Outside Inspiration: Reuse & Repeat
March 6, 2015
Inspirational Art
Earlier this week, I mentioned that you can avoid creating less-than-exciting pieces that use consistent repetition by adding variation or creating unusual or surprising visual impact. Well, today’s piece, created by jewelry artist Kathleen Nowak Tucci, has some serious impact while still using the same form, texture and accents repeated over and over. The impact of this piece comes from the gorgeous, shimmery color. There is a touch of variation in color, but I think this would still be eye-catching if it was all the same color. We sure do like our bright and shiny. Now, do you know what this is made from?
If you make your coffee with a Nespresso machine, then you might have recognized those colors from the capsules used in the appliance. Kathleen’s use of these started with a visit to a friend who used these. She was drawn to the beautiful colors and asked her friend to save the used ones. Now, she’s made a full-line of jewelry from these toss away cups.
I love that Kathleen has created something so beautiful from items we would normally toss out without a second thought. Well, that’s not wholly true. I bet polymer addicts would stop to admire the great colors and might have even wondered if they could be used in the studio. Actually, I know I saw some combination of these with polymer a while back. Although I could not find them just now, maybe you will come up with something of your own. Take a look at the many other beautiful pieces on her website, and if you’re intrigued, find a friend or get yourself a machine and see what you come up with. Nothing like coffee and art getting together!
A nod goes to the fabulous Helen Breil who sent me a link to this particular piece on the Beading Gem blog and website. Another nod goes to photographer Victor Wolansky who Kathleen praises for taking such a beautiful photograph of a particularly difficult piece.
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.
The Ups and Downs of Repetition
March 4, 2015
Inspirational Art
Let’s talk about that perilous pitfall with repetition–when it’s just boring. Why does repetition work sometimes but not other times? Sometimes it can simply be the impact of highly unusual elements (I have the perfect example for Friday … you can look forward to that!), but more commonly, it’s because of variation combined with consistency. And then you say … “What is that supposed to mean?”, right? Well, it’s something you probably already are instinctively aware of but let’s break it down.
Lynda Braunstein-Gilcher‘s necklace you see here is a beautiful example of variation with consistent elements that are cohesive and regular enough to produce a grounding for the variety in the design. I bet you can see it easily, especially when it’s pointed out. Obviously the repetition is in the inverted drop forms, but these forms were created in different sizes with several different canes in a variety of color and line widths. Additionally, some of these lines are gradients and some are solids. That’s a fair amount of variation, but it isn’t chaotic because there is a grounding consistency–they are all the same form, they all dangle off a short bit of cord and, most of all, they all echo the vertical theme. Well, kind of radiating verticals, if you can accept that term. The fact that everything moves in the same direction, from the cords to the lines in the canes to the inverted teardrops that act like arrows makes for strong, repeated lines that all move downward in this piece. So we have variation and consistency in a design of regular repetition and yet a lot of energy thanks to the variation and strong lines. That is not boring. At all.
So, if you like using repetition, consider how you can vary it to add energy or interest to the collective elements. Just keep something consistent to keep it grounded. Unless you are after a feeling of chaos. Then just have at it!
Lynda runs a stained glass and polymer supply store called Lynda’s Artistic Haven in Loveland, Ohio, so if you’re in the area, stop by! You can see more of what she is up to on her Facebook page as well.
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.
A Little Dance
March 3, 2015
Inspirational Art
So, yes, more about repetition but in slightly less obvious or more varied manners will be in store for you the rest of the week. Hopefully, you aren’t bored with the subject. The ways you can apply it are limitless really.
For instance, take this fun, contemporary piece titled “Little Cities Necklace” by Ann Dillon. There is plenty of repetition in the shape of the beads, the colors and order of the layers and the general placement of the thick cane cuts. But, the canes are laid out in a varied manner and are all different canes. This wonderfully illustrates the interconnection between repetition and rhythm. Repetition doesn’t mean regular, measured, evenly applied elements. It means something is used over and over, but how those elements are applied create rhythm that can be steady and strong or varied and even chaotic.
