Melissa Paxton Bowls

[pclark]

Hello! I saw some bowls this weekend that were done by an artist "Melissa Paxton". Her company name is Coyote Glass Design. Has anyone heard of her? More to the point of my question is does anyone know what type of coloring she uses for her bowls? They were very unique and quite beautiful. I have not seen the type of paint or colorings she was using before. I tried asking her about what she was using but think I may have scared her. I got the its taken me a long time to develop this speech. I wasn't trying to steal her secret. I just wanted to know if I might try using some of the same colors in my works. I didn't see anything she was doing that was a big mystery except the colors. Maybe that is why she did not want to tell me? Oh well. If anyone might know. Please write.

[Amy on Salt Spring]

I found her website for you if it helps...it says this in the "about the artist" section "Her stunning creations take shape through a variety of techniques such asetching, staining, copper leafing, carving and beveling"
http://www.coyoteglass.com/cg-ra.html

[Bert Weiss]

Unless I'm mistaken it's cold paint

[pclark]

Thanks for the info. Bert, when you say cold paint are you meaning just plain old paint? Just something that would dry well on glass?

Paul

[Barbara Muth]

if you read the newspapert article in her website it makes it clear that she blasts and then paints the glass. I assume any paint that sticks to blasted glass..... My guess would be enamel paints

[Bert Weiss]

Thanks for the info. Bert, when you say cold paint are you meaning just plain old paint? Just something that would dry well on glass?

Paul

Like she said, it is a technique that took years to develop so whatever it is, it is not likely not "plain old paint" LOL.

She had large pieces whose edges were ground and polished, not fire polished. This made me guess that they had not been fired in.

[Ron Coleman]

A similar technique, as seen on TV.

http://www.glassicart.com/index.htm

This artist was featured on Modern Masters several years ago, she was using spray paints, her own formulation I guess. Nice works.

Ron

[charlie]

auto paints.

she used to be here in cave creek before moving to texas. our b&a class took a field trip to there once.

[pclark]

Thanks everyone for the helpful answers. As usual you are all great!

[Cheryl]

Charlie, you are amazing!! Just what's in the water in Cave Creek, anyway, and can I have some?

[charlie]

huh?

cave creek water is either from private wells (most of my neighbors have one) or from the CAP canal (thanks to the taxpayers of the entire US, we have a canal that runs from the colorado river through phoenix to tuscon).

local wells have recently been found to contain up to 250 ppm of lead and 100 ppm of arsenic. federal limits for arsenic are 10 ppm. are you sure you want some? we do have chili beer though, to compensate.

[camaro]

I have been to Melissa's studio here in Texas, because I only live 30 min. from her studio. I know what she uses, however she is guarded over info involving her technique.
As an artist and now a fuser, I'm curious as to why other artist feel threatened by others in the same field. No one can duplicate by law, but the techniques are useful for all.
I have found that techniques usually come from two things:
1) Mistakes that turned out extrodinary
2) Experiments with various mediums

So why are so many glass artist so HUSH HUSH, and tell everyone else,
you need to test, or try or figure it out on your own?

Another problem I have is since I know her technique should I share and betray her trust?

It truly saddens me when other artisans feel so scared that everyone will jump on their bandwagon and copy what they've done.

If the technique works and turns out beautiful why not share it with others?

Just Venting
Camaro

[Brock]

I have been to Melissa's studio here in Texas, because I only live 30 min. from her studio. I know what she uses, however she is guarded over info involving her technique.
As an artist and now a fuser, I'm curious as to why other artist feel threatened by others in the same field. No one can duplicate by law, but the techniques are useful for all.
I have found that techniques usually come from two things:
1) Mistakes that turned out extrodinary
2) Experiments with various mediums

So why are so many glass artist so HUSH HUSH, and tell everyone else,
you need to test, or try or figure it out on your own?

Another problem I have is since I know her technique should I share and betray her trust?

It truly saddens me when other artisans feel so scared that everyone will jump on their bandwagon and copy what they've done.

If the technique works and turns out beautiful why not share it with others?

Just Venting
Camaro

Look, if you have developed a technique or process, you are under NO compunction to share it. Some do, some don't. I also know how Melissa makes her work, and I know other artists working in similar ways. It's THEIR process, they developed it. If they share it, other people , who would not have discovered the process are able to immediately make similar work.

Why create your own competition?

Why allow people an immediate entry to your technique?

As to sharing, and betraying her trust, let your conscience be your guide.

