for highlight. Using the Script Liner brush, drag in some stray blades of grass using Avocado and Hauser Light Green.
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Pattern not to scale. You may contact Tammy at Tammy59@graceba.net Or find her on facebook
http://www.doctordisney.com/2014/08/19/disney-cracking-vendors-selling-unlicensed-merchandise/
For the last six years, CERAKANVAS – The Official Journal of the Ceramic Artist Guild, has brought you a glimpse into the ceramic world like no other magazine ever has. Every issue we showcased a multitude of great pieces and stories by so many gifted and talented artists from around the globe. Have you read every edition?