Edges
August 27, 2012
Inspirational Art
Eva Haskova, from the Czech Republic, has applied what looks to be the edges of stacks into a contemporary design for a simple but eye-catching pendant. She uses just a little repetition of line and color and a simple single accent. Design does not always have to be complex … simplicity is a wonderful approach.
Nothing needs to be wasted with polymer. Not even those edges you trim off. They have such wonderful texture when you turn them on their sides! It’s like getting a bonus project half way done simply by working on another one. Polymer is too cool.
Cane, Cut, Repeat
August 23, 2012
Inspirational Art
If you read the in-depth design articles in this latest issue, here is an opportunity to practice your new analytical skills for identifying types of repetition and rhythm. And to see just how much beauty these design concepts can add to a piece.
Look at the piece below. Draws you in immediatly doesn’t it? But why? Seems straight-forward, maybe even rather basic at first glance. However, this is anything but simple and is a sterling example of what makes good art great — it makes you keep looking at it. After a minute or two of surveying this mosaic wall piece — and especially if you have an appreciation for the roles that repetition and rhythm play in art — you’ll really begin to appreciate the complexity of the design choices.
Ponsawan Sila created this piece with mosaic polymer pieces 1cmx1cm — nothing more representative of repetition than a shape repeated over and over but … the visual textures in each shape are all different or rarely repeated, incorporating random (textures) and regular (shape) repetition. She uses progressive rhythm in the color changes that occur in each waving layer as it moves horizontially across. There is also repetition of line in the waves, which consistently create the space for each color palette, creating soft slow rhythm established in the reserved undulations of those lines.
All on a 6″x12″ tile. That’s pretty impressive.
It’s All in the Details
August 22, 2012
Inspirational Art
Polymer is highly versatile but working small can be tricky for even the most talented among us. Eva Margriet Thissen from Herne, Germany seems to have the art of teeny-tiny polymer bits down beautifully.
The quality and crispness of the details on this 1″ wide pendant is amazing — and adorable at that. The stance of Little Red Riding Hood perfectly captures how a little girl would go skipping off through the forest. The whimsical shapes of the trees, even with a subdued color palette, is cheerful and fun. The pendant has playful overtones and yet is incredibly intricate. I can’t imagine just how many people would come up to you wanting a closer look at this intriguing pendant.
Stacked Rhythm Rings
August 20, 2012
Inspirational Art
Stacking is such an excellent way to create rhythm and depth in your work. Here we have a collection of stacks by Mathilde Colas that will be attached to ring blanks.
The repetition of shapes — the rounded-off triangles — accented by buttons, dots, and other round elements give the pieces a kind of swaying-in-place dance. Fun but a little reserved, the alternating colors in a limited palette keep the irregular stacks looking well-composed.
The Fall 2012 edition of The Polymer Arts, which was just released over the weekend, features lots of articles about creating rhythm and repetition in your work. If you haven’t had a chance to get yours, order a digital or print copy right now from our website.
Outside Inspiration: Cutting in Clay
August 18, 2012
Inspirational Art
Okay so I usually do the Outside Inspiration posts on Fridays but we’ve been thrown off this week with the launch of The Polymer Arts latest issue. We know polymer can be manipulated very much like other clays. So …. who wants to try this?
This is porcelain created by the very talented Jennifer McCurdy. It is altered and carved, pushing the limits of porcelain’s ability to hold up structurally. But wow, is it gorgeous. She also gilds it on the inside … not the outside … inviting the viewer to consider the interior and allowing it to contrast with the white exterior. Very intriguing look.
I’m thinking that in polymer, it might work best if baked first. Or carved and smoothed while on a form. In any case, it’d be some serious work but with some serious rewards.
If this inspires anyone to try this kind of thing, send me images.
You can see a video on her technique on the Ceramic Arts Daily website. Also check out the wonderful photos of her work embedded into natural settings like the beach on her home page (it’s a slide show so wait for the change over in images) and rivers on her collection page. She has some really beautiful photos that are works of art themselves. So do take a moment to check them out.
