Yulia Hanansen - Society of American Mosaic Artists

Wanted: Your Opinion! See page 11.
Summer 2008 • Volume 9 • Number 3
Yulia Hanansen
Mosaic on Countertops
Tips from George Fishman
Second-Generation Mosaicist
Finds Her Voice in Glass
Mission in Concrete
Ana Foncerrada Fulfills Her dream
From The President
SAMA
Board and Officers
It’s summer, and many SAMA folks are
enjoying some vacation time, yet the
Officers
President
Karen Ami
Vice President
Rhonda Heisler
Secretary
Andrea S. Taylor
Treasurer
Bonnie Fitzgerald
Board of Trustees
Yvonne Allen
Bill Buckingham
Susannah Dryden
Sue Giannotti
Sheilah Jewart
Shug Jones
Dedra Lipscomb
Gwyn Kaitis
Sharon Plummer
Hillary Sloate
behind-the-scenes activity at SAMA “central” never stops. Case in point:
In May, SAMA’s Board of Trustees met in Chicago for the annual strategic
planning retreat, a two-day think tank meeting. This is one of the few
opportunities when board members can meet face to face, brainstorm ideas, define and prioritize
projects, and organize committees to accomplish the goals we set. Dedra Lipscomb has written a
summary of the retreat for this issue, so take a look
on page 10.
Dawnmarie Zimmerman, Chris Forillo, and a
team of hard-working conference committee volunteers have been busy doing advance work for
the 2009 meeting in San Diego. Our annual juried
exhibition, Mosaic Arts International, will be held
at the Museum of Man in beautiful Balboa Park. We
are extremely fortunate to land such a prestigious
venue, and it gives us a great opportunity to show
Executive Director
Dawnmarie Zimmerman
San Diego and Southern California what contem-
Membership Director
Sue Giannotti
work forward and apply to the show. The dead-
Operations Manager
Chris Forillo
Advisory Board
Lori Greene
Dianne Crosby
Ruth Wunsh
porary mosaics are all about. So put your best
line for submissions is earlier this year—October 3,
2008—and the prospectus is already online on the
SAMA website. Once again, members can submit
work online through Juried Art Services. Go to
Volunteer Coordinator
Yvonne Allen
Groutline
STAFF
2B Creative Team
Editorial Director
Barbara Coots
Associate Editors
Gina Marie Mayfield
Kathy Schienle
Design Director
Barbara Dybala
Contributors: Sue Giannotti, Rhonda Heisler,
Shug Jones, Julie Richey, Laurel Skye,
Dawnmarie Zimmerman
Groutline is published quarterly to promote
mosaic art in the U.S. and abroad.
© 2008 Society of American Mosaic Artists.
Reproduction or distribution prohibited
without permission. Address: P.O. Box 624,
Ligonier, PA 15658-0624
Editorial queries may be sent to
[email protected].
On the Cover Detail of Yulia Hanansen’s 8 x 15 ft.
stained glass tile mosaic mural, Chippewa Creek.
Medina District Public Library, Medina, OH.
are already immersed in various projects, and we
look forward to the contributions they will make
to our mosaic community.
Finally, we are pleased to announce our 2008
Robin Brett Mosaic Scholars: Laura Rendlen of Glen
Ellyn, IL; Desiree Malan of Wellington, South Africa,
and Tim Zuver of Akron, OH. Each will receive $1,100
to help fund a pivotal learning experience. We
look forward to hearing about their studies at the
2009 Conference. Many thanks to our scholarship
panelists—Nancy Ancrum, Valerie Theberge, and
Craig Chamberlain—who performed the difficult
task of selecting three scholars from a set of
highly qualified applicants. If you submitted an
application and were not chosen, please consider
reapplying next year.
www.americanmosaics.org for details.
Karen Ami
President
Please join me in welcoming four new board
members with talent, energy, and enthusiasm to
spare: Dianne Crosby of Bethesda, MD; Sharon
Plummer of Houston, TX; Yvonne Allen of
Phoenix, AZ; and Ruth Wunsh of Louisa, VA. They
Besides serving as president of SAMA, Karen Ami
is the founder and Executive Director of The Chicago
Mosaic School, artist and sculptor, mama, and amateur
boxer. www.chicagomosaicschool.com.
