Inspiration, Aspiration, and Jon Stuart Anderson

June 25, 2018

An image of a brightly patterned and decorated six-string electric guitar, created by Jon Stuart Anderson

 

Guest Blog Post by Teresa Pandora Salgado

Van Gogh admitted to the world, “I am always doing what I cannot do yet, in order to learn how to do it.”  Me too, Vincent.

One of the most infuriatingly fabulous things I cannot do is make cane like Jon Stuart Anderson.  Jon creates canes in a cunning palette that leans in close and whispers, “Go ahead…take your time…look at me.” And I surely do. And the world does too.

I love the way Jon cruises nimbly past the pedestrian cane crossing. He jaywalks that trodden path without ever touching the ground. Obvious contrast? He doesn’t need it, no matter how much the cane is reduced.  Nor does he require new colors. Jon keeps it fresh with precision, composition, and balance. Neat trick.

Jon Anderson is known for his millefiori animals: elephants, turtles, bulls, and birds. You’ll notice the creatures have a flesh and blood sense about them, a beating heart beneath their rich robes.  So you look and you look and then, just when you think you know him, Jon takes you to another fork in the road. To the left, skulls, vessels, lights. And to the right, guitars. Ohhh, the guitars.

So, go ahead. Look. Be inspired. Aspire.

See Jon’s work at his website here. 

Teresa Pandora Salgado is a polymer clay artist, designer & instructor from Los Angeles, California. She has made 87 YouTube tutorials which have garnered over 2 million hits from viewers in 151 countries. In addition to teaching live workshops on millefiori complex caning across the U.S., Teresa helms the online store, Tiny Pandora Crafting Boutique, which featuresMilll her specialized tools and kits. 

Floating Points

June 18, 2014

This organic sculpture brooch by Jana Roberts Benzon has enough interesting curves and twists, not to mention intriguing textures and bright colors, to hold its own without a lot of additional elements. But it is the small floating points that emerge from its interior that make this piece work so well. They work as focal points as well as adding an element of airiness to what could have been a relatively heavy feeling piece. There was already a lot of movement in the edges of the folds but the additional points moving out and away from it really make this piece come alive.

janaRobertsBenzon sculpture

You can see more of Jana’s work on her website and her Flickr photostream as well as checking out her classes on CraftEdu, her own DVDs, and her workshops schedule.

 

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.

14-P2 CoverFnl-blog   Blog2 -2014-02Feb-5   Basic RGB

Burnished Bowls

June 5, 2014

These burnished bowls by Kate Tracton take millefiori caning to a whole new level. Her patterning and mix of colorful canes along with the highly polished finish creates a stunningly attractive surface. With a fine arts degree and a background in printmaking and bead weaving, she is comfortable with fine art details and impeccable craftsmanship.

4ce9fa9c6eee8d65d479f111858bafbe

To see more of Kate’s jewelry and fine art, take a look at her Etsy store, read her blog “Shibori Girl” about stumbling through life one bead at a time, or have a cup of coffee or tea and leisurely browse her stunning website for hours of inspiration.

 

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

14-P2 CoverFnl-blog   Blog2 -2014-02Feb-5   Basic RGB   

Looking Back At Folded Beads

April 5, 2014

As we finish up our week on folded polymer, we’re taking a look at these folded beads by Jamey Allen, one of the early pioneers in the development of polymer clay bead making. He is best known for his millefiori work and reinventing the folded bead. The folded clay adds a richness of detail and the color choices give a comfortable warmth to these beads.

ec193650bb2ee296d518de004aec67b5

If you would like to learn more about Jamey, there is a great interview with him online and take a look at his book,”5 Artists – 5 Directions in Polymer Clay.”

 

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   Millefiori eggs   14P1 cover Fnl      

Spring 2014 Cover Revealed …

We interrupt this week of randomness with the next issue’s dramatic cover!  Spring 2014, themed “Wrap it Up”  is due to come out around March 1st.

14P1 cover Fnl

In this issue we’re exploring many of things you do after you’ve created a your art as well as a lot of in-studio exploration:

  • Best finishing sealants
  • How to make finishing easier
  • Packaging your art
  • Using software to create great photos of your work
  • The fine line between Copying and Being Inspired By
  • Wire wrapping with polymer
  • Making and using a neck form (to make things like the piece you see on the cover)
  • Close up color analysis of millefiori canes
  • Unique studio tools (many that you can make yourself)
  • Book & product reviews, artist galleries and more!

