Appreciating the Shadow Side
November 3, 2013
Ponderings
Not everyone wants to create, buy, or own work that is dark, creepy or sinister, or reminds them of all that is not sunshine and light in this world. I understand that. However, I do think we should all cultivate an appreciation for the many sides of this life, and the artwork that explores these other sides is just as important as the work that makes us smile and feel cheery. There are shadowy sides and bright sides to most things and they all have their place.
On many blogs, people share pictures of their pets–they are a big part of our lives for many of us–but I never thought I would post my pets, since I wanted this blog to be about you and all the wonderful artists out there. But I needed an image to go with this quote and, well, I couldn’t find one that I liked. However, I had this great photo of my cat and office companion, Cleo. So now you’ve met my cat who, should someone call asking for our marketing department, is the staff member I hand the phone to. She does a great job of getting sales people off the phone!
Cute and Creepy
November 2, 2013
Inspirational Art
It’s really no surprise that my quest for something that could embody cute and creepy ended up with me looking at dolls. Dolls, figurines, and sculptures of the human form seemed the most likely candidates because although there are cute creatures and certainly creepy creatures, it’s more likely that conflicted emotions will occur when it comes to creatures within our own species.
So what do you think of this gaggle of dolls? Cute and creepy, or just one of the two?
These little creatures are the creation of Anne Marie Gibbons who hand sculpts each and every big-eyed munchkin in polymer clay and then paints their faces with heat-set oil paints. All her dolls have tiny dolls of their own as well. It’s the tiny doll’s dolls that really seem to embody the creepy side of things, but they’re still kind of cute.
I need to stop and thank Irene Corman, who wrote the wonderful “Teaching Polymer Workshops” article in the present Fall 2013 Organic themed issue of The Polymer Arts, for her help this week and last in finding art and artists for the blog. Things are revving up here for the expansion of The Polymer Arts publication into books, and any help in taking a bit more off my plate is so very welcome. Please send a little thank you Irene out into the universe for her help. You’ll be seeing more of her finds as she continues to use her polymer art web-surfing addiction for the good of us all!
Impact for this Winter!
November 1, 2013
The Polymer Arts magazine news
We interrupt this Friday’s usual fare to present the cover of the next issue of The Polymer Arts magazine and share our excitement about what we have coming in it.
This cover piece is by Donna Greenberg. It’s actually a bridal necklace that she was commissioned to make earlier this year. Donna has written a wonderfully in-depth and insightful article about taking on commissioned art, including how wonderful it is to be able to impact someone’s life or life event with your art but she also talks about how to handle the difficulties that come with working on a commissioned piece. She generously shares her own experiences, tricks, and even an agreement template you can use to establish the commission contract.
In addition to Donna’s article we have a ton of interesting pieces that will get you creating and have you thinking as well as providing a lot of great eye candy:
- Visual Impact: Mastering Contrast
- Ancient Impact: Influenced by the Past
- Handmade Impact: Pointed Tool Impressions
- Brilliant Impact: Electroforming Polymer
- Legal Impact: A Well Set-up Shop
- Instructive Impact: Maximizing Your Workshop Experience
- Taking Control of Your Camera Settings
- Create Polymer Toggle Clasps
- Understanding Why You Play with Clay
- …and much more!
Now, inserting the inevitable sales pitch here (because you do need to get this issue, right?!):
Don’t Miss an Issue … Subscribe or Renew!
If you haven’t already, snap up your subscription! Or for you dedicated go-getters, renew subscriptions at www.thepolymerarts.com/Subscription_ordering.html
Pre-orders of the Winter issue are also available online here: http://www.thepolymerarts.com/Single_issues.html
Then come check in here tomorrow because I think I found it! Creepy and cute … wait until you see these!
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If you’ve ever done any scrapbooking, you may be familiar with the Cricut machine, which cuts out complex shapes loaded into the machine’s little onboard computer. It really saves on the aching hands that comes with trying to make small, intricate cuts in paper. Did you know, though, that you can use it to cut polymer too? Jenny Barnett Rohrs explored this idea on Craft Test Dummies a couple years ago. I’ve been wanting a machine ever since.
Although this post made the rounds back when it was posted, I thought it was worth revisiting. Not only can you cut polymer shapes, you can also cut on a variety of other materials to create templates, stencils, and shapes for impressing in your clay. So if the family is complaining that you’re impossible to shop for because you have everything, maybe you can get this on that list. Unless, of course, you do have everything, including this!
If you like this blog, support The Polymer Arts projects with a subscription to The Polymer Arts magazine, or buy the latest issue. We also encourage you to support our wonderful advertising partners!
Just released! The Winter 2013 issue …
Polymer Clay Workshop Tutorials
The Whimsical Bead–polymer art supplies
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I know very little about making glass beads, so I can’t even begin to guess how Harold Williams Cooney made this amazing piece.