Inside Summer 2008
A Green Tip
4
Martin Cheek’s Newest Book
4
SAMA News
10-11
Calling Millefiori Artists
12
Feature
Concrete Dream Comes True
6-7
Departments
Inspiration: Supporting Sickle Cell Clients 3
Artist Profile: Yulia Hanansen
5
Ask A Pro: Countertops
8
Step By Step: Joining Wedi Board
9
Patron Members
Bill Buckingham
Aysel Ergul
Timothy Falb
Jacqueline Iskander
Sonia King
Ann-Britt Malden
Jane O’Donnell
Drucilla M. Perez-Tubens
Bart Streuter
Laurel True
Barbara Vargas
Donna Young
Mosaic Rocks!
di Mosaico
Jacqueline Iskander Mosaics
Sonia King Mosaics
Hakatai Enterprises, Inc.
Mosaic Studio and Gallery LLC
Streuter Industries
Institute of Mosaic Art/
Mosaic Studio Supply
Mosaic Basics
Mosaic Art Source
Photos: Suzanne Moe
Celebration of Creativity showcases the unifying power of mosaic art.
The Mosaic of Strength:
Empowerment Through Creativity
by Suzanne Moe
The Fredericksburg (Virginia) Area Sickle Cell Association (FASCA) sponsored an inspirational community event June 1st that showcased the creative talents and abilities of its clients.
An enthusiastic and appreciative audience enjoyed artwork, mosaics, music, poetry, and performance at FASCA’s Celebration of Creativity at Shiloh Old Site Church.
S
ickle cell anemia, an inherited, incurable blood disorder, affects
much time “buttering” the tiles and handing them to a partner to place
millions of people worldwide, including one in 350 African-
on the board.
Americans. Debilitating and devastating, it can result in physical
The following weekend the Mosaic of Strength was unveiled to great
limitations, organ damage and failure, necrosis or stroke. Most who
applause at the Celebration of Creativity. Six clients introduced the mo-
live with sickle cell anemia face tremendous challenges, but share
saic by explaining how the symbols in the design—bravery and valor,
determined spirits, positive attitudes, and devoted support systems.
time changes, the supremacy of God, unity and human relations, humil-
When FASCA approached me to help with this event, I suggested a
ity and strength, and red crescents—related to sickle cell.
group mosaic. First, I drew up a 3 foot x 5 foot design that featured Adin-
A talent show followed, along with refreshments and a cake featuring the
kra symbols from Ghana, West Africa. Each symbol related in some way
Mosaic of Strength design. Each attendee received a refrigerator magnet of
to the condition of sickle cell. The colors (red, gold, green, and black)
the design with FASCA’s website embossed: www.fascaonline.com.
are those of the Ghanaian flag. Mirror was chosen to represent reflection,
hope, and light.
After its debut, the Mosaic of Strength was displayed for a month at
Shiloh Old Site Church in Fredericksburg. It then went on tour to other
The process itself was in keeping with the event’s goal: to bring
area churches attended by clients. In the fall the mosaic will be shown at
the community together. Prior to the mosaic-building workshop, we
the State Sickle Cell Conference and in Fredericksburg at the Moss Free
drew the cartoon onto the backerboard, broke tiles, and cut mirror.
Clinic and Mary Washington Hospital.
My partner, Gaye Adegbalola, and I glued tiles onto two of the more
Special acknowledgments go to the Virginia Department of Health for
complicated symbols to illustrate the mosaic techniques to the group.
underwriting the Celebration of Creativity and mosaic workshop, and to
More than 30 concerned individuals (sickle cell clients, family mem-
J & J Tile and Marble of Fredericksburg, which kindly donated all of the tiles
bers, and friends) learned how to nip, fit, and adhere broken pieces
and offered other materials (backerboard, glue, and grout) at cost.
of tile and mirror to create a beautiful and unified work of art. On the
second day, they learned how to mix and apply grout, and how to buff
the mosaic to perfection. There was even one blind client who spent
Suzanne Moe (aka SuMoe) works in mixed media on a diverse assortment of canvases
from her private studio located in Old Town, Fredericksburg. www.sumoe.com
Society of American Mosaic Artists 3
Express yourself, go green, pick a project!
Green Tip
Can’t stand throwing out your smalti culls and chips? Then
reuse those castoffs. Fire the chips in a glass kiln to create
interesting additions for your mosaics and one-of-a-kind
nuggets for jewelry. To create the fusions, use pre-made
molds for cabochons. Or create your own mold by carving
fiber blanket. You can also simply make neat piles of chips
on top of a piece of fire paper directly on the kiln shelf.