Simple Black Impact
August 14, 2012
Inspirational Art
I wear a lot of black. No, it’s not out of some morbid aesthetic. I just find it to be a fantastic background for anything I add to my attire. And being the klutz with an insatiable curiosity, I know that I am less likely to end up with noticeable stains if I detour through the studio on the way out of the house for dinner after being struck by a random idea or find myself tromping into a field enticed by some color or texture — my wardrobe is determined primarily by the rule that what I wear should not stop me from exploring as situations arise.
But black has a purpose beyond being a background. It can also be a the focus of your ensemble. This stunning lentil bead by Judy Belcher is one such example. Simple, understated but enticing, this piece’s impact comes from the starkness of the predominant black with only the quiet interruption of the lines of brown and the two pearly accents to break it up. In work like this where color is minimal, form and texture take precedence.
It is a piece like this that would get me to pull out one of my few white outfits to give it the simple ‘background’ the piece deserves.
In a medium dominated by tons of color, it is easily forgotten how well polymer can present a limited palette and the non-colors of black and white. We have many, many color options with our material and the ability to create sophisticated and stunning work in a way other jewelry material cannot. But it doesn’t mean we always need to use color. Try working with a piece in all black or all white and see just where form and surface texture can take you.
Outside Influence: Outlines in Metal
August 10, 2012
Inspirational Art
Todays outside influence comes from metalsmithing: Two Element Pod Pendant by Barbara Bayne
Barbara explored a number of mediums before finding metalsmithing, and jewelry in particular, was the area that she felt allowed her to create the work she envisioned. I like her description of what she does. It reminds me of the approach of a lot of polymer artists and her forms are definitely within reach of polymer as a medium that can reproduce such quiet and stunning work:
“The jewelry designs stem from interests in natural organic forms and geometric shapes that are combined to create unique outlines that I than use as a basis for my work. Surface texture is also of great interest to me when I am designing. I attempt to develop new and intriguing patterns and textures to enhance and embellish the basic forms of the jewelry. It is my hope that by combining different shapes and outlines with various textures and patterns I can create jewelry that is interesting as well as innovative.”
I have quite a number of metalsmithing books on my shelves. I don’t do much metal work but between the construction, colors and forms, there is a tremendous amount of inspiration. Check out my two favorites:
Making Metal Beads by Pauline Warg
The Jeweler’s Directory of Decorative Finishes (Serious texture and color eye candy!) by Jinks McGrath
Have fun exploring metal inspirations!
In Defense of Center
August 8, 2012
Inspirational Art
I remember in art school being questioned for the use of centered imagery. I never really understood why a centered composition would be criticized. Is it really too easy, too expected, or too boring? I don’t think it matters if something is centered or off center or has not central focus at all, as long as the work is done well.
This is an example of what might seem simple, is definitely centered and yet make you smile to look at them.
The pendants are by Russian polymer artist Tatyana Menshikova. Everything is centered, consistent and evenly spaced. And they are wonderfully done with well chosen colors and simple but interesting textures. The balance and centering of the layers makes for a very stable and calm piece. Art doesn’t always have to challenge or make you say “wow!” Good art makes you want to take it in. And maybe just make you smile.
Beautiful Brains
July 25, 2012
Inspirational Art, Technique tutorials
Did you ever think brains could be so lovely?
Yes, I said brains.
This brain cane just goes to prove that anything with the right coloring and application can be beautiful.
Dája Dagmar Andělová from the Czech Republic works some rather straight forward but beautiful magic with just a little folding of a few sheets of clay.
Interested in trying your hand at some brain work? You can see her tutorial here.
Would you call yourself a selfish person? I doubt very many of us would think that way about ourselves. Yet, as artists, we often find ourselves “stealing” time away from others or other things to do what we love, reveling in it when we have it. Is that selfish? I mean, it is more about us than anyone else, isn’t it?
