Twice the Bag
November 8, 2017
Inspirational Art
I love reversible items. They give you the option of changing up your look without having to have purchased additional accoutrements. So if you are thinking about a polymer-covered clutch, why not cover each side in a different look for versatility?
Katy Schmitt did just that with two distinct looks on this oval clutch. One side uses a yellow into gray blend with reversed swaths of the graduated color, making the purse look like it is glowing from within. This side is simple, understated and yet sophisticated and eye-catching nonetheless. It would make a great accent for that little black dress or even a long pale one.
The reserve side is more pattern and energy than light and glowing. She has kept the feather-like pattern flowing to the right and downward so that even with all that pattern, it looks calm and flowing rather than frenetic. This side of the clutch looks like it would go with you on a summer day outing or to a garden party, should you ever have the occasion to attend one. The two sides make this a year-round handbag option and so twice the bag for your buck.
Reversible pieces can also be a boon to your business. That would be true especially this time of year when people are looking for that knock-out piece for the big party but are hesitant to spend too much. Create work with both a dressy and a casual side so the buyer can envision wearing it more than once, thus better justifying the purchase. And it is always kind of fun to turn a piece over at your craft booth to show them the other side. People just get a kick out that.
For more ideas on covered clutches and more of Katy’s work go to her her Flickr photostream or her website.
In Our Clutches
November 6, 2017
Inspirational Art
At the end of this week, I will be heading off to Pittsburgh to see the opening of the Into the Forest project. I am intensely excited about that (go here if you are in the area and want to join for the opening on Friday and the talks on Saturday.) But even more exciting is that, at long last, my beau and I get to go on our honeymoon! So this week and next, I may be a bit quieter than usual but I’ve lined up some eye candy for you that my faithful little helpers will ensure you get while I am off gallivanting about.
Putting together a wardrobe for this trip got me thinking about new accessories. Although I don’t have time to make anything new for this excursion, there are the holidays to get dressed up for. So I was thinking, what kind of new polymer accessory would really wow at the next holiday soiree? Then it hit me … a polymer purse! An unusual handbag is always noted and often gets conversations started where no particular subject has yet made itself known. A polymer handbag is certain to be quite the icebreaker.
So let’s look at polymer purses this week and see if I can’t inspire a few of you to make your own. Of course, at the mention of polymer purses, many of us will raise the image of our favorite Kathleen Dustin purse in our minds but she is not, by far, the only one to create purses. She is one of the few that makes them almost exclusively out of polymer but any other variation–covered, embellished, or accented with polymer–can still be a most wonderful example of our art.
Ronnie Kirsch was making quite the fashion splash with her clay clutches in the early 2010s. Full of color and pattern, they were sold at high-end stores for a very pretty penny. She used a lot of canes but would also apply stripes of colors. This red one here would be visible from across the room. And I think that was the thing about these–they were for women who don’t mind a lot of attention.
Although I could not find news of Ronnie’s recent work, I did find her website with a gallery available if covering a nice metal clutch is sounding like a great holiday project. Just take a look here.
Peeking Through Layers
November 3, 2017
Inspirational Art
A lot of the peek-a-boo designs you see peer in at just one contrasting surface although there are a few out there who add in a little charm or an additional focal point. But I really like what Czech Republic’s Jitka Petrů did with this opening in her pendant’s surface.
The many overlapping layers look like they are moving back, one depth at a time and seem like we will soon see the inner surface although it stops at just giving us the tiniest of peeks. But that effect really draws your eye in. When you pull back, it even has a bit of an optical motion effect, in part because of the angling of the layers but also because of the very slight change in color value and hue which makes for a gradual transition to the center.
Jitka plays around with this peek into layers in a number of ways as you can see in her shop here.
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A Peek at a Letter
November 1, 2017
Inspirational Art
Since we started out this week with a spooky something or other peeking out at us, I thought I’d try to make a theme of it and the idea of peeking into things is always intriguing. Spaces that allow us to look into things beyond is like the revealing of a tiny mystery, a look into a place that we might otherwise be shut off from. When this is part of a design, I think it automatically will draw the eye. Whether you can keep a viewer looking is up to the rest of your design.
