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All Entries in the "Reviews" Category
high5 polymer clay: book review - polymer clay color inspirations
Whether color fascinates or frustrates you, Polymer Clay Color Inspirations: Techniques and Jewelry Projects for Creating Successful Palettes
Polymer Clay Color Inspirations: Techniques and Jewelry Projects for Creating Successful Palettes
Cynthia Tinapple’s Forward is pure motivation to read the book: “What I’ve found is that excellent color can rescue a mediocre design. And color that’s off the mark or muddied can ruin the finest concept. Your palette becomes your signature. That signature is very personal. It’s tied to culture and geography and weather. It shifts with latitude, with attitude, and with age. Learning about color means learning about yourself.”
The start of a collage…more to come
There is a quiz to determine your confidence level in working with color. Here’s the first line of the description beside my score: “You often feel overwhelmed when making color choices.” Yes, that about sums it up. Until now, I’ve made most of my color choices intuitively and while people usually respond well to the colors in my work I admit that I have never been confident about them - I often feel like they happened by accident.
This book - part textbook, part workbook and part self-help book, will be within arms length while I work in the studio. I’m learning how to understand color, find my personal color palette, choose colors for my next project, mix colors that work, play games with color and then put it all together. At my own pace. In my own time. And you can too.
As an added bonus, Maggio is posting “Weekend Extras” to her blog - more guidance to help you through the exercises. Don’t be shy, this is your chance to ask questions and a wonderful opportunity to connect directly with the author.
Thank you Maggie and Lindly - I am finally beginning to understand the language of color and I know I will come back to the book for years to come as I slowly develop my personal palette and use it in ways that will make my work sing.
From Elise Winters’ review and interview with Lindly on PAA:
“Color Inspirations has been designed to meet the needs of a wide audience. It should be of interest to newcomers who want to try polymer, as well as people who find color challenging. We wrote this book as well for people who might be interested in working with dyes, paints, even colored pencils. If somebody is interested in the dynamics of color, the science of color mixing, the aesthetic awareness of color choice, this book should provide lots of nourishment and inspiration.” Lindly Haunani
Read Elise Winters’ review and interview with Lindly Haunani on Polymer Art Archive
Maggie Maggio’s website and Weekend Extras
Lindly Haunani’s website
Lindly Haunani and Maggie Maggio will each present at Synergy2
high5 polymer clay: ancient modern review
We are midway through the week-long series, High5 Polymer Clay. If you are new to polymer clay - if I’ve piqued your interest and you are ready to explore the medium - be sure to look at some of the books, DVDs and resources listed in the sidebar.
Ancient Modern: Polymer Clay + Wire Jewelry
Ancient Modern: Polymer Clay + Wire Jewelry
Of particular interest to anyone interested in making jewelry are her tips about the mechanics of design - how to make a piece wearable and comfortable. In addition to the 15 projects in the book, there is a clear, concise Coiling Wire Chart to help you determine how much wire is needed when making uniform coils.
But wait, there is more…
Nightfall in Mozambique, polymer clay, wire
I’ve had the pleasure of watching Ronna grow as an artist over the last three years and getting to know this lovely, generous, upbeat soul has been a special treat for me. Ronna introduced herself (via email) in the early days of Daily Art Muse, when this blog was known as Polymer Clay Notes. She was often inspired by the art I posted here and we made a precious connection as we forged ahead on our individual paths. Some time later, when she told me she was writing a book that would marry polymer clay and wire with her primitive, organic style I knew it would be a hit, and it is - Ancient Modern, released by Interweave Press in June 2009, is already in its second printing.
Why is it so popular? In Ancient Modern, Ronna makes polymer clay accessible for people who might be intimidated to try it and for those just beginning their exploration of this versatile medium. She has impeccable taste, a strong eye for design and a bold, organic, joyful sensibility to her style.
I would categorize this as a book for beginners, but I will qualify that by saying it is one of the most sophisticated beginner books I’ve seen. The layout is crisp. The instructions clear. The photographs stunning. While the polymer clay techniques are not new to me, Weltman’s application is fresh and beautifully articulated. I have been working with polymer clay for several years and I still found enough in the pages of this book that sparked my imagination to easily recommend it as a valuable resource for intermediate level clayers.
