Marcia Kuperberg: artist - Oils, acrylic, watercolour, mixed media. Miniaturist. Ceramicist
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Clay modelling from life: Bogana (fellow ceramics student)

Clay model after biscuit firing. Next step: painting on her clothes, hair and shoes with glazes.Bogana was our model. I took shots of her from all angles to help me later.I enjoy modelling from life but always take loads of reference photos with my iPhone. These are invaluable when the model is no longer available. Bogana, a fellow ceramics student, only sat for us for two sessions just before Christmas '14 and I intended to work on her over the break. Of course, I didn't - and the clay hardened too much for me to carve as much detail as I wanted e.g. her fingers and toes. 
At least, that's my excuse.
I modelled her in terra cotta (red clay) so she matches some of the models I made previously. These reside on my radiator shelf in the hall.

In the Ceramic Studio, painting glaze onto the biscuit fired model.
Previously created clay models by Marcia Kuperberg

Resuming ceramics! Bowls, fish, mermaids and models!

small ceramic bowl by Marcia Kuperberg using shiny white glaze, yellow velvet glaze and manganese dioxide. For anyone kind enough to read these blogs, apologies for the lapse in posting. Anyway, for you, Gloria, (fellow ceramicist who has been patiently looking for blog updates) here are my latest ceramic efforts:

I made a set of 5 of these before term break-up end of 2014, and was quite excited when I took them from the kiln, they had turned out more interesting that I had expected. I then carelessly left one on the end of the table - and - you guessed - it smashed. I made patterns on the outside by pressing in a plastic doily. The inside flower was drawn and carved. After biscuit firing, I used manganese dioxide to bring out the pattern, poured a shiny white glaze into the centre of the bowls, wiped away the glaze from the central flower and painted parts with yellow glaze. The happy surprise was that where little bits of the shiny glaze touched the outside, they turned into splashes of pale green. Nice!

Ceramic mermaid, 6 ft high, on outside wall of house.ceramic fish by Marcia Kuperberg, glazed in pink and blue, in crank clay.This fish, about 8" wide (20 cm), was made with crank clay so it will withstand frost when left outside during winter months. It will swim alongside the mermaid on the external wall of our balcony. Later I'll add starfish, seahorse, reeds and other fish. If that's not enough to create an undersea world, I'll add some painted waves once the weather is better. That's the general intention anyway.

Working from live models for Ceramics.

Modelling for ceramics. Two 2-hour sessions are not enough so I end up; working from photos.Today in my ceramics class I worked on a number of pieces: two models (Mory, the ceramics technician who acted as model for a change, and Bogana, a fellow ceramics student), a lamp in the shape of a mosque (a better one than the one I made previously) and a carved dish. They are in various stages of production. 

I began work on both models before the Summer break, so had to take care to keep them moist over several weeks (so that the clay remained workable). Each was wrapped in a moist cloth and then further wrapped with two layers of cling film. Bogana kindly did not dry out as much as my model of Mory, the ceramics technician, so I worked on her today. 

Unfortunately we only have the models for two or three periods of two hours, so I end up working from photos which can be frustrating at times when you can't see the detail. 

The Eagle has landed!

Ceramic pot by Marcia Kuperberg, entered for competition at the V & A Museum, London.My most ambitious ceramics piece to date. I've entered it into a competition run by the Victoria & Albert Museum for adult learners in Ceramics.
Japanese stoneware vase at the V & A museum, 1810.

The competition rules state that the piece submitted must have been inspired by a piece seen at the V & A. 
The V & A piece that inspired me was a Japanese stoneware vase of 1810 with an amazing relief eagle and foliage around it  (see left). 

The rules also state that although the influence must be clear, the piece created must be innovative and not a direct copy. As the deadline was last Friday to send images and related explanatory text, I did not have time to complete the glazing that will give my vase/pot its proper colour and detail - great shame! Nevertheless, I sent in my submission, knowing that if, by some miracle, the piece was selected (a total of 8, from all UK), I would be able to show the properly glazed piece. Imagine - having one's work shown at the V & A. I'd die of happiness - and revel in the glory for evermore. One can but dream…

Here are some images of stages of creation:

Marcia coil building ceramic eagle pot.Marcia creating eagle for ceramic pot.  
Marcia Kuperberg carving detail on eagle's wings for eagle stoneware pot.

Disaster in the kiln!