An underlying regular rhythm, like the bead bases here, provide grounding for the less predictable rhythm of the canes that kind of dance about in close but buoyant manner. The fact that they are applied across the horizontal center of each bead gives them that floating feel, so it’s definitely more of a dance or flight. If they were in the same formation but at the bottom, they could look heavy, as if they were spilled–nothing wrong with that, but definitely a different feel to the rhythm because they will look grounded.
Ann works in polymer and also a lot in seedbeads–talk about repetition and rhythm! That kind of bead work is all about that. Take a look at her website and practice identifying and feeling the rhythm of the pieces. It’s rather fun to think of work in that way.
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.
Diverse Repetition & Sampler Issue
March 2, 2015
Inspirational Art
Usually after the latest issue is released I do a week of showing you art work and artists related to the new issue, but I really wanted to continue talking a bit more about repetition. Plus, print subscribers are waiting for their issues which will largely start arriving this week, so I figured we’d start with one thing from the new spring 2015 issue AND talk repetition. I will save more from the spring Diversity issue for next week.
What we have here is a really neat piece by Australia’s Wendy Jorre de St Jorre. Wendy is an avid caner, but she doesn’t do the standard one scene cane all the time. She has a penchant for developing scenes from multiple but related canes, so on this nifty blade holder, she created a scene from a three cane set. Although these are repeated cane slices, they are different. They are carefully constructed to match up at the base and not have an abrupt cut off of objects at the edges. Lining them up creates a wide scene with diversity. That is why she was invited to be in the gallery section of the Spring 2015–Diversity issue.
Wendy has not been working in polymer very long, but she has taken to it like a fish to water. You can read her story, as well as see more of her wonderful work in the spring issue or make yourself a cuppa and spend some time on her Flickr photostream where you can go through her pieces including photos of the original canes lined up together. You might find yourself inspired to rethink your canes.
If you haven’t gotten your copy of the upcoming issue yet or haven’t bought or subscribed, here is a sampler issue of The Polymer Arts Spring 2015–Diversity issue that you can get a peek at. If you like what you see, do keep up your support of The Polymer Arts by purchasing an issue or a subscription. The magazine is what funds this blog and allows me to spend the time necessary to search, research, and write these every day. And eat. When I remember to. Now, if it could only buy me some more time to sleep …! Thank you for your support!
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: Continuous Curling
February 27, 2015
Inspirational Art
This piece is going to be a bit more complex than what we have been looking at all week, but I wanted to share it because I could see it inspiring repeatable forms in polymer. This is a stitched paper necklace designed and constructed by Luis Acosta who lists his work on his site in English and Spanish but looks to hail from the Netherlands. Makes me curious to hear his story but more curious is his work.
A complex piece like this could take upwards of 60 hours to create. That is dedication. But, the end result is quite mesmerizing. The repetition of that curl layered in the same repeated stack makes for a controlled energy that comes across as beautiful, concise movement. I like that although the paper starts out layered in the same sequence, the curls end up a little mixed on the top. Kind of a controlled confetti party. How fun would this be to wear!
Luis’ work is all about repetition. Take a look at more of his rather extensive collection of forms on his website for more great inspiration.
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.
A Rainbow of Repetition
February 26, 2015
Inspirational Art
This was such a gorgeous find. Actually, everything this artist has done is just amazing. The thing is, it doesn’t seem to be polymer, but it took quite a bit of research to convince me otherwise. The work is by Raluca Bazura, a Romanian artist working in contemporary jewelry. From what I could tell from the translations on the various little snippets I found about her online, she seems to work primarily in porcelain ceramics. This must be why all the pieces are stitched together. Of course, that may allow for movement and flexibility, but it might not be necessary if it was polymer. Really, this should be polymer. OK … yes, perhaps I am a tad biased sometimes.