Before you get started, here’s what you need to know:
(blues, greens). For best
results, keep the cool and
warm colors separate.
• Occasionally the original
color will strike (change
color), so anticipate some
surprises.
Just another unique way
to go green—reduce, reuse,
and recycle. No two fusions
will be the same!
- Paula MacLeod
Another Green Note: Dallas’ Executive Press, printer of
Groutline, uses soy-based inks and either recycled paper or
FSC (Forest Stewardship Council) certified paper.
About That Tattoo
A mention of Laurel Skye’s tattoo on page 7 of the Spring 2008 issue of Groutline piqued our curiosity. “Show us a
photo!” begged some SAMA members. The story goes like this: Laurel’s recent interest in Dia de los Muertos (Day
of the Dead) icons culminated in a mosaic-decorated skull of 1940s samba singer and film star Carmen Miranda
that was featured in SAMA’s 2008 juried exhibition. While teaching a workshop at the Miami conference in April,
Laurel visited Miami Ink in South Beach, where she had an image of the artwork tattooed on her upper arm. “The
conference, being in Miami, and mosaics came together to create that,” she said. Turn to page 12 of this issue to
read about Laurel’s upcoming book on millefiori (currently accepting submissions).
Miami conference, this book will offer insight
templates for transfer of compositions, and
into the unique design sensibility of the popu-
each working process is described from start to
lar teacher and artist. Full of the distinctive im-
finish in about five to ten steps.
ages for which he is known (the “cheeky birds”
The novice building a library of how-to books
for example), his latest book is sure to spark
will find Cheek’s volume a welcome addition.
interest among amateurs and experts alike.
More experienced mosaicists may find greater
The experienced mosaicist may learn about
inspiration in the “gallery” of Cheek’s work at
techniques not yet mastered or new materi-
the end of the text. He uses millefiori to great
als (translucent smalti or Sicis tiles), while the
advantage: as a dense background surrounding
amateur can learn about essential tools and
owls, as tiny pieces of “corn” nibbled by a plump
basic methods.
At 128 pages, with 300 illustrations and pho-
chicken, or a single morsel that defines the alert
eye of a pink pheasant. Cheek acknowledges
Mosaic Craft: 20 Modern
tographs, the book contains fifteen numbered
that his background in animation and his
Projects for the Contemporary Home
projects and five “minute mosaics.” The latter,
ability to “characterize” his subjects—including
by Martin Cheek, with Arendse Plesner
Reviewed by Jean Ann Dabb
ideal for the novice, require less time and have
the skeletal animals in his “Day of the Dead”
lower difficulty ratings than the numbered
series—definitely set his vision apart from that
projects. The projects—mostly lamps, mirrors,
of other contemporary mosaicists.
Martin Cheek’s latest book offers
something for everyone.
and tables, with functionality as a primary fea-
For SAMA members, including those who ex-
ture—begin with a list of materials and notation
Available on Amazon.com
of techniques, each described at the beginning
ISBN 9781570763571
of the book. Black-and-white diagrams provide
$24.95
perienced Martin Cheek’s presentation at the
4 Society of American Mosaic Artists
Photo: L eft, Laurel Skye; Right, Robin Robin
• Be sure your kiln is
vented and use it according to the manufacturer’s
instructions.
• The smaller the chip,
the better it will fuse.
Cut down large chips
into smaller ones. Pieces
smaller than ¼ inch (.25
cm) fire more uniformly.
• Warm colors (yellows,
reds, golds, oranges)
combine and fully fuse
better than cool colors
Excursions
Hanansen uses trademark cuts and layered glass technique to expressive advantage in her mosaics.
Yulia uses primarily stained glass to create her vibrant and highly
detailed textural wonders. Her subject matter is varied but includes
scenes from the cosmos, as well as more earthy images of plants,
landscapes, and flowers.
Left: Tunguska, layered stained glass mosaic, 24 x 24 in.
working/framing area, grouting, and concrete casting workshop.
The mezzanine is my personal art studio space where I can spread
out and create … and where I have the best lighting a mosaic artist
could wish for!
LC: Does your extensive art education help you run your mosaic
business?
YH: Absolutely! Fine art education certainly makes the difference
when I have to make design, color, and materials decisions for my
pieces. This knowledge is very helpful when trying to convince a
client of a certain image or composition. Yet, nobody is going to teach
Photo: Yulia Hanansen
you how to run a successful art business. You must pay rent, do taxes,
keep business records, and come up with a profit-making business
model. In the beginning, it almost drove me insane!
