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Making  Rope  Baskets 3.18

   Feeling inspired over the holidays by a hand crafted gift (thanks C!), I decided to elaborate on the already genius idea of making soft baskets using simple rope. I loved the idea of using the sewing machine to create a basket, and decided to make something on a large scale.


Made with simple cotton rope you can find at most hardware stores, I used about 3 packages worth.

I also wanted to experiment with various colors interwoven- purples along with beige threads made a nice variation. I considered dying the basket, but decided to try that with a future creation instead. Might be nice to see non dyable threads contrasting a dyed basket. Perhaps even exploring shibori with an indigo dye.

One thing I did notice was how to control the warp ( the shape) of the basket on the machine; by easily tilting the bottom side upwards, I could make a sharp lift or a wider style of basket.

 I was mainly inspired to create this by the learning tactile experience of it all- the "hands on", but I was also inspired to use a new sewing machine (which has, so far, turned out to be incredibilly strong workhorse).

 A little window made between the end of ropes. While I could have been a bit more accurate, I kind of enjoyed the "flaw" created between ends. It might be a worthy idea to explore more thoroughly in some future design.

Handles could be an easy addition by simply puckering rope, and not sewing down along two sides. A built in handle that would naturally fold the top half of the basket and would work well for a shopping basket at market.

This basket is about 2 feet tall, and makes the perfect carrier to hold winter scarves, mittens and hats.


Making Beaded Flowers



Working with wire can be a daunting task when making beaded flowers. It can be a real frustration since the beads tend to break with ( thicker) wire, if sculpted too much.

Of course, wire can also break off if its bent too much as well, so there is this fine balance when sculpting with wire and glass.

Most beaded flowers tend to use thinner wire throughout, retaining its strength by the sheer amount used- a well thought out design also adds solidity when using thin wire entirely.

However, not all beaded flowers are made on wire-

I have always preferred the malleability of string. It's satisfying to work with, and I prefer the pattern finish that thread lends.

When making larger beaded petals using thread, thin wire can be added lastly to the outside of the petals shape, by sewing on with a simple looping stich in between the bead rows( along the thread).

It allows you to shape the petals, yet also have the freedoms that working with threads allows.

The wire can begin at the petals base, go all the way around the petal and gather back down with the rest of the main stem. Keep in mind that wiring petals in the way will create a larger cirumference stem, and beads have to become larger and larger to compensate.

This is why i prefer to simply use string, and when needing extra shape I will reinforce petal edges with just extra string ( using a simple looping stitch). I find that string reinforcement allows me to keep the stems looking realistically thin as well as beaded insteaded of covered in threads( which usually looks lumpy).

Even when using wire just for multiple beaded stems, it can become tricky. It can be really difficult to keep the beads from slipping when trying to gather stems together.

Gather wired flower stems by creating a small loop at the end desired beaded length, then thread a wire through the holes.

This not only holds the beads on the stem tightly, it also allows the flowers to be measured side by side.

A simple loop tie of the threading wire makes an even bouquet easy to manage when adding a pin backing.








These four figures are from Bavaria and were originally unpainted, and dimensional only on the fronts.

The backsides were flat surfaces.

When I saw these little gems, I automatically felt inspired to paint them, and finish the backs.

I do like the fact that they are faerytale characters, but I would have been just as satisfied working with them if they hadnt been. I just dont see many cermamics in such small sizes often, I was grateful to find them no matter what.

In this first image, we see snow white  and the 7 dwarves. I especially enjoyed resculpting this backside because I was required to make even tinier little people on an already tiny figure! That was super satisfying to accomplish, and I liked how they came out.

I chose colors that were bright, but also added some pastels to give a faded, aged feel. I later decided to add crystal cabachons to these four figures..I felt that the sparkle added a nice contrast to the shiny finish- while also adding a dash of childlike magic to the final product.

Dig the little red boots. Im not sure which dwarf is which.

Puss in Boots

Sleeping Beauty


I added a lot more flowers than was originally made. A lot of fun to add on extra design- its like adding on to the story that the small sculpture tells!

The Frog Prince

A more common frozen charlotte, the arms on this figure are separate from the base and are able to rotate. I used teeny tiny antique beads to create pupils, handmade duck fishing rod.

I wanted the colors of this figure to reflect the landscape that this small person might live in. I chose green shoes to mimic grass and trees and light blue to mimic a blue sky.

Hand made teeny tiny brown shirt.

A lady for the lord; this figure holds a small singing canary. Handmade dress with ribbon trim. Her arms move as well.



Sometimes adorable jewelery ideas just dont come in silver and gold. Thats right, Im talking about costume jewelery.

Costume jewelery has got to be the most popular type of jewelry sale world round. It doesnt use precious metals or materials for the most part, with more recent styles to include modern materials such as plastic and epoxy resins.

What gives costume jewelry such versatility, is its complete freedom of creation- there's no real set rules that say what is glued, what is soldered, what is painted, glittered, or ribboned.

There's no real standard when it comes to making something new and different, with a newer and unused material. It's why you will see some of the strangest, novel ideas-which you will never see again.

I just love the little gems that are quirky and original- something vulnerably silly about the idea. But being a 'losing design' does lend it to its preciousness; since no one will bother making a similar style, it might just be the last one on earth!

You see a lot of this soon-to-be extinct types at the local department-food stores, as well as the goodwill and local thrift.

Costume jewelery has always explored some of the free-est funnest ideas- making me wish the idea had been in done in a finer material for a lifetime of wear (not to mention the fact, that many who have metal allergies dont even DREAM of wearing anything less than pure- costume stuff is simply off the table).

Of course, reproduction is generally a rarity in costume jewelry- maybe there are just too many ideas to stay with one concept?. Case in point, this Betsey Johnson double fingered snake ring. Having only a simple gold plate, it was only a matter of time before the plating wore off, and the metals underneath would begin to irritate my skin.

But, instead of restructuring the whole ring ( replating would require a strip down of the stones as well as the enamel work- the heat would require it), I decided to see if a nylon thread could work as a satisfying, visually pleasing solution.

I was lucky to have brown dyed nymo thread offhand, and was pleased with the tone that the thread had been dyed- it would blend into the rings color scheme well. By the way, not all batches of nymo are dyed the same shade. Some batches fade over time as well.


This was an easy task to complete. Simply winding  the thread around the ring and your pretty much done. The only real trick to this is to make sure that the thread is not bunching on top of itself, but is aligning nicely and SNUGLY next to itself.

