Persistence of Ideas (And 50% OFF+ Damage Sale!)

First, my apologies for being absent the last few weekends. I kept thinking I’d be able to post something, but my days have been exhausting.

The roller coaster of the last month, not to mention the last year and a half, has really brought into perspective the concept of self-care. Balancing responsibilities with care for yourself as well as for others can be a tricky thing but, it’s not unlike art—if the composition can’t achieve some sort of balance, not much else is going to work.

So, I’ve been hashing out some ideas that will allow me to keep chatting with you as well as do what I need to do for my family and with my creative projects. I am hoping that will all be settled this coming week and we can have a little chat about that next weekend.

 

Persistent Ideas

In the meantime, let me share a thought by a fellow polymer artist, Adam Thomas Rees. He posted this intriguing piece, seen above, on Facebook last month, saying:

This was my first hybrid sculpture mixing metal and clay. I’d had this idea floating around in my head for about 10 years before I finally went for it. If you have an idea you’ve been sitting on, it might be time to go for it!

I have to agree. The first of the two novels I’m working on was also started a decade ago, maybe more. It can take some time to get around to it but, if an idea sticks with you, I think it’s a sign that you should really try it out!

What have you always thought about doing but haven’t tried yet? It can be very invigorating to take on something brand new and challenging.

Annual Damage Sale!

Grab Imperfect Publications for as little as $3.98 or Perfects & Supplies for 30% off

So, it’s that time! I’m cleaning out the mailing room and collecting all the publications with a dinged corner or a little shelf wear and am putting all these perfectly readable publications up for purchase at 50%-60% OFF the list price.

  • Print Magazines: 3.98 each
  • Print books: $5-$12 each.

Half of the imperfect issues will sell out day one if tradition holds so don’t wait!
This only happens once every year or so and once they are sold, the great deals are — whoosh –outta here!

Go here to grab up these steals before they’re gone.

Need Something Else?

Get new PRINT items and design tools for 30% off! So, if you can’t round out your collection of TMA publications with an imperfect copy, you can do so with an amazing deal on a shiny new one!

PROMO CODE FOR 30% OFF : damsale21

Promo code works for any PRINT publications or Design Tools NOT already on sale on the whole of the website. 

 

30% off sale end June 30, 2021. Not good with other discounts, coupons, or on shipping. Damage sale ends when stock is gone, which can be pretty darn quick so don’t wait!

A Second Collective Look

April 25, 2021 ,

This week, I need to beg your forgiveness as I am recycling a post from a couple years ago. There’s been a small avalanche of family emergencies — nothing life-threatening — and I need to head out to Colorado and Kansas for a couple of weeks. I’ve been unable to put something together for the blog with all the distractions, but I’ve been thinking about this idea of collections again. It seems a lot of us were doing it a bit of exploring last year, which tends to result in lots of unused bits and pieces. So, this might be a useful reminder of things you can do with those bits and bobs.

Do you have a bin or box of pieces and parts of your handiwork yet unfinished but which you are too in love with toss? If you regularly create, I can’t imagine that you don’t. But what exactly do we do with these pieces? Do we hold on to them, hoping that they will be just the thing needed someday or do we toss them?

It can be quite the dilemma, one that even Marie Kondo can’t easily help with because, hey, these do spark joy for us! We see value in them, in that they represent our creativity and what we can accomplish. But do such little jewels of our work belong in a bin where we don’t get to admire them?

I’ve been thinking about this question for a while and came up with a few solutions of my own. If you have a copy of Polymer Journeys 2019, you can see, in the very last entry, my contribution, which is a display case of small exploratory items for which I had no particular use in mind when created them. I created them without thinking, “This is going to be a pendant,” or “This is going to be a set of earrings,” or “This is going to decorate a vessel.” I just made them to see what the material would do, most of which I liked, and they all represented a little exploratory learning experience.

I had already been tying bits onto ribbons and hanging them off the edge of my studio corkboard as little festive decorations. That doesn’t work for pieces that only had one viewing angle though as they would twist around on the ribbons, so I was still in search of other options.

Then I was out talking to the butterflies in my backyard (Yeah, I talk to the creatures in my yard,) and remembering how I used to catch and collect them in shadow boxes as a kid. It just randomly struck me that my little creative bits were like butterflies. They are lovelies I caught in a moment of exploratory creativity and in that small frame of time, they became a kind of unexpected friend, going through that creative time with me. I didn’t want to toss my little friends, even though I had no end-use for them. You don’t do that to friends! You hold on to them and support each other, right?

Does that sound silly? Maybe it is, but it was revealing to me to realize that I kept certain pieces not because they were so beautiful or well done, but because I felt connected to them. So, why not collect them and put them out like a collection of butterflies or a collage of photos? What you see here is what I started making. My husband and I would find shadow boxes at garage sales and thrift stores for cheap, and I’d arrange my bits in them like compositional jigsaw puzzles. I’ve made half a dozen of these so far.

By the way, I use a hot melt glue gun to tack the pieces onto a bit of mat board cut to fit the box. The nice thing about the hot melt glue is that if you do every want to take a piece out of the collection, you warm the back of the mat board with heat gun or hair dryer for a couple seconds and pop them right off. So, your “friends” can come out and play in another piece or a new collection if you like!

As I shared in the previous version of this blog in 2019, people have also used old collectibles display boxes to show off small sculptural pieces or heavy pieces of fabric to pin or hook jewelry pieces as a means of display as well. Look around at how you are other people put together collectibles for ideas about how you might display your polymer bits.

So, do I have your little wheels turning? These should give you ideas not just for what to do with your extra bits, but many of these could be a jumping-off point for creating your own unique show displays and photo setups.

Do you have a cool and unique way to display your extra bits or jewelry? Send me links to images if you do. Put it in the comments below, or if you’re reading this by email, click the header for this post to get to it online to leave a comment.

 

 

You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…

 

Hard Won Joy

April 18, 2021 ,

Libby Mills’ Mod Flowers are her latest challenges. Take a look at her Instagram page and all that she’s been doing over the last couple of years, including process and studio pics.

How adverse are you to hard work and challenges?

Recognizing your ability to face the challenges and incredible effort that goes into creating original artwork can be a necessary, if somewhat painful, bit of self-assessment. Most of us find ourselves on one or the other extremes—either we give up too soon, not doing the work or finding shortcuts that don’t help us grow, or we don’t give up even when the process becomes pointless or detrimental.

Are you one or the other, or are you somewhere in the middle? Or does it depend on the type of work or challenge?

The Easy Way

Trying to find an easy way around hard work and difficult challenges is probably a bit more common. If we’re all being honest, there’s few of us who have never used a tutorial or ideas from artwork we’ve seen to develop our own pieces. That’s okay. I’m not saying that it’s bad or wrong—taking inspiration from other people’s design is one way we learn. However, if you don’t get past that stage, you are missing out on some of the most joyful work you’ll ever experience.

Using other people’s instructions or ideas allows you to create something without putting your creative self or your ego at too much risk. However, it’s taking chances and doing the hard work that makes the successes so exceptionally sweet. By going out on a limb and creating purely from your own inspiration can result in one of the most joyful feelings I think a human being can have. Seriously. There is nothing like hard earned success in your creative work to put you on Cloud 9.

Now why do we feel that way about our own artwork? Well, for one, the work is born of our ideas, experiences, and loves. But more so, it’s because of the struggles we went through either to learn the skills that allowed us to make the art and/or the hard work and time we put into its creation. When it’s done, your talent, your spirit, and your perseverance become a concrete thing that you can revel in and share.

In one of my writer’s group, a friend of mine asked why every story has to have conflict. The answer is that story IS conflict. Can you imagine watching a movie where the hero of the story had everything happen just the way they wanted it to? If Harry Potter just flicked his wand and make Voldemort go away, or Hamlet didn’t care that his father was killed, why would we watch those shows? Do you gossip about the good things that happen to people or the difficulties people are having?

Now, think about how satisfying it is when Harry vanquishes his nemesis and Hamlet finally avenges his father. Those moments are so immensely satisfying to us because of what we went through with the characters to get there. And that is true of anything we want to attain as well. The more conflict and struggle we face, the more satisfying it is when we accomplish or gain what we are after.

There’s actually science behind this. Researchers have studied everything from job positions to winning the lottery and they have found that when people are simply given something without having to work for it, not only does any elation from the acquisition die quickly but people are far less fulfilled and, sometimes, even become depressed. However, when people struggle to get promoted or have wealth because of years of hard work, they are not only happier, but they are also more motivated to keep at it than those that were simply given those things.

So, when you’re in the studio, don’t be frustrated or shy away from challenges. When you find them, think, “This is my chance to achieve something wonderful and fulfilling.” If you presently lean on the ideas of others, challenge yourself to create from your own designs as much as possible if not completely. Take risks. Push yourself just past the point of being comfortable. Do the hard work and see if you don’t find it more than worthwhile.

 

The Other End of the Spectrum

Now, if you’re one of those that doesn’t give up when you should, or you don’t give yourself the time off when you should, learn to take more breaks both physically and from the work you’re struggling with. It often helps to put a difficult piece away for a little while. Pull it out a few days or a few weeks later and you can see whether it is still worth working on. If it is, you’ll probably see a solution you didn’t see before.

Just don’t be afraid to set aside a piece that is going nowhere. Don’t feel you have to try finishing something because you put a lot of time into it. None of your time spent is wasted. Everything you do helps you learn and hone your skills.

Me, I’m of this sort. A dog with a bone, as they say. I look at every challenge as a battle to be won, and I don’t know the meaning of surrender. It’s rather ridiculous sometimes. I also don’t stop working when I should either, which is why I keep hurting myself.

 

Scaling Back on the Blog for a Bit

For those of you that were not with me for the Great Elbow Drama of 2019, I developed an advanced form of tendinitis in my right arm and can no longer type with it for any length of time. Well, now I have an overused left arm after too much research for my novel and too much gardening. *Sigh*

So, this post, and probably the next few, will be primarily chatting rather than deep dives into design concepts as I’m limited to using my speech to text software while my arm (hopefully) heals. Searching for a selection of great art images to go with what I’m writing about requires too much mousing I’m afraid. I hope you’ll stick with me though. I’ll aim for a mix of “Life As an Artist” articles like this one and design refresh posts that need only one image for the time being.

In the meantime, for those of you who can, get to the studio, give yourselves some reasonable challenges, and enjoy the fruits of your labors.

 

 

You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…

 

Compositional Bones

This glass vase by Robert Coby is broken up into a rough but simple composition of thirds.

Composition is really an intriguing design aspect. It is how everything comes together because it is the structure of it. It’s the bones upon which all your elements and principles are placed. It’s a functional concept and an all-encompassing one.

The structure of our compositions use a number of anchoring concepts, all rooted in design principles. We could learn the principles first but since they are less concrete than the elements you have been learning, I think an overview of the possible compositional structures will allow you to immediately see how the principles of design we’ll get into later can play out in a composition. But in order to talk composition I need to at least touch upon a few of the principles.

Last week, I started your compositional knowledge with a brief discussion of focal points. As we dig into new compositional concepts this week, remember that focal points will be either an element we are strongly drawn to, will have tremendous contrast, will be a place where elements converge, a place where an element is isolated, or will simply strike us as unusual. In other words, they stand out more than anything else when taking in the whole piece.

So, that was a first introduction to that principle. Here are a couple more.

 

Hierarchy

In your piece there will be elements that stand out more than others and ones that are barely noticed. The one that stands out the most, as you are sure to surmise, should be your focal point or points but after those, all the other pieces will likely be vying for attention in a visual hierarchy. That order creates a perceived perception of each element’s importance.

Rebecca Thickbroom’s necklace elements almost always take up separate spaces with little or no overlapping. It makes them feel presented, like they are part of a story. She is also fond of including negative space beween parts in her designs which, with jewelry, make the body or clothes of the wearer part of the overall landscape of the piece. There is also a definite hierarchy of elements. Where does your eye goes first? Where does it go after that? And after that? Do you see how this hierarchy moves your view around the piece so it feels full and cohesive?

You can determine what elements are more important than others by giving them more space, making them bigger, having them high contrast, setting them where line or shapes converge, giving them a lot of energy through color, marks, lines, etc.

Hierarchy, knowing which items are most important, is needed for most standard compositional arrangements as their placement can be successfully arranged based on them.

 

Space

When we talk about space, we talk about positive and negative space. Positive space is usually the action, the focal point, or an area of primary interest. The negative space is usually a background or an area where the viewer can rest from analyzing the more active areas. It’s also all the empty space around sculptural object.

Yes, these principles can get kind of complex that’s why I’m going to take these things one at a time after you get this overview.

 

Easy Peasy Composition- The Rule of Thirds

The Rule of Thirds provides an easy but very pleasing way to lay out your elements. It is also pretty dynamic while easily remaining balanced. Let me explain.

Imagine a tic-tac-toe grid laid over the primary view of your work, like it is in the opening image of this post. If you look at your work in terms of this 9 box grid, you end up with several choice positions for focal points and breaking up the space.

For instance, the points near where the horizontal and vertical lines intersect are great places to set a focal point as well as secondary focal points.

The grid can also be used to break up the space. If you want two background textures, instead of just splitting the “canvas” of your piece in half, you can put the stronger texture on just one third, covering 3 squares of your grid. The second texture would have more space but if not as visual strong as the other, that extra space would balance against the visual draw of the stronger texture. Again, that gives you balance.

 

Classic Composition – The Golden Ratio

Like the Rule of Thirds, the Golden Ratio is a kind of grid but this time, it is based on the ratio of the body and other natural occurrences—it’s a matter of proportions.

A Golden Ratio grid for composition is made up of Fibonacci squares which are a visual representation of a mathematical sequence of the same name. If you skip the math, you can just create the grid starting with any sized square then start adding squares that are as wide as the widest side of the shape you have at that step. The first time, it’s just the same size square but after that, it keeps doubling in width.

The Fibonacci sequence and this Golden Ratio are the basis of the natural world’s primary compositional method. The most often referenced example is the nautilus shell. The interior pattern is a Golden Spiral. Its shape will curve from corner to corner in every square in the GR grid. That’s because the widening of its spiral is based on the Fibonacci sequence. Cool, right?

