Expanding on the New Fall Issue
August 31, 2015
Inspirational Art
Okay … the Fall 2015 – Elements issue of The Polymer Arts had a successful release this weekend (well, with a couple tiny bumps along the way). Thank you for all the great comments already coming in. It is a pretty awesome issue … so many great contributors and ideas!
So, if you are expecting a copy, DIGITAL issues should be in your emailbox. Check junk mail folders or other email addresses if you’re sure you should have one and don’t see it. If it can’t be found, write us at connect@thepolymerarts.com and we will look it up, see what is going on and get it to you as needed. PRINT copies went to the post office at the end of the week, so they are all on the way now as well. If you need to buy a copy or get a subscription, you can do so here: http://www.thepolymerarts.com/Subscribe.html
Now onto the pretty stuff …
As always, we had more material than we could fit into the issue. And then there are simply the articles I wish we could have expanded on more. One such was Laurie MacIsaac’s interview of Celine Charuau titled “Strange Beauty”. I am personally so enamored by Celine’s work and, I do admit, the article was a request of mine that I hope you all will agree, is an enthralling look into an artist’s process and view of the world. Celine’s work is just so wholly unusual, and although it’s obvious that she pulls from nature, I didn’t realize how connected she was to plants, but after reading the article, you can really see just how much her passion for them comes out in her work. You’ll see what I mean if you read the interview. I wish we could have had room for a few more of her direct garden interpretations such as this succulent inspired necklace.
Like so much of her work, there is quiet and harmony in the sparseness of this piece. She creates a lot of these bunching kind of compositions which echo the way plants often grow. She also chooses just very particular parts of the plant, so that you aren’t sure what you might be looking at to start with. I also very much admire that she does not restrict her use of space, and has her creations come out quite dramatically from the surface of the pieces, sometimes dangerously so. But that dimensionality gives her work a boldness that might otherwise be nearly impossible with the unassuming minimalism she tends towards.
Celine is definitely one of those artists whose work is best seen in a collection in order to really appreciate the genius of her design choices. I would suggest reading the article if you have the issue in hand already, then go over to her Flickr photostream or her DaWanda shop and spend a little time looking over her varied pieces. Having a little background on an artist can really open up how you see their work and can bring such a rich understanding and enjoyment of it.
Like this blog? Help support us … with a purchase of The Polymer Arts magazine and visit our partners:
Outside Inspiration: The Art of the Doodle
January 16, 2015
Inspirational Art
So yesterday I brought you a wire artist who got into carving rubber stamps. Did the carving idea pique your interest? I think the hardest part of carving a stamp is not going to be the carving itself but deciding on a pattern to carve. How do you come up with stamp design ideas? Well, besides copying someone else’s patterns or designs — which would negate the point of creating your own original stamps — you can find your own personal patterns by doing something you probably did a lot as a kid or as a bored teenager in class. You can doodle.
Doodling is not as pointless and aimless as it might seem. It is really a translation of what is going on in your subconscious or, or it’s an expression of your mind’s reaction to what you see and hear around you. If you are doodling without a preconceived idea of what you are drawing, especially while otherwise occupied (such as being on hold during a phone call or listening to a lecture), the doodling can create a very personal design and set of patterns pulled from subconscious thoughts.
A recent doodling-related development is the Zentangle which uses repeated patterns and lines to lend your doodling direction. The original Zentagle method includes a series of rules, such as drawing only in 3.5 inch squares, only drawing in pen so you can’t erase and only drawing abstract designs. So it’s not quite doodling, but it can result in similarly personal designs. A lot of people have expanded on the Zentangle idea, throwing many rules out the window and developing cool abstract art like the Zentangle doodle you see here, by illustrator Angel Van Dam. Her doodles are a bit more organized and purposeful than your standard notepad doodle but aren’t standard Zentangling either. The thing is, it doesn’t matter how you approach it –doodle loose and randomly, mark off the 3.5 inch square to Zentangle in, or use a contractor to draw concentric circles, as Angel did for this illustration, and fill it in as you like.
And why should you want to doodle? Because it can offer so much for your polymer play! Use doodles or Zentangles to create the patterns for your carved rubber stamps. Doodle with colored pencils, and use it as an image transfer onto clay. Use the patterns, imagery or colors to inspire or directly design a polymer piece from.
Doodling is also thought to help you problem-solve so, if you hit a creative block, stop and listen to some music, a book on tape or podcast, and then just doodle away! The solution to your creative work can then bubble to the surface, or you may find a whole new idea there in front of you. No matter what, it is no waste of time. The other thing about doodling that has been discovered through clinical studies is that it reduces stress and can make you more aware and mindful. So doodle for your well-being as well as for your art!
