Month: August 2014

  • Broken Ceramic Tile Mosaics

    People often email me asking where to get 4-inch glazed ceramic tile in a range of colors to break up with a hammer for making a mosaic. The simple answer is nowhere. Colorful bathroom tile has gone the way of the dodo, at least for now. (I explain why in the last section of this post.)

    The good news is that it is possible to get a similar experience making a mosaic from colorful glass tile, and there are several reasons glass tile is superior to glazed ceramic, especially if your mosaic will be outdoors.

    Why You Want Glass Tile Instead Of Ceramic

    Yes, you may be inspired by the idea of breaking scrap tile with a hammer and making a fun piece of art from ordinary easy-to-find materials, but the idea doesn’t jive with reality in at least two ways: First, colorful ceramic tile isn’t a commonly available material any more; it’s rare not ordinary. Second, breaking tile with a hammer creates a large amount a scrap, and the pieces you produce tend to be jagged or cracked or oddly shaped. How ecologically sound or fulfilling is it to create all that waste?

    But here is the real reason glass tile is clearly a better choice: Glass is impervious to moisture and therefore frost proof. If you use ceramic tile outdoors, moisture penetrates into the tile and then freezes and cracks off the glazing. It seems counter intuitive, but glass is MUCH more durable than glazed ceramic tile when used outdoors, at least when it comes to freezing temperatures. (Of course, If you have access to hard porcelain tile with solid color throughout, then that is a different story, but porcelain tile is as hard to find these days as the softer varieties of glazed ceramic tile.)

    Random Shapes Of Glass Tile

    The most valid reason people have for wanting to use 4-inch glazed ceramic tile for their mosaic is that it is big enough to produce large randomly shaped pieces when broken up. Mosaic tile is 1 inch or less according to the generally accepted industry definition of “mosaic,” so it can’t produce big pieces. But stained glass and stained glass cuttings can easily be cut into large random shapes using a mosaic glass cutter. The selection of colors is broader than that of ceramic tile (even back in the 1970s when brightly colored ceramic tile was commonly available), and the colors are more complex and vibrant.

    If you are willing to work in smaller pieces, then mosaic tile can be used, and it can be cut into irregular triangles and irregular trapezoids as easily as rectangles, so you can get more “random” shapes in your mosaic

    This mosaic was made with 3/4″ vitreous glass tile cut up with a mosaic glass cutter, and it could have been made with irregularly shaped pieces as easily as rectangular pieces cut from the same type of tile:

    “Charging Bull” mosaic. Note that the pieces could have easily been cut more randomly: trapezoids, triangles, odd irregular shapes. You don’t have to cut rectangular or square pieces from tile. Why No CERAMIC Tiles In Bright Colors?

    People don’t tile their bathrooms with bright yellows and oranges the way they did in the 1970s, and once people stopped using bright colors in ceramic tile, the factories stopped making them. Now the factories all churn out the same endless variations on beige and gray, and I’m not exaggerating by much.

    A year ago, I finally attended the world’s largest trade show for floor coverings, and it was absolutely monotonous: hundreds and hundreds of manufacturer booths all displaying stuff that was hard to tell apart, all beiges and grays, and each booth with banners and flyers claiming to be on the cutting edge of interior design. It was comic self-parody, and it was easy to get lost on the floor of the trade show because it all looked the same.

  • How To Choose A Mosaic Background Color

    The background in a work of mosaic art serves two purposes:

    contrast the colors of the figures in the foreground. suggest motion by arranging the tile in contours around figures.

    The first point is obvious, but the second is often overlooked even though it can make the difference between a great mosaic and a mediocre mosaic. The background isn’t supposed to be just empty space to be filled as quickly as possible with a grid of tile similar to how bathrooms are tiled. Consider Van Gogh’s Starry Night and how motion is conveyed in the directionality of the brush strokes:

    Van Gogh’s painting Starry Night is the best example I can think of for illustrating how brush strokes and lines of tile can be used to convey a sense of motion in visual art. A Good Teaching Example

    A friend recently emailed me a photo of a mosaic in progress and asked me for advice. Specifically, he wanted to know what type of tile and what color would best work for the background of a mosaic of a bass (fish) he had made from the 12mm C3 Recycled Glass Tile. The project was interesting because he wanted to make the background from a different type of tile than he had used for the fish, and there were other color constraints: the bass would be swallowing a large blue glass cabochon gem, and there would be green water grasses at the bottom.

    These constraints made the project a good teaching example for the simple reason that many artists work this way, especially naive artists and artists who work in a more exploratory way (as I do). Instead of copying an existing design verbatim, these artists will create the central figure or figures first, and then select a background color and additional figures based on how well they work with the central figure already in place. This mode of designing by trial and error is a natural consequence of working with limited color palettes. (Tile colors can’t be custom blended to any hue or shade like paint, so you have to select a background colors from what is available.) The trial-and-error mode also comes naturally when you are trying to incorporate specific found objects into a mosaic, such as the blue cabochon gem that my friend wanted to use in his.

    Greenish and bluish metallic glass mosaic tile would be a poor choice for background because they do not adequately contrast the colors used in the bass. Use Contrasting Colors

    The image above was included in the original email requesting my advice. My fresh unbiased eyes could immediately see that the green metallic tiles would not fully contrast the colors in the bass. I could also see that even the blue metallic would not work because the golden sparkle of the copper aventurine dust gives the blue glass an overall greenish cast.

    In fact, using blue tile of any type would be problematic if the blue cabochon gem is used. So I presented two alternatives:

    Use light pink or orange colors for the water, such as might be seen in late afternoon. Replace the blue cabochon with an orange cabochon.

    The first alternative appealed to me for two reasons. First, warm colors such as light pink or orange are more appealing in general. (Basic biopsychology: the brain likes warm colors.) Second, art with non-obvious color choices is usually more interesting. (If the sky ain’t always blue, why do we always have to color it blue without first questioning the instinct to do so?)

    An esoteric digression: This second point touches more sophisticated questions about visual art: Does an object have an intrinsic hue, or are the colors (plural) it reflects at a given instant a function of the color of the light shining on it at that particular instant? The answer is obvious to our eyes but not to our memories. Our memories tend to be more verbal than visual, and we remember things in a more archetypical mode: monochromatic “green trees” and “blue skies” and not the myriad of hues that they are in real life.

    Following Design Fundamentals Won’t Do You Wrong

    My friend decided to replace the blue gem with a golden yellow one and use blue tile for the water. These conservative design decisions work because they follow fundamental principles: The blue tiles contrast the greens of the fish and water grasses and the yellow of the cabochon.

    Of course my friend could have tried light oranges or light pinks for the water, but that would have involved more risk and more trial and error than would have been advisable on an early project such as this. I will write an additional blog post about how this particular mosaic could have been improved, but I will also write about the problems of artistic advice and how advice in general doesn’t work well in a one-size-fits-all mode.

    My friend’s finished mosaic of a large mouth bass swallowing a cabochon gem makes successful use of contrasting colors.