Riotous Floral
October 11, 2017
Inspirational Art
A meadow full of spring blooms or a wall adorned with thousands of roses becomes a thing of beauty, quite beyond what any one flower could create. Using many small flowers tightly set on a piece of jewelry also moves it beyond just being flowers. The texture and variation in the surface creates energy even among the tranquility so often associated with flowers.
Irina Dzhalilova who watermarks her photos with the online name Zafirka favors this effect in almost all her work. Working in variations on a floral theme, she creates very romantic yet energized pieces. It is the small but crowded compositions that allow for this. I chose this piece as an example because the colors are subdued and not commonly associated with flowers so you can see, even without the colorful presentation we usually see in florals, the gathering of so many small petals creates an inviting and relatively riotous texture.
If you are up for more riotous floral, you can find Irina all over the web from Twitter to Facebook to Vkontakte but you can also simply start on her website and follow links from there.
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The Proliferation Effect
October 9, 2017
Inspirational Art
The thing about many items being packed into a limited space is that you stop seeing those individual items and see them as one thing with a texture, and energy that does not exist in the separate parts. You see it in the crowded stands at a game, a bowl of snacks or even in your drawers full of clay. It is a kind of gestalt effect. You can use this crowding of objects to create wonderfully energetic and highly textured pieces.
This is a piece I found last week that got me thinking about this as an artistic approach. The necklace is by Hee-ang Kim, a Korean graduate student Kookmin University in Korea at the time of its creation in 2014. It is part of an aptly named series called Proliferation, this being Proliferation XI. The super thin polymer petals are stitched together to create these feather-like beads, which collectively flutter and wave in a very touchable looking texture.
Hee-ang works in a variety of materials including other types of plastics, metal and, it seems, just about anything at hand. Regardless of material, collecting multiples of objects into energetic, intriguing and often strange never-before-seen organic forms dominate Hee-ang’s collections. You can take a look at the many ways this effect can be used with thin bits of polymer on Hee-ang’s Instagram and website.
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Forest in a Bowl
October 6, 2017
Inspirational Art
When I saw this delicately shaped aspen forest on such a pale and yet luminescent bowl, I just kind of sighed. Such a balance of light colors and strong forms takes a very intentional and intuitively passionate hand.
I saw this on the Colossal newsletter, which is a little collection of interesting art and artists dropped into my mailbox weekly. At first, I thought this was a shallow shell shape but a closer look shows it to be a bowl and not all that shallow, with the aspen trees growing up from the inside of it. Ceramic artist Heesoo Lee actually creates this complex and delicate look by creating separate leaves and placing them carefully by hand, building a very dimensional and shimmering look for these trees which, in real life, shimmer with the constant flutter of their leaves in even the slightest breeze. It made me a little homesick for Colorado actually. The aspens will be a brilliant gold turning to russet red about now.
Well, i can’t get out to the Rockies right now but we can all enjoy these Rocky Mountain forest-inspired creations by visiting the Montana-based artist’s work online both on Instagram and Etsy. Here is the link to the Colossal article on her as well.
And don’t forget to work out time to come see the Into the Forest installation in Pittsburgh in November. Here is the link again so you can work on those plans to join fellow polymer artists that weekend.
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Growing More than Plants
October 4, 2017
Inspirational Art
I love the integration of the real world with artistic imagination. Finding this garden dragon hit all my buttons as I have also always been a bit of a dragon-loving nerd. The creator, Emily Coleman, creates all kinds of fantastic creatures made to blend in with natural settings.
Her inspiration for this comes from nature itself, of course, but it is driven by, in her words, “… a very strong passion for the environment and the protection of the world’s forests. As I began showing my tree dragons, I realized they could help me spread this passion.”
I have to agree. Anything that draws people to nature, takes them outdoors, and encourages them to plant in a garden or a pot, helps keep us close to nature and the earth which engenders an appreciation for them and, usually, some level of drive to do right by these things we find ourselves communing with. Putting a little something fantastical in among the plants is a fun and relatively novel way of displaying and celebrating creativity and the substance of human imagination.