The idea of a partly revealed letter that Samantha Burroughs chose for this beautifully textured pendant is certainly alluring. Who doesn’t get a little bit of thrill from the possibility of seeing the inner thoughts of another person? We are also very drawn to text in general as our brain wants to immediately read and decipher it so it was a good choice for the interior content of the holes here. It also creates a contrasting texture to the organic surface of the piece.
Samantha has honed her skills in a variety of established techniques and looks to be fully exploring quite a few of them. You can find her work on Etsy.
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A Spooky Peek
October 30, 2017
Inspirational Art
Being that tomorrow is Halloween, I could not help but get in one last spooky bit of polymer creativity. The thing that makes something truly scary is the stuff you can’t see, or so I have always felt. The bogeyman under the bed, the creature in the closet, the shape of some beast in the bushes … just the hint that something is there allows our imagination to run wild. And in the dark and the shadows, our imagination comes up with some pretty scary stuff!
So, seeing the pair of eyes staring out from the forest in this polymer illustration by Korrina Robinson, what are you thinking is in there? You know I was thinking those eyes need to be glow in the dark and then I would so want this to be a light switch plate because how freaky would that be in a shadowy room to have to reach into that to get the light on and banish the very fears it invokes? Can you hear your inner voice saying, “Don’t do it! You’ve seen this seen in the movies and someone always loses a hand!”
Okay … enough with trying to spook you all. Especially since I think I am very much spooking myself in the process. But isn’t it neat how our imaginations can add so much to what we look at? And isn’t it great that polymer clay allows us to create any such thing our imagination comes up with?
For those of you who celebrate this holiday in which we face and often embrace our fears, have a very safe and happy Halloween.
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Snakes in the Shadows
October 27, 2017
Inspirational Art
‘Tis the time to think creepy and ghoulish … if you’re into that kind of thing. And, yep, I am! I love Halloween, in large part because it is that one time of year the majority of our society looks at the darker side of life and has an appreciation for it, even embracing the scary and dark. I have always believed that you can find as much beauty in the dark and frightening things as you can in the sunshine. Mind you, I do love my sunshine, but I am very much drawn to the beauty of the night. So let’s greet the season with some dark beauty to set the mood.
And if anyone can pull off not just dark and beautiful but also elegant and enthralling, it would be the likes of Ellen Jewett. Her work, created in a variety of craft clays and hand painted, spins and swirls and teems with life but not just the life of the animal that the sculpture is centered on. Many of her sculptures also include other smaller signs of life, from insects to birds to flora that seem to be as alive as the creatures themselves. Her coloring fades from one shade to another, often giving the illusion of shadow and thus a bit of mystery.
The snake of this piece is accompanied by crows and wreathed in a vine of that hovers between death and life, black in places and blooming tiny white flowers in others. You can see by her detail shot on her website that photos are just not going to do it justice. There are shimmering greens and blues with dashes of copper among them as well as silvery and maroon scales along its length. And I’m just gleaning that from the photos. I can only imagine how intriguing this is in person.
Looking through Ellen’s galleries is always a treat. Treat yourself to a bit of that today by heading over to her website.
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Vessel Unexpected
October 25, 2017
Inspirational Art
I was going to start off a week of spooky ghoulishness but I have to delay that for one more post as I wanted to take the opportunity to share a beautiful piece recently created by the ever-surprising Beth Petricoin. The glass vessel you see here, accompanied by a similarly styled neckpiece was part of an entry for a decorated table contest in a local town. I choose this image so you could see the work but it is best displayed in a darker setting when the side-sitting vessel and the necklace both are lit up by hidden LED lights.
Beth did not win the contest which was a disappointment for her but if originality and hard work had been what they were primarily grading on, it would have been an easy winner I think. But as she says in her post, it is easier to have your work appreciated by fellow artisans and this, unfortunately, was not really an art contest. But I thought we all could sure show our appreciation for the beautifully applied and finished work as well as the ingenuity of the design, especially in regards to its function as an eye-catching table centerpiece.
I won’t go on too long about this as Beth has written at length about the event and the piece. I do hope it gets a few creative wheels turning with some pondering on larger polymer pieces and maybe a few of you will now want to keep an eye out for more unique shapes for polymer-covered decor. Do jump over to her blog to see the lit up images and to read about how she created these beauties.