So Much And More, extruded polymer clay, wire
I caught up with Ronna last month and had the opportunity to see many of the pieces from the book. All comfortable, wearable and lightweight. I’m intrigued by the simplicity of the extruded clay bracelet pictured above. The bracelet was surprisingly flexible when I put it on and I immediately began pondering how I could use this technique in other ways. Once I have a place to work again (soon) I will experiment with a few ideas that are taking form based on what I learned from the book (I’ll post them here - promise!).
Three Ring Circus, polymer clay, wire
Ancient Modern: Polymer Clay + Wire Jewelry
Links:
Want one? Click on the link in the sidebar to purchase the book from Amazon.
Ronna Sarvas Weltman’s website
More images of the book on the Interweave Press website
Want to know how to get published? Weltman will present Get Published! at the February 2010 Synergy2 Conference
book review: no green berries or leaves
Paul Stankard’s autiobiography, No Green Berries or Leaves: The Creative Journey of an Artist in Glass
Stankard lets no obstacle stand in the way of his pursuit of excellence and it shows. He has developed a truly eloquent artistic vocabulary that has resulted in a body of work which can only be described as breathtaking. Considered one of the world’s master glass artists, his work can be found in the collections of more than 35 museums including the Art Institute of Chicago, The Metropolitan Museum of Art (NY), Museum of Decorative Arts, the Louvre (Paris, France), Victoria and Albert Museum (London, England) and National Museum of American Art - The Smithsonian Institution (Washington, DC).
Not bad for a kid whose teachers often told him he was stupid and lazy when he was growing up.
A collection of essays that chronicle Stankard’s journey from struggling student to master glass artist, the book follows his childhood and early career as a scientific glass blower, then takes the reader through his transition and slow, steady climb to master glass artist. He tells the stories that shape the man and grow the artist, including his struggle with dyslexia - how he outwits, navigates and soars beyond the learning disability.
Stankard’s reflections on his long battle with low self-esteem are deeply personal and humble insights that offer a window into our collective psyche - there is a strange comfort here, reading how one of the most recognized, accomplished and important living glass artists of our time reckons with a dark ‘constant companion’ that most of us know intimately. Unwavering support and love, first from his parents and later from his wife and family, are a steady and reassuring presence, at times carrying the artist and the man through painful periods of self doubt.
Equally as compelling are his views on the long-term value of a focused education and how one achieves excellence in art making - themes that appear repeatedly include commitment, exposure to great art, practice and perseverance. Published in 2007, it is not a surprise that No Green Berries or Leaves: The Creative Journey of an Artist in Glass
I’ve included a few quotes that resonated with me. Read the whole book for wisdom, wit and strategies that will provide a lifetime’s worth of guidance for artist’s and students. You can find the book in the sidebar, it is first on my Reading List.
“As a mature artist I now recognize one of life’s greatest ironies - the fact that a disability can give one the strength to compensate for the disability in ways that can, in turn, nourish unique creativity and success.”
” For those who have been told they are different, think of that difference as a blessing and never give up because in the end, perseverance can only enhance one’s creative potential and future.”
“It was profoundly insightful to realize that the creative process is nourished by experimental efforts and that failure…could be so much a part of the creative process.”
“Excellence transcends categories and whether a piece is glass sculpture in the fine arts tradition, a murrini, a marble, a goblet, a paperweight or a bead, if one’s work is personal and is made well, it will be respected by informed art enthusiasts and other artists.”
“By seeing and experiencing great works, I have grown in artistic maturity which has broadened the foundation I stand on. The value and joy of viewing significant objects, especially when they evidence skilled virtuosity, has been to demand more from myself in the studio”
“I believed that by experiencing important work and relating to the quality evidenced by the work, I would grow stronger from the exposure. I hoped to internalize the values that I recognized in the great works and to recapitulate the same depth of emotion into my own work.”
“Society needs artists every bit as much as it needs scientists, teachers, laborers, fathers, mothers and ministers.”
“…art-making is a spiritual quest and is as close to prayer as one can get to glorifying the Almighty. Being an artist requires dedication and sacrifice as a calling equal to that of the clergy.”
re-do: art and fear
Art and Fear, the 1993 artist’s survival guide written by David Bayles and Ted Orland just never gets old. Last February I reviewed the book and included six of my favorite quotes. It’s time to revisit that post and bookmark it as a reminder to read this timeless classic again and again.
Read the post, Six Quotes From Art & Fear.
