Mosaic Art Supply, LLC (warehouse)
2964 Alcove Drive
Scottdale, GA 30079 [email protected]
We do all of our customer service via email. We answer all emails very quickly, and email allows us to understand and answer your questions with much better clarity than you’d ever get from a call center. When you email us, you always talk to a real human who can help you right away.
We’ll never give you a run-around – you’re emails are always answered by our employees right here in the warehouse. The same ones picking, packing and shipping your order.
Email has the added benefit of allowing us to offer project advice, share photos, and links to helpful pages and specific products.
If you have trouble sending to the email address above, please email Joe Moorman at the gallery [email protected]
Phone Orders
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When we put in the payment info for you, we are transmitting it on the same encrypted channel that is used when you check out. Because of this, it is actually faster to place your order online.
Phone
404-371-4070
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The following issues are best resolved by email:
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Fax
404-795-0444
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Warehouse Address
Mosaic Art Supply’s warehouse in Scottdale is NOT open to the public for walk-in retail sales.Our insurance policy and our manufacturing activities do not allow uninvited visitors.
Contractor pickup is available for ONLINE orders over $500. Please do not show up without first placing an order online. Our employees cannot allow you to enter without your invoice number.
Warehouse address (no public access):
Mosaic Art Supply, LLC
2964 Alcove Drive
Scottdale, Georgia 30079
Picking the correct adhesive or glue is a very important decision when starting a mosaic, possibly the most important. If you choose the wrong one, your mosaic will not last as long as it should.
The best way to make a decision is to understand the different choices of adhesives and which ones works better with certain surfaces and tesserae. The primary deciding factor will be where the mosaic will live once it is complete: indoors or outdoors.
Indoor mosaic glue
Weldbond is the best. It’s a water based PVA glue, has no fumes, dries clear and water resistant, bonds to most any surface, is non-toxic and cleans up easily. We’ve extensively tested it, which you can read about here. However, I prefer to use thinset bonding mortar for floors. It gives a more stable and durable walking surface and better resists water seepage when cleaning the floors.
Outdoor mosaic glue
In choosing adhesive for outdoor mosaics, it’s probably best to avoid adhesives altogether and use thinset mortar (a sticky concrete with added polymers) instead. To use thinset, you should read and follow the instructions on the package for mixing, handling and disposal. We also have a guide to using thinset. In brief, thinset is like grout and other concrete products. This means that the best place to mix them up is outside, and you should wear a dust mask if have trouble mixing it up without creating a lot of dust. (Our artists merely stand upwind and mist it with a spray bottle until they get it mixed up.)
I usually mix up about 1 or 2 pounds at a time and smear it on the wall with a small trowel or putty knife. I spread it out to about 1/8″ to 1/4″ thick and press my mixed materials directly into the concrete. I wear rubber examination gloves and keep a damp rag so I can wipe away any excess that squeezes up to the face of the tiles. If you keep the concrete in the bucket covered so that it doesn’t dry out, then it should stay workable for several hours. I made the mosaic columns at the gallery using thinset mortar in this way. I always keep a small bucket with a little water and rag to clean my hands from time to time and a dry rag in my lap.
Marbles and round stones can be a challenge. Unless they are being pressed into cement face-up on a horizontal surface like stepping stones, the right adhesive choice is important. You may be able to use a thick cosntruction adhesive for this purpose, though it isn’t recommended to do this for outdoor mosaics. It is probably best to use thinset in these cases.
Understanding Different Types of Mosaic Adhesives
PVA Glues
PVA glues like Welbond are water soluble adhesives that will clean up with water. PVA glues should not be used on any outdoor project. Even if it isn’t exposed to rain, humidity can also loosen the bond. When working in the indirect method, PVA glue can be used to adhere tiles to fiberglass mesh. It also bonds well with any type of tile and wooden or acrylic surfaces. Again, Weldbond is the best and it dries clear.