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Crackle and Glaze
October 20, 2017
Inspirational Art
Exploring technique is definitely one of the primary joys of working with polymer. Not only can the material do so many different things but within each technique, there are dozens if not hundreds of ways of applying it.
France’s Karine Barrera, like so many of us, has spent a fair amount of time exploring crackle techniques. This necklace, created for her mother, a painter, shows a slightly different variation of crackle along with a faux ceramic look. She is also working in a brighter array of colors than she normally does, taking inspiration from the more saturated colors she says her mother prefers. The exploration of all these elements resulted in a piece that, although presented in a balanced, symmetrical composition, has a lot of energy and intrigue to draw a viewer in.
To see Karine’s other work, which tends towards more muted colors and a tribal style, take a look at her Akak blog.
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Exploring Points
October 18, 2017
Inspirational Art
Last week I had the very fortunate opportunity to spend a couple days chatting and exploring Los Angeles with Christi Friesen and one of my oldest polymer pals, Debbie Crothers. We definitely did more talking than anything else and one of the subjects that kept coming up was exploration. Exploration of a technique or of a design element in your work can reveal much about what you personally prefer to do in your work not just what the technique or element offers.
One great way to explore is to make a lot of elements using the same technique or the same design element. In this bold neckpiece by Hélène JeanClaude there are several variations on the dot. The dot as a colored accent, as repetition defining the structure of a visual pattern, and as negative space are joined together, linked by that same color of blue and the coppery brown. The curve of the shapes, as well as the colors and the dots themselves, create a cohesive whole of these three very different explorations of the way a dot can be used.
Hélène’s work often appears to be an exploration of a particular design element or perhaps she is simply not satisfied with an element being presented in just one way. Regardless, it presents a high level of sophistication and energy to her tribal-leaning aesthetic. You can explore the fruits of her explorations on her Flickr photostream and here on her blog.
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If there was a shape that could represent state of the world today, what would you say that is? Chances are, you’re thinking of something that works as an icon or symbol rather than something as simple as a circle or octagon. Abstract shapes are something I touched upon only briefly in the article about shape and form at the beginning of the month. They are most commonly created for things that we are already familiar with, many of which are considered universal. Some have been with us for ages such as stars, teardrops, and hearts, but simplified shapes will pop up whenever a quick method of communication that is not language dependent is needed or preferred.
For instance, right now, a square with half circles on the ends, often with a few horizontal lines in the square, represents a medical mask. Such an icon may have meant nothing to you at the start of this year but it’s hard not to recognize it for what it is now.
That is the power of abstract shapes. With minimal characteristics, these shapes represent an object if not an entire concept. For this reason, I suggest you to not use them too frivolously. If you pop a heart shape on something, it should be because your intention necessitates calling on the viewer’s emotions rather than just putting it on to be cute. Now, I’m not saying that using hearts to be cute is a bad thing but realize that people will see it as an emotional expression. And I say emotional, not love, because the heart represents a base positive emotion associated with love, caring, and happiness but if your heart shape has a hole in it, is cracked or torn, or is jet black, the viewer will start thinking of things like loneliness, sadness, or even animosity.
Not all abstract shapes have such a wide range of potential meaning but many can elicit a similar or even stronger reaction, such as the shape of a cross or particular types of star shapes, depending on the context in which it’s used.
If you want to use abstract shapes but do not want to be so obvious or bring up the more common associations, you might find it useful to combine abstract shapes or to use them in unexpected ways. This approach to the use of abstract shapes can make for a much more subtle or complex statement which means your viewer will probably react more viscerally even with a readily recognized shape since its associations won’t be so blunt.
Here are just a few examples of abstract shapes where the association with them has been toned down.
Here, Elsie Smith overlays the impression of leaf forms on heart shapes showing just how perfectly they fit together. Pairing these makes the heart a gentle emotional background to the focus on, and apparent love of, nature’s intricate leaf formations.
This next one is a really good synergy of recognizable abstract shapes. Speaking in terms of the silhouette of the piece below as well as the focal point of the opening image, we could see a sunburst, a starburst, or a flower shape. Since Zuda Gay Pease was primarily creating flowers at the time she created this, we can assume her intention was for it to be a flower, but the energy of all those many pointed tips makes it come across as celestial. So, we get a combined association – the femininity and beauty of the floral shape with the energy and excitement of bursting light. It’s quite an impressive mix.