Now, before I tell you who the artist is on the cover, can you guess? I think this is a bit different for her which is why I was particularly excited to have this piece for the cover.

Have you come up with a name? This is not her usual form. In fact, the only other collar form I’ve seen like this was in my own studio. That comparison led to this artist and I having a fun chat about the construction processes needed for adding fiber and fabric to polymer (something for a future article, I’m sure!) The unusual form and the “wrapping” of polymer around onto itself is not so unusual for her. Do you have it?

The piece is called “Show Some Glamour” by Helen Breil. Helen has never been afraid try new things and push the form of polymer. She shares her thoughts and experiences in a great article on the subject of copying and giving proper credit that is in this issue. We also, incidentally have an article on making a neck form written by Lorrene Baum Davis in order to produce wrap around forms like this. So … lots of inspiration and ideas from Helen and many others this issue!

Pre-orders are now available as well as subscriptions that will get you started with this great issue or you can get the Winter issue right now while waiting for this to come out.

Get your Subscriptions here– http://www.thepolymerarts.com/Subscription_ordering.html

If you need to Renew, go here– http://thepolymerarts.com/Subscription_ordering.html#renewals  (And yes, we’ll get you caught up with the Winter issue if your subscription lapsed.)

Back issues can be purchased here:http://www.thepolymerarts.com/Single_issues.html

 

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   PCW blue string art cane   WhimsicalBead051512

Going Far Enough

Earlier this week we talked about pushing your art, knowing when it’s time to stop perfecting it. But there is another side to that coin … knowing when to push it a little farther.

Being able to discern whether you’ve added to or worked out a design enough can be difficult, and it’s not something someone can readily teach you. It takes practice and mindful awareness of your process. So how do you know when to take your work a step or two further?

Well, here is an example. Fiona Abel-Smith created this image using a polymer technique first explored by Sue Heaser. It’s based off a mineral mosaic like technique called pietra dura. Fiona starts out with the first image, inlaying clay. Pretty nice as is, right? But then she adds little bits of clay in a painterly manner and the image goes from just nice to quite impressive.

36370316390676

The depth and dimension the bits of clay add takes it from great craft work to rich illustration. The texture gives it a liveliness it just didn’t have before.

Now, you might be saying to yourself, “I kind of like the one on the left better or at least as much.” In truth, the pietra dura is not better, it’s simply a different kind of piece. That is partly why knowing if you have taken it far enough is so hard to determine. So, when working on a piece, there are  a couple questions you need to ask yourself. “What do I want this piece to be?” or “What is the purpose of this piece?” and then ask yourself, “Is there anything else I might do with this to accomplish what I am after?”

If you are unsure, you can add to and reaarange your work or try ideas out on a scrap piece before answering that last question. Playing with options is part of the process and certainly part of the fun. Just don’t ‘give up’ on a piece that you sense could be taken farther for what you want it to be. Push it a little, see what you discover. You can always go back if you don’t like what happens when you take it a step further.

And  speaking of Sue Heaser, she’s already well-known for her many books on polymer and other crafts …  she’s just recently released her first eBook, Polymer Clay Jewellery for Beginners: Book 1 – Millefiori Canes and it’s only $5. It’s a very clear and well laid out book for those who haven’t yet explored Millefiori and for those who teach, it can be a great tool to recommend to students for preparation before they come to your class so you don’t waste precious time getting them up to speed on basics.

 

 

Outside Inspiration: Millefiori in Porcelain

August 24, 2012

I was sure when I first saw these that they had to be polymer but they aren’t. The way porcelain is being pushed here is inspiring. If you’ve ever worked with porcelain or any earthen clays, you know that manipulation and embedding color with any crispness is tricky.

In this pendant — a reversible one even — the application of color and pattern matches what we do with polymer … all borrowed from the ancient technique of millefiori.

Here is what the artist Tom Garvin of Blue Bus Studios (http://www.bluebusstudio.com/) says about his work:

“The extreme detail and intense color in our ceramic work results from the use of over 500 different colors of clay to create our carefully designed clay loaves. Next, cross-sections are sliced from the loaves, and these sections are shaped and finished into individual pieces, then glazed and fired twice.”

It’s just kind of cool to know that others are working in similar ways to us and that, well, we have a pretty easy material to work with. But kudos to all artists that push their medium to create more beauty in the world!

