Creature Faces

May 2, 2018

The faces that draw our attention in artwork do not have to be human. They don’t even have to be real creatures. Anything with an eye will jump out at us as a focal point. If there is an eye then we recognize the presence of another consciousness, or at least our primitive brain does, and so we have to check it out.

Artist Valeria Myrusso created this amazing bird pin, choosing to give it these big black beads for eyes that you can hardly pull away from. But please do. The work around it is beautiful, intricate, flowing, and regally dramatic with its golds and reds.

Valeria works with a lot of faces although she seems primarily focused on intricate, filigree-like work in her sculptural polymer. Go take a look at her delicately sculpted creations in the extensive gallery on her website and Instagram.

And yes, I know, I somehow picked two artists with the same first name, both from Russia, working in very similar styles this week. Initially, I wondered if they are the same person but my research says they are not. I don’t pay any attention to where the artists are from when I pick art for the posts. Most of the time I don’t know until I’ve completed the research. Either the work fits the theme and what I’d like to discuss or it doesn’t.  I can tell you that, particularly in polymer, people from the same area often create in similar styles—I imagine it is rooted in similar cultural influences.  If we are most strongly influenced by our local culture than looking outside of it would certainly give us a wider pool of inspiration which should help us develop a unique style.

Just know that I’m not partial to any one part of the world. We’re all one big community as far as I’m concerned.

 

Creative Embroidery

March 9, 2018

One primary subject I wanted to hit in the Spring issue was fine detailed work done with little bits of clay. I was so excited to get a closer look at what is often referred to as polymer embroidery. I spent time off and on for a couple of weeks experimenting with the different forms and approaches I saw and soon realized we were not going to be able to do justice to this technique. But I did get in an article showing all the little approaches I discovered and have a gallery full of one such artist that gratefully shared her unusual version of it with us.

But there are so, so many talented artists out there doing this kind of work, and with more than just flowers, which is the most common type of imagery found in this type of art, it seems. One of my favorite pieces I discovered in my research is by Magdalena Pavlovic. Not only is this not particularly floral but it is perfectly patterned in an African-inspired color palette and form. The gradation of color from the top makes it look like flames are creeping in over densely filled-in focal sections. It is smartly laid over filigree in a similar form, giving it such cohesiveness that you really don’t think about the fact that these are two very different materials.

See more of Magdalena’s work, both traditional and unusual, on her Flickr photostream. And if you haven’t purchased your copy of the Spring issue or have an active subscription, you can get it on our website.

Hidden Patterns in the Newly Released Winter 2015 Issue – Hidden

November 23, 2015

lehocky Propaher heart pinThe Winter issue of The Polymer Arts was released yesterday, to much fanfare and much relief from myself and the crew. Thank you so much for the many kind comments and compliments  you’ve already sent in. It’s always great to know we’ve done well for you. Digital access was sent to everyone who subscribed or pre-ordered prior to yesterday and all the print issues are in the mail or will be as of this afternoon.

If you don’t see the digital issue you expected in your inbox, check your spam folder, and if it’s not there, write Kat at connect@thepolymerarts.com and she will look into it.  If you don’t have your copy ordered or an active subscription you can do so on our website here.

I was so thrilled to have the genius of Ellen Prophater in this issue. She doesn’t post her work online, which I keep forgetting, but I’ve had the fortune of getting to see a lot of her work, both finished and in progress, at Creative Journey Studios and at events we’ve both attended, so it feels familiar to me. I thought I’d share a little Ellen that I own today while we wrap up things over here.

This is Ellen’s mokume, but it’s a Ron Lehocky heart pin (like you couldn’t guess that!) and the only reason it’s available is because it happens to be in my collection, a kindly gift from Ron. This is an example of my favorite of Ellen’s mokume methods where she uses embossing powder to create a beautiful granite-like look. She has so, so many methods and combinations for mokume, though. And we are such lucky kids that she shared nearly two dozen of her ideas in the Variations in Mokume article in the new issue. It’s not a step-by-step, but after the three sections that precede it – important secrets to great mokume, a very detailed tutorial by Angela Barenholtz on creating contour line mokume (sometimes referred to as impression mokume), and the new wild and twisted mokume Anke Humpert created a tutorial for – you’ll pretty much be ready to venture out on your own and try Ellen’s methods by recipe.