Yes, it is about us, and that is as it should be. In the requested comments for last week’s giveaway (scroll down to see the winner and this week’s giveaway), participants mentioned some version of the “me time” aspect of getting to sit down and create more than anything else. I mean, I know we create because it is something we enjoy, regardless of what anyone else thinks, but I just love that so many people acknowledged and celebrated it. We should!
I strongly believe that everyone should have something of their own, something they can turn to in order to express themselves or at least put something out into the world that would not have existed without their desire to create it. The art we create gives us purpose, exercises a uniquely human part of our brains, and helps us to love ourselves. Not to mention that we deserve the joy we get from it!
But, by definition, that is selfish—doing something because it’s what we want. I wish our society would get over the idea that doing something for ourselves is bad. I think not doing things for yourself is self-negligence. Why is that not a commonly understood thing?
This also highlights the bigger, contradictory world that we inhabit. We live in such strange societies where selflessness and humility are expected or requested, and yet we are also pushed to strive for excellence in what we do. How do we reach excellence without focusing on ourselves? And then there is this silliness where we are not supposed to acknowledge when the work we do is good or that we’re proud of it. If we do, others may think we’re being arrogant or grandiose.
So, do we strive to be great and then pretend that we’re mediocre? We talk about contrast being good in art, but this is so not the right kind of contrast!
I’ve long found the dichotomy of these contradictory but societally prescribed behaviors beyond aggravating as well as having the potential to be debilitating. I think that is why it made me so happy to see so many people acknowledging their creative hours as me-time, self-care, and a time of wonderfully selfish joy. Keep it up, I say!
Now, let’s talk about the good kind of contrast in art.
Design Refresh
Let’s look at the beautiful brooch by Lyne Tilt that opened this post. What do you notice first about this? There’s a lot going on in this little space, isn’t there? What are the three things that jump out at you as far as design elements?
I’m going to say color, shape, and texture. Did you come up with the same three? There is also a lot going on with marks and size. So, any combination of those would be spot on.
How about design principles? What do you think is the number one principal used in this design? Sure, we could refer to scale and proportion considering all the different sizes of the layers, or we could talk about focal point or even just key in on the centered composition. But the one thing this has in spades is contrast.
Obviously, there is color contrast in all the major color characteristics—she has a vibrant trio of warm colors contrasting the cool of the blue and cyan; color values range from the dark blue and deep red to the moderate orange to the light yellow and pale polished silver; and, if you check your CMY color wheels, you’ll see that the color of the bottom layer is a blue-cyan whose complementary AND split complementaries are the yellow, orange, and red that you see in the upper layers.
But doesn’t a color palette have to have at least one common characteristic between all the colors? Well, ideally, yes, and this does. Here it’s saturation. These are not muted colors. The orange may be slightly tinted (has some white in it) but not enough to feel it’s gone off base from the saturated characteristic that ties them all together.
Now, look at the contrast in the textures. The top and bottom layers might have the same texture, but the rest are vastly different. There are even different materials—metal and clay. But they work together pretty well, don’t they? Why?
The textures work together in part because they are all drastically different—the wide variety is part of the charm of this piece. But, like color, they need something to tie them together.
Did you notice that the textures are applied to the entire layer from one edge to another? Thier differences are connected because the application on each layer is the same. That does seem to be enough to allow them to exist in the same piece and not have it feel completely chaotic.
The shapes, on the other hand, are not completely different but they are not the same either, right? They are all some version of a hand cut circle, but some of them are definitely more oval. I think pulling back on the amount of contrast between the shapes also helps to rein in the potential chaos all this dramatic contrast and color and texture could fall into. The centered composition also adds a bit of calm to the piece.
Let’s take this week to consider the design principle of contrast. Would your pieces benefit from more contrast, or do you need to rein some of that in? Remember, it all depends on your intention. There are no wrong levels of contrast, at least not in art.
