Extruded Fun
September 8, 2014
Inspirational Art
There is just too much fun being had out there with extruded clay methods lately, so let’s take a look at a handful of what is being done and see if we can’t entice you into a bit of extruded play this week!
This first piece by Spain’s Maribel Benito looks to be using the very popular cane blocks build from extruded canes. It’s not that the canes or application here are so unusual, but the fun combination of various sized circles, those delicious candy colors, the gradation of the canes and the well-tended finish make for a really beautiful piece that is both playful and sophisticated. It’s just well done.
I thought I’d go for short chatter today after my long Saturday expose. Let’s just enjoy this beauty today while I go dig up more extruded fun. The best place to find more of Maribel’s work would be on her Facebook page and on her blog.
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Innate Creativity
September 6, 2014
Ponderings
Today, I’m going to get a little chatty. And, I hope you’ll have the patience to read this because it has bearing on what you might get out of this blog as well as on the idea of play.
If you read this blog regularly, then you know I will often aim to break down the reasons why a piece works, what I think the artist might have been doing or the intention behind the choices in color, form, line, etc. This kind of analysis intellectualizes or breaks down what is often an innate, instinctual, and/or playful process. Analysis and playing would seem to be on opposite ends of a creative spectrum, but they aren’t. They are actually two aspects of the process that goes into creating successful art.
In art school you have design concepts drilled into you, and you spend what seems like half your time analyzing and critiquing the work of others based largely on these concepts. You are also, however, pushed to play and experiment, to break down boundaries and take chances by putting yourself and your experiences into your work. What I didn’t really realize until years after art school is that I rarely ever thought about the concepts I had learned. I didn’t need to. They were ingrained in me through all the drilling, through the critical discussions and the regular analysis of other work. The insistence to break boundaries and take chances was, on the other hand, something I was quite conscious of. That seemed odd, but it worked. I could push myself to create fairly successfully without really thinking about why I made the choices I made. I just knew.
If you have been working artistically for a while, you have probably experienced at least a bit of this in the skills and techniques you have learned from constant practice; those things you no longer even think about how to do. Maybe its creating Skinner blends or knowing how to neatly reduce a cane. You’ve done it so many times you can do it without thinking, and your mind and fingers are freed up to ponder and create as your inspiration dictates.
This is why I repeat, rehash and reword the concepts of design over and over in these blogs; not because I want to take the fun and mystery out of creating, but because I want you to know it from hearing and seeing it so often that you never have to think about it. I really hope that hearing these ideas until they are ingrained can help you with your design choices, with finding the solutions to unsatisfactory outcomes, and with freeing you up to express yourself in beautiful, well-balanced and very personal ways, all without consciously considering the concepts. My hope is that all this talk of design just lives there in the background as you create, giving your child-side plenty of room to play and be curious.
So this weekend, I leave you with these thoughts and also encourage you to check out one of our communities consummate players, Deb Crothers who has been going nuts lately with these grunge beads of hers. You can see them develop through the photos on her Flickr site. You may also want to read some of her recent blog posts on why she doesn’t sell her work any more and her thoughts on the importance of play, which is where I saw these luscious square beads you see here. I think you will enjoy her sentiments.
Now its time for me to try and get some creative playtime in. I wish you lots of successful playing this weekend!
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Outside Inspiration: From Quilts to Canes
September 5, 2014
Inspirational Art
Within the 2014 fall issue of The Polymer Arts, in our regular feature, “Color Spotlight” created by Maggie Maggio, we have the amazing work of Switzerland’s Sandra Traschel. The patterning and illusions she creates in polymer canes come in large part from the inspiration and even the templates of various quilters. Although this is covered in the article, Sandra (as well as Maggie and I), thought it would be great to actually see which artists inspired what pieces, so you could really see how the work of other art forms can so beautifully inspire polymer art.
This quilt is an example of color illusion, which Sandra explores at length in her jewelry pieces. You can see the translation to polymer in the pendants below. I would not have thought to use quilting templates for canes, but it’s obvious how beautifully they work out behind a skilled and patient hand.
