Contrast of Self
March 14, 2021
Design lessons, Supplies & other fun stuff
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…
Balancing Color & Contrast
November 26, 2018
Inspirational Art
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.
A Serving of Fruits and Veggies
October 15, 2018
Inspirational Art
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.
Elevating the Squiggle
September 17, 2018
Inspirational Art
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.
Eliciting a Response
August 27, 2018
Inspirational Art
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.
Piecing It All Together
August 20, 2018
Uncategorized
Happy 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.
Inspiration, Aspiration, and Jon Stuart Anderson
June 25, 2018
Inspirational Art
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.
Muted Veneer
April 16, 2018
Inspirational Art
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.
Creative Composition
March 7, 2018
Inspirational Art
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.
Okay … I am apparently beyond tired or something. I thought yesterday was Thursday, and so I didn’t do an Outside Inspiration piece as I usually do at the end of the week. But easily fixed! We’ll make today our look-at-something-outside-polymer day.
I don’t have any idea what category of art this would be under–it’s kind of in its own category. If you haven’t taken a really close look at this little dress, do so now. Do you see what it is made of? Petals, fern fronds and feathers–a bit of fashion made for faeries. I just thought this was genius. What else would a fairy truly dress in but what nature has available to them. The thing is, you don’t realize that it’s not a dress when you first look at it. It’s just a construction of natural elements arranged to illustrate a dress; delicate and pretty, but just an illustration. A fabulous little illustration.
The clever little fashion tailor is UK artist Emily Bazeley. She became obsessed with created these fantastical bits of haute couture after getting a gift of pressed flowers from her artist grandmother, and while looking for something that would honor both the gift and her grandmother, created her first bit of fairy fashion. It was a natural fit for her. As Emily explains, “I have always been captivated by the beauty, subtlety and sheer magic contained within each petal of a flower; each vein of a leaf; not to mention the miracle of seeds, nuts, acorns and fir cones.” It sounds like a perfect artist endeavor for this nature lover.
She constructs and frames her creations and then sells them as wall art. I was thinking about all the beautiful elaborate canes made in our community and wondered if this would inspire our caners to illustrate some simply magical fashions or illustrations of their own. For more inspiration, take a magical stroll through Emily’s website to see more fashions, dwellings, furniture and, my favorite surprise, fairy washing lines with all the little bits a fairy might have to put out to dry. Adorable.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
This piece is unusual for two reasons–one because, well, look at the way those colors glow! It’s pure color illusion, but they look like glass at first glance. The colors are a kind of candy luscious, and I think the space between the little blocks assists in the illusion that they glow because the little blocks of gradient color are not overly competing with neighboring color sets; our perception of colors changes depending on what other colors are sitting next to them. The second reason this is unusual is that the artist is one of those rare creatures in our community… a guy!
Moïse Vanden Broeck is a dental technician with his own laboratory (you can get quite creative in a dental laboratory!), as well as having a penchant for some really unusual approaches to jewelry. This piece has caught him at just doing something beautiful and fabulous. But, he’s also a pretty funny guy. You have to go read the interview on Parole de Pate where I first found this bracelet. Although, if you are going to read it in English, it will also be humorous due to translation. But it’s both an interesting and entertaining read in any language.
That interview is a few years old, though. To see what Moise has been up to recently visit his website and blog.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
So, I didn’t do well at thinking up a succinct theme for this week. I just grabbed a handful of great pieces that all make me think ‘fabulous’! So, we are just going to have a week of fabulousness. Is that okay? My tired brain, worn down by working on the last bits for the next issue, which is also fabulous, would love that.
So, how about this piece first. Honestly, there is little that Barbara Fajardo does that doesn’t make me think ‘fabulous’ when I see it. She freely experiments with all kinds of techniques and forms, but they all come together under great color palettes, nice balance and fine finishing. I was originally going to share a necklace of hers with you, but when searching out the source for it I landed on her Flickr page and saw these Barnacle Bracelets, and I had to change it up!
A bowl she created using the same forms was on Polymer Clay Daily last, but I hadn’t seen these. Fabulous right? Fantastic colors, did I not say? The textures are tantalizing, and the complex organic treatment of the barnacles is inspired. I think I would be playing with this all day if I had it on my wrist! And staring. Definitely, staring at them a lot.