So … do you cut into glass to get this? Grind it down? Carve it out while hot some how? Yep, I’m clueless on the technique. The only thing I do know is that this kind of thing could be done beautifully with polymer clay by cutting, carving, or grinding. It reminds me somewhat of Jana Roberts Benzon’s lazer cut technique, just with more form and less cut away. Also, consider Vera’s beads from yesterday’s post. If they were covered by a solid sheet of clay and the cuts were farther apart to allow more surface, the cut-out areas would look something like what we see in these glass beads. But it’s definitely something to think about–especially for all you extrusion-mad clayers.
Harold is a particularly prolific artist with a lofty goal. It’s hard to explain his single-source American Trade Bead collection, but basically he is collecting his own work in order to create the largest collection made by a single bead artist. If you’re interested in his concept, you can read more about it on his blog. But if you are more interested in wonderful glass beauties, go look at his Etsy shop. There are more than just this bead to inspire a polymer artist there!
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Just Released! The Winter 2013 issue …
Polymer Clay Workshop Tutorials
The Whimsical Bead
Read More
There is more than one way to cut into polymer! Yesterday we looked at cutting in to reveal many layers in extruded beads, but here we have a simple yet brilliant technique that requires cutting in with scissors, but not actually cutting away and removing clay as the other examples this week have shown. Here is the snipping portion of this technique by Kazakhstan’s Budanceva Marina (also known as Aquamalinka).
And here is an example of one of her finished pieces using the elements it creates. Wonderfully realistic clover flowers, aren’t they?
Although this technique is specific to creating these flowers, there is no reason why taking scissors to polymer in this manner must stop here. It’s a great texture that can be added as half dome accents, and if you snipped a little longer across the surface you could have small lengths of clay curling back on itself. I wish I had time to do some exploration and show you some possible ideas, but this week, I leave that to those of you who are inspired by this idea.
Go explore more of Budanceva’s predominantly floral work on her Livemaster shop page.
Happy Thanksgiving to all my US readers. I personally am very thankful for having such kind and enthusiastic readers who have allowed me to make publishing and polymer a focus in my life. Now, off to enjoy family while trying not to do myself in with too much turkey and pie.
Read MoreCutting and slicing is part of many different polymer techiques, most commonly to reveal the colors and patterns hidden beneath the layers. Germany’s Vera Kleist accomplishes this reveal with her extruded beads, but the cutting in also creates a tactile texture.
Its amazing what a little slicing can do, don’t you think? Are there pieces you usually leave smooth that might benefit from a little cutting in?
Speaking of cutting … there is cooking to be done for the holiday! If you’ve already done your cooking or have been spared the chore through not being in the US or having someone else to supply your bounty tomorrow, look through Vera’s Etsy shop and Flickr pages for more cutting and textural ideas.
Read MoreAs I mentioned yesterday, we’ll look at ways to cut and carve polymer both in a raw and cured state this week. Today we’ll actually look at both from a single artist.
Rebecca Geoffery works in metal, enamel, and semi-precious stones as well polymer, usually mixing them. The possibility of carved polymer has a lot to do with what it will reveal beneath the surface. I thought that was the case with these pendants, until I read that the contrast is not revealed clay but paint. The paint makes it look like the carved portions were just scooped out, but it seems that they were actually solid black clay that was carved to provide a space for the paint.
But what of cutting away clay to reveal a layer below? Rebecca does this as well. With these pieces, shapes are cut out of raw clay and then laid over another layer so the contrasting color peeks out from beneath it. I love that she adds additional hand-tooled accents in the layer below as well as on the top layer.
What I think we can really take away from these examples is the variety of shapes the carved and cut clay can take on. The spaces revealed can also be just patterned or can be stylized or graphic or rough. Cutting and carving can help fulfill any mood, message or aesthetic, and adds instant complexity even when it’s not so complex.
Although this kind of work is not a major part of Rebecca’s posted collections, these pieces are making the rounds. Soon after I found and decided to write on these pieces, I found the same two photos in Cynthia Tinapple’s book Polymer Clay Global Perspectives. They are eye-catching. Most of her work is. You can see more of her polymer as well as her other work on her Flickr photostream and on her website.
Read MoreMaybe it’s the turkey and ham cutting and carving that will be happening all over the US later this week as we celebrate our Thanksgiving holiday (which seems to be more about eating than anything); but in any case, I thought we’d explore some of the ways polymer is cut and carved this week.
I wanted to start with a page link from Celie Fago, who works with a variety of materials; and even when she works with polymer, she manipulates it in a variety of ways. I don’t think she believes in limitations.
So here is one of her stunning bracelets with carved polymer on the bracelet’s base and on the rings that intermix with metal elements. Lovely texture, don’t you think?
This work is carved after the polymer is cured which gives the carved marks a crisp, clean edge. Celie generously outlines the process and tools used to achieve similar effects in a very detailed blog post here.
We’ll look at cutting and carving both in raw and cured forms this week, but perhaps this little bit will whet your curiosity. It’s something to ponder while cooking up delicious food for Thursday or traveling to see family this week in the US.
In the meantime, take a look at Celie’s many wonderful creations on her website.