Read a bit more about Emily and her inspirations on this Bored Panda article and see her other creations on her Instagram account and her website.
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Heading Into the Forest
October 2, 2017
Inspirational Art
I am heading Into the Forest in November! The huge installation project put together by Laura Tabakman, Julie Eakes and Emily Squires Levine will be a monumental event for the polymer art community and I, for one, can’t imagine missing this. It is being installed into a gallery in Pittsburg, Pennsylvania with a gallery opening and party on November 10th followed by a Saturday forum on related topics. Coming down off the high I got being around so many amazing folks at Synergy in August, I am looking forward to a little creative recharge in November along with getting to see the work of 300+ polymer artists, all in one huge piece of global art.
So first … if you are interested in attending as well, you can jump over to the website and get all the details right here. I would love to see you and meet you there!
The anticipation of this event has put me in the mood for forest-inspired work. Of course. So I rooted around the internet and found some amazing stuff to share with you this week. Here you see a very curious and delicately beautiful pendant inspired by both the flora and the fauna of the forest. The artist, Alina Sanina, started working in clay eight years ago as a curious teen but now, with a degree in art education behind her, she continues to sculpt and create a wide range of fantastical but rather realistic pieces.
I found this piece to be an eye-catcher at first glance because of its contrast between a skull, representing death, and the green and floral details of Spring foliage that top it off. But if you examine it for a minute, you’ll notice that the skull is not all a skull. The deer has live-looking eyes and fully fleshed-out ears. The contrast of life and death is within the deer head, not just the skull and vegetation here. It looks to me like a little representation of the cycle of life in a forest setting.
I have long been interested in societal views of life and death and how different cultures and even individuals work out how to handle the fact that these complete opposite states co-exist and are an understood, if not readily accepted, part of the cycle of life. I don’t know if that is what Alina had in mind when creating this but there are definitely metaphors on those subjects that one can discuss in regards to this little piece.
Whether you turn away or are intrigued by such difficult subject matter, I think you will want to see more of the beautiful work Alina creates. You can do so in her Etsy shop and on Instagram.
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Finding Enlightenment
September 29, 2017
Inspirational Art
While in San Diego a couple weeks ago, I finally made it to the Mingei Museum which exhibits folk art, craft and design. The news of Mingei’s purchase of a number of polymer pieces a handful of years back was how I first learned about this little museum and I have been hoping to go there ever since. They did not have any polymer works out in the exhibitions when I was there but upon ascending the staircase to the upper floor, I was stopped in my tracks by a very unusual chandelier above me.
For those of you who have made it to one of the Chihuly installations popping up all over the globe these last few years, you may have already recognized the signature glass work of this master artist, Dale Chihuly. This ten-foot-tall, seven-foot-wide chandelier I saw hanging above me was a 2005 creation titled Enlightenment. The wall card for it said it has 498 pieces of clear, cream and gold blown glass.
It looks like the more opaque and colored glass was concentrated at the center so that the clear glass on the ends gives the illusion that the writhing mass is expanding, as if any solidity it has is turning to smoke, which was pretty fascinating to walk around.
The most intriguing thing to me was as beautiful as the glass work: the complex and beautifully textured shadow it cast. Just look at the wall to the right of it in the first image. The detail image shows just how complex the glass work is in each of the pieces that make up the chandelier. The detail image is where I thought some polymer inspiration might come from. A little work with pure translucent clay and veined with some tinted translucent, on a smaller scale of course, could render a similar feel, I’d think. It certainly did get me thinking.
If you have not had a chance to see these wonderful glass works of Chihuly, he certainly does have a lot of pieces installed in various places all over the world. You can see if there is an exhibition of a permanent collection or installation near you by going to his exhibition page.
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Giving Floral a Little Teeth
September 27, 2017
Inspirational Art
Along with hitting up a number of museums, I got to chat with a lot of artist friends, including my crazy circle in Colorado who seek out, as well as create, really wild and fantastical work. And whenever they find polymer related work, they bring it to me.