My Ice plant brooch fits nicely in a Golden Ratio grid. I didn’t do this consciously but having studied the Golden Ratio quite a bit, it is very intuitive for me. It won’t take long for it to be intuitive for you either once you’ve worked with it a bit and start to recognize and feel the graceful balance of its compositions.

You can find these proportions (approximately 1.68 to 1) everywhere—in the proportion of your limbs (your upper arm to the rest of your arm, your whole arm to your body, etc.), the arrangement of flower petals, the way tree branches grow and split, even in the double helix of DNA. In other words, it’s everywhere and so we find order and comfort in it, even if we don’t recognize it consciously.

In art, focal points that land on that first tiny square turns out to be one of the most pleasing compositions to the eye. The grid can be oriented in any direction, flipped upside down or whatever. If the focal point lands there, you are pretty, well, golden!

 

Keep in mind that these compositional grids and standards I’m introducing are not used precisely. They are loose guides.

 

 

So, now you have two orderly, well balanced compositional arrangements you can use as go-to ideas for composition. These work best on groupings of elements like you might have on a brooch or pendant, single contained elements that will be part of something larger like the focal bead/element of a necklace, the primary view of decorative objects, and, of course, for wall art. They are also fantastic compositional arrangements for those photos you need of your art!

Try these out next time you are laying out a design, sketching, or snapping pics of your pieces. Scroll down for apps and gadgets to help you find these compositions in your designs.

 

Changing the Composition of Our World

I was so going to just let this post slide without any commentary on the news here in the US but I just want to add whatever unifying voice I can out there but I ended up writing a whole article about it! Since this is so not about art, I am not posting this here, but if you are at all interested in our understanding each other, perhaps my words here can be a helpful start or an additional push.  Go to my Facebook page here.

In other news, I do have Grayscale Value Finders back in stock for those of you who missed out on them last time. If you pop over to the Design Tool Supplies page, you might find another gadget, a compositional tool/ViewCatcher, available if it hasn’t sold out to the Art Boxer Club members yet.

Keep in mind that Art Boxer Members get a much more in depth article, exercises, and other articles on living an artistic life in the weekly mini-mag so if you like these posts, support this blog and your artistic endeavors by joining up here.

Beating Burnout

October 18, 2020 ,

Corvid sculpture from the rich imagination of Ellen Jewett. I don’t know where she draws her creative energy from, but I’d take a sip or two if she bottled it!

Do you ever get artists block? I’m not talking about times of procrastination or being afraid to start something but literally not been able think of anything to do. Does your brain ever just feel empty?

Well, this weekend, mine was, which was weird. I’m not usually at a loss for words, especially when it comes to blogging or writing articles. I usually feel like I can write about art and design nonstop and never run out of ideas. But, this weekend, I hit a bit of a wall.

What is that all about? Honestly, I think it’s about burnout and not just from my usual mad pace. I think many of us are running into burnout this year.

Burnout and blocks are often related in their causes. We all have an infinite number of ideas inside our heads all growing from our countless experiences, ever-growing knowledge, and ever present desires. So, I believe that it’s not that we don’t have ideas sometimes but rather that we are missing the keys to access them.

Without Resources

Although so many of us supposedly have all this extra time and flexibility this wacky year, we don’t always have the energy needed to navigate the constant changes, the stress, the worry, and, probably more than anything, the uncertainty while still juggling our family, jobs, and creative aspirations. Some days it’s just too much. Our well of energy goes dry.

I’m hearing this from a lot of artists. Some are wondering if they are burned out on their medium or their studio space or their creative time in general. Others are lacking motivation because there aren’t shows and fairs to give them those all-important deadlines. Still others, having lost major avenues of income with both in-person teaching and live shows on hiatus, are questioning the fragility of their chosen path.

What it comes down to is that the usual motivations that push us to create are missing. We don’t even have social engagements for which to create new pieces of jewelry for ourselves to wear or guild meetings to encourage us to complete work so we have something new to share. Many of our usual energizing motivators just simply aren’t there.

Signs of the Times

It has been noted throughout history that when there are traumatic and life-threatening circumstances within a society, such as war, famine, or major natural disasters, the people first focus on survival, initially neglecting most other pursuits. However, one of the very the first things that come back into society, once people begin to feel safe and secure, are creative pursuits. Perhaps we don’t all feel quite safe and secure yet, not feeling settled enough to bury ourselves and creative work but as the world starts to right itself, the creative urge will return. Take heart from that.

The other things very particular to this pandemic that may be making it hard to create are that we aren’t having as many novel experiences and are certainly deprived of a normal level of social stimulation. Both these things provide us with inspiration and energy to be creatively productive but they are rare commodities right now.

In other words, while the world and all the bad news is slowly but surely draining us of our day-to-day energy, our sources for renewed energy are spare to nonexistent. It’s really no wonder that so many people are feeling uninspired or burned out right now.

Filling Your Well

So, the first thing I want to say, to myself as well as you, is that it’s okay. Burnout is normal. Our creative path, and life in general, is not a smooth and even highway but more of a roller coaster. This will happen sometimes, especially in times like now.

The other thing I’d say is, rather than worry about any lack of productivity or trying to force it, do what you can to recharge your creative battery. Get out and go places and do things that you don’t normally do. Obviously, stay safe and follow all recommendations in your area, but go take a hike in a nearby forest or walk through an unfamiliar part of town or go photo hunting (a kind of self-structured scavenger hunt but you are gathering photos rather than things). Just come up with things that you can do safely but that are brand-new and interesting to you.

Getting out and doing new things will create new pathways in your brain which will, in turn, energize it and keep your mind fit and flexible. As you get older, new and novel experiences become more and more important so never lose your adventurous spirit. Those same mechanisms that help keep your brain young also keep your creativity flowing, as shown by a number of recent studies. In fact, at least one study suggests that creative thinking is boosted most after weird or even traumatic experiences. If that’s true, we should all be insanely creative when this period in world history is over! There’s another reason to take heart I suppose.

Besides novel experiences, also be sure you are getting some kind of social time in. Sure, it might have to be a zoom call but, if it can be done safely, a socially distanced backyard or front yard gathering (while we still have some weather we can sit outside in) with a handful of creative friends or family can do so much to boost your spirits and energy level.

I myself am going to heed my own advice. Next weekend we are going to take out the camper van conversion I’ve been working on and do a little van camping. That’s the other thing. Sometimes burnout or creative blocks just simply need space and time. We can try to barrel through it – and I often do just that – but sometimes we really just need to kick back and relax and let the mind “marinate” on life and our present experiences. Combine some downtime with some new experiences and, if you can swing it, some socially distanced social time, and you are sure to come back with renewed energy and inspiration.

Why Size Matters

Fanni Sandor creates exquisitely small and biologically accurate creatures in polymer clay and mixed mediums. Her choice to go small is born of a fascination with minature art and we, likewise, are fascinated by the tiny masterpieces. See more on her Instagram page.

What size art do you work in? Have you even ever thought about that? Do you work small, big, or a nice moderate middle size?

I think many of us have a limited size range that we feel comfortable working in and rarely, if ever, venture outside that range. There’s nothing wrong with that but it does beg the question, do you think about what the appropriate size is when you create something?

As you might be guessing, if you’ve been reading my blog or design articles for any length of time, I’m about to point out that making the decision about the size of your work can help to fulfill your intention.

(Do you ever think, “If she says something about intention one more time…!” Well, I do hope it’s not annoying. It’s just that important!)

Size in art simply refers to how big or small something is. It is used in a variety of ways to emphasize, organize, assist in functionality, and symbolize the intention of the artist. A lot of the size choices made have to do with relativity – something can only be called small if something else is big and vice versa.

In design, this is actually a principal known as proportion and scale. Proportion is about the relative size between two or more objects or elements when they are grouped together or juxtaposed. Scale refers to how big or small something is compared to the general understanding of how a thing usually is or should be. For instance, we expect a chair to be sized for human beings to sit in and a teapot big enough to hold several cups of tea. Anything significantly larger or smaller than these expectations would be a change in scale.

Scale represents an interesting concept in that it makes note that we do have expectations about how big or small thing should be. That may sound like we have some kind of undue constraints placed upon those of us who create, but actually, scale gives us an opportunity to step outside those expectations and make a point.

As mentioned above, size can be used emphasize things. Making something bigger than expected usually draws attention, so if you created a beaded necklace with beads as big as golf balls, those are definitely beads that are bigger than normally expected.

The same concept of emphasis works with proportions. Let’s say that you only made one of those beads as big as a golf ball in the previously mentioned beaded necklace and the rest of the beads were of a more reasonable size. In that case, you would be drawing attention to the big bead as a focal point. Size allows you to direct the viewer’s eye and their impression of the work.

It may seem that bigger items will be more impressive or have a bigger impact but, honestly, very small artistic creations can be just as fascinating, sometimes more so due to the skill needed to create beauty in such a small space. I think you can see that in the opening image of this post. Small art requires the viewer to come close to it to really see the details, creating an intimacy between the viewer and the piece.

So, have you ever thought about these considerations for size when creating your work? Don’t worry if you haven’t. It’s not that uncommon for size to be determined in some arbitrary or organic manner. And I’m not saying that doing it that way is wrong, but you could be missing out on an opportunity to better express your intention if size was a conscious decision.

 

A Sizable Story

One of my high corset collars with stitched copper and polymer embellishments.

When I was a working artist, I often made decisions about size based on what I thought people would want. It wasn’t a particularly conscious choice, more of an aim not to make pieces too big. I was not trying to make statement jewelry, but rather something that could be comfortably worn all day, or so that was my train of thought.

I can’t say what got me to start thinking about size, but at some point, I started to ask myself why I was afraid to go big. So, I started to push myself, making big collar pieces that would sit as high as the jawline and come down to the collarbone. Some were a little crazy, some were so uncomfortable, but I still found so much joy in making all of them.

I found something freeing in pushing myself beyond what I thought my market would like. And, as it turned out, my market liked them big too. I sold every one that I put up for sale. They never came home with me after a show. So, what I discovered was that the sizes I had been working in were completely self-imposed without any supportable basis for my choices other than my own fear of not being able to make a sale.

Once I realized why I had been working in those smaller sizes, I was able to start making decisions based on what the work needed to be instead of what I thought the market might want. For example, if I was going to make an ornate piece with the intention that the wearer feel like a queen, I would probably decide that it should be big and bold, not small and delicate or demurely moderate, to better emphasize the feeling of nobility I wanted it to embody.

 

Georg Dinkel works large when he is trying to make a point about our reverence for technology, like with this iPhone docking station titled IReliquary.

What’s Your Size?

So why do you work in the sizes that you do?

Is it purely functionality or rooted in the idea of what people would expect the size to be?

Is it limited by the tools or forms you have on hand, or by the capability of the materials being used?

Do you let the size come about organically or unconsciously or do you make a conscious decision about size based on the impact or response you would like the viewer to have?

I truly don’t believe that there’s really a wrong way to determine the size of your work but, like any design element, you are only truly a master of it if you are aware of its possibilities and make conscious choices.

So maybe this week, think about the size of your artwork in terms of your intention. Look at pieces that you’ve made in the past and ask yourself how the look and message, if there was one, would have changed if the piece had been smaller or larger. And in the next few things that you design, ask yourself what size piece would best serve the artwork before letting your tools or expectations of scale determine it for you.

 

Goodies are About Gone

Support this blog and your creative endeavors … join the club!

If you didn’t see the newsletter yesterday, I shared the stock I have left for a few special items that were first offered to Art Boxer Club Members, but a couple things are sold out or nearly so already. These are limited items that I will periodically offer publicly, without the discounts or freebies club members get, when there is extra stock, so if you can’t join us in the club, keep your eye out for my newsletters and sign up here if you aren’t on that list for my next offering.

Getting first dibs as well as discounts and freebies is one of the advantages of being part of the Art Boxer clubs, along with the weekly mini-magazine pick me up you get in your email. (The Art Boxer Success club that includes coaching is also unavailable at this time as spots are full up but I do have a waiting list going – just write to me if interested.)

These limited supplies are available on this page if you are still interested.

 

All Quiet on this Western Front

I have little to report on the home front. I did go in in for a small surgery Thursday only to find out I’m going have to go back in six weeks or so from now to have it completed. Nothing is straightforward and simple this year, is it? So, just trying to make myself take it easy this weekend although I am just a horrible patient in that regard.

Next weekend, assuming nothing else weird happens, my better half and I are going to slip away for the weekend to test the camper van conversion we’ve been slowly working on. I do plan to put something for you together before I go so you should still be able to visit with me next Sunday.

In the meantime, all your hopes and plans, big or small, all go off as intended this week!

Preciousness

Kathleen Nowak Tucci going big with not-so-precious intertubes and other disposables.

What would you say if I suggested that you create a piece and then, after you are done, remove your favorite bit? Yes, I realize the request might be physically impossible without causing complete destruction but, alternately, what if I asked you to destroy something you just spent your valuable time and effort creating?

I know you might be wondering if this is some kind of dreadful crafty torture. Why in the world would anyone ask that of you and what would be the point?

Well, this was done to me and a couple dozen other classmates back in college… twice.

The first time was in a creative writing class. We brought in a piece we had been working on all week then were asked to highlight all of our favorite lines. We passed the highlighted sheets to the person next to us and then the professor asked that we scratch out all the highlighted lines in the story we had in hand.

Of course, all us sensitive little budding Hemingways and Dickinsons sat there stunned and appalled as our pieces were read aloud without the sparkling gems that we thought would certainly reveal our genius. Strangely enough, all but one of the pieces still made sense and sometimes, the author even admitted it sounded a bit better. The point was, the professor said, that we tend to fall in love with phrases or sentences and will leave them in even when they don’t serve the piece.

The point was that without our wittiest word choices we could, in theory, make better editing decisions. In art, is it possible that we could make better design decisions if we were willing to set aside the glitzy accents we love so much or not fall back on our favorite tried-and-true textures all the time?

The second time I had a professor crush my little angsty ego was in a ceramics class after we each had done a small series of slab vessels. The professor asked us to pick up our favorite piece, bring it to the center of the room, and hold it up. We were then asked if we would be willing to drop it from a height into the trash bin that sat there. Of course, no one did it at first and he just stood there waiting until a couple brave souls let their pieces go. Then the pressure was on for the rest of us to follow. Even though I wasn’t particularly attached to the piece I had in hand, it was still so hard to drop it but I did. I seem to recall that a handful of students did refuse.