LC: How important are the various aspects of your business, and
how do they contribute to your long-term growth?
YH: Teaching several classes each week helps bring continuous income to the studio while growing the mosaic community. Commis-
Artist Profile
Yulia Hanansen
O
sions, especially large ones, are very important, as I get to do something different each time. Gallery space provides a display of my
by Lynne Chinn
ur friendship began on opening night of the SAMA exhibition in Chicago, 2006. She was looking at my mosaic Far Red,
and I was drooling over her Crater Lakes Melting Snow.
Neither of us could leave the show without the other’s piece, and so
an equal trade was forged.
At a recent visit to Yulia’s delightful, historically designated home,
I was struck by the balancing act within her life: very much a wife
and mother, yet also instructor, businesswoman, and professional
artist. Here is more about Yulia and her work.
LC: How long have you been a mosaic artist?
YH: Both of my parents are mosaic artists, and when I was a kid
we lived in the former USSR, where they made large-scale mural
installations. My brother and I climbed the scaffolding with them
to “help out.” Professionally, I opened my studio in 2001. (See
mosaicsphere.com)
LC: How has your parents’ style of mosaic art informed your work?
YH: I learned that mosaic can be the primary expression of an idea;
that is, a mosaic doesn’t have to be merely a translation of a finished
painting or design.
LC: Where is your studio, and how is your work space set up?
YH: I rent a three-floor studio space on a fairly busy street in downtown Ann Arbor, Michigan. Ground level houses a classroom, an art
gallery, and a small mosaic supply shop. Downstairs has a wood-
mosaics—it’s a “reality show.” My main source of getting the word
out is my website, which I maintain and update frequently.
LC: Talk about the technique you have invented.
YH: I am using a layered glass mosaic technique. Tiles are first glued
next to each other, and grouted, and then one or more layers are
adhered on top of that layer. The tesserae are cut in the shape of a
long boat; I call them “brush-stroke” cuts. They are quite dynamic
and versatile in depicting many objects, especially topographic and
cosmic views.
LC: What environmentally friendly practices do you employ?
YH: From day one, I ruled out the use of paper towels in my studio
(except in the bathroom). We cut up used T-shirts into rags. We also
reuse containers and recycle as much as we can. I try to employ only
non-toxic adhesives in mosaic making.
LC: What are you working on right now?
YH: My current mosaic mural project, “Great Lakes Ecosystem,” is for
the University of Michigan Matthaei Botanical Gardens. It has eight
panels that represent different ecological systems. Each panel is 42 x
42 inches and is made from stained glass, vitreous glass, smalti, and
found objects. The official opening of the mosaic project is scheduled for September.
To read the rest of the interview and see more of Yulia Hanansen’s
work, please visit the Groutline section of americanmosaics.org.
Lynne Chinn, former designer, art director, and oil painter lives in Plano, Texas, where
she owns and operates her mosaic studio. www.lcmosaics.com
Society of American Mosaic Artists 5
Moving to
the Next
Dimension
SAMA’s Robin Brett Scholarship allows
one artist to live a mosaicist’s dream.
by Ana Foncerrada
The Robin Brett Mosaic Scholarship
is designed to support emerging and
established mosaic artists by funding
an educational opportunity that they
identify as pivotal to their advancement in the art form. The scholarship
reflects one of SAMA’s primary goals—
to promote the development of mosaic artists—and honors the memory
of Ms. Brett, who was a driving force
in SAMA’s early growth. If you would
like to help make a mosaic dream
come true, please consider making
a donation to the scholarship fund.
All donations are tax deductible and
can be made via the SAMA website,
www.americanmosaics.org.
Robin
Brett
Scholarship
recipient
Ana Foncerrada stands next to her
sculpture, “Flaming Heart.” She carved it
out of polystyrene foam, then covered
it with mesh and a coat of concrete that
contained a latex additive. Following
these steps, Ana finished the piece with
mosaic and grout.
6 Society of American Mosaic Artists
B
ritish mosaic artist Gary Drostle once said, “I wish SAMA
activity. First we made a model of our own design, then covered it
were a country. Then we could all move there.” I think most
with mesh and a mixture of cement and a latex additive, making the
of us have experienced the same feeling after encountering
forms lightweight yet resistant to wear and tear and the elements.
an artist community as inspiring, generous, and fun as SAMA.
