Metaphor and Simile
March 28, 2021
Design lessons
Christine Damm fits together leftovers from old veneers to create her “Distant Worlds” earring components. Just for fun, what kind of soup would make a suitable metaphor for these? I was thinking Italian Wedding soup!
How often do you use metaphors and similes when you are trying to explain something? I read somewhere that we use metaphor about five or six times a minute. I’m not sure about the accuracy of that number but we do use metaphor in small ways all day long and similes are often our go to option for things that we are having a hard time explaining. Why do we use these so much? Because metaphors and similes help us simplify complicated or hard to grasp ideas. They also help us see old things in a fresh way or make daunting things less intimidating.
Can you think of some things in your life that you would like to simplify, see in a new way, or find less intimidating? I think we all do and our creative time often has many complications and blind spots as the rest of her life. So let’s talk about metaphor and simile in terms of how can help you resolve questions in design.
To ensure the terminology doesn’t get confusing, let’s quickly define these devices.
Metaphor: assigning a word or phrase to something for which it is not literally applicable. For instance, “my studio table is a disaster area,” or “think outside the box.” Certainly, the studio table is not being cordoned off and applying for federal emergency relief, and I do hope you aren’t in a box to start with.
Simile: comparing two unlike things to make an interesting or exaggerated point, usually using the word like or as to make the connection. For example, “my studio looks like a war zone” or “I was as sick as a dog.”
Find Your Answers in Metaphors
The idea of metaphors and similes as a device for helping in design came up when I was reading the comments made last week for the giveaway in which I asked what design element people were struggling with. A lot of people are struggling with color which was expected since that is one of the harder elements to master but there was also a lot of concern about size and, most surprisingly, confusion surrounding the use of texture. Of course, this got me thinking about how I can help you better utilize or master these elements. The first things I came up with were metaphors.
So, let me give you a little design lesson on texture, since that’s the one that surprised me the most, with a metaphor.
In terms of techniques, textures are not hard to create, especially if you’re working with something as forgiving as polymer clay. The question seems to be where to use it, how much to use, and how to choose textures for your work. Thinking about this, I came up with a broad metaphor—cooking.
So, think about what you would have to do to throw together a pot of homemade soup. (Even if cooking is not your thing, it’s not so much about whether you can relate as whether you can imagine the equivalences the metaphors draw between art and cooking.) When you start a soup, you make a lot of your big choices up front, such as what kind of base—broth, tomato, or creamy—and then what’s going to go into it, particularly the protein and vegetables.
Your artwork isn’t that different. Your base choice starts with your intention—what you want to make or what you want to express—then you choose the materials you use and some key design elements such as colors marks, lines, surface design, and embellishments.
At the end of the soup recipe is where you usually find the spice. Texture, to me, is the spice. Although I tend to have an idea about what textures I might want in a piece just as I tend to know what kind of spices I think I’ll want in the soup, my process tends to bring in the texture towards the end of the decision-making. Note that I say it comes at the end of decision-making not at the end of the making of a piece since often times materials need to be textured before they are cut or attached.
Now, why would I save my decisions about texture until the end? Well, with soup, spice is what creates a lot of the discernible flavor and can really bring all the ingredients together. So, if we think of texture as spice, use it where this visual or tactile spice will heighten the “flavor” of the piece or, if you have kind of disparate sections, if they all have a similar texture then it becomes more cohesive.
The metaphor even works for the amount of spice or texture you use. Use a lot if you want the spice to be the primary experience the viewer has or keep it subtle or light so that it complements the other elements or helps them shine. Choose textures that work with the other elements just as you would choose spices that go with the proteins, vegetables, and soup base.
Kathleen Krucoff spices up her dangle earrings with a very light rough surface on the silver and a touch of gritty gold texture to bring our eye up from the focal point gems.
For instance, you’re probably not going to throw a bunch of pungent nutmeg and turmeric into a delicate chicken and wonton soup. That kind of simple soup needs some flavor from spice and herbs, but you would be better off with some bright lemon or ginger, maybe a sprinkling of cilantro or shallots. Likewise, if your artwork is pale and delicate, you might not want a deep and dense texture, but something shallow and subtle.
There is one point at which the soup metaphor kind of fails. You don’t actually have to have spice In soup but in artwork, every surface has texture even if the texture is smooth. Still, you can think of smooth textures as equivalent to a soup that doesn’t depend on spice for its flavor. That does mean that all the other ingredients/elements need to carry the design. If you go heavy on the texture, keep in mind that is it will probably overpower, visually, many of the other elements. You know, like cayenne pepper does in a pot of Texas chili!
Okay, so, This metaphor soup for texture will work for some and not for others. For some of you, the idea of texture being spice may have lit a big light bulb over your head and you just left me to run off to your studio table to try some things out. Fabulous! Of course, then there’s a bunch of you who have gotten this far but are scratching your head thinking, “I don’t get it.” That’s okay. Maybe you can find a different metaphor, or you might find similes easier to visualize. There’s Bound to be something that can give the concepts you’re struggling with the structure and simplicity you need.
I’m going to work up some ways to talk more about texture, size, and color over the next few weeks since those seem to be the primary concerns for so many of you. But in the meantime, look to other things you do for potential metaphors that might help you with your approach to various aspects of design, especially things you find easy to do or have a lot of experience with such as gardening, party planning, interior decorating, writing, or putting together the perfect ensemble for a special night out (if any of us can remember what that was like.) Ask yourself, what do I start with, what do I add next, what are the little decisions I have to make to get it to be perfect?
There is a good chance you can find a somewhat equivalent process to plan your designs if you think on it. At the very least, searching for metaphors and similes might bring up some options for a new approach to your work that you would not have seen had you not looked for a metaphor.
An Easy Search
If you need more detailed information on various aspects of design right now, go to the blog and use the search box there to find the posts in which we discuss those elements.
Also, did you know that you can search for articles and artists published in any of the Tenth Muse magazines by going to this table of contents page? There is a link at the top of all the magazine sales pages too.
The page allows you to search through the titles of every magazine article published through Tenth Muse, most of which include the subject matter in the title. The listings also include artist’s names and the author of each article. To search the page, use your “find” keyboard shortcut (Ctrl+F in Windows or Command-F for Mac) to bring up a search box that will help you find specific subjects, artists, or authors. Use the simplest version of keywords, (like mokume instead of mokume gane, or transfer instead of transfers) to have the most success in your search.
If you have a collection of The Polymer Arts or Polymer Studio magazines, bookmark the table of contents page so you can find out which issues have the technique, artists, or subject matter you’re looking for.
Last Week’s Giveaway
Last week the giveaway box went to Kathleen von Balson. She actually posted about trying to be more subtle in her use of contrast. I just love when the blogs get someone going in the studio and I get to hear about it!
Congrats Kathleen!
(You know, you are always welcome to post comments below or send me an email about what you got out of a blog post, especially if you have suggestions or questions. It helps me determine what to share with you here.)
This Week’s Giveaway
Thank you to everyone who took part in last week’s giveaway through comments on the post. I do hope it gave you a moment to think and refocus on design elements you’re struggling with. I think it was really revealing for other readers as well– there were quite a lot of replies to the various comments. So, let’s do this one more time.
The Goodies:
- This week I have a selection of Sculpey clays in 2 new Soufflé colors, 3 new Premo colors, and 2 big 8 oz. blocks of clay stash basics—Sculpey III in Pearl and Silver. That’s 26 ounces of fresh clay along with a three-piece set of Sculpey silkscreens.
- Or if outside the US, I have a $30 Tenth Muse certificate, since it would be such a gamble to ship clay outside the US.
How to Win:
- Put a note in the blog comments* (below), this time letting me know what else besides design elements you’re struggling with in your artwork or creative time. (Yes, I’m using you to give me ideas about what to write about my coming months. I think that will work well for all of us!) It can be one word or a whole explanation.
- Note: It may take some time for the comment to appear if you’ve not commented before since, due to annoying spamming, I have to approve it .
- Giveaway winners will be chosen by random—it will NOT be based on your answers. I do hope you’ll give it some thought anyway. The answers could be helpful to you as well as interesting for the rest of us.
- And let’s say you can only win once this month so we can spread the love around.
- Get your comments posted by Wednesday March 31st at midnight Pacific time to get in for the raffle.