Also, when ending the thread a good knotting solution is to take a beading needle and sew the ending back through the work itself..

It makes the knots seamless and the work stronger.

You can even make patterns with crochet at this point since you have thread covering the metal on all sides.

But for this project I thought  the brown looked good, as is. It reminded be of the bark of a tree that the snake might  perhaps be perched upon.

For extra durability, I decided to add a layer of epoxy to the out edging of this doublering. I knew that adding epoxy would not only protect the thread from being worn, but  it would adhere well to the surface since, the threading makes a perfect rigid surface for glue to sink in.

The epoxy outside has a super strong finish, and hasnt seemed to lose its gloss.

I chose not to add epoxy to the whole ring, because I didnt want direct skin on epoxy contact. Not all epoxy is truly non toxic, and epoxy doesnt necessarily feel comfortable when worn directly on the skin.

Nylon thread made a good solution because the material dries out quickly after a handwash, and the rigidity of the string creates gaps that allow air to flow through, letting the skin breath.

Breathability is super important for long term wear, and for those who have their hands in water often. Its ususally more noticable in hotter weathers, where the differences between resins and textiles come to light.

Again, whats nice about costume jewelery is the possibilities. I never would have thought simple string could add to the design, but it works!

Costume jewelery is fun to repair, but also to create other ideas from. Here is an example of a hair clip I created just by using a matching snake main component, and  then using epoxy to create the base.

Again, 'no rules' allows the designer to use the epoxy in a variety of aesthetic ways. Here you can see that I chose to wrap the epoxy all the way into the metal hair clip.This kept the clip looking clean and complete. I also enjoyed painting the leopard pattern over sides and into the back of the clip.


This was a fun creative experiement to explore: Could I take a simple rod shape, and give it an organic asymmetrical branches?

I chose birch to recreate because birch trees are already quite vertical in nature.

They arent 100% straight, and I could have gotten really technical with this project ( like bend the tapers slightly), but the practicality was more important.

I also chose birch because it reminded me of a symbolic yule log that is burned at the solstice.

 I chose to keep the candles on the original attached wick threads because I liked the idea of each receiver cutting their own wicks as a part of the ritual of using them...sort of like a symbolic action of cutting ones own tree trunk for yule.

The first action I took was to add longer bits of beeswax to the main candle stem. I did consider making smaller candles to add on the sides as branches, but didnt like the idea of how that might burn- lower portions of the candle burning out before the top did, a real mess in a taper candle. Plus, the beeswax I used came in its natural form ( chunks and blobs), and already had longer pieces , reasy to use ( thank you Sleeping Bear Bee farm in MI).

I just soldered on with a flame, and while the candles WERE delicate in terms of handling, they were sturdier than I thought they might be.

I chose larger extra bits because I didnt want them to be TOO fragile to handle, I knew that this would compromise the visual, but I prefer the practicality to the aesthetic in this case.

I considerd bending the main tapers slightly to give a more organic feel, but, again, it would create a very messy taper!


I then dipped the beeswax in a parrafin wax, that I added white and tan crayons to. I normally would use wax dye( and then have used beeswax), but I didnt have any off hand, and could not locate quick enough for my creative urge.

Instead I simply bought a cheaper parrafin candle and melted it down.

There seems to be two main birch types: white bark with black ridges, and a tan bark with dark brown ridges. Because the design already had points working against it, in terms of the candles rigidity, I opted for a more organic color scheme of tan with brown...I felt that the white with black ridges would look more foreign than familiar in the medium of wax.

Im glad I went with my instinct on that. Looking at other candle examples online beforehand didnt hurt either- I could see what I enjoyed about other people attempts, and what I did not.

I next cut ridges in to the design. I thought about skipping this step..maybe just paint on top of the candle, but I knew that since there werent many parts to this ( in terms of decoration), that every extra attention to authenticity mattered. Although, in all honesty, I really wasnt sure how that would turn out..I didnt know if ridges would really make a visual impact.

This is why its fun to take the chances with ideas you arent completely sure of..its like a little adventure with a surprise ending.

I researched other peoples approach at making these before I got started, and while some people simply used a fork to make ridges, I chose an exacto knife because it seemed easier to handle. I also wouldnt have to donate a whole fork to the cause by breaking off fork teeth for a single tip.

I wasnt sure how many ridges to make, but kind of used the spacing of a gaming die ( polka dot spacing), but in the round.

I remembered seeing birches in the woods and that the ridges would have a staggered look- not perfectly stacked upon each other.


As you can see from the image here, I painted the brown ridges with some accuracy, but I wasnt particularly concerned with perfection. I liked the messiness that the slapped on stroke created. I also knew that I could always scrape away any excess brown wax because the ridges were inset.

While I could have left the smaller branches cream, I did notice that the newer branches on birch trees were actually dark brown, not tan. This is why birch tree look so long and stretched;there arent any smaller horizontal cream branches conflicting with the larger white trunks.

Again, I opted to use black and brown crayons for the pigment. I could have found dye and used beeswax, but considering I used less than 4 crayons worth of wax for the complete lot, it seemed hardly worth it.

On a side note, anyone who chooses to make these, I advise using NATURAL brush bristles, and plan trashing 3-4 brushes in the process.

Even on low heat the bristles eventully curl, making for gloppy work over time. 


Normally, eyeglass ends are made with black elastic style endings. But the owner of these lanyards preferred rubber ones becasue they dont lose their grip over time.

Perhaps in the future, there will be more of a demand for them and therefore more selction of color choices beyond clear and black, but I have not found anything beyond those two choices.

While I am able to create many things, creating rubber endings is one area that I am not privy to. They arent as easy to recreate as they may seem, because their use is completely dependent on its durability. The strongest of these types will not have a soldered ending, but rather is molded. Until I score a mold and understand rubber better( coloring it, temps for it, types, etc), I will have to satisfy the endeavor with what ever is already available for sale.

The  real key to making strong beaded eyeglass endings is to work this stitch on top of the rubber tips( as opposed to sliding on afterwards).

I always reinforce mine by going back through the beads to ensure the strongest weave. Its important to consider what size bead, thread and needle you are using if you will plan on eventually going back through the weave.

For these I used a very standard size 10 seed bead with B Nymo, doubled.

One thing that is awesome about beading your own endings is that you can select the color or can blend into the lanyard...theres no real need to stick to plain old metals, which, of course can clash with jewelery you plan on wearing any particular day. Its not like two big shiny metal dots on either side of your face- but a blended in weave of smaller beads.


