The Allure of the Box & Important News
December 1, 2019
Uncategorized
Do you, like many people, find boxes really intriguing? Why do we like boxes? I mean, sure, they are convenient for storing things, hiding things, shipping stuff, and wrapping up gifts. But some of us (myself very much included) can become rather infatuated with them. I know I have a hard time passing a box and not opening it up. Boxes have this mysterious unknown interior that could be holding just about anything that will fit. The possibilities poke at our curiosity.
The things with in a box become automatically precious or necessary. Why put something in a box if it is not valuable or you do not think it will become useful in the future? So, boxes hold valuables of a sort, normally. So why wouldn’t you want to peek in and see what kind of fabulous things are inside?
I bring up boxes because I have a bit of news that has to do with boxes. Say uncle scrolling down to the end of the post to see what my news is, here it is. Then we’ll look at a few polymer boxes to further contemplate
The Good, the Bad, and the Exciting
Note: If you are an existing subscriber to The Polymer Studio, you should already have received an email with this information. (If you believe you are an existing subscriber and did not get a subscription status email, check your junk mail folder. You can also check your subscription status on your account page here.)
So, after 4 months of working on my health and arm injury, I have gotten to the point where I have been able to determine, more or less, what I can and can’t do going forward, and since it is apparent that I will continue to be restricted for the foreseeable future, I have made plans accordingly:
The Good:
As of January, I will be resuming work on publications for 2020 and am working on new projects now.
The Bad:
I am shutting down The Polymer Studio magazine for good. I have, however, set-up exciting options for fulfilling subscriptions for existing subscribers, primarily the new Box project you’ll read about below. (More details for subscribers are in the email sent out earlier today.)
The Exciting:
I have 3 exciting projects that Tenth Muse Arts will be offering this coming year–
- I will be scheduling 2 book publications for 2020, including the second Polymer Arts Projects book (the theme will be Shimmer and Shine) and a book on expanding your creativity yet to be titled.
- I will be expanding our shop to include hard to get and self-published polymer and mixed media related books to connect the community with more great artists and authors.
- And… instead of a regularly published magazine we will be offering a monthly Virtual Art Box for polymer and mixed media creatives.
I know, I know … there are a lot of questions those announcements bring up like what is a Virtual Art Box and why am I not publishing the magazine any longer? And I have answers so, read on!
What is the Virtual Tenth Muse Art Box?
The Virtual Art Box is a digital package of invaluable articles, lessons, specials, and printable tools all geared to advance your creative self and give you more “a-ha” moments. Like a magazine, we will be providing serendipitous educational and inspirational content but with additional tools and perks that just couldn’t be produced in the pages of a publication.
Each Virtual Art Box will include:
- Design immersion lessons (weekly)
- Creativity Cultivation seminars & worksheets (every month)
- Customizable challenges (every month)
- Art Nudges (weekly)
… as well a variety of these possible items:
- Project and technique tutorials
- Demonstrations
- Interviews
- Printable gadgets and aids
- Retail partner discounts and specials
- Sneak peaks and Box subscriber only discounts for Tenth Muse Arts publications
- And whatever other great goodies we think up or you suggest along the way.
The Virtual Art Box will be multimedia to include video and downloadable PDFs and will be sent out monthly. They will be available as a automatically billed monthly and quarterly subscriptions that can be canceled at any time. The first box will be sent off February of 2020. Subscriptions aren’t available quite yet, but we’ll let you know when we have all that technical stuff done so you can! (Existing subscribers will be automatically signed up for the Virtual Art Box or they will have the option to request store credit – details for subscribers will be sent out this coming week.)
Why No Magazine?
As many of you know, I halted magazine production in August because of health issues. Although I am not through the full six months recommended for recovery time, it has already become apparent that there is some permanent damage in my arm and there is still a long road ahead for the other health issues I am dealing with. So, something had to be changed.
Being the primary editor and layout designer for the magazine, and facing the reality that I can no longer carry my usual workload, my only option for keeping the magazine going would be to hire more third-party contractors which would result in one or, most likely, all of three things – significantly raising the price of the magazine, jeopardizing the quality of the production and content, and/or not paying the contributing writers and artists. I am not happy with the idea of any of these outcomes and instead I have chosen to discontinue the magazine and work in formats that put less repetitive strain on my arm and should be better able to financially support additional contracted staff as needed.
I am more than a little sad about closing down the magazine. I’ve been publishing periodicals for the polymer community for over eight years and have worked in magazines since high school. However, I’m hoping, with these new ventures, I can continue to inspire, educate, and increase your joy and fulfillment in your creative endeavors through these other exciting avenues.
How Does This Affect This Blog?