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So after a week of talking about alcohol inks, have you found yourself diving in and trying a few ideas you saw? And now, are there any alcohol ink colors you wish you had, but haven’t been able to find or don’t want to buy a pack of 3 or 9 just to get them? Do you find them expensive or hard to find? Well, we do have an option–making our own!
The things you need to make your own alcohol inks are a permanent dye color source and rubbing alcohol. There are two primary color sources available to pretty much everyone–home fabric dyes such as Rit, or permanent markers like Sharpies. I haven’t tried either, but I have heard that the ones made with Sharpies are very, well, pungent. That chemical marker smell will fill the air. Not sure that’s a good thing, but if you have lot of permanent markers you don’t really use, it would be a way to give them a purpose. However, from the research I’ve done, it seems that the Sharpie colors are more vibrant than those made with the fabric dyes when using them on polymer clay. Which was a little surprising. Not surprising is that the colors are more vibrant on paper than on polymer. But as I haven’t tried it (yet!) myself, I can only offer the online instructions I found that seemed most useful and let you decide.
This video uses the permanent marker method:
Here is a page on creating alcohol inks with markers if you aren’t into watching videos.
As for alcohol inks with fabric dyes, here is the best of them that I found. It’s a short video by Cindy Lietz of Polymer Clay Tutor, so it’s definitely geared towards polymer clay use.
You may also find some instruction about making alcohol ink with food coloring or Kool-aid, but keep in mind that the color needs to adhere to polymer. Most food dyes cling to proteins but will not stain–certainly not in any permanent fashion–synthetic materials like plastics. So you need permanent dyes that will become permanent on synthetics and non-porous surfaces.
So as far as I know, permanent markers and fabric dyes are your best bet for easy to find alcohol colorants. And they’re cheap. That is always a plus!
Read MoreGetting back to using alcohol ink as a colorant, the primary use for many polymer clayers, I thought we ought to touch on the proper way to color not just liquid polymer but translucent clay.
To get to the heart of the matter, the main thing you want to remember when using alcohol ink to mix into liquid or solid polymer is to let the alcohol evaporate before mixing it in. That’s the only real rule. Drop a bit of LPC on a ceramic tile, drip a bit of alcohol ink in your chosen color into the LPC, and then leave it be for at least 10 minutes. I’ll usually let it set a bit longer to be sure there’s nothing but the dye left before I start mixing. You do the same with solid polymer. Just drip and drop, wait and mix.
Ginger Davis Allman put together a great in-depth post on mixing the ink into translucent clay earlier this year, including tips, tricks, judging color, and cautions. If the primary goal is to create great, truly translucent colored clay so you can make pieces like this necklace of Ginger’s, then you really should read the post.
Hope you’ve found this week’s ideas about what you can do with your alcohol inks inspiring, and I hope you get some time in to play with your new ideas this weekend!
If you enjoy this blog, help support The Polymer Arts projects plus get great polymer art information by purchasing The Polymer Arts magazine available in print or digital. www.thepolymerarts.com
This is a crazy concept, I know, but have you every thought of using alcohol inks to paint imagery with? Historically, ink has had two primary uses: the production of written or printed communications and, yes, imagery in the form of drawings or paintings. In polymer, we primarily use it as a colorant; but alcohol inks, even though they are dyes (you can even make your own with rubbing alcohol and fabric dye), can be used in ways similar to watercolors. So why not paint with them?
Let me back up a bit and mention the difference between alcohol inks and watercolors. Watercolors are pigment that is suspended in water in order to apply it to a porous surface, most commonly paper. Alcohol inks were developed to work on non-porous surfaces, so although they can be and often are applied to paper, they cannot be manipulated on paper the way watercolors are. The alcohol ink will stain the paper immediately so the pick-up, washes, and translucent layering of color that is common in watercolor won’t work well or at all with alcohol inks on paper. In order to have a full array of possible applications and techniques, alcohol ink painting takes a sealed surface such a gloss paper, melamine, clay board, ceramic, glass, metal, or … polymer clay.
There is a whole community of alcohol ink painters out there doing gorgeous work. Some of it is realistic imagery, but I find the abstract or impressionistic paintings the most interesting as well as the most likely to inspire work on polymer clay. Trying to choose a piece to share with you today was difficult. So I’m going to share a few and then your assignment is to go look at more!
This piece is by Wendy Videlock, who sells DVDs on alcohol ink painting techniques.
And here is one by self-described dreamscape artist June Rollins, who also has a book out on the subject of alcohol ink painting.
Can you imagine doing this kind of thing on polymer? Sure! Why not? Raw or cured, it’s a perfect substrate for the ink; and with clay, you have options for manipulating the clay surface before or after applying the ink, giving you many more possibilities than working with the less malleable surfaces mentioned above. Does this have you thinking?
If you want to research alcohol ink painting more, I would first suggest going to Google images and typing in “alcohol ink painting” to get a better idea of just what can be done with the ink as far as painting. Then you might hop over to Monica Moody’s very helpful and rather humorous posts on the subject including posts on materials you might want to gather if you plan on a thorough investigation. I did, and now I have a little shopping to do!
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