Made as a gift for a wedding, this was designed by me and constructed by my partner. Very fitting to give as a wedding gift who are both musicians. I specifically wanted brass strings, not only for their bright sound, but to continue the theme of "gold".

What I enjoy is the fact that with swarmandals, there is no set tune ( other than to the singers set or time of day). I wanted to give a gift of song where, like marriage, the tune constantly grows and changes...and that the song can be played in a various of ways.

The sound strong and lingering, but if we were to design this again, we would place the pegs on the sides rather than on top. Aesthetically it would look different- maybe a little too 'wide', but it would make the practicality of string strength increase tremdously.




You can see the brass tubings were actually inset into the instrument, for a secure fit.


Congrats M&T!!!!


Making Jasmine Garlands 7.16


A traditional flower used in many Thai garlands, usually made of paper, silk or plastics. I wanted to create a delicate one out of real jasmine flowers. Not knowing if they are usually strung fresh or dried, I opted for dried because I knew that flowers tend to dehydrate and become compressed after drying ( not something I would want later on- AFTER trying to string a tight fit).

Many of the flowers popped off their stems while stringing, or simply disintegrated with any hold on them but most of them stayed together quite well as I used a beading needle and nymo thread to add each one at a time.

I discovered a "sweet spot" on the dried stem that was nearer the flower base, which seemed to be stronger than any other point in the stem. After a few dozen attempts, it became easy to find this spot on the stem, making it more efficient as well as sturdier to handle while being created






I happen to have had fresh frozen roses ( for another project I wanted to try) which came in handy. I wasn't sure how the fresh roses would work, in terms of drying, but since they were being used sparingly, I guessed they would not create too much extra lag space after the flowers compressed from drying.

I was very pleased with the results, and did not treat the flowers in any way. I knew this garland would not be disturbed very often, and hoped they would remain intact at least for awhile. I figure they will eventually crumble, but not for some time. If this was used on an outdoor spirit house, or in a way where it would be moved around, I would probably use some sort of sealant ( like hairspray) to give a coating.

This was a surprisingly satisfying undertaking that moved along quickly! It was fun working with flowers as if they were beads.





Love using your teapot, but not chipping the spout? Many people solve this issue by placing a small bit of plastic tubing around the spout, but over time the tubing yellows. It can also lodge water if the tubing is not a tight fit between the tubing and ceramic, actually trapping moisture! My main gripe was the use of plastics and hot hot tea..not something I necessarily want to see slowly disintergrate with each cup. My solution? what else but beads! The peyote stitch does a great job as part bandaid, but using glass ( and nylon thread).

Antique seed beads lend a nice feel of age authenticity..the clear color does not compete for attention as an opaque modern bead would.


Look closely to the rim, you can see the chips the beads are protecting.

Beads and thread, when woven tightly can maintain a pretty strong hold, depending on the design. With this design, I chose NOT to bead the whole spout ( which would make the design even stronger), because I felt it would detract from the already kitschy quality of the teapot. It would add weight which is counterproductive when pouring hot tea.

Because I chose a smaller cap design, I added crazy glue to the lower portion of the weave( opposite the spout opening) to ensure a strong bond.

Even if this design eventually looses its hold, it would have still served its purpose by avoiding consumption of trace rubber or plastics- and is easily replaced/fixed.

One way to ensure a lifelong beaded cap would be to sand grooves into the spout ( instead of using glue), and then weaving beads into it..this way, the beads have tighter grip inset into the spout. Many times beeswax can be used to help secure beadwork on a surface, but in this case the hot temps of the tea would not allow its use.

Epoxy drip reflecting the cellphone case of white and blue stripes


Losing those rhinestones dont have to be a headache. Simply add a bit of CLEAR 2-part epoxy around the surface of those stones to ensure you never lose them again!


A little goes a long way, and placing epoxy doesnt mean you have to have a raised surface. If you prefer a rougher look. add some drips and wipe off a majority of it. The glue will still set in between the settings, adding to a longer life without softening any sharp cuts of the stone.


In this picture, an excess amount of epoxy is added to the camera to created a round, glass like finish to the large rhinestone in the center. The epoxy adds so much refraction that you can see the stripes of the cell phone case taking the shot. Epoxy was also added on top of the surrounding stones.

Epoxy over the red eyes to create a rounder look.

Adding even a slight amount of epoxy in between set stones can add, especially if the stone is plastic. In the image of the bird, the pearls ( which are coated plastic) can now hold a longer 'luster life' since the epoxy is covering them completely. The glue also helps the stones stay put. 


A generous amount was added in between the pearls, so that the end result in a glassy finish with a raised surface effect.


The stones on the wings are not covered, and you can see on one wing, a stone already missing from wear.

a teardrop rhinestone will get a lot wear on this charm bracelet.

With this charm, I wanted a minimal amount of epoxy texture. I added newly made epoxy and allowed the epoxy to drip into the setting. Then used a cotton swab to pull the rest off.


You can also use silicon tipped brushed more like a palette knife, and control the epoxy direction for super textural detail. That technique is more effective when using colored epoxies such as the birds yellow body, or the cameras black base.


Leaving the slightest amount of epoxy around the setting teeth allow those sharp endges to be more rounded, so it wont snag fibers in shirts as often.


If you choose to cover complete areas in epoxy, make sure the metals are clean and brilliant so that you arent setting a patina finish.


Of course, if you are choosing a delicate patina finish, and you want to save it, then adding epoxy on top will add shine ( detracting away from the matte effect), but it will protect nicely. A possible solution to this might be a matte spray laquer after the epoxy is applied. A super thin coat of epoxy would be needed in order for the matte laquer to balance and to produce a matted patina look.

Epoxy on the center rose rhinestone makes the stone more diffuse.

Keep in mind, that with all glues, there is color change with age. Although only one or two companies actually make CLEAR 2 part epoxy ( get it at ACE hardware), all epoxy will yellow over time.


It is important to consider how the item will look over time, and what  colors might work better with slight yellow, than others. Some epoxy finishes on certain items, such as the black camera, or yellow bird body wont matter so much since they will both easily absorb the yellow tint.


But other surfaces, such as the teapot, the pearl teapot lid, or any clear set rhinestone will a signifigant different tint later on. In the teapots case, it almost wont matter since the look of the teapot is an already aged look, the slight yellow might not look out of place and could easily be used to encase the charm completely for ultimate protection.