But, whether this is made in ceramics or polymer, it is another wonderful example of the dynamic complexity that repetition can bring to a piece. And yes, we’re looking at a gradient of color, but this time only in terms of the collective set of overlapping scales not blended. It still has a similar effect in helping aid the feel of movement as the arrangement fans out. Raluca uses this kind of color effect in a lot of his work, but she’s also done a whole series in just black with the occasional gold or silver additions.
If you find this at all intriguing, you must go take a look at more of her work on her website. You’ll see many other pieces that you’ll swear are polymer, or should be. Go see and tell me what you think.
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.
Repeating Wave
February 25, 2015
Inspirational Art
Gradient color, as well as repetition, seems to be the theme this week. Carol Blackburn has created lovely examples of both in her interlocked strips designs. You have likely seen at least her earrings in this style which are one dangling bead of these repeated strips wrapping around and overlapping at the ends. She calls them shell earrings. But, they become something different when repeated over and over.
Take that repetition of overlapping strips in the bead element and repeat the bead. Repetition within repetition, aided by gradient color, makes for a wave of movement smoothly running from one end to the other in these pieces. She calls these her Moebius necklaces; no longer a single static object but actually off into the often unfathomable realm of mathematics. The mobius strip (also moebius strip) is said to have one side and one edge, but because it has been twisted in the middle, so that when the ends are attached, what we would have called ‘the back side’ of the strip now meets the front side. Yeah, I know. Its a little mind-boggling even when you see an image of it. How Carol brings all her strips together to wave so smoothly like this is also a mystery. This is what is so wonderful about art. When the ideas behind it start to hurt your brain, you can always just admire the beauty. The beauty here is something we can all understand.
Much more and less mind boggling art by Carol can be found on her website. And, if it isn’t already, be sure that her classic book Making Polymer Clay Beads (printed in several editions including French, German and Italian) is on your book shelf for regular references. The wealth of techniques and ideas is amazing with beads for beginner to advanced. I think it’s one of the best polymer books out there.
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.
Another Take on Repeated Folds
February 24, 2015
Inspirational Art
Today, we have the pleasure of looking at a similar form and similar elements as yesterday, but with a different approach and result. Yesterday’s repeated pattern was folded circles of clay arranged in a sunburst type of pattern. Well, today we have beads also created with a folded circle, the formation repeated in bead after bead, but all the beads are slightly different.
In this necklace, polymer artist Judy Dunn uses the repetition of the bead form to connect the otherwise varying elements in this design. The circles used to create the beads have different visual textures on them, as well as being different shades from pearl to deep blue. If the beads had all been slightly different, a more chaotic feeling would have emerged, but between the steady beats of the repeated pattern and the calm colors, we have a shimmery, elegant piece.
You can see other variation of these repeated forms along with a ton of other projects and materials (a Jill of all crafts she seems to be!) on Judy’s Flickr page.
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.
Repeated Folds
February 23, 2015
Inspirational Art
I have been wanting to talk about the use of repetition for a while, but it is just such a huge subject. So, I’m going to get started on it this week with some really obvious versions, and then maybe next week we’ll get into more complex examples.
Repetition doesn’t sound like it is that big or complex of a subject and in essence, it’s not. But, how it’s used with other elements of design is pretty monumental. First of all, aside from color, repetition can be one of the strongest visual elements in a piece. I think we respond to repeated forms and elements on a fundamental level because it is so abundant in nature, thus familiar and essential in our vision of the world. It represents a visual rhythm. Rhythm being another kind of element we readily recognize and are drawn to since it rules so much of what we do and experience from the cadence of our walk to the beat of our heart, to the beat of city sounds to, of course, all kinds of music.
In art, repetition is a way to integrate a kind of music into your work. You can use that music as a basic background beat or as the one element that carries a very simple piece. A string of pearls, for instance, is about as basic a show of repetition as you can get. In these pendants we see a very basic repeating composition, however, Enkhtsetseg Tserenbadam takes things up a notch with gradient color in the clay. The colors give the simple repetition a bit of liveliness that will keep drawing the eye back to it.