See the rest of her barnacled collection and tons and tons of other eye candy on her Flickr page or her website.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
This last story was actually requested. By several readers. Why this handful of people knew there was this story to be told, I’m not sure. It is a lot like yesterday’s story, but with some significant differences, as well as a different kind of significance here. I think you’ll know what I’m getting at when you read it
The artwork here is not a piece by either in the story, but it’s something I’ve had saved for a while. Its not even polymer. But, really, it could be, and someone really needs to try this! It’s a glass mosaic created on a rock.
That is what artist Liz Tonkin does… she builds mosaics on rocks. Isn’t is gorgeous? Take a look at her Facebook page to find the most eye candy of this sort. Okay, enjoy that while reading the last of our ‘lovely’ stories this week.
Parallel Lives
Once upon a time, in a Los Angeles high school drama class, a charming boy with an amazingly cute smile sat down next to a very shy, self-conscious girl (who had unintentionally ended up in the class) and asked her to do a scene with him. She didn’t know why this guy, who every girl in class seemed to have a crush on, would ask her, but she said yes, so he suggested they get together that weekend and go over scenes.
That was the first of many weekends and many hours spent together. She was his first girlfriend and his first kiss. He was the first guy she actually fell in love with. Being young and uncertain though, they didn’t really know what they wanted and a rift developed. But, it wasn’t long before they worked out how to just be friends and would spent long hours at dingy coffee shops, comparing personal philosophies and talking about their art and writing. It was always so easy to just be themselves with each other.
They stayed irregular friends for nearly a decade, unintentionally following each other around, but rarely seeing each other. They went to the same community college, then the same four year college. Then he went on to a prestigious animation program north of L.A., and she moved to New Mexico. A a couple years later, they both ended up in San Francisco at the same time and returned to L.A. for a while when both were between jobs.
During that time, the girl turned to poetry, and he to painting, both looking at what filled their souls but not their pockets. Christmas day of 1993, they spent the afternoon with her family and still talked like they always did. But, it would be the last time they would talk for 20 years.
Soon after the year the girl met another guy, got married and moved to Colorado. The boy got serious about his career and soon met a woman through work and eventually got married. Neither marriage was good but, they were both the type of people who don’t give up easily, and they stayed for far too long in relationships that crushed their spirits. She had stopped writing her poetry, and he did little more than work.
After her inevitable divorce and several years of near solitude, she tried to find something meaningful with someone else, but there would always be angry words, or they would want her to give up her art or her writing that she kept trying to resurrect. So, the girl gave up on love and sunk herself into her work.
She would think back, however, and remember those few people in her past with whom she could always be herself, those bright lights on the horizon of her past, and started looking for them. Some she found, but not the boy from drama class who she wanted to see again more than anyone. She knew he’d become successful in animation as his name would roll by on the TV screen sometimes when her roommate watched cartoons, but she had no way to reach him.
Then one particularly trying day, when she looked back at the mess of a life she’d had, she thought of that boy again and decided she would search for him one more time. Suddenly, there he was, his still very cute smile staring out at her from a new blog of his. She wrote him and hoped he’d just say hi back. A few hours later he did. But he didn’t just say hi.
They talked every day from then on, in the same way they did 20 years before. A couple months later, the girl’s father became ill, and she drove out from Colorado to Los Angeles to help. The two old friends managed to meet up and then went out for a dinner that they lingered over until the place closed. It was then that the girl realized she was still in love with that boy, and, as it turned out, the boy had the very same realization about her. The girl, however, had been resigned to being alone the rest of her life, but the boy, he jumped off the deep end and just told her how he felt. She made him wait 6 weeks before she could finally say, “Yes, I feel the same. Now what?”
That all started just over a year ago. Somehow, even living a thousand miles apart and being about the two busiest people anyone could imagine, they make it work. They talk every day, try to see each other every month and are slowly breaking down all the cynicism built by the many years in between. Their lives still parallel each other, too; both working jobs that combine art and writing. Their big deadlines even land on the same weeks. They live in a similar rhythm, but, more often than not, many miles apart.
