The Inspirational Process
March 13, 2013
Inspirational Art
Traveling all day yesterday has drained me a bit, so I’m going to let another artist speak today.
These earrings are by Lynda Moseley. She wrote about these in detail on her blog yesterday, and I thought both the earrings and the explanation about their creation were just too good to be missed.
The earrings were created for the latest Art Bead Scene challenge, and were based on the color palette from a Franz Marc painting. Its fascinating to hear about someone’s inspirational process–how they go from being enamored by the elements of something, to creating work based on what moved them. I think you’ll enjoy her story.
You may already be familiar with Lynda from the Back Stories article in the most recent issue of The Polymer Arts. If you like her work, she has even more to share on her Flickr page , as well as process tutorials on her Etsy site.
Planning for Clay Immersion
March 12, 2013
Polymer community news
Well, today I’m off to Atlanta for five days of polymer & craft art inspiration and discussion. I plan on taking a lot of photos and notes, and have others who will be doing the same, so we can share as much of this once-every-other-year occasion as we can. I’ll actually be ending the trip with a day at the American Craft Council Show as well. Oh, the ideas I should have by the time I get back!
Stay tuned as I will be blogging from the show, and will post the best of what I see.
For those of you not making it to Atlanta, don’t fret. There will certainly be an upcoming event you can attend, where you can immerse yourself in polymer and creativity. Here are just a few …
Down under and in need of a good shot of inspiration? Pioneer artist and teacher Donna Kato is coming to Western Australia in May. She’ll be teaching classes May 25th-26th and May 28th-29th in Geraldton. If you are anywhere near the area, you really should plan on making this rare opportunity. Click here for a flyer on the event, or go to their Facebook page www.facebook.com/MullewaArtsDevelopmentGroup
Mullewa Arts Development group member Debbie Crothers’ symbol beads above. Deb and her cohorts bring polymer art to schools and hard to reach communities in Australia.
If you really want to get away from it all, perhaps a cruise would just the thing – this year the Polymer Paradise Cruise sets sail from Florida and is heading to the eastern Caribbean October 19th-26th. Lisa Pavelka, Christi Friesen and Maureen Carlson are on the docket to teach classes and (considering the group) have a riot of fun. You can get all of the details on the event website.
If either of these are too far or too far off, maybe one of these retreats will be closer:
3rd Annual OK Poly-Clay Twisters Retreat: April 11th-13th in Norman, Oklahoma. Three days of uninterrupted claying and classes.
Orlando Clay Fandango: May 2nd-6th in Orlando Florida. This retreat includes auctions, swaps, vendors, and a boutique along with five days of claying classes and demos.
There is certainly more going on later in the year and across the globe. You can go to The Polymer Arts Resouce page for the latest news. And if you know of an event anywhere in the world that needs to be listed, use the form on the resource page to let us know.
Pointing Towards Spring
March 11, 2013
Inspirational Art
After a snowy weekend here and throughout a good chunk of the country, I thought some visions of spring would be just the thing. Its not too far off – anyone excited?
This bracelet by Nataanata of LiveJournal got me a bit excited about the inevitable budding of spring, not to mention the beauty of this find. It’s similar to what is often referred to as polymer embroidery, but there’s also quite a bit of variation on impressing a pointy hand tool into clay.
Nataanata has more spring-like beauties on her LiveJournal scrapbook page for your viewing pleasure.
The Cost of Craft
March 10, 2013
Ponderings
I figured there’s probably nobody reading this that wouldn’t want to yell out, “Exactly!” at this sentiment. Being a plastic, polymer gets this attitude more than our comparable crafts such as metal work and ceramics. But the cost isn’t just the materials. It’s also the time it takes to make – the hours and years of learning and perfecting what we do, and the proverbial blood, sweat and tears we sacrifice as we build our name and business.
Here is one of my favorite stories about an artist truly valuing himself: I was at a Science Fiction show a half dozen years ago, and a well-known comic artist was asked by a fan to draw a picture. He proceeded to create what the fan requested in beautiful detail. When he was done, the artist showed the very excited fan the piece and asked for $300. The fan sputtered and said, “But that only took you thirty minutes to do!” The artist calmly responded, “No, it took me thirty years.”
Don’t you love that?!
We have a great article in the present issue about pricing your work, in helping you determine the true value of what you do. Get your copy on the website at www.thepolymerarts.com
Letting in Light with Translucent Tubes
March 9, 2013
Inspirational Art
Translucent clays are not so much about color or texture as most of our clays are – translucents are really about light. Creating pieces with translucents means making accommodations for allowing light to play through. When you are creating jewelry, the way the piece sits on the body can easily block or reduce the space needed for light to play through the transparency. Rebecca Roberts came up with a great way to give her thin layers the space needed, by rolling them in tubes so the layers can be easily seen.