The back of Louis' head has come away - broken in three pieces after firing in the kiln (to set the oxides applied). My own fault  - as although the inside of the head is hollow, I did not prick holes in the back of the scalp where thick clay was applied later. Warning to would-be ceramicists: hollow out and prick - don't make the same mistake as me. The front looks good, and I think I'll be able to stick the broken pieces onto the head with araldite. It could have been worse.

A new head of hair for Louis?

No, this image is misleading! It may look as if I'm painting on thick dark grey hair, but most of this oxide will be washed off to leave thin traces in the crevices so that the hair strands of the hair he has left (!) will be a bit more clearly defined.

The head has been fired in the kiln for its first 'biscuit' firing and will be fired again after painting on the oxides (manganese dioxide, a dark grey seen here, and a light sponging of red iron oxide to warm up the skin tones a little, subtly darkening here and there to add some more life.) Once the head is fired, the painted on oxides cannot be removed, so I'll have to be very careful. Every time the head is fired, it shrinks up to 10% so I have to do an equal number of firings for his neck and collar.

I've protected his face with masking tape and cling wrap to avoid giving him unwanted dark grey spots on his skin. 

The next job will be to decide how to treat his cravat and collar: cravat maybe have cobalt blue oxide and collar a small pattern of dark grey, cobalt blue and red iron. Mmmmm, watch this space.

More ceramics creations: bowls, fish, hedgehog, birds!

I just love my ceramics classes!

The hedgehog is small, about 5 inches wide and will go outside on the balcony with other pot plants, so he will look natural - light and dark brown with the crevices picked out in black.

The fish will be glazed so it is shiny bright and multi-coloured. It will swim on the outside wall next to the mermaid. More fish to come.

This little bird and pot has been made in crank clay to withstand outside elements. You can see the drainage hole in the bottom as I intend to plant some small flowers in it. 

Haven't yet decided what the colours should be: the bird could be a robin redbreast, a bluebird or even a budgerigar. Maybe make a floral pattern on the outside of the bowl.

Head now has a neck and a collar too!

His head looked odd with the chin just resting on a surface, so I had to add a neck - a bit difficult to add at a later stage, so I tried to disguise the join by giving him a collar and polo neck/cravat. The clay will soon be dry enough to fire for the first biscuit firing and then comes the decision as to how to glaze him.

Husband's head now has a scalp!

I finally released his head from the vase (he was modelled around the vase in order to ensure his head was hollow). It's important to hollow out anything thick -sorry, Louis!- in ceramics as otherwise it might shatter when in the kiln during firing. I had to perform the surgery of slicing his head behind the ears and then rejoining the pieces. 
Marcia Kuperberg sculpting clay head of husband, Louis.However I ran out of space when the head was on the vase and couldn't give him a proper neck or a base. Solution: make this as a separate piece with the collar at the back to hide the join of head to neck, and the jutting out chin to hide the join in the front - that's the plan, anyway, and I'll soon start working on the neck/collar. 

The clay head was modelled around a vase to make the hollow-out process easier.
I'm thinking about the final finish - the main possibilities being:

  1. all shiny white china
  2. matt finish skin tone, details such as wrinkles and recessed areas picked out with dark oxide, with glazed shiny white hair.
  3. metallic look using a special glaze that gives the appearance of a metallic dark bronze.

I've applied techniques 2) and 3) to the small heads and will see the results soon. This will help decide what the finished full size head will look like. Watch this space.

Full size clay head: HELP!

Here he is, now well on the way. I've modelled him around a glass cylindrical vase in order to keep the head hollow. It really does look like Louis, down to the half smile, the hooded eyes and the dimple in the chin. 

BUT, a big but, how to remove the vase? It should slide out as I covered it in newspaper before putting on the clay, and have waited until the clay is 'leather hard' before trying to remove it, but … of course the vase is stuck solid. If I keep trying to remove it, I'm in danger of distorting or breaking the head - so, following advice from Jo, my ceramics tutor, I'll make two length way cuts, one behind each ear (bit like a brain surgeon) to separate front from back of the head. Then I'll remove the vase, stuff the inside of the head right up to the top with newspaper to support it, and fit the pieces back together. 

There's a special technique to doing this, involving scratching the joins to create a suitable rough surface, applying a creamy clay (called slurry) to the edges to stick together, and then applying clay on  top to disguise the joints.