Thinset Mortar
Thinset is a sticky cement which can be messy to work with, but it is necessary for outdoor projects if you want them to hold up. It can be found at any hardware store, and is often only sold in large quantities. The best surfaces for thinset are porous, such as cement, cement backerboard, and wood and terracotta. To use with non-porous surfaces like glass, the thinset has to be mixed with admixes instead of water, which are either latex or acrylic liquids that make the thinset sticky. Premixed thinset is not as good as dry mix.
Silicone
Silicone is used most often on glass surfaces because it comes in transparent varieties. It usually comes in a caulking tube and can take some time to get used to. It is difficult to remove and if you apply too much, it will come up between the tiles and make grouting more difficult and incomplete. When used under larger sheets, the areas towards the inside may never cure completely.
Epoxy
Epoxy is used on metal surfaces, but works on wood and glass also. It can hold up outdoors in ideal conditions, but it is very difficult to use and has a noxious odor. Once it is mixed, it must be used quickly. But when it is used successfully and correctly, it is a very strong adhesive and it dries clear.
Other Glues
In speaking with other mosaic artists, you will likely find that everyone has their own preferences for adhesives and that they are used in different ways from artist to artist. Understanding the characteristics of each type of adhesive will help you in finding the best solution for you in your various projects. When working with a new glue, be sure it is what you need for your project. Is it for interior or exterior, is it toxic, and will it work with your surface? Other than Welbond, the most popular brands for mosaics are Liquid Nails, MacGlue, and Gorilla Glue. Once you’ve experimented with several types of adhesives, you will get a feel for what you prefer and what works best.
NOTE
Always clean up excess glue before you grout. After water soluble glue has dried for a day or two, I come back and mist the mosaic with water. After about 10 minutes, any traces of glue that are sticking up on the sides of the tile will start to turn white. I then take a razor knife like a box cutter or exacto knife and trim away the excess glue. This cleaning step ensures that there will be no glue sticking up and not covered by grout.
An example of how to design, tile and grout an outdoor mosaic on a cement backer.
The following is a case study of an outdoor mosaic by David Cater, using work-in-progress photos taken by the artist. We have a separate page which summarizes our general instructions for outdoor mosaics, but the example below gives lots of insight.
I was deeply touched by David’s project, especially how he hand set each tile. My first mosaic was made almost in a trance state where I had no concern for efficiency or how much work it took. I hand chipped broken china with an ordinary claw hammer and didn’t even take the time to get a tile nipper, even though that tool would have save me hours and hours. It really was a labor of love, and I see that in David’s project too.
In the text below, I explain how David executed his project, but I also make comments on how the mosaic could have been made with less labor.
Concept Sketch
Like most mosaic projects, David’s sidewalk mosaic started as a concept sketch where the street number of his house is incorporated with a cardinal and dogwood design. Note how the red cardinal matches the red of the border, which helps to integrate the picture with the design as a whole. Note how the blue sky and the white dogwood make good contrasts with the red.
Choosing Colors
Color choices are as important as the composition.
To save frustration, get your color choices worked out before you attach the first tile. Sometimes it helps just to play with tile laid out on the surface to be mosaiced. I like to draw my cartoon (outline) on the surface and lay the tile in the different areas of the cartoon.
Design tools like color wheels are great for picking out initial choices, but colors usually have to be laid side by side before you can be absolutely certain they work together. This is particularly true when using different shades of each color
Initial Layout
David laid out his design on a sheet of plywood as a temporary surface. Note that David screwed a frame around his work area to define the size of the mosaic and provide a stop for straight edges.
To speed the placement of tile, an outline of the design could have been sketched onto the plywood. Most people have difficulty doing this because they aren’t experienced with drawing. The good news is that you don’t have to be.
Easy Method to Transfer and Enlarge Drawings
Simply use a ruler to draw a grid on your sketch. Then draw another grid on your larger surface. Notice that each square of the grid on the drawing contains just a little part of the drawing, usually just a few curved lines. Draw these same curved lines in same square of the large grid. You don’t even have to think about what you are drawing. Just copy what’s in each square, one square at a time. This makes it easy to enlarge and transfer outlines.