My old roommate and the instigator of my own polymer journey, Kyle Kelley, introduced me to this unusual artist, Anastasiya Khramina of NooboSlowpokoPanda. The polymer flowers you see here may have beautifully painted petals and lots of natural detail but take just a little closer look and you’ll see they also have teeth! And some crazy but realistically textured tongues. There is even one embellished with a cat’s snout, complete with bared teeth.
These beautifully creepy, ready-for-Halloween creations are made into brooches, pendants and hair clips, per the customer’s request. She actually makes other things besides flowers but they all have teeth and tongues. If you’re getting into the Halloween mood or are looking for some creepy inspiration, jump over to Anastasiya’s NooboSlowpokoPanda Facebook page for short videos on her pieces and process and her Etsy shop for a look at her present offerings.
And don’t forget … tomorrow is the last day to get half off all available print editions of The Polymer Arts and Polymer Journeys. Head to our Etsy shop to pick up any publications you don’t have yet!
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The Buenos Aires Polyptych and Our Half-Off Sale, Too!
September 25, 2017
Inspirational Art, The Polymer Arts magazine news
Over the last several weeks, I have been traveling and working on moving the business but I was also lucky enough to squeeze in a little museum hopping as well as catching up with a number of artistic friends so I was seeing and talking about a lot of art. I thought that this week I’d share some of what I saw during the last few crazy weeks while I finish organizing the office and warehouse here.
This first piece, Políptico de Buenos Aires by an artist collective known as Mondongo, was found in an exhibition at the Los Angeles County Museum of Art. I was accompanied by Christi Friesen and Anke Humpert and when we came to this piece we were initially just entranced by the images and the unusual layered build of the images which were a cross between bas-relief and painting. But then we all stopped at the same time to look at each other and ask, “Hey … is this polymer?”
The description on the wall just listed “clay” as the material but a quick examination showed that it was not ceramic so it was either polymer or another craft clay. It was not until I got home last week that I was able to research the artists and read that they use plasticine. I am not sure it is the same non-drying plasticine many of us grew up on but, yes, they appeared to create this elaborate, nearly 12-foot tall polyptych in modeling clay, using it like paint, with little daubs, thin snakes, and a smeared blending of colors.
The amount of work this must have taken was impressive but it had to be the various stories embedded in their depiction of a shantytown in Buenos Aires in the center sections as well as their own self-portraits and other images on the outside ends that stayed with us. The more we looked, the more we saw and maybe, the more we understood about their sense of frustration with their home country and how people live there.
I could go on and on about this piece but we don’t have the time here. Let me just say this … if you have not visited a museum, gone to a gallery opening, been on an artwalk, or sought out a sculpture garden in recent months, you really should. It is such a shot in the arm for your own creativity and you just never know what you’ll find!
Don’t have time to get out just yet? Well, you can find additional inspiration in the pages of The Polymer Arts magazine. Through the end of the month, hard copy editions of the magazine and the Polymer Journeys book are on sale in our Etsy shop for 1/2 OFF. Help me slim down the inventory as I set up the newly moved stock and get your hands on those precious few issues you’ve missed or want a copy of in print, not just digital for your bookshelf.
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A Translucent Memory
September 22, 2017
Inspirational Art
Easily the all-time favorite cover and one of the best-selling issues since 2012 was the Fall 2013 – Organics issue. I think this was, in large part, due to this fabulous cover art by Kathrin Neumaier. Kathrin was the most prolific and arguably most interesting artist working in translucent polymer clay. She created hollow forms in both the solid and the liquid forms of polymer with stunning results.
I remember getting this image from her and I knew it had to be the cover art for the issue. I didn’t even make any other covers or put it to a vote with the staff as I usually did. I laid this out while on “vacation” with my family on the Oregon coast and while they were off playing on the beach, I got to play with making this piece shine. I remember finishing it and just stepping across the room to look at it from a distance and it was just gorgeous, no matter how you looked at it.
I dug around to see what Kathrin has been up to but there haven’t been any postings since the end of 2016 so it’s not the most up-to-date news on her. I do hope she resurfaces, but in the meantime, enjoy the inspiring collection of work she has created and shared with us on Flickr.