My favorite quote at the moment:
“Look at your work and it tells you how it is when you hold back or when you embrace. When you are lazy, your art is lazy; when you hold back, it holds back; when you hesitate, it stands there staring, hands in its pockets. But when you commit, it comes on like blazes.”
Yes, this.
carol cypher felted cane workshop
Last week I attended a wet-felting workshop taught by Carol Cypher. She was teaching how to make a complex cane - with felt! I’m interested in integrating felt into my polymer work and the workshop was really a primer for me on how to begin the wet-felting process - the fact that it was a cane was an added bonus - interesting to see this idea translated into another medium.
Carol was wearing a wild necklace with enormous felted cane beads that was a real conversation starter but I was so busy rolling bundles with my hands and feet (I’m not kidding) that I forgot to take pictures. Unfortunately I can’t show you her necklace, but here’s my first attempt at making the felted cane beads - not too bad. They were felted correctly so I was happy about that. Now I just need to work on that color scheme!
Primarily a seed bead artist, Cypher fell in love with felting almost twenty years ago. A free-spirited soul with a generous heart and an obvious love for fiber, she teaches all over the country and is the author of two felting books (you can find links to the books in the side bar). Cypher is a warm, giving teacher who easily engages students and the class is designed so that you can’t help but have fun! I am eager to return to Beadzo in Tivoli for her next workshop in September. Hopefully I’ll have something to show by then. For now you can take a peek at the beginning of my felting adventure…
Roving bundles on the left - felted on the right. Can you guess what I am going to do with them?
More felted bundles all lined up.
bottle caps and hot glue
Last year Jessica of Zakka Life collected the plastic inserts from Coke bottle caps, grabbed her glue gun and got busy. The result is an interesting bowl - decorative rather than functional. Instructions for making your own bowl here. I could see thin slices of colorful polymer clay canes glued to the center of each plastic cap. Sweet!
She’s got a new blog too - Starving Crafters - where you can find “the latest contests for artists, crafters, designers, and makers.”
six quotes from art & fear
Art & Fear. Have you read it? You really must. David Bayle and Ted Orland wrote the artist’s survival guide in 1993 and their words are as relevant today as they were fifteen years ago. I expect they will be just as meaningful fifty years from now.
The authors immediately captured my attention with the opening lines: “This is a book about making art. Ordinary art. Ordinary art means something like: all art not made by Mozart”. I thought, “Hey, they’re talking about me!”
Art & Fear, Observations on the Perils (and Rewards) of Artmaking, is a must-read for every artist, craftsman, craftswoman, creative-thinker, creative-type, thinking person. Did I cover everyone? Let me whet your appetite (or jar your memory) with six quotes from the book. Orland and Bayle really write their own review.
1. “To require perfection is to invite paralysis. The pattern is predictable: as you see error in what you have done, you steer your work toward what you imagine you can do perfectly. You cling ever more tightly to what you already know you can do - away from risk and exploration, and possibly further from the work of your heart. You find reasons to procrastinate, since to not work is to not make mistakes.”
2. “What you need to know about the next piece is contained in the last piece. The place to learn about your materials is in the last use of your materials. The place to learn about your execution is in your execution Put simply, your work is your guide: a complete, comprehensive, limitless reference book on your work.”
3. “For most artists, making good art depends upon making lots of art and any device that carries the first brushstroke to the next blank canvas has tangible, practical value.”
4. “To the critic, art is a noun. To the artist, art is a verb.”
5. “The difference between art and craft lies not in the tools you hold in your hands, but in the mental set that guides them. For the artisan, craft is an end in itself. For you, the artist, craft is the vehicle for expressing your vision. Craft is the visible edge of art.”
6. “Look at your work and it tells you how it is when you hold back or when you embrace. When you are lazy, your art is lazy; when you hold back, it holds back; when you hesitate, it stands there staring, hands in its pockets. But when you commit, it comes on like blazes.”
The pages of my copy of Art & Fear are filled with dozens of underlined passages, exclamation points and notes-to-self. This is a book you will read again and again, each time finding new inspiration in the simple words and practical logic. Reading Art & Fear has been as important as any class or workshop that I’ve taken to help me move my art forward.