It’s interesting that practically all types of celestial bodies have a recognizable abstract shape (or variations of them.) There is probably nothing quite so common in abstract celestial shapes as a crescent moon. Our association with it can be fairly wide ranging from simply symbolizing the quiet and dark of night to embodying the ebb and flow of life.
In this example, I found it very curious that the lines on these crescents appear to be sun symbols with all their brilliant energy, and the bright blue ends of the crescent, visually truncating the shape, make us less likely to think crescent moon than simply an angular and curvy shape. The moon and its mysteries therefore become a quiet background to the louder energy of the colors and lines. I really like this contrast of concepts here as the sun and the blue color brings in a liveliness while the unconscious reaction to the moon shape is a quiet but divergent undertow. (Unfortunately, the Etsy shop from which this was saved is no longer available, so I am not sure who created it. If anyone knows, I would be ever so grateful if you would send me their name so I can update it.)
Is this making sense? I don’t think it’s hard to grasp the general idea of how iconic an abstract shape can be so I’m going to keep this short today. It’s also been a busy week getting all your accounts fixed up and so I should get off this computer. I challenge you to look around at the way abstract shapes are used in art work, be it your own or other people’s pieces.
Go Forth and Be Free… to be Inspired, For Free!
If you haven’t heard yet, starting in June (this next weekend) I will be posting the upcoming Virtual Art Box content previously planned for the VAB membership project on this blog so everyone can read it for free. I wanted readers, regardless of budget right now, to have access to these discussions, lessons, and exercises so we can all work on our art and increasing our skills and enjoyment together as well as give me the opportunity to take my work load down a notch or take breaks when necessary without being unfair to paid subscribers.
So, you can look forward to some in-depth article length discussions and ideas with a bit more juice to it than the blog usually has along with ideas on how to work with and apply the concepts if you so desire. Take it like a free class or just let the ideas sink in and enjoy the art. It’ll be here for you, starting next weekend.
Supporting Free Content
I am glad to have your support, in anyway you can provide it, to help me produce this content for free. Your supportive emails are always appreciated but if you want to help me keep the lights on, making purchases on the website is one of the best ways to do so since it gets you (or a lucky giftee) something to enjoy as well giving the contributing artists further exposure all while helping to keep me in busines.
If you have everything you want from the website at the moment, I have provided a donation option here for those who have asked and can afford to toss me a little something to help me, in particular, pay my tech guy and allow me much needed doses of dark chocolate!
So … until next weekend!
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How often have you heard that you need to hone your artistic voice? It’s a bit of a catch phrase in the art world, a nebulous goal that sounds like it will herald your arrival into the art world as a “real artist”. Well, although I am one of those who talks about artistic voice a lot, I thought I’d put the record straight and just say … you don’t need to develop a unique artistic voice to create meaningful work.
It’s true. The need to develop a creative voice isn’t for everyone as it rather depends on why you create. Some people simply enjoy the process of creating or have an intense passion to acquire new and better skills. If that’s you, then fabulous! Go at it and don’t worry about a unique voice. Just create what you like but don’t copy (or don’t sell or teach those pieces if you do.) Do hone your skills so the work goes more smoothly and so you can enjoy your creative time that much more.
If however, you are one of those who have something to say or something they need to pull from inside themselves and put out into the world, then having a particular voice, versus just muddling around with the styles and inspiration of artists you admire, is rather important. Your particular voice is a pathway to self-expression and sharing your vision with the world. Even so, I don’t think you should put undue pressure on yourself to find that voice. I know… I sound rather contradictory, but the fact is, if you put in the work, learn the skills, follow your true passions, and work with a particular intention always in mind, your voice will come out of its own accord.
I don’t know why people go on about the need to be unique so much. We all are unique already! There is no one else in the world quite like you so there is no reason to try to be, or create, something that will make you more unique than you already are. If anything, we need to lose those crippling preconceptions of ourselves and how we need to be or act in order to find a more authentic sense of self. (That would be a discussion for another time, though!)
So, keep in mind, a discussion of creating a unique voice has nothing to do with becoming a unique person. Rather, it is about determining what, if any, mode of expression you want to explore in order to share yourself, your passion, and your vision with the world.
