A Festival of Color
October 26, 2016
Inspirational Art
If you need further examples of going all out with color, but maybe not as showy as Monday’s piece, Anarina Anar is the go to artist for slightly washed but very colorful work.
I don’t know if she plans her colors or not. They just feel so organic, like maybe they were a happy accident that happened during the Hindu Holi festival (Festival of Colors) or, in the vicinity of her pan pastels, there was a localized tornado. Or cats. I’m going to go with cats.
But really, there is such abandon and yet cohesiveness in her color and her compositions. She keeps it all together with similar shapes and motifs as well as her signature faux ceramic look. She actually does do some limiting of her palette with some of her pieces but you hardly notice that since the colors wash back and forth in such brilliant saturation. It’s the use of the semi-opaque pastels and the layering and blending of the edges of colors that makes it appear muted. The constant shift keeps any one color from being overbearing which also makes it feel more organic.
Get other ideas about going wild with color while not being overly dramatic by heading over to Anarina’s Flickr site or her Etsy store.
Inspirational Challenge of the Day: Try using a lot of color but take it down a notch. You can mute the colors by adding a bit of black or white or even gray. You can antique the clay with washes of acrylic paint or inks in neutral tones. Or you can use pastels or colored pencils. Use at least 4 hues so you have both cool and warm colors. How do you make them work together?
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Collecting Varied Influences
October 19, 2016
Inspirational Art
Although we regularly look at artwork once piece at a time, there is much to learn from looking over a collection of work, especially when the work has a lot of great variation.
We have not seen any work from Ivana Brozova recently as she was on a 10 month hiatus, traveling all over southeast Asia. I was curious to see what inspiration would come from that and although I don’t know how directly these pieces were influenced by her travels, these forms and colors certainly feel like they could come from the lush forests of Asia. They are also obviously based on things she’s done before but there is maturity in the details, especially looking at them as a group. Her material for hanging these necklaces is vastly different from one piece to the next. The treatment of the walls of the focal pod also varies as does the coloring and application of the color. The result is a series with each piece feeling quite different from the next although they are so much the same in form and construction. It gives you a good idea of some of the areas you can play with as you explore variation in your own work.
You can see how Ivana has developed variation in her past work as well as bookmark her pages to check in for future pretties on her Flickr photostream.
Inspirational Challenge of the Day: Play with the functional aspects of your work. If you do jewelry, try out vastly different types of findings, chains, and cords. If you do decor, try a different type of material to apply the polymer too or a completely different kind of vessel or form. If you do wall art, research unique ways to hang it that can be incorporated into it’s composition and design.
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Scratching Out Unusual Design
October 17, 2016
Inspirational Art
I’m not sure what the theme is going to be this week. I am just going to start here with this fairly unusual piece and see where the ideas take us. Some Mondays, you just gotta go with the flow.
Flow is part of what had me contemplating this piece by Marjana Cajhen. What caught my eye first–and was what you probably first noticed too, I’d guess–is that puzzle piece. This is looking like a progression of square shapes and then a puzzle piece shape pops up. Is this a geometric shape? It’s not organic but it seems a tad too complicated to be geometric yet it’s shape is balanced and measured and feels squarish in a way. However the edge of the shape keeps shifting gears. It’s that constant moving edge that makes it stand out, of course, but is this a good thing?
At first I thought this pattern change from squares might be too jarring but to take it away would take away all its draw. The unexpected shape is a type of contrast not to mention adding a bit of fun in what might otherwise be a bit of a static piece, even with the energetic linear texture. The other thing I wondered about was that choice of texture. Each piece has a different textural pattern but there is consistency in that inconsistency. And since the textures also are all made up of lines, there is a relationship between them there as well as in their black and white nature.
But you know what delights me the most? That spray of cord ends splayed across the corner of that end square. Between that and the puzzle piece, it seems Marjana’s choices are trying to break up an orderly gathering of stodgy squares and force them into a bit of play time.
This juxtaposition of geometric shapes and use of line , especially the scratch marks, are a regular theme in Marjana’s work. You can compare her ideas on her Flickr photostream or read up on her various adventures and explorations on her blog.
Inspirational Challenge of the Day: Create a piece with a repeated form but change one along the way in some unexpected manner. Try to think of something that is both related but not commonly seen with such forms. A string of light blue round beads could be interrupted by a miniature peach. A pattern of deep red flower canes can give way to a large yellow fireworks cane. The idea is to keep the repeated element related in at least a couple of aspects and then challenge yourself to come up with something no one would expect but somehow makes sense–the blue beads relate to the peach in terms of shape and size and the orange color is a direct contrast to the blue so they can work dramatically together. Flowers and fireworks have similar centrally blooming structures and the yellow and red are both warm colors so they work together. See where this is going?