Repetition and color are truly Enkhe’s thing. If you need a good dose of color in beautifully simple, and some not quite so simple patterns, you have to jump on over to her Flickr pages or her beautifully simple and elegant website and have a good long gander.
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.
Earlier this week, I mentioned that you can avoid creating less-than-exciting pieces that use consistent repetition by adding variation or creating unusual or surprising visual impact. Well, today’s piece, created by jewelry artist Kathleen Nowak Tucci, has some serious impact while still using the same form, texture and accents repeated over and over. The impact of this piece comes from the gorgeous, shimmery color. There is a touch of variation in color, but I think this would still be eye-catching if it was all the same color. We sure do like our bright and shiny. Now, do you know what this is made from?
If you make your coffee with a Nespresso machine, then you might have recognized those colors from the capsules used in the appliance. Kathleen’s use of these started with a visit to a friend who used these. She was drawn to the beautiful colors and asked her friend to save the used ones. Now, she’s made a full-line of jewelry from these toss away cups.
I love that Kathleen has created something so beautiful from items we would normally toss out without a second thought. Well, that’s not wholly true. I bet polymer addicts would stop to admire the great colors and might have even wondered if they could be used in the studio. Actually, I know I saw some combination of these with polymer a while back. Although I could not find them just now, maybe you will come up with something of your own. Take a look at the many other beautiful pieces on her website, and if you’re intrigued, find a friend or get yourself a machine and see what you come up with. Nothing like coffee and art getting together!
A nod goes to the fabulous Helen Breil who sent me a link to this particular piece on the Beading Gem blog and website. Another nod goes to photographer Victor Wolansky who Kathleen praises for taking such a beautiful photograph of a particularly difficult piece.
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.
Let’s talk about that perilous pitfall with repetition–when it’s just boring. Why does repetition work sometimes but not other times? Sometimes it can simply be the impact of highly unusual elements (I have the perfect example for Friday … you can look forward to that!), but more commonly, it’s because of variation combined with consistency. And then you say … “What is that supposed to mean?”, right? Well, it’s something you probably already are instinctively aware of but let’s break it down.
Lynda Braunstein-Gilcher‘s necklace you see here is a beautiful example of variation with consistent elements that are cohesive and regular enough to produce a grounding for the variety in the design. I bet you can see it easily, especially when it’s pointed out. Obviously the repetition is in the inverted drop forms, but these forms were created in different sizes with several different canes in a variety of color and line widths. Additionally, some of these lines are gradients and some are solids. That’s a fair amount of variation, but it isn’t chaotic because there is a grounding consistency–they are all the same form, they all dangle off a short bit of cord and, most of all, they all echo the vertical theme. Well, kind of radiating verticals, if you can accept that term. The fact that everything moves in the same direction, from the cords to the lines in the canes to the inverted teardrops that act like arrows makes for strong, repeated lines that all move downward in this piece. So we have variation and consistency in a design of regular repetition and yet a lot of energy thanks to the variation and strong lines. That is not boring. At all.
So, if you like using repetition, consider how you can vary it to add energy or interest to the collective elements. Just keep something consistent to keep it grounded. Unless you are after a feeling of chaos. Then just have at it!
Lynda runs a stained glass and polymer supply store called Lynda’s Artistic Haven in Loveland, Ohio, so if you’re in the area, stop by! You can see more of what she is up to on her Facebook page as well.
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.
So, yes, more about repetition but in slightly less obvious or more varied manners will be in store for you the rest of the week. Hopefully, you aren’t bored with the subject. The ways you can apply it are limitless really.
For instance, take this fun, contemporary piece titled “Little Cities Necklace” by Ann Dillon. There is plenty of repetition in the shape of the beads, the colors and order of the layers and the general placement of the thick cane cuts. But, the canes are laid out in a varied manner and are all different canes. This wonderfully illustrates the interconnection between repetition and rhythm. Repetition doesn’t mean regular, measured, evenly applied elements. It means something is used over and over, but how those elements are applied create rhythm that can be steady and strong or varied and even chaotic.
