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.
As I mentioned at the beginning of the week, mirroring is extremely common in nature, especially among it’s many creatures. From the tiniest insects to the largest mammals, most creatures start out as forms that split into two, becoming whole as two halves of the same original design. It’s kind of interesting if you think about it; there really aren’t any asymmetrical creatures until you get down to the microscopic level or go deep under the sea.
This mirroring in nature is both for survival purposes and it is kind of a shortcut. Or at least I tend to think of it that way. Nature can design just one half and then copy and repeat to make a whole, functional and well-balanced creature. Well, that same concept works great for craft artists too! Insects are fun and colorful creature to recreate or make up in polymer and can be created using the same elements on both sides of the little buggers. This beautiful beetle by the wonderfully fun and creative Joyce Fritz was created with cane slices cut and flipped to mirror the other side’s intricate patterns. A great shortcut for creating complex looking creatures!
Joyce makes all kinds of mirrored and not-so-mirrored creatures, but all with a similar level of intricacy. Find more of her little guys on her website.
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 am really pushing the mirror theme here, I know. But, I have been in love with these bowls since I first saw them. It was during those first few magical months after I realized what polymer clay really was and what it could do. I was taking in everything I could find online. The images of James Lehman’s bowls were by far the most breathtaking for a newbie like me. The colors are amazing, the shine is unreal and the form and overall workmanship was unlike anything I’d seen. To this day, I think of them as being in a class by themselves that no one else has quite been able to match.
So, the imagery isn’t usually mirrored in James’ pieces, but the polish is mirror-like and because of the detail and attention he applied to both the insides and the backsides of his bowl, he had to take photos of them on a mirrored surface to show the full effect. So, humor me while I fit it into this week’s theme. Because this kind of dedication to the finish of a piece — this was nearly 15 years ago as well — is awe inspiring, if not a level any fine polymer artist would want to aspire to reach.
James still has a site with his work online here but has not done much in the community for a number of years. If you Google the guy and look at his other websites, it’s obvious that he is one easily distracted and fanatically curious fellow, and it’s no surprise he has gone on to further develop his skills in another area of interest. But, we will still have his amazing work to enjoy, appreciate and inspire us.
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.
Because mirror images are so common in nature, I do suppose we find their centered-ness less adventuresome, edgy or contemporary. But, when it comes to nostalgic decor, centered and familiar is where it is at!
Many holiday ornaments like this carefully crafted piece by Kay Miller, will play off some of nature’s most common mirrored designs. In this case, both floral and snowflake designs are harkened to. Floral influence is seen in the motifs chosen and the petal-like structure of the form, but the way they are built up, in visual steps from the center outward, changing as they progress while using the same kind of shapes, is particular to the snowflake and other crystal patterns.
I couldn’t find an active page for Kay, but she does have an Etsy shop; it’s just a little empty at the moment. However, you can find a lot of her ornaments on Google images using her name and ‘ornaments’ as key words (or use the link you see here, of course.)
As a little fun side item, try to find the one single element that is not mirrored in this ornament. I don’t know if she did this on purpose, and if I had the time, I’d start combing through her designs to see if she does this with all of them. This one single discrepancy, which becomes very obvious once you find it, reminds me of a story I heard in an art history class many moons ago about a tradition in a particular tribe of American Indians. Their artisans were so adept that they could make every object with absolute perfection, but instead they would purposely make one tiny thing incorrectly, weaving one twist backwards, miss one painted dot in a series or leave one carved feather untextured. Why? Because they were not gods and believed they should not create as if they were perfect like the gods. I always thought that if I become that perfect in anything I do, I would do the same. I’m just not that perfect yet to even worry about attaining a god-like status in my work. But, it’s fun to think someone else might be doing something like that out there.
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.
The ‘mirror image’ is a very common element in nature; from leaves to flowers to fruit to every creature I can think of, there are often two halves mirroring each other to make the whole. I’ve seen a number of interesting uses of this in polymer pieces lately and thought this might be an easy theme to gather up work for this week. Not so much, however. Because using this kind of element necessitates a centered composition where the mirror images appear–their meeting point in the middle creating a center line–and with a community much enamored of asymmetry, it is far rarer than I would have thought. But, I aim to find a variety of examples where the mirroring adds energy or depth to a piece rather than feeling stale because the element (or elements) are arranged on some center line.
The obvious first place to look is in caning. The kaleidoscope cane alone holds up a great argument for mirroring. Create an pie slice shaped cane, cut up the length and lay matching sides together to fill in the pie round (or some approach akin to that.) And you end up with usually very energized visuals. Lines, curves, angles and other directional elements will be moving from the center in opposite directions creating that energy.
When I hear kaleidoscope canes, I always think of Carol Simmons and her intense precision in this art form. These pendants are examples for her upcoming workshops being held in Racine, Wisconsin after the RAM Symposium later in October. (It’s a waiting list only class; find out more on her website.) The center lines from the process of mirroring images have become a range of star burst like patterns, pushing direction from the center of the pendants to the outside that adds dynamic energy and a mesmerizing amount of detail on such a small space.
If you haven’t attempted a kaleidoscope cane before, but are interested, there are dozens of basic free tutorials as well as more intricate ones sold on Etsy and through other shops. Just Google the term “kaleidoscope cane tutorial” for many instant options.
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.
What else would we do for an outside inspiration that started out looking at shibori, than shibori itself? The artist behind these earrings and ring, Serena Di Mercione, has a number of pieces we actually found on a few polymer clay focused Pinterest boards even though this is silk with beads and pearls and metal findings. I’m not really surprised. It would not be hard to imagine these as polymer instead of silk ribbons. But how would you do that?