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Pushing Variation
October 14, 2016
Inspirational Art
Before we leave the realm of canes, I thought I’d toss out a little reminder and challenge (along with adding another colorful image to our week … guess I’m feeling the need for color!) to really push what you do with canes. Or if you don’t cane, consider ways you can manipulate and vary the applications you commonly use.
Carol Simmons, a master with both canes and colors, shows the many, many opportunities for beautiful and complex designs you can find in just one cane with this image of 36 kaleidoscope versions. It is absolutely amazing to see the variation. It takes a while to find where and how she switched up and cut up the canes slices to come up with these. A couple are still a mystery to me, I must admit, but it is such a delight to find each one. It’s like 36 little puzzles. It is more than just a puzzle though. Going through and finding the patterns and determining how she arranged them can do a lot for your understanding of the possibilities of manipulating pattern which you can, in turn, turn around and apply to canes, mokume, textural patterns and anything else with a sheeted surface.
The post on this was actually from about 3 years ago but it’s a timeless lesson. Jump over to Carol’s blog post to read the whole thing and get further insight on this.
Inspirational Challenge of the Day: You know what this challenge will be … create variation with a cane or other surface designed sheet. How can you cut, rearrange, or manipulate the pattern to come up with other designs?
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Canes Gone Wild
October 10, 2016
Inspirational Art
While researching the translucent canes last week, I came across a lot of amazing cane pieces. Some were delicately beautiful, some extraordinarily skilled and some were just wild. This vase is a case in point.
To be honest, I am not sure what Olga Perova did to this but it completely sucked me in because the details are tremendous. I believe the work is a combination of extruder caning and extruder mokume with micro beads and maybe some post cure carving going on. Not absolutely sure but what a lot of work this must have been. A part of me wants to see the form itself more controlled–straighter upper edges and cleaner openings in the body–but then I am not sure that the feeling of complete abandon would be quite as strong and that could diminish it overall. Maybe my eyes and mind just need a place to rest that is simple and ordinary while looking at this. Of course, bedlam and a riot of color and texture may very well be Olga’s intention. In which case, she certainly did that.
To really appreciate the detail and intensity of this piece, you need to pop over to Olga’s Flickr photostream and see all the shots. Then look through the rest of what she has. You’ll see that most of her work is very well controlled but she doesn’t shy away from being experimental either.
Inspirational Challenge of the Day: Create chaos. Work completely intuitively for at least 15 minutes. Let chaos rules the work that comes from your hands. If you are itching to put order to your chaos after 15 minutes, do so. Otherwise keep at it and see what comes of pure intuition.
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Way Beyond Translucent Canes
October 7, 2016
Inspirational Art
It’s been a while since I shared something you could actually sit in the studio and try so although this isn’t exactly within the theme of the week, it’s related enough and could be a really cool and fun thing to try this weekend if you are looking for something new and have a bit of translucent clay on hand.
They are related to translucent canes because they are translucent and the technique came from pushing caning. As the artist Agnes Dettai says on the Flickr post for this technique, “I have to thank Christine Dumont again; the idea for these came from the work on reinventing caning that we did for the course ‘Becoming a better artist.'”
It’s great to see how pushing yourself in a completely different direction, way beyond what you think something is or should be, can result in something so radically different. The shells are little gems all by themselves but there is much more than can be done with this. She uses Play-Doh to create a temporary base to wrap the translucent clay around but as she notes, the clay leaves a bit of stain from the color of the Play-Doh. Although this may not have been intended initially, it gives a lovely, vibrant and still very translucent color to the polymer. A great incidental discovery within a successful exploration.
You can see what else Agnes does with her playdoh hollows and what exploration she has done with this idea on her Flickr photostream and can find detailed notes on the technique on this blog post of hers. Get the complete steps for these shells by clicking the photo to get to the Flickr photo they are on and then go the next image left for the finishing steps.
Inspirational Challenge of the Day: Try out Agnes’ technique with translucent clay or just try using water-soluble clay (Play-Doh) as a form for hollow or open forms. Where can you take this idea?
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Clearly Layered
October 5, 2016
Inspirational Art
The really cool thing about translucent canes is that whatever is set behind them shows through, allowing for all kinds of possibilities with imagery and depth. The cellular cane conversation started Monday now turns to how to apply translucent canes created more for textural application than for the images embedded inside.