Sounds like a real jerk of a professor to ask such a thing, right? Well, I have to say that, at first, that’s what I thought but then he started to talk about preciousness. His conversation had something to do with becoming too attached to particular pieces. He wanted us to put value on our process, our growth, and learning, not on impressing him or our classmates. I think he was also looking for a way to wake us up as he had been getting frustrated with our attention span during the lecture portion of the class. Well, he sure did that.

I remember thinking about that lesson some years later, when I was better able to take it in. It made me realize that each successful piece I made was really just a step in a journey more so than an end goal unto itself. That changed the way I looked at my work. And it somehow made me braver.

I still did, and do, have favorite pieces that I cherish and will never sell, but seeing the work as steps and creation as a process rather than an investment of time in an end goal has allowed me to work a bit more freely. I have a ton of pieces that remain unfinished, and although it’s disappointing every time to come to a point where you realize it’s not going to succeed how you wanted it to, I don’t have any qualms about setting it aside. I don’t see the work as wasted because I know I’ve gained a little bit more experience and a little better understanding of the process. I’ve let go of the preciousness I used to have about everything I made.

Preciousness arises not only in our valuing our time to such an extent that we will not give up on a piece even when it’s no longer salvageable, or ignoring possible design solutions because they would eliminate our favorite part, but it also happens with the material itself.

Liz Hall creates in polymer and (a lot of) precious metal clay.

Quite a few years ago, I was itching try precious metal clay but it really wasn’t in my budget. Then I found some at a really great price and bought it. But you know what? I never even opened the packages. I just couldn’t get myself to work with this very expensive material for fear I would ruin it. But, of course, it’s rather wasted now that I’ve had it so long that is not workable. Pretty stupid, right? But we can be like that, putting value on the material and not on the process and the joy that we get from learning and creating.

Preciousness is tied into fear and failure in a lot of ways. Our idea of what we think we can do or what we think we should be able to do may be so lofty or so dear and treasured that we are afraid to try, fearing that we will make a mistake and ruin our efforts or that it will not come out as we imagine it. So, we do nothing, which is the same as ruining it, just really early on.

We may also get to a point in a piece where we love it so much that we are afraid to take the next step, a step that might spoil it, and so we set it aside, with all the best intentions to take that next step at a future time but all we’ve done is deny, or even end, the work’s potential.

I thought we’d start out this month on the concept of preciousness because it felt like a good segue into discussing October’s design theme – size.

Preciousness is one of those factors that comes into play when we decide on the size or scope of the work we will take on. Our sense of preciousness can make us hesitate to do something large or particularly complex, as we may fear that we will invest a lot of effort, time, and materials into something we are not assured will be successful.

Julie Eake’s cane mosaic portrait of actress Sophie Turner was, like most of her cane mosaic portraits, a huge undertaking. But aren’t we glad she takes those risks?

But, again, have we not already failed by not attempting it in the first place?

If we looked at everything we create as precious, all the time and effort that we put into it as well as the finished work, we would have to play it rather safe in the studio. However, art is not about playing it safe.

Art is largely about the risks you take.

If you’re not taking risks, then are you actually creating art? There’s nothing wrong in creating just for that sense of accomplishment or the high of that Zen like flow we fall into when the work is familiar and comfortable. It is more than valid to have the process of making things with your hands be the primary purpose in what you do. However, it’s the hours of exploration, the failures, the false starts, our vulnerability, the deep digging, like miners looking for gold, that makes the work that we inevitably uncover truly art.

The risks we are willing to take is the thing that is truly precious.

 

So, keep the concept of preciousness in your mind as we talk about size this month. Of course, we’ll talk about variation and contrast in size since that is what is primarily being referred to when speaking of it as a design element, but there are other things about size that we can take into consideration as we create, move forward, and grow as creatives.

 

Speaking of considerations…this week, I am going to have to take my health into consideration, so although I do plan on preparing a blog for next weekend, if it ends up being short or skipped it’s because I’m having a little surgery towards the end of the week. It’s just my esophagus and I should recover in all of two days. I have to fit in all my usual physical therapy before then though, along with all the regular weekly business tasks so it will be a full week.

Don’t worry though – all you club members will get your Midweek Mini-Mag as usual including a goodies giveaway so you can look forward to that if you signed up for one of the clubs.

 

If you haven’t signed up for one of the clubs yet but really appreciate the information inspiration you find in this blog, help support this project by subscribing! Get your weekly mini-mag, exclusive discounts, giveaways, and special offers along with your support. With everything you’ll get, you can also think of the club as a unique and special way to acknowledge the preciousness that is your creative self!

Relationships in Texture

September 27, 2020 ,

Evgeniya Aleksandrova has a rough texture over everything here but varies the depth and pattern of the texture as well as the color.

Since we talked about tactile texture last week, it would seem logical that I would talk about visual texture this week.

But I’m not! I don’t want to be too predictable!

No, that’s not why. Actually, it’s that most of what needs to be said about visual texture has to do with the usual recommendation of choosing characteristics that fulfill your intention. If you read my blog, even sporadically, you’ve heard this before.

As long as you understand that visual texture is a purely visual variation on or within a surface (such as marbling, mokume, ikat, or any application of an ink, powder, dye or paint medium), then, as described in the post from the week before last, you can choose visual textures simply by coming up with adjectives to describe your intention and do likewise with possible visual textures and match them up based on similar adjectives. That is the core of the approach for working with visual textures.

So, that being established, I’d like to, instead, talk about another thing you’re also familiar with if you have been reading the blog for the past couple months but which we have yet to specifically associate with texture.

Creating a Relationship

Last month I talked about choosing color palettes in terms of contrast and similarities. But guess what? Combining different types of textures also plays by the same basic rules of contrasts and similarities.

I love how Joy Kruze echoes the spots in the stone with the spots of metal in the texture created in the spaces between the metal lines of her unusual bezel

Most work you create or look at probably has more than one texture. It could be a combination of smooth and rough textures or a variety of different rough textures or variations of smooth ones. You may often combine tactile texture and visual texture, as well. What these combinations all achieve is variation. Variation in texture is pretty instinctual for most creatives, as is a desire for variation in color.

The variation between textures can be heavily contrasted but, like color, it helps to have at least one similar characteristic so there is some relationship between them. With texture, you can actually use other design elements to create that relationship such as using the same or related color or a similar shape for the texture’ s space. Once you have that similarity, everything else can be contrasted.

But what about using similarities between the characteristics of the textures? For instance, you could create only rough textures but vary how that roughness is created. Or all your textures could be stippled holes but you vary the shape or size of those holes.

 

Just as you need similarities, you’re probably going to want variation, too, not only to create contrast, but also to create shapes, layers, and compositional direction (which we will get to later this year).

The Need for Variation

Variation, as always, adds some level of interest, energy, and complexity to your work and you can adjust how much you add of these by adjusting the variation between textures (or any design elements) – from subtle to bold or somewhere in between.

Let’s say you want to make a piece with a strong graphic look. You’ve already chosen hard edged graphic shapes and bold colors. What about the texture? You might choose a slick, glossy surface as a primary texture. Now, what other textures can be used to vary the surface but have it still related to a glossy one?

Hélène Jeanclaude creates glossy surfaces on all parts of this necklace but between mica shift and mokume, and the contrast of colors, she creates variation and lots of energy.

If you want to go subtle, you could stick with variations on smooth textures such as a matte or satin finish. Alternately, you can choose to rough up the surface but in a very orderly way similar to the orderliness of your graphic shapes. This can be done with a series of dense, parallel lines, or a dense but orderly mark.

As long as the marking of the surface is the only thing that changes, then all raised portions of the comparatively rougher texture will be glossy. That will give you your similar characteristic – the gloss of the smooth surface and the occasional gloss of the rough surface.

This is not to say that you can’t have textures that are completely and utterly different. The extreme contrast could be, in and of itself, a relationship. That difference will cause tension or discordance, but that could be exactly what you want.

Here are just some of the characteristics in texture that could create similarity or contrast:

  • Tactile or visual
  • Smooth or rough
  • The quality of the finished surface (glossy, satin, matte, or chalky)
  • Type of mark, technique, or tool used to create the tactile or visual texture
  • Organic versus graphic styles
  • Size (how much space each texture takes up)
  • Direction (if the texture visually flows or moves from one part of the piece to the other)
  • Shape of the space it is applied to

A visual texture shows variation in density and repetition of the dots that make up this surface. Melanie Ferguson actaully etched the surface and then polished it with cold was so she has smooth tactile but rough visual texture on her surfaces.

As you can see, other design elements can become quite intertwined with texture. Marks, lines, size, direction, and shape all can play a role in the similarity or contrast of areas of texture in your piece. It really doesn’t take much for us to see a relationship between textures. If it’s there, we’ll see or sense it and the design will feel more cohesive for it being there.

Since that texture relationship can be, and often is, developed through other design elements we work with, this is not always something you need to be wholly conscious of. But, if something in your work is not looking right, check for the relationship between your textures as well as your colors and other elements.

And, if next time you are looking at your work and feel like it needs some contrast in its tactile or visual texture, just look at the dominant texture that you have and, using it as a starting point, choose possible other textures or design options that will create at least one similar characteristic, still provide contrast at the level that makes sense for you piece, and has characteristics that recall the theme of your work.

 

Last Days for Club Discounted Forever Pricing

3 days left to join the Devotee or Success clubs at the FOREVER discount price so you can get first dibs on limited stock offers, discounts, and goodie box giveaways, all while getting a mid-week mini-mag of brief articles to keep your creative energy and ideas going. And right now you can also get in on it with a 2 week free trial! .

So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club 0r buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.

 

Visual Contrast … Out of Doors!

Packing up to take the camper van conversion for a test drive up the coast, just one night. That’s been my little side project that I’ve been getting myself lost in for an hour or so most days. It’s not completely done but good enough for one night out for my better half and me. I need some contrast between life inside this lovely home of ours and the outside and distant world! So, I am off. I hope you all are looking for new and novel things to add a bit of excitment and contrast in your lives as well!

 

 

Tactile Allure

Melanie West’s satiny smooth finish has a heavanly tactile texture even though many people might think of her pieces as being textured because they’re so smooth. Yet smooth is actually one of world’s most loved textures.

How often do you touch art?

No, I don’t mean being the unruly museum visitor who gets yelled at by the docent, but in your everyday life, how many things do you touch that you would also consider art?

Works in the applied arts, which encompass decorative art, adornment, and functional objects, are often things that we touch. Because of this, the tactile texture of most applied art is exceedingly important. Not only can the wrong texture put someone off from buying a piece, but the right texture can make a huge difference between people liking your work due to its visual appeal and being utterly in love with it because it feels so good to touch. It is also another means by which you can express your intention.

Choosing Tactile

The first time I touched a Melanie West polymer bead, it was like taking a bite of the most heavenly chocolate mousse. Her finishes are flawless and so soft; my fingers just couldn’t get enough. That kind of tactile reaction is golden. It also supports her soft and organic themes. As wonderful as her finishes are, that kind of texture may not be wanted in your work or may not even be possible due to techniques or materials you are using.

The point is that her textures are part of the experience of her work and, if you’re creating things that will be handled, you too should consider the experience of touching your piece as part of its aesthetic value. As always, let your intention drive your decisions, but pay attention to the physical sensation experienced when handling the work and aim to have it support your intention, alongside all your other design decisions.

For instance, if you want to share your love of the beach through your work, think about the physical sensations that stand out the most – the soft breeze on your face, the refreshingly cold water on your feet, and your toes digging into cool sand. Now, how do you translate those physical sensations into tactile texture that will help you share that experience to those who will handle your work?

You can do so by thinking in terms of those adjectives – soft, refreshing, and cool. You probably want those to be the dominant sensations so don’t go for, say, a sandy texture just because the beach has sand. Is a gritty, sandy texture going to convey soft, refreshing, and cool? Chances are, it’s just going to remind someone of getting sand in their shoes and other uncomfortable places. You can create a visually sandy texture that includes sandy colors and a speckled look, but in terms of tactile sensations, going for a soft, maybe matte surface that will feel cool and soothing to the touch will share something closer to the sensations you want to relay.

Felt may have textural limitations but the final texture is still a choice. Olga Demyanova contrast a tight, even texture with the rippling and rougher orange edging and accents in this intriquing handbag.

There are a lot of materials that have limits on the tactile textures available. Polymer clay can replicate most tactile surfaces except for fuzzy, but felted work is limited to that dense and slightly rough feel of matted wool while glass will almost always have a smooth aspect. There are also techniques that create their own texture or limit how you can further manipulate the material to create texture. Learn the range of tactile sensations available in the materials and techniques you use so you know what options you have.

 

Work that Begs to Be Touched

There are a couple things you can focus on in order to create work that people will love to touch. It primarily involves smoothness and variation.

 

Smooth Surfaces

Our sense of touch enjoys traveling along a pleasantly smooth substance such as polished metal or stone. But what we like most is softness, such as a fluffy blanket or bunny fur. Softness is a type of smoothness as it allows our skin to glide across, unimpeded.

Note that you can re-create the look of fluffy and furry textures in hard substances such as clay or wood but you can’t re-create the same associated softness because, in those materials, you lose the ability for our fingertips to effortlessly glide across it in the same way due to the unevenness in a hard surface. So, recreating the look of fur doesn’t necessarily re-create the tactile experience. The ‘look’ of fur is just a visual experience.

So, be careful to think of smooth tactile texture, not in the way it looks, but the way it feels.

 

Klavdija Kurent gives the wearer of her jewelry much to explore with their fingertips.

Variation

Our fingertips were made for receiving information, and lots of it, so they do very much enjoy a variation in texture. However, we don’t normally enjoy variation that is sharp, prickly, scratchy, or sticky. These textures make it hard for our fingers to glide along and take it in, not to mention that they are also often painful.

However, bumps, grooves, and fine lines excite the nerve endings. It’s just like the sense of taste – we aren’t too happy with things that are bland but a lot of flavors that go well together thrills our tongue. Our fingers, likewise, enjoy complexity.

 

The Best of Both – Smooth and Varied

I think you’ll find that pieces with both a smooth and varied surface attain the pinnacle of touchableness.