So, as you might have noticed, one of the items in the Virtual Art Box is a weekly design lesson. Well, that’s basically what I’ve been doing on the blog this year but, without a magazine to promote on a regular basis, it’s been hard to justify the time that goes into these article length posts beyond the fact that I love doing them. But the mantra for this next year is to work smart.
So, what will happen is that the full-length posts plus other notes and nudges based on the content of the virtual box will be sent to the Virtual Art Box subscribers each weekend. Here, on this publicly accessible blog, I will do an abbreviated version of the subscriber’s weekly design immersion content so I can keep nudging folks to look closer at the design of their creations.
Starting this month, I will be creating those abbreviated posts so I can focus on wrapping up the details of this new project, hire a new assistant, and get a production schedule up for next year for the books. All that with the holidays in the midst of it. Sounds like I’m getting crazy again but I promise to do as the doctor orders. I am really looking forward to being productive again!
Now What about Those Boxes?
With polymer, you can make boxes in two ways – you can cover an existing box form or you can create your own box. Let’s put it at a few examples of both.
Covering a RD existing box is, obviously, the easiest way to create a polymer box. It may seem like a shortcut but if you spend a lot of time creating beautiful veneers or sculptural elements for the outside the box, there’s no need to spend a lot of time creating the box from polymer. Remember, it’s better to use the material that makes the most sense for what you are creating rather than limit yourself to one material.
Aniko Kolesnikova, famous for her journal covers, also covers boxes. Using her bas-relief style sculptural approach, she created this commissioned box based on the card game, Magic: The Gathering. The box top worked as a canvas but the dimensional aspect allowed her to flow each of the elements over its edge, taking up the dynamic energy and knowledge. Click on the image to get her blog post about how she made this including sketches and close-ups.
Fiona Abel-Smith looks to have created her actual box forms out of polymer and then covers it with a technique she learned, and eventually perfected, from Sue Heaser. The process is based on the classic mosaic-like technique of pietra dura. Laying a clay colored base for the shapes in the images, Fiona then adds bits, cut from extruded snakes of clay, to the image for texture. The intense technique creates beautiful, lively illustrations. Fiona’s also created a post about her boxes, showing her variations and their many sides along with photos of her process. Click the image to see the post.
If you are making your own polymer boxes, you have the option of leaving the square behind in making her boxes in any shape whatsoever. The opening image and the image below are boxes by Helen Wyland-Malchow. The opening image, Box 22, was her winning entry into Polymer Journeys 2019. This one, Landscape Box, below has always been one of my personal favorites though. That is really pushing the idea of a box in such a wonderful and dynamic way. Squares are bit static, which allows the imagery on the box to stand out but curves are fabulously high-energy and fun.
So, how about you? Have you created covered boxes or constructed your own from polymer? That could be a fun challenge this month if you haven’t worked with boxes yet. They make fantastic gifts for pretty much anyone. Who couldn’t use a box? If you’d like to create your own polymer boxes, there is a great tutorial (if I do say so myself) by me on constructing a 100% polymer box in the Winter 2015 issue of The Polymer Arts (also available in digital for immediate download here.)
Putting the Lid on It
Well, that’s enough blathering at you for this weekend. I haven’t had time to take pictures of the kitchen backsplash I was working on, which is basically done except for the grout, but I’ll share that with you next weekend, hopefully in its final form.
And last but not least, I want to thank each and every one of you who have been cheering me on the last 8 years, for sending your appreciative and supportive messages, particularly in these the last 4 months. I look forward to you coming along with me on these new and continued artistic ventures as we explore this fantastic medium, growing our creative selves and our community.
Mosaic Flow
February 24, 2019
Inspirational Art, The Polymer Arts magazine news
Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
Ring Riot
February 17, 2019
Inspirational Art
Have you ever made a polymer ring? It’s not one of the most popular jewelry forms in the medium which seems a little strange because they’re fairly easy to make. Maybe it’s a durability question – will the polymer ring stand up to the knocking and scraping rings have to go through? I’m not sure how they would fare if worn day in and day out but I, myself, have several polymer rings which still look as good today as the day I made them and the unusual and fantastic things you can do with polymer make them a really eye-catching piece of adornment that you’ll get lots of questions about an attention for.
There are so many different types of polymer rings you can make. You can wrap clay onto a form such as small glass bottles, sockets (for socket wrenches), and short bits of metal pipe (try pipe connectors.) You can skip the ring construction and just apply polymer to a metal ring blank. They come as bands with open channels that you can put canes and veneers in, or with a blank bezel for cabochons or sculptural elements. You can also simply create a block of clay that you punch a hole into for the finger to go through. Alternately, you can free-form the ring by hand, cure it, and then carve it into the shape and size you need. There are so many ways to make rings!