Brock

[Kevin Midgley]

Right on Brock. You said it so well. If you have something that makes your work special then why give it away??? I have told inquiring minds in the past when my studio was completely closed to the public that I charged $100,000 for a tour because, and everyone's "secret" technique takes time and energy to develop, that is what I figured a studio tour should be worth to someone. For other, less inquiring and copying minds, I'd give free tours but I wouldn't hand them a business on a "glass platter" for free as the studio would be previously "sanitized".
It is funny that people starting out expect to be told for free that which you have worked so hard to make. I met such a couple this summer from one of the Canadian prairie provinces that were DEMANDING of such information at no charge when they visited my now "open" studio. They were told they insulted me and were asked to leave.
I have some ideas of how you, Brock make those wonderful sushi trays but not the details. I have no intention of making anything like those trays but, with the ideas I and others have of how it is done, perhaps the glass that an experimenting mind might create with that knowledge could be even greater art. The learning by yourself, not copying of techniques and proceedures, but the development of those techniques and proceedures on your own will make your work special. Once a copyiest, always a copyiest and your customers will always know you as one, or the place or person to go to get the knock-off. Not a reputation I'd want.
Kevin

[pclark]

I just want to clarify my posting on this topic. When I asked what paints she used I in no way want to copy her work. I wouldn't want anyone to think that and I am sure you dont but, just in case my thoughts are this... My father was an artist. He painted for many years and got quite good at it. His paintings sold very well. Part of what my dad did was to read and study about other artists. There techniques and styles. He even tried imitating them to see how close he could get to there styles. I have a very good copy of a Rembrandt hanging in my house. That being said, no one would ever mistake my dads work for a Rembrandt nor would he try and sell anything he did that resembled a Rembrandt. It was just for his own learning and practice. He learned to take from what all of the masters did and created his own style. That is what I try and do. Look at what I consider to be someone that has mastered their art and learn from them. To that extent, I wish more people would share there "Secrets" Not to copy but, so that others may learn from and enrich the art that we do. We all know the basics of fusing. Its going beyond the basics that makes it great. If I have technique I consider secret I can use it and continue to develop it but, at some point I am going to run out of places to go with that technique on my own. If I share it then that gives it to everyone to continue to develop it and make it better than I could on my own. I don't think that takes away from the art. No matter how hard I tried I could never produce a Rembrandt even if I knew every secret of his. If I knew every secret of Melissa Paxton's even if I tried I could not reproduce something that is exactly like hers but, I could maybe build upon it and take it to new places. All of that being said, I hope I did not offend anyone. That was and is not my intention.

[Geri Comstock]

To that extent, I wish more people would share there "Secrets" Not to copy but, so that others may learn from and enrich the art that we do. We all know the basics of fusing. Its going beyond the basics that makes it great. If I have technique I consider secret I can use it and continue to develop it but, at some point I am going to run out of places to go with that technique on my own. If I share it then that gives it to everyone to continue to develop it and make it better than I could on my own. I don't think that takes away from the art. No matter how hard I tried I could never produce a Rembrandt even if I knew every secret of his. If I knew every secret of Melissa Paxton's even if I tried I could not reproduce something that is exactly like hers but, I could maybe build upon it and take it to new places. All of that being said, I hope I did not offend anyone. That was and is not my intention.

Unfortunately, not everyone is as ethical about copying techniques and style as you are. That's what's lead many glass artists to be very secretive about their work. When you're trying to make a living from your work and you have style or design that is unique to you, it's very frustrating to suddenly find someone making knockoffs of your work and selling them really cheap.

I've had that happen with some of my glass and sterling jewelry designs. Someone who does the same show circuit I do started copying my designs, had someone else do the silver fabrication work at very low wages, and was undercutting my prices by 25%. For a couple of years I couldn't sell those pieces because of the price difference. They weren't particularly special pieces...they were easy to knock off. But it hurt my income for several years. This forced me to go on to bigger and better things in jewelry, but it was very frustrating.

I don't share my "special" techniques anymore because I'm concerned about the copyists. They're out there and there's lots of them who copy successful work to make a buck. For them it's not about the work and extending the technique, it's about a quick buck.

It happens in all media. I met some wood workers at a show once who found that someone had not only copied their work exactly, but they'd copied their booth design and layout exactly, too. The copyists saw that the people I knew had a successful business and they copied it exactly to try to cash in on their success.

I hope this helps you understand why some artists are so close-mouthed about their techniques. Not everyone is ethical. Not everyone is above copying exactly. To protect our own business, we don't tell all, just like other non-art businesses have the same policy. It's called "company proprietary information" in other businesses. Many companies make their employees sign documents saying that their employees won't give these secrets away.

Because of the rampant copying, artists have also had to develop the same kind of secrets. I have a few of my own and respect others who do. It's their choice.