With the tubes, each one of the pieces sit on the body along a thin point, which will allow light to come bouncing through from any angle. The round ‘bubbles’ help define the variety of layers as well. A fairly simple but fun and effective way to play with light.
Outside Inspiration: Paper Mokume
March 8, 2013
Inspirational Art
In polymer, we borrow from the many long standing craft and art traditions, adapting the treatments, designs and processes to our material. However, we are not the only ones doing this kind of appropriating of methods and looks.
Although they could easily be polymer, these mokume bracelets are actually made from paper. How cool is that?
Liz Hamman makes all of her jewelry from paper – not plain paper, but printed matter like books, maps, and sheet music. The text and printed images become part of the design, as in part of the patterning, and are not always recognizable as text or map markings. These bracelets are from Ladybird books, a series of British children’s books popular in the 1970’s. So besides having a delicate, intricate visual texture, there is a literal story buried in the layers of the piece. On the inside of the bangles, you can see actual illustrations from the books. The color and pattern on the top side come from images like these.
The idea of layers in a piece actually having more to them than just the visual elements from the material’s treatment intrigued me. It might seem like a lot of unnecessary work to add layers of images or text transfers to clay, much which will not be visible. But the history of a piece – for instance, something that has been in the family for years – adds value even though the piece may not have changed in appearance over time, simply because its history has imbued it with a little something extra. An unseen element such as a story or an object in something we own can make a even a simple piece extraordinary for the one who knows its secret. I was just thinking that would also be a little something else to help sell a piece … embedding text, objects with stories, or images into your work that you can tell a buyer about. Wouldn’t that make a person more curious and interested? Don’t we all like a secret?
The Many Sides of Pixelated Retro Canes
March 7, 2013
Inspirational Art
The intricacy and gradation of color is as interesting in the long lines of the side view slicing as it is in the cross section. Having them both in the same piece gives variety to the visual texture of the ring’s surface, a contrast of patterning that changes depending on the view. Check out her LiveJournal page to see what I mean. Fun stuff!
Considering All Sides of a Box
March 6, 2013
Inspirational Art
Here is another take on considering the sides of the work other than just the front or primary side. Janis Holler is constantly aware of all sides of her work. Everything she lists on her site includes images of the back side – or in the case of the box below – the top, bottom, and undersides as well.
Top side of White Heron box lid and front of box
Backside of box
Underside of lid
Every side of this White Heron box is not only nicely finished but each side is treated so that it can stand on its own compositionally. Even the underside of the lid has a beautiful little surprise. It would be hard to imagine a potential customer not being captivated by all that is going on with this beautiful tiny box. I know I am.
More on considering ‘Backsides” in the present Spring issue of The Polymer Arts!
Should there be a Central Polymer Educational Resource?
March 5, 2013
Inspirational Art, Polymer community news
The polymer community has a wealth of information available through numerous channels but what we don’t have is a definitive source for the many skills, techniques, and terms that a polymer artist would want to become familiar with in order to grow and succeed in their art. With much of the information available being based on individual experiences it can be confusing to newer artists looking for a ‘right way’. Because of this the question has arisen, “Do we need a central resource with definitive information for our medium?”
At the upcoming Synergy 3 conference Maggie Maggio and I will lead a discussion on this topic to find out what the community would like to see and how viable the idea is. We’ll plan to discuss the possible goals for a central Polymer Art resource that focuses on the education of artists, confirming best approaches & practices, and centralizing information. We’ll also try to determine how such a resource could be built, maintained and funded.
Since many of you will not be able to attend Synergy or the workshop even if there, we wanted to get your opinion and give you a voice that we can take to the discussion. To this end we’ve created a short survey. Take just a moment to add your voice to the conversation: Central Polymer Resource Survey
And since I can’t leave you without something to potentially oh and ah over, here is one of Maggie’s newer pieces.
Maggie is exploring the structural capabilities of polymer, which considering her architectural materials background, would seem a natural direction for her. In her words: “I am searching for ways to take advantage of the inherent strengths of polymer clay — its malleability, flexibility, lightness, and unlimited color palette. I am currently exploring forms inspired by the structural skeletons of plants and animals and playing with pieces that wrap the neck and arms. I am using polymer alone.” She’ll be presenting her structural polymer ideas at Synergy next week as well.
I’ll be reporting on our activities from Synergy next week, but in the meantime I hope you fill out the survey and have your voice heard.
- « Previous
- 1
- 2
- 3
- 4
- Next »
I was looking for something Easter-y but different and came across this image. Yes, a different kind of Easter Sunday theme, but as artists we do tend to do things a bit differently so why not be humorous today. There are reasons to laugh and be joyful even if you’re the odd egg out. But …
… in truth, that’s the best way to be! Go ahead and be a little odd, a little ridiculous, be human … just don’t be boring.