If you aren’t familiar with Ellen’s biggest creation, Creative Journey Studios, which she runs with the very kindly Sue Sutherland, do go over and take a look at all they do and have for you. They are a polymer supplier, but they also have one of the largest retail collections of filigree findings, and they are an absolute must as a place to visit on any polymer person’s bucket list as the studios house the most extensive retrospective collection of polymer art in the world. It’s amazing. If you are ever anywhere near Buford, Georgia (just north of Atlanta), you have to go there. It will knock your socks off. Or, you can make it a destination … they also do workshops all year long with some of the biggest names in the community, so take a look at their schedule and start planning!

___________________________________________

Like this blog? Lend your support with a purchase of The Polymer Arts magazine and visit our partners:

    Print  

  PCA Nov 15 Blog    

___________________________________________

Filigree in Strings

June 17, 2015

filigree noborderOn the other end of the spectrum from yesterday’s applique work we have some ornate work employing bits of thin polymer string. Closely resembling filigree in its design, the artist here used what might have been wire or metal cut-outs if it was traditional work, and then added texture by using a couple variations of string impression for added texture. We have probably all seen this type of impressed clay snake wound into tight spirals, but these thin clay elements make it even more of a task.

The piece is a study in patience. I have worked with a lot of thin bits of polymer, and it is no small task to keep it straight and unmarred. Then to work with it so extensively as in these pieces means this is some serious work. But the outcome, especially for a first attempt as this one was announced as being, is well worth the result.

Following the links and wading through the translations, the artist here looks to be one Ekaterina Borisova, but the translation makes me question this a bit. The post was made here on LiveJournal but further work by Ekaterina led only to sketches, no other polymer. In any case, it’s a wonderful first effort that hopefully have spawned further exploration by the artist, and now maybe by some readers here!

 

If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.

     TPA_McGuire_blog ad    sfxpaad-diffuse

Outside Inspiration: Patience in Black

May 23, 2014

I am a sucker for nice recycled work. Reducing the impact on the environment and creating amazing art in the process is, well, a beautiful thing.

This bit of work you see here is amazing. I thought it looked like an intricately carved tire. Upon close inspection I saw that, yes, it actually was an intricately carved tire! And so beautiful. I can’t imagine how long it took to do this but when seeing things like this, I feel like a bit of a wimp. Polymer is so immediately responsive–we can make highly intricate looking pieces quite quickly with stamps and textures. Even our work with hand tools is relatively easy. What if we just took a little more time, a touch more care; what if we spent days and weeks creating the most beautiful thing we could imagine instead of finding the shortcuts? What would we end up with?

f3c2cfc57d0ebbb8c6382f07e55cac78

The amazing artist with what must be an endless supply of patience is Belgium’s Wim Delvoye. Wim works in a wide variety of rather random materials, not just tires. If you like the intricacy and detail here, you need to see his stainless steel carvings–they are similar to the tire but with dozens of layers. His front page is cartoony and fun but the work underneath is quite sophisticated. Enjoy!

 

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.

Blog2 -2014-02Feb-5   polymer clay overlapping cane   14P1 cover Fnl

Outside Inspiration: Getting Lost in Glass

March 28, 2014

Of course the 1000 Beads books has many beads that are not polymer but I would say all the beads, no matter what the material, are inspirational for the polymer artist.

I know I completely fell in love with the beads by glass artist Lisa Atchison whose lampwork reminded me of intricate polymer cane layering, only there are a few additions to the traditional all cane layered bead. Can you see the additional micro beads and crystals she’s added not to mention the filigree like lines laid atop the basic layers? This kind of accenting would be easy enough to add to any polymer bead. Its a great example of how the approach in another medium can be transferred to a polymer approach.

LisaAtchison.3

Do take a look at the many other beautiful pieces by Lisa on her blog. Just the ones in the header are amazing!