Full size clay head, modelled around a vase to keep it hollow.After that, will come the difficult part of constructing the top scalp, supported by newspaper stuffed underneath. Here goes . . .

The Big One! Creating my full size ceramic head.

I've now completed the first stage of my two small heads (each about 4" or 10 cm) of husband, Louis - the first stage being the clay modelling. They will need to be dried and biscuit fired, then glazed in alternative finishes. 

Next - the BIG ONE! A full size head. I'm finding it a quite different process to working on the small heads. For a start, so much more clay needed which must be kept moist and workable.
I've decided to use a glass cylindrical vase to begin (must be covered with newspaper) and model the clay on top before removing the vase, so that I won't have such a difficult task of hollowing out later. The centre of any thick clay object has to be hollowed and pricked so that it fires evenly and won't crack or break in the kiln. My problem will be to be able to safely remove the vase and then model the top of the head.

The other difference is simply the size - I need a different much larger set of modelling tools and find I'm using my fingers much more. This time, I'm determined to model more from life and less from photos. This means that I'll have to persuade my husband to sit for me much more often.

Modelling my husband's head.

Head modelled from white clay is 4 inches high. Work in progress.Model for my ceramic head: husband, Louis.Modelling my husband's head is no easy task- especially when he is hard to pin down for sitting. As a 'back-up' for his 'live' head, I took photos from all sides. For the actual sittings, I put the TV on a sports channel so he didn't become too bored but somehow I still seem to end up trying to model from the photos. Doing this at home, I don't have a turntable and in my efforts to model from various angles, the clay head fell onto the floor. Tragedy! One half of his face was squashed flat so it had to be redone. This is still very much a work in progress as there is a lot of refinement to be done especially around the eyes - well, the more I look - just about everywhere.  

M'mermaid is lonely now mounted on the wall

Well, her final position has changed from where it was originally planned. Originally she was going to be surrounded by clematis vines at the bottom of the garden, but here she is - somewhat more exposed but definitely more visible from the house. 

She looks a bit lonely on that white wall so at some time I'll probably add some additional ceramic elements such as coral, reeds and tropical fish.

Here is the first fish I've just made (not shown to scale with Mimi the mermaid). The fish is biscuit fired at this stage. It will be glazed in bright pink and blue with parts fringed in white. Lots more fish plus other ceramic undersea items will be added, so watch this space.

Ceramic inspiration at the V & A.

Contemporary ceramic heads by Stephen Dixon (born '57): terra Cotta, stoneware & porcelain with glazes & transfer printed techniques. I've spent the day in the Ceramics section of the Victoria & Albert Museum in South Kensington, London
Wow!
Such incredible work by ceramicists from many countries stretching over the centuries. 

It will give me endless inspiration and ideas for glazes, designs and finishes. I took loads of notes, sketches and photos (no problems with taking shots) for reference for looking up further details on the museum website. 
Have set myself the task of creating a ceramic head of husband, Louis. 
I'll take photos of his head from various angles in case he gets fed up with sitting.

Lustreware from Spain. Tin glazed earthenware painted with lustres. The artist used lines of wax resist to separate different coloured glazes.Ceramic bowl made in Iran 1150-1200. Turquoise glaze is used over carved black slip.Japanese stoneware vase 1810. The relief bird & branches wrap the vase. Painted in overglaze enamels incl gold.

Ceramic mosque lamp - finished!

Ceramic Mosque lamp made by Marcia KuperbergCeramic lamp created by Marcia Kuperberg with sketchbook.Here it is: the lamp for the shelf next to the fireplace mosque mural in the Turkey villa (see yesterday's post).

It is made in three pieces: the bottom cylinder, the top onion dome, and the surrounding wall.  I have also shown my sketch book where I worked out the construction details but... when I tried to fit the lamp inside the hollow, I discovered that I had made the onion dome a millimetre too small (shrunk in the kiln) so I could not fit the lamp tube inside. I'll have to make it again!

Ceramics details: all three made in stoneware.

WALL- covered in brown slip with detail scratched out (scraffito) around openings. After biscuit firing, sprayed with earthenware shiny transparent glaze. Then fired.

DOME & CYLINDER- after biscuit firing, lightly sponged with red iron oxide, then lightly sprayed with shiny white glaze before firing. I wanted bits of light brown (the red oxide) to show through - how much will depend on how thinly the glaze is sprayed: the thicker, the less brown will show. You can see that the onion dome has been sprayed more thinly than the cylinder. This is tricky!