And yes, they sometimes wonder what would have happened if they had realized when they were young just how rare and precious it is to have someone you can be yourself with and who loves you just as you are. But, that boy and girl who met in a high school drama class are not the same boy and girl who met again last year. Maybe the years in between were not always happy ones, but it allowed them to become the kind of people who can appreciate and love each other the way two people really should.
The girl’s name is Sage. The boy’s name is Brett. We will spend this Valentine’s day a thousand miles apart, but still, we believe we are the two luckiest people in the whole darn universe.
Happy Valentine’s day to everyone out there. Cherish and appreciate the love in your life in all the forms and from all the souls that give it to you.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Our story today comes from Colleen White, and the art work comes from her husband, David White. Being it is Friday when we do outside inspirations, it fits that we can show something non-polymer; although, the shapes of those rocks, the swirling texture in the stone and the green of that cape might bring up a polymer possibility or two.
It Was in the Numbers
My husband and I met in 1969; he was a senior, and I was a junior in high school. We dated for a few months, then “broke up”, but remained friends as he went off to college in north New Jersey, and I went to Florida to art school. Over the next four years I saw him only a few times; meeting him and his girlfriend in New York for concerts or visiting them when I went up to New Jersey to visit my folks. The last time I saw him was 1973, and they were married. I later married and stayed in Florida.
In 2001, I had just signed my divorce papers and put a contract on a house when I got a note in the mail from him saying, “Please write or call.” He was an art director in New York when the Trade Towers and Pentagon were hit. He thought it was the beginning of WW3 and decided he had to find me. He had looked for me in the late 80s when he was divorced, but with no luck, so he had hired a detective agency to find me. That’s how he got my address. The first time we talked on the phone, it was like 29 years had disappeared! Within a few months, he moved to Florida, we married and now live in paradise. He is truly my soul mate. He is an amazing artist and inspiration to me.
There are a few strange coincidences that makes it all more fun. We met in 1969, and 911 was the reason he started looking for me again. The house I had just purchased was 911 69th Ave. He also has the same first and middle name as my ex-husband, and both their last names are colors!
To see more of David’s work, go to his website here. Collen works in polymer and metal clays among other things and has work and classes posted on her website.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Okay … here is a piece that I have hung onto for a while as I tried to find the person who created it. I have not, yet. It’s not a particularly complex piece, and although, I like the silver as an accent, I so rather wish the feather-like pieces were handmade or more organic or smooth and simple. The flow of color in the clay just calls for either something that matches that organic movement or has a calm stillness in contrast to it. But, nonetheless, the colors in these simple earrings are arresting.
So, this is the challenge I throw out to you all. Who knows whose creations these are? Help me find the artist and give them credit, and then back to your last-minute shopping and holiday parties!
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
I’m going to break a kind of rule here and show you a collage instead of just one of these colorful felted pieces by Japanese felt artist, Atsuko Sasaki. Because isn’t the collection just a beautiful composition and delightful explosion of color? I also thought you would find it more intriguing when you could see the variety of forms and color this very precise felter pulls together. And this way, I didn’t have to pick just one.
I think the possibilities of how this could inspire a polymer artist comes across much more from this grouping, too. The felt here has a saturation of color commonly seen in polymer, but in bold forms; the kind of which we don’t see so much from clayers. However, everything here could be done in a polymer version from the appliqued dots within dots to the inverted mushroom caps, to the alternately patterned material popping out through slashes in the fabric. Do they give you any ideas?
I originally found this collage and this work on a great little blog called Folt Bolt, but you can find more of Atsuko’s handbags, mufflers, vases and sculptural objects on her website. By the way, these pieces are quite big. You can see handbags and mufflers modeled in photos on her Facebook page.
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Shall we get the not-so-nice stuff out of the way first?
The New Not-Well-Thought-Out EU Digital Tax Laws hit Worldwide on the First of the Year
If you haven’t already heard, the European Union has new laws regarding selling digital products and services to European buyers, and it goes into effect January 1st. Unlike past VAT taxes that rarely, if ever, affected micro businesses and solo sellers, this one affects everyone who sells any digital goods or services TO Europe because this new law is based on where the buyer resides, not where the seller works. Yes, even you, you seller of $3 PDF tutorials! It’s a tad insane, and most of us small, struggling businesses and artists just found out in the last couple weeks that we need to register with the EU, implement new bookkeeping & documentation storage for at least 10 years, update shopping gateways and our websites, and possibly change who/what we sell through, and we need to have it all ready before the year ends in order to offer digital goods and services to Europe in 2015 and forward. Or, we can change to whom or how we sell digital stuff. Ugh!