Take a look at the pearled bracelet here. It is not even in your presence and you probably still feel a tiny urge to reach out and touch it. That’s because each half pearl has a small, smooth surface which is further aided by the round and unimpeded nature of its shape as well as there being a varied field of them.

The combination of smoothness and variation in this bracelet makes for an engaging texture, adding energy to the piece both in its tactile and visual nature. Note that this also has a bit of rough texture around the edges to provides textural contrast. Because contrast is important in texture too!

The contrast of texture fit well into my intention of showing the classic perfection and allure of pearls in an organic setting. I wanted it to be a subtle reminder of the messy world pearls actually come from even though we now associate them with neat, tidy, and conservative dress.

 

The Tactile Balancing Act

The textures you choose will dictate limitations in terms of surface treatments and other parts of your design, so you have to balance out your tactile texture choices with your other design choices. For instance, if you create a deep and dense texture on a light color, it’s going to appear darker, which you might not want.  Or you may want a very smooth surface but want pattern to raise the energy so you would have to figure out how to incorporate pattern visually with inks, veneers, or other smooth surface applications.It just needs to make sense for your intention and the limitations of material.

If your tactile texture decisions, weighed in light of all the other decisions you have to make about color, shape line, function, etc., are chosen in service of your intention, you are sure to have a beautiful, cohesive, and interestingly touchable design.

 

Should I Call Them Mini-Mags?

The first week of the Art Boxer Clubs has commenced and one of the first comments about the weekly Pick-Me-Up is that it ought to be described as a mini-mag. I guess it is. It’s hard to take the magazine attitude out of me. There were 5 little articles and a good handful of links for further exploring.  So, yeah, maybe it is a mini-mag. I might have to rethink what I call it.

But regardless of what it’s called, joining the club will get you a little extra boost each week and at least once a month, you’ll get a special discount, a first dibs or limited stock offer, and/or a giveaway. And right now you can get in on it with a 2 week free trial and a FOREVER discounted rate.

So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club (there are only a few spots left in this upgrade to personal coaching option, at least as of my writing this), or buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.

 

No Fires Here

We are still a safe distance from all the fires and the sky has started to clear up from the smoke so nothing too exciting to report from Tenth Muse central. I’ve already gotten started on the next project but I don’t want to say too much about it. It seems like every time I say something, I get jinxed and delayed. So, you’ll just have to stop by and check in with me on the weekends, or read the newsletters, or, if you want to be the first to know, join one of the new Club options as Art Boxers will be the first to know (as well as getting extra discounts … just sayin’.)

 

I hope you all have a relatively unexciting week yourselves. It’s not like we need much more excitement with the craziness of the world providing plenty already. Just go make beautiful things and be kind and caring to each other.

The Story Within

July 14, 2019
Posted in

What is it about faux damaged and worn surfaces that we like so much? I mean, it’s everywhere – crackle, antiquing, weathering, patina, torn edges, scratching, distressing – these are all widely used surface techniques in art and in all kinds of decor. But have you ever asked yourself why we are drawn to things that are breaking down and degrading?

Let me say right out the gate, I absolutely adore this kind of surface treatment so don’t stop reading because you think I’m going to try to dissuade anyone from using it. But I do think it’s interesting that artists of all kinds are interested in it and wondered if you ever considered why people, in general, are so attracted to it.

I’ll give you the answer in one simple word – story. Things that are worn, show signs of use, and show the passage of time, have a story, history, a connection leading into the past lives and worlds of other people and places, or are a connection to our own past. Human beings love story. Civilizations of all kinds, and through all time, have told stories or sung songs to keep a culture, event, or person alive in the community or society. Communities everywhere collect evidence of the past – both their own and of others – and engage in the exchange of stories through nearly everything that we do and attend to including banter and gossip, entertainment, all our print and spoken communication sources , and all kinds of visual forms including, and maybe most especially, art. So, it’s no wonder artists love to recreate that innate sense of story by creating the look of aging, wear, breakage and weathering.

Now, you may think you simply like the look and any attraction you have to aged looks has nothing to do with the potential history something might have had or the stories that you could make up, consciously or unconsciously. The thing is, whether it is faux or real aging, we will always associate the look of something worn and weathered with the past and the past means history and history is, well, hi-story. It’s never just what we see that draws us. It’s what we associate with it, what our experiences tell us and our emotions evoke.

If these looks were just about the visuals, more people would be drawing inspiration from gory and grimy imagery alongside the pretty, intriguing, and more benign sources. (There are definitely people who draw texture from gore and grime but they’re not usually doing it to create something with a comfortable, aesthetic beauty.) So yes, the worn and weathered textures are beautiful, but it is psychologically attractive because it represents the passage of time and it’s interaction with the world and us.

Understanding that it is story and not just the beauty of these aged and distressed textures can take your work and designs into a more complex and rich realm because, instead of just thinking “This is a pretty texture, I want to make something with it,” you can start asking yourself, “What is the story behind this texture and why do I want to put it on this piece?” Or conversely, “Why do I want to make that texture into a piece of art?”

This is not to say that you have to write up an actual story or history for the piece that you’re making. I think just being aware that what you’re putting forth does represent a history will help guide you in your choices. After all, the viewer of your work isn’t necessarily going to know what story you associate with it but they will insert their own story, or an emotion associated with a story that the textures elicit, and the whole of the design should support the idea of its history or use.

Let’s look at some work with some of our favorite worn and weathered textures, and not just polymer either – I think we need to branch out a bit, especially in this subject matter, to see just how ubiquitous this type of texture is in art.

 

All a Story is Cracked Up to Be

Let’s start with an example from an artist who is obviously all about the story in her artwork. Christine Damm’s website and shop name is, after all, “Stories They Tell”. All her work looks weathered or worn, maybe a bit beaten and dinged, but she’s coaxed a persevering beauty out of these rough, color strewn treatments with consistent intention. This piece of Christine’s includes parts of an old vintage hand beater whose actual history of use, neglect, and, now, adoration, is echoed in the polymer clay and combined in a tribal-esque design.

This piece was actually the opening beauty shot for Christine’s article, “Found Fusion: Designing with Polymer & Found Objects”, in the Spring 2016 issue of The Polymer Arts. It’s a fantastic article that will really get you thinking about how enriching found objects can be when added to your work. We still have copies of that issue in print on our website here and you can read more about Christine’s and her process on her website here.

 

Nadezhda Plotnikova’s “Sunny necklace”, below, is aptly named. Although the surface of the focal beads is quite crackled and the other beads have a rough, weathered look, the necklace is anything but worn out looking. The bright and light colors convey that “sunny” emotion while the surface treatments give it a relaxed and comfortable feel. It’s that same kind of feeling you get from your favorite well-worn comfy jeans (and don’t those jeans have stories!), only with a bit more pizzazz. It seems like the individual beads here would have the stories, though, and the necklace would be a recent gathering of them. Like maybe it could be a collection of old sun-bleached coral washed up on a distant island combined with wave-worn, fantastical rocks, all found and brought together by some seafaring adventurer. Or something like that. What story do you come up with when looking at this?

 

Like Nadezhda’s above, Tamara of Block Party Press has chosen a light theme for a necklace of visually distressed beads. Her’s however, comes in the form of stylized daisies but the color and treatment is on the dark and heavy side, with its worn-out whites over a dark brown base. It’s a kind of a subdued approach to what we have above, being much less dramatic. I also feel like it’s the kind of thing you might have found in the back of your mother’s jewelry drawer, forgotten and dusty, and just exuding nostalgia. It absolutely begs for a story to be wound around it. It’s the kind of piece that I think would feel instantly a part of your personal history even when new.

 

Some artwork does not just imply story but is actually created from a story. Our featured artist in the #3 issue of The Polymer Studio is an avid researcher and history lover from Brazil quite inspired by interpreting story. Beatriz Cominatto created the pieces you see in the opening of this post and the one below as part of a series inspired by the native work of the Marajoara people. She researched the history of Brazil’s Marajo Island and the archaeological finds there extensively before starting the series and then developed this into quite the elaborate art installation, complete with simulated archaeological work. These pieces imply story even when you even to those uninformed about Beatriz’s inspiration, due to the consistently applied signs of age and the tribal design.

You can see and read more about this Beatriz’s work, in the next issue as she is our featured interview. She has had the most amazing artistic journey! She’s had a lot of hurdles to jump being so isolated, primarily language-wise, in Brazil, from the rest of the polymer community and yet she grew polymer as an art form there almost single-handedly, even helping to develop Brazil’s own line of polymer clay. You gotta read this article! You can also find out more about her Marajoara series on her feature page in Polymer Journeys 2019.

 

When I think about cracked and torn pieces in art jewelry, I always think about the metalsmiths. There’s something about taking a jeweler’s saw and developing cracked layers, revealing the jewels or textured surfaces beneath. Both the metalsmiths and admiring collectors seem to be quite drawn to it as the treatment is not at all uncommon. Lexi Erickson’s penchant for this kind of treatment is often paired with pitted and worn metal as in this pendant below.

It almost feels like Lexi’s piece was torn from some old piece of machinery which could lead you to wonder where and what that machine was and maybe what the machine’s purpose was and whether its maker ever imagined it would become a piece of jewelry. No, I’m not saying that’s what she did but that’s the kind of story, or at least e a sense of story, this type of work can invoke, all because of the thoroughness in her treatment of that one layer.

 

And what about this amazing conglomeration of worn, cracked, scratched and yet intensely beautiful surface treatments on this ceramic vessel below? Lesley McInally’s work is often reminiscent of an old doorframe much in need of painting or the corner of a crumbling old house where the plaster and frame have started to show. And that red dot … so simple and yet it adds so much energy and drama. I don’t think it’s supposed to be blood, but it could represent something of that sort. It really depends on where your mind wants to go with the possible stories buried here.

 

Creating Your Own Story

So, I want to give you a little, fun challenge today. Go take a look at some of your more elaborate pieces or, if you don’t have anything of your making at hand, look up some of your favorite pieces by other artists. What is the story, for you, in each piece that you look at? Tell yourself as much or as little of the story as comes to you in the first minute or less. Do this with at least 3 pieces, maybe 5. You may discover, during this process, a story in a piece that was only unconsciously there, but once you ask yourself about its possible history, it may become quite obvious. How exciting is that? Or do all of your pieces already come with a fully realized story?

Some artists do work that way, creating full-fledged stories for all their work, although I think it’s more predominant with people who create figures, animals, or creatures of some sort. I learned to do this with my art jewelry, mostly because, when I was selling, I made sure each piece had a title because that really helps to get potential customers thinking about its story and since they write the story, they tend to find a connection to the work, making it much more likely that they would buy the piece. I have a whole article about naming your pieces and the advantages of this in the Fall 2014 issue of The Polymer Arts if you want to read more about that.

 

My Own Story

First of all, I want to thank all of you who wrote me little personal notes about my physical well-being. You’re also sweet! Mind you, it’s nothing serious but chronic tendinitis does make it very hard to work, I have to say. But I have my workarounds. And for those who wrote me about the earthquakes… I grew up with them and although they are scary in the moment, us native Californians just take it in stride. There were no major injuries from these quakes as it was centered in a fairly unpopulated area and deep in the earth. We were rolling around quite a bit here but nothing even fell over, which was a miracle considering the state of our house.

As for this house renovation, we are supposedly really close to being done but it still looks like a wreck and everything is covered in a layer of white dust from all the plastering. It feels like it’s going to be months after they finish before the house is back to normal, just because of all the house cleaning we get to look forward to and all the organizing. It’s going to be like moving into a new place! Well, it is mostly a new place now, actually. Which is cool! But a lot of work.

The good news is that we do have nearly one whole bathroom done, which is really nice, to say the least. We’re doing the painting on it to save us some bucks while the crew works on the kitchen and tiling the other bathroom. I’m training the family on painting and other home improvement stuff. It’s become quite the family project which is pretty nice. We get to spend paint-spattered time with the teen before she goes off to college in a couple of months!

 

As for work here at Tenth Muse headquarters, I’m still working on polishing the next issue of The Polymer Studio which is going slower than I’d like because of the tendinitis but I’m going to keep at it. I hope to have the actual publication date next week so stay tuned!

I hope you are enjoying your weekend and have a little time to go and find some of the stories in your work–you’ll love doing that! I promise. Have a great week!

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Questioning Focus

July 7, 2019
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“Fabiclay” brooch by Klio Tsaliki

Are you one of those people who finds an interesting path and goes down its until you find the end or do you like to wander about? I know that’s kind of a vague question, but you could apply it as a metaphor to goals in your life, the path of your career, or the way you create your artwork. I recently read some excerpts by Thomas Edison on the importance of keeping focused. He said, “The one prudence in life is concentration, the one evil is dissipation.” I don’t know if I wholly agree with that or, at least, I think it’s not so readily summed up in one tidy sentence.

I bet you can come up with at least a couple of artists off the top of your head who have come up with a treatment in polymer clay that they create with almost exclusively and have become quite masterful at it. But I think you come up with quite a few artists who consistently try different things, exploring, growing, and changing their style and focus on the artwork. Would you say that the person who focuses is probably doing better work than the person who is constantly exploring?

Perhaps it’s because we are talking about art that I can so readily dismiss Edison’s comment. I have always thought that, for most artists, art is about the exploration. I think if you find one technique and worked very hard to perfect it, you might get overly comfortable because you will more likely succeed with each successive piece as you hone your skill. And yes, I am presenting that as a possible problem. I am a strong believer in the value of messing up and creating pieces that “fail” on some level. It’s those experiences that really teach us and allow us to grow as artists. However, I do think that masterful artists who stick with one approach do, especially in their mind, make a lot of mistakes and have numerous pieces that failed or fell short of the artist’s expectations for every piece of work we would deem a masterpiece.

The bottom line is, I think whatever journey your imagination and curiosity leads you on is the right path to follow with your creative work. Don’t fight it if you like to stick with one technique and refine it over and over or if you get easily bored once you feel you’ve mastered something enough to understand it and want to move on to the next challenge. The journey of our creative process is as individual and unique as our own artwork.

Let’s look at a few examples of people on both sides of this coin – those dedicated to a primary technique and those that constantly change their focus. Then you can decide for yourself if Edison had a point or not.

Single Minded Tangents

There are so many artists that come to mind that focus on a single technique or process and have mastered it to a mind-blowing extent. Elise Winters is one of the first that comes to mind when it comes to technique. This surface treatment was her signature and her legacy and no one, that I’ve seen, has yet matched her skill with it.