If you are more active, you will want to add epoxy layers so that you can own an item for more than a week at a time, even if the looks is slightly altered.









Front Image of added cell "buttons"... on left and right side.

Cell Phone Head Case


While I love fun new cell phone cases for their personalities, their functionality can sometimes leave a lot to be desired. Case in point ---> The aweome rubbery casing shown in the picture. Sturdy, but when it comes time to shut off, or use volume control, I might as well use a drill to push through the amount of casing to reach the actual phone, in order to do so. It can be a real burden to those of us who use our hands regularly, and would rather not use the energy pressing buttons on and off with mad fury, and straining the digits.


Outside of cutting gaping holes, or adding on oversized exterior buttons ( which press more into your fingers, than the device), I thought a middle ground could be achieved.


Using 5 minute clear epoxy, a thick needle, a lighter, and point rhinestones, I was able to achieve that "middle ground" I was searching for.



Volume buttons using two rhinestones

The first thing to do is heat up the needle. Yes, you will need a set of small pliers to heat the needle up to a temp get it hot enough to melt rubber and burn you if hand held.

You can easily drill through rubber a using a dremel-it is a cleaner cut than the burning method, but will take the right drill bit and a drill- more skill, and time.


When you use a needle on rubber, make sure the needle EYE is not larger than the circumference of the point rhinestone or bead you are choosing to use- you dont want a loose gap between the bead /stone and the casing (because the epoxy will run through the loose gap). Treat the rubber casing more like a setting, making a slightly smaller hole using the needle.


You CAN use a tiny needle and make a swirly motion to enlarge the hole, the only problem with this is, is that the excess rubber will often stay in the local area, and create build up around the hole ( which later becomes a problem when setting the "button"). Also, burning rubber casing creates black ash which can cool on the surface, making it look yucko and burnt. 


Take the heated needle, and push it all the way through ( the desired are) like you are sewing...use the needle inward ( away from the outer casing design) so that when the needle passes through it takes the excess rubber INWARD, AWAY from the shell design.

Its easier the snip excess rubber from the inside than trying to save the design around the button setting.  




volume rhinestone buttons, with epoxy brushed over.

I used smaller point rhinestones because the case doesn't need much direct pressure to function. In fact, too large a stone will have too much length for the rubber casings depth ( such as the one shown), and will start activating buttons even if you arent touching them. ( if you DO want a larger stone, then be sure to use the right size hole for the stone, and FILE the point tip down, until it loses so much surface contact).


If you don't want a sharp point touching the phone buttons, FILE the tips down until they are more flat.


I used blue glass rhinestones because glass is always more reflective, and stronger than plastic rhinestones. Consider the material you are using when adding in buttons.

sleep button, I used two rhinestones, but could have used 3 or more if desired.

When using 5 minute epoxy, you have to work fast. Unless you feel confident that you have the ability, its best to adhere the epoxy in two steps:

1. glue in the stones

2. add epoxy on top of the buttons 


1. Make sure when you glue in the stones that there is not excess glue around the INSIDE of the set stone. Excess glue on the inside will effect the sensitivity of surface contact after its dry, and dry epoxy will NOT be easy to cut away after it dries. A good way to get around this is to use a cotton swab to wipe the area after putting in the stones. 


Wait 10 minutes or so, add stones to the OTHER side


2. mix up a fresh batch without too much whipping of the glue..too much stirring adds bubbles which can be hard to get out later ( unless you WANT a bubble effect on your buttons, then DO whip the epoxy until its bubbly and white- but the more you bubble it, the less time you will have to apply before it sets- you can also use longer dry time epoxy to allow even more bubbles, but can be messy when setting. Make sure to whip up the longer dry time epoxy, and let it sit a minute or more to thicken, then apply.) A ton of mixing with slow dry epoxy will make it look like taffy ribbons and you will actually feel it setting and getting wamr as you mix. If you stir epoxy to this point, you will have a bout 1 minute to apply before its fully set. The larger amount of epoxy you make, with a ton a mixing will warm up the glue and will set really fast. Make sure larger amounts of glue are what you need: a larger amount wont dry slower ( like water based paints) if you mix it a ton.


Most casings have a premolded section where the cell phones buttons are. This little ridged area helps hold the epoxy from running all over your case. Start with one side, just like the stones and using a skewer stick, "drip-draw" the epoxy where you would like it : drip a drop of epoxy, then pull the drip across the area. I personally clean off leaks with my finger nail when glue drips off the desired area by accident. Too fresh a batch might be too liquidy. Sometimes its best to let the epoxy sit a few seconds before using. But 5 minute epoxy sets quite fast.

The stones can be dripped around, or over, the image shows dripped over. Dripping over is sturdier, smoother feel. Dripping around allows for more stone sparkle. 


Wait the full 24 hrs to cure ( or whatever the directions say is the final cure), enjoy!


Epoxy is strong stuff.. it adheres to the rubber with ease.


There are different colors of epoxy, but mica is a good way to add zippy color. 

Glitter is also another addition.

Glass beads (without holes) can be used... well as crushed up pigment minerals.


I hear adding a drop of acrylic paint is possible in small amounts, as is oil paint and ink, but that  too much can negate the bond, and any pigment lessens the bond by a certain percantage.




Dark blue with Yellow paint.

Block Printing with old Stamps 3.15


I have a ton of stamps that hardly see the light of day, other than the now and again holiday. The patterns are pretty, and others seems irrelivant/boring... but other than paper, what can you really do with stamps?? I was determined to try something different with them.


Using acrylic paint on plain cotton fabrics can add a gentle or strong addition to any textile project- as well as  reinforce the deeper meaning of the work. I could have used plain panels of fabric but in this design I wanted a more complicated, messy,  appearance.


Block printing can add a subtle implication to the final creation:

In this image, I used a beaten up rubber-on-foam victorian fan stamp. A lighter color was used to create a sense of age through the translucency of the light on dark ( a feeling of worn out age) as well as using a fan symbol ( a still common reference to ages past).

Turquoise fabric, with Bright Red.

Using strong opaque paints will add more power to your stamp design.  In this panel I used Napthol Red. The exclamation points of all reds. I wanted the concept of red blood to play with the dorje imagery.

I balanced that red strength by using a wooden stamp. Because the wooden stamp has less give, it creates a less even image, allowing more of the blue to come through and less contrast with the red.