Voices Calling
Who do you know of that seems to create with that kind of authentic voice? Think on that for a second. Then ask, why does their work come across as unique and personal or as a passionate mode of self-expression?
Asking myself those questions, I just have dozens and dozens of artists that come to mind and probably as many reasons why. I really believe that polymer clay draws some very unique people due to its broad range of possibilities which leaves so much room for expression as well as room to reach into the realm of other materials and approaches.
For instance, is there anyone else that you’ve seen that does the range of work that Wendy Wallin Malinow does? It’s really different, a bit macabre (or sometimes more than a bit), and utterly fascinating. What I personally really love about her work is that she creates in absolutely whatever medium fits her purpose. Polymer clay is one she returns to time and again, but really, no material is off limits to Wendy.
Here is a collection of nests of by Wendy that I got a photo of at the Racine Museum in 2017. The upper left one is cut from copper, the one on the right (if memory serves me well) is created from polymer and paint, and the third is a detailed pencil drawing. Wendy seems to explore ideas and materials simultaneously, but lets the project determine the possible material, not the other way around. That distinction can be so necessary when feeding your own voice as, ideally, you don’t want to restrict your options simply because you identify with one material more than others.
Wiwat Kamolpornwijit also comes to mind as a really authentic voice, primarily because his artwork developed out of pure exploration while learning the material for a purely charitable reason. He had not set out to be a jewelry artist but was merely looking for a way to raise money for a cause he deeply believed in. But then the need to raise money continued and so the creating never stopped. His distinctive look came out of a natural progression in his process as he picked up skills and developed ideas out of a self-imposed necessity. As I understand it, he never aimed to create a distinctive voice, it just manifested itself from all the work he put into his craft and from letting his curiosity lead his designs. The result is that his award winning work is always easily recognizable. Below is a collection of his pieces from the Smithsonian Craft show in 2018.
Meredith Dittmar is another artist that is definitely on her own path. She too moves between materials, largely polymer and paper, in order to fulfill the needs of her projects and vision. It’s interesting to see though how polymer is sometimes treated like paper in a very flat manner, while other times, paper is rolled and folded to become more dimensional. The piece opening this post is listed as mixed media although I think it is primarily polymer. You can see how some pieces of it could be (and may be) paper. And below, she had to be working with some construction materials as well as paper and polymer, for this huge installation piece at the KAABOO Del Mar 2018 festival in southern California.
These are just a few of the people that have intrigued me over the years with their unique expression and sense of authenticity. By the way, the reason I can make rather certain statements about these artists is because they were all interviewed for articles in The Polymer Arts at some point. You can read more about Wiwat’s intriguing path to art in the Spring 2017 issue, about Wendy’s color approach in the Winter 2013 issue, and get a peek at Meredith’s process and studio in the Summer 2018 issue of The Polymer Arts.
Coaxing Your Authentic Voice
Okay, so I have an idea to help you bring out your authentic voice but it’s going to sound like a sales pitch because, well, it is although that’s not my primary motive. I want to help people find a place of joy, solace, and accomplishment in their personal creative endeavors. That’s my passion! My publications and projects happen to both help you in your creative pursuits and helps me pay few bills so I can keep doing this.
But let’s talk about you now. If the subject of your artistic voice and identifying your passions or the direction of your artwork is important to you, then you really should join us for the March Virtual Art Box. The VAB is not just another publication–it’s a community and virtual classroom with group creativity coaching that focuses on design education and exploration to help you cultivate the creativity and skills that lead to joy and fulfillment in your creative endeavors. The content applies to all professional and aspiring artists who, like the artists above, want to follow an authentic and fulfilling creative path.
So, come join your kindred spirits (from novices to some really well known and accomplished artists) already enthusiastically digging into their Boxes by snapping up the March box, or both boxes for February and March, available without a subscription if you just want to get a taste. Or jump in feet first while getting significant savings on recurring subscriptions. It’s a minor investment in your art and your creative self – less than a couple cups of coffee and it’ll warm you from the inside for longer, too!
As it does look like most of us will be spending a lot of time at home these next few weeks, it seems like a perfect time to put your spare energy into your creative endeavors. If you join VAB, you will also have access to a deep store-wide discount on all publications on the Tenth Muse website (much bigger than the one below even) and on Christi Friesen PDF tutorials as well!