 

When it comes to form, I don’t think anyone else in the polymer community has made more of the same form than Ron Lehocky with his hearts. But here’s an example of staying focused on one thing while exploring just about everything else you can. He’s made tens of thousands of hearts and no two are the same. Here are examples of the variations he came up with from a single Skinner blend.

 

One of the most masterful and single-minded people of process would have to be Jon Stuart Anderson with his cane covered animals and functional objects. Although caning is his focus as far as technique, he is constantly exploring pattern and how it affects the form. It’s a subtle exploration but if you look back through his work you’ll see how the application of pattern has changed over the years and how he is constantly exploring new forms to apply them to, working on how the new forms will show off the canes or how the canes will accentuate the forms.

I love this bowl below. It shows more “quiet space” with those swaths of black to red canes, than I think I’ve ever seen in his work before. The relatively unpatterned area so dramatically contrasts the complex canes designs but you can take in the individual cane and pattern placement more readily because the eye has a place to rest, giving you a moment to rest and to process more of what you’re seeing

 

This whole subject matter recalls to me a conversation Rosanna Faillace and I had with Melanie Muir in Rome last year. We were talking about people who stick with one technique and don’t branch out and Melanie, seeming to think it might be a negative thing, said “That’s me. I’m a one trick pony.” But of course, she’s not. She loves her inlaid mokume gane veneers, but she is constantly exploring construction and different forms on which to present these, resulting in pieces like this beautiful bracelet.

Frenetically Fabulous

I myself am of the exploratory variety of artists. I do wish I had a little more focus and could spend more time on any single technique, form, or process, but the thing is, my curiosity about what else I could do is a stronger driving force, so I go with that. There are a LOT of us artistic explorers in polymer art as polymer just cries out to be explored.

When it comes to an exploratory approach in polymer, Debbie Crothers is the first person who comes to mind. You can see her gorgeous acrylic on polymer beads on the front of the upcoming issue of The Polymer Studio. Her penchant for exploration is why she is writing the “Mix it Up” articles in the magazine. She always has something she’s playing around with and she does love to share. She does occasionally show the results of both her good and not so successful explorations, which I love because it demonstrates her willingness to try, to make mistakes, and to do the work over and over again until she has mastered it. It is highly unlikely that Debbie would have gotten the results she got in these beads below if she didn’t go through a lot of trial and error first. The final results are well worth the exploration!

 

Another person I’ve been following for years is Klio Tsaliki. She’ll try almost anything and, in the process, comes up with some great techniques and approaches. Some attempts come out better than others, but I love that she shares it all, or at least enough for us to see that she is not afraid to try anything that interests her. I find that very inspiring. A couple of years ago she was playing with metallic silkscreen and the possible fabric-like quality of polymer, as you can see in the opening photo of this post. More recently, she’s played with translucent clay and LED lights, as seen below.

Klio’s newest work has been in the up and coming new clay from Fimo, “Leather Effect”. Once cured, this clay is supposed to be very much like leather. You can see here on the Fimo website that it is very pliable and can be cut and even stitched. I don’t know about you, but I have never been so excited about a new line of polymer clay! It’s not available in the US yet, and I don’t know how widely distributed it is in Europe, but there is supposed to be news about that soon and, trust me, when it is available, I’m going to be playing with it quite a bit as leather was one of my first materials I made jewelry from. You can go to Klio’s Flickr photostream to see what she’s been doing with it.

Another name for exploration is pioneering. Pioneers need to explore their subject extensively to find those new and intriguing aspects that lead the rest of us to their fresh finds. In general, you’ll find that most of the folks we identify as polymer pioneers were and are highly exploratory. Just look at what Kathleen Dustin has done throughout her career. From ornate purses to translucent layered brooches to reinterpretations of textile patterns such as with these new brooches below, you never really know what Kathleen will be working on next and yet, all her work is masterfully constructed and impeccably finished. I think her exploration keeps her work fresh for us and, most especially, for her and her passion for her work.

 

Focus on Yourself

So, as you see, there are many approaches to the creative process, all of which have value and result in beautiful, emotive, and inspiring work. So, no, I don’t think focus and concentration on one technique, form, or even material, is necessary but I do think keeping a sharp focus on the overriding creative goal – to make fulfilling artwork, financially supportive artwork, satiating your curiosity, or whatever the important creative motivation is for you – is something to keep a watchful eye on.

Speaking of focus … The construction on my house is in the finishing stages now. That hasn’t helped me with my focus on getting the next issue out, neither has my tendinitis and back issue which was such a huge problem last year. The thing is, in the last year, I have not really had enough time off to completely heal and am having issues again. I’m pretty sure I can get this issue to the printer in time to have it out by the end of the month but I’m probably going to have a heart-to-heart with my doctor on what I really need to do to get this healed and am working out a bit of time off later this month. This is one area where keeping focus would be very helpful!

I will keep you apprised of any shakeups in production if you are a subscriber to The Polymer Studio so just stay tuned here. And next week maybe I can get you pictures of the house for those of you who are curious. Everything’s under plastic wrap right now as they finish plastering and painting. But it’s horribly exciting seeing it come together!

So, I will leave you with these thoughts on focus and exploration. I hope it brings you some interesting insights for your own process and work. Have a fabulous week!

 

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Your Morning Book

June 30, 2019
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Monika Duchowicz’s Slavic Village polymer journal cover

Have you ever gone to a foreign country and found yourself talking like them after being there awhile? It might just be the phrasing but perhaps you take on accents or hand gestures as well. It’s natural to adopt accents and ways of speaking when you are around it a lot. That’s how you learned to talk as a baby and your brain doesn’t completely turn off that learning from what you hear around you.

This phenomenon can happen with things other than language too. As fashion and décor changes around us, we may find our tastes get tweaked along with them. When we peruse social media sites and see artwork online, we may adopt a tendency towards certain types of design, colors, and forms. This can happen over time or even over the course of a day. That means that what you see online and around you can effect what you create.

So how do you keep your own voice and your style unaltered? Well, you can’t, really. Our aesthetic is formed from our interaction with our world but we can do something about the dominance of other influences over our own unique and personal voice. But it’s like muscle memory and that takes regular practice.

Ages ago, I read a book written in 1920 (whose title and author I have shamefully forgotten) on how to be a writer. The author had one line that really struck me. After stating he explained that a writer must get up every morning and, before doing anything else including getting out of bed, he or she must write at least a page of what we would now call free-writing, because this was the only way to insure the writer would wrote with their own voice later in the day. The section ended with him saying, “If you cannot get up and write a page every morning, then you are not a writer.”

At that point, a writer was all I wanted to be, so, fearful that I would not prove up to the task and therefore, I’d never be a real writer (I was rather young and impressionable then),  I took that line to heart and I wrote every morning, no matter what, for what was probably about 10 years. Getting married and having a family kind of threw me off the habit but I do try to go back to it each time I stray.

When I don’t do this exercise, I do find that my day to day interactions find their way into my creative work. I found out early on that if I didn’t write in the morning, or tried writing fiction or poetry after a long day of reading academic books or writing training manuals, my writing would feel awkward or stilted. It just didn’t sound like me.

I think this influence of other art we see during the day can similarly affect the art we create as well. So, as part of my morning ritual now, I write for 10-15 minutes and then sketch for about the same amount of time. It is a very pleasant way to wake up and, in the process, I flex my unique voice and get my brain geared up for creative work. I don’t always have time to work in the studio but at least every day I am flexing that visual creative muscle and, I find, it makes my creative time easier to get into when I do get to go play.

Even if you aren’t able to spend productive time creating every day, I think you would find that a morning sketch, a quick “clay doodle” (just sitting at the studio table, playing with your clay for 15 minutes), or just journaling about design ideas will go a long way to concrete you personal voice. It will also show you what you are drawn to or might give you some really unique ideas for new designs. It’s something I would highly encourage.

So, would you be up for that? If you choose to write or sketch in the mornings, you can increase your motivation by creating a beautifully covered sketchbook or journal. And since polymer clay lends itself so well to decorating just about anything, why not make a beautiful cover for a blank book, and then keep it by your bedside? With a gorgeous tome to work in, you’re sure not to miss out on a very useful and fulfilling bit of creative exercise.

A Book and It’s Cover

The first person who comes to mind when talking of polymer covered journals is Aniko Kolesnikova aka Mandarin Duck. She does some of the most interesting and detailed journal covers you can find in polymer these days. And she doesn’t do just the front. She covers the back quite often, like on this one here.

If you are the sculptural type and want a ton of ideas to get you going on a cover design of your own, check out Aniko’s Flickr photostream. If you want more than just ideas, go to her Etsy page for tutorials, including one for that gorgeous peacock cover that was featured in Polymer Journeys 2019.

 

The other person that comes readily to mind for polymer covered books, and is one of my early influencers, is Chris Kapono, who, like Aniko, also has an affinity for the word Mandarin for some reason, her shop being Mandarin Moon. Chris’ covers are a riotous mixed-media decoration of polymer with glass cabochons, metal charms, beads, and, sometimes, hand-drawn decoration, as you see in the border of this book below.

Books are a perfect canvas for Chris’ style of decorative polymer. She shares her process as well, through tutorials on her Etsy site and in publications such as her tremendous contribution to the Polymer Art Projects – Organics book.

 

If you would like to create a cover with a more painterly approach, you might aspire to the work of Monika Duchowicz. Her polymer paintings are masterful but she kindly shares process shots on her Instagram account and was so kind to create a tutorial for her style of polymer painting for The Polymer Arts in the Summer 2017 issue.

 

Here’s another painterly polymer artist, Zhanna Bessonova, who likes to go really large. I just didn’t want you to think it had to be a small journal or sketchbook. Pick the size of the book you want to write or draw in first, then decide the cover.

 

I know, I know … the work of these very talented ladies might be intimidating to some people but remember, the whole idea is to make something that can help you find and/or hold onto your unique voice so you certainly don’t need to make covers like these—make them your way! Whatever you can create on a flat sheet of polymer can become a journal cover. Create a cover with a mosaic of textured squares, tons of polymer dots, rhinestones, polymer ‘embrodiery or, heck, canes will do, of course! Strangely enough, I couldn’t really find anyone doing cane covered books. I thought clayers had hit everything with cane slices! They must be out there somewhere! (If you know of some, share the links to them in the comments at the end of this post. Click the header if you are getting this by email.)

Also keep in mind, your cover doesn’t have to be complicated. And it doesn’t have to be polymer. Use whatever you like and do as much or as little as you like on it. Look at this lovely but simple book by a French crafter who goes by shop name alone – Avenuedes Fantaisies. It’s just a polymer honeycomb background and some fun rhinestone bees that were probably pins at one time, but it feels joyful.

You really can attach anything you want to your book cover. It’s for you, so if you are up for the challenge, make it yours!

 

New Issue of The Polymer Studio, coming late July

If you haven’t seen the new cover roaming about social media, here it is! Debbie Crothers’s acrylic on polymer beads grace the front for issue #3. We also have tutorials by Christi Friesen, Anita Long, Beatriz Cominatto, Kathy Koontz and Nika Nakit. There is also a fascinating interview with Beatriz, Brazil’s premiere polymer artist with a branded line of polymer clay, and a peek into the studio of master miniature artist, Angie Scarr. Plus much more.

Start or renew subscriptions or pre-order a copy on the website here.

 

Painter for a Day

I am off to paint a bathroom today then back to polishing the next issue. We might have a fully functional bathroom by the end of the day Monday but only if I can get this part done today. It’s not that the contractors couldn’t paint it but, well, I’m cheaper—I just require some yummy baked goods and a good audiobook or podcast and I’ll work away! And, honestly, I will do a better job. When it’s your place, you just take extra care with things. So, I am off. Enjoy your Sunday and have a beautiful week! I hope you get up every morning before your mind is otherwise influenced, and you write or create something just for yourself. You deserve it!

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High On Art

June 23, 2019
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Just flew in from Australia yesterday so I’m a bit jetlagged still but I wrote up some thoughts on the plane and pulled some pretties to demonstrate some more ideas on passion in your art, so here goes.

If you are reading this, chances are, you are passionate about art, either creating it or supporting its creation. Can we take just a few spare seconds to admire and be amazed by that passion of yours? I’d suggest that you stop at this moment and really let the emotion of that passion of yours come to the forefront, letting it blossom in the memory of what drives you to create or be supportive of creativity. Can you feel it? Close your eyes if you don’t feel it yet and just give it a few seconds to come to the surface so I can pose a few questions while that emotion is coursing through you.

Got it now? Okay. So, tell me … what color is your passion? Close your eyes if you need to and see what color blooms in your mind.

Then ask, does your passion have a temperature? Is it cool and constant or warm and rolling? Or something else entirely?

What does it act like? Is it like a soft, persistent wind, or a crashing ocean or something in between?

It doesn’t matter what metaphors you come up with for the feeling, you just want something concrete to hold onto. With those sensations and images in mind now, ask yourself, is that feeling there when you sit down to create? Does that passion spill out onto your worktable and direct your work? Does it drive you to come up with ideas or search out and soak up great art and other inspiring sights and sounds?

With all these metaphors and answers in your mind, I want to ask the core question that just couldn’t be put forth until you were in the right mindset:

Do you like what you create and why you create?

That might sound like a strange question because who would continue to create art while not liking it? Well, many of us do. That’s been at the heart of several conversations I’ve had recently, all related to trying to make a living from creative endeavors. That need to pay one’s bills is not the kind of drive that we really want to direct our work if fulfilling our passion is at all a goal of ours.

The fact is, letting out your passion and letting it guide you feel risky because you are putting a bit of yourself out there into the world in that process. Or a lot of yourself sometimes. It’s scary, isn’t it, putting your latest work out, wondering what people will think, whether it will sell or whether the receiver will like it? But it’s thrilling too, especially when people respond to it, when they connect to your work and to you. It’s a serious high.

You deserve to get that high on art. Don’t you think?

 

High on Creativity

I bet you can spy those artists who do get that high on a regular basis, people who let their passion run wild and lead their work. Here are just a few of my personal favorites but start thinking of your own as I go through them.