Our last project was a disposable mold of polystyrene, good for
I came across mosaics by chance. Or maybe it was fate. The book
casting a wall hanging, stepping stone, or pole-mounted sculpture.
Mosaics on a Weekend by Martin Cheek fell into my hands and
We tried out different recipes for concrete and techniques for every
sparked my love of all things mosaic. Later I took a mosaic course
project, and experimented with various ways to decorate our pieces.
and became a member of SAMA. What began as a hobby had become
my life and my passion.
I soon realized my pieces would be too heavy to take home to
Mexico City, so I traded them with my new friends for leather gloves,
My first project was a small picture frame. Soon I was creating a
fiberglass mesh, and a sculpting knife. I kept pictures of my work, but
swimming pool and a huge community mosaic. SAMA and its mem-
was not really sorry to part with it since learning the techniques was
bers have accompanied and supported me in this journey, offering
most important to me. I believe I accomplished my workshop goals.
expertise and friendship.
In 2007 I was honored to receive the Robin Brett Scholarship,
which SAMA created to support mosaic artists by funding an educational opportunity. The funds I received enabled me to attend Sherri
Warner Hunter’s concrete workshop, something I had long wanted
For more information about Sherri Warner Hunter and her workshops, log on to www.sherriwarnerhunter.com.
Ana Foncerrada is a mosaic artist in Mexico City, Mexico. She has been making
mosaics professionally for the last seven years. She works primarily in vitreous tile, smalti,
and marble.
to do in order to make concrete sculptures to complement a community project.
Sherri is a renowned mosaic artist who lives in scenic Bell Buckle,
Tennessee, and works primarily on large-scale public commissions
and community-built projects. She offers several courses throughout
the year at her own studio and in other locations around the country
and abroad. She has authored three books (one has been translated
into Chinese!)—Making Concrete Garden Ornaments; Creating with
Concrete: Yard Art, Sculpture and Garden Projects; and Creative Concrete Ornaments for the Garden.
While the books are great resources that thoroughly explain the
basic techniques, there is nothing better than learning from Sherri
herself. Getting your hands dirty and getting a feel for the right consistency of concrete really “cements” the lesson. Sherri is a very experienced teacher and prepares her workshops to the last detail. She
starts with the fundamentals. Did you know that cement is not the
same as concrete? Concrete is a mixture of cement and an aggregate.
And concrete does not dry—it cures through a chemical reaction.
Learning correct terminology is an important part of working with
concrete, as are her demonstrations of how to mix cement, sand, and
water in the most efficient way.
While in Tennessee, I took a five-day workshop Sherri taught at
the Arrowmont School of Arts and Crafts called “Concrete: Yard Art,
Sculpture & Garden Projects.” There were 15 students in the class,
and we all stayed and ate at the school dormitories. The total immersion in the workshop, the close contact with the other students and
instructors, and the opportunity to forget about everything else for a
week made the experience an unforgettable pleasure.
The workshop was hard work, but a lot of fun. Every project involved many steps and because time was short, there was always
Photos: Sooz White
something to do. We made bird bath bowls, which we cast on sand,
and pedestals. Then we embellished them by embedding all sorts of
Above: Sherri Warner Hunter in action. Here she is explaining the
materials like beads, tiles, and found objects.
steps to making a bird bath. This month (August 2008), she will be
Next we carved a small sculpture in polystyrene foam. I especially
enjoyed this project, and the most beautiful pieces resulted from this
teaching a workshop at The Chicago Mosaic School.
Society of American Mosaic Artists 7
Time to tackle that countertop? Read George Fishman’s tips first.
Ask A Pro:
Mosaic on Countertops – Practical Realities
to countertops? What type of adhesive and
grout should I use?
Mosaic countertops can be both beautiful and
durable, but like floor mosaics, they present
practical challenges. Technical considerations
include the selection of appropriate mosaic
materials, as well as their application. Because
of the “rough and tumble” process of serious
cookery, the counter will generally get tough
treatment from cleaning products, pots, pans,
heavy bowls, etc. A rustic design approach
may be more forgiving of the occasional ding
Glazed tile
• Brilliant range of colors and patterns.
• Susceptible to chipping; color is just on surface.
• Only floor, pool, and quarry tiles are hard
(such as bullnose) for edges/corners of counter.
1. Provides ideal surface for adhering your tes-
Stone
•
stones (which can stain easily) to extremely
and resistance to possible warping of the wood
hard and strong granites.