The one downside about rings, especially if you are selling them, is that you will need different sizes. Making a selection to show the style but then offering custom-made rings is one way around this but the other way is to just make simple rings that you can create a lot of and only in three or four popular sizes. This way you have those smaller inexpensive, impulse buy items to sell at your fair booth or online. And rings are easy items to sell especially at an inexpensive price point. They’re fun little bits of adornment and you don’t even really need them to match your outfits!
But if you want to create and sell one-of-a-kind rings, choose an average ring size and keep the band thickness and style wide enough to either sand down to create a larger size or add a layer of clay to create a smaller size. There are also adjustable ring blanks if you just need a base for attaching your polymer forms and elements onto.
So now that I have you thinking about rings, let’s take a look at some great polymer ring creations to further get your inspiration going.
Let’s start with one of those ring blank ideas. Here Janine Müller shows how creative you can get with a ring bezel. It doesn’t need to be a solid polymer cabochon. It can be layered or carved or hand-tooled or drilled. I’m not sure what her approach is here but the take away here is that you can try your own preferred surface treatments to create a unique ring in a bezel blank.
If you want to try an all polymer ring in a quick and easy but fun form, roll out those clay sheets and try a stacked set like these ingenious mix-and-match rings by Florence Minne-Khou. Clean cuts and a little sanding is about the most difficult aspect of a project like this so there’s hardly any excuse to not try it.
If you like getting sculptural with your work, you can go in a number of directions. Keep it simple but elegant with uncomplicated and cleanly shaped rings. Start by wrapping them around a solid form to start, and then sculpt the clay. These pieces from Angela Garrod are likely created in that fashion.
Or swirl them well into the third dimension with a folded form like this intriguing finger form from Sona Grigoryan.
Or just go completely wild and don’t worry about the functional aspect. Just make something out of this world. Perhaps this rather celestial feeling ring by Donna Greenberg will get you to push the limits of what you can do with a ring form.
If you are primarily a cane clayer, don’t think that rings–even sculptural rings–are not for you. Take note of Jana Roberts Benzon’s creative cane slicing and build up your own gorgeously detailed rings.
Oh, I could keep going with these! Just put “polymer rings” into a search on Pinterest, Instagram, Etsy or Flickr and you’ll see a ton more to get you thinking. But if you want some step by step instructions to help get you started on what could be a really addictive form, try this block cut ring tutorial from Ludmila Bakulina aka Sweety Bijou. This would be good for scraps too!
Okay … going to have to cut and run but I hope I have left you with some exciting possibilities. I’m on the road today but will be back next weekend with more food for thought and pretty things to ponder. Also, don’t forget to pre-order your Polymer Journeys 2019 before the 22nd. Release date is now March 2! Get yours at www.tenthmusearts.com
Creating Uncommon Mokume
January 27, 2019
Inspirational Art
Question for you … how much do you know about the origination of mokume gane? I’m guessing you have heard it has something to do with swords but did you know that the original metal technique was a lost art until quite recently? And did you know that what we do with polymer today has virtually nothing in common with the original technique? Mokume’s history and our adaptation of it has quite a few surprises in it, many of which could really open your eyes to its possibilities.
To understand how to create great mokume in polymer, it really does help to know a bit about where it came from, not to mention that its history is a great story of fortune, loss and redemption! Or something akin to that. Here are a few statements about its history. See if you can identify which statements are a true part of its tumultuous history and which are just fantastic claims:
- Mokume was a sword making technique that required folding metal over and over to give the blade’s edge a rippled appearance, like wood grain.
- The technique was developed for purely decorative purposes.
- It was originally used almost exclusively to create samurai swords to be carried around as status symbols.
- The technique became nearly extinct due to samurai swords becoming illegal to carry in Japan in the 19th century.
- The technique was resurrected by a female Japanese metalsmith when she started teaching it in the US in the 1970s.
Ok, so as you might have guessed, all these statements are true! But how does knowing this help? Well, the history may be more about appreciating it’s path to polymer but how it is created in metal can help you understand how our version of it works and what you can do with it.
Here … just take a look at one of the ways it is used in metalsmithing today. You can see in the phases of making a mokume ring, just how a mokume billet (that’s what metalsmith’s call a block of metal) is layered, twisted, pounded and bent into a ring. I never would have guessed that my mokume wedding band was created in this way considering how we approach it with polymer.
Now, what if you did the exact same thing with polymer? You could build a block, cut it, twist it, open it up and form it into a dimensional ring. Or bead. Or flattened donut. Or just a long bar bead, already patterned on all sides. Do you see how knowing the origin and how else it has been used can help you see the possibilities in polymer?
Neither the decorative sword nor the above metalsmithing approach sounds or looks anything like what we do in polymer though, does it? We don’t twist or even fold polymer mokume, it rarely looks like wood grain, and it certainly isn’t going to behave (or be as hard to work with) as steel and yet, we call it mokume. Now, how did that happen?