One of the first people that comes to mind is Ellen Jewett. She has worked in polymer, epoxy, and paper clay, using no tools but her hands and a brush, and makes only what she wants to make. Here is but one of her mind-blowing sculptures.

Her work is born of a unique and driving passion. In her own words:

At first glance my work explores the more modern prosaic concept of nature: a source of serene nostalgia but this is balanced with the more visceral experience of ‘wildness’ as remarkably alien and indifferent.  Upon closer inspection of each ‘creature’ the viewer may discover a frieze on which themes as familiar as domestication and as abrasive as domination fall into sharp relief.   These qualities are not only present in the final work but are fleshed out in the process of building. Each sculpture is constructed using an additive technique, layered from inside to out by an accumulation of innumerable tiny components.  Many of these components are microcosmic representations of plants, animals and objects.  Some are beautiful, some are grotesque and some are fantastical.  The singularity of each sculpture is the sum total of its small narrative structures.

I encourage you to take the time to read her full artist statement. You may be surprised by her approach and amazed by her insights into her own work and purpose.

 

I have found that many of insanely passionate artists are also similarly intense thinkers. Some of these passionate thinkers take their love of art a step further by sharing their passion through education as a way to spark and inspire the creativity of others. Christine Dumont is just such an artist, giving polymer and mixed media artists a place to push themselves and grow through her website Viola and its related projects.

Her own work comes about as a result of intense exploration. She does not create to sell, and I think this gives her a freedom that an artist dependent on their work for their income may find harder, although not at all impossible, to achieve.

Christine will actually be in Switzerland teaching this mix of polymer and metal September 14-15, 2019. If you are interested in joining the class, you can message her directly through her website.

 

As demonstrated by Christine’s passion for teaching, a creative passion doesn’t have to manifest itself purely in your art. Teaching, which takes a particular passion of its own, is just one alternate avenue to steer one’s creative passions. Giving back to others is another way. We had a whole section of community recognition for polymer artists who give back in our first edition Polymer Journey in 2016. We have so many giving and generous people in this community! One of those beautiful people is Wendy Moore who I had the unparalleled pleasure of staying with this past week in Canberra, Australia.

Her creative passion was intertwined with a passion to give back to others when she founded the Friends of Samunnat alongside Nepalese lawyer Kopila Basnet, to help support and give independence to women who were victims of violence. Wendy’s passion and empathy for others is seen directly in her art as well, including this piece I photographed at her home but which you can also find in the Polymer Journeys 2019 edition. It is a representation of her “confusion and angst relating to issues about how we move forward in relationships with Australia’s indigenous people.”

Wendy’s passion has not gone unnoticed outside the polymer community either. It was recently announced that she has been awarded the 2019 Order of Australia medal by the Australian Governor-General for her contribution to the international community of Nepal! This is one of a set of awards and appointments the Australian government uses as a principal way of recognizing outstanding citizens. Join me in a big congratulations to (a probably very embarrassed and blushing) Wendy Moore. Read more about the award along with her interview in this article here.

And you can also look forward to reading in depth about Wendy, her journey, her work, and her life in issue #4 of The Polymer Studio later this year, so keep up those subscriptions!

Here are a few pics from my time with Wendy. I’ll get more photos of the trip up on Facebook where you are welcome to follow me.

 

Wendy and I contemplating the insanity of this immense tapestry which recreated a much smaller painting in every nuance. At the Australian Parliament house’s Great Hall.

 

Forest labyrinth built by some passionate creative person in the bush just beyond Wendy’s house. Wendy and I are walking it with my step-daughter and Wendy’s granddaughter.

 

Photos by Brett Varon

There are so, so many other artists I could point out as examples of deeply passionate people who let that passion drive the work they do, both in and outside the studio. But this is all I have in me to write just now. Right now, I am very passionate about sleep!

However, I would encourage you to continue this search for passion in your daily perusals of artwork online. I would challenge you to keep an eye out for work in which the artist’s passion is intensely obvious and try to imagine the emotion and drive that they must have to create the wonderful work they share with us.

If you aren’t feeling a glimmer of what you think these dynamos must have, perhaps it’s time to assess what you are doing and why. Perhaps you need to infuse your work with new inspiration and materials (as suggested in last week’s post) or maybe you would be more fulfilled spending some of your time teaching (which might include writing articles for publications like The Polymer Studio. Check out our guidelines.) or maybe you need to step back and ensure you are creating in a fulfilling and meaningful way for you, not just for your customers. If your work is infused with your passion, you’ll sell it and you’ll get noticed. Just note how highly passionate art grabs your attention!

Okay, off for more sleep so I can hit the ground running on Monday as I aim to get Issue #3 off to the printer in early July. It’s shaping up to be a really gorgeous issue but I’m still having my challenges here as the house is still in various stages of construction (the worst of it being there are no working sinks except the one in the garage) but the bones of the kitchen are in so that is awesome! Now I can start working on the back-splash I designed. Well, maybe after this next issue if off to the printer.

In the meantime, have a wonderful, inspired, and passionate week!

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A Passion Story

June 9, 2019
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My apologies for the lateness of this post. Nothing has quite worked out the way I had planned this week. From yet a new plumbing problem and further demolition being planned to the sad yet exciting news that my assistant and keeper of lists, Sydney, is moving on to work with a business helping people with eating disorders to the graduation of our teen, setting up for the next issue and our vacation preparations, it has been beyond busy here. I wrote this on a plane to Australia and still am not sure when I’ll get to post it.

The craziness of this week, has, however, had its moments of clarity and calm, at least enough to have a couple of conversations on a subject that is very dear to me … passion. So I thought I’d share my thoughts and, perhaps, get you thinking about your passions and your voice. But, alas, I can’t do the usual research in my present situation, so I am going to tell you some stories about me instead, just a little view of a life driven by my passions and need to be creative and expressive. My apologies for the lack of photos. I’ll make up for it in the coming weeks.

This text is actually from a talk I gave with Dan Cormier and Tracy Holmes at Eurosynergy in Malta in 2014 titled Finding your Artistic Voice. My story isn’t purely about polymer art though as writing has been the larger part of my creative journey.

My journey as a writer started when I was very young. I was writing stories in my head from the time I had language enough to do so. I wrote my first book at age 9 and, encouraged by an insightful teacher who saw something in this fearful, quiet, and intensely shy child, I became determined to be a writer. I was lucky to find a passion as a child as my voice developed at an age when I did not think about having to please anyone besides myself or follow what others did. I still try to return to a childlike state in my mind as much as I can—the child mind is so unencumbered with little or no critic, less of a need to ‘fix’ what they are doing, and seeing the world as still new and intensely interesting.

Because of that, my journey as a writer has been very organic and relatively unencumbered. But it did have its challenges. My undergraduate college work was in art but I went back for my Master’s in Writing in San Francisco, the birthplace of beatnik poetry and a lot of great but very edgy & alternative writing. I concentrated on poetry but I wrote for the average person. I wrote about normal things—nature, everyday struggles, and just things I saw out my window or on a walk.

I was heavily criticized by the other students for not doing something “different”. Sure, most all my subjects have been written about thousands of times but they were not written by me and they were not filtered through my eyes. Back then, it never occurred to me to give in to criticism because my writing was so ingrained in me and I grew up just writing what I wanted and didn’t question my subject choices. As a result, I think my work had a recognized honesty and my writing was well received by my professors and department heads. I was nominated for a number of awards and I continuously published for nearly 5 years. Half the other students in my master’s program couldn’t say that.

Eventually, and somewhat ironically, I stopped publishing because I ended up spending more time at readings and shows than writing and I wanted to focus on the writing more. Although the creative writing efforts didn’t go where I had hoped, that focus allowed me to build a career in writing as a freelancer, although it was non-fiction magazine articles and training materials. But in these, I found my passion for teaching and sharing knowledge with others.

Visual art, although an intense passion now, was a long time developing. I actually didn’t see myself as a visual artist at all until I was in my late teens when I accidentally ended up in an advanced Life Drawing class and couldn’t get out of it right away. However, being forced to do the initial assignments, I found that visual arts came quite naturally to me. But with writing being my “thing”, I just thought of art as something fun to do. I was eventually convinced by two different professors to change my major from writing to art, my eventual reason being that I felt I had a lot more to learn about art than writing.

In art school, I was still able to draw on my childlike wonder and sense of exploration, probably because I had kept it alive in my writing all through my younger years. After art school, I worked in charcoal and fiber as well as mixed-media but wasn’t driven to make a career of art until polymer found me nearly 18 years after art school. My polymer journey was quite different than my previous creative treks. I found that I had lost a lot of my childlike tendencies and was out of practice having taken years off my creative endeavors to work and take care of family. But, like many of you, when I found polymer, I became obsessed. I quit my writing career so I could be a full-time artist and so, obviously, I geared what I did to make a living but that gave me a very different focus to start with than I had when I started writing or when I started art school.

My dual drive—to make a living as well as explore this fascinating medium—pushed me to learn as much as I could in 4 months and then I started doing shows, so from the start, my polymer art was about selling it. Although I was initially making art that made me happy, it was not long before I was making art according to what I thought would sell. That resulted in some gimmicky things that were more for and about the market than me. I sold well enough for a while but I slowly began to dislike my work and when that happened, coincidence or not, my sales started to slow.

Eventually, I went back to freelance writing part-time in order to allow myself to start making what I wanted. Not having to count on my art alone to pay my bills was very freeing. Strange thing though … I sold a lot more for better prices when I just did what I wanted.

What happened? For one, I think I was happier with my work, finding so much more joy in what I was doing, and I think it showed it came through in the work, making the art more desirable. I returned to combining other mediums in my work which allowed me really explore the medium in ways I had not done before. I was back to selling out at nearly every show, was invited to teach classes and spoke at shows in rooms so packed that I was often moved me to bigger rooms to accommodate. I believe my success at that time was due largely to my passion showing rather than external pressures driving what I did.

Eventually, though, my passions changed (they will do that!) as I was missing the broad sharing of knowledge that writing allowed, so I started a magazine, thinking it would give me time to develop my art in new directions. Unfortunately, I haven’t had a lot of time for my art since then but only because the magazine was such a success. I am still pondering my passions though and what I’ll do next. That’s part of what I want to do on this trip. Consider where my passions truly lie these days and decide if the changes I’ve made recently are feeding them or might there be more changes in the near future?

I’ll talk more about this in the coming weeks and I’ll get photos up then too. Thanks for being patient with me while I travel and think about your passions and what you are doing in the meantime identify what you love most about what you do and whether or not you are feeding your true passions.

(Apologies for typos and odd grammar. I’m not going to have time to proof this very well and my dyslexia is out and causing havoc with this jetlag! I hope you enjoy my story nonetheless.)

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Orient your Contrast (+Sitewide Sale)

June 2, 2019
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Have you ever looked at a piece that you are creating and think, it could use a little more contrast? And when you think of contrast, what do you turn to? Colors? Light or dark values? Maybe texture? How about, next time you’re looking for more contrast, you consider orientation?

In most work, there is a perceivable orientation of the pieces, marks, and edges. If everything is going in the same direction –vertically, horizontally, or some version of diagonally – there is a constant and strong flow in that direction which can be a wonderful way to convey certain emotions or levels of energy, but mixing it up can increase the energy of your work when it needs that extra boost.

I was thinking about that this week because we finally determined a suitable tile design for our new shower. The go-to design for shower accent tile is running it horizontally towards the top of the wall, although vertical lines have become a thing of late. I don’t particularly like either, but then I came up with the idea of having both – a vertical run of accent tile down the middle of the faucet wall and a horizontal one on the opposite side where we created a sunken ledge. I came up to this when it hit me that we had only been considering contrast in terms of tile color and not the orientation of those swaths of contrasting tile.

So, I thought this week we could look at contrast of orientation in polymer art. It can be such a simple thing to tweak in a design and yet it can make a huge difference in the feel, dynamics, and focus of the work.

 

Orientation versus Line

I think we need to define a couple of terms before we dive in here. As you’ll see, I’m going to use the words “orientation” and “line” a lot in this post, but I don’t want you to get confused and think of them as the same thing in terms of design.

Let me start out being the master of the obvious for a moment by defining those terms: Orientation is the relative position of an object or element from a particular viewpoint while a line is an element that follows a singular path and whose path can have an orientation. For instance, a bean pod lying on the counter has a horizontal orientation. The seam of the pod, on the other hand, is a line, which, following the length of the pod, will have the same horizontal orientation as the pod’s shape. Crack open that seam and you have a horizontal row of beans as well, even if each bean is sitting up (so each bean itself has a vertical orientation.) That’s because a row is a visual line. However, each item in a row will have its own orientation as well.

In other words, most everything will have its own orientation, including lines, but lines are not the only thing that has an orientation. Their orientation just happens to be very prominent and lines are a common and highly employed design element so I end up pointing them out a lot here.

Below is a more interesting example than a bean pod (although I found this while looking for polymer bean pods because Shelley Atwood, the creator of this pair of earrings has also made bean pod earrings!) Here there are a lot of vertical elements. The overall shape, the snakes of clay, and the row of balls are all vertical. However, the texture on one side runs horizontally within the vertical shape of the earring. And with that, she’s created contrast in orientation.

So, all you have to remember is that a line will have an orientation, but a shape, mark, or edge, also has an orientation. Orientation is like a bigger, more general characteristic of an element while line is just one type of element. Is that all a bit much for a Sunday morning? I wasn’t aiming to take you to class but there you have it!

 

Cases for Contrasting Orientation

Let’s start with a simple but high contrast example in orientation. This pendant by  Kseniya of Etsy shop Solar Bird has a vertical shape but is heavy on the horizontal lines. The contrast in orientation carries this piece. It takes a simple construction – a stack of extruded canes – and creates the energy this contemporary, understated piece needs. The contrast between surfaces (the horizontal lines versus the stack of concentric circle cane ends) creates interest but such a pendant would not have had as much presence if it had been a simple square or an equilateral triangle as those lack the contrast of the vertical shape against the horizontal lines we have here.

 

Here is another way to work with a vertical shape and introduce contrast in orientation. These polymer and metal earrings by Sue Savage include vertical polymer shapes with diagonal lines in the treated polymer and in the wire, creating a very dynamic, kind of spinning feel to the set.