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Outside Inspiration: Challenge Yourself
January 2, 2015
Inspirational Art
I know, for some readers, Friday is their least favorite blog day because it is the one day I do not post something made with polymer. But in my opinion, these posts are some of the most important posts I show to you because you have to stretch your mind to find the inspiration within the characteristics of these non-polymer pieces, not just see how others are working with our favorite material. I often wonder how many of you, dear readers, have created something or changed something in a polymer piece of yours because of something you’ve seen that wasn’t made from polymer. I’m hoping it is the majority of you. But if you are one that has not or don’t usually look to other kinds of materials for new ideas and imagery, may I suggest that this year you try to pull something from non-polymer work?
I guess I could really have pulled anything for today’s post, but this amazing piece by the fabulous Gil Bruvel stood out because it is not only something that could be accomplished with polymer but because the artist himself is trying something different (so he’s possibly influenced by another art form as well). This bust looks realistic in some intangible manner but is made up completely of lines. The energy of the lines is where the feeling of its liveliness comes from, the feeling that this could be a realistic representation of another person, not just in looks but in expression. I have seen drawings like this, even recall form-defining line drawing exercises in art school not unlike this, so I wonder if he got the idea for his “Flow” series from drawing. A sculptor borrowing from not just another medium but one the works in another dimension. Every art form, every form in life, can be inspiration.
So what do think? Will you meet the challenge? I’ll even bring the work to you to ponder. Or you can try other fabulous blogs like the Daily Art Muse, This is Colossal, or the Wearable Art Blog.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Outside Inspiration: Back to the Idea of Clay
October 17, 2014
Inspirational Art
This is really not a tutorial but more of an inspiration, hopefully, to look outside our community’s offerings for things we can learn. There are many other craft forms that have tutorials that will teach you skills applicable to polymer.
Papercrafts, scrapbooking, beading, and, of course, ceramics have a lot of learning opportunities. I’m using this week of cool tutorials and tips to just look at something that represents the most basic approach to working the surface of an elastic material–sculptural texture. We have so many color options and additions we can add to our clay that perhaps we skip over this very basic approach when such work could be the very thing to add the energy or impact you are after.
Hand tools on clay have been a staple method of creating in clay craft throughout its history. Really intricate decoration with hand tools can take some time and patience, but it can result in amazing textures and designs. This work in progress and the cups below are decorated primarily with carefully placed impressions added over and over in a pleasingly fluid design by ceramicist Gary Jackson. There’s nothing more here than clay and a hand tool. So simple and beautiful. Does it make you want to go back to basics and just play with the clay for its sculptural qualities alone? I bet this kind of work is extremely meditative and zen-like. I could really use some of that.
But, no sleep for the wicked or, as I say these days, the overworked. I am off to Racine, Wisconsin today for the Polymer 2.0 conference. I will get you one last fun, surprising tutorial tomorrow then next week, I hope to have enough photos to share the thoughts and the art that I’ll be immersed in this weekend.
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.
Okay … the Fall 2015 – Elements issue of The Polymer Arts had a successful release this weekend (well, with a couple tiny bumps along the way). Thank you for all the great comments already coming in. It is a pretty awesome issue … so many great contributors and ideas!
So, if you are expecting a copy, DIGITAL issues should be in your emailbox. Check junk mail folders or other email addresses if you’re sure you should have one and don’t see it. If it can’t be found, write us at connect@thepolymerarts.com and we will look it up, see what is going on and get it to you as needed. PRINT copies went to the post office at the end of the week, so they are all on the way now as well. If you need to buy a copy or get a subscription, you can do so here: http://www.thepolymerarts.com/Subscribe.html
Now onto the pretty stuff …
As always, we had more material than we could fit into the issue. And then there are simply the articles I wish we could have expanded on more. One such was Laurie MacIsaac’s interview of Celine Charuau titled “Strange Beauty”. I am personally so enamored by Celine’s work and, I do admit, the article was a request of mine that I hope you all will agree, is an enthralling look into an artist’s process and view of the world. Celine’s work is just so wholly unusual, and although it’s obvious that she pulls from nature, I didn’t realize how connected she was to plants, but after reading the article, you can really see just how much her passion for them comes out in her work. You’ll see what I mean if you read the interview. I wish we could have had room for a few more of her direct garden interpretations such as this succulent inspired necklace.
Like so much of her work, there is quiet and harmony in the sparseness of this piece. She creates a lot of these bunching kind of compositions which echo the way plants often grow. She also chooses just very particular parts of the plant, so that you aren’t sure what you might be looking at to start with. I also very much admire that she does not restrict her use of space, and has her creations come out quite dramatically from the surface of the pieces, sometimes dangerously so. But that dimensionality gives her work a boldness that might otherwise be nearly impossible with the unassuming minimalism she tends towards.
Celine is definitely one of those artists whose work is best seen in a collection in order to really appreciate the genius of her design choices. I would suggest reading the article if you have the issue in hand already, then go over to her Flickr photostream or her DaWanda shop and spend a little time looking over her varied pieces. Having a little background on an artist can really open up how you see their work and can bring such a rich understanding and enjoyment of it.