Complete Layout
In the above photo, we see that David has his design completely laid out and all tiles positioned, which represents many hours of labor.
At this point, clear contact paper could have been pressed onto the face of the tile to pick the entire mosaic up at once, which would allow the mosaic to be installed rapidly by pressing into thinset mortar. However, one problem with using clear contact paper to pick a mosaic up like this is that individual tile can get out of position while the contact paper is being pressed down. This problem can be minimized by laying out the tile on a nonslip surface, such as a sheet of rubber. That way the tiles can’t easily slip out of place when the contact paper is applied.
Another labor-saving method would have been to lay the mosaic out upside down on brown mosaic paper such as the kind we sell. In that method, the tiles are temporarily glued face-down on paper using a water-soluable glue like Elmer’s Glue. The sheet of mosaic is then pressed into cement, which allowed to harden over night. Then the paper is misted with water and peeled off.
Surface Preparation
David poured some new concrete approximately 4 inches thick for his mosaic. Note that the concrete is slightly lower than the surrounding brick so that the surface of the mosaic will be flush with the brick. You can put mosaics on existing cement, but you should use a wire brush to scour the surface to remove any loose sediments and invisible sealers, which could interfere with bonding.
Mounting Mosaic Tile
David manually transferred each tile from his temporary tray and mounted the individual tile using
thinset mortar.
Note that this means David had to manually position each tile twice: once in the tray when he laid up his design
and then once again when he sets each individual tile in mortar.
That is why using contact paper or mosaic mounting paper to pick the entire mosaic up at once for rapid
installation saves an enormous amount of work.
Another technique for speeding the work is to lay the mosaic up on 1/2″ concrete backer board and then cement the entire concrete board in place using thinset mortar. The only caveat would be to make sure the edges of the board aren’t damaged and crumbly. The edges of concrete backer board can be repaired and reinforced using thinset mortar.
Grouting the Mosaic
Grouting is done by smearing grout across the face of the mosaic and pressing the grout into the gaps between the tile. Indoor mosaics do not require grouting and the tile can be pressed tightly together. Outdoor mosaics must be grouted because the grout keeps water from penetrating between the tile, which is disastrous especially when the water freezes.
Make sure that you press the grout between the tile very thoroughly so that there are no voids or bubbles beneath a thin veneer of grout. This takes some repeated rubbing and pressing on the tile, and this is why you should never grout before the cement or adhesive has been allowed to harden for several days.
Note that a thin haze of grout can be buffed off after the grout has hardened, but most of this excess grout should be removed while still wet. The mosaic in the photo still needs some wiping. Make sure your sponge is damp but not so wet that drops of water could squeeze out and damage the wet grout. Keep your mosaic covered with plastic as it cures or otherwise keep it from drying out. Otherwise the grout will be soft and crumbly. Remember grout and concrete harden by binding water, not by dehydration.
Seal Thoroughly
I should also note that outdoor mosaics on horizontal surfaces are particularly vulnerable to moisture and freeze damage because horizontal surfaces allow water to pool. (Keep in mind that the mosaics of the ancient Greeks and Romans lasted for millennia because the Mediterranean is a warm dry climate.) One thing that can be done to minimize this risk is to slightly tilt the otherwise flat surface or to make it slightly round. For example, the seat of a concrete bench can be rounded slightly using a small amount of concrete mortar to build up the center of the seat by approximately 1/2″ and gently sloping down to the edges. Of course, this would need to be done at least a few days before attaching tile.
Regardless of the orientation, all outdoor mosaics should be sealed thoroughly with a tile and grout sealer, taking special care to seal the edges. Multiple applications should be made to ensure that all of the tiny pores in the grout and concrete are sealed. For added strength and stain resistance, you can use a concrete sealer instead of an ordinary tile and grout sealer. Again, the most important points are to take special care to seal the edges and use multiple coats to ensure complete coverage.