 

The elements in Jeffrey Lloyd Dever’s work is a constant study of variation in contrasting orientation. His pin in the opening image of this post has elements that are strongly opposed in orientation. However, how the brooch is worn determines the level of contrast and how it feels when looking at it. If the long central body of the brooch is set vertically or horizontally the individual spines create a high opposing, and thus contrasting, orientation. If set on a horizontal, like it is in the image, it becomes a series of opposing horizontals which isn’t quite as stark a contrast. Isn’t that interesting?

There is one design element on that pin, and in his assemblage piece below, that does not have an orientation but is integral to the design, slowing down all that contrasting energy and giving the eye a place to rest. I bet you can identify what that is.

As you might have noted earlier, I said that “most” objects have an orientation. Well, you are now seeing the one type of object that does not – a symmetrically round one. A circle or a ball has no top or bottom, no sides, no vertical, horizontal, or diagonal edges. It is one continuous curve. Because of that it visually sits still. It is grounded and yet imbued with mild energy. That’s why circles, dots, and balls make such great focal points. So, if you going to go high contrast with lines or orientation, and it feels like it needs to be reined in, a round element may be just what you need. With every type of orientation included in the brooch assemblage above, the ball is needed to anchor all that energy, give it focus, and provide a place for the viewer’s eye to rest.

 

Let’s look at a more subtle use of orientation that is still high contrast. Sonya Girodon loves contrasting verticals and horizontals, sometimes in very obvious and stark ways, but other times her dedication to these absolute orientations is set in a more understated manner.

In the necklace below, most elements are involved in both horizontal and vertical orientations. The horizontals appear as marks on the clay but are also present in the row of staple-like wires, the two rows of circles (the horizontal emphasized by the lines running through them), and in how the vertical marks are lined up. The staple wires themselves are vertical as are many of the marks and the overall shape of the pendant. This high contrast in vertical versus horizontal within the elements that make up this piece creates a tremendous amount of energy but it is softened and contained by the curve of the central shapes and the circles which, again, create a focal point.

 

I think by now you must be getting the idea. You can switch up the orientation of elements such as shape, line, and marks to increase, decrease or anchor the energy of your designs. I think we all inherently know this, but how often do you make a conscious decision as to how the various components or elements in your work will sit in relation to the others? I think this may be one of those too often neglected design decisions. But maybe now it won’t be glossed over next time you sit down at your studio table.

 

I am going to have to leave it at that this week. I have much to do as I prepare to run off to Australia next weekend. I am going to put together something for you to have on the weekends while I’m gone and, with any luck, I’ll be able to sneak in some pics from the trip as well. But as those of you who travel internationally a lot know, you just can’t count on Internet connectivity. And I could really use some unplugged time.

 

Important Info in Our Recent Newsletter

In the meantime, if you got our recent newsletter or if you are a reader of our other publications (thank you so much for your support of our projects!), be sure to read about the upcoming increases in USPS shipping and why it has become so very important to keep us up-to-date on any change of address.

There is some fantastic news in that newsletter as well – we are having a sitewide SALE! Go ahead, stock up, and take 10% off everything in your cart. Head over to our website here by Thursday (June 6th) and use Promo code Now10.

If you don’t get our newsletter, you can see this edition here and sign up for it on our home page (scroll down … it’s on the right side) here.

 

We have walls!

For all you fabulous and funny people who are still interested in the house progress here, we have walls and floors and many fewer holes! We still don’t always have a hot shower so we have to get that figured out and soon. But we have had some warm days for the first time in I don’t how long, so it’s been a good week. But the constant checking in with the contractors and this whole designing of the shower tile has eaten up a ton of time so I must run off. It’s a working Sunday for me, which is kind of sad, but it’s going to be worth it when I am snorkeling through the Great Barrier Reef and shooting pictures of curious creatures on Kangaroo Island!

 

In the meantime, stay inspired, keep creating, and enjoy a wonderful first week of June!

 

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Asymmetrical Matchmaking

May 26, 2019
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What earring camp of design are you in? Do you always make earrings that match, or do you occasionally create a mismatched pair? Or are you one of those rare birds that abhors the symmetry of a matched pair and avoids it completely? I have lately come to the conclusions that I am a bit tired of matching earring. I couldn’t say why but I’ve started grabbing just one of two different pairs and wearing those as a set. My decisions, however, are not random. I have a lot of earrings with similar designs or techniques and I choose the new pairing with an eye to there being some kind of recognizable connection between the newly partnered set because recognizable connection is what makes a pair of earrings a match.

Design is all about making connections for the viewer of the work. It’s about developing a relationship physically, visually, or conceptually between the elements of an item (or set) so that people see the work as cohesive and intentional. That doesn’t mean that everything needs to literally match or mirror, as it is often done with earrings. People seem to think earrings in a pair need to match unless you’re going for some funky or edgy aesthetic.

However, I’d like to show you that earrings can be created unmatched or asymmetrical and still look contemporary, sophisticated, or otherwise just fabulous. There is a whole range of things you can do to throw off the symmetry between a pair of earrings. It can be subtle like a color change or rearrangement of the same elements, or it can be extreme like a size or visual weight difference. Regardless of the chosen differences, the earrings in a well-designed unmatched set will feel related in some fashion, often having several matching elements but not symmetry between them but it could also be that they are complete opposites or are unrelated visually but are grouped in our mind through common concepts. Let’s go on and I’ll explain.

 

Creative Match Making

Let’s start with subtle mismatching in our matchmaking of earrings. This can be done by changing just one aspect. Color is easy to change up, but it can also get complicated as there are characteristics of color itself that need to be matched to make two different colors work together such as saturation and value. If you have a great grasp of color, then try that out. Otherwise, you might start with something a little more straightforward like size, shape, or texture.

Here is a brilliant example by Bettina Welker. These earrings are sophisticated but relatively simple in design. They get a boost of energy by the simple but discordant change of texture in the pair.

 

Placement is also an easy way to throw they symmetry off while keeping the same visual weight and size, aspects that can help ensure the earrings look like they belong together. This pair from Jagna Birecka does just that in a very simple way. She just turned the first order of strung elements upside down for the second earring. The fact that both end elements are round makes the changeup not quite as jarring or wonky as it could be while still being immediately noticeable.

 

When the color palette and primary shapes are the same, it really doesn’t matter where the elements land on an earring. If the color palette feels the same and some other big design elements such as shape and size are equivalent, you can change up the placement of the pattern and the balance of color between the pair and they will look quite matched and sophisticated. This set by Nikolina Ortzan is a great example of that. She uses the same set of colors in each earring (and the pendant) and has nothing but circular shapes so you might not even notice that they are not the same but you certainly feel the energy the disparity exudes.

If you like this kind of mismatch, peruse through Nikolina’s Flickr photostream. She employs this approach quite a lot and very successfully.

 

Concepts, not just visual elements, can create the connected relationship between the pair in an earring set. It was hard to find really great sets in polymer (it’s not like people are hash tagging #ConceptuallyMishmatchedPolymerEarrings on Instagram) so let me demonstrate conceptual relationships with a couple of other materials.

For instance, the classic Moon and Sun icons are easily recognized as related and are often used in jewelry. In this enamel and gem set pair by Diego Percossi Papi, the designer also ensured a recognizable relationship by using the same style and types details. The curved and very pointed ends of the moon echo the wavy and very pointed ends of the sun. The colors and materials used also remain consistent between the two. There is also a consideration of balance. Even though they are visually quite different forms, they feel equal. As Diego puts it. “The moon is longer to compensate for the sun that weighs more in color and size. The sun would be much more invasive, with its large areas of enamel, which is a form of balance and respect for the moon.”

 

The great thing about conceptual relationships is that you can really stretch the differences visually and have few, if any, commonalities between the two earrings if the concept is strong. Take this xylophone and its hammer. We know they belong together, that they come as a set so the instrument can be played and so they “match” conceptually. These cute fabricated earrings by Candyflaps and Sprinkles are made from vintage xylophone parts, and can still be played!

 

Combine conceptual images and strong design elements and it might take a second for people to realize that they are unmatched. Luann Udell’s Shaman Mask earrings are the same size and shape and are both faux ivory and well as being face masks, However, the faces have different expressions and shading. They are similar enough in how they are rendered and in what they are to give them a strong relationship on top of the already strong connection in shape.

You can also develop a relationship between two different earrings when they are two halves of one thing, such as this scene that spans the pair of polymer earrings created by Tishaia. Each earring is well composed on its own but creates a little scene when side by side. She has more obvious halves too which you can find on her Instagram page. I just thought this one was gorgeously done. 

 

Mix and Match

Okay … ready to mismatch some earring sets? Isn’t it just great to give yourself permission to go unmatched?

Understanding that earrings in a set should have some commonality, you can easily create new sets, maybe even from elements you already have. Pull out your box or bin or drawer of unused elements and start mixing and matching. Lay out beads and other pieces in sets when you find elements that have at least a couple of matching or related color palettes, shapes, sizes, or other design elements and see how you like them as earring pairs. I bet you’ll find at least a few. You can strengthen their connection by using the same spacer beads, dangles and/or findings in the final construction of the earrings. Lay these options out and see what you come up with.

You can even take the beads that are alike and change up the spacers and findings to give them some of that asymmetrical energy. Dangles are particularly effective. You can even add dangles to just one side, like Valeria of Jewellry for World on Etsy does here.

 

If you want to change up your findings, learning to make your own unique ear wires is a great place to start mixing it up. Here is an easy tutorial from Janet Liu of Crystals and Clay, with 5 designs to get you jumpstarted on creating your own ear wires or it might be a good refresher if you haven’t done it in a while.

 

For Love of Hot Water

Who is tired of hearing about my house drama? I think I am! This week we lost the use of our one working shower when something got sucked into the hot water line and killed the old show faucet. The glamping quickly turned into a more standard camping experience as running water and showers were absent most of the week. Luckily, we have family nearby so there were trips made just for showers!

On a positive note, we are also now in the “putting things back together” stage. This past week was all running pipes and gas lines and new electrical in the walls and attic. Nothing photo worthy. But, whew! Nice to be past the destruction phase. We get to start drywalling next week. Very exciting!

Yesterday was the first truly nice day since this all started. High of 73F and sunny! Much time was spent out in the yard. But today we have a high of 58F and its spitting rain. The wildly varying temperature range reminds me of Colorado (where we’d say “Don’t like the weather? Wait 15 minutes.”) who just got walloped by a winter storm this past week. Weather is just being funky this year. Is it out of whack where you are too?

 

Well, I hope that, regardless of the weather, you have time to hit the studio to mismatch and have fun trying out earring combinations. Or just getting time to play. For my US readers, enjoy your family and friends on this Memorial Day and take a little time out to remember the folks who gave their lives defending and fighting for us and for others around the globe. Have a great coming week!

 

 

 

 

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Simply Stunning

May 19, 2019
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Tanya Mayorova

Given the choice, would you create a necklace that was easy and quick to make and was still stunning, or would you explore an unknown technique with an unknown outcome that might take hours or days? For some of you, the answer may be complicated because you like to explore and you don’t even question how long it will take or whether you will be successful because you just want to see what material can do. I get that. That’s pretty much how I approach what I do. Not that I wouldn’t mind some of my explorations being quick and easy and more often successful than not. Being challenged and failing, though, are absolutely necessary parts of creating art but that doesn’t mean that everything we make should be frustrating and difficult.

I think, by default, we all gravitate toward the easy option when given a clear-cut choice. Easy means less frustration, less room for error, and less time involved but it can also be considered a bad choice. And I’m not just talking about the creative process. For instance, you might grab a paper plate instead of one that you have to wash, or you toss your groceries in a plastic bag provided by the store rather than bringing in your own reusable one. Those examples highlight the reason for our environmental issues right now, our desire for ease and convenience being at the root of our environmental tragedies. So, yes, taking the easy route can sometimes have a negative effect that that’s not always true. There is nothing wrong with choosing the easiest route to drive home or having yoga pants and a T-shirt as your default attire when not at work. And some very easy things are actually better. Fruit and a boiled egg for breakfast is a lot easier than making pancakes and bacon and is better for you too. And when creating your polymer components, simple techniques and forms are often not only an efficient way to create and express yourself but they allow you to concentrate on composition, contrast, form, and other design elements rather than getting you wrapped up in technique.

With social media and our online access to so much artwork, I think our minds are saturated with certain ideas about what we should be creating and, because of that, we may have a hard time finding our own voice or we may have an unconscious sense of how pieces should look or be put together rather than finding a look of our own. Or we are romanced by gorgeous, complex pieces so we try to make our work more complex as well without knowing if simple elements may be very thing we need to do or say what we want.

Part of the problem comes from the idea that simple and easy means boring. But it certainly doesn’t have to be. To illustrate this, I’d like to look at beads today. In polymer jewelry, the bead is the most basic element you work with. The idea of a bead encompasses all types of forms though, from the simple round bead to complex sculpted and layered mixed-media elements. But let’s explore the more classic idea of a bead, as a single element that is repeated in some fashion in a piece of adornment and let’s see how you might create easy beads that are anything but basic and boring.

A little note … Some of you long time polymer enthusiasts out there may recognize a few of these pieces as several were widely circulated back when but, even if you’ve seen these before, look at them with new eyes and see if some familiar techniques but unused techniques aren’t worth a revisit now. You’ll approach them differently than you did 5 or 10 years ago, and you never know what serendipitous discovery might be unearthed.

 

Beads Beyond the Basic

Round beads are, of course, the most common bead form and are a classic that are always great for showing off canes, color, and surface design. Still, round beads can get pretty complicated, one, because it can be difficult to make them perfectly round, and secondly, because to keep them from being boring often leads us to add complexity in the color scheme or how the surface is treated. But what if you took your round bead and just worked on the form? Go ahead … grab some clay, make a rough round bead, and then start messing with the form. Pinch it, press it, pull it, or roll it into a variation on a round bead or cure and carve it.

Genevieve Williamson started out with a round bead to create these side textured chunky disks. Just look at the variation here plus I bet you can think up a few other ways to quickly and easily change them up with different clays, inclusions, or texturing of the sides.

Tube beads can be a tad tricky, primarily when it comes to creating the hole for stringing them. An extruder with a core adapter makes the job much easier but you can also create easy, attractive, and unique tube beads from any surface treated clay sheet simply by wrapping a strip around a tube of your choosing. Here’s a whole selection by Tonya Mayorova who went really wide with her bead openings. As you can see, all kind of surface treatments adapt well to these wide tube beads, from mosaics like you see on the bottom of the stack, to carved, impressed, mokume gane, and seed bead wrapped. The beads here are all similar in width but she uses the same approach with skinnier varieties such as in the necklace that opens this post.