Buy This Book - don’t borrow it, don’t take it out of the library - Buy It. A wise way to spend money on your art, it’s on sale right now for $10 through Amazon - and it is worth ten times that amount!
claudine hellmuth: beeswax collage
I am intrigued by the ancient art of encaustic, but I’m not ready for the steep learning curve required by this medium. When I saw that collage artist Claudine Hellmuth’s latest DVD was about using beeswax with collaged drawings I thought it might be just what I was looking for as a substitute for encaustic. I was right.
Hellmuth, best known for her custom collage portraits, is quick to explain that this technique is not encaustic, rather something that she developed through a great deal of experimentation, trial and error. As I watched the DVD I realized that the wax might be a useful addition to my polymer clay toolbox. I started playing with the technique yesterday and I love it.
Part one of the 90 minute workshop is a primer of techniques. The artist demonstrates how to color the wax, how to use papers as backgrounds, how to make an image transfer on the wax and how to incorporate metal foils and texture tools into a wax collage.
I thought that Hellmuth’s demonstration of how to incorporate line drawings in the collage was the most interesting part of the workshop. She builds layers using the simple drawings, papers and fabrics, illustrating how easy it is to construct the collaged drawings piece by piece. You just have to watch her do it. She instills confidence immediately. I really can’t draw, but after watching her demonstrate the line drawing, I knew I could do this.
In part two, Hellmuth takes us from start to finish with three projects: a stretched canvas collage, a watercolor paper collage card and a metal Poppet folded to sit on a mantle or table top. Polymer clay embellishments could have been used on all of the projects (think cane slices, buttons, flat sheets of clay…) .
Below is a sneak peek. If you haven’t seen Beeswax Collage with Claudine Hellmuth I recommend that you to rent it today. I got mine from SmartFlix - they were helpful and friendly, it came in a clever envelope/return envelope and there wasn’t a scratch or a flaw on the DVD as I viewed the workshop.
Lynn and Jim at Creative Catalyst did a beautiful job shooting the high-quality DVD and the editing is smooth…seamless…it absolutely flows.
[youtube]http://www.youtube.com/watch?v=qDnDAVmpNCc&eurl=http://www.collageartist.com/dvd_inside.htm[/youtube]
When you watch it make sure to watch past the final credits. This delightful artist has included some giggle-worthy outtakes. There are also previews of several workshop videos by other artists.
Beeswax Collage with Claudine Hellmuth is appropriate for the serious artist or those who just want to play! Artists and crafters using a variety of media will find it interesting - the collage project is only the beginning - a point of departure with many possibilities.
Below is a picture of my first experiment - no actual design yet - I just wanted to get the hang of the process (she makes it look so easy…and it kind of is!) and I wanted to see if the polymer elements could actually be encased in the beeswax (they can). I have a few ideas that I will explore more fully in the coming weeks.
Everything you see in the picture above (except the canvas) is polymer clay. Some of the pieces are a continuation of the zentangle texture plate experiment and some are liquid polymer clay experiments. I used bits and scraps in case it didn’t work. My studio is quite the mess with experiments all around me. Anybody want to come over and help me clean it?
P.S. Since people are asking…you can find Beeswax Collage at Smartflix - that’s where I rented my copy!
time to weave
I pore over books in much the same way that I scour the internet looking for a spark of an idea to feed my muse. Jane Patrick’s Time to Weave is a lovely example of a book that has given me more than one ‘aha’ moment. Patrick, a full time weaver and a former editor of Handwoven magazine, offers a relaxed approach to weaving without a loom, allowing the non-weaver entry into the world of weaving. I found her style inviting, intriguing and timely as I experiment with alternative uses for polymer clay.
The book’s 16 projects demonstrate weaving with paper, plastic, rubber backed carpet strips, balsa wood, flower stems, bamboo, copper foil, embroidery floss, canvas and wool. 16 new ways to think about weaving. 16 reasons to combine weaving with polymer clay. 16 sparks to feed my muse.
After coaxing us toward the weaving process with several non-loom projects, Patrick demonstrates how to use a simple frame loom - and then goes on to explain how to felt the woven wonders to make a pocket purse, hat and pillow.
The Wrapped Tile project is serene simplicity at its best. Patrick wrapped three 6 x 6 square Quartzite tiles with a simple weaving and arranged the tiles on a wall, making an elegant statement. As soon as I saw it I thought “use polymer clay tiles made of faux jade, ivory or amber”. The variations page for that project is pictured below.