Mosaic base for a holiday ornament is made of the hard variety of expanded polystyrene that is used for fishing floats. The ornament base is spherical 3 inches in diameter, which makes it the size and shape of traditional Christmas tree ornament. The base comes with generic mounting hardware installed (designed to be repairable) and a 2mm beading cord loop which can be replaced with ribbon if desired. Note that the ornament hangs at an angle so that it resembles the earth tilted on its axis (hint). The ornament base hangs at a slight angle because the loop wraps the shaft of a 3-inch decking screw instead of a shallow eye screw like so many ornaments doomed to fail in a way difficult to repair. Our 3-inch screw’s corrosion-resistant coating also allows glue to bond to it better than bare steel, so the same white PVA adhesive Weldbond used to attach the tiles could be used to reinsert the mounting screw if it ever pulled out.
Product Specifications
1x hard expanded polystyrene sphere 3-inch
1x 3-inch deck screw #9 with corrosion resistant-coating
4x stainless steel washers #8
approximately 4 inch loop of 2mm beading cord
Instructions For Using the Mosaic Ornament Base
There are three important tips for making a mosaic on the polystyrene sphere:
Make sure you paint the sphere with adhesive and allow it to dry a few hours before you attempt to glue tile to it. The sphere by itself is so smooth, than any tile stuck to it tends to slide downhill. A layer of dried glue is much more tacky and will help prevent tiles from sliding. You can use your fingertip to paint on the glue.
Lay your ornament on an old folded up towel as you work on it to keep it from rolling over. A coffee mug can also be used. Work on the part of the sphere facing up, allow the area to partially dry and then rotate the sphere slightly to work on adjacent areas.
Put the mosaic ornament near a central heat vent or AC vent to speed drying, but not too close to fireplaces and wood stoves and places that get too hot.
Here is a step-by-step procedure for putting a mosaic on the ornament:
Hang the mosaic over some old newspapers or place where glue can drip.
Use your fingertips or a small brush to paint the sphere with a white PVA such as Weldbond adhesive.
Allow the glue to dry for at least several hours. Hang the ornament near AC vents and central heat vents to speed the drying.
Place the sphere on its side on an old folded up towel or on top of a coffee mug to work on it.
Glue mosaic tile to the part of the sphere facing up, taking care not to work to far down the sloping sides because the tile will slide.
Allow the glue to partially dry and then rotate the sphere slightly to one side so that an adjacent bare patch is now facing up.
Continue tiling and rotating the sphere as needed until it is covered. Take care not to rotate the sphere prematurely and cause tile to shift while the glue is still soft. Take advantage of vents and warm locations to speed the process.
Allow the fully tiled mosaic ornament to dry overnight or longer if needed before grouting. If the glue isn’t fully dry, then wet grout could cause tiles to pop off.
Grout the mosaic with gloved hands over a plastic basin such as an old dish pan.
Haze the grout the next day by burnishing with a cloth until all tile is free of grout residue.
Do not over tighten the mounting screw. Hand tighten only.
If the screw becomes loose or pulls out, squirt a white PVA adhesive such as Weldbond into the hole and reinsert.
Which Tile Works Best For The Ornament?
Our stone is too thick and heavy. Glass tile works best, preferably stained glass, Elementile, and the 3/8-inch mini tiles. The 3/4 inch tile can be used as well, but it would need to be cut to fit to the curvature of the 3-inch sphere. Keep in mind that if you use cut tile, especially stained glass, then take the time to smooth any sharp edges before gluing on the tile. You can use a marble file or a rubbing stone such as we sell, or you can use a piece of stone as I did for years and just rub the edge on that.
How Much Tile Do I Need For A Mosaic Ornament?