Inspiration, Aspiration, and Jon Stuart Anderson

June 25, 2018
Posted in

An image of a brightly patterned and decorated six-string electric guitar, created by Jon Stuart Anderson

 

Guest Blog Post by Teresa Pandora Salgado

Van Gogh admitted to the world, “I am always doing what I cannot do yet, in order to learn how to do it.”  Me too, Vincent.

One of the most infuriatingly fabulous things I cannot do is make cane like Jon Stuart Anderson.  Jon creates canes in a cunning palette that leans in close and whispers, “Go ahead…take your time…look at me.” And I surely do. And the world does too.

I love the way Jon cruises nimbly past the pedestrian cane crossing. He jaywalks that trodden path without ever touching the ground. Obvious contrast? He doesn’t need it, no matter how much the cane is reduced.  Nor does he require new colors. Jon keeps it fresh with precision, composition, and balance. Neat trick.

Jon Anderson is known for his millefiori animals: elephants, turtles, bulls, and birds. You’ll notice the creatures have a flesh and blood sense about them, a beating heart beneath their rich robes.  So you look and you look and then, just when you think you know him, Jon takes you to another fork in the road. To the left, skulls, vessels, lights. And to the right, guitars. Ohhh, the guitars.

So, go ahead. Look. Be inspired. Aspire.

See Jon’s work at his website here. 

Teresa Pandora Salgado is a polymer clay artist, designer & instructor from Los Angeles, California. She has made 87 YouTube tutorials which have garnered over 2 million hits from viewers in 151 countries. In addition to teaching live workshops on millefiori complex caning across the U.S., Teresa helms the online store, Tiny Pandora Crafting Boutique, which featuresMilll her specialized tools and kits. 

Read More

Floating Points

June 18, 2014
Posted in

This organic sculpture brooch by Jana Roberts Benzon has enough interesting curves and twists, not to mention intriguing textures and bright colors, to hold its own without a lot of additional elements. But it is the small floating points that emerge from its interior that make this piece work so well. They work as focal points as well as adding an element of airiness to what could have been a relatively heavy feeling piece. There was already a lot of movement in the edges of the folds but the additional points moving out and away from it really make this piece come alive.

janaRobertsBenzon sculpture

You can see more of Jana’s work on her website and her Flickr photostream as well as checking out her classes on CraftEdu, her own DVDs, and her workshops schedule.

 

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.

14-P2 CoverFnl-blog   Blog2 -2014-02Feb-5   Basic RGB

Read More

Burnished Bowls

June 5, 2014
Posted in

These burnished bowls by Kate Tracton take millefiori caning to a whole new level. Her patterning and mix of colorful canes along with the highly polished finish creates a stunningly attractive surface. With a fine arts degree and a background in printmaking and bead weaving, she is comfortable with fine art details and impeccable craftsmanship.

4ce9fa9c6eee8d65d479f111858bafbe

To see more of Kate’s jewelry and fine art, take a look at her Etsy store, read her blog “Shibori Girl” about stumbling through life one bead at a time, or have a cup of coffee or tea and leisurely browse her stunning website for hours of inspiration.

 

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

14-P2 CoverFnl-blog   Blog2 -2014-02Feb-5   Basic RGB   

Read More

Looking Back At Folded Beads

April 5, 2014
Posted in

As we finish up our week on folded polymer, we’re taking a look at these folded beads by Jamey Allen, one of the early pioneers in the development of polymer clay bead making. He is best known for his millefiori work and reinventing the folded bead. The folded clay adds a richness of detail and the color choices give a comfortable warmth to these beads.

ec193650bb2ee296d518de004aec67b5

If you would like to learn more about Jamey, there is a great interview with him online and take a look at his book,”5 Artists – 5 Directions in Polymer Clay.”

 

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   Millefiori eggs   14P1 cover Fnl      

Read More

Spring 2014 Cover Revealed …

February 6, 2014
Posted in ,

We interrupt this week of randomness with the next issue’s dramatic cover!  Spring 2014, themed “Wrap it Up”  is due to come out around March 1st.

14P1 cover Fnl

In this issue we’re exploring many of things you do after you’ve created a your art as well as a lot of in-studio exploration:

  • Best finishing sealants
  • How to make finishing easier
  • Packaging your art
  • Using software to create great photos of your work
  • The fine line between Copying and Being Inspired By
  • Wire wrapping with polymer
  • Making and using a neck form (to make things like the piece you see on the cover)
  • Close up color analysis of millefiori canes
  • Unique studio tools (many that you can make yourself)
  • Book & product reviews, artist galleries and more!