- I’ll announce the winner here on the blog next weekend!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…
Of Polymer and Paint
August 25, 2019
Uncategorized
Have you ever used paint on polymer? If so, why did you chose to paint it rather than use the inherent color? This question is at the heart of a kind of prejudice against paint that used to be rather prevalent in the polymer community. I think painting on polymer has found its place in our repertoire of techniques but statistically (and I’m just looking at the stats I have available from the blog and the general response to articles) I don’t think it gets quite the regard that other techniques do and it makes me wonder if people still steer away from it, even when it might be the best choice.
Ages ago, I unintentionally incited a heated conversation about painting on polymer through a blog post where all the color and the focal point of the piece was painted. There were many comments about how painting on polymer was not “working in polymer” and therefore I should not be writing about it on a polymer blog. This sentiment was rooted in the thought that since polymer is already colored, painting would be superfluous if not downright heretical. This was also a time when polymer was fighting for its place in the art world and competitions for polymer were being won by pieces that were not wholly polymer which heavily irritated those who strove to create only with polymer clay. With a strong love for the material, those crafters were simply strong proponents of letting the material shine through.
Well, a material can be gorgeous on its own, but what the artist wants out of that material may be other qualities beyond its inherent visual ones. For instance, I prefer woodwork that has been treated with nothing but oil and wax to let the natural beauty shine through but wood that is stained or painted can result in beautiful work as well. It’s not wrong to change or obscure the wood’s natural look. It’s just different. Polymer has other qualities beyond it’s color, primarily its sculptural characteristics including the ability to hold very fine detail. So, if its sculptural qualities are primarily what the artist needs from the material, then why not use whatever kind of treatment gives the surface the color and feel the artist finds most appealing or fitting for the work?
The fact is, the color in polymer clay only pieces tends to be fairly uniform since we are working with a material which is colored throughout making it fairly difficult to achieve an organic variation and imperfect diffusion of color. On the other hand, paint which is applied in layers can so readily be everything from dense and uniform to translucent and feathery to gritty and splattered. The facts are that it is easy to get smooth, uniform color using polymer clay but can be tricky with paint and it is easy to get variation in a field of color with paint but takes more work than it is often worth to get a similar effect in clay. In other words, each material has its strengths and so why not employ them based on those strengths?
As an artist, one should use the material that suits the end result desired if the material and the skills to use them are available to them. We’re not talking just paint here either—this applies to any material. Sometimes real metal, with its strength and shine, will work better than faux polymer metal or real stones will glimmer and give a piece the needed weight that faux polymer stones cannot. I am not saying that the real thing should always be used though. Faux materials in polymer do have distinct advantages such as faux metal being lighter and more flexible than the real thing and faux stones are usually cheaper to produce and can be formed in ways that real stones cannot.
Ideally, you start designing a piece with the idea of what you want to make, then figure out what materials would be best suited to the look, construction, durability, and cost of the work as well as your skillset and interests. With this approach, you can make the best work possible rather than limiting yourself because you feel some sense of loyalty to a single medium or the tribe of artists that identify themselves by that medium. That loyalty, like not painting color onto polymer, can be unnecessarily limiting and you could be missing out on wonderful new ways to express yourself and create.
The fact is you and your work do not need to be defined by your primary medium. You are an artist or a crafter or an artisan. You can choose to tack a medium on to one of these basic labels in order to be identified by a related community or as a way to explain very succinctly what you do, but if one day you get up and decide you want to try working with something else, are you going to feel locked into that label? Because if you do, you may be less inclined to explore and that would be sad. As I see it, every true artist is an explorer and one that should not be limited by any one material if their path of exploration leads them elsewhere. That’s just my humble opinion!
So, if you think paint would look good on your polymer, I think you should go for it. Let’s look at a handful of artists who combine paint and polymer in ways that polymer alone would not readily be able to create.
Color on Color
If you are a fan of Doreen Kassel’s work, you’re probably in love with either her whimsy or her exuberant color. But did you know, she only works with white clay? Or at least this is what she told me a few years back. Polymer is a sculptural medium for her. Its potential color possibilities do not come into play. Instead, she paints her polymer work primarily with oil paints. The wash and translucency of the oil paint layers gives a unique depth and glow to the colors that you just wouldn’t get with polymer alone. Her use of white as the base, like oil on canvas, does much to brighten the colors as well.
Miniature polymer creation is another area where paint seems to be indispensable. Now, I am no expert in this area but after working with and publishing articles and projects with Stephanie Kilgast, I have learned just how important paint can be for creating lifelike miniature objects. The clay does provide a large amount of the color in Stephanie’s work but painting is what punches up the realism and her amazing sculptures. Highlighting and antiquing play a major role in the realistic look of pieces like this fungi and coral inspired piece.
By the way, if you’re wondering why Stephanie sculpted this on a tin can, it is because she is very active in promoting environmental awareness and uses discarded objects to celebrate “the beauty of nature in a dialogue with humanity, questioning the lost balance between human activities and nature”. If you like what she’s doing you should consider supporting her on Patreon, a platform for supporting artists you admire with a monthly donation of just a couple dollars. You are then given access to privileged information and insight on the artist and his or her work as well as, sometimes, demonstrations and tutorials. Check Stephanie’s page on Patreon here then check out the service in general. There are some really cool artists sharing some really exclusive stuff on this platform.
Lorraine Vogel applies paint to the surface of textured polymer clay using stencils. Polymer clay allows her to create textures that gives the paint variation and dimension, an approach that softens the sharp edge and graphic effect that stencil painting often has.
By the way, you can learn the technique in the above pendant from Lorraine’s tutorial in The Polymer Arts’ Winter 2016 issue, available in digital or print on our website of course. Or you can go to her Etsy shop and purchase one of her comprehensive digital tutorials.
And I would be remiss if I didn’t point out that in the last issue of The Polymer Studio, Debbie Crothers shows the possibilities of acrylic paint and polymer in a very comprehensive, exploratory article with numerous short tutorials to get you exploring as well. Acrylic pours on polymer is the technique on the beads that grace the cover. The resulting mix of color and its visual texture is just flat out yummy.
Although I am talking paint here, the idea that other materials can and should be used on polymer where they can add or express your ideas best extends to all colorants including alcohol inks, pastels, mica powders, iron oxides, or glazes. Most of these other colorants have been better accepted in polymer work, probably because they change the clay color but don’t obscure it the way paint can. But even in traditional paintings, the type of substrate the artist uses to paint on greatly effects the feel and look of the work. Polymer can be a wonderful substrate, especially since its sculptural properties allow for such a great interaction with the paint and such creative potential for the form of the piece.
So, if you’ve been curious about the various effects you can get with paint on polymer or have wondered if you can combine some other material interest such as fiber, metal, paper or whatever, try it! Mess around and explore. Search online to see what others might be doing with these combinations and let their ideas motivate you to try stretch your skills and creative interests.
So, what new material will you be trying out this week or in the very near future?
The Sage Chronicles
My so-called break has yet to feel like a break, I have to admit. There have been some family matters and siblings who need my support and getting the house back together (and getting rid of all this dust!) is slow going as I try to take it easy with the one gimpy arm. So, I still have a full schedule between that, the family stuff, my physical therapy, and my efforts to come up with a plan for returning to production without getting in this state again. You know, some day, I just want to know what it’s like to be bored. Yeah … that’s not likely to happen any time soon.
For those following the saga of the broken drain turned into a major renovation, here’s a photo of the kitchen after I laid in the first line of slate on the backsplash last week so we could at least make the kitchen fully functional and I could get to cooking properly again! I can’t wait until I actually get to start putting in the design on the backsplash. I’ve never done a mosaic project this big but I am excited and so glad I am giving myself the break just now so I can enjoy the process and not rush it. Or not take 6 months or more to complete it!
So, I’m off to rest up now. I hope you have had a great, creative, and inspiring weekend. Here’s to a creative and inspiring week as well!
Crosswise Crafts
August 4, 2019
Inspirational Art, Polymer community news
Heather Campbell – “Keep Circling”
If you read this blog because polymer is your primary art material, do you consider yourself a polymer artist or a mixed-media artist? This question has arisen in a few conversations recently – how to identify oneself as an artist – and also in regard to the content of these blogs posts because a lot of people that are writing me of late have turned out not to be primarily polymer artists, or at least identify themselves as mixed-media rather than polymer artists. I think that’s really cool and I don’t find it terribly surprising that people who work in other art materials are interested in polymer because polymer has so much crossover and such a wide range of possible applications.