If you are looking to do something different with thin strips of polymer clay, or if you want to try a unique wrap for your polymer clay tiles, focal beads or vessels, Time to Weave is a good place to start.
You can find a link to the book in the sidebar.
from january’s bookshelf: paper transformed
In Paper Transformed, Julia Andrus shares more than 100 recipes for making handmade paper designs including creating the look of embossed metal, lifting color with bleach or rubber stamps and designing with compressed sponges. It is advertised as the ‘ultimate paper designer’s handbook’ and while that may be true, I found several techniques that are polymer clay friendly.
The recipes appeal to me more than the projects, but the ‘Painted Tin Frame’ sure does look like the real thing. I had to look twice before I was convinced that it was paper. The most striking projects are the tin frame and the ‘Mottled Dressed Mannequin’, with a skirt made from paper petals and rivets (polymer clay petals could easily be substituted for the paper skirt petals on the mannequin).
Equally intriguing is the ‘Soot Prints’ recipe although it can’t be done with polymer clay. The technique mimics old photo negatives and involves matches, so you’ll have to buy the book to see what I mean, but trust me - it is an interesting way to create images!
The book is set up in a clear, easy to read format, with recipe samples shown on small tags like the ones pictured below.
Here’s an excerpt (click on picture to enlarge):
I like recipes. They are jumping off points and help me to focus right before I take off on my creative tangent. Two of the books that I keep close at hand in my studio are Polymer Clay Surface Design Recipes and The Art of Polymer Clay Creative Surface Effects. I also like cross-pollination. We borrowed Mokume Gane from metalsmiths and Millefiore from the ancient glass artisans and adapted them to the clay. Why not paper?
My copy of Paper Transformed sits on the shelf in between the Kato and Marshall books mentioned above. You can’t have too many recipes…maybe too many cooks in the kitchen, but never too many recipes.
Julia Andrus also has a website complete with products, how-to’s and online video tutorials.
Links to Paper Transformed are in the sidebar.
diffendaffer unleashed
I spent last weekend reading Grant Diffendaffer’s new book, “Polymer Clay Beads: Techniques, Projects, Inspiration”, which is due to hit bookstores any day now and worth the investment. Diffendaffer doesn’t hold anything back, with instructions for his signature beads: textured tubes, lathe-turned, recursive molded, molded hollow-form, mica clay and mandrel-formed pillow beads.
A few years ago, intrigued by Diffendaffer’s textured beads, I attended one of his East Coast workshops and came away with a new appreciation for artists who develop and nurture a technique from concept to reality. A labor of love, passion and devotion reserved for the ever curious, the bold, and the determined among us. When an artist takes the next step and releases a technique to the larger world it is a leap of faith. Diffendaffer made the right choice and this roster of techniques is sure to produce a bevy of beautiful beads around the world.
The directions are easy to follow and the author offers tips and variations throughout the book. Heavily influenced by the wonders of the natural world, Diffendaffer has a distinct preference for the mica present in pearlescent clay and it is easy to see the attraction - the metallic clay is quite the showoff for this array of bead forms and styles.
This book won’t sit on your bookshelf for long. It begs to be opened, creased, studied and in full view as you learn techniques that push the clay in an exciting new direction. “Polymer Clay Beads: Techniques, Projects, Inspiration” made my head spin and my heart sing. It doesn’t get better than that!
You can order the book directly from the author or purchase it here.
if you build it they will come
at the end of june i had the pleasure of traveling to philadelphia to attend dan cormier and tracy holmes’ ‘building better beads’ workshop.
they built it and we came: hosted by the philadelphia polymer clay guild, students came from maryland, new jersey, pennsylvania and new york. by the end of the weekend we left with notebooks and heads filled with information to keep us on the learning curve for months.
beneath dan’s laid back, canadian-ease style and dry sense of humor, artist meets engineer meets master of precision. setting the bar higher, first for himself and then again for his students, cormier showed us why attention to detail and an unwavering commitment to be the best craftsman(woman) we can be is the goal to strive towards.
pictured here are student’s beads-in-progress. in this workshop the emphasis was on construction. the design of the bead surface took a back seat to how to make the bead sturdy, lightweight, highly functional and finished to perfection.