An underlying regular rhythm, like the bead bases here, provide grounding for the less predictable rhythm of the canes that kind of dance about in close but buoyant manner. The fact that they are applied across the horizontal center of each bead gives them that floating feel, so it’s definitely more of a dance or flight. If they were in the same formation but at the bottom, they could look heavy, as if they were spilled–nothing wrong with that, but definitely a different feel to the rhythm because they will look grounded.
Ann works in polymer and also a lot in seedbeads–talk about repetition and rhythm! That kind of bead work is all about that. Take a look at her website and practice identifying and feeling the rhythm of the pieces. It’s rather fun to think of work in that way.
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.
Usually after the latest issue is released I do a week of showing you art work and artists related to the new issue, but I really wanted to continue talking a bit more about repetition. Plus, print subscribers are waiting for their issues which will largely start arriving this week, so I figured we’d start with one thing from the new spring 2015 issue AND talk repetition. I will save more from the spring Diversity issue for next week.
What we have here is a really neat piece by Australia’s Wendy Jorre de St Jorre. Wendy is an avid caner, but she doesn’t do the standard one scene cane all the time. She has a penchant for developing scenes from multiple but related canes, so on this nifty blade holder, she created a scene from a three cane set. Although these are repeated cane slices, they are different. They are carefully constructed to match up at the base and not have an abrupt cut off of objects at the edges. Lining them up creates a wide scene with diversity. That is why she was invited to be in the gallery section of the Spring 2015–Diversity issue.
Wendy has not been working in polymer very long, but she has taken to it like a fish to water. You can read her story, as well as see more of her wonderful work in the spring issue or make yourself a cuppa and spend some time on her Flickr photostream where you can go through her pieces including photos of the original canes lined up together. You might find yourself inspired to rethink your canes.
If you haven’t gotten your copy of the upcoming issue yet or haven’t bought or subscribed, here is a sampler issue of The Polymer Arts Spring 2015–Diversity issue that you can get a peek at. If you like what you see, do keep up your support of The Polymer Arts by purchasing an issue or a subscription. The magazine is what funds this blog and allows me to spend the time necessary to search, research, and write these every day. And eat. When I remember to. Now, if it could only buy me some more time to sleep …! Thank you for your support!
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 piece is going to be a bit more complex than what we have been looking at all week, but I wanted to share it because I could see it inspiring repeatable forms in polymer. This is a stitched paper necklace designed and constructed by Luis Acosta who lists his work on his site in English and Spanish but looks to hail from the Netherlands. Makes me curious to hear his story but more curious is his work.
A complex piece like this could take upwards of 60 hours to create. That is dedication. But, the end result is quite mesmerizing. The repetition of that curl layered in the same repeated stack makes for a controlled energy that comes across as beautiful, concise movement. I like that although the paper starts out layered in the same sequence, the curls end up a little mixed on the top. Kind of a controlled confetti party. How fun would this be to wear!
Luis’ work is all about repetition. Take a look at more of his rather extensive collection of forms on his website for more great inspiration.
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 was such a gorgeous find. Actually, everything this artist has done is just amazing. The thing is, it doesn’t seem to be polymer, but it took quite a bit of research to convince me otherwise. The work is by Raluca Bazura, a Romanian artist working in contemporary jewelry. From what I could tell from the translations on the various little snippets I found about her online, she seems to work primarily in porcelain ceramics. This must be why all the pieces are stitched together. Of course, that may allow for movement and flexibility, but it might not be necessary if it was polymer. Really, this should be polymer. OK … yes, perhaps I am a tad biased sometimes.