I mean, is polymer clay the only material in your art studio? Aside from maybe dedicated caners, I think the majority of us who identify as polymer artists also have drawers and bins and boxes of other things like beads, fabric, paints, paper, resin, and so much more. So, is your polymer art really a type of mixed-media art? And what is mixed-media art really anyways?
And most of all… do the labels really matter?
Labels are important for the purpose of organizing all the information we are inundated with daily, but unfortunately, it also puts people and concepts in restrictive boxes and that can become problematic. When someone is labeled (or calls themselves) a polymer artist, it doesn’t mean that they work only with polymer or even primarily with polymer. They may simply have an affinity for the material more than any other single material.
Not only do we use a lot of other materials in polymer work, but we can also so readily draw inspiration from looking at artwork in materials. I, myself, find fiber art to be an immense resource for ideas in my polymer work, especially modern quilting, so I thought I’d bring you along to explore some of the ways today’s quilt art and polymer creatively crossover.
Crosswise Crafts
Quilt art is a form of fiber art which pushes beyond functional bedcovers and quilted clothing of the past. Fiber Art itself is a relatively recent term, first used shortly after World War II to categorize fine art using natural or synthetic fiber as the material. This speaks to how relatively new the focus has been on fiber as an art form. Luckily, the term quickly worked its way out of the relatively elite world of curators and art historians into a more generalized use encompassing all fiber-based artistic applications, from weaving and quilting to intensely detailed embroidery and monumental outdoor installations.
There has been a tremendous amount of experimentation going on in fiber arts since the latter decades of the twentieth century, something as polymer artists we understand and applaud but, unlike polymer the many forms of fiber art draw from some of mankind’s oldest crafts so experimentation tends to rally not around techniques but around form, nontraditional materials, unusual use and placement of materials, and conceptual approaches, especially those involving cultural issues and activism. This makes it a rich source of inspiration that can really light the way for new possibilities in polymer.
As I’m sure you know, not only do we emulate fiber in polymer, we also have methods of construction and layout with veneers and inlays which use basically the same approach as quilting, less the sewing. Both art forms also technically work in three-dimensions but are commonly composed in two-dimensions which is why I think it’s such a great arena to look to for a creative shot in the arm.
Here is a very direct example of the crossover between quilting and polymer. Lindly Haunani draws the patterns for her polymer quilts directly from classic quilt patterns, like this one based on a half square quilt design.
She uses these wall pieces to examine and teach color. She also applies the concepts to brooches like these lovely pieces.
By the way, Lindly has a series of workshops teaching color through the creation of veneers and polymer quilts coming up in late August/early September at Creative Journey Studios. You can check those out here.
Although classic quilt patterns pop up in polymer quite often, contemporary quilts are nothing like these. Here is an example of traditional quilting techniques but without the traditional patterns by Lisa Jenni. Do the colors or composition poke at your creative brain but with polymer on the mind? It could be an arrangement with alcohol ink dyed polymer, striped canes, and stamped clay medallions, right?
That quilt reminds me a little bit of Gera Scott Chandler’s work. The colors and the emphasis on oblong circles are probably the connections but you see how one could possibly inspire the other, yes?
And how have we not seen something like this piece below done in polymer? This is embroidered quilting by Susan Lenz It’s less than 3’ x 2’ so such a piece in polymer would not be a monumental task. This has given me an idea … I think I know what I’m going to do with all the inchies collected over the years. Let’s all make wall pieces from our collections!
Be sure to look at Susan’s Lancet window series too. They have a similarly open layout but in kind of stained-glass patterns.
Contemporary quilts, like polymer, are not restricted to a two-dimensional canvas or flat layers. There are a lot of things being added into and onto quilts today. Just look at this riot of wonder by Molly Jean Hobbit.
Does this piece bring to mind any polymer artists who also use lots of pieces and materials in their work? Maybe Laurie Mika, Heather Campbell (as seen in the opening image), or even Christi Friesen with her mixed-media mosaics? If you have always liked what these ladies are doing, just imagine the fresh batch of ideas you could get from contemporary quilts.
Want to really delve into the quilt world now? You go down a rabbit hole by simply putting “quilt art” into Pinterest, or you could start on the Contemporary Quilt Art associations gallery pages. Click on each image to get a whole slew of additional quilts by various artists. It’s quite the fabulous (and possibly time gobbling) rabbit hole to go down.
Want to do a little polymer quilting of your own today? Well, you could sit down to this video by Jan Montarsi, demonstrating how to make striped polymer quilt squares. Mind you, he uses his new Create Template, but you could do it without the template if you want to get right to it. If you have the latest edition of The Polymer Studio, Issue #3, go to Jan’s article on multicolor blends first to make some really bright and saturated blended sheets to work with. If you didn’t subscribe or purchase your copy yet, you can get an immediate digital download or order a print edition on the website here. And you can get Jan’s templates here.
Where Two Crafts Collide – working with the Craft Industry Alliance
So, my curiosity about this mixed media labeling question pushed me to do some research early last month and, in the process, I found the Craft Industry Alliance. This is a fairly new organization – it was created in 2015 – but it is growing quite quickly as an information and supportive advocacy trade association for all working craft artists – this includes you!
I really liked that this organization recognizes craft art as a broader community that is not segregated by material or form. Since the founders are primarily fiber artist, however, it started out heavy in that arena, but they are actively growing into other communities. I know this because the president of CIA (gosh, their acronym sounds so covert!) contacted me after I joined their organization online with an earnest request to get to know the polymer community better. After a lovely chat and a few emails, we are now working on polymer based content for the Alliance. How cool is that?
So, what is this organization and what might it do for you? Well, here is the skinny, straight from President, Abby Glassenberg:
Craft Industry Alliance is a community of craft professionals. Strengthen your creative business, stay up to date on industry news, and build connections within a supportive trade association. Artists who are interested in becoming teachers of their craft, writing books, and showing their work in galleries need to think about setting up a solid business foundation from which to grow. Marketing and branding, legal, accounting and tax issues, social media and blogging … these are all issues creative business owners need to think through. Don’t do it alone! Come together with 1,300+ fellow members in a supportive community where you can find solid answers to your questions, make connections with the right people, and find the resources you need. Check it out at https://www.craftindustryalliance.org
As you can see, the organization is focused on active artists who show and sell their work or promote themselves as teachers or writers. It doesn’t really matter how small or how big your creative operation is, you’ll always benefit from a little help and I think it’s a fantastic idea to have a community of people from all areas of craft supporting each other. I’ve always been a little worried that the polymer community has remained a bit insular since we have issues that few other material arenas have, being such a very young material, working with a plastic in an environmentally sensitive world, and battling the “kids art material” image. But growth in this community will come from the outside, not from within so the more we reach out and network with other craft artists and the larger craft community, the more energized and innovative we will be as a whole and that will keep the community growing and vital.
The Sage Sabbatical
So, as most of you probably know by now, August starts my little sabbatical from production work on print publications so I can attend to some health issues. I have to admit, it’s made me a little depressed. It’s just rather sudden and I’m such a workaholic and so used to having a deadline hanging over me all the time so it’s a little unnerving. Luckily, it actually started out busy since we wrapped up the release of The Polymer Studio Issue #3. It turned out just beautiful and we’ve already received so many great comments on it with particular excitement around articles like the fascinating story of Brazil’s polymer master, Beatriz Cominatto, Debbie Crothers’ acrylic and polymer exploration, and Jan’s multi-color skinner blend techniques.
If you’re waiting on your copy, the digital edition went out on the 31st – check spam/junk mail folders if you’re due one and didn’t see it in your inbox. Print editions went to the post office this past Wednesday, so they are on the way too. I have my batch of stock here if you need to order it. Just go to the website.
We also added a Special 3 issue Package of all three of The Polymer Studio issues if you need to do some catching up.
If you’re unfamiliar with my silly little situation that forced me into taking time off, you can find the more-or-less full story in our most recent newsletter here.
If you don’t get our twice a month newsletter, signing up for the newsletter is one of the best ways to stay informed on our publications and new projects, of which there will be something before the year ends even if I can’t do print! But yes, I promise I will not overextend myself and do with the doctor orders!