So, if you have your Fall 2014 issue at hand, go ahead and open to the “Color Spotlight” article and click through to all these great quilters. Can you spot which quilter inspired which piece of Sandra’s jewelry just by looking at the websites? If you don’t have your issue in hand yet, you can just hop over to Sandra’s Flickr pages to make the comparisons. And, of course, spend some time in the galleries of these amazing quilters by clicking their names to link through to their websites.
1. Bracelet Convergence Pattern: inspired by a quilting template by Ricky Tims.
2. Bracelet Hollow Cubes: For this piece, I don’t know who was the original artist. I was inspired by the book: ABC 3-D Tumbling blocks and more by Marci Baker
3. Bracelet Triangle Illusion: Pattern inspired by a quilting template of Carol Bryer Fallert (quilt: illusion)
4. Necklace Diamond Illusion: Pattern inspired by Carol Bryer Fallert (quilt: illusion)
5. Pendant Autumn Flower: Pattern inspired by Jinny Beyer (quilt: Mayflowers pattern)
6. Pendant Op-Art checkerboard: Pattern inspired by Jinny Beyer (quilt: Da Vinci Pattern)
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.
Extruding Beyond the Expected
September 4, 2014
Inspirational Art
Another multi-artist article in the new Fall 2014 issue tracks the growth and experience of six artists that went through the Voila! creativity classes. We were given the opportunity to see what six emerging or accomplished artists developed as they went through an intensive, nearly year-long course that focused solely on developing creativity and personal voice rather than learning techniques and particular skills. The outcomes were quite remarkable. The growth those artists have continued to have is just as, or maybe even more so, remarkable.
Angela Garrod has been making leaps and bounds in her work the last couple years, but until the article came to me, I had not realized where much of this inspiration and push came from. Many of her designs have explored what can be done with extruding, but I have to say some of the pieces she experimented with earlier this year is pushing extruding far beyond what we’ve seen from the rest of the community. I would not have thought the patterning on this neck piece had anything to do with extruding, but now my mind is working furiously to try to surmise how it might have been accomplished. Angela’s creative exploration of technique, as well as design, seems to have been buoyed by her natural instinct to experiment. All with wonderful results.
Take a look at the other recent pieces Angela has been working on her Flickr page where you can see the chronological journey of her work. Be sure to read the article as well and follow the links to each of the artists to see what else they have been up to since their classes. It’s a fascinating story told through the artwork itself.
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.
Stacking Up Whimsy
September 3, 2014
Inspirational Art
A good portion of the articles in our new issue are, at least in part, interviews with multiple artists so you get a well-rounded view of the ideas our contributors have brought you. One particularly insightful as well as fun article is the one exploring the idea of humor and whimsy in art. Contributor Sherilyn Dunn interviewed four amazing artists for this–Christi Friesen, Layl McDill, Doreen Kassel and Maureen Carlson. Maureen Carlson was one of the first names in polymer that I knew since her book Family and Friends in Polymer Clay was one of the first polymer books I ever bought. Along with being a talented sculptor, she has very inventive, fun and thought-provoking pieces and I wish we’d had more room to show off her playful yet seriously expressive side.
This doll for instance, is a wonderful example of mixing whimsy with a personal message. This piece is made up of stackable and mobile elements of polymer enhanced with paints and powders as well as the words and ideas you see on it. Play is evident in the movable parts and the toy like construction but there’s a bit of the serious instilled in it. I know at one time she taught this as a workshop as a way to explore personal expression. What a fun workshop that must have been.
Don’t miss the insightful comments and observations in the “Art of Humor and Whimsy” article you’ll find in the Fall 2014 issue of The Polymer Arts. And for more fun and thought-provoking pieces, take a look at Maureen’s gallery.
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.
Pushing Faux Organics
September 2, 2014
Inspirational Art
Another article in the fall issue that could have had a lot more examples in it if we had the room was about playing with faux techniques. The ideas outlined in the article are about emulating something that you find in nature, but adjusting characteristics to create something that doesn’t exist. A number of fantastic artists contributed their versions of this with examples.