This application adds to a worn feeling of the fabric, and because the blue fabric leans towards green ( green being opposite of red) the overall panel create a subtle brown when looking indirectly...not as contrasty as one might initially think.


I overlap the stamp to give a very casual feel. This reinforces the pouf design; gushy, comfortable, malleable.

Yellow with bright red.

 Using bright red on bright yellow makes a very bold statement with this panel. I primarily chose to add this one to the pouf because some else really enjoyed the design, however it did have some aspects which I also like about it.


The bright yellow is reminiscent of a hot summer sun, while the bright red feels like a life-force, popping forward----> on the fabric. The delicate lines of the flowers are lightely stamped and thin. I didnt want the flowers to overwhelm the yellow, I wanted the yellow to hold domain of the entire panel.

The idea behind this pattern is irony between the delicate flower, amongst the strong elements surrounding it. And, of course, there's a ton of flowers all around, giving a good balance to the yellow.


This panel doesnt particulary enhance any other one in the pouf, which I really enjoy. Even while I still attempted to surround the panel with other yellows, it still shine forward more than the woven varieties. Adding such a contrast implys a sort of zany, odd-man-out element. In a way, this pattern is almost the MOST valid panel to the whole pouf, because it sticks out SO much, it says " Hi, Im here set by my own rules." and in that way, the panel simply demands more attention from the eye first and foremost.


This off-element can sometimes have a zen philosophy attached to it, but its not balanced so much as irritating. Its exact expression gives a freedom to be exactly what it is- a sore thumb even in a work that has a ton of patterning going on.


Adding an element of tacky is kind of like bittersweet, or salt on a tart margarita; it gives a depth to the idea of harmony, after all, its just a panel, doing its job alongside the others.

Patina finish. Green on turquoise

This panel was very successful in mimicking a gentle patina. Green with turquoise always recreates a patina sense, but adding this particular pattern is reminiscent of English garden patterns, iron wrought fences, and of gentle patina colored moss which is usally found there.



I used a symmetrical flower pattern in a very formatted graph style design. I chose a modern warhol style approach to the panel -making the reproduction the key element to expression over the actual product. That approach lent the sort of randomness I was searching for- what i wanted to stay away from was any sort of print style that was too clean, to aligned, too even..that might have made for a more "believable" patina finish through the use of color, but it would not address the eyes desire to see randomness which is found in nature; natural moss patinas have a variance of color intensity which an even pattern would not reproduce.


I also wanted a casual approach to all of the print panels because of the vintage feel to the pouf. I wanted the block prints to balance alongside the hand woven panels.







Cupid's Cellular Purse





Recycled leather, suede and beads. the strap can be shorted and doubled, or worn long. Lined with red mesh, snap closeres.

Leather, strap made of glass beads






Cupid Love Notes messenger pouch


Nothing but a Pack of Cards Ring Stands 



I was inspired by the natural shapes found in lake rocks.

It was a lot of fun to find random stones along the shore and see various card shapes within them. Using enamel, I explored painting on stone. I really love the weight of the surface, and the opactiy of the paint on the stones.

Full House 11.14
Ace of Spades ( with ring) 11.14
Diamond Heart 11.14
The Queen of Hearts 11.14
The legs are made of dice and gold crown 11.14




     The one thing I never did like about plexiglass fish tank dividers was how they looked with polka dots designed on them. While I do understand the need to have good flow throughout the tank, the polka dot approach always seemed a bit harsh to the aquatic landscape. I searched many different ways to make the polka look good:only around the frame, or "dice style" to make them evenly spaced, but the polka dot seems to trump all with its harsh exclamation amidst a watery flow of lines.


     Since I needed a divider for my two betta fish, I decided to find a new approach to the water flow. I considered some of the lines I would see while snorkeling..they way bubbles look while they float upwards..some are round, but many would be flatter-like a pancake. It reminded me of some of the backdrops used on "The Jetsons" cartoon- monotone blues in long swervy horizontal brushstrokes, inevitably swirled with cosmic glitter bits for good measure.

     I chose an a-symmetrical pattern to mimic a natural randomness you might see underwater. I also wanted my two fish to be able to see one another while swimming near the surface and center of the tank.


      Using my dremel and metal cutter wheels, I chose various places with a steady hand, but as you can see there are some gaps that have a swervy frosted cuts where the dremel slipped. However, seeing that this was my first attempt without any wasted pieces, I was satisfied.


There was, however a few cuts that were such an eyesore, that I altered the design slightly by making more gaps over the cuts, quite close to the other gap openings. The openings can get pretty close without risk of breaking..i was surprised by that.



This plexi panel has enough flow for 1 degree variance from the heater, but not enough flow to prevent slight algae bloom on the surface. More gaps along the top of the plexi would probably resolve the issue.

     This particular piece of plexi was cut so accurately, that it has a natural snugness on all sides without needing to secure it with suction cups- which just added to the clean lines of the divider being introduced.

I CANNOT EXPRESS ENOUGH HOW MUCH THE ACCURACY OF THE CUT IS IMPORTANT. An exact cut pretty much holds itself in place with gravel use and a few rocks.


  A really snug fit will allow you to tilt the panel for variance in tank designs. I did use 4 clean rocks alongside the gravel to keep the divider anchored, but you can also find a decent snag tilting the plexi sideways a little. Not more than the fish can go through, of course. It makes a nice change of design in the tank for both fish.


Also, adding a female to the tank has perked up the life of the much older male betta. They both know the plexi is there, but hang out near each other on both sides of the plexi quite often.








LIDDLE KIDDLE makeovers  7.14

Liddle Southern Belle

      Liddle Kiddle dolls are a collectable doll that were made in the 60s, by Mattel. These teeny tiny dolls were sold in cola bottles, pretend kologne bottles as well as bracelets, lockets- even in rings!

      Of course, the dolls who had very good owners have  managed to remain unscathed from childhood scissors and tea parties..and some dolls even remain unopened at all. These vintage dolls fetch a hefty mint for the collector who will probably keep these dolls sealed in a perfect dollitopia to admire on and on.

      I appreciate the collector who has the willpower to keep these cuties sealed. I personally, have no self control when it comes to Liddle Kiddles preservation; the hair, the clothes and the little rubber digits are all tactile forms of adorableness that makes me want to hold and treasure!.