Speaking of which … I should go now. I hope you are excited by the peek at quilts and the connection to polymer. Have a wonderful rest of your weekend and an inspired week!
Rousing Repetition
July 28, 2019
Inspirational Art, Polymer community news, The Polymer Arts magazine news
Neon Paper beads necklace by Devi Chand.
First of all, thank you to all you amazing, wonderful, caring folks who sent me notes and words of encouragement and offers of help and even a book in one case, all due to my little tendinitis issue. You are the most amazing people. What a fantastic community we have! I expect most of you are dealing with something frustratingly disruptive in your life and things a lot worse than my little annoyance in many cases so know that my heart goes out to you too. Life is challenging. So, let’s go out and wrestle it and show the universe what we’re made of!
I do have more news but I’m going to save the update on my situation until the end so you can enjoy some artwork first.
Okay, on to the contemplation of art!
Rousing Repetition
This week I want to talk about repetition. Do you like heavy repetition in artwork, where a single form, mark, or motif is repeated over and over? Saying it like that makes it sound boring and unimaginative. But I think repetition has gotten a bad rap. I mean, sure, in some circumstances, like when someone says the same thing over and over again in a conversation, it is going to get on your nerves. But when it comes to design, repetition can be mesmerizing, energetic, and downright stunning. The trick is to put some rhythm and variation into that repetition. Or at least, if it’s very static, it’s best if it is obvious that a lack of variation is intentional to convey stillness, poise, or something of that sort.
I thought we’d pull up some really beautiful examples of repetition to prove the point. You’ll note in all these pieces that although form, shape, motif, or other characteristics are repeated, variation in other aspects of the design choices brings in the energy and rhythm that draws us in. The repeating element also serves to create cohesiveness and unity amongst all the other elements
So, as we go through these this week, identify the repeating design elements in each piece and then the variation that makes the repetition so interesting for you. I’ll show the piece first before I talk about it so you have a chance to consider and see what you come up with. Mind you, you will often come up with things that I won’t and that doesn’t mean that I’m right and you’re not. When art is viewed, it has to be fundamentally about personal interpretation so there is a ton of room for your unique point of view. Asking yourself these questions that I periodically challenge you with just gets you to actively think about the work, homes your eye, and, hopefully, gives you the understanding to verbalize those things so you can translate them into aspects of your own work.
So, let’s get to it!
Music in the Monotony
I am going heavy this week on non-polymer artists and I may do a bit more of this going forward too. There is just so much great design amongst craftspeople of other mediums that we could really learn from. I find it refreshing and immensely inspiring to consider how to get the aspects that I enjoy in the artwork of other mediums into my polymer designs. I hope you agree and will stick this out with me! But we’ll start with polymer work.
Here we have some really obvious repetition with a couple of bracelets from Maria Belkomor. A lot of things are being repeated here. How many do you count?
Depending on how you count, there are either two repeated elements– the black carved beads and the disk elements – or maybe four if you count the stacks of beads and the colors. Or maybe you counted more. Everything in these are repeated except for the clasps so pretty much every element can be counted as a repeating one. Variation and, especially, the contrast in the colors and the contrast in the shape between the round beads and the flat disks is what keeps the repetition from being boring. It’s very regular but the bracelets are still fun and visually engaging pieces.
Keep in mind, repetition doesn’t mean it needs to all be lined up to engage repetition. Take a look at the pieces below. Parallel lines are used over and over again but aren’t always the same types of parallel lines nor are they seated in the same orientation.
Anna Nel has a lot of fun with her bouncy graphic look by repeating parallel lines over and over but varying them from solid line sets to lines of blended clay, adding pops of color and focal points with the irregularly placed round cane slices. Her variation in color, going from black-and-white to very saturated hues doesn’t hurt the impact of these pieces either.
Looking outside of polymer, it is not hard to find gorgeous examples of repetition in construction jewelry like beadwork.
Obviously, the repetition here is primarily in the square beads, all lined up with the same orientation, as well as the repeated dangles. The designer, Beth Graham of Semper Fi designs on Etsy, switches up the color in the squares and the length of the dangles for a simple but very effective variation within the design. There are much more intricate bead designs out there, but I like this example because it highlights the concept in an easy to identify way and works to great effect.
I wonder if, in polymer, we might use repetition more often if it was not so easy for us to vary up our elements. I do think there is such a discipline in trying to create dynamic and intriguing pieces without using a wide range of variety to carry it. Just look at this necklace below. It could be polymer but is gorgeously carved, colored, and polished wood.
Liv Blavap’s works are amazing. She works with repetition in a way that it somehow becomes the focal point of her pieces. I think it’s because there’s an almost seamless transition in the variation between one element and the next, making a smooth undulation in the form and, collectively, feeling like one continuous piece even though it is dozens, maybe a couple hundred, individual elements. This approach and her workmanship make you hyper-aware that basic forms are being repeated, if changing along the way. If you’re unfamiliar with Liv’s work, jump over to this site for a quick peek at more of these stunning necklaces of hers.
Okay, one more piece that is not polymer but so readily could be and I think will be quite inspiring for those of you who like to work with sheets of thin polymer or, looking at the pattern only, cool geometric cane work. Paper does really lend itself to repetition as seen by this and the paper necklace of the opening image.
This is paper jewelry by Dutch artists Nel Linssen. Paper quite readily, and beautifully, lends itself to dynamic repetition. The energy here comes with the variation within each element that has been repeated. It doesn’t hurt that they’re basically arrow shapes all pointing inwards making it feel like all the movement is strongly and persistently moving towards the center. Yes, there is strength in repetition as well!
Meanwhile, back at the ranch (as they used to say) …
Okay, so, a little bit of an update on the situation over here at Tenth Muse Arts headquarters:
The not so great news is that the conclusion about my tendinitis progressed into something called tendinosis which takes a lot longer to heal and is why I am still dealing with it. On top of that, I have some possible physiological issues which may be the cause of my slow healing (on top of working too much, of course!) The good news is it is all fixable. However, I am going to have to disrupt my usual schedule to deal with this and, with the tendinosis, I am being told that I should stay off my keyboard as much as possible for the next 3-6 months. Ack! That means I can’t do layout, photo adjustments, or anything else that takes just a ton of mouse clicking and keyboard shortcuts. I can still write thanks to speech to text software but not much of anything else.
Translation… I have had to make the decision to halt production on The Polymer Studio magazine for the time being. I’ve also decided subscription purchases will not be available during this time because I just can’t take money for something that isn’t actively in process. That just feels wrong. And yes, I considered bringing on people to help but it would take a while to get anyone up to speed on graphics and editing work and if I’m going to work on myself, I can’t add to my schedule. My crazy long workdays are why I’m having the physiological issues, so I really have to take a pretty full break.
So, I’m making plans to play around with creating some other stuff that would be doable with written, spoken, or videotaped content because I am just not good at not being productive. But without deadlines, I can take my time. And, yes, I do plan to continue to post the blog. I like chatting with you all too much to stop if I don’t really have to!
So, some weeks I might have to go a little bit light, but I do plan to be here to join you on Sunday mornings for low contemplative art. Do please join me next Sunday – I’m putting together a survey to see what you all would like me to talk about on the blog and my other possible projects. I’m working on gathering goodies for a giveaway to go with the survey so don’t miss that!
Have a wonderful, creative, healthy, and inspiring week!
Splitting the Difference
April 21, 2019
Inspirational Art
Happy Easter or Chag Sameach or simply happy Sunday to you! I wasn’t sure I was going to get this one out between holidays and family and wrapping up the latest issue of The Polymer Studio (there has been a slight delay with the printer so we still have time to get you on the list for the first shipment from the printer if you subscribe or pre-order before Monday night … go here to get yours) and picking out shower and floor tile (yes, there is a tad more drama at Tenth Muse headquarters, a.k.a. home, which I will expound upon at the end for those of you find it humorous to see what craziness I’m steeped in.)
So, have you ever been in the middle of a busy, stressful, crazy, chaotic day and then all of a sudden you just are coming up with new art projects from out of nowhere? Well, yesterday I was in this ginormous tile shop, putting white tiles against dark tiles and smooth stone surfaces next to busy mosaics trying to see what works and, of course, being so design focused, when it didn’t work I would ask myself why, and when it did, I asked myself why as well. (My mind is like a three-year-old… Why this? Why that? Why…?) This led to considering how I pair up surfaces in my own artwork. The fact is, I don’t do a ton of it, but I do really like it.