The surface area of the sphere is about 0.2 square feet. That means you should be able to tile an ornament with one of our 6×6 sheets of stained glass, which are approximately 0.25 square feet. However, you will have to be careful and not generate too much waste as cutting scrap (slivers). We recommend keeping the grout gap small (1/16 inch or less). The following numbers are based on a grout gap of 1/16 inch, but you might need slightly more of the 3/4-inch tile because that will need to be cut up:
8mm tiles: 255
12mm tiles: 106
3/8 inch tiles: 155
3/4 inch tiles: 46
How To Make Mosaic Art
For more advice on designing your mosaic project or mounting, cutting, and grouting tile, please see our page of Mosaic Frequently Asked Questions or our Mosaic Information Guide, which lists instructional pages described by topic. We also post new articles about making mosaics at our How to Mosaic Blog.
The Mosaic Artists Gallery at Mosaic Art Supply is a registry of online mosaic artists and mosaic studios. Each entry includes a thumbnail of the artist’s mosaic art plus a link to their website. If you are a mosaic artist interested in joining our registry, please apply by emailing your name and website to us. Mosaic Art Supply, LLC is not responsible for the content of external websites and makes no warranties for suitability for any purpose.
While it is possible to make some amazing art using only one type of material, the decision to use multiple materials in the same mosaic tends to stimulate the imagination, often in unexpected ways, in ways that leave the artist wanting to make a series of mosaics to capture just a mere fraction of what might be possible. This is because mosaic is dimensional. The artist might begin by thinking only in terms of the image to be rendered, but merely by handling the materials, the curious mind can’t help but think of what might be.
Troi O’Rourke’s fabulous Struttin’ Peacock is a great example of how tile of different thickness can be used in the same mosaic. Note that the fact that the surface isn’t flush is not a problem. To the contrary, the slight changes in elevation add a whole new dimension (literally) to the mosaic and help to set off the different fields of color.
Playing With Patterns
With mixed materials, there are differences in texture, size and shape (in addition to color), and with found objects such as seashells and artifacts, there is the significance of what those objects actually are in real life. And then there are all the different ways in which the materials could be arranged or grouped to contrast each other. The materials really do present an infinite regress for the artistic mind. I have gone into the studio very focused on a very specific design only to spend the entire session playing with different arrangements and variations. Sometimes I think I could live to be a thousand years old and not be able to complete all the designs I have already thought about. Thus is the nature of mixed-media mosaic art.
Susanne Sorogon demonstrates great artistic sophistication by using decorative tile and flourishes in a mosaic that still manages to render an image naturalistically. (I have created a separate page where you can learn more about mosaic portraits and photo-realistic mosaics.)
Laurie Gilson’s mosaic includes fused-glass seahorses and seaweed, which she created herself, with collected seashells. Note that the water in Laurie’s mosaic isn’t just space to be filled. Instead, she contrasts iridized and matte materials arranged in rows that suggest the flow of the water. Parallel arrangements of of contrasting materials usually make strong patterns.
Groupings of Similar Items
Susanne Sorogon’s dragonfly is more of a departure from naturalistic rendering and makes greater use of mixed-media materials: beads, geode slices, millefiori, decorative tile and stained glass. Again, notice that the wings are not merely space to be filled but are used instead to play with patterns and groupings. The warm honey background and the intense blues of the figure make for a very effective contrast and are further proof of Sorogon’s skill as an artist. Note that this mosaic is ungrouted.
Below are some examples of mosaic portraits and impressionistic mosaic artwork with a discussion of how to create photo-realistic images in mosaic.
Frederic Lecut
As with painting, most of the work of creating a photo-realistic mosaic image is making sure the colors used reasonably match those of the model being depicted. In painting this can be done conveniently by mixing pigments. In mosaic this can only be done by sourcing different materials until you find what you need, which can be frustrating even with the aid of sample boards and online suppliers. Natural stone only comes in so many colors, and different brands of glass mosaic tile are only made in so many colors because it is produced as a building material and not really as an artist’s palette.