Mosque mural for Turkish Villa's fireplace.

mosque mural painted by Marcia Kuperberg







The open plan lounge area of the Turkish villa looked a bit bland, so I decided to add a bit of interest by painting a simple mural over the fireplace. Then had the idea of creating a matching ceramic lamp which could be placed on the shelf next to it. Watch this space!

m'Mermaid! 5 ft high ceramic piece

ceramic mermaid by Marcia Kuperberg 5 ft high hanging in archwayShe's finally finished and home!
Just where she finds her final resting ground is still under discussion. Originally she was designed to be hung on a narrow pillar in the Turkish villa, but we decided we'd see her more often if she remained in London. Then, the logical place for her seemed to be inside the clematis arch at the bottom of the garden where she'd be visible from both house and garden but at a distance.

Now we're thinking of hanging her on the wall just outside on the balcony so we can see her closer to the house. Louis really likes her!

Reclining Lady is now painted, glazed and finished!

ceramic reclining lady with denim skirt and patent leather bootsmodel for 'reclining lady' ceramic pieceMarcia Kuperberg working on clay model, Here she is!  She was modelled in clay from life (model at left). 
I'm pleased with the final result, particularly the texture of her denim skirt and the folds of her matching sweater. Also happy with her shiny brown boots that contrast well with her less shiny black tights. 

Next figure to show will be my mermaid but for this, there was no model - couldn't persuade the local mermaids to pose.
Front view of Marcia's clay model, now painted, glazed and finished.

Ceramic Mermaid is on her way!

I haven't posted for a while - been too busy creating work, especially ceramics. My mermaid is taking a long time, but she's coming along really well (in stages). She will have green hair, lips and nipples and turquoise melted glass eyes. She is destined to go on a wall at the bottom of the garden and will be nearly 5 ft tall (about 1.5 metres). I've also finally finished painting and glazing my reclining lady and she will come out of the kiln soon and be displayed on this site.

Soon: a 5 foot high Ceramic Mermaid for the garden

Marcia Kuperberg creating a section of a mermaid for the garden.Originally destined to decorate a pillar in a Turkish villa, she will now hopefully enhance the bottom of our garden in London- when finally finished. So far, seen here, I've created most of her top half: face, flowing hair and torso - moulding and carving her to give 3D effect to 4x A3 sized large tiles that will join together for the whole body (this is one - the rest show more hair and her tail). 

She is still in the soft clay stage - a few weeks from biscuit firing. She'll be fixed to the painted mirrors in the garden, surrounded by clematis and vines next to the pool. Can't wait to add glazes and oxide to her green hair coils and make her pearly scaled tail. I'll need to experiment on smaller tiles for different effects. Watch this space!

Modelling from life: refining detail on Reclining Girl

Marcia Kuperberg refining the detail on the clay model of Reclining Girl.Live model for Harrow College ceramics class: Marcia's work in foreground.I've been working on her for an hour or so every day, refining detail by looking at photos that I took at her last sitting (or lying!), so now she looks rather better.

I have some great ideas for her final appearance which will include a textured blue denim skirt, shiny brown boots and more. You'll see!

Modelling from life

Modelling the figure from life. My rough shape after 2 hours work is in the foreground (Marcia Kuperberg)
Jo Anderson, ceramics teacher, gives guidance when modelling the human figure.
Working with a live model is great fun and makes a pleasant change from creating pottery or ceramic jewellery.

We have two 2-hour sessions to create our clay models so we have to work fast. This is my work at the start of the second session. By the end of the second session I still had lots more detail to model, so I've taken her home (my clay creation that is!) for further work. From now, I'll have to resort to working from photos. 

Out of the kiln! Little pendant rock-pools!

I'm delighted with them!  The melted glass looks like limpid pools of water. 

Little ceramic pendant 'rock-pools' by Marcia Kuperberg made with melted glass.
close up of ceramic pendant 'rock-pool' by Marcia Kuperberg


Ceramic rock-pool pendant made with melted glass, by Marcia KuperbergCeramic rock-pool pendant made with melted glass, by Marcia KuperbergCeramic rock-pool pendant made with melted glass, by Marcia KuperbergNow that I can see this idea has worked, I'm planning other ceramic ideas based on melted glass. 