But if you just want good old magazines and books, well, I want to help you out too. So, here …
“Make Your Own Package” Sale: 25% off $29 or more!
The discount is good on whatever collection of single publications, print or digital, that you put together in your cart when they total $29 or more.
Use coupon code: MYOP2529
Offer good through March 31, 2020. Discount doesn’t apply to sale items, packages, or the Virtual Art Box.
Okay, my dears, I am off to clean the studio so, hopefully, I can get some creative time in this week. I hope everyone is staying safe, staying sane, and keeping in touch with loved ones, especially those that can’t get visitors or go out during this crazy period. This too will pass. We got this!
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I spent a lot of time looking for differently constructed clocks in polymer and couldn’t find much that really illustrated the point I was hoping to make. What I wanted was to show that a clock does not have to be on a flat surface. It can be made of many parts, attached or not, and fully dimensional. As long as you have something that can house or hide the clock mechanism while holding out the hands, the rest is wide open. You can have the hour markers designated by any form and attach them with sticks or wire or be free floating–whatever suits the piece and your inclination.
These two examples are commercial designs rather than polymer art but I think they give you the basics of this idea of moving beyond the flat clock face. Not only do these kinds of clocks make for really interesting wall pieces, they give you the freedom to use pieces you may already have such as large hollow beads, faux stones, unhung pendants, small figurines, flowers, etc.
As a gift, giving a clock that has separate pieces might be best attached to something that can be hung as one piece, like a backing of Plexiglas or painted plywood. Or include instructions for a template to mark on the wall where each piece goes. There is little to no construction to deal with but you will have to make concessions in the design for how the individual pieces will be hung. Alternately, go for a design where the elements are attached like the flowers you see here.
The sky is the limit with these kinds of designs. For more ideas, try searching “DIY clocks,” which was the keyword set that brought me to these two pieces. I hope these sparks some ideas and I look forward to seeing inventive clock designs this month!
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In my search for clock inspiration, I veered a bit off the polymer path, but then again, I kept running into pieces that I thought were polymer but were not. Of course, pieces like this splendid celestial clock by Natalya Polekh could be created in a very similar fashion with polymer. Large textured sheets and fun with alcohol inks and mica powders could produce similarly stunning results so I took a closer look.
Natalya looks to be a well-known mixed media artist in Eastern Europe and Russia and when I say mixed, I mean all kinds of things. Her primary materials look to be various types of acrylic paint, dimensional and pearling paints, 3D gel, embossing paste, and glass and metal accents of different types. She works in texture, mosaics and layered media that is applied in such a way that knowing the materials is rather superfluous. She creates a beautiful complexity of texture and motif with shine and shimmer applied in abundance but always in a tasteful and often intriguing manner.
She does much more than clocks although she has done quite few of them. Take a look at her shop for more clock and textural ideas as well as very well priced tutorials on how she creates this work. Her VK.com page has more images.
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Well, it’s that season again. While everyone else is shopping, crafters and artisans like yourself are working madly away on the stock that your audience demands to make their gift giving season the best one to date. For some of us, that audience is a retail account but for many more of us, it’s the far more intimidating circle of friends and family that we fret over. What do we do this year for gifts and surprises that we haven’t already done? Asking myself this question, I came up with a couple of ideas and in researching, clocks really hit a note for me. Any clayer of any level and any specialized set of techniques can create a clock that is both personal and expressive and everyone of every age can appreciate a lovingly created handmade clock.
Cane-covered clock faces are an easy project for clayers of any skill level. You can buy old clocks at the thrift store, or inexpensive ones at the big box store, or just a clock kit from a craft or hobby store that you put into your cane-covered clay sheets. Here is a fun and colorful, slightly off from the norm, cane-covered clock face for some initial inspiration. Mira Pinki Krispil is quite fond of cane covered decor but she always takes it one step beyond.
I like this piece because of the slight off-centeredness and the imagery in the center. It is more than decorated. The image in its center is intriguing with energetic lines bouncing back and forth through intertwined imagery. It’s just a great visual piece to start with. The fact that it’s a functional clock is a bonus.
Mira creates her colorful piece in south Israel and sells her work on Etsy. You can also see more of her designs by checking in on her Flickr photostream.
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I thought I’d continue to keep it simple this week and still talk a little about line, the theme of the latest issue of The Polymer Arts that came out last weekend.