cormier and holmes’ partnership is rich and seamless. dan demonstrated and explained the steps, while tracy moved in and out of the picture to clarify a point or further define a technique element. this tag-team approach adds a unique and interesting dimension to the multi-layered educational experience. as they cruised through the information intense agenda, their never-skip-a-beat high fives when one of them hit on an idea was only one indication that the collaboration works. and it works well.
a much larger illustration of this glorious collaborative effort is cormier and holmes’ best work yet: 3 year old griffin. as many of you already know he steals the show. naturals in the parenting department, it was a joy to watch them as mom and dad to the charming, engaging griffin. with an angelic expression on his face, their little helper took great delight in passing out the small boxes that held gifts of clay donated by polymer clay express. watch out dan - griffin might take over sooner than you think!
if cormier ever decides to switch careers he would do well as a comedian. his dry, quick wit elicited more than a few laughs and kept things moving along. in the meantime, i’m happy that he’s teaching - the workshop is brilliant. watch this space for a future post about ‘dan the artist’ and why i think this workshop is critical to the well being of the medium.
a cormier and holmes’ website/blog is coming soon and i am sure it will tantalize us with powerful artwork; amuse us with the stories and anecdotes that have traveled with the couple on this lifejourney and give us a standard to live up to.
thanks again to the the philly guild and to guild member martha aleo for the pictures. thanks also to robin milne, president of the new jersey guild, for photos of the student’s work.
dayle doroshow: unfolding pyramid
dayle doroshow delights students at the beginning of a workshop when she unfolds her pyramid vessel for the first time, revealing secret messages and hidden treasures. part of the delight is dayle’s joyful expression as she unveils the surprise. she has been teaching the unfolding pyramid workshop for several years, but she doesn’t seem to tire of the thrill of discovery in this treasure hunt and her enthusiasm is a treat.
so what did i learn? how to make an interactive, unfolding pyramid vessel - yes, this. i also learned how to make a new type of hinge. and a great tip about image transfers. oh, and i found a texture tool that rocked my world. but more than this. so much more than this: i was reminded that a sense of play is crucial to both artmaking and life. and that hiding places aren’t only for children. i discovered that secret messages are my new not-so-guilty pleasure.
the unfolding pyramids pictured here are unfinished - works in progress. each side of the vessel tells a story and our stories aren’t finished. we carved, colored (even though i left my crayons 
home - just like i said i would), molded, transferred, impressed, antiqued, caned, hinged, cut and sculpted.
the panels depict stories, and as we worked side by side we shared more stories: profound stories about life, silly stories about what we ate yesterday and stories about the art we make. at the center of all of this dayle stood quietly breathing it all in, gently harnessing the collective energy, and on the exhale, helping each of us persuade the clay.
many thanks to dayle for her generous spirit and wonderful imagination. kudos to
lisa fried-kornbluth for not only coordinating the workshop, but for hosting it in a studio so very cool that it warrants a separate post (coming soon). it was also a pleasure for me to have the opportunity to meet so many people who read polymer clay notes - and more validation that this blog continues to uplift and inspire.
the workshop was like watching creativity unleashed. pictured above are the pyramids made by judy, risa, karen, nancy, lois, robin, susan (not me!), amy and lisa. each student’s individual voice rang clear and true - winners, every one.
dayle doroshow: day one
some artists are expert technicians. brilliant engineers with meticulous attention to detail and complex construction that drives their work to the top. in the polymer clay world a few names that come to mind (though this list is far from complete) are elise winters, dan cormier and jeff dever. i admire and respect these artists and i strive towards their level of mastery over material and technique. 
some artists prefer a more organic process and aesthetic. free spirited. free form. in-the-moment artmaking. a keen eye for detail without the precision traditionally associated with that level of detail. dayle doroshow is this kind of artist and she speaks my language.
if you haven’t taken a workshop with dayle, i highly recommend you do so soon. after we ogled her work (top picture) she explained how to construct five different dolls: heads. bodies. embellishments. there were demos, discussions, one-on-one assistance. support tips for baking. more demos. and of course chocolate (thanks judy). we came from across the tri-state area - even a carload from massachusetts! by day’s end we each went home with at least one com
pleted doll. 
dayle doroshow is adept at bringing polymer clay to life and equally at ease creating community. our book dolls and shrine dolls and robed dolls are full of life - they speak, they sway, they seek. dayle’s guidance and gentle coaxing made it possible. art: it does a body good!
friday the topic is pyramid boxes. watch this spot for more pictures!