I really like the contrast of the shiny 'water' with the matt 'rock' surround. You almost want to put your finger inside them to check for wetness.

Creating ceramic jewellery pendants: mixing media

Marcia Kuperberg's ceramic beaded pendants (each £15..00). Matching earrings: £8.00.My recent ceramic pendants are a deep greeny-black colour as a background to rich Autumn tones of the floral design on top done with glass beads and wire. 

Each pendant is an individual piece of art: £15.00. Matching earrings £8.00..They combine a ceramic oval base, textured around the edges and imprinted/ etched to give an indication of leaves, then highly glazed. 

At first glance they may look the same, but each has a subtly different texture and design. That's the fun and beauty of creating ceramic jewellery - each piece is one of a kind.  

Ceramics class: pots, wheel-work and glass pendant progress.

Janet shapes the bottom of her pot, using the wheel.The potter's wheel may look easy when you see the experts at work but it takes perseverance, dedication and practice - (a lot of practice!) to produce simple, elegant pottery such as Janet's shown here.






Gloria Ssali moulds her coil built pot.


Gloria has a big, bold personality and produces big bold pots. 

She uses the coil method rather than the wheel. This pot is still at the clay stage - yet to be biscuit fired and glazed. She decorates them in many interesting ways; I'll show some in later blogs.




After biscuit firing, I'm bringing out the outside texture by using cobalt blue oxide.


My earrings and pendants have now been biscuit fired. Today I put touches of dilute cobalt oxide to run into the crevices of the texture on the outside of the little pendant 'bowls'. It appears pink but will become blue.

The outside will have a matt finish, without glaze but the inside will be shiny with the melted turquoise glass. I also put a blob of dark blue underglaze in the centre of the bottom of the bowl - I hope it will give the appearance of depth once the glass has melted.  We'll see!

Marcia's ceramic pendants, now filled with glass which will melt in the kiln.The outside surface of the pendant 'bowl' will be matt and the inside will have melted glass.

Artwork on tiles

I've created two adjacent square tiles on red clay and covered them with various brush strokes and random splashes of slip in colours of pale blue, pale green and white - even though they appear white at the moment. They have still to be biscuit fired so I hope they don't break when I try to draw into them after cleaning and smoothing the edges. Unfortunately they are a bit too thin for comfort and have curled up slightly - I should have weighted them when they were drying or simply made them thicker.

2 red clay tiles covered in pale blue, green and white slip. Will be etched to reveal scene or pattern. The plan is to etch a scene into these patterns of colour which will show up as dark red lines and shapes. Haven't yet decided what the scene will be - maybe some animals or a simple landscape. If the final result warrants it, I may then mount the tiles and frame them.

Here are the tiles at the stage before etching the scene. Of course the true colours will not be obvious until the final glazing.

Painting those Dolly faces

Marcia painting underglaze colours on dolly pendant.It's late - nearly 5 p.m. but I must do a little creative work. Until I do, I will feel the day has been somewhat wasted. 

Here are my three dollies at the moment. They have been biscuit fired and have been painted with underglaze paints which always look pale and insipid until they are glazed and fired.

3 ceramic pendant dollies now have their faces painted.
3 ceramic pendant dollies, partly painted with underglaze paints.










Painting these pendant dollies reminds me of the time a few years ago when I was heavily into creating one twelfth sized dolls for my dollhouse. Picasso may have had his 'rose' and 'blue' periods: Marcia has had many more (!) - including art/painting, animation, miniatures, ceramics and jewellery making. Considering putting up a page for past passion: my miniatures including mini people.

Tuesday is Ceramics Day!

inside of bowl - leaf has had delicate veins brought out by sponging on chrome oxide.Today is my favourite day. Just love this Ceramics class! 

This a bowl I am currently working on. 

The brown part is dark green slip (actual colours will only become evident after glazing and firing). The leaf design has been sponged and painted with chrome oxide to bring out the fine veins. I realised that I had painted too much oxide on as can be seen in the first image - and then spent ages sponging it off. When glazed it will look totally different: dark shiny green where the brown is at the moment, with the leaf shiny yellowy green with clearly defined veins...hopefully.

 I still find it weird (and annoying) that you can't see the real colours on a piece until after the final firing. After the oxide, I sprayed the whole piece with transparent shiny glaze which of course looks neither transparent nor shiny; it covers the surface in a matt white coat. It is now ready for the final firing. What lies in store? Shock-horror or happiness-delight?