I wanted to inform you all of this, so you have a chance to find out if this affects you as a seller of PDF tutorials, eBooks, patterns, subscription or member services, online advertising, or automated online services of any kind and allow you time to figure out what to do. AND, to be heard if you agree that this tax is detrimental to micro and solo businesses.
Please Help. Take Action to Fix this.
Get informed, and sign the petition to have a threshold set, so small, unique sellers don’t have to pull out of Europe or go out of business because they can’t afford to comply. You can find out more about the issues with the new laws on EUVATACtion.org and get the official summary of them on www.gov.uk.
The only possible salvation for many of us will be a service who can take care of the nightmare of documenting, setting up calculations, collecting and remitting the tax for you for all of the 28 European countries involved. There is only one viable service I have found so far, and they even offer it for free (up to 20 EU transactions a month), if they can integrate through your Paypal or similar payment service. If you think you’ll need this, write them at www.taxamo.com to find out if they can work for you.
Prices will Go Up; Buy or Renew Now
This sudden news does not give us here at The Polymer Arts enough time to make the changes needed to collect VAT on our digital magazine sales, so we will be using an exception in the law and will have to individually email digital issues of The Polymer Arts to European readers as of next month. This will be costly labor-wise, so we’ll have no choice but to increase prices for these manually sent issues. But, this will cost the European buyer far less than paying VAT. So, if you’re in Europe and you haven’t renewed or bought those back issues in digital that you were thinking of getting, now would be the time to do that. Just go to our website, www.thepolymerarts.com/Subscribe.html, before the end of the year when prices for European digital purchases will go up.
Back to Color …
How about today we have a moment of color indulgence with color maven and polymer pioneer, Lindly Haunani. Aren’t these colors just yummy. I know that’s not the most technical artistic term, but that about sums it up!
This image is a preview of what she’ll be teaching at Maureen Carlsons Center for Creative Arts. The workshop is entitled “Joy Garden: Translucent Polymer Innovations”, and it’ll be held Sunday, August 9th – Friday, August 14th, 2015. Yep, it’s about time to start planning for summer fun, don’t you think? Okay, maybe it’s a ways off, but you probably want to grab a spot in this workshop sooner rather than later and for those of us seeing snow out our windows, it’s kind of fun to dream about summer isn’t it?
Lindly’s blog and website, as well as her book and DVD set, are a wealth of information on color. Just jump over to her website to get links to all her wonderful stuff.
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Today’s piece pays homage to one of my favorite painter’s of the last century, Wassily Kandinsky, whose birthday happens to be today. Kandinsky is considered the first artist to create purely abstract art and was one of the foremost Expressionist painters, as well as being an artistic theorist. He was especially concerned with our personal reactions to color, as in how we interact viscerally with what we see. He wrote in his book Du spirituel dans l’art (Concerning the Spiritual in Art), “Colours on the painter’s palette evoke a double effect: a purely physical effect on the eye, which is charmed by the beauty of colours, similar to the joyful impression when we eat a delicacy. This effect can be much deeper, however, causing a vibration of the soul or an “inner resonance”—a spiritual effect in which the colour touches the soul itself.”
Isn’t that just lovely?
This necklace was created by Cecilia Leonini of Italy. To honor Kandinsky’s thoughts and not influence your reaction, I’m not going to comment on this piece. How do you find yourself reacting to it, to the color, form and imagery? Do you see what Kandinsky was referring to in terms of our interaction with color?
You can find more of Cecilia’s work in her Etsy shop. I only just discovered her through the Polymer Clay Artist’s Guild of Etsy which I am a member of. If you sell on Etsy and aren’t a member of the PCAGOE, do consider joining–start by clicking here. This group was key in encouraging and inspiring me when I was still new and uncertain, and many are what we affectionately refer to as the midwives of The Polymer Arts magazine, helping to form the concept and vet ideas for its creation and content when it first started out. They are a wonderful support group and a wealth of information and inspiration!
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