      Its been fun surfing the web looking at other peoples other people (mainly on pintrest) took these dolls and "updated them"- giving them a fresh face and new, modernized identity.That isnt to say that each display I witnessed was good. In fact, there were some poor dolls that looked more tattered after their "day at the spa" than when they arrived in a shoe box. Some hobbyists tried to use messy fingered glues or tape to create new clothes, or use clown outfits made for ceramic dolls. Some people actually buy authentic liddle kiddle outfits, which are still sealed in its box, to recreate a near mint Liddle Kiddle. The near mint Liddles will have had their hair recurled, their bodies washed and new duds.


Synthetic ribbons works well for small detail like bows

  I also noticed that there is a small Liddle group which are into Barbie-Liddle scenes; Liddles look like Barbie babies when placed near the B bunch. These Barbie-Liddle sets include matching outfits, eyes, hair, and also twins, etc..Locket Liddles are used as babies, Skediddle size Liddles as pre-schoolers in the Barbie some ways, because the dolls are both from Mattel, they really seem to reinforce one anothers features, creating this iconisized America where cars are shiney and most shit is pink.

      Those scenarios inspired me to explore my own Kiddle Land, one where the dolls are given completely new identities...maybe see how the dolls might take on a fresh role in the LiddleKiddle legacy.

      I took an interest in the wayward kiddles( the Kiddles whose pasts were most likely spent in some dark basement), as well as the imposter Kiddle wanna-bes  and of course, the truly road hard frankenLiddles who have long since gone bald, had their heads popped on/off too many bodies to remember, and shoes paint long worn down to nothing.

      These dolls fell into a $price$ bracket that were cheap enough to buy a few. I felt that no matter how I chose to design them, it was only a helping hand UP in Liddle a designer spa shelter for  that out-of-trend,frazzled, tired ass kiddle.

      I have tried to integrate the original outfits with some of the kiddles, while others have been completely redesigned. Still, there was one imposter kiddle who seemed perfect as is; with her hair cut by someone, and her dingy dress, i saw right away that she would make a perfect clean-up worker bee for Li's future LiddleLand.

      I was thinking about adding Barbie additions like sunglasses and purses to the liddles, however the scale is all wrong. Adding extras to LiddleKiddles will present a real challenge throughout since they are mainly created in plastics, NOT in miniature materials,generally speaking.

Southern Belle liddle has her original dress with beads added, now used as a petticoat.


Ever see some plastic sewing gizmo and considered buying it? This little section will take an ongoing look at modern day textile helpers created for the novice crafter.


I find it so interesting that, at one point in time, spinning yarn or sewing was a common skill- even sailors knitted while on journey! Textiles have taken such a removed position in our day-to-day experience. Other than paying money for textiles in the form of fashion, it has fallen into a leisurely pursuit rather than a real necessity.


The modern day expression on using mainly plastic components screams volumes on the deeper intent of the art itself: you buy the cheap thing for 20$ to have something to do with your family and then after it week it breaks, oh well..only 20$..nothing lost- just a bunch of new half assed yarn projects junking up the house.


Not always however..Once in awhile, you can get some great productions on crappy gadgets. This review will range from simple observation to practical art projects.


I simply adore new machines that support time spent experiencing textiles. While I wish these items were all made of steel, I still love the free flowing ingenuity.. I cant believe some of these even exist!!




Before you get started, make sure to lubricate the parts as needed! Its sounds silly, but obvious also : plastic parts can get tacky with heat and friction just like metal, but a lot less forgiving.

I looked around online and discovered that a low heat, "dry" silicon spray will work well for small devices like these, and not degrade the plastic. ..i have yet to need it however.












This is a wire embellish kit that had sat in my drawer for quite some time. Not that it didnt have a certain appeal- I bought it because I thought previously it might be a lot of fun. Had I known it made such pretty designs, I would have explored it a lot sooner!

This hand size grid comes with plastic pegs, mine came with about 5, and also had 3 larger circle pegs also.

Of course, I needed more than 5 seeing as how the pegs have a midway stop point ( so that they dont slip through completely), and when the pegs are used, they are lodged between the grid and wire and cannot be pulled out to reuse during the same wigjig session.

A fanciful LadyFish

I found brass wire which fit the size hole, but had to press the wire here and there so that they would not fall through during use.

This hand held plastic grid is easy to use. Its lightweight, and the clear grid is fun to use. Im not certain clear plastic really makes the device any easier than an opaqaue surface, but wrapping wire along a clear board has a slippery feel.

This board could be an intensley compley board to have larger, but Im not sure the peg design would really be the best approach for larger wig jig creations; there is a certain amount of pressure that must be maintained when looping around new pegs, the plastic ones seem to work for one or two passes, but not 4 or 5..they will pop off or bend.




First try

Thicker wires can buckle easy when winding the wires back and forth. Annealing the wire beforehand can really help in this area.


Lovers knot











The Knitting Machine

While there are many different companies currently selling this device under various names, they all knit in the same fashion. One thing to really look for when deciding which one to purchase is diameter size.

Look for how many hooks there are+ the diameter being offered. These two elements will effect how wide the gauge really is. 


I chose this model because of the price and convenience of ordering, but a nice perk was the miles of yarn it came with. One interesting thing I learned, while using mutlicolored yarn is that the pattern varies from using one end of yarn to another. One side made a staggered swirl pattern, the other end of the yarn made uniform stripes.


While not all models have three legs, I found this to be a real asset to producing on this device. It allows a space for the actual product, and makes it easier for knitted tubes to unwind.


The button on thr side of the this machine allows you to either knit flat panels or in an endless tube. I find the tube slightly easier since the crank rotates in one direction instead of back and forth when making panels.


The directions really dont lie: you cannot speed up production without the machine easily missing a stitch. Catching loose stitches is hard to do if not spotted early on, but they arent impossible to repair:diligence, and good shaped crochet needle really solves glitches.

A cheap synthetic yarn blend can make fingerless mitts easily.


Using yarn and string combined, the knitting machine makes a relatively boring pattern compared to the Wyr Knitter/Embellishknit.





"Yarn Barf" about 20ft long.

"Yarn Barf"  5.13 

A functional pillow that conveniently adjusts to any needed position.

A firmer fill, this design even works well as a floormat: Its gives the user a sensation of floating. 

Pink swirls tip a cream 20 ft knit.


This was my second go-round in making this design. The first time I tried this, I had a terrible time stuffing the whole length of the pillow.

This time, I approached the design in sections. While I do think that making this in sections is the way to go, next time I would double the yarn tubing to better cover the seams.