Page McNall contributed an example of faux wood. A small faux log to be exact, but that is hardly the end of her beyond-natural faux examples. She is definitely one of those exploratory artists I often talk about, never really settling into one form or style, but does gorgeous work in her variety of approaches. One of her newer explorations that I just love and would have liked to have included are these this faux semi-translucent organics. This is really pushing the idea of natural faux polymer. The pieces look like they could be something in nature, but I’m pretty sure there is nothing quite like the majority of these.
To get a better view of the individual pieces here, as well as her rather fascinating work, visit her Flickr page. And for more ideas on how to play with and push faux techniques, well, see the latest issue of The Polymer Arts!
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Layers and Layers of Slices and Slices
September 1, 2014
Inspirational Art
So, this is that very special week after the latest issue of The Polymer Arts comes out where I share some of the things that we couldn’t squeeze into the packed issue we just sent out. We’ll chat a bit more about some of the contributors and their art work, as well as add some depth to the stories and concepts you’ll be reading about if you bought the issue (and if you don’t have it or don’t have it coming, you can get your copy on our website.)
For this fall 2014 issue, Deb Hart wrote what is probably the most ambitious article we’ve published to date. “Caning by Numbers: Complex Cane Design” has to do with canes and math. It’s rather intense, but we are already receiving some rave reports from readers who are just so excited to have a controllable way to measure and create precise complex canes.
The one thing we couldn’t do in this particular article was include more of Deb’s work so you could see her range beyond the owl cane that was used as the example for the concepts she teaches.
Here is one amazing bracelet Deb created with a variety of brilliant complex cane images embedded in layers of translucent clay. I am not a very accomplished caning clayer, so I won’t pretend I know all that went into this, but what I do know is that the layering gives it an ethereal quality that is rather mesmerizing, not to mention how lost one might get just trying to take in all the detail.
You can check out even more of Deb’s canes and other art work on her Flickr pages, her blog, her Etsy shop and her website. (Does she stay busy, or what?)
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Because mirror images are so common in nature, I do suppose we find their centered-ness less adventuresome, edgy or contemporary. But, when it comes to nostalgic decor, centered and familiar is where it is at!
Many holiday ornaments like this carefully crafted piece by Kay Miller, will play off some of nature’s most common mirrored designs. In this case, both floral and snowflake designs are harkened to. Floral influence is seen in the motifs chosen and the petal-like structure of the form, but the way they are built up, in visual steps from the center outward, changing as they progress while using the same kind of shapes, is particular to the snowflake and other crystal patterns.
I couldn’t find an active page for Kay, but she does have an Etsy shop; it’s just a little empty at the moment. However, you can find a lot of her ornaments on Google images using her name and ‘ornaments’ as key words (or use the link you see here, of course.)
As a little fun side item, try to find the one single element that is not mirrored in this ornament. I don’t know if she did this on purpose, and if I had the time, I’d start combing through her designs to see if she does this with all of them. This one single discrepancy, which becomes very obvious once you find it, reminds me of a story I heard in an art history class many moons ago about a tradition in a particular tribe of American Indians. Their artisans were so adept that they could make every object with absolute perfection, but instead they would purposely make one tiny thing incorrectly, weaving one twist backwards, miss one painted dot in a series or leave one carved feather untextured. Why? Because they were not gods and believed they should not create as if they were perfect like the gods. I always thought that if I become that perfect in anything I do, I would do the same. I’m just not that perfect yet to even worry about attaining a god-like status in my work. But, it’s fun to think someone else might be doing something like that out there.
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The ‘mirror image’ is a very common element in nature; from leaves to flowers to fruit to every creature I can think of, there are often two halves mirroring each other to make the whole. I’ve seen a number of interesting uses of this in polymer pieces lately and thought this might be an easy theme to gather up work for this week. Not so much, however. Because using this kind of element necessitates a centered composition where the mirror images appear–their meeting point in the middle creating a center line–and with a community much enamored of asymmetry, it is far rarer than I would have thought. But, I aim to find a variety of examples where the mirroring adds energy or depth to a piece rather than feeling stale because the element (or elements) are arranged on some center line.