 

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.

14P1 cover Fnl   PCW blue string art cane   Blog2 -2014-02Feb-2

Shimmer From a Past Culture

December 10, 2013

Turkey’s Nihal Erpeden brings us some seasonal shine with her Ottoman series of necklaces. Although when Ottoman is mentioned, I usually think of something to put my feet up on, there is a whole rich history and culture that came out of the Ottoman Empire that we see the influence of but may not commonly associate with the Turkish conquerors or their long standing rule–from 1299-1923, well into the 20th century. That’s not so very long ago!

The interesting thing for art that comes out of the expanded rule of a single culture is the integration of other cultures into the aesthetics of the conquering society and vice versa, of course. Decorative arts from the Ottoman Empire bear the flourish and filigree common in the Turkish culture’s history but also integrated motifs from Persian, Greek, and Byzantine art over the years they ruled in those areas. That makes for a very rich and diverse source of imagery, color and design to draw inspiration from as Nihal has done here.

il_570xN.308351184

Both past and present cultures, espeically those we aren’t very familiar with can be a tremendous source of ideas and imagery to integrate into your own artwork. Dayle Doroshow wrote a wonderful article in the present Winter 2013 issue of The Polymer Arts on the influences of past culture with ideas on how to draw from them to give new direction and complexity to your work.

As you know, if you’ve been following my blog for any length of time, I strongly encourage all artists to look outside their discipline for inspiration as it will keep your work and the community’s work fresh and ever expanding. The same goes for looking outside your own culture. When you’re feeling uninspired or think our work is getting stagnant, look outside of what you know, of what you are familiar with. Find something new that gets you excited. Our brains crave novel experiences and information. Feed your brain and you’ll feed your creativity.

For more of Nihal’s lovely work, take a look at her Etsy shop and blog site.

 

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.

Cover 13-P4 web  120113 snowflake display ad  WhimsicalBead051512

Decorative Polymer Bails

If there is any pre-made finding that polymer versions replace as well as, if not better, I think it would be the bail.  Of course, many of us integrate polymer bails into our pendants and focal beads almost without thinking. But you can also create a stock of decorative polymer bails that can be used in combination with jump rings, or embedded in the clay as needed.

My most basic polymer bail stock had always been extruded hollow tubes in scrap clay. I would make them fairly thin-walled and bake them so I had sturdy base tubes to cover in my choice of raw clay, which I could then press onto newly created pendant pieces. Easy, quick, and made to match the pieces.

However, I have to say I was very intrigued when I found these polymer and wire combination bails created by Марина Горячих (translates as Marina Hot which may or may not be the best English translation).

bail-collage

Of course, I have a thing for the filigree work, but most any kind of decorative clay work would make for some interesting bails. She goes through the steps for making these bails on her LiveJournal page here – just replace or adjust the decorative filigree with your type of work. Definitely worth trying out!

Working Well with One Concept

January 2, 2013

As an artist, do you spend your time learning a variety of techniques so you have many options to express yourself, or do you find one approach you like and work with it continuously until you have it done perfectly?

I suspect most polymer artists are drawn to this medium because of the variety of effects and applications possible. But some people can become completely enamored of a single application and I’m rather glad for that on most occasions. Take Cathy Braunlin’s work. She has really gotten covering objects in extruded rope filigree down to, well, an art. Her technique is straight forward–swirls and zig-zags fitted onto the surface of an object, then painted with mica powders usually in a rainbow of colors. The effect is quite dramatic and is the epitome of eye candy.

42A004-Second-(Braunlin)

 

Cathy covers vases, lamps, pens, and other household items as well as using this technique on a variety of jewelry forms, all in this neat but varied texture. Is she a well accomplished polymer artist? It would depend on how you define “accomplished”. It’s also a question of whether labeling one in such a manner is important on any level. I enjoy her work and I bet many of you will also. She has taken this approach and done quite well with it. And all I can say is that I’m glad for it.