I think this also came to mind because I had the pleasure of online chatting with Kimberly Arden, a potential contributor for a future issue, and she showed me some of her pendants and earrings which are often a split canvas – one side is busy with canes or extruder veneers and one side is a lightly textured black with a flower or other form laid on it in using just a few canes, like the one you see opening this post. So, I’m there comparing tiles and thinking about her pendants which got me thinking about how often we pair up surfaces in art and next thing you know, I’m writing you this post with all this in mind. That’s how these themes happen!
So, let’s just ponder the idea of having two different surfaces next to each other on the same canvas or form. How is this done to in a way that still creates a cohesive piece and what are the different ways this can be applied?
Splitting the Canvas
Two or more different surfaces on the same canvas or form is a great method for creating contrast but like any other element, two surfaces that are not alike do have to have some kind of connection to make them work together in a piece. Yes, that connection is there physically when the surfaces are within the same framework in or attached to a singular object, but that is not usually enough. The best way to ensure a connection is to have at least one design element that is the same or very similar.
For instance, both sides could be the same color but very different textures. Olga Bulat does this in this necklace. Making it monochromatic keeps us focused on that texture and that difference which creates the energy in the piece.
Now, Olga could have had two different colors in the above piece but the colors themselves would have had to have some commonality. For example, both sides could be pastel, or both might be similarly bright. They could even be next to each other or completely opposite each other on the color wheel (because complete opposites also connect in our mind as being related but in an opposing fashion, if that makes sense. Think how much green and red there is at Christmas time. It works, color wise, right?)
Below is an example of using different colors but with the same texture so that there is commonality in the texture, but at the same time, the colors are also completely opposite (a dark, rich, warm brown versus a light, colorless, cool gray). These opposites are paired in our mind the way good and evil, young and old, and night and day are paired conceptually.
This is the genius of Meisha Barbee who also puts the canvas split on the horizontal (notice how many of the examples I show you today are split vertically – vertical has a lot of energy but it doesn’t mean that vertical is right for every piece.) Just changing the color however does not give the work a ton of energy so she adds a band of multicolored spots. I added a few more examples below the first pendant so you can see the various ways she pairs up the competing sides of the canvas. She uses large bands to separate when the surface pattern is subtle but goes for a simple slim line on the one with a bottom half already busy and full of extruded canes slices.
And speaking of changing up directions, you can also change up the point at which they meet. It doesn’t have to be a straight line or a simple curve Here is a simple design, actually done in terra-cotta, offered by a website called Tradenimbo. The zigzag line splits up the two sides with enough energy to carry the simple graphic look. Note how the pendant is the stronger design between it and the earrings, with the dots being a place of focus and rest for the eye as it jumps back and forth between the two sides.
Juxtaposing two different surface designs doesn’t mean it needs to be on the same canvas facing the viewer in the same direction. It could be on something three-dimensional so that the viewer has to walk around to compare. Or take it a step further and have a different surface on the front and back or get really ingenious and make it a curved surface so you can see both sides at the same time as Arden Bardol does with these whimsical earrings of hers.
You can also contrast different surfaces by creating one surface on the outside and another on the inside. Martina Buriánová did that here with two surfaces contrasted in pattern and treatment, yet with similar or highly contrasting colors which make a strong connection between them.
Splitting up is Not Hard to Do
If you find these contrasting surfaces interesting, click on any of the above artist names to see additional pieces for further inspiration. Then get to work trying your own!
Here is a simple series of steps you can try right now … A Cane Split Canvas:
- Choose a cane (or a few canes that go together) and pick a base clay in a complementary color.
- Roll a thick sheet of the solid color and apply canes to just one section, trimming or lining them up to create a boundary between a cane side and a solid clay color side.
- Burnish the canes into the clay sheet so the surface is smooth.
- Then, texturize a similar sized section next to the canes. You can use something as simple as sandpaper or add lots of tiny dots with a hand tool or stripes or lines or whatever you like, but I think you will find it more successful if the texture is very different from the canes. So, for instance, if you applied a series of flower canes with dots in the center, don’t texturize with dots but rather create something quite unlike anything in the flowers, such as a lot of orderly vertical lines or go for the randomness of a filter sponge texture. The cool thing about applying texture here is that if you don’t like it you can burnish it away and try something else.
- Once you have a texture that you like, use a cookie cutter, first as a frame to find the section to cut that includes the two sides– it doesn’t have to be half canes and half texture. In fact, 1/3 to 2/3 will probably look nicer in many cases. Move your cookie cutter around to see what you like.
- Once you find the section you like, cover it with plastic wrap and cut with your cutter.
- Your new split canvas form can be used as the beginning of a more complex piece or punch a hole at the top and you have a pendant or the first of a pair of earrings.
Now, if you want to splice together two different sheets of clay onto the same piece, you might want to check out this tutorial by Samantha Burroughs.
You may also want to take a look at the first issue of The Polymer Studio for the great tutorial by Julie Picarello who has a beautifully simple way to splice together a mokume gane slice and simple textured clay.
Got any great split canvases of your own? Share it with us by leaving a comment or a link at the end of the post!
Now for the Great Tile Adventure
Story time! For those entertained by the little dramas of my little life.
So, as you might have read in previous posts, we have been forced to do a kitchen renovation earlier than planned, in part because of a drain that collapsed under the slab on the kitchen side. The bad news came when the plumbers came out to plan the job and determined that the drain in the master bath was about to go as well so in addition to the kitchen, we have to tear out the shower in the bathroom. Oh, joy!
Actually, we were kind of happy about this because we really dislike that shower. It’s like a tiny tile covered phone booth, which is great for singing in but, not big enough for even a tiny mobile recording studio to make that worthwhile, it’s otherwise rather claustrophobic feeling. This is not to say that the news and the added cost to the budget didn’t give me a few more gray hairs, but I won’t be sad to see that go.
So, after spending two hours in a tile shop yesterday, mostly searching for just the right basic white but still subtly veined tile (veins in a cool, not a warm gray on a cool but not bright white – we are both artists so the color conversations have been quite intense) to go with our more dramatic accent choices and coming home and putting every tile sample we bought up against the wall, and not finding any to be quite right, I went into my studio for something and there in my stack of tiles on my studio table was the exact pattern of tile we were looking for. And I’ve been curing clay on it for the last six years! Now we just have to see if we can find eight full boxes of it somewhere!
Here I am giving my better half the not so great news that our ideal tile came from my studio stash and I don’t remember where I got it. But at least we know what we like!
I’m also, by the way, designing and making our kitchen backsplash which will, of course, have polymer in it somehow. So that should be exciting. Especially the part where I have to figure out how to carve out the time to do actually make that happen. But I will!
So, with my head full of tile images, I say goodbye to you for now. Have a wonderful rest of your holiday weekend and a great coming week.
100 Days of Clay
April 9, 2018
Inspirational Art
Ginger Davis Allman of The Blue Bottle Tree is doing a veneer day. A post of hers on Facebook alerted me to the #the100dayproject challenge she is doing these for and I figured that if Ginger, as busy as she gets, is doing this, then I should be able to as well so we busy women are getting even busier!
#the100dayproject is a general artistic challenge on Instagram to create one something each day for 100 days. The participant determines what they will do and with what medium, if they are even that specific. Some people are doing nothing but doodles while other people are creating completed pieces.
For instance, while Ginger is doing veneers in polymer, I am creating textural pieces and writing poetry to go with it (I’m posting these to my personal Instagram page, The Sage Arts.) The image here is Ginger’s Day 2 project. Her beautiful crackle is overlaid with silkscreen. It looks even cooler when you see it move as Ginger shows us in this little video.
There is nothing like being accountable to 2 million other people to get you back on track! If you want to learn more about the challenge, here is the Instagram page and the website. It did start on April 4, but that does not mean you can’t jump in and start a daily challenge too.
I am going to post highlights from those in the polymer community doing the challenge on our Instagram account for The Polymer Arts, so follow us there for an easy way to stay in the loop. And if you are taking the challenge, comment on this Instagram post and I will be sure we are following you back as I track the community’s involvement.
Ripple Away
January 4, 2018
Inspirational Art, Technique tutorials
For an easy but classic set of techniques that you might want to explore, just pick up your ripple blade. Most all of us have one. They come in those beginner pack of polymer blades so they are easy to acquire if you don’t have one. The effects you can create with them go from controlled pattern to random to sculptural texture.