The obvious first place to look is in caning. The kaleidoscope cane alone holds up a great argument for mirroring. Create an pie slice shaped cane, cut up the length and lay matching sides together to fill in the pie round (or some approach akin to that.) And you end up with usually very energized visuals. Lines, curves, angles and other directional elements will be moving from the center in opposite directions creating that energy.
When I hear kaleidoscope canes, I always think of Carol Simmons and her intense precision in this art form. These pendants are examples for her upcoming workshops being held in Racine, Wisconsin after the RAM Symposium later in October. (It’s a waiting list only class; find out more on her website.) The center lines from the process of mirroring images have become a range of star burst like patterns, pushing direction from the center of the pendants to the outside that adds dynamic energy and a mesmerizing amount of detail on such a small space.
If you haven’t attempted a kaleidoscope cane before, but are interested, there are dozens of basic free tutorials as well as more intricate ones sold on Etsy and through other shops. Just Google the term “kaleidoscope cane tutorial” for many instant options.
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A piece with shibori style ripples, fire, and crackling? How could I resist? The creator of this richly textured bracelet seems to go by nothing more than morskiekamni over on LiveJournal. This particular clayer dabbles in a little of this and a bit of that with a fair amount of miniatures and a lot of floral in there.
So, this bracelet comes as a bit of a surprise in the line-up of work. But, a lovely surprise. The cracks ripple across the base layer of orange, as well as along the edges of the flames. The whole surface looks to be in flux, and I find it hard not to get lost in intricacies; it’s an awful lot like staring into and losing yourself in those campfire flames or the fiery embers of a fireplace.
Yes, I usually give you a little something to work on come Saturday, but I couldn’t help but share this lovely piece first. If you are looking to try something new, how about creating using a ripple blade? The ripple blade looks to have fallen out of fashion in polymer within recent years, but I seem to be seeing it in use a little more just recently. Here is an older page full of still fantastic ideas for rippling up some really beautiful polymer! Enjoy!
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What else would we do for an outside inspiration that started out looking at shibori, than shibori itself? The artist behind these earrings and ring, Serena Di Mercione, has a number of pieces we actually found on a few polymer clay focused Pinterest boards even though this is silk with beads and pearls and metal findings. I’m not really surprised. It would not be hard to imagine these as polymer instead of silk ribbons. But how would you do that?
I was thinking maybe thinly folded pearl clay colored with diluted alcohol inks applied to just the edges of the folds with a cosmetic sponge. Or Skinner blends applied in thin strips to a pearl clay back and then rolled thin so you can fold it, letting the folds land on the strips of colored blended clay. I’m not really sure how with would work, but I’d be willing to give it a try . I just might do that this weekend as I pull out my clay and tools to show the wonders of this medium to a few curious young minds. We must instill a love of polymer into the next generation, right?
To really brighten your Friday, take a stroll through more of Serena’s delicious shibori and soutache jewelry creations on her Facebook page. You will either get your creative juices flowing or start craving rainbow sherbet!
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.
If yesterday’s version of ripples was controlled and reserved, today’s rippling beads border on being a full-fledged party.
Although Daniela Wernli, also known as Dr. Fimo, only uses one color plus white in these beads, the energy here is very high, but you know the color isn’t a primary factor for that. The beads actually push the whole idea of what a ripple is and can be. You see ripples in the twisted clay curls with their repetition and progression wrapped into tight swirls that ramps up the sense of movement, making for a very energized piece.
In case you were wondering, Daniela was named Dr. Fimo by her family because she is often seen wandering about with her polymer work gloves on. See more of her work, especially some very interesting dots and rolled clay pieces, on her Flickr page.
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.
We’ve looked at a few rather free-form versions of rippling, but ripples can also be well controlled and stylized while maintaining that similarly energized feel of movement.