Artists frequently solve this problem by using “mixed media” and combining different materials such as stone, glass and ceramic in the same mosaic. Frederic Lecut of Mosaic-Blues.com is a master of this aspect of mosaic. His mosaic portraits shown here are made from multiple types of stone, glass, porcelain and colored mirror, some of which was sourced from recycled building materials.
Lecut says that the differences in thickness were not an issue for him because he works with the mosaic upside down in a reverse method. He pours concrete on top of the back of uneven mosaic, which fills in any differences in thickness, and then sticks a backer on top of the concrete. It is only later when he flips it over that he gets to see the finished mosaic.
Note that most novices prefer to work directly on a flat backer where they can see the mosaic as it is being created. This requires that the artist either cut their material to the same thickness or accept that the finished surface of the mosaic will not be flat.
Susanne Sorogon
Susanne Sorogon’s work is very sophisticated in that she subtly incorporates mixed-media elements (glass gems, accent tile, etc.) in mosaics that are photo-realistic. Many experienced artists would be capable of making an abstract mixed-media mosaic and a photo-realistic mosaic, but few would be capable of doing both in the same mosaic. One is reminded of the painterly flourishes that define the New Realism of contemporary painting, where the intent is to depict the model naturally, yet still make the paint itself interesting as it is in abstract painting. I particularly like Susanne’s use of upside down tile in the Motorcycle mosaic and how the embossed patterns on the backs of the tiles suggest asphalt that has been textured with non-slip divots, which is typically seen in the turns of race tracks, though conspicuously absent from the photo she used as a model.
Harjeet Singh Sandhu
Harjeet Singh Sandhu’s mosaic portraits of former New York Mayor Michael Bloomberg and 12th-century Sufi preacher Baba Farid Ji are well done, but what makes them amazing is that they are made from ordinary 3/8-inch vitreous glass mosaic tile, which is only available in a limited number of colors. In fact, at the time Sandhu made these mosaics, many of our normal colors were out of stock! Note that Sandhu was able to use this limited color palette to render two completely different skin tones in a realistic way. For that reason, I consider this pair of mosaic portraits to be something of a tour de force.
Mallard Family: mosaic detail by Yetti Frenkel from “Here Comes the Sun”
Mosaic mural for Union Crossing, created by Yetti Frenkel and Joshua Winer, October 2011.
Learn by Looking
The best art is ultimately derived from looking at nature, but nothing seems to inspire an artist more than looking at great artwork by other artists. The reasons are simple: There is the competitive urge to create something even better, but there is also the discovery of new ways of seeing or rendering, a humble realization that the artist has done something in a way that hasn’t occurred to the viewer before.
The amazing thing about art is that this phenomenon occurs all the time, including when experienced professional artists look at naive art or art made by little children.
When artists browse other artists, there is a cross-fertilization of ideas where the synthesis is greater than the sum of the parts. There is the thought, “I can’t wait to do that myself and do it in my own way.”
Mosaic art is particularly suited for casual study by other artists because unlike painting, there are no hidden layers or semi-translucent layers and everything is visible as it was laid down. While a novice might benefit from classes or books for learning the best way to cut tile or transfer patterns or apply grout, he or she can learn more or less everything there is to know about the design merely by looking at it, including that critical element of style that is andamento, which is best expressed as the arrangement of tile in parallel or concentric work lines to suggest motion.
Great Blue Heron: mosaic detail by Yetti Frenkel from “Here Comes the Sun”
Mosaic mural for Union Crossing, created by Yetti Frenkel and Joshua Winer, October 2011.
Fruit Bowl mosaic art by David Cruise, 2012.
24 inches diameter, Metallic, Vitreous glass mosaic tile on wood
Normally I dislike mosaics made with triangular tesserae because they seem to be used by artists who aren’t as concerned with using andamento (arrangement of tiles) in rows or concentric rings to create a sense of flow or motion, which is a great source of visual interest in mosaic artwork, but David Cruise’s work really caught my eye.