I just pulled out a few that caught my eye today. The top one was posted by Libby Mills back in 2012. She used stacks and played around with manipulation and how to slice them, following instruction she got from Jody Bishel both at a retreat and through a project in the book Polymer Clay: Exploring New Techniques and New Materials. She really had too much fun as you can see on Libby’s blog post from back then.
I could not find attribution for the center image but I didn’t want to skip over the sculptural aspect of this handy blade. Cutting beads and stacked edges with this blade gives us quick and interesting textures. The ripple tends to lend a fun quality as well as the instant tactile quality so it’s not for all pieces but whimsical and graphic pieces might be something to try this on.
This last one was created by Nevenka Sabo some years back. I don’t have a date as the links are broken but you can see well enough what she did. Create a bulls-eye cane with a Skinner blend laid on a white sheet of clay and roll. Cut sideways and you have some wonderful veneers with an interesting patterned center swatch. Click here to get a more detailed view.
There are tons of tutorials online for using the ripple blade so if these tickle your fancy, do try a Google search or spend some time on the many Pinterest boards featuring techniques with this tool and then head off to the studio table with a new infusion of ideas.
Graphically Different
July 12, 2017
Inspirational Art
I can hear you already asking, if you read my introduction to the idea of soft or almost-triangle shapes on Monday, whether these beads by the elegant hand of Melanie Muir really qualify as versions of triangles. My answer is, that is up to how you want to see it.
To me, it is both triangular in that the space it takes up is about what a triangle would cover, and based on an oval since it is also an oval cut in half. But what this points out about triangles, or any shape really, is that they are just a step away from something quite different. Soften one angle on a triangle and you have the makings of an oval in hand. Basic shapes are just a couple of steps, simple lines arranged in simple ways. More complex shapes are usually a conglomeration of basic shapes.
As an artist, keeping this in mind means you are keeping your designs open to being pushed past the basics or as far and as complex as you see fit. Not that a basic square, triangle or circle are not valuable shapes. They certainly are! But the more options you see as you create, the more likely you are to come up with something that truly reflects your personal aesthetic and what you want to express.
Melanie, who is so well known for her organic shapes and thickly framed organic mokume veneers, has really been pushing her signature techniques, heading into more graphic waters and adding in a few more techniques. I am really enjoying the directions she’s been taking and look forward to seeing what else she has in store for us in the near future.
Keep up on Melanie’s work on her website and on her Facebook page.
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Wild Lines
October 7, 2013
Inspirational Art
I know I already did a week of curls and swirls a few months ago, but this week we will be enjoying some squiggles and tendrils which are a tad different. During Curl and Swirl week we saw some rather contained curling lines, usually with consistent repetition and a feeling of control over their direction. The lines often came to a tight circle at the end or center of the line, creating a strong focal point. This week is going to be all about the wild lines, the ones that go in different directions, wander off the edge, undulate across the space, and create a more open sense of movement.
This piece is what got me thinking about the effect of uncontrolled lines, how they create a different kind of beauty with maybe a little chaos in the mix. Lines like these make me think of dancing rather than flowing, and showcase a bit of wild abandon. This piece is a J.M. Syron and Bonnie Bishoff collaboration of walnut trim and polymer veneer. How I would love to see this in person.
What sense do you get from this piece?
Christine Damm fits together leftovers from old veneers to create her “Distant Worlds” earring components. Just for fun, what kind of soup would make a suitable metaphor for these? I was thinking Italian Wedding soup!
How often do you use metaphors and similes when you are trying to explain something? I read somewhere that we use metaphor about five or six times a minute. I’m not sure about the accuracy of that number but we do use metaphor in small ways all day long and similes are often our go to option for things that we are having a hard time explaining. Why do we use these so much? Because metaphors and similes help us simplify complicated or hard to grasp ideas. They also help us see old things in a fresh way or make daunting things less intimidating.
Can you think of some things in your life that you would like to simplify, see in a new way, or find less intimidating? I think we all do and our creative time often has many complications and blind spots as the rest of her life. So let’s talk about metaphor and simile in terms of how can help you resolve questions in design.
To ensure the terminology doesn’t get confusing, let’s quickly define these devices.
Metaphor: assigning a word or phrase to something for which it is not literally applicable. For instance, “my studio table is a disaster area,” or “think outside the box.” Certainly, the studio table is not being cordoned off and applying for federal emergency relief, and I do hope you aren’t in a box to start with.
Simile: comparing two unlike things to make an interesting or exaggerated point, usually using the word like or as to make the connection. For example, “my studio looks like a war zone” or “I was as sick as a dog.”
Find Your Answers in Metaphors
The idea of metaphors and similes as a device for helping in design came up when I was reading the comments made last week for the giveaway in which I asked what design element people were struggling with. A lot of people are struggling with color which was expected since that is one of the harder elements to master but there was also a lot of concern about size and, most surprisingly, confusion surrounding the use of texture. Of course, this got me thinking about how I can help you better utilize or master these elements. The first things I came up with were metaphors.
So, let me give you a little design lesson on texture, since that’s the one that surprised me the most, with a metaphor.
In terms of techniques, textures are not hard to create, especially if you’re working with something as forgiving as polymer clay. The question seems to be where to use it, how much to use, and how to choose textures for your work. Thinking about this, I came up with a broad metaphor—cooking.
So, think about what you would have to do to throw together a pot of homemade soup. (Even if cooking is not your thing, it’s not so much about whether you can relate as whether you can imagine the equivalences the metaphors draw between art and cooking.) When you start a soup, you make a lot of your big choices up front, such as what kind of base—broth, tomato, or creamy—and then what’s going to go into it, particularly the protein and vegetables.
Your artwork isn’t that different. Your base choice starts with your intention—what you want to make or what you want to express—then you choose the materials you use and some key design elements such as colors marks, lines, surface design, and embellishments.
At the end of the soup recipe is where you usually find the spice. Texture, to me, is the spice. Although I tend to have an idea about what textures I might want in a piece just as I tend to know what kind of spices I think I’ll want in the soup, my process tends to bring in the texture towards the end of the decision-making. Note that I say it comes at the end of decision-making not at the end of the making of a piece since often times materials need to be textured before they are cut or attached.
Now, why would I save my decisions about texture until the end? Well, with soup, spice is what creates a lot of the discernible flavor and can really bring all the ingredients together. So, if we think of texture as spice, use it where this visual or tactile spice will heighten the “flavor” of the piece or, if you have kind of disparate sections, if they all have a similar texture then it becomes more cohesive.
The metaphor even works for the amount of spice or texture you use. Use a lot if you want the spice to be the primary experience the viewer has or keep it subtle or light so that it complements the other elements or helps them shine. Choose textures that work with the other elements just as you would choose spices that go with the proteins, vegetables, and soup base.
Kathleen Krucoff spices up her dangle earrings with a very light rough surface on the silver and a touch of gritty gold texture to bring our eye up from the focal point gems.
For instance, you’re probably not going to throw a bunch of pungent nutmeg and turmeric into a delicate chicken and wonton soup. That kind of simple soup needs some flavor from spice and herbs, but you would be better off with some bright lemon or ginger, maybe a sprinkling of cilantro or shallots. Likewise, if your artwork is pale and delicate, you might not want a deep and dense texture, but something shallow and subtle.
There is one point at which the soup metaphor kind of fails. You don’t actually have to have spice In soup but in artwork, every surface has texture even if the texture is smooth. Still, you can think of smooth textures as equivalent to a soup that doesn’t depend on spice for its flavor. That does mean that all the other ingredients/elements need to carry the design. If you go heavy on the texture, keep in mind that is it will probably overpower, visually, many of the other elements. You know, like cayenne pepper does in a pot of Texas chili!
Okay, so, This metaphor soup for texture will work for some and not for others. For some of you, the idea of texture being spice may have lit a big light bulb over your head and you just left me to run off to your studio table to try some things out. Fabulous! Of course, then there’s a bunch of you who have gotten this far but are scratching your head thinking, “I don’t get it.” That’s okay. Maybe you can find a different metaphor, or you might find similes easier to visualize. There’s Bound to be something that can give the concepts you’re struggling with the structure and simplicity you need.