Now, before I tell you who the artist is on the cover, can you guess? I think this is a bit different for her which is why I was particularly excited to have this piece for the cover.

Have you come up with a name? This is not her usual form. In fact, the only other collar form I’ve seen like this was in my own studio. That comparison led to this artist and I having a fun chat about the construction processes needed for adding fiber and fabric to polymer (something for a future article, I’m sure!) The unusual form and the “wrapping” of polymer around onto itself is not so unusual for her. Do you have it?

The piece is called “Show Some Glamour” by Helen Breil. Helen has never been afraid try new things and push the form of polymer. She shares her thoughts and experiences in a great article on the subject of copying and giving proper credit that is in this issue. We also, incidentally have an article on making a neck form written by Lorrene Baum Davis in order to produce wrap around forms like this. So … lots of inspiration and ideas from Helen and many others this issue!

Pre-orders are now available as well as subscriptions that will get you started with this great issue or you can get the Winter issue right now while waiting for this to come out.

Get your Subscriptions here– http://www.thepolymerarts.com/Subscription_ordering.html

If you need to Renew, go here– http://thepolymerarts.com/Subscription_ordering.html#renewals  (And yes, we’ll get you caught up with the Winter issue if your subscription lapsed.)

Back issues can be purchased here:http://www.thepolymerarts.com/Single_issues.html

 

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   PCW blue string art cane   WhimsicalBead051512

Read More

Going Far Enough

January 26, 2013
Posted in , ,

Earlier this week we talked about pushing your art, knowing when it’s time to stop perfecting it. But there is another side to that coin … knowing when to push it a little farther.

Being able to discern whether you’ve added to or worked out a design enough can be difficult, and it’s not something someone can readily teach you. It takes practice and mindful awareness of your process. So how do you know when to take your work a step or two further?

Well, here is an example. Fiona Abel-Smith created this image using a polymer technique first explored by Sue Heaser. It’s based off a mineral mosaic like technique called pietra dura. Fiona starts out with the first image, inlaying clay. Pretty nice as is, right? But then she adds little bits of clay in a painterly manner and the image goes from just nice to quite impressive.

36370316390676

The depth and dimension the bits of clay add takes it from great craft work to rich illustration. The texture gives it a liveliness it just didn’t have before.

Now, you might be saying to yourself, “I kind of like the one on the left better or at least as much.” In truth, the pietra dura is not better, it’s simply a different kind of piece. That is partly why knowing if you have taken it far enough is so hard to determine. So, when working on a piece, there are  a couple questions you need to ask yourself. “What do I want this piece to be?” or “What is the purpose of this piece?” and then ask yourself, “Is there anything else I might do with this to accomplish what I am after?”

If you are unsure, you can add to and reaarange your work or try ideas out on a scrap piece before answering that last question. Playing with options is part of the process and certainly part of the fun. Just don’t ‘give up’ on a piece that you sense could be taken farther for what you want it to be. Push it a little, see what you discover. You can always go back if you don’t like what happens when you take it a step further.

And  speaking of Sue Heaser, she’s already well-known for her many books on polymer and other crafts …  she’s just recently released her first eBook, Polymer Clay Jewellery for Beginners: Book 1 – Millefiori Canes and it’s only $5. It’s a very clear and well laid out book for those who haven’t yet explored Millefiori and for those who teach, it can be a great tool to recommend to students for preparation before they come to your class so you don’t waste precious time getting them up to speed on basics.

 

 

Read More

Outside Inspiration: Millefiori in Porcelain

August 24, 2012
Posted in

I was sure when I first saw these that they had to be polymer but they aren’t. The way porcelain is being pushed here is inspiring. If you’ve ever worked with porcelain or any earthen clays, you know that manipulation and embedding color with any crispness is tricky.

In this pendant — a reversible one even — the application of color and pattern matches what we do with polymer … all borrowed from the ancient technique of millefiori.

Here is what the artist Tom Garvin of Blue Bus Studios (http://www.bluebusstudio.com/) says about his work:

“The extreme detail and intense color in our ceramic work results from the use of over 500 different colors of clay to create our carefully designed clay loaves. Next, cross-sections are sliced from the loaves, and these sections are shaped and finished into individual pieces, then glazed and fired twice.”

It’s just kind of cool to know that others are working in similar ways to us and that, well, we have a pretty easy material to work with. But kudos to all artists that push their medium to create more beauty in the world!

Read More
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