Like most borrowed techniques, what most of us have come to think of as polymer mokume evolved from an attempt to emulate it so it is not just some kind of translation of the technique. Slicing polymer “billets” (it’s too cool a word not to borrow too!) emulated grinding down the metal edge of a sword to reveal the visual drama of its layers. But because polymer can be manipulated in so many other ways, and because artists are a curious and exploratory lot, the technique, along with the clay, was also manipulated. This happened over and over until we ended up with the many variations we have today and even those often have little in common but the layering and the slicing.
Creating Uncommon Mokume in Your Studio
Has this started to get you thinking a bit differently about mokume? If it hasn’t let me just nudge you a bit more.
Consider this. With polymer, versus metal, we can:
- Work in a vast and myriad array of colors.
- Add translucent layers.
- Include inclusions in those layers.
- Cover the surface of layers with metal leaf, gilder’s paste, image transfers, or paint.
- Cut down through the billet to create lines and shapes.
- Use mica clays to create mica shift, an effect that adds color gradations and dimension around cuts and impressions.
- Create any kind of patterning we like, from loose and organic to very regular and controlled.
How many of these methods have you tried?
Uncommon Mokume Examples
Opening this post is a necklace by Carole Aubourg’s (aka Cacofim’) that can teach us a bit about mixing and matching patterns and letting background and foreground play together. She uses mokume in balance with the other, similarly slice-dependent techniques that appear, putting the focus on the design rather than on any one pattern or technique. Then the slices don’t always cover their beads, letting the background come through. There is a lot going on here but the variety of patterns are all brought together by a cohesive color palette that all parts partake of.
Here are some splendid green and cream dimensional beads by Eugena Topina that speak to how you can control of the slices. The mokume is created with high contrast colors and a prominent pattern that is sliced to a very even depth to keep the pattern whole. She then echos the pattern on the reverse side with carving. (And lucky us … she sells a project tutorial for this necklace here for a mere $13! Go get one if you are at all intrigued.)
I don’t want to discount what metalsmiths are doing with mokume these days either. So, no, this stylized heart pendant is not polymer but don’t you love how fine and close the mokume marks/impressions are? And why not go dense with the patterning? I have not the faintest idea how Juha Koskela created this in silver but if metalsmiths are getting wild with color in metals, I have to at least wonder a little bit if metal techniques, which have long influenced our work, might now be getting inspiration from polymer. I do like that idea, don’t you?
So, here’s another question … are you a mokume making fan and have you pushed what you know about the technique? If you have, why not share? Send links of your work in the comments below (click here if you are reading this in an email) so we can all see your work. I know I’d love to see it!
THINGS TO LOOK FORWARD TO:
Here are a few bits of general polymer news you might find of interest!
- This Tuesday is the near legendary half off sale at Munro Crafts. Check it out and stock up!
- Maggie Maggio and Lindly Haunani are teaching together for a 6 day spree of creativity and color, July 8th-13th. This is also partly a celebration of their highly influential book, Color Inspirations. If you like color (and who doesn’t?) and you can squeeze this into your schedule and budget, it’s a must.
- Deadline for submitting to the IPCA Awards is in just a few days. Apply here!
Do you have feedback for me?
Tell me what you think of this new format and blog. I wanted to put some more meat into it but you tell me … is it too long or did you enjoy getting lost in the history and ideas? If you liked it, just drop a quick “Works for me!” or “Keep it up” in the comments below (click here if you are reading this in an email then scroll down on the page that pops up.)
If you have ways I could change or otherwise improve the new blog format, just send a short “Shorter!” or “More pics, less text.” or “More instruction than history” or whatever in the comments below (click here if you are reading this in an email). I can’t please everyone but I really want this to be as useful and inspiring as it can be so help me make this what you want and hope for!
– Sage
How to Make It Your Own
April 25, 2018
Inspirational Art
I know I just featured Katie Way in February, but this is such a great example of taking a technique and making it your own that I didn’t want to pass by this opportunity. This seemed particularly apropos after an incident came up a week or so ago that I was consulted about involving a student submitting something to a contest that they created either in a class or based on a class. The problem was not in taking something that was learned in a class and creating from that knowledge but using the design choices that the teaching artist used. So, let’s just review what that means. In a way, it’s very simple – you can replicate technique, but you cannot use the design decisions of another artist.
I think part of the issue is that there is some confusion as to what’s is technique and what is design, so let me try to define that.
Technique is how you manipulate the material including how you apply texture, the process of forming/sculpting, the mixing or application of color treatments, the creation of mechanisms or use of materials for constructing the piece, etc. In other words, it’s about the process of creating.