But, whether this is made in ceramics or polymer, it is another wonderful example of the dynamic complexity that repetition can bring to a piece. And yes, we’re looking at a gradient of color, but this time only in terms of the collective set of overlapping scales not blended. It still has a similar effect in helping aid the feel of movement as the arrangement fans out. Raluca uses this kind of color effect in a lot of his work, but she’s also done a whole series in just black with the occasional gold or silver additions.
If you find this at all intriguing, you must go take a look at more of her work on her website. You’ll see many other pieces that you’ll swear are polymer, or should be. Go see and tell me what you think.
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.
Gradient color, as well as repetition, seems to be the theme this week. Carol Blackburn has created lovely examples of both in her interlocked strips designs. You have likely seen at least her earrings in this style which are one dangling bead of these repeated strips wrapping around and overlapping at the ends. She calls them shell earrings. But, they become something different when repeated over and over.
Take that repetition of overlapping strips in the bead element and repeat the bead. Repetition within repetition, aided by gradient color, makes for a wave of movement smoothly running from one end to the other in these pieces. She calls these her Moebius necklaces; no longer a single static object but actually off into the often unfathomable realm of mathematics. The mobius strip (also moebius strip) is said to have one side and one edge, but because it has been twisted in the middle, so that when the ends are attached, what we would have called ‘the back side’ of the strip now meets the front side. Yeah, I know. Its a little mind-boggling even when you see an image of it. How Carol brings all her strips together to wave so smoothly like this is also a mystery. This is what is so wonderful about art. When the ideas behind it start to hurt your brain, you can always just admire the beauty. The beauty here is something we can all understand.
Much more and less mind boggling art by Carol can be found on her website. And, if it isn’t already, be sure that her classic book Making Polymer Clay Beads (printed in several editions including French, German and Italian) is on your book shelf for regular references. The wealth of techniques and ideas is amazing with beads for beginner to advanced. I think it’s one of the best polymer books out there.
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.
Today, we have the pleasure of looking at a similar form and similar elements as yesterday, but with a different approach and result. Yesterday’s repeated pattern was folded circles of clay arranged in a sunburst type of pattern. Well, today we have beads also created with a folded circle, the formation repeated in bead after bead, but all the beads are slightly different.
In this necklace, polymer artist Judy Dunn uses the repetition of the bead form to connect the otherwise varying elements in this design. The circles used to create the beads have different visual textures on them, as well as being different shades from pearl to deep blue. If the beads had all been slightly different, a more chaotic feeling would have emerged, but between the steady beats of the repeated pattern and the calm colors, we have a shimmery, elegant piece.
You can see other variation of these repeated forms along with a ton of other projects and materials (a Jill of all crafts she seems to be!) on Judy’s Flickr page.
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 have been wanting to talk about the use of repetition for a while, but it is just such a huge subject. So, I’m going to get started on it this week with some really obvious versions, and then maybe next week we’ll get into more complex examples.
Repetition doesn’t sound like it is that big or complex of a subject and in essence, it’s not. But, how it’s used with other elements of design is pretty monumental. First of all, aside from color, repetition can be one of the strongest visual elements in a piece. I think we respond to repeated forms and elements on a fundamental level because it is so abundant in nature, thus familiar and essential in our vision of the world. It represents a visual rhythm. Rhythm being another kind of element we readily recognize and are drawn to since it rules so much of what we do and experience from the cadence of our walk to the beat of our heart, to the beat of city sounds to, of course, all kinds of music.
In art, repetition is a way to integrate a kind of music into your work. You can use that music as a basic background beat or as the one element that carries a very simple piece. A string of pearls, for instance, is about as basic a show of repetition as you can get. In these pendants we see a very basic repeating composition, however, Enkhtsetseg Tserenbadam takes things up a notch with gradient color in the clay. The colors give the simple repetition a bit of liveliness that will keep drawing the eye back to it.
Repetition and color are truly Enkhe’s thing. If you need a good dose of color in beautifully simple, and some not quite so simple patterns, you have to jump on over to her Flickr pages or her beautifully simple and elegant website and have a good long gander.
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.
