Sarah Kelly’s book sits a little worse for wear on my bookshelf. With crumpled corners and pages marked with grout stains, this book has been with me since I was introduced to mosaics. In those first heady months, I remember pouring over the sumptuous photos of Elaine Goodwin and Sonia King’s elegant mosaics and then carefully underlining instructions so that my mosaics would look equally refined. I soon learned that this was wishful thinking!
As the title suggests, this book is designed as an instruction/project book for beginners, yet it also holds value for more experienced artists. It’s my “go to” book whenever I’m stuck because it offers clear and concise instructions on all aspects of making mosaics. For instance, a chapter on cutting instructions includes nipping vitreous tiles, cutting ceramic tiles, scoring stained glass and using the hammer and hardie. As I often change materials, but with sometimes months (or years) in between, the accompanying photos act as a visual reminder of the correct way to use the tools.
Another highlight is the section on art theory that is discussed in relation to mosaic art. Colour, design and line are given special consideration and diagrams visually reference each point being made. Kelly’s advice is remarkably practical – but these are the things easily forgotten in the excitement of starting a project. eg. When considering the location of a mosaic, Kelly states: “A dark mosaic or a mosaic with subtle shades or contrasts may be lost if displayed in a poorly lit area. Conversely, direct bright light on a glass mosaic produces a constant dazzling effect, which can also make the details of the design difficult to see.”
Contemporary mosaic art has changed a lot since this book was published over ten years ago. Consequently, the instructions on the “right” and “wrong” way to lay tesserae may seem a little outdated, but all other instructions retain their currency and the photos continue to inspire. I hope you love it too!
As the title suggests, this book is designed as an instruction/project book for beginners, yet it also holds value for more experienced artists. It’s my “go to” book whenever I’m stuck because it offers clear and concise instructions on all aspects of making mosaics. For instance, a chapter on cutting instructions includes nipping vitreous tiles, cutting ceramic tiles, scoring stained glass and using the hammer and hardie. As I often change materials, but with sometimes months (or years) in between, the accompanying photos act as a visual reminder of the correct way to use the tools.
Another highlight is the section on art theory that is discussed in relation to mosaic art. Colour, design and line are given special consideration and diagrams visually reference each point being made. Kelly’s advice is remarkably practical – but these are the things easily forgotten in the excitement of starting a project. eg. When considering the location of a mosaic, Kelly states: “A dark mosaic or a mosaic with subtle shades or contrasts may be lost if displayed in a poorly lit area. Conversely, direct bright light on a glass mosaic produces a constant dazzling effect, which can also make the details of the design difficult to see.”
Contemporary mosaic art has changed a lot since this book was published over ten years ago. Consequently, the instructions on the “right” and “wrong” way to lay tesserae may seem a little outdated, but all other instructions retain their currency and the photos continue to inspire. I hope you love it too!