 

 

Creature Faces

May 2, 2018
Posted in

The faces that draw our attention in artwork do not have to be human. They don’t even have to be real creatures. Anything with an eye will jump out at us as a focal point. If there is an eye then we recognize the presence of another consciousness, or at least our primitive brain does, and so we have to check it out.

Artist Valeria Myrusso created this amazing bird pin, choosing to give it these big black beads for eyes that you can hardly pull away from. But please do. The work around it is beautiful, intricate, flowing, and regally dramatic with its golds and reds.

Valeria works with a lot of faces although she seems primarily focused on intricate, filigree-like work in her sculptural polymer. Go take a look at her delicately sculpted creations in the extensive gallery on her website and Instagram.

And yes, I know, I somehow picked two artists with the same first name, both from Russia, working in very similar styles this week. Initially, I wondered if they are the same person but my research says they are not. I don’t pay any attention to where the artists are from when I pick art for the posts. Most of the time I don’t know until I’ve completed the research. Either the work fits the theme and what I’d like to discuss or it doesn’t.  I can tell you that, particularly in polymer, people from the same area often create in similar styles—I imagine it is rooted in similar cultural influences.  If we are most strongly influenced by our local culture than looking outside of it would certainly give us a wider pool of inspiration which should help us develop a unique style.

Just know that I’m not partial to any one part of the world. We’re all one big community as far as I’m concerned.

 

Read More

Creative Embroidery

March 9, 2018
Posted in

One primary subject I wanted to hit in the Spring issue was fine detailed work done with little bits of clay. I was so excited to get a closer look at what is often referred to as polymer embroidery. I spent time off and on for a couple of weeks experimenting with the different forms and approaches I saw and soon realized we were not going to be able to do justice to this technique. But I did get in an article showing all the little approaches I discovered and have a gallery full of one such artist that gratefully shared her unusual version of it with us.

But there are so, so many talented artists out there doing this kind of work, and with more than just flowers, which is the most common type of imagery found in this type of art, it seems. One of my favorite pieces I discovered in my research is by Magdalena Pavlovic. Not only is this not particularly floral but it is perfectly patterned in an African-inspired color palette and form. The gradation of color from the top makes it look like flames are creeping in over densely filled-in focal sections. It is smartly laid over filigree in a similar form, giving it such cohesiveness that you really don’t think about the fact that these are two very different materials.

See more of Magdalena’s work, both traditional and unusual, on her Flickr photostream. And if you haven’t purchased your copy of the Spring issue or have an active subscription, you can get it on our website.

Hidden Patterns in the Newly Released Winter 2015 Issue – Hidden

November 23, 2015
Posted in

lehocky Propaher heart pinThe Winter issue of The Polymer Arts was released yesterday, to much fanfare and much relief from myself and the crew. Thank you so much for the many kind comments and compliments  you’ve already sent in. It’s always great to know we’ve done well for you. Digital access was sent to everyone who subscribed or pre-ordered prior to yesterday and all the print issues are in the mail or will be as of this afternoon.

If you don’t see the digital issue you expected in your inbox, check your spam folder, and if it’s not there, write Kat at connect@thepolymerarts.com and she will look into it.  If you don’t have your copy ordered or an active subscription you can do so on our website here.

I was so thrilled to have the genius of Ellen Prophater in this issue. She doesn’t post her work online, which I keep forgetting, but I’ve had the fortune of getting to see a lot of her work, both finished and in progress, at Creative Journey Studios and at events we’ve both attended, so it feels familiar to me. I thought I’d share a little Ellen that I own today while we wrap up things over here.

This is Ellen’s mokume, but it’s a Ron Lehocky heart pin (like you couldn’t guess that!) and the only reason it’s available is because it happens to be in my collection, a kindly gift from Ron. This is an example of my favorite of Ellen’s mokume methods where she uses embossing powder to create a beautiful granite-like look. She has so, so many methods and combinations for mokume, though. And we are such lucky kids that she shared nearly two dozen of her ideas in the Variations in Mokume article in the new issue. It’s not a step-by-step, but after the three sections that precede it – important secrets to great mokume, a very detailed tutorial by Angela Barenholtz on creating contour line mokume (sometimes referred to as impression mokume), and the new wild and twisted mokume Anke Humpert created a tutorial for – you’ll pretty much be ready to venture out on your own and try Ellen’s methods by recipe.