Design is about the specific choices you make about how something is going to look. So, your choices about the type of texture (not how you apply it), the shapes you create (but not how you create them), the colors you choose (but not the source of the color), and the arrangement of your construction (but not the mechanisms used to put pieces together), are all design choices. If the majority of your choices are based on someone else’s examples, then you’re in danger of copying their design. Changing the color or shape is simply not enough, nor is it fair to the artist that inspired you and, equally so, it’s not fair to you and your creative growth to skip the exploration of what a piece could be by not making the design decisions yourself.
In the piece we see here, Katie Way took a class with Alice Stroppel and made a piece that is uniquely her own. You can see the influence of both artists in this work. The big, bold cane work shows Alice’s influence, but the color choices and all those bulls-eye circles are absolutely Katie. I would’ve known this was Katie’s right away, but it would’ve taken me a few moments to realize where her change in technique came from if she hadn’t made note of her influencer. And that’s really how it should be.
You can absolutely copy the work of the teaching artist in class as a way to learn. Most of them do prefer that. But when you go home, don’t make that same basic piece ever again. Have enough confidence and belief in your artistic self to work out your own designs. It is far more fulfilling to create from your own sense of aesthetic and ideas than to simply be successful with someone else’s design.
Okay, getting off my soapbox now. If you’re intrigued by Alice’s cane mapping class, go to her website to check out where she will be teaching next. And if you’ve somehow missed Katie’s work, check out her Etsy shop and her Instagram page.
Versatile Pins
December 13, 2017
Inspirational Art
If you want to get right to it and make some wonderful all around gifts, it’s hard to go wrong with scarf pins. Or hair pins. Or shawl pins. Which are all really the same thing, aren’t they?
These pins are simply a sturdy base around a circular hole large enough to get a scarf or bundle of hair pressed into so a stick can be inserted behind or through, holding it in place. And for that, all you need is a small stack of clay sheets, and a cutter for the hole to get you started. How you decorate the surface of the clay is then wide open for you. Create a stick to match by wrapping clay around a skewer or a very stiff bit of wire and apply a similar surface treatment.
Cat Szetu just loved making pins like this one here. I say this in the past tense because I have not been able to find recent work of hers online. Perhaps she is really busy making pins. But I do like this example because the surface is decorated in a rather straightforward manner, with slivers of clay cut from a Skinner blended sheet, curling around the surface. That gradation of color and the smooth curving lines create a quiet and calm type of visual movement that, together, keeps the simple layering of clay from feeling stale.
Cat has plenty more pieces to jumpstart your own ideas. Just go to her Flickr photostream and scroll around.
Variation on Time
December 1, 2017
Inspirational Art
I spent a lot of time looking for differently constructed clocks in polymer and couldn’t find much that really illustrated the point I was hoping to make. What I wanted was to show that a clock does not have to be on a flat surface. It can be made of many parts, attached or not, and fully dimensional. As long as you have something that can house or hide the clock mechanism while holding out the hands, the rest is wide open. You can have the hour markers designated by any form and attach them with sticks or wire or be free floating–whatever suits the piece and your inclination.
These two examples are commercial designs rather than polymer art but I think they give you the basics of this idea of moving beyond the flat clock face. Not only do these kinds of clocks make for really interesting wall pieces, they give you the freedom to use pieces you may already have such as large hollow beads, faux stones, unhung pendants, small figurines, flowers, etc.
As a gift, giving a clock that has separate pieces might be best attached to something that can be hung as one piece, like a backing of Plexiglas or painted plywood. Or include instructions for a template to mark on the wall where each piece goes. There is little to no construction to deal with but you will have to make concessions in the design for how the individual pieces will be hung. Alternately, go for a design where the elements are attached like the flowers you see here.
The sky is the limit with these kinds of designs. For more ideas, try searching “DIY clocks,” which was the keyword set that brought me to these two pieces. I hope these sparks some ideas and I look forward to seeing inventive clock designs this month!
The Complexity of Time
November 29, 2017
Inspirational Art
In my search for clock inspiration, I veered a bit off the polymer path, but then again, I kept running into pieces that I thought were polymer but were not. Of course, pieces like this splendid celestial clock by Natalya Polekh could be created in a very similar fashion with polymer. Large textured sheets and fun with alcohol inks and mica powders could produce similarly stunning results so I took a closer look.
Natalya looks to be a well-known mixed media artist in Eastern Europe and Russia and when I say mixed, I mean all kinds of things. Her primary materials look to be various types of acrylic paint, dimensional and pearling paints, 3D gel, embossing paste, and glass and metal accents of different types. She works in texture, mosaics and layered media that is applied in such a way that knowing the materials is rather superfluous. She creates a beautiful complexity of texture and motif with shine and shimmer applied in abundance but always in a tasteful and often intriguing manner.