Ivy Niles has got this particular idea down as can be seen here in what she calls a translucent lattice lace cane. Adding the mostly opaque flower patterns into the mix allows for the canes to add their own variation in layering to whatever they are applied to so the flowers sit ‘up’ on the surface while the translucent squares frame small sections of the layer beneath. The cane slices from this could be set corner to corner for a regular and consistent pattern or, due to the outer translucent edges, can be blended seamlessly into other patterns or can be applied as accent textures on corners or edges.
Ivy has several examples of how to apply this particular cane on the listing for it on Etsy (sold long ago, I’m afraid), so you can pop over to see this here or just rummage for other ideas in her Etsy shop. She also shows off more of her goodies on her website.
Inspirational Challenge of the Day: Today, accent, decorate or hand mark just the edges and corners of a piece. Let this kind of design suggest a focal point or maybe it won’t need a focal point but rather the texture may come together to create a pattern that becomes the focus and interest of the piece. Don’t judge what you’re doing. Just let yourself go and have fun.
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Damage Sale, and Cellular Caning
October 3, 2016
Inspirational Art
As many of you may know, we started our annual Damage Sale yesterday. This is when we sell copies of our publications that are not in perfect condition for half the base cover price–that’s $5 a copy for the magazine! We also put a stock of ‘perfect’ magazines and the book on sale from 15%-30% off alongside them. Not all publications are available as ‘imperfect copies’ and some have already sold out but there are about 10 different issues still available as of writing this so pop over to my Etsy store where we conduct this once a year sale, and stock up on the cheap! (Shipping is additional but we use the Etsy site because we can best calculate shipping for you there and can easily refund on shipping when we find we have a less expensive option.)
Now onto clay considerations …
Playing with translucent clay and canes, especially those with cells of some sort, has been quite a popular direction for many caners, and one that draws attention from many admirers. I went a’wandering this weekend to see what has been going on in the world of caning and noticed the trend in recent tutorials and in images posted and pinned out in cyberspace. I’ve been enjoying the look because although an experienced clayer would recognize it as caning, it’s not what first comes to mind.
The texture, energy, and illusion of depth is what hits you in pieces like this water cane bracelet by the very talented Claire Wallis. Not only that, the translucent cell opens itself to a variety of cane applications. Here Claire took the cane and created a radiating pattern to get that splashed look. The bracelet was a perfect choice for it too, giving the splash imagery a central form from which to radiate–the wearer’s arm! I can only imagine how striking it must be when worn.
You can learn to create this water cane plus a beautiful lightening cane by grabbing Claire’s dual tutorial on CraftArtEdu. For more on her application of this and some of her other mind-blowing canes, check out her Flickr photostream.
Inspirational Challenge of the Day: Whether you predominantly work in canes, veneers or sculptural elements (or something else completely), try laying your favorite surface application out in a repeated but energetic pattern. You can take Claire’s radiating pattern from a central point as your inspirational source, or find a pattern out in nature, in city structures, or on decorative art and use the pattern you find there as inspiration for a new way of applying and composing your elements.
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The Off-White Canvas
September 28, 2016
Inspirational Art
Let’s look at a little more off-white today. In general, off-whites on the warm side tend to look older or antiqued. This would be due to most whites aging warm, not cool. Hence the term ‘yellowing’ for aged white materials, because they take on a yellow cast which is a warm color.
This is something to keep in mind if you choose to create something in a warm off-white. There is a very good chance it will look aged which, if you are going for the look of faux bone, antique ivory or are pulling inspiration from an ancient society, is precisely what you want. This piece here is an example of using that warm off-white to give a piece an ancient look. In the piece seen here, Marina of Clay Carousel looks to be drawing on inspiration from the Mayan culture, with the art work titled “Mayan Princess”. She created a perfectly symmetrical but still energetic necklace with an off white canvas for all her accents and details. The dangles are what really make the design work with their strong directional downward lines and, of course, their actual swaying movement while on the wearer. Choosing the off-white background allows the lines and accents to take center stage as well as automatically giving us the impression of age even when we aren’t aware of what it has been titled.
The link on the image here goes to her second version of this necklace since the first, not surprisingly sold already in her LiveMaster shop but take a look at how she changed up the design. I think the way an artist alters a design can be so interesting and so telling of what they were after.
Inspirational Challenge of the Day: If you don’t still have that cool and warm white clay from the last post’s challenge, create a couple more balls, one warm off-white and one cool. Then create the exact same design, one with the warm clay and one with the cool clay. Can you see how the color temperature changes the look of the piece? Cool whites look cleaner and brighter. Where would you want to use a cool off-white?
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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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