The Wyr Knitter


This model was intended for soft wire, but Ive also seen it sold for yarn under other names. I think yarn work much better for this device.Cable style yarns work better than eyelash styles..and fine thread can be very tricky-  its almost like using a clunky needle lace device when thinking of fine threading.


To start, you feed the yarn along the top four hooks ( skipping the 2nd hook when you first start it),resting the yarn feed through the support slot.


A plastic pin was provided as an achor which I havent needed, but this machine does require tension on the both ends to work well.   I stop and pull and unwind every few rotations.


When you begin, its good to start slow, making sure the first four stitches are actually on the hook, with the little latch arm face down. A bit of tension is good to have with the yarn feed, and after about 8 stitches, its good to start pulling on the weave to help the latches shape the yarn.


Once you get crafty with this gizmo, you can stitch pretty fast on it, not having to look at what you are making since the latches have a particular sound when functioning properly.


One fun drawback is the unwinding of the final cord..when it gets really long, you can almost lasso the cord around in a large circular motion to unwind quickly.

I would have liked a screw option on the crank. The crank is pegged in, and over time can come out if you arent keeping it in mind. I do like the fact that the crank CAN come out, because you can lube the gears right at the joints. The peg style slows production.


The shape wasnt too hard to use as a hand held- and I developed my own little style to maintain tension on the feed as well as on the result.


I like the fact that this device is compact.Very handy for travel. Lightweight.











The Loop-De-Doo


This interesting machine caught my eye at the local store..Someone there had made little examples, and the constrasty patterns made the results look rich and varied.


I really wondered what this machine would do, that I could not do hand held...the twists didnt appear to be that "twisted". But, while the device doesnt look like its moving mountains , it does make sturdy twists which stay put quite nicely.


While the directions are quite vaque, going online to watch the demo did more than make up for it. The video had upbeat music that matched the demo, making it look as if bracelets and belts could be made in a snap!


They werent lying- I easily made bracelets in a matter of minutes. If I had a ton of friends and wanted to make a quick gift, this would be the thing to make.


Of course, I wanted to see if I couldnt improve on the closure. I liked the look of looped cords on one end, but wondered if it wasnt possible to create a double looped finish.

After trying various ways, a simple loop clasp worked as a hinge to remove with ease.


The LoopDeDoo really does deliver some diverse patterns. Even the simplest of color choices make visually captivating designs.


I tried making a belt (top pink design), and found that it can make some pretty chinese knotwork for applique.


Below the pink knot is a zig zag pattern with ribbon. Ribbon on ribbon. This made a cable like, satin cord which was very sturdy as a result.


The alligator clamps ( which are included) is a nice touch, but havent found the grip on those particular shape of clamps to be optimal for various gauges. When I worked with smaller amount of threads, or larger amount of threads, that the teeth wasnt able to grab all the fibers.


Repositioning the longer work is also a bit tricky. Following the online examples for this is best because of the specifics of the knotwork when starting a new length.


The tray which is hidden below the work station is a cute touch, but is only really good for unopened strings: the alligator claps can fall into the main unit ( out of the tray ) if tilted, loose threads can become wound on the center bar which is located right above the tray.


The shape of this unit is very user friendly..easy to work with, although I do wonder if a crank handle on one end might not be easier on the wrists.














An old hat box get a face lift.



Looking at my textile stock, I decided to revamp an old hat box. I could have just as easily purchased a new one, but i liked this design and regret I didnt keep the second one I used to own.

The whole project influenced me to rethink its use, and consequently helped me launch a spring cleaning. 

Nothing feels better than updating, and rethinking your possessions

Instead of trying to match this particular shade of orange, I used the color as an undercoat. The orange makes the light blue pop quite nicely.









SNOW DAY PROJECT 3/12* * * * * * * * * * *


Let it snow..and a perfect atmosphere to turn to textiles. A fabric found at the local supplier, something similar to what I saw on an upcoming runway. I wanted to capture the concept of wicker or a "basket-like" feel to this skirt. 

The fabric design lends itself to a cookie cutter drape and wear, which reinforces that stiff organic visual I saw in the soon-to-be released wicker line.

Fun to work with, easy to cut with accuracy, heavilly stitched fabrics are happy to oblige on the machine for the novice hand. Threads released easily when pulling out mistakes.

I used a robins egg blue lining which was stiched to the complete panels. However, this did effect the drape in the final result..I like the space age feel of the bright blue super imposing itself as it partners as a hem. I dont regret the choice to sew the lining in.

However, next go round I will opt for a traditional separate inner lining.

NOt sure if this design will be bicycle friendly, but stretch pants always works any way you slice it.

This design was based on a linen skirt I already had.


Tightening canvases: If your making your own frames with simple canvas as I do, you will find that heavy layers of paint oftentimes wilt the canvas, making it far from taut. There are some simple ways to resolve the issue without having to restretch.

Some artists swear by spraying the canvas with water..I would say this is probably good for the blank pregessoed canvas, not for the already-knee-deep-in-it canvas.

One benefit of making frames from wood is that there is give to wood when needed. While this seems contradictory to what you might need from a frame, its actually a control factor when puckers and wilt occur post underpainting.

Using a hammer, pound a shim into an adjoining corner...a little goes along way, and doing this to each corner will create a rejuvenated canvas.

Dont be afraid to allow the shim right through to the outerside of the frame, its easily shaved and painted later on.


All Silk roads lead to One-of-a-Kind show!


    Why sew a seam when you can bead one? A montage of silk travel bags hand sewn for Rickie M. Designs at Merchandise Mart december 6th - 9th. 


I love being able to lend beadwork to other artists ideas. In this case, brightly colored thai silks are used in conjuntion with various seed beads, to create a luxury travel bag.

copper seed beads



Beads add a rich dimension to an already vibrant set of the photo right, the beads have been sewn to the inner lining, making a nice hidden detail to a subtle color scheme.


silk blue bag with side bead

    I love how each bag has their own personality; this smaller silk blue bag has an asymmetrical  flair using a larger bead on one side with a bit of an opening. This is a good idea for more narrow bags, ones that might otherwise be too narrow to be practical.


I just love how the glass and silk look together..Cant wait to see how the artist decides to finalize the closures, and complete the bags surface: a true vision!






Hundertwasser review 9/24/12


Probably more well known than not, Hundertwasser's work amazes me on so many levels. His early printing work such as "Skyscraper with Trees"(black , green, and red) holds such a sense of dimension through his use of a single color, green. The choice of shape reinforces the randomness that print produces, adding to a further sense of dimension.