If you don’t have a copy of this beautiful issue, I have only about a dozen copies left in print although they will always be available in digital. Grab your copy of this memorable issue on our website here.
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Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
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Have you ever made a polymer ring? It’s not one of the most popular jewelry forms in the medium which seems a little strange because they’re fairly easy to make. Maybe it’s a durability question – will the polymer ring stand up to the knocking and scraping rings have to go through? I’m not sure how they would fare if worn day in and day out but I, myself, have several polymer rings which still look as good today as the day I made them and the unusual and fantastic things you can do with polymer make them a really eye-catching piece of adornment that you’ll get lots of questions about an attention for.
There are so many different types of polymer rings you can make. You can wrap clay onto a form such as small glass bottles, sockets (for socket wrenches), and short bits of metal pipe (try pipe connectors.) You can skip the ring construction and just apply polymer to a metal ring blank. They come as bands with open channels that you can put canes and veneers in, or with a blank bezel for cabochons or sculptural elements. You can also simply create a block of clay that you punch a hole into for the finger to go through. Alternately, you can free-form the ring by hand, cure it, and then carve it into the shape and size you need. There are so many ways to make rings!
The one downside about rings, especially if you are selling them, is that you will need different sizes. Making a selection to show the style but then offering custom-made rings is one way around this but the other way is to just make simple rings that you can create a lot of and only in three or four popular sizes. This way you have those smaller inexpensive, impulse buy items to sell at your fair booth or online. And rings are easy items to sell especially at an inexpensive price point. They’re fun little bits of adornment and you don’t even really need them to match your outfits!
But if you want to create and sell one-of-a-kind rings, choose an average ring size and keep the band thickness and style wide enough to either sand down to create a larger size or add a layer of clay to create a smaller size. There are also adjustable ring blanks if you just need a base for attaching your polymer forms and elements onto.
So now that I have you thinking about rings, let’s take a look at some great polymer ring creations to further get your inspiration going.
Let’s start with one of those ring blank ideas. Here Janine Müller shows how creative you can get with a ring bezel. It doesn’t need to be a solid polymer cabochon. It can be layered or carved or hand-tooled or drilled. I’m not sure what her approach is here but the take away here is that you can try your own preferred surface treatments to create a unique ring in a bezel blank.
If you want to try an all polymer ring in a quick and easy but fun form, roll out those clay sheets and try a stacked set like these ingenious mix-and-match rings by Florence Minne-Khou. Clean cuts and a little sanding is about the most difficult aspect of a project like this so there’s hardly any excuse to not try it.
If you like getting sculptural with your work, you can go in a number of directions. Keep it simple but elegant with uncomplicated and cleanly shaped rings. Start by wrapping them around a solid form to start, and then sculpt the clay. These pieces from Angela Garrod are likely created in that fashion.
Or swirl them well into the third dimension with a folded form like this intriguing finger form from Sona Grigoryan.
Or just go completely wild and don’t worry about the functional aspect. Just make something out of this world. Perhaps this rather celestial feeling ring by Donna Greenberg will get you to push the limits of what you can do with a ring form.
If you are primarily a cane clayer, don’t think that rings–even sculptural rings–are not for you. Take note of Jana Roberts Benzon’s creative cane slicing and build up your own gorgeously detailed rings.
Oh, I could keep going with these! Just put “polymer rings” into a search on Pinterest, Instagram, Etsy or Flickr and you’ll see a ton more to get you thinking. But if you want some step by step instructions to help get you started on what could be a really addictive form, try this block cut ring tutorial from Ludmila Bakulina aka Sweety Bijou. This would be good for scraps too!
Okay … going to have to cut and run but I hope I have left you with some exciting possibilities. I’m on the road today but will be back next weekend with more food for thought and pretty things to ponder. Also, don’t forget to pre-order your Polymer Journeys 2019 before the 22nd. Release date is now March 2! Get yours at www.tenthmusearts.com
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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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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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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.
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