I’m going to work up some ways to talk more about texture, size, and color over the next few weeks since those seem to be the primary concerns for so many of you. But in the meantime, look to other things you do for potential metaphors that might help you with your approach to various aspects of design, especially things you find easy to do or have a lot of experience with such as gardening, party planning, interior decorating, writing, or putting together the perfect ensemble for a special night out (if any of us can remember what that was like.) Ask yourself, what do I start with, what do I add next, what are the little decisions I have to make to get it to be perfect?
There is a good chance you can find a somewhat equivalent process to plan your designs if you think on it. At the very least, searching for metaphors and similes might bring up some options for a new approach to your work that you would not have seen had you not looked for a metaphor.
An Easy Search
If you need more detailed information on various aspects of design right now, go to the blog and use the search box there to find the posts in which we discuss those elements.
Also, did you know that you can search for articles and artists published in any of the Tenth Muse magazines by going to this table of contents page? There is a link at the top of all the magazine sales pages too.
The page allows you to search through the titles of every magazine article published through Tenth Muse, most of which include the subject matter in the title. The listings also include artist’s names and the author of each article. To search the page, use your “find” keyboard shortcut (Ctrl+F in Windows or Command-F for Mac) to bring up a search box that will help you find specific subjects, artists, or authors. Use the simplest version of keywords, (like mokume instead of mokume gane, or transfer instead of transfers) to have the most success in your search.
If you have a collection of The Polymer Arts or Polymer Studio magazines, bookmark the table of contents page so you can find out which issues have the technique, artists, or subject matter you’re looking for.
Last Week’s Giveaway
Last week the giveaway box went to Kathleen von Balson. She actually posted about trying to be more subtle in her use of contrast. I just love when the blogs get someone going in the studio and I get to hear about it!
Congrats Kathleen!
(You know, you are always welcome to post comments below or send me an email about what you got out of a blog post, especially if you have suggestions or questions. It helps me determine what to share with you here.)
This Week’s Giveaway
Thank you to everyone who took part in last week’s giveaway through comments on the post. I do hope it gave you a moment to think and refocus on design elements you’re struggling with. I think it was really revealing for other readers as well– there were quite a lot of replies to the various comments. So, let’s do this one more time.
The Goodies:
- This week I have a selection of Sculpey clays in 2 new Soufflé colors, 3 new Premo colors, and 2 big 8 oz. blocks of clay stash basics—Sculpey III in Pearl and Silver. That’s 26 ounces of fresh clay along with a three-piece set of Sculpey silkscreens.
- Or if outside the US, I have a $30 Tenth Muse certificate, since it would be such a gamble to ship clay outside the US.
How to Win:
- Put a note in the blog comments* (below), this time letting me know what else besides design elements you’re struggling with in your artwork or creative time. (Yes, I’m using you to give me ideas about what to write about my coming months. I think that will work well for all of us!) It can be one word or a whole explanation.
- Note: It may take some time for the comment to appear if you’ve not commented before since, due to annoying spamming, I have to approve it .
- Giveaway winners will be chosen by random—it will NOT be based on your answers. I do hope you’ll give it some thought anyway. The answers could be helpful to you as well as interesting for the rest of us.
- And let’s say you can only win once this month so we can spread the love around.
- Get your comments posted by Wednesday March 31st at midnight Pacific time to get in for the raffle.
- I’ll announce the winner here on the blog next weekend!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…
Read More
Have you ever used paint on polymer? If so, why did you chose to paint it rather than use the inherent color? This question is at the heart of a kind of prejudice against paint that used to be rather prevalent in the polymer community. I think painting on polymer has found its place in our repertoire of techniques but statistically (and I’m just looking at the stats I have available from the blog and the general response to articles) I don’t think it gets quite the regard that other techniques do and it makes me wonder if people still steer away from it, even when it might be the best choice.
Ages ago, I unintentionally incited a heated conversation about painting on polymer through a blog post where all the color and the focal point of the piece was painted. There were many comments about how painting on polymer was not “working in polymer” and therefore I should not be writing about it on a polymer blog. This sentiment was rooted in the thought that since polymer is already colored, painting would be superfluous if not downright heretical. This was also a time when polymer was fighting for its place in the art world and competitions for polymer were being won by pieces that were not wholly polymer which heavily irritated those who strove to create only with polymer clay. With a strong love for the material, those crafters were simply strong proponents of letting the material shine through.
Well, a material can be gorgeous on its own, but what the artist wants out of that material may be other qualities beyond its inherent visual ones. For instance, I prefer woodwork that has been treated with nothing but oil and wax to let the natural beauty shine through but wood that is stained or painted can result in beautiful work as well. It’s not wrong to change or obscure the wood’s natural look. It’s just different. Polymer has other qualities beyond it’s color, primarily its sculptural characteristics including the ability to hold very fine detail. So, if its sculptural qualities are primarily what the artist needs from the material, then why not use whatever kind of treatment gives the surface the color and feel the artist finds most appealing or fitting for the work?
The fact is, the color in polymer clay only pieces tends to be fairly uniform since we are working with a material which is colored throughout making it fairly difficult to achieve an organic variation and imperfect diffusion of color. On the other hand, paint which is applied in layers can so readily be everything from dense and uniform to translucent and feathery to gritty and splattered. The facts are that it is easy to get smooth, uniform color using polymer clay but can be tricky with paint and it is easy to get variation in a field of color with paint but takes more work than it is often worth to get a similar effect in clay. In other words, each material has its strengths and so why not employ them based on those strengths?
As an artist, one should use the material that suits the end result desired if the material and the skills to use them are available to them. We’re not talking just paint here either—this applies to any material. Sometimes real metal, with its strength and shine, will work better than faux polymer metal or real stones will glimmer and give a piece the needed weight that faux polymer stones cannot. I am not saying that the real thing should always be used though. Faux materials in polymer do have distinct advantages such as faux metal being lighter and more flexible than the real thing and faux stones are usually cheaper to produce and can be formed in ways that real stones cannot.
Ideally, you start designing a piece with the idea of what you want to make, then figure out what materials would be best suited to the look, construction, durability, and cost of the work as well as your skillset and interests. With this approach, you can make the best work possible rather than limiting yourself because you feel some sense of loyalty to a single medium or the tribe of artists that identify themselves by that medium. That loyalty, like not painting color onto polymer, can be unnecessarily limiting and you could be missing out on wonderful new ways to express yourself and create.
The fact is you and your work do not need to be defined by your primary medium. You are an artist or a crafter or an artisan. You can choose to tack a medium on to one of these basic labels in order to be identified by a related community or as a way to explain very succinctly what you do, but if one day you get up and decide you want to try working with something else, are you going to feel locked into that label? Because if you do, you may be less inclined to explore and that would be sad. As I see it, every true artist is an explorer and one that should not be limited by any one material if their path of exploration leads them elsewhere. That’s just my humble opinion!
So, if you think paint would look good on your polymer, I think you should go for it. Let’s look at a handful of artists who combine paint and polymer in ways that polymer alone would not readily be able to create.
Color on Color
If you are a fan of Doreen Kassel’s work, you’re probably in love with either her whimsy or her exuberant color. But did you know, she only works with white clay? Or at least this is what she told me a few years back. Polymer is a sculptural medium for her. Its potential color possibilities do not come into play. Instead, she paints her polymer work primarily with oil paints. The wash and translucency of the oil paint layers gives a unique depth and glow to the colors that you just wouldn’t get with polymer alone. Her use of white as the base, like oil on canvas, does much to brighten the colors as well.
Miniature polymer creation is another area where paint seems to be indispensable. Now, I am no expert in this area but after working with and publishing articles and projects with Stephanie Kilgast, I have learned just how important paint can be for creating lifelike miniature objects. The clay does provide a large amount of the color in Stephanie’s work but painting is what punches up the realism and her amazing sculptures. Highlighting and antiquing play a major role in the realistic look of pieces like this fungi and coral inspired piece.
By the way, if you’re wondering why Stephanie sculpted this on a tin can, it is because she is very active in promoting environmental awareness and uses discarded objects to celebrate “the beauty of nature in a dialogue with humanity, questioning the lost balance between human activities and nature”. If you like what she’s doing you should consider supporting her on Patreon, a platform for supporting artists you admire with a monthly donation of just a couple dollars. You are then given access to privileged information and insight on the artist and his or her work as well as, sometimes, demonstrations and tutorials. Check Stephanie’s page on Patreon here then check out the service in general. There are some really cool artists sharing some really exclusive stuff on this platform.