Marcia painting ceramic jewellery (dolly pendant) with underglaze colours prior to glazing..Harrow College Ceramics class: John Rushton painting his ceramic car with underglaze colours prior to glazing.



I'm also making some more dolly pendants - shown here painting a dolly dress with underglaze colours. The actual colours when finished will be red (not pink) and white.

Love seeing what others in the group are creating. Such a variety of interesting things -  a cute piggy, vintage car, group of heads, a mug and much more.

Modelling a clay piggy in the Ceramics class at Harrow College.Jung Ju Seo models the base of the stand for the clay head - Ceramics class at Harrow College.

Change of scene/ Japanese Lady /Batman and the Meercats

What a change to the view from my studio! 

Today I ventured out in the snow to my painting group, a short distance from my home. Instead of the usual contingent of about fifteen there were only five present and we all left early as many side roads become very slippery late in the afternoon - cowards one and all!

I'm working on a painting of a Japanese lady  but brought my watercolour art box in my rush to get out instead of my acrylics box. Stupidly I added some gouache into the lady's clothing and it looks awful (the pink bits at the bottom of the painting) so I guess I'll paint over it with acrylic later. Bit of a wasted trip but the tea and biscuits were nice.

 I enjoy the stimulation of working in a group and the same applies to Ceramics - where I'm headed tomorrow - weather permitting.

Another little art job about to be done is adapting my grandson's birthday card into a Batman birthday card (Batman has taken the place of Fireman Sam and Bob the Builder in his affections). 

Here is the original.










And here's the new card. 
Hope he likes it. 

Planning and Doing: making abstract glass pendants

Today I completed what I planned yesterday, four new oval pendants:  highly glazed greeny-black ones with amber flowers. I've uploaded their details into the Pendant section. They'd go nicely with the leaf earrings.

Each one is subtly different in design, seen in the leaf designs worked into the glaze. They'd look great on fabrics or knits of green, gold, beige. 

Also began the first stage of my abstract melted glass pendants - rolling out and shaping the clay and texturing the outside. 

They're wrapped in cling wrap for the moment so they don't dry out. Next step will be cutting thin squares of clay to mount these shapes so that I can fix a hole for the chain or cord. Maybe I'll do that tonight.

Can't wait to begin the painting and glazing process!

Enjoying working in my new studio.

The view from my art studio.Now that we've converted a bedroom into my studio, I'm no longer spreading my work around so many rooms in the house. 
Best things about my studio: 
the view from the sliding glass doors. The balcony. The TV on the wall facing my work table. The large desk which has a magnifying glass with inbuilt light. All my art materials in one place. 

great sales & feedback from recent craft fairs!

West Hampstead Xmas '12 Craft Fair. Selling jewellery and artwork.First fair: West Hampstead Xmas market/fair - shared a table with Rosie. We were lucky with the weather, cold but bright and sunny. Although the stalls themselves were covered, the fair was outside, so we took care to dress warmly. 

Rosie showed her beautiful bead jewellery and I showed my new ceramic jewellery and a few pieces of art - aboriginal style wooden tiles and digital prints of Lady of the Lake (acrylic), Honey the Hamster (watercolour) and Teddy the Bear (pastel). Sold Honey and the aboriginal tile. I nearly sold out of my little handpainted Xmas tree earrings and glittering Xmas tree brooches and made some more for my next fair. Rosie sold really well, too. Particularly popular were her wire pendants. As we are newbies at fairs, we felt pleased with our efforts.

The second fair was held by Harrow College where I was teaching until recently. I am now learning ceramics. The fair's purpose was to give PR to the college and show off some of the art produced in the Art Department - some ceramics, lamps made by 3D students and Tshirts designed by students.  I sold even more at this fair than at West Hampstead. I was delighted that a number of my pendants sold- Dolly pendant, heart pendants, ovals and flowers. Customers went for the Xmas tree earrings as before, Xmas tree brooches and also some of the very recently finished flower earrings. Yay!

Pink Dolly Pendant. Price £15.00We'll do more fairs in the future, but for the moment I think I'll concentrate on building up stock - creating more earrings, possibly some stud ones as I haven't done those yet. I'll also think more about making more matching sets of earrings and pendants. 

Life is really full after retirement! I still miss teaching Art & Design but filling my days with creation rather than teaching is even better!