•
Some varieties of marble scratch easily; others
are quite hard (though any would be scratched
• Trim pieces with polished and/or decorative
profiled edges may be available.
INSTALLATION GUIDELINES
•
•
Edges/corners of counter may need finishing
with a metal, wood, or plastic frame.
Unglazed porcelains
•
• Colors include both neutrals and brights.
• Dings are less apparent than with glazed tile.
• Factory edges of tiles create clean counter edges.
Relatively nonstaining and quite durable.
framing below. The framing of the counter
should be solid, with no flex.
Alternate method:
Several manufacturers, such as Laticrete and
Mapei, make suitable adhesives for attaching
tile to laminate. Type “laminate” or “Formica”
into the product search engines on their
websites, download the product information
Latex-fortified grout or epoxy grout should be
documents, and then call the technical
used to minimize absorption of stains and
representatives with questions. These tech
• Not susceptible to staining.
bacteria-carrying liquids.
• Somewhat fragile, especially stained glass. • A panel, rather than plywood, is recommended • Some iridescent and dichroic glass tiles have as the substrate to reduce the chance of warping.
low abrasion resistance—ask the manufacturer.
• Rigid framing beneath the substrate is critical Careless
placement
of
a
heavy
pot
could
•
to eliminate flexing (as when someone climbs
crack glass.
serae with familiar thin-set products.
2. Provides an additional measure of rigidity
the surface).
Vitreous, stained and other glass tiles
the laminate.
Varies with type, from soft and porous lime-
and surfaces irregular, it will be difficult to
MOSAIC MATERIALS
MOSAIC ON FORMICA®®
®
Safest bet: Apply a c® ementitious tile board to
• Special tiles may be available with finished edges
by a knife or by dragging a cast-iron pot across
surface without chipping or spillage.
ter that I want to cover with mosaics. Any
precautions?
enough to resist scratching.
or scratch. However, if grout joints are wide
slide kitchen equipment or plates across the
Follow-up question: I have a Formi®ca®® coun-
up to change a ceiling light or hang an over-
head pot rack).
•
Full grout joints and flat tesserae will result in reps are resourceful and share your interest in
a successful outcome.
Before applying adhesive, sand the laminate thoroughly (wear a dust mask!) and wipe
with a solvent to remove dust and residues that
could compromise adhesion.
Be sure the framing of the counter is solid,
so there’s no flex.
a smoother surface.
After the mosaic is set and cured, application
of a penetrating sealant or use of epoxy grout
will reduce staining and other possible contamination in stone and grout.
George Fishman’s specialty is representational imagery,
which he renders in glass and split-faced stone. He
especially enjoys the natural tension between the illusion
of a picture and the richly textured mosaic.
www.georgefishmanmosaics.com
Countertop designed by Larry Zgoda.
8 Society of American Mosaic Artists
Photo: George Fishman
Question: Can mosaic tiles be safely applied
by George Fishman
It’s easy to build a backing that will last a lifetime.
Step By Step: Joining Wedi® Board
Without Compromising Stability
by Shug Jones
1.
Problem: You plan to use Wedi board for an outdoor mosaic hanging
on a stone wall, but your design format is larger than the standard Wedi board.
What to do? Join us for a look at the mysteries of Wedi as we address the
project’s particulars.
Challenge: Project requires finished 6 foot x 6 foot panel; Wedi board
comes in 3 foot x 5 foot sheets.
Approach: Join two layers of Wedi, using several pieces; offset joints
2.
and reinforce with thin-set and fiberglass mesh.
Materials: Steps:
Five 3 x 5 sheets of 1/2-inch Wedi board
One roll 2-inch wide sticky fiberglass mesh tape
Thin-set mortar
48-inch wide fiberglass mesh
Lay two 3 x 5 sheets side by side, aligned at top
gether, forming a sandwich with thin-set as the
and bottom, sides touching, to create a 6 foot x 5
foot area. 1.
filling. Ensure full contact between the layers,
Cut two 1 foot x 3 foot sections from the short
Once the bond is firm, use a smooth trowel to
Photos: Shug Jones
side of a third Wedi sheet.
using weights if necessary.