She does much more than clocks although she has done quite few of them. Take a look at her shop for more clock and textural ideas as well as very well priced tutorials on how she creates this work. Her VK.com page has more images.
Covering Time
November 27, 2017
Inspirational Art
Well, it’s that season again. While everyone else is shopping, crafters and artisans like yourself are working madly away on the stock that your audience demands to make their gift giving season the best one to date. For some of us, that audience is a retail account but for many more of us, it’s the far more intimidating circle of friends and family that we fret over. What do we do this year for gifts and surprises that we haven’t already done? Asking myself this question, I came up with a couple of ideas and in researching, clocks really hit a note for me. Any clayer of any level and any specialized set of techniques can create a clock that is both personal and expressive and everyone of every age can appreciate a lovingly created handmade clock.
Cane-covered clock faces are an easy project for clayers of any skill level. You can buy old clocks at the thrift store, or inexpensive ones at the big box store, or just a clock kit from a craft or hobby store that you put into your cane-covered clay sheets. Here is a fun and colorful, slightly off from the norm, cane-covered clock face for some initial inspiration. Mira Pinki Krispil is quite fond of cane covered decor but she always takes it one step beyond.
I like this piece because of the slight off-centeredness and the imagery in the center. It is more than decorated. The image in its center is intriguing with energetic lines bouncing back and forth through intertwined imagery. It’s just a great visual piece to start with. The fact that it’s a functional clock is a bonus.
Mira creates her colorful piece in south Israel and sells her work on Etsy. You can also see more of her designs by checking in on her Flickr photostream.
This next issue gets down to a subject most every polymer clayer can get behind. Or on top of really. That being surface design. The subject is a pretty broad one so it was tough deciding just what to put in the issue but we ended up with a very exciting mix of articles. Here is just part of the list:
- The Well Designed Surface
- Raised Surface Coloration
- Unique Surface Variety
- Ink Resist Polymer Painting
- Creating Custom Texture Sheets
- Wall Stories: The Art of Alev Gozonar
- Color Spotlight with Donna Kato
- The Backside of Brooches
- Giving Away the Shop: Pros & Cons of Freebies & Giveaways
- … and much more.
If you need to renew or purchase a subscription, or would like to pre-order your Winter issue, you can go to our website here.
There is much to do so I am off to get this issue together and polished for you. We’ll get back to our regularly scheduled eye candy on Monday!
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After finding the beautiful textured glass for Friday’s post, I noticed that my folder of art work to consider for blogs was full of translucent pieces, and almost all of them in the same basic color palette and all of them are fairly recent shares on Facebook. It could be because of the season but I don’t know how relevant that becomes when you set them side by side. So I thought I’d basically do that, presenting three pieces that are similar in color and using translucent clay but we’ll look at how it is used to create different moods.
This first one is a set of earrings by Jan Montarsi. The autumnal palette is there but the primarily vertical composition of the set, both in the direction of the swathes of color and the stacked squares lean towards a strong, organized atmosphere. Until you get to the visual and tactile texture. That reminds me of an energetic kid in a sandbox digging hole after hole. The circular shapes are jauntily wonky with colors blurring into each other, all with a very natural and organic feel. It says “I keep on the path but like to dance a bit on the way.” Well, that’s my read.
Jan created these in a class taught by Marie Segal at the annual Kentucky/Tennessee guild retreat this last month. He used his own ‘organic’ extruded cane technique as well. I guess he expected the colors to come out more muted because in the comments he made this observation:
“The amazing thing is the colors of these translucent clays were diluted by at least half with regular translucent clay and then placed on a translucent background and the color is still vibrant.” It’s good to know just how rich those packaged translucent colors can be.
Jan is our Americas Regional President for the International Polymer Clay Association as well as being an active clayer and contributor to a variety of information and educational outlets including The Polymer Arts magazine. His work can be found on Facebook and on Flickr.
Inspirational Challenge of the Day: Pick a set of colors and then pick forms that seem quite disparate from the color palette you picked. Light and bright colors combined with severely geometric shapes or dark, rich colors with light hearted squiggles. What does the contrast in shape do to the mood of the colors and vice versa? What can you add in terms of texture, line, or motifs that will further illustrate the mood you see within that juxtaposition of disparate elements?
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So there has been a bit of rain here in Southern California which I am very much enjoying. After years of Colorado weather, which constantly changes and rain is common albeit brief all summer into fall, I really appreciate what relatively few storms we get here on the south-west coast. So to wrap up my intense color week, I thought I’d pull out a kind of guilty favorite in my list of contemporary artists whom I admire, with this after the rain scene.