 

Tanya doesn’t have a tutorial posted for this, but I can help you with that:

  1. Pick a favorite surface treatment to create a sheet of clay with and then wrap the sheet around anything that can go in the oven. I keep a few pieces of aluminum and copper tubing for just such projects. Make sure the pieces are straight and have unobstructed lengths so beads can slide off after curing.
  2. Wrap the clay around the tube until the clay sheet overlaps then cut down through the length of the overlapping clay and then remove the excess clay.
  3. Carefully blend the seam where the ends meet.
  4. If the clay sheet has a smooth and even surface, you can lay it on the worksurface and, using a tissue blade, let it roll crosswise under the blade ‘s edge to cut each individual bead cut. Then just cure the stack as is.
  5. Alternately, you can cure just after you blend the seam then cut the beads off it with a craft knife or slide it off the rod and use a jeweler’s saw to cut your beads.
  6. You can string your tubes on multiple strands of stringing materials such as cording or leather thongs, a selection of various colored embroidery thread, colored Tigers tail, ribbon, etc.

Tanya has even more variations of this idea ready for your perusal on her Flickr photostream here. She also recently agreed to create a feature tutorial for Issue #3 of The Polymer Studio so be sure to subscribe or keep up your subscription to the magazine to get that beautiful project.

 

The beads below also require just a sheet of treated clay. These are similar to a popular paper bead technique you may have seen as well. They start with a sheet cut into narrow, long triangles that are then rolled up, starting with the wide end so that each overlap leaves part of the surface of the lower layer visible. It works with any sheet of polymer, treated or untreated, textured or not.

I love how Margit Bohmer keeps the triangles, created from a mokume gane sheet, really narrow so that the beads are nearly as big in diameter as they are wide. There is still plenty of surface showing but they blend into each other because the narrow bead doesn’t angle away as much at the point where they touch. As you likely already know, the longer the bead, the more space you’ll see between the bottom edges of the bead ends. These rolled up beads are also angled on their ends which can make them sit askew but the shallower the angle (like on these narrower beads) the more neatly they line up.

Margit has created the longer beads as well so you can compare them here or just look through her Flickr photostream to see what you like better. And if you want a full polymer tutorial on these types of beads, check out Emma Ralph’s classic tutorial here.

 

Another, maybe even easier, way to use sheeted clay for beads is to just roll up flat sections of clay without overlapping, in a loose, freeform way. This works really nicely with an organic treatment or texture. Just look at how lovely these wrapped textured beads are. They are simply flat sections of polymer impressed on a handmade texture plate and curled up on an angle.

These are created by Rebekah Payne who generously posted a tutorial here on how to make them.

 

A similar concept can be employed with snakes of clay. Just roll out or extrude lengths of solid, marbled, mica shift (see this post from earlier this month) or striped polymer and then wrap the strands up on a skewer, long thin knitting needle, or other thin rod and cure. You’ll end up with coiled beads like these created by Emma Todd, below..

 

You can also roll the beads, after wrapping them up, back and forth under an acrylic block or other small tile to level the strands, creating a smooth bead surface. Don’t use the rod to roll the bead as it will act like a rolling pin on the inside of it and widen the stringing hole. Unless you want that. You can also take them off the rod and gently press their length between thumb and forefinger to compress the coils a bit more and make flat ended cylindrical beads.

 

The interior of clay beads have a lot of hidden potential too, and they can so easily and quickly be revealed by just cutting them open. Here is my all-time favorite example of creating stunning beads by cutting the form. These fabulous beads are by Desiree McCrorey. Click the image to see her tutorial for this. Be sure to check out the beads she makes from the cut scraps at the end too!

Not only can you create simple yet complex looking beads by cutting stacks, you can use this technique with old canes as well. See Desiree’s tutorial for the same beads using canes here. And look around the site for other great tutorials. These are all older tutorials, but timeless techniques.

 

Beads Away!

The examples above are all easy to make, don’t take much time, and allow for your own take on composition, contrast, texturing, etc. So, I would like to suggest that you pick a couple you like and see if you can sneak in sometime today or this coming week to try them out to see which, if any, simple but expressive beads suit you.

There are also some publications you might want to check out if you are on a bead making bender or feel you will be after all this.

  • My favorite polymer bead book is Carol Blackburn’s Making Polymer Clay Beads. There are beads for all levels of clayers and lots of jumping off points for those who like to explore.
  • Although these get a bit more complex, the beads in Grant Diffendaffer’s book, Polymer Clay Beads are just stunning and there are so many tips in this book.
  • If you really just want to try some new surface treatments or get other ideas for changing up your own bead ideas, Marie Segal’s, The Polymer Clay Artist’s Guide, is such a thorough exploration of techniques. It’s my go to book for creative brainstorming on polymer treatments.
  • Of course, there are tons of ideas in The Polymer Studio and, especially for the more exploratory folks, in the back issues of The Polymer Arts. Grab a few of these in print or digital and let serendipity lead you into new creative territory. By the way, about 65% of The Polymer Arts issues are still available in print but quite a few are about to sell out completely so if you like your material in print, snatch them up while I still have them.
  • For further inspiration in the form of eye-candy, pick up your copy of Polymer Journeys 2016 and/or 2019. Both are just brimming with ideas of all kinds. If you need a copy, get them on the website here.

 

Holes

Our foreman, standing guard at the pit to our main drain line in our front yard … there’s another guy down there!

For those of you mildly entertained by the situation here at Tenth Muse central, all I have to report is, well, holes. I counted 8 points of egress big enough for the entry of adventurous birds or, in 2 cases, an adventurous racoon, thanks to the workers punching through our walls for new plumbing and a new electrical panel. Its kind of unnerving to stand in the middle of one’s house and see so many wide-open entries into the space.

There are also some deep holes! The nearly 3 foot deep hole in the master bath is big enough for a couple suitcases of cash (like I have enough cash even in single dollar bills to fill a couple suitcases, not after all this work!) but the 7 foot deep one in the front yard is ready for hiding bodies. Or maybe just my entire stash of failed art projects. That craziness has us now investigating xeriscaping and ground cover plants because between the trench and the well at the end of it (and all the dug up soil covering the area around it), that grass ain’t coming back. It didn’t grow well there anyways. So now we are plant shopping. I never much liked shopping before (unless if was for art materials!) but, man, am I getting burned out on that particular activity. The shopping part, not the plants. I’ve been enjoying my plants, with all the spring flowers in bloom. The garden has been my escape from all the chaos and noise!

However, in all this, I have managed to clear up the studio table and started working on new stuff! It’s amazing what can happen when you don’t have distracting chores like housecleaning (although I miss having a house to clean!) Keep an eye on my personal Instagram page for new pieces and, hopefully, new poetry to accompany it. Find me @thesagearts

 

Now off to enjoy a rare cool and rainy Sunday. I hope you have a beautiful Sunday to relax in and a great week ahead!

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Tile Talk

May 12, 2019
Posted in

Do you ever stop to ask yourself if what you create makes you happy? It seems like a silly question since creating is usually passion driven so being able to feed that passion should make you happy, right? But have you ever found yourself creating something because you believe it is the kind of thing other people would like but later realize that you don’t enjoying making it?

I found that happened a lot when I was a selling artist. You get wrapped up in what you think the market would want, what you think will sell best at the next show, and you’d be just making things for the money and not because it’s what you want to make. Other times we think that in a particular material, like polymer clay, it is best used for certain forms such as jewelry and home decor. But as we all know, polymer can do almost anything and yet 85% of it being created and shared online is jewelry. Jewelry is pretty fun stuff to make, sure, but if you enjoy polymer, just keep in mind you don’t have to make jewelry.

I myself have been moving away from jewelry. A pendant or pair of earrings are oftentimes still the best items to create to show off a polymer technique for a magazine article or tutorial but more and more, I create objects without an end goal in mind and am really enjoying just making little objects and samples of techniques. Last year, I started to see patterns and connections between them and eventually started putting them in shadow boxes. You can see an example of one of my “specimen” boxes in the latest Polymer Journeys book, if you’re curious. I’m also trying to devise a class for doing it. It’s so much fun!

But when I have to create jewelry because I am vetting an article for the magazine or want to make a gift, I have lately found that I don’t look forward to the engineering of it – figuring out how it is going to hang, what stringing material will work best, what findings I need, as well as worrying about comfort and durability. I find I don’t want to think about those things when I create and it’s not out of some kind of laziness, it’s just not what I want to spend my mental and creative energy on, and I’m good with that. I just really want to follow creative paths that make me happy right now.

To that end (and because I’ve spent so much time in tile stores lately), I’ve decided I might just focus on tiles for a while. They are a very freeing form. A tile is just a canvas for 3D materials. You can do whatever you want on them. You can make them any size, any shape, and can attach whatever you want or attack it however you want. I think we really should all give ourselves the freedom to play with this form, to let ourselves be free to create from the heart with a material we love. At the end of a session of tile making, you may find you are really looking forward to creating necklaces or making beads or covering vases. But I am going to suggest you give a tile a try here and there to just let yourself create freely. Doing this can help with your designs in other forms.

To that end, of course, I’m going to share some tiles this weekend. I am going to share a lot of non-polymer ones because I think, if you’ve spent any time online, you’ve probably seen your share of polymer tiles these last few years, especially with the Fimo 50 year challenge a couple of years back and with the common inches exchanges (inches are just tiny tiles). So, I’ve got a quite a mix for you but it is all art that can translate to polymer even if it is in another material.

 

Laying it All Out

The opening image of this post is a photo from a class conducted by Laurie Mika. She is well-known for her colorful and intricate collage/mosaic pieces which, by the way, she teaches at various events. This collection of student work was from a polymer clay tapestry class she taught at the SAMA (Society of American Mosaic Artists) conference in Nashville just a few of weeks ago. They are all just lovely. There is no high-end technical skill needed to put these types of things together which makes them ideal for exploring color and texture and just letting yourself go. (You can check Laurie’s workshop schedule on her website.)

Jael Thorp caught my eye some years back with her “clay doodles”, including the one below. I thought they looked like zentangles for clayers. Can you imagine the flow state she must’ve been in to create this? You can just get so completely lost in this kind of work and that is a big part of why people find tiles such a wonderful creative outlet.

Check out this post with her various doodles from some years back. She went on to refine her technique, making beautiful beads and home decor with the same type of application. You can find them on her Flickr photostream.

 

Let’s move from polymer to ceramics now. It is a rare thing in ceramics that can’t be replicated in some fashion in polymer so I find ceramic art quite inspiring. Here is one of my favorite tile makers in ceramics, Chris Gryder, who has gone a bit more three-dimensional of late but his tile compositions are timeless.

In this composition, each tile is its own separate piece but he’s connected them all with these lines that he creates through the grid of tiles. So, really, you can make a whole bunch of tiles without worrying about what they’re going to end up as, and then, if you want to put them together as a composition because they have a similar or complementary set of color palettes, textures, or motifs, you can use lines that flow throughout to visually connect them for a larger composite composition. This approach would allow you to just make tiles as the muse directs and then you can later make them into a larger wall piece.

If you like this piece, go browse through his website or his Instagram page for more fantastic inspiring wall compositions in tile.

 

Keep in mind, just because tiles start out flat, they are not two-dimensional and you can create extremely three-dimensional pieces on them. Here’s one example with some very organic forms and textures created by Lauren Blakey, another ceramic artist.

 

And here’s another three-dimensional example in glass by Shayna Leib.

As you can see, tile work is open to all types of materials so keep that in mind as you sit down to tile. Mix in anything that your heart and muse desires. Mix and match mediums, embed oddball trinkets you’ve kept for, as yet, unknown reasons, and just keep an open mind.

After pulling these examples for you, I realized that all the examples are squares here. You don’t have to create square tiles to play with but that is the more common form. However, if you’re not feeling square, try a free form shape or an oblong one or maybe, because today is Mother’s Day, create a big heart for all the mothers out there. Happy Mother’s Day to all you amazing women!

Here’s a heart from Tina Ruppert of Wisecrackin’ Mosaics on Etsy. Pick a favorite shape and a bunch of canes or other scraps of clay and you can do something along these lines as well.

 

Getting Squared Away

I’m going to leave you with these thoughts and hopefully some curiosity about playing around with a tile or two, in whatever form and techniques interest you. If you need some jumpstart tutorials, here are a few places you can go:

Sara Evans has a video about her tile making process here – https://www.youtube.com/watch?v=9FAxYwgJfLo

If you want to do something tile like but still want it to be something functional when done, maybe you would like this polymer clay tile box tutorial –

https://mermaidsden.com/blog/2015/02/12/polymer-clay-tile-box

Or have fun with one of our true masters of polymer clay tiles, Chris Kapono, with her very detailed and yet tremendously fun tile project in the Polymer Arts Projects book which you can purchase and download digitally if you need it immediately or order the print edition from our website.

I opened with a discussion about doing what makes you happy and hope it gives you some food for thought. If you want to hear a couple of transformative stories in that vein, please be sure to get your copy of The Polymer Studio Issue #2, recently released, which starts and ends with stories about finding one’s happy place with one about Christine Dumont’s studio complete with a visual tour, and the other about Donna Greenberg’s focus moving from jewelry to large wall art. Check out the Issue #2 Sampler if you haven’t seen the new issues yet.

 

We’re daily trying to find are happy place over here as our house has continued to be demolished more and more, beyond what we (or our contractor) expected even. Old plumbing can be a tricky thing! If it would just warm up here, it wouldn’t be so bad. A cold Southern California in May is just weird.

I’d share progress shots of the house but it’s pretty much just down to studs and busted up concrete floors. Oh… And a large trench across the whole of the front yard for a new drain line. I’m thinking about making it into a moat. Like a habitrail (if you remember those hamster houses) for our pond fish. They could just swim circles around the house! Okay, probably not but gotta have fun with all this bedlam, even if it’s just dreaming up nonsense like that!

I hope you all have a wonderful Sunday and Mother’s Day! I’m off to have mimosas with the family’s fabulous females myself! Enjoy the day and your coming week!

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