Like this blog? Help support us … with a purchase of The Polymer Arts magazine and visit our partners:
So yesterday I brought you a wire artist who got into carving rubber stamps. Did the carving idea pique your interest? I think the hardest part of carving a stamp is not going to be the carving itself but deciding on a pattern to carve. How do you come up with stamp design ideas? Well, besides copying someone else’s patterns or designs — which would negate the point of creating your own original stamps — you can find your own personal patterns by doing something you probably did a lot as a kid or as a bored teenager in class. You can doodle.
Doodling is not as pointless and aimless as it might seem. It is really a translation of what is going on in your subconscious or, or it’s an expression of your mind’s reaction to what you see and hear around you. If you are doodling without a preconceived idea of what you are drawing, especially while otherwise occupied (such as being on hold during a phone call or listening to a lecture), the doodling can create a very personal design and set of patterns pulled from subconscious thoughts.
A recent doodling-related development is the Zentangle which uses repeated patterns and lines to lend your doodling direction. The original Zentagle method includes a series of rules, such as drawing only in 3.5 inch squares, only drawing in pen so you can’t erase and only drawing abstract designs. So it’s not quite doodling, but it can result in similarly personal designs. A lot of people have expanded on the Zentangle idea, throwing many rules out the window and developing cool abstract art like the Zentangle doodle you see here, by illustrator Angel Van Dam. Her doodles are a bit more organized and purposeful than your standard notepad doodle but aren’t standard Zentangling either. The thing is, it doesn’t matter how you approach it –doodle loose and randomly, mark off the 3.5 inch square to Zentangle in, or use a contractor to draw concentric circles, as Angel did for this illustration, and fill it in as you like.
And why should you want to doodle? Because it can offer so much for your polymer play! Use doodles or Zentangles to create the patterns for your carved rubber stamps. Doodle with colored pencils, and use it as an image transfer onto clay. Use the patterns, imagery or colors to inspire or directly design a polymer piece from.
Doodling is also thought to help you problem-solve so, if you hit a creative block, stop and listen to some music, a book on tape or podcast, and then just doodle away! The solution to your creative work can then bubble to the surface, or you may find a whole new idea there in front of you. No matter what, it is no waste of time. The other thing about doodling that has been discovered through clinical studies is that it reduces stress and can make you more aware and mindful. So doodle for your well-being as well as for your art!
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
I know, for some readers, Friday is their least favorite blog day because it is the one day I do not post something made with polymer. But in my opinion, these posts are some of the most important posts I show to you because you have to stretch your mind to find the inspiration within the characteristics of these non-polymer pieces, not just see how others are working with our favorite material. I often wonder how many of you, dear readers, have created something or changed something in a polymer piece of yours because of something you’ve seen that wasn’t made from polymer. I’m hoping it is the majority of you. But if you are one that has not or don’t usually look to other kinds of materials for new ideas and imagery, may I suggest that this year you try to pull something from non-polymer work?
I guess I could really have pulled anything for today’s post, but this amazing piece by the fabulous Gil Bruvel stood out because it is not only something that could be accomplished with polymer but because the artist himself is trying something different (so he’s possibly influenced by another art form as well). This bust looks realistic in some intangible manner but is made up completely of lines. The energy of the lines is where the feeling of its liveliness comes from, the feeling that this could be a realistic representation of another person, not just in looks but in expression. I have seen drawings like this, even recall form-defining line drawing exercises in art school not unlike this, so I wonder if he got the idea for his “Flow” series from drawing. A sculptor borrowing from not just another medium but one the works in another dimension. Every art form, every form in life, can be inspiration.
So what do think? Will you meet the challenge? I’ll even bring the work to you to ponder. Or you can try other fabulous blogs like the Daily Art Muse, This is Colossal, or the Wearable Art Blog.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
This is really not a tutorial but more of an inspiration, hopefully, to look outside our community’s offerings for things we can learn. There are many other craft forms that have tutorials that will teach you skills applicable to polymer.
Papercrafts, scrapbooking, beading, and, of course, ceramics have a lot of learning opportunities. I’m using this week of cool tutorials and tips to just look at something that represents the most basic approach to working the surface of an elastic material–sculptural texture. We have so many color options and additions we can add to our clay that perhaps we skip over this very basic approach when such work could be the very thing to add the energy or impact you are after.
Hand tools on clay have been a staple method of creating in clay craft throughout its history. Really intricate decoration with hand tools can take some time and patience, but it can result in amazing textures and designs. This work in progress and the cups below are decorated primarily with carefully placed impressions added over and over in a pleasingly fluid design by ceramicist Gary Jackson. There’s nothing more here than clay and a hand tool. So simple and beautiful. Does it make you want to go back to basics and just play with the clay for its sculptural qualities alone? I bet this kind of work is extremely meditative and zen-like. I could really use some of that.
But, no sleep for the wicked or, as I say these days, the overworked. I am off to Racine, Wisconsin today for the Polymer 2.0 conference. I will get you one last fun, surprising tutorial tomorrow then next week, I hope to have enough photos to share the thoughts and the art that I’ll be immersed in this weekend.
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.