I say guilty because a part of me rallies against the level of commercialism this painter, Leonid Afremov, has achieved but the other hand, he makes a good living off it so who am I to knock that? And the work is beautiful to look at. His scenes are so intensely colorful and have so much energy. He commonly does rain or damp weather scenes which naturally have brighter colors and lots of reflected light. His choices tap into our strong reaction and attraction to saturated color as well as bright and shiny images and he does so without being garish. You have to admire that.
Leonid may not be communicating a particularly deep message and isn’t making any social or political statements but his paintings deserve notice because of the simple fact that he knows what we gravitate to. I think that is actually more in line with most craft art than other approaches in what is called ‘fine’ or ‘modern’ art. Craft tends towards showing us beauty more so than having a message and I think that is a very important and admirable. Make someone smile or sigh happily and you have done the whole world a great service.
See more of Leonid’s work on his website and Facebook page.
Inspirational Challenge of the Day: Take a break from creating and take time to just admire beauty. What is beautiful to you? If you can get out to some galleries or a museum and just take in what catches your eye, without any self-judgement as to the sophistication of your choices. If what you see inspires you, sketch or write out ideas to go over later in the studio.
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We’re wrapping up this week with a little more series variation with artist Mary Karg who works in metal, beads and glass although I find her pieces like the ones here very inspiring for polymer related work.
These pieces are copper with colored pencil. Did you know that was a valid way of coloring metal? It takes a couple of steps of preparation and, of course, a sealant to set it, but it’s actually very much like coloring polymer with colored pencils. The technique, although central to the success of these pieces, feels so well-integrated. The strokes are texture that compliments the texture of the metal behind those layers, further meshed into the design with what looks like pitting of the colored pencil surface. Unlike Wednesday’s pieces, the variation here is fairly minimal but each change upholds the expert design and the choices of dangles, colors and contrast fit the slightly varied mood of each.
I found Mary’s website quite interesting, especially her About page. She’s comes across as a real down to earth person, with making art rather than making a name for herself being her primary focus. Here is a little snippet from her website:
“I consider myself a wearable artist rather than a jewelry designer. I seldom make the same thing twice, although I will get hooked on something I can’t quit until the itch is totally scratched (SERIOUS ART people refer to this as a series, I believe).”
Go explore her fun and varied designs on her website here.
Inspirational Challenge of the Day: Work with a fairly simply design but make three related variations to each. If you change the color, consider what that color says or represents then change the form to match and seeing those two together, change up the texture to complement that. Do this 4 or more times to see how far your little explorations take you.
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It’s been a while since I shared something you could actually sit in the studio and try so although this isn’t exactly within the theme of the week, it’s related enough and could be a really cool and fun thing to try this weekend if you are looking for something new and have a bit of translucent clay on hand.
They are related to translucent canes because they are translucent and the technique came from pushing caning. As the artist Agnes Dettai says on the Flickr post for this technique, “I have to thank Christine Dumont again; the idea for these came from the work on reinventing caning that we did for the course ‘Becoming a better artist.'”
It’s great to see how pushing yourself in a completely different direction, way beyond what you think something is or should be, can result in something so radically different. The shells are little gems all by themselves but there is much more than can be done with this. She uses Play-Doh to create a temporary base to wrap the translucent clay around but as she notes, the clay leaves a bit of stain from the color of the Play-Doh. Although this may not have been intended initially, it gives a lovely, vibrant and still very translucent color to the polymer. A great incidental discovery within a successful exploration.
You can see what else Agnes does with her playdoh hollows and what exploration she has done with this idea on her Flickr photostream and can find detailed notes on the technique on this blog post of hers. Get the complete steps for these shells by clicking the photo to get to the Flickr photo they are on and then go the next image left for the finishing steps.
Inspirational Challenge of the Day: Try out Agnes’ technique with translucent clay or just try using water-soluble clay (Play-Doh) as a form for hollow or open forms. Where can you take this idea?
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As many of you may know, we started our annual Damage Sale yesterday. This is when we sell copies of our publications that are not in perfect condition for half the base cover price–that’s $5 a copy for the magazine! We also put a stock of ‘perfect’ magazines and the book on sale from 15%-30% off alongside them. Not all publications are available as ‘imperfect copies’ and some have already sold out but there are about 10 different issues still available as of writing this so pop over to my Etsy store where we conduct this once a year sale, and stock up on the cheap! (Shipping is additional but we use the Etsy site because we can best calculate shipping for you there and can easily refund on shipping when we find we have a less expensive option.)
Now onto clay considerations …
Playing with translucent clay and canes, especially those with cells of some sort, has been quite a popular direction for many caners, and one that draws attention from many admirers. I went a’wandering this weekend to see what has been going on in the world of caning and noticed the trend in recent tutorials and in images posted and pinned out in cyberspace. I’ve been enjoying the look because although an experienced clayer would recognize it as caning, it’s not what first comes to mind.