If you aren’t familiar with Ellen’s biggest creation, Creative Journey Studios, which she runs with the very kindly Sue Sutherland, do go over and take a look at all they do and have for you. They are a polymer supplier, but they also have one of the largest retail collections of filigree findings, and they are an absolute must as a place to visit on any polymer person’s bucket list as the studios house the most extensive retrospective collection of polymer art in the world. It’s amazing. If you are ever anywhere near Buford, Georgia (just north of Atlanta), you have to go there. It will knock your socks off. Or, you can make it a destination … they also do workshops all year long with some of the biggest names in the community, so take a look at their schedule and start planning!

___________________________________________

Like this blog? Lend your support with a purchase of The Polymer Arts magazine and visit our partners:

    Print  

  PCA Nov 15 Blog    

___________________________________________

Read More

Filigree in Strings

June 17, 2015
Posted in

filigree noborderOn the other end of the spectrum from yesterday’s applique work we have some ornate work employing bits of thin polymer string. Closely resembling filigree in its design, the artist here used what might have been wire or metal cut-outs if it was traditional work, and then added texture by using a couple variations of string impression for added texture. We have probably all seen this type of impressed clay snake wound into tight spirals, but these thin clay elements make it even more of a task.

The piece is a study in patience. I have worked with a lot of thin bits of polymer, and it is no small task to keep it straight and unmarred. Then to work with it so extensively as in these pieces means this is some serious work. But the outcome, especially for a first attempt as this one was announced as being, is well worth the result.

Following the links and wading through the translations, the artist here looks to be one Ekaterina Borisova, but the translation makes me question this a bit. The post was made here on LiveJournal but further work by Ekaterina led only to sketches, no other polymer. In any case, it’s a wonderful first effort that hopefully have spawned further exploration by the artist, and now maybe by some readers here!

 

If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine, as well as by supporting our advertising partners.

     TPA_McGuire_blog ad    sfxpaad-diffuse

Read More

Outside Inspiration: Patience in Black

May 23, 2014
Posted in

I am a sucker for nice recycled work. Reducing the impact on the environment and creating amazing art in the process is, well, a beautiful thing.

This bit of work you see here is amazing. I thought it looked like an intricately carved tire. Upon close inspection I saw that, yes, it actually was an intricately carved tire! And so beautiful. I can’t imagine how long it took to do this but when seeing things like this, I feel like a bit of a wimp. Polymer is so immediately responsive–we can make highly intricate looking pieces quite quickly with stamps and textures. Even our work with hand tools is relatively easy. What if we just took a little more time, a touch more care; what if we spent days and weeks creating the most beautiful thing we could imagine instead of finding the shortcuts? What would we end up with?

f3c2cfc57d0ebbb8c6382f07e55cac78

The amazing artist with what must be an endless supply of patience is Belgium’s Wim Delvoye. Wim works in a wide variety of rather random materials, not just tires. If you like the intricacy and detail here, you need to see his stainless steel carvings–they are similar to the tire but with dozens of layers. His front page is cartoony and fun but the work underneath is quite sophisticated. Enjoy!

 

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.

Blog2 -2014-02Feb-5   polymer clay overlapping cane   14P1 cover Fnl

Read More

Outside Inspiration: Getting Lost in Glass

March 28, 2014
Posted in

Of course the 1000 Beads books has many beads that are not polymer but I would say all the beads, no matter what the material, are inspirational for the polymer artist.

I know I completely fell in love with the beads by glass artist Lisa Atchison whose lampwork reminded me of intricate polymer cane layering, only there are a few additions to the traditional all cane layered bead. Can you see the additional micro beads and crystals she’s added not to mention the filigree like lines laid atop the basic layers? This kind of accenting would be easy enough to add to any polymer bead. Its a great example of how the approach in another medium can be transferred to a polymer approach.

LisaAtchison.3

Do take a look at the many other beautiful pieces by Lisa on her blog. Just the ones in the header are amazing!