Easter, whether one partakes of its religious or more secular traditions, is really about hope. Between the observance of the rising of the Christian savior and the association with ancient agricultural societies’ Spring celebrations, its traditions focus on the promises and optimism of the coming year. The colors are light and bright and the symbolism is, well, young. Baby bunnies, little chicks, and of course, all the sweet young children we tend to focus on … especially us doting aunts, uncles and grandparents.
I am so in awe of sculptors that can capture that very unique look and expression of innocence and hope in children. Cynthia Malbon is one such artist. She can imbue her art dolls with a visage that nearly breaks your heart. Here is one of a child slightly older than the majority of her body of work shows on her sites, but this child’s open expression is just so precious, not to mention amazingly realistic.
If you can handle a serious overload of adorableness, take a look at Cynthia’s SmugMug page. You might also want to check out her blog with process photos on some of her posts show her amazing talent in more detail.
Read MoreYes, it’s true … on Fridays I usually bring you something that is not polymer. And believe it or not, I am being true to form. As much as it might seem that this below should be polymer, it is not. It’s wood and the stunning creation of Liv Blåvarp, a Norwegian born artist whose has received a tremendous amount of recognition in the USA over the last few years.
Here is an excellent article with numerous examples of her work. As she says in the article, “… the recurring theme in my artistic practice is to create structures that seem alive.” I think we’d all agree that she manages that tremendously well in this piece. Truthfully, there hasn’t been any of her work that I’ve seen that doesn’t do this. She repeatedly gives one the impression that her pieces could get up and slink off or fly or even rise up like a proud peacock just gently prodded.
She does not seem to have a website, but the article and these couple of pages I’m listing here will give you the opportunity to really delve into the beauty of this incredible work. Enjoy!
www.charonkransenarts.com/artists/blavarp.html
www.fashionindie.com/designer-discovery-liv-blavarp/
Read MoreLentils, snakes of clay and extrusions are more than a little common in polymer but how often are they brought together?
I do enjoy discovering new ways to use scrap clay. Below is another option for making something beautiful from leftovers. These wonderful colors–and a new take on the possible definition of a ‘swirl’ lentil–are from Russia’s Tatiana Begacheva. I can’t say for certain that she used scrap (the Google translation makes her sound like an ethereal poet–which she very well may be–but it didn’t help explain her process.) Nonetheless, it is a fantastic idea for scrap and a jumping-off point for using scrap-extruded snakes.
I do wonder what would happen if you actually applied the swirled lentil process to these wrapped beads. As soon as I have time to spend in the studio, I think I’ll try it. If anyone tries it out before me, do send photos or share with us on our Facebook page.
Read MoreI guess I’m on a variety kick this week. The mixture of color in these bangles by Lauren Abrams are particularly attractive but I think it’s the uneven repetition of the elements that gives them true charm.
Bands of color filled with stripes and crackled metallic are repeated but in uneven, varying widths and not predictably ordered. The pin head beads, although of the same shape and size, vary in color and spacing. The bangle underneath boasts but one accent, which if worn alone might seem a bit unbalanced but if worn together, the variation would feel supported. Actually an arm full of them would be truly charming.
I’m not saying orderliness can’t be charming, but quirkiness, unpredictability, and a disregard for expected order is what we find most delightful in children, pets and ourselves when we let go. But even when letting go, there needs to be some underlying order or consistency to keep things from falling into chaos. In the bangles it is a repetition of color and visual texture as well as repetition of common elements including the consistently used bands. A simple device but highly effective and easy to apply when you want to have a little fun.
Read More
My mother is a horticulturist so although I have never been heavily drawn to flowery things, I learned through her to fully appreciate the beauty of a well-formed bloom. Polymer artists, as a whole, do like their flowers likely because so many of our ladies are drawn to their inherent beauty, but also because the complexity of a flower can easily be achieved through the repetition of relatively simple petals. But the petals of a real flower are, in reality, quiet complex, each petal with its own curls and waves and way of enfolding the flower’s center. To properly reproduce this complexity, each petal needs to be given a little individuality. That is what I enjoyed so much about finding these little beauties by Taisa Chernyak.
It might take a bit longer to give each petal its own form but don’t you think the individuality of each gives the whole a much more convincing and natural beauty? Take a look at her tutorial on how she produces these life-like blooms.
The idea of each individual providing the character that creates the true beauty in the bigger picture is true on so many levels. Even as individual artists, bringing our own personality and uniqueness to the artwork we produce creates a more splendid picture of polymer art overall. Repeating what has already been done will add very little to the art world, but your own unique art adds much, much more.