Place one 1 x 3 foot section at bottom edge of
apply thin-set to either the front or back of the
substrate. 4. Smooth to an even consistency
one large sheet, the other at bottom edge of sec-
and carefully lay a 48-inch wide strip of fiber-
ond large sheet.
glass mesh across it, matching edge of mesh to
Sides of the two smaller sections are touching, with their tops touching bottoms of larger
outer edge of panel. The mesh should cross over
the panel’s seams, not line up with them. 5.
sheets.
Butt the edges of a 12-inch mesh strip against the
Substrate will measure 6 feet x 6 feet.
Using mesh tape, cut a 6-foot strip, placing it
to bridge the center seam of the four sections. Cut two strips of mesh tape 35 inches long.
Apply one strip over joint between the large and
pieces of mesh down into the thin-set, leaving a
very fine thin-set surface. When dry, trim any excess mesh from the edges of the panel. 6.
Carefully flip the panel over and repeat the
process. You now have a sturdy two-layer 6-foot
having a raised area, do not overlap tape strips. square Wedi panel with reinforced thin-set/
Repeat these steps to create a second 6 x 6 foot
panel. 2.
mesh sides.
backs the same as front.
With panels lying flat, use a trowel to apply
4.
wider piece. Using a smooth trowel, press both
small sections on both the left and right. To avoid
Carefully turn over the joined panels and tape
3.
5.
Shug Jones, co-owner of custom design-focused
Tesserae Mosaic Studio, Inc., in Plano, Texas, teaches
various fine art mosaic workshops around the U.S.
www.tesseraemosaicstudio.com
a scratch coat of thin-set mortar over entire top
surface of both panels. 3.
Now, using a 1/8-inch notched trowel, spread
a thin layer of thin-set over the scratch coat on
both panels. Carefully flip one panel over and
6.
rotate it 90º so its seams are perpendicular with
those on the first panel. Press the panels toSociety of American Mosaic Artists 9
SAMA offers an extensive network of support.
BOARD REPORT
Weekend “Retreat”
What goes into the Board of Trustees’ annual meeting of the minds?
by Dedra Lipscomb
Once a year, the SAMA Board of Directors, Executive Director, and Director of Operations convene
for strategic planning at what has come to be known as the Weekend Retreat. Don’t let the title
fool you. It was a retreat only in the sense that we voluntarily locked ourselves in a conference
room, far from home and our ordinary lives.
What followed were two days of intensive discussions, committee reports, planning, and problem-solving. We looked objectively at the previous year’s programs and activities and set priorities
and goals for the coming year or two. Expect to see progress in the following areas: educational
programming, public relations and marketing, and the development of new sources of revenue.
Susan Jeffreys and Rhonda Heisler acted as our facilitators. They teed up the topics for discussion and made certain we came prepared to participate, stayed on topic, and thought deeply and
realistically—always keeping our members’ needs and interests in mind. Of course, as befits a
group of creative types, there were laughs and surprises along the way, and after-hours bonding
over bowling and dinners at two of Chicago’s great restaurants.
As the San Diego Conference nears, you can be sure the Board of Trustees will be diligently
Thank You to
SAMA’S 2008
Sponsors
President’s Circle
Sustaining Contributors
Orsoni and Trend USA
Smalti.com and Perdomo Smalti
Mosaicos Bizantinos
Gold Circle Sustaining
Contributor
Mosaic Rocks!
Silver Circle Sustaining
Contributors
LATICRETE
SAMA Board of Trustees
Wits End Mosaic
working behind the scenes to assist and support SAMA members in their endeavors as artists, instructors, business owners, and hobbyists.
And, remember, it all began at the Weekend Retreat!
VOLUNTEER
Share Your Skills—Be a SAMA Volunteer
by Yvonne Allen
SAMA’s largest volunteer recruitment drive comes at conference time, but your help is always needed. One group of SAMA volunteers, the Board of Trustees, chairs committees throughout the year
to support American mosaics by providing artists with opportunities for creative and professional
growth.
If you’re passionate about mosaic art, demonstrate your commitment by sharing your skills in
Bronze Circle Sustaining
Contributors
ArtfulCrafter.com
Cinca U.S.A.
D&D Tile
diMosaico
Maryland Mosaics
Miami Mosaic Academy
MosaicArtistsOrg
Mosaicist, Inc.
MOSAICO—Society of
Houston Mosaic Artists
Mosaic Smalti
Ranco
Sonia King Mosaic Artist
The Chicago Mosaic School
The Compleat Sculptor
Weldbond Universal Adhesive
marketing, public relations, sales, fundraising, and journalism to work for the greater community.