Geri

[pclark]

To that extent, I wish more people would share there "Secrets" Not to copy but, so that others may learn from and enrich the art that we do. We all know the basics of fusing. Its going beyond the basics that makes it great. If I have technique I consider secret I can use it and continue to develop it but, at some point I am going to run out of places to go with that technique on my own. If I share it then that gives it to everyone to continue to develop it and make it better than I could on my own. I don't think that takes away from the art. No matter how hard I tried I could never produce a Rembrandt even if I knew every secret of his. If I knew every secret of Melissa Paxton's even if I tried I could not reproduce something that is exactly like hers but, I could maybe build upon it and take it to new places. All of that being said, I hope I did not offend anyone. That was and is not my intention.

Unfortunately, not everyone is as ethical about copying techniques and style as you are. That's what's lead many glass artists to be very secretive about their work. When you're trying to make a living from your work and you have style or design that is unique to you, it's very frustrating to suddenly find someone making knockoffs of your work and selling them really cheap.

I've had that happen with some of my glass and sterling jewelry designs. Someone who does the same show circuit I do started copying my designs, had someone else do the silver fabrication work at very low wages, and was undercutting my prices by 25%. For a couple of years I couldn't sell those pieces because of the price difference. They weren't particularly special pieces...they were easy to knock off. But it hurt my income for several years. This forced me to go on to bigger and better things in jewelry, but it was very frustrating.

I don't share my "special" techniques anymore because I'm concerned about the copyists. They're out there and there's lots of them who copy successful work to make a buck. For them it's not about the work and extending the technique, it's about a quick buck.

It happens in all media. I met some wood workers at a show once who found that someone had not only copied their work exactly, but they'd copied their booth design and layout exactly, too. The copyists saw that the people I knew had a successful business and they copied it exactly to try to cash in on their success.

I hope this helps you understand why some artists are so close-mouthed about their techniques. Not everyone is ethical. Not everyone is above copying exactly. To protect our own business, we don't tell all, just like other non-art businesses have the same policy. It's called "company proprietary information" in other businesses. Many companies make their employees sign documents saying that their employees won't give these secrets away.

Because of the rampant copying, artists have also had to develop the same kind of secrets. I have a few of my own and respect others who do. It's their choice.

Geri

Point well made Geri.... I do understand what you are saying. I wish it wasn't so, but you are right. I have a thought about this though. Do you think that the fact people know how something is done would be a motivator to push one into taking their work even further than it might have gone had the secret not been revealed? I guess I really mean that in a non-practical sense though because I know people have to make a living and not everyone has time to sit around all day and think of new ways to create glass art. I can imagine like you said, that if you make your living this way that you want to protect it as much as you can because it is your livelyhood. I realize now that my thinking is swayed more from a hobbiest point of view and not someone who depends on it for a living. Thanks for making me think.

[Brock]

Right on Brock. You said it so well. If you have something that makes your work special then why give it away??? I have told inquiring minds in the past when my studio was completely closed to the public that I charged $100,000 for a tour because, and everyone's "secret" technique takes time and energy to develop, that is what I figured a studio tour should be worth to someone. For other, less inquiring and copying minds, I'd give free tours but I wouldn't hand them a business on a "glass platter" for free as the studio would be previously "sanitized".
It is funny that people starting out expect to be told for free that which you have worked so hard to make. I met such a couple this summer from one of the Canadian prairie provinces that were DEMANDING of such information at no charge when they visited my now "open" studio. They were told they insulted me and were asked to leave.
I have some ideas of how you, Brock make those wonderful sushi trays but not the details. I have no intention of making anything like those trays but, with the ideas I and others have of how it is done, perhaps the glass that an experimenting mind might create with that knowledge could be even greater art. The learning by yourself, not copying of techniques and proceedures, but the development of those techniques and procedures on your own will make your work special. Once a copyiest, always a copyiest and your customers will always know you as one, or the place or person to go to get the knock-off. Not a reputation I'd want. Kevin

And it's not just being copied that's the problem. It's being copied badly. If someone imitates your work, and does it poorly, it creates a terrible situation, where, on the one hand, people may think, at a casual glance, that it is your work, and find it shoddy, and on the other hand, by their bad rendition, they may cheapen the technique. Brock

[Kevin Midgley]

Had a major chain start importing what would at first glance would be copies of my style of work and selling them cheaply. As luck would have it the copies were so cheap quality wise that after a phone call to the company informing them that everything was signed work that had been knocked off , and their poor quality stuff not selling, their order was not repeated. It was a short lived phase thank goodness.
Kevin