The pins that emerged in The Broken Internet Project had a lot of controlled, but high-energy lines in the designs, most likely due to their inspiration being a pin by the meticulous Dan Cormier, a pin that had a zigzag line (a cousin to the ripple, you could say) through the center of it. I loved Cornelia Brockstedt’s interpretation with both a controlled rippling Skinner blend and a silhouette of a ripple inserted next to it. Calm, but energized. It’s almost the definition of that.
If you never had the chance to see the whole Broken Internet Project results, be sure to jump over to The Cutting Edge’s Facebook page to see them all together. And, for more by the fabulous Cornelia Brockstedt, take a look at her website or her Flickr pages for her latest pieces.
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.
Although shibori is a fantastic source of inspiration in polymer, adding the liveliness of rippling lines and textures can be achieved in a myriad of ways. Just consider what rippling is and how it works in a design.
Ripples are lines and like any lines, they create movement. However, unlike the forcefulness of straight lines or the gentle leading of curved lines, ripples usually portray a calm but steady energy making them an eye catching element in any design.
Here are multiple examples of this all in one necklace as created by Vickie Sixsmith. We can see the energy in the rippled edges of clay discs, not unlike those on Kim’s bracelet we talked about yesterday, along with the subtle movement in the snakes of wound clay as well as in the soft visual sway of the feather canes covering the focal and side beads. The energy is slightly different in each approach, showing the varying levels of energy and d movement that can be achieved with rippling lines.
Besides explorations in ripples, Vickie and her mother Jean Twigg, who together are Fusion Jewellery Designs, explore a variety of form and texture but movement and energy is a primary focus. You can see more of their collective work on their Facebook page and Vickie’s postings on her Flickr photostream.
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.
This week we’re going to look at rippling and related visuals. Inspired by Shibori and Shibori like items on Pinterest, my editorial assistant Paula Gilbert, sent me a number of links to Shirbori like pieces. Shibori, according to the entry on Wikipedia, is a Japanese tie-dying technique. There are an infinite number of ways one can bind, stitch, fold, twist, or compress cloth for Shibori, and each way results in very different patterns.”
In polymer, folding or fitting together sections of blended clay can readily emulate the look of shibori. This beautiful bracelet was created by Kim Cavender, and looks to be inspired by a common folded and stitched technique used with silks in Shibori. Her notes on Flickr do point to dyed silk ribbons as the inspiration.
If you want to see the wide variety of Shibori techniques out there, just punch the term into Google images, Pinterest or Flickr and you will find yourself just drowning in all the luscious textures and colors shibori artists’ offer. And for more Kim Cavender, take a look at her Flickr pages and her blog.
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.
I just love what Ginger found for us today as an outside inspiration. A scene created with tiles, a kind of bas relief where the elements create the imagery and depth from how they are layered and arranged. This is not so very different from some of the polymer scenes we’ve seen this week. The primary difference is that the imagery is created with large swaths of color and texture to create a piecework landscape scene but one that is cohesive and pulls you in.
The wall hanging was created by Chris Sumka, a tile artist. This is the piece’s description:
“The old Palmer place”, 2014, 21″X42″, 237 hours, composed entirely of 12″X12″ r/c porcelain, ceramic and slate floor tile, mounted on r/c 3/4 inch plywood, green, eco friendly art. Large amounts of white grout were left behind to add to the snow effect.”
Now he actually cuts each of these shapes to fit the image from some pretty hard material. If you’ve ever worked with tile, then you know how hard this is and just how tricky it can be to make the right cut and not actually break the tile. I’ve done more than my share of tiling. I’m impressed. We can–and a number of people do–create polymer imagery in a similar fashion. With some pretty darn simple cutting work compared to this!
You can see further detail of this piece on Chris’ Facebook page here and more of his fascinating work including photos of pieces in progress on his Facebook timeline as well.
Our guest blogger partner, Ginger Davis Allman lives in Springfield, Missouri with her husband Gary, her three kids and her many craft obsessions. Subscribe to her blog and look around her website for her well-researched and in-depth posts and articles on polymer related subjects. Support her great information and research as well as treating yourself by purchasing a tutorial or two from this talented lady.
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.