Last Week’s Giveaway
Drum roll please…
This last week’s randomly chosen winner is Eloise B! I’ve spoken to her and her clay is already on the way. Congrats Eloise!
This Week’s Giveaway
Thank you to everyone who participated in last week’s giveaway through comments on the post. As mentioned above, it really made me happy to see all the fantastic, positive and self-caring observations. I also hope it gave you a moment to focus on and appreciate what you love so much about creating.
So, let’s do this again.
The Goodies:
- This week I have a selection of Sculpey clays in 2 new Soufflé colors, 3 new Premo colors, and 2 big 8 oz. blocks of clay stash basics—Sculpey III in Pearl and Silver. That’s 26 ounces of fresh clay along with a three-piece set of Sculpey silkscreens.
- Or if outside the US, I have a $25 Tenth Muse certificate, since it would be such a gamble to ship clay outside the US.
How to Win:
- Put a comment in the blog comments* (below), telling me what type of contrast you enjoy creating most in your own work, or the type of contrast you wish you used more of. And, yes, if you want to share pictures, you can do so by including a link. Just don’t put more than one link in or it may spam filter the comment.
- Note: It can take some time for the comment to appear if you’ve not commented before since, due to annoying spamming, I have to approve it .
- Giveaway winners will be chosen by random—it will NOT be based on your answers. I do hope you’ll give it some thought anyway. The answers could be helpful to you as well as interesting for the rest of us.
- And let’s say you can only win once this month so we can spread the love around.
- Get your comments posted by Wednesday March 17th at midnight Pacific time to get in for the raffle.
- I’ll announce the winner here on the blog next weekend!
I’ll put together yet another pack of goodies for a giveaway in next weekend’s post, so stay tuned here!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…
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We are going to be dropping in on some big names this week and next to see what they are up to and what they have to inspire us with.
First up: Bonnie Bishoff. Her focus on jewelry these last couple years has been a journey through a variety of styles as she moves from working primarily in veneers on furniture with her partner J.M. Syron to smaller and more intimate work. But regardless of the style, her quietly strong and confident sense of color and pattern mark each piece like a signature. These lovely earrings are paired almost solely by color scheme although they do work within a limited set of variations in composition, visual texture and shapes. Each variation relays a slightly different mood, adjusted through the level of contrast in value and hue. The subtlety of this communication is what really brings home how masterful her color work is.
You can see what I mean by looking at the body of her work. You can do so by jumping onto her Instagram page and the website she shares with J.M. Syron.
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Happy Monday, fellow polymer enthusiasts. I’m not sure how this week is going to turn out as I have not had time to put together a full-fledged theme so we’re gonna go with “things that caught my eye” for now.
I’m sure you can understand why this piece by Marion Le Coq aka Fancy Puppet, might have caught my eye. They are fun and refreshing pieces, wonderfully finished and composed. She connects all her elements with repetition of motifs, colors, or other things. For example, the leaf off the apple is reflected in the leaf addition on the back and hanging leaves. The carrot’s colors are reflected in its layered pieces behind it, and its crisscross of lines reflect the crisscross of the plaid.
I’m guessing the plaids and dots are silkscreen but the secret is probably available on her YouTube page where she has dozens of tutorials and review items. She’s also quite busy elsewhere online. You can find her on Instagram, Facebook, Canal blog, and Etsy.
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I recently realized that I don’t think I’ve ever talked about the lowly squiggle. But who doesn’t like a well-done squiggle? I guess it’s hard to take it seriously with such a silly-sounding name but the sound of the word itself describes it so well.
I myself am very fond of squiggles and apply them throughout my work, primarily as accents, but some people take the squiggle to wonderfully elevated levels as the central theme of their piece.