 

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.

14P1 cover Fnl   PCW blue string art cane   Blog2 -2014-02Feb-2

Read More

Shimmer From a Past Culture

December 10, 2013
Posted in

Turkey’s Nihal Erpeden brings us some seasonal shine with her Ottoman series of necklaces. Although when Ottoman is mentioned, I usually think of something to put my feet up on, there is a whole rich history and culture that came out of the Ottoman Empire that we see the influence of but may not commonly associate with the Turkish conquerors or their long standing rule–from 1299-1923, well into the 20th century. That’s not so very long ago!

The interesting thing for art that comes out of the expanded rule of a single culture is the integration of other cultures into the aesthetics of the conquering society and vice versa, of course. Decorative arts from the Ottoman Empire bear the flourish and filigree common in the Turkish culture’s history but also integrated motifs from Persian, Greek, and Byzantine art over the years they ruled in those areas. That makes for a very rich and diverse source of imagery, color and design to draw inspiration from as Nihal has done here.

il_570xN.308351184

Both past and present cultures, espeically those we aren’t very familiar with can be a tremendous source of ideas and imagery to integrate into your own artwork. Dayle Doroshow wrote a wonderful article in the present Winter 2013 issue of The Polymer Arts on the influences of past culture with ideas on how to draw from them to give new direction and complexity to your work.

As you know, if you’ve been following my blog for any length of time, I strongly encourage all artists to look outside their discipline for inspiration as it will keep your work and the community’s work fresh and ever expanding. The same goes for looking outside your own culture. When you’re feeling uninspired or think our work is getting stagnant, look outside of what you know, of what you are familiar with. Find something new that gets you excited. Our brains crave novel experiences and information. Feed your brain and you’ll feed your creativity.

For more of Nihal’s lovely work, take a look at her Etsy shop and blog site.

 

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.

Cover 13-P4 web  120113 snowflake display ad  WhimsicalBead051512
Read More

Decorative Polymer Bails

May 30, 2013
Posted in ,

If there is any pre-made finding that polymer versions replace as well as, if not better, I think it would be the bail.  Of course, many of us integrate polymer bails into our pendants and focal beads almost without thinking. But you can also create a stock of decorative polymer bails that can be used in combination with jump rings, or embedded in the clay as needed.

My most basic polymer bail stock had always been extruded hollow tubes in scrap clay. I would make them fairly thin-walled and bake them so I had sturdy base tubes to cover in my choice of raw clay, which I could then press onto newly created pendant pieces. Easy, quick, and made to match the pieces.

However, I have to say I was very intrigued when I found these polymer and wire combination bails created by Марина Горячих (translates as Marina Hot which may or may not be the best English translation).

bail-collage

Of course, I have a thing for the filigree work, but most any kind of decorative clay work would make for some interesting bails. She goes through the steps for making these bails on her LiveJournal page here – just replace or adjust the decorative filigree with your type of work. Definitely worth trying out!

Read More

Working Well with One Concept

January 2, 2013
Posted in

As an artist, do you spend your time learning a variety of techniques so you have many options to express yourself, or do you find one approach you like and work with it continuously until you have it done perfectly?

I suspect most polymer artists are drawn to this medium because of the variety of effects and applications possible. But some people can become completely enamored of a single application and I’m rather glad for that on most occasions. Take Cathy Braunlin’s work. She has really gotten covering objects in extruded rope filigree down to, well, an art. Her technique is straight forward–swirls and zig-zags fitted onto the surface of an object, then painted with mica powders usually in a rainbow of colors. The effect is quite dramatic and is the epitome of eye candy.

42A004-Second-(Braunlin)

 

Cathy covers vases, lamps, pens, and other household items as well as using this technique on a variety of jewelry forms, all in this neat but varied texture. Is she a well accomplished polymer artist? It would depend on how you define “accomplished”. It’s also a question of whether labeling one in such a manner is important on any level. I enjoy her work and I bet many of you will also. She has taken this approach and done quite well with it. And all I can say is that I’m glad for it.

 

 

Read More
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