Hundertwasser has an organic sense of this ( in print) and was mimicked in paints as well. He has a fluid understanding of pigment, and mediums- both equally. I believe he expressed much of this knowledge throughout his body of work, creating candy-like visuals. Images that are savory to behold.

Each artist has a certain way they choose to define, or interprete upon the canvas..Hundertwasser controls and masters his own style very clearly..creating a soothing safehaven that eases the eyes- sharp lines curve, rigid angles peacefully placed...there no need to "think" the images..simply feel and you will get the message.

I love how so many artists express themselves through a myriad of mediums, Hundertwasser being no different; his architectural design hold feeling over rational. Approachable, familiar..rationality replaced with  harmonious efficiency. In his design "Incinerator" there is a distinct sense of hope..of what "could be"- the answer is "YES" (Ono 1966). Like the motion picture "Tron" there is this outlandishness, but still this sense of familiarity.



I relate to his value on pigment origin. An artist is, at times, an alchemist also ....and the canvas their spell. Each "ingredient", or pigment is of value to the truer intent of a work. The more an artist applies themselves to the physical creation of the painting, the stronger the intent reveals later on in the finished work- if not outwardly, in the very least, to the artist privately.

Seeing Hundertwasser's work is like one great symphony. His practice of thin layers adds richness to everything he made..making any single work easy to take in all at once- like looking at a universal starry body. Keeping love ALIVE, his work touches the eternal.

I cant help but wonder if he ever felt inspired to explore beyond his style and approach...outside of the boxes :-)  Perhaps "Neo Horizons" really does say it all.

He had a Klimt sense to him...I wonder if there was an inspiration there.




I decided to use size 14 beads to explore ring making. Metal rings tend to slip off my fingers in colder months, and I attempted to created a snug fitting safety ring, that not only prevented losses but looked aesthetically pleasing.

In this image, I chose black and red to make a matching double set for both the thumb and middle finger. 

What is an added bonus is that since beads are a textile, there is a snug fit to the design, but is also virtually weightless because the glass and thread are so light.

The mesh pattern of peyote stitch makes the bands super strong and stiff but  quick with drytime in handwashing. Perfect for busy hands on the go.

I am looking forward to exploring this idea..making elaborate safety rings that could almost be worn soley, to near invisible bands which will utilize clear beads for special occasions such as weddings.

BBBreaking Bristle Boundaries

For as long as I can remember, every teacher Ive ever had, insisted on specific brushes for specific types of paint. Synthetics for acyrlics, naturals for water colors, with oils having its own set of shapes and sizes to choose from.

While I understood the logic, I never quite understood the loyalty. Was there a hidden paintbrush society that had secret influence on art education as we know it? Why was I forced to purchase (from a supplies list) relatively firm brushes from the local art store, to explore yet another cliff notes introduction to paint?

Its as if the art guy knew I was being ushered back to the store even before he saw the list; a smirk on his face and the trusted brush display recently moved to center aisle with all the brushes I would need to purchase, and would never buy again.

Answer: no reason. I think one teacher I knew talked a real good techy game as to why such and such brush went with such and such pigments...and why you would not mix it up.

Im here to say its a lie. To spitfire with brush norms! After hours of frustrating patience, use what you like. Go to the store and buy what looks right. Of course animals hairs are the best, the prices will reflect a good brush usually.

When you like the feel of your brush, the inspiration flows...there is a real connection the the tool, mainly because you like it!

It forces you to be a bit more careful to take care of your brushes! If your trying to go green, and usually use disposable, the love of your new brush will make you want to take care of it, instead of wastefully pitching it. Like a lil friend, you will want to make sure its in good order before putting it down.

A better brush is easier to clean. The higher quality brushes are usually better bound..making it easier to clean and lasting longer.


Liters over Jars: While both have that great seal to insure "freshness", there is just something about a smaller seal that keeps acrylic paint fresher for longer. Look to buy what moves...acrylics can dry up sitting on the shelf if it never sells no matter what the container.


Cheap Brushes: i usually buy cheap and disposable..ensure these cheapies by using a needlenose pliers to clamp down on the metal neck....nothing is worse than hairs all over the deal at all if it causes headaches.


Acrylic and Oil combo: Cant say enough about mixing the mediums together..not only is it economical, but if you enjoy body as i do, it will feel great to layer! Experiementing with the two can also create super great effects.

The Lichtenstein Exhibit 5/12

 Roy Lichtenstein's work always seemed pretty forward to me, just like "Kaboom", its bold, bright and exact. Like Escher, Lichtenstein was a fun optical illusionist. He would make the observer have a personal relationship with the contrasty patterns: 1 part activity, 1 part eye exam.

 His choice in dimensional size always lent itself to this certain race effect, giving his images a real sense of motion. This motion, seems to have been Lichtensteins approach to capturing the essence of a modern, post-filmic style that he considered edgy/significant( maybe even futuristic).

Ironically enough, Lichtenstein's paint body is quite thin in layers, truly denying the eternal >>pop<< in pop art lasting color. I was kind of surprised to see works near large windows at the art museum- was it getting direct sun??? :/

While his more famous works have thinner layers generally speaking, he later seemed to be toying with a more impasto technique; playing with dimensional abstract design.Stuff that I just love.

I really enjoy canvas work that plays with various mediums ( within paint and pigments) and uses light 3 dimensionally to add to the image. Impasto still "thin layers", just thicker versoins of them!

Lichtenstein captured, and in turn was a part of, a larger modern art movement not necessarily due to his subject choices or controlled approach but rather to his understanding of color and shape placement( balance).

His larger sculptures really seem to be a deeper delve into shape placement( balance)-shying away from color all together, in contrast to some of his earlier sculptures were very color friendly. In the earlier sculptures, Lichtenstein seemed to be attempting to create even more motion through the use of an 3-D object, but he did not seem to incorporate any placement at all, which is perhaps why he focused on placement almost soley with his later ones. Or perhaps there was something about the metal in his later sculptures he found to be colorful? Even still, Lichtenstein did incorporate a dramatic hint of color to some of his later sculptures, keeping his signature style consistent.


 I prefer Lichtensteins most recent works, and feel he was on the verge of some very original pop styles- not reaching his apex in his lifetime.

Perhaps his earlier attempts at reproduction lent itself to his later most original body of work- he seemed to have been right at the beginning of a new direction.