I was thinking maybe thinly folded pearl clay colored with diluted alcohol inks applied to just the edges of the folds with a cosmetic sponge. Or Skinner blends applied in thin strips to a pearl clay back and then rolled thin so you can fold it, letting the folds land on the strips of colored blended clay. I’m not really sure how with would work, but I’d be willing to give it a try . I just might do that this weekend as I pull out my clay and tools to show the wonders of this medium to a few curious young minds. We must instill a love of polymer into the next generation, right?
To really brighten your Friday, take a stroll through more of Serena’s delicious shibori and soutache jewelry creations on her Facebook page. You will either get your creative juices flowing or start craving rainbow sherbet!
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.
If yesterday’s version of ripples was controlled and reserved, today’s rippling beads border on being a full-fledged party.
Although Daniela Wernli, also known as Dr. Fimo, only uses one color plus white in these beads, the energy here is very high, but you know the color isn’t a primary factor for that. The beads actually push the whole idea of what a ripple is and can be. You see ripples in the twisted clay curls with their repetition and progression wrapped into tight swirls that ramps up the sense of movement, making for a very energized piece.
In case you were wondering, Daniela was named Dr. Fimo by her family because she is often seen wandering about with her polymer work gloves on. See more of her work, especially some very interesting dots and rolled clay pieces, on her Flickr page.
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.
We’ve looked at a few rather free-form versions of rippling, but ripples can also be well controlled and stylized while maintaining that similarly energized feel of movement.
The pins that emerged in The Broken Internet Project had a lot of controlled, but high-energy lines in the designs, most likely due to their inspiration being a pin by the meticulous Dan Cormier, a pin that had a zigzag line (a cousin to the ripple, you could say) through the center of it. I loved Cornelia Brockstedt’s interpretation with both a controlled rippling Skinner blend and a silhouette of a ripple inserted next to it. Calm, but energized. It’s almost the definition of that.
If you never had the chance to see the whole Broken Internet Project results, be sure to jump over to The Cutting Edge’s Facebook page to see them all together. And, for more by the fabulous Cornelia Brockstedt, take a look at her website or her Flickr pages for her latest pieces.
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.
We have another scene picked by Ginger Davis Allman today, this one by miniature sculptor Angee Chase. This is actually an older piece but it was kind of hard to pass by for someone with a love of painting and light like myself.
If you’ve ever taken a painting class you probably heard a lot about capturing the quality of light? Light is what visually defines everything we see but it has variable qualities, especially sunlight throughout the day. I found dawn and dusk to be two of the hardest but most interesting types of light to capture as you are working with growing or diminishing light coming from a low angle. The deepening shadows and richness of a darkening scene at sunset are well captured in Angee’s Sunset Farm Painting. This includes determining the right shades of color, choosing the right value for the background behind the foreground objects and varying the value of the layers of scenery. I’m not sure if the orb in the sky was intended as a sun or a moon but the lighting on the mountains are perfectly portrayed as a full moon rising on the tail end of sunset. And that is quite an inspiring scene if you’ve ever been able to see that over wide open country. This piece is only 3 .75″ x 4.25″ (95mm x 107mm) by the way. Great detail for something so small.
Angee is still doing scenes these days but the ones I found on her Etsy shop are 1″ (25mm) square. Now we’re talking tiny! Her newer shop is called WonderWorks and has a presence on Facebook as well. Her Flickr photostream displays her older pieces if you want ideas that are more like what you see here.
Ginger Davis Allman lives in Springfield, Missouri with her husband Gary, her three kids and her many craft obsessions. Subscribe to her blog and look around her website for her well-researched and in-depth posts and articles on polymer related subjects. Support her great information and research as well as treating yourself by getting yourself a tutorial or two from this talented lady.
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.
So here is something new for you my dear readers … a week of posts chosen by a guest artst! A little while back I reached out to a number of artists who regularly send me content ideas and asked if they would like to take over the art choices for a week. The idea was to get some fresh views of polymer art that I might not pick out because, even though I try to pull in all varieties and tastes, I just won’t see things the same as other people and vice versa. I am hoping enjoy this little change up and that we’ll get to periodically have a fun and different week like this. Let me know what you think of having a guest blogger as we go through this week or tell me if you’re interested in helping one week yourself by dropping me a note!
Our first guest blog partner is Ginger Davis Allman, blogger extraordinaire at The Blue Bottle Tree and creator and author of numerous techniques and tutorials. She’s looking at polymer ‘scenes’ this week. She wrote up this first post for us:
Normally known for her whimsical and cartoon-like character sculptures, Doreen Kassel also makes jewelry with the same recognizable fun and engaging style. This cuff bracelet features a sculpted street scene reminiscent of a quaint rural French village. Can you imagine walking down this street, meeting interesting characters along the way as you gather your shopping at the market?
The individual elements of the scene, each sculpted in polymer clay and painted in bright colors, come together to create a cohesive story. Each element is separate, but still connected by its placement, its color, and its style. Much in the way the the real buildings of a French village would be.
Doreen will be teaching how to make cuffs like this at a workshop in Stamford, CT this coming October.
Ginger Davis Allman lives in Springfield, Missouri with her husband Gary, her three kids and her many craft obsessions. Subscribe to her blog and look around her website for her well-researched and in-depth posts and articles on polymer related subjects. Support her great information and research as well as treating yourself by getting yourself a tutorial or two from this talented lady.
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.