The texture, energy, and illusion of depth is what hits you in pieces like this water cane bracelet by the very talented Claire Wallis. Not only that, the translucent cell opens itself to a variety of cane applications. Here Claire took the cane and created a radiating pattern to get that splashed look. The bracelet was a perfect choice for it too, giving the splash imagery a central form from which to radiate–the wearer’s arm! I can only imagine how striking it must be when worn.
You can learn to create this water cane plus a beautiful lightening cane by grabbing Claire’s dual tutorial on CraftArtEdu. For more on her application of this and some of her other mind-blowing canes, check out her Flickr photostream.
Inspirational Challenge of the Day: Whether you predominantly work in canes, veneers or sculptural elements (or something else completely), try laying your favorite surface application out in a repeated but energetic pattern. You can take Claire’s radiating pattern from a central point as your inspirational source, or find a pattern out in nature, in city structures, or on decorative art and use the pattern you find there as inspiration for a new way of applying and composing your elements.
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If you are one of those clayers that, like myself, sees something cool in another material and immediately asks yourself, “How can I create that in polymer?” then the rings from this group will really get your gears going. This ring is made from wood and resin. But why not polymer and resin?
Why not, indeed. The mysterious landscape and that rising gold cloud within just snares the imagination. The group, My Secret Wood, is a team of artists that create hundreds of these one of kind rings using different woods, varying inclusions and a range of tints in their resin. I imagine these are done with molds and some very refined resin skills to eliminate large bubbles but I could see this kind of thing being very do-able with polymer as the ring base. Not that I think one should just up and copy this form. Obviously not. And besides, polymer acts so differently than wood that the outcome would be a world away from this. But a resin cap would help protect surface effects and fragile forms that otherwise would be risky to have on the surface of a ring.
Do take some time today to wander through their gallery of available rings. It is sure to get your imagination going if not tempt you to buy your own.
Inspirational Challenge of the Day: Design or create an object of your choice in a way that shows an inner world. That could mean any number of things to you so don’t try to be literal but let the idea roll around in your mind and see what “inner world” means to you and see how you can transform that concept into a work of art.
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Have you ever made a polymer ring? It’s not one of the more common polymer jewelry forms but it sure is fun and they are becoming more and more popular. They can be a bit intimidating since they need to be durable and they need to be sized. When creating ones to sell, you have to either make a wide range of sizes or you have to stick with just a selection of the most popular and then maybe offer custom-made ones. In any case, rings can be a touch tricky but I think once you’ve made one, they are kind of addictive.
So to start your addiction, you might want to try out this simple but elegantly styled ring using the online tutorial on the Craftliners blog. These simple but pretty little rings get their style from the special effects clay in the Glamour and Nature line of clays from Cernit. You can get granite and other faux effects by mixing your own clay with inclusions or just start with solid colors.
The Craftliner blog is posted in support of the online wholesale hobby and craft suppliers Craftlines. Although the shop is wholesale, the blog is for everyone and has a lot of great little gems in a variety of mediums. You can check out what they have to offer from the blog home page.
For more specific polymer ring ideas and how to make them, take a look at your copy of the Winter 2012 of The Polymer Arts or get your copy here.
Inspirational Challenge of the Day: Make a simple wrapped ring. Give yourself all of 30 minutes to condition, roll, cut, and form the ring. The time limit will keep you from over thinking it. Just make one and don’t worry about the outcome, just enjoy the experience. Then once you have that one under your belt, let your imagination run wild and make more!
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Can you believe it’s August already? More than halfway through the year! How have you been doing with your New Year’s resolutions? I have 2 out of 3 down pretty good. But like me, many of us have not been able to keep up with polymer challenges and studio goals and have had to adjust them. That’s okay. The real purpose of a challenge is to keep at it and see what you can discover if you push yourself. Just this week, I have finally been able to keep a steady studio schedule (a couple of hours every other day which is a 100% better than what I had managed at any time the first half of the year!)
Then there are amazing people like Wendy Jorre de St Jorre who have done this kind of thing at least a couple of years in a row. That’s dedication. Last year she did bangles and this year she’s been doing rings, one each week. She takes her amazing canes used for necklaces and bracelets as well as various decor items and works them into beautiful bands. Although some of the original canes distorts quite a bit as it is wrapped around the small domed band, because she has such great color sense and keeps an eye on the balance of contrasts, the abstract (and even not so abstract) results are just gorgeous.
To see what she has accomplished aside from this beautiful ring here, hop over to see Wendy’s adventures on her Flickr photostream.
Inspirational Challenge of the Day: Take an application usually used in a different kind of jewelry or decor and create a ring. Or if you do create a lot of rings, create something unusual like a hat pin or an ear cuff.
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