This pin by Petra Nemravová is an excellent example of the squiggle stealing the show. The organization of these wonderfully unruly squiggles brings a regular rhythm to their organic movement. It reins in the rambling energy that this kind of squiggle contains. The bright array of colors, which could also get out of hand, is held in check by a regular graduation from one color to the next, helping to create an energetic but contained feeling.
Petra is such an advocate of bright colors and cheerful compositions. Enjoy a stroll through her colorful world on her Flickr photostream. She is also the genius mind behind the wonderful selections found in the online polymer shop Nemravka, serving the European polymer and craft communities and beyond.
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I decided this week I would like to talk about work that speaks to me. Well, I don’t mean that I want to talk about me so much as use pieces that do speak to me as examples of what it means when a piece of artwork elicits a response from the viewer.
For various reasons, I ended up thinking and talking a lot about how we define art this past week. I have long felt that art should be defined as work that is made with expression and intention, with a goal of eliciting an intellectual or emotional response. Yes, I know a lot of people will say that it is the individual who should determine what art is to them but I would like to suggest that such a statement is not quite the right phrase. Each of us can determine what is good art or what is bad art—to that I absolutely agree. But shouldn’t a label such as “art” have a more specific definition than just whatever someone thinks is art, or just something that is made by hand, as the definition would seem to be nowadays?
I am guilty of this broad use as well so I’m not pointing fingers, I’m just a big proponent of using language to effectively communicate and I think it would be great if the English language had a well-defined use of the word “art” that allowed us to talk about work born of self-expression versus craftwork or artisan work created from skilled hands.
My definition also brings up the question of what does it mean to elicit a response? It is not as confined a concept as it might sound like so I thought I’d try to define that a little this week.
For a piece of work to elicit a response all it has to do is make the viewer stop and feel something, or stop and think. It could be something as simple as making them smile or as complex as questioning societal norms. It can be positive such as emitting a sense of peacefulness or negative such as work with a high shock value geared to make you appalled or angry. If the piece is made with intention, part of that intention will, consciously or unconsciously, be to communicate with the viewer, and if the artist is communicating then they are attempting to elicit a response. Good art accomplishes this. Bad art is too distracting in its failings to communicate or illicit anything of value.
This piece here feels like a very personal piece for Shannon Tabor who commented on her Instagram post of this that “I’m back to my roots in design with ‘Compass’. My Back To Basics study is over and I’m anxious to get all these design ideas out of my head and onto my clay!”
I can feel her excitement for this new work in the composition and surface treatment of this necklace. There is a buzzing kind of energy from the scratches and the asymmetrical placement of elements but there’s also a reservedness in the basic geometric shapes and the subdued and shaded palette. I found that I was drawn to the contrast between that reserved feeling and that feeling of excitement. It reminds me of that point in time right before things really take off in some exciting new venture, which I love, and so that must be what made me stop and spend time with this piece.
So, you see, Shannon may have been working on something specific to what she wanted to explore but the intention in her skilled design choices allowed me to connect with her emotion, or at least my sense of what her emotion must’ve been. That’s eliciting a response. And to me, that’s what makes it art.
See what else Shannon is up to by following her on Instagram or hopping over to her website.
Read MoreHappy Monday to you all. Business first… preorders for the fall issue of The Polymer Arts is available online now. We don’t have a precise publication date but looks like mid-September. I’ll let you know here on the blog, in our newsletter, and on the website when we know. Again, thank you for your patience with me while I work on healing my overworked joints.
Okay, one more piece of wall art, this time by the inventive Angela Barenholtz. I know it seems like we’ve been talking about wall art for a couple weeks but this will probably be the last for a bit. I picked this one for a couple reasons having little to do with wall art.
For one, it’s a really fun piece with its variety in color, visual texture, and even the long shapes that make up this “polymer quilt.” Creating with a large variety of primary elements makes for energy-infused and eye-catching work. But, the trick is that everything still needs to work together and have some kind of relationship. In this case, the relationship is in the consistency of the type of pieces inserted into this quilt—long and evenly cut strips of visual texture arranged in a square composition. With this much consistency, you can go nuts with the variety of color, texture, and pattern.