This simple pendant by Yuliya Zharova uses two elements to tell a story—line and dots. The form of the people here is nothing more thank tall lines with a variation in thick and thin. The dots on the top of this line make up the heads, and the small dots and large gold one somehow become stars and a moon. It’s quite amazing how much can be shown with so little detail. But lines, in particular, can do that. It is a nice reminder of how little we really have to put down to get our viewers to see what we have to convey.
It is also a nice reminder that line has characteristics and qualities of its own. They do not always have to be even. The way the line is formed can convey imagery, as we see here, or emotion. The articles on design and the technique tutorials on using lines and dots and soutache to create emotion and texture will help fill in more on those ideas when you get to reading our latest issue.
Yuliya’s compositions are almost all some variation online and dots and are all lovely in their understated design. See more of her work in her Etsy shop, Wild Onion Art.
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I know this week will be a particularly busy one for many of us, especially in the US where we are kicking off the holiday season with our family-oriented Thanksgiving festivities involving way too much food and way too much shopping to follow it up the next day.
So for today, I thought I would harken to the theme of the just-released issue of The Polymer Arts, our Winter 2017 – Line, with a simple piece that represents a quality of line that I discuss in the article in this issue, “The Language of Line.” The simple circling forms, in the signature wavering organic forms of Anarina Anar, keep the composition centered and focused with a soft energy that continuously winds around in these soft but warm colors. Although the pendant is three-dimensional, it is the line the forms follow that gives the piece its balance and verve.
For more of Anarina’s colorful and energetic compositions, take a look at her Flickr site or her Etsy store. And to learn more about line, get a hold of your copy of this wonderful issue through our website if you have not seen it already or have it on its way to you.
Read MoreFirst of all, my apologies for my unsuccessful attempts to post while traveling. My original plan was to have posts all set before I left but technical issues and the need for a last-minute change of service threw that plan out the window. And getting decent internet at hotels is nothing one can depend on! But I will make it up to you this month, I promise.
Now that almost all of you have seen the myriad of photos from the Into the Forest installation that attendees to the opening and talk posted this past week, I invite you to spend some time virtually walking through it. This is a walkthrough of the gallery and installation, from stepping through the front door to wandering from tree to tree, wall to wall, and corner to corner. I apologize that I am no expert videographer and trying to fluidly skirt around the artwork and step unobtrusively through the attendees created a few moments of spinning and diving that might leave some sensitive individuals momentarily dizzy. But all in all, I am thrilled to have captured some of the feel of walking through our polymer forest that night.
In other news … the latest issue of The Polymer Arts, Winter 2017 – Line, has arrived! Digital issues were sent in the wee hours (3 am EST) on Saturday so if you are expecting a digital copy and haven’t seen it, check your spam/junk folder as that is where the errant access emails often land. If you need help, write my assistant Sydney at connect(at)thepolymerarts.com or, if you get this by email, just respond to this email.
Print editions were at the post office as of Thursday so if you are expecting one in print, depending on how far you are from northern Idaho, you will be seeing the new issue in your mailbox in 5-15 business days from then.
If you need to start or renew a subscription or buy the single issue, you can do so at www.thepolymerarts.com/Subscribe.html
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So far this week, we’ve looked at clutches covered in sheets of colored and patterned polymer but that is not, by far, the only way to create a dazzling handbag with polymer. Not all of us are caners and many of us lean toward sculptural elements and tactile texture and a handbag is a great place to lay down such touchable techniques.
You may have seen this handbag in our Spring 2015 – Diversity issue of The Polymer Arts, where Lisa Pavelka shared some of her thoughts and ideas on embellishing with polymer and crystals. This very tactile bag, with a limited cool palette of greens and blues, effortlessly rides that sometimes difficult balance of being both fun and sophisticated. The crystals make it appropriate for a dressy evening but the roiling mix of paisley shapes and abstracted leaves adds that touch of whimsy that makes it work with a pair of jeans when one is just out and about in the afternoon.
This is just one more way you can create an accessory that your customer (or yourself) can use and cherish all throughout the year. If you want more idea on purses a la Lisa Pavelka, take a look at her Pinterest pages as well as shopping on her website where you can get the materials you need to create your own great handbag.
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