Read MoreMixed media is part of the theme of the next issue of The Polymer Arts (coming out in May) so my recent research has been focused on how polymer is combined with other mediums. Here we have one of my favorite mixed media and polymer artists, Grace Stokes. Grace is not afraid to combine whatever works to create the designs she has in mind. Can you guess what she has combined here?
Chances are polymer is one, right? (Being that is what I usually talk about here, that’s a pretty sure bet.) So yes, it’s that and sterling silver. That’s all she lists. Can that beautiful cabachon in the center be polymer?
Not only does Grace mix materials, she mixes approaches to creating her pieces. She uses traditional metal craft, polymer craft, bead making and CAD drawing. Yes, technology is something she likes to use in order to create the forms she wants to cast in precious metals. And why not? If it helps produce your vision, there is no good reason not to use it.
Creating is not about the medium. It is about the artist, what they want to create, what they want to share. What you use (and how you use it) to get there is of little importance as long as the design and vision is authentic you.
Read MoreIf you have the first issue of The Polymer Arts, you may have read the back page Muse’s Corner piece written by Marjon Donker and Saskia Veltenaar, the editors of From Polymer to Art. It told the story of how we e-meet and why we decided to work together, not compete, even though we were all producing polymer clay magazines.
The thing is, I would not have started The Polymer Arts magazine if Marjon and Saskia were producing the same type of magazine I wanted to produce. Nor would I have done so if our other industry magazine, Polymer Cafe was covering the material I wanted to cover. So, when it came down to it, we weren’t at all competing, rather we were complementing each other. The ways things are now, hobbyists and those who just want to play with polymer have Polymer Cafe to look to for basics and fun projects while the more experienced clayer who wants to branch out can look to From Polymer to Art for more advanced projects and articles on issues that interest the polymer fan. For those who look at what they do or aspire to as serious art or are looking to make their craft into an income producing business, they have The Polymer Arts to push and challenge them, make them think, and help them build a better art business. As one of the attendees said during the magazine editor’s panel, we’re now covering the full range for polymer clayers.
Polymer magazine editors after our Q&A panel at Synergy 3. Starting top left and going clockwise, Sage Bray (The Polymer Arts), Anne Huizenga (Polymer Cafe), Saskia & Marjon (From Polymer To Art)
Do we have different philosophies on publishing for this community? Yes, we certainly do but we all have the similar goal of spreading the wonder and improving the work of polymer artists, regardless of their level of work. We all four talked over the week in Atlanta for this reason. All the editors even came to my Writing for Polymer in Print workshop (get the guidelines from this workshop on The Polymer Arts website)which was fabulous as the attendees got to hear from us all once again. That’s exactly how it should be.
The thing is, my magazine really NEEDS these other magazines. Someone new to the material might be overwhelmed by The Polymer Arts (unless they are really gung-ho and determined, are coming from another art medium, or they got the polymer bug bad from the start!) So yes, if you’re new, you may want to start with one of the other magazines and if you find yourself getting serious and want to push yourself and your art, we’ll be here. Or just give in and get them all. I do! You just can’t have too much polymer information, can you?
If you are interested in writing for a polymer publication, please do consider sending us ideas. Any of the editors here would love to see your ideas. Just help us out and send it to us one at a time. If what you have doesn’t fit my magazine, for example, I’ll pass it on to one of the other gals. The more we share as a community, the better it will be for clayers everywhere.
Read More
One of the big discussions at Synergy (Are you tired of hearing about that show yet!? Sorry … it was just such a treasure box full of ideas and I want you all to benefit from it too) was about finding our voice as artists. I was not the only one that came away with this concept eating away at me. Linda Garbe jumped right on it with a new video discussing texture and materials in the context of finding personal creative expression. Her Box of Color, as seen below, showed up in the video and I just had to get a closer view. Linda kindly sent photos so we could all get a good look at the details. Talk about an authentic voice!
Linda Garbe’s Box of Color, top view
… and a view of the bamboo and fungi sides.
Linda says she created the box as a result of doing the exercises in Lindly Haunani and Maggie Maggio’s book Polymer Clay Color Inspirations.
“While it took great discipline to do each and every exercise in order, it was well worth it. I learned a lot about color. The last exercise is to cover a box using what you have learned about color. I visited the Chicago Botanical Gardens during the time I was doing the color exercises. They have a Heritage Garden which show how early gardens featured one type of plant in each area. They did not mix plants together in the same flower bed as we do today. This garden became the inspiration for design of the box. Each side features one type of plant: bamboo, fungi, Queen Ann’s Lace, and ferns. The top is a fantasy garden created in my mind.”
This box and more of Linda’s explanation about its creation come in at about 3:10 on Linda’s video. The video starts out with thoughts on cultivating our own unique approach to creativity but the majority of it actually focuses on texturing and using everyday objects as tools. A lot of good ideas here so if you have a few minutes, sit back and soak up a little inspiration this weekend.
Read More