Each one of these could actually sit on its own—like it could be a pendant or brooch if small enough, or even a pair of earrings. Giving yourself a canvas of a certain size and shape releases you from having to be overly concerned about the bounds of individual elements and construction of the work, particularly if you’re creating jewelry, and you get to play with what you place on that canvas. I imagine a lot of you might find that attractive, being we are so in love with our surface treatments, canes, and textures. How many times have you fallen in love with just the sheet of clay you were working on before it became anything? Creating a simple surface to work with can allow you to present those fantastic results in a fun and easy manner.
Angela is all about surface design and variety. You can see that by looking at her Flickr photostream. She also generously shares her techniques in her published tutorials which you can find on Etsy.
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Guest Blog Post by Teresa Pandora Salgado
Van Gogh admitted to the world, “I am always doing what I cannot do yet, in order to learn how to do it.” Me too, Vincent.
One of the most infuriatingly fabulous things I cannot do is make cane like Jon Stuart Anderson. Jon creates canes in a cunning palette that leans in close and whispers, “Go ahead…take your time…look at me.” And I surely do. And the world does too.
I love the way Jon cruises nimbly past the pedestrian cane crossing. He jaywalks that trodden path without ever touching the ground. Obvious contrast? He doesn’t need it, no matter how much the cane is reduced. Nor does he require new colors. Jon keeps it fresh with precision, composition, and balance. Neat trick.
Jon Anderson is known for his millefiori animals: elephants, turtles, bulls, and birds. You’ll notice the creatures have a flesh and blood sense about them, a beating heart beneath their rich robes. So you look and you look and then, just when you think you know him, Jon takes you to another fork in the road. To the left, skulls, vessels, lights. And to the right, guitars. Ohhh, the guitars.
So, go ahead. Look. Be inspired. Aspire.
See Jon’s work at his website here.
Teresa Pandora Salgado is a polymer clay artist, designer & instructor from Los Angeles, California. She has made 87 YouTube tutorials which have garnered over 2 million hits from viewers in 151 countries. In addition to teaching live workshops on millefiori complex caning across the U.S., Teresa helms the online store, Tiny Pandora Crafting Boutique, which featuresMilll her specialized tools and kits.
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In perusing #the100dayproject on Instagram these past couple weeks, I’ve noticed that veneers are quite the thing to be experimenting with right now. Whether you call polymer sheets you work with surface design, surface treatments, or polymer veneers, it does feel like the clay surface is having a renaissance of exploration.
One of the first of these explorations that I’ve noticed in recent weeks was this piece by Lindly Haunani, which she posted on Facebook. Of course, the queen of color is going to have a showstopper based on her color choices alone, but the subtle texture and the composition of the layout of the veneers, for all the energy of the color and lines, has such a satisfying sense of calm and rightness. There is that obvious sense of intention and deftness of skill that brings refinement to such unquestionably masterful work, even in a piece the artist claims is exploration.
Explore more of Lindly’s work on her website and Facebook page.
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Another great contribution to the Spring issue was in our artists’ gallery. All of our artists are unique in their approach but it is Isabelle, known online as Bellou, whose designs are really standing out.
Isabelle creates bold, contemporary adornments that are polished to a glass-like shine. Her work often has a centered focal point but the balance of the components are set in asymmetric arrangements or are all shaped differently with different treatments. However, in all the disparity there is a common element that brings it together.
This is one of the pieces she sent us that we couldn’t work into the gallery pages. On the one side, there are wide, solid pieces, dense with texture, but on the other side, the space is opened with a series of cut-out shapes that have the same mica shift texture as the other side. The rest of the center piece brings in a grounding energy to the movement of lines and shapes that play across the necklace.
To see more of Bellou’s work, take a look at her shop pages here.
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