Upcoming committee work and other opportunities include:
Marketing/Public Relations
Sponsorship
Groutline Story Submission
Conference 2009
To get involved, log on to the SAMA website or contact SAMA’s Volunteer Coordinator, Yvonne
Allen, at [email protected].
10 Society of American Mosaic Artists
BECOME A
SAMA
SPONSOR!
[email protected]
Join now to receive future issues of Groutline, plus Andamento, our monthly e-newsletter!
Join The Society of American Mosaic Artists
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Ligonier, PA 15658
Fax 1-724-238-3973
and begin receiving Groutline. Please print and complete this membership form and send it, along
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Note: Annual memberships run January through
December. Sorry, no pro-rated memberships.
All Levels
Student
•Groutline, SAMA’s quarterly newsletter
•Andamento, the monthly e-newsletter
•Member rates and privileges for the annual
Mosaic Summit and Vendor Marketplace
•Private access to Members Only section of
SAMA website
•Inclusion in the website’s Members Gallery
•Exhibition opportunities
•Submit questions to “Ask A Pro”
•Eligibility to apply for the annual Robin
Brett Scholarship
•Networking opportunities
•Optional listing in Annual Member
Directory and one copy
•Available to students with valid
ID for up to three years
•Advance-conference
sponsorship opportunities
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corporate
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and listings
•Most advance-conference
sponsorship opportunities
•Use of SAMA logo
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Suppliers page
•Ability to purchase advertising
Announcement:
Save the Date!
2008 Member Survey
2009 American Mosaic Summit
If you have an up-to-date email address on file with SAMA, in
midsummer you should have received an email announcing our
2008 MEMBER SURVEY, with a link to the online questionnaire.
Let us know about your activity in mosaics, what you like about
SAMA, and what you’d like to see improved. All input goes to
improve SAMA programs and activities and help us serve you
better. Complete the survey TODAY! All responses must be
received by Labor Day.
San Diego, California
March 25–28
Mosaic Arts International 2009
February 28–April 26
Museum of Man, San Diego
Check the SAMA website in August for updates! www.americanmosaics.org
Society of American Mosaic Artists 11
T
he use of millefiori in mosaic design is a relatively new concept, and
door opening to new and inspiring possibilities.”
teacher-mosaicist Laurel Skye of Arcata, California, has decided to
Laurel’s love affair with millefiori began in Italy when she saw a mo-
write a book about it, featuring the work of numerous mosaicists.
saic mirror created by Dusciana Bravura. “I thought, wow, you could use
The deadline has been extended to September 25, 2008, to allow SAMA
millefiori like tesserae, not melting it as it is often done, and not group-
members to contribute ideas and examples. The book, to be published by
ing it into a little floral arrangement in a pin, but as a mosaic tile. It was
North Light Books, an imprint of F+W Publications in Cincinnati, will offer
brilliant. It changed my whole world. I couldn’t race home to California
both simple and complex patterns, suggested projects, and an artist gallery.
fast enough after that and start experimenting.” She went on to transform
Because maintaining an even surface can be difficult when working with
mirrors, fountains, tables, shoes, lamps, clocks, and even her telephone.
millefiori, Laurel’s book will go into detail on various techniques, including
“I was flying, soaring with ideas. It took a lot of mistakes to figure out a bed-
ways of cutting cross sections and embedding them, rather than gluing.
“There are also questions I have been asked over the years,” says Laurel,
“such as how to build a soft shoe or a hat into a strong tiling surface, and
ding that would work and the best methods for patterning, but after a year
of continued trial and error, I began offering millefiori workshops with my
other classes, and it became hugely popular.”
information on working with tempered glass, (also called ‘crash glass’).
Read more about Laurel at homepage.mac.com/laurelskye. To submit
Mosaic art has moved into a stage where it has never gone before. We are
ideas for the book, email [email protected]. Ask for the Publisher’s
pioneers, moving in new directions. I hope this book will just be one more
Guideline for Submissions and the Artist Release forms.
[email protected]
Tell us
what you’d like
to read or write!
Send your
story ideas to
Dallas, TX
Permit 6803
US Postage Paid
P.O. Box 624
Ligonier, PA 15658-0624
Photo: Robin Robin
Call to Millefiori Artists
“I love the immediate
intricacy of design that
millefiori offers,” says
Laurel Skye, “the delicate
patterns and the wonderful
texture, not to mention all
that color in one tiny piece.”
Non–profit Org.