David creates visual interest in localized areas of his mosaics by using contrasting colors and by contrasting light and dark areas. Notice how light-and-dark contrast naturally catches the eye and makes different elements more distinct. I also like how the andamento of the triangular tesserae creates a woven basket texture in the fruit bowl, however unintentional that might have been.
It is also worth mentioning that you can have the tile close together with minimal grout or no grout (if your mosaic is indoors and not subject to moisture). If there is no groutline, the artist needs to be more conscious of varing his or her colors in order to call attention to individual tiles and break up visual monotony. This can be done by mixing two or three similar colors or shades of a color instead of using all the same color, which is what Yetti has done in the background areas of her magical mosaic. David uses this approach to show depth and shading in his apples and oranges and other fruit and the torso of the female figure.
Mixed-Media Mosaic
There isn’t any need to limit yourself to just one type of material in making a mosaic. Different types of glass, ceramic and stone can
be used together in the same piece in what is known as mixed-media mosaic.
Mosaic Dragonfly by Susanne Sorogon makes use of color-coordinated tesserae of differing materials.
More Great Mosaic Art
One of the largest collections of contemporary mosaic art online can be viewed at our
Mosaic Artists Gallery.
For a discussion of how to create photo-realistic mosaics and mosaic portraits, plus some great examples, see our page of
Mosaic Portraits.
For examples of mosaics that are whimsical and fresh without being tired or cliche, see our page of
Fun Mosaic Art.
For examples of using different types of materials in the same mosaic, check out our page of
Mixed-Media Mosaic Art.
Below is a selection of customer artwork made from glass mosaic tile.
The mosaics we have chosen for this page all demonstrate basic design principles: tightly-cropped compositions, use of contrasting colors, arrangement of tile in work lines that suggest motion (andamento). These fundamentals are the real key to creating beautiful artwork, no matter what the media. Note that many of the mosaics below were made using ordinary vitreous glass tile, which is one of our most economical materials.
Phil Lamie
“The Four Seasons Mosaics” were created in December 2012 under the direction of art teacher Phil Lamie. Over 730 students in grades K thru 5 worked on the project, which will first be displayed at the Children’s Art Gallery in Carmel before coming home to Towne Meadow Elementary.
Metamorphosis
“Metamorphosis” is another series of mosaics made under the direction of Phil Lamie. Every child in the Towne Meadow School (over 730 children ages 6 to 10) participated in the execution of the project. The finished mosaic consists of approximately 10,500 pieces of hand cut glass mosaic tile.
Evolve
The “Evolve” mosaic was made by Phil and his daughter Jodi, age 14. All materials used were from Mosaic Art Supply.
Linda Lenz
This Pink Ribbon mosaic sculpture was made by artist Linda Lenz as part of a fundraiser for breast cancer research sponsored by Kohl’s Department Stores. Linda’s ribbon was selected out of all entries to be displayed at Kohl’s corporate office during breast cancer awareness month. The other 15 ribbons (mostly painted designs) were displayed at various Kohl’s stores. Linda’s ribbon won the highest bid at the fundraiser’s auction and now resides in a mansion in Mequon, Wisconsin. The ribbon is made of glass tile, stained glass, mirror, fossils, and other found objects mounted on a fiberglass base.
Jill Freshman-Cohen
The following work by Jill Freshman-Cohen is a mosaic interpretation of James Earle Frasier’s well-known sculpture “End of the Trail.” This mosaic makes excellent use of andamento to give different visual elements a sense of motion. Observe the sky surrounding the sun and the sloping hill on which the horse is standing, and how interesting these elements look when compared to mosaics where tile is arranged randomly (or in arbitrary patterns such as rows of triangles.) Similarly, the size of tesserae is optimal for the size of the details being depicted. Note the horse’s head, mane and legs and how details of these elements are rendered with a single tile.
Jill resides in the Bronx, where she is a certified arborist for NYC parks, as well as the Queens forestry division. Jill plans to retire to Puerto Rico so that she can create mosaics full time.