Lorraine Vogel applies paint to the surface of textured polymer clay using stencils. Polymer clay allows her to create textures that gives the paint variation and dimension, an approach that softens the sharp edge and graphic effect that stencil painting often has.
By the way, you can learn the technique in the above pendant from Lorraine’s tutorial in The Polymer Arts’ Winter 2016 issue, available in digital or print on our website of course. Or you can go to her Etsy shop and purchase one of her comprehensive digital tutorials.
And I would be remiss if I didn’t point out that in the last issue of The Polymer Studio, Debbie Crothers shows the possibilities of acrylic paint and polymer in a very comprehensive, exploratory article with numerous short tutorials to get you exploring as well. Acrylic pours on polymer is the technique on the beads that grace the cover. The resulting mix of color and its visual texture is just flat out yummy.
Although I am talking paint here, the idea that other materials can and should be used on polymer where they can add or express your ideas best extends to all colorants including alcohol inks, pastels, mica powders, iron oxides, or glazes. Most of these other colorants have been better accepted in polymer work, probably because they change the clay color but don’t obscure it the way paint can. But even in traditional paintings, the type of substrate the artist uses to paint on greatly effects the feel and look of the work. Polymer can be a wonderful substrate, especially since its sculptural properties allow for such a great interaction with the paint and such creative potential for the form of the piece.
So, if you’ve been curious about the various effects you can get with paint on polymer or have wondered if you can combine some other material interest such as fiber, metal, paper or whatever, try it! Mess around and explore. Search online to see what others might be doing with these combinations and let their ideas motivate you to try stretch your skills and creative interests.
So, what new material will you be trying out this week or in the very near future?
The Sage Chronicles
My so-called break has yet to feel like a break, I have to admit. There have been some family matters and siblings who need my support and getting the house back together (and getting rid of all this dust!) is slow going as I try to take it easy with the one gimpy arm. So, I still have a full schedule between that, the family stuff, my physical therapy, and my efforts to come up with a plan for returning to production without getting in this state again. You know, some day, I just want to know what it’s like to be bored. Yeah … that’s not likely to happen any time soon.
For those following the saga of the broken drain turned into a major renovation, here’s a photo of the kitchen after I laid in the first line of slate on the backsplash last week so we could at least make the kitchen fully functional and I could get to cooking properly again! I can’t wait until I actually get to start putting in the design on the backsplash. I’ve never done a mosaic project this big but I am excited and so glad I am giving myself the break just now so I can enjoy the process and not rush it. Or not take 6 months or more to complete it!
So, I’m off to rest up now. I hope you have had a great, creative, and inspiring weekend. Here’s to a creative and inspiring week as well!
Read More
Heather Campbell – “Keep Circling”
If you read this blog because polymer is your primary art material, do you consider yourself a polymer artist or a mixed-media artist? This question has arisen in a few conversations recently – how to identify oneself as an artist – and also in regard to the content of these blogs posts because a lot of people that are writing me of late have turned out not to be primarily polymer artists, or at least identify themselves as mixed-media rather than polymer artists. I think that’s really cool and I don’t find it terribly surprising that people who work in other art materials are interested in polymer because polymer has so much crossover and such a wide range of possible applications.
I mean, is polymer clay the only material in your art studio? Aside from maybe dedicated caners, I think the majority of us who identify as polymer artists also have drawers and bins and boxes of other things like beads, fabric, paints, paper, resin, and so much more. So, is your polymer art really a type of mixed-media art? And what is mixed-media art really anyways?
And most of all… do the labels really matter?
Labels are important for the purpose of organizing all the information we are inundated with daily, but unfortunately, it also puts people and concepts in restrictive boxes and that can become problematic. When someone is labeled (or calls themselves) a polymer artist, it doesn’t mean that they work only with polymer or even primarily with polymer. They may simply have an affinity for the material more than any other single material.
Not only do we use a lot of other materials in polymer work, but we can also so readily draw inspiration from looking at artwork in materials. I, myself, find fiber art to be an immense resource for ideas in my polymer work, especially modern quilting, so I thought I’d bring you along to explore some of the ways today’s quilt art and polymer creatively crossover.
Crosswise Crafts
Quilt art is a form of fiber art which pushes beyond functional bedcovers and quilted clothing of the past. Fiber Art itself is a relatively recent term, first used shortly after World War II to categorize fine art using natural or synthetic fiber as the material. This speaks to how relatively new the focus has been on fiber as an art form. Luckily, the term quickly worked its way out of the relatively elite world of curators and art historians into a more generalized use encompassing all fiber-based artistic applications, from weaving and quilting to intensely detailed embroidery and monumental outdoor installations.
There has been a tremendous amount of experimentation going on in fiber arts since the latter decades of the twentieth century, something as polymer artists we understand and applaud but, unlike polymer the many forms of fiber art draw from some of mankind’s oldest crafts so experimentation tends to rally not around techniques but around form, nontraditional materials, unusual use and placement of materials, and conceptual approaches, especially those involving cultural issues and activism. This makes it a rich source of inspiration that can really light the way for new possibilities in polymer.
As I’m sure you know, not only do we emulate fiber in polymer, we also have methods of construction and layout with veneers and inlays which use basically the same approach as quilting, less the sewing. Both art forms also technically work in three-dimensions but are commonly composed in two-dimensions which is why I think it’s such a great arena to look to for a creative shot in the arm.
Here is a very direct example of the crossover between quilting and polymer. Lindly Haunani draws the patterns for her polymer quilts directly from classic quilt patterns, like this one based on a half square quilt design.
She uses these wall pieces to examine and teach color. She also applies the concepts to brooches like these lovely pieces.
By the way, Lindly has a series of workshops teaching color through the creation of veneers and polymer quilts coming up in late August/early September at Creative Journey Studios. You can check those out here.
Although classic quilt patterns pop up in polymer quite often, contemporary quilts are nothing like these. Here is an example of traditional quilting techniques but without the traditional patterns by Lisa Jenni. Do the colors or composition poke at your creative brain but with polymer on the mind? It could be an arrangement with alcohol ink dyed polymer, striped canes, and stamped clay medallions, right?
That quilt reminds me a little bit of Gera Scott Chandler’s work. The colors and the emphasis on oblong circles are probably the connections but you see how one could possibly inspire the other, yes?
And how have we not seen something like this piece below done in polymer? This is embroidered quilting by Susan Lenz It’s less than 3’ x 2’ so such a piece in polymer would not be a monumental task. This has given me an idea … I think I know what I’m going to do with all the inchies collected over the years. Let’s all make wall pieces from our collections!
Be sure to look at Susan’s Lancet window series too. They have a similarly open layout but in kind of stained-glass patterns.
Contemporary quilts, like polymer, are not restricted to a two-dimensional canvas or flat layers. There are a lot of things being added into and onto quilts today. Just look at this riot of wonder by Molly Jean Hobbit.
Does this piece bring to mind any polymer artists who also use lots of pieces and materials in their work? Maybe Laurie Mika, Heather Campbell (as seen in the opening image), or even Christi Friesen with her mixed-media mosaics? If you have always liked what these ladies are doing, just imagine the fresh batch of ideas you could get from contemporary quilts.
Want to really delve into the quilt world now? You go down a rabbit hole by simply putting “quilt art” into Pinterest, or you could start on the Contemporary Quilt Art associations gallery pages. Click on each image to get a whole slew of additional quilts by various artists. It’s quite the fabulous (and possibly time gobbling) rabbit hole to go down.
Want to do a little polymer quilting of your own today? Well, you could sit down to this video by Jan Montarsi, demonstrating how to make striped polymer quilt squares. Mind you, he uses his new Create Template, but you could do it without the template if you want to get right to it. If you have the latest edition of The Polymer Studio, Issue #3, go to Jan’s article on multicolor blends first to make some really bright and saturated blended sheets to work with. If you didn’t subscribe or purchase your copy yet, you can get an immediate digital download or order a print edition on the website here. And you can get Jan’s templates here.
Where Two Crafts Collide – working with the Craft Industry Alliance
So, my curiosity about this mixed media labeling question pushed me to do some research early last month and, in the process, I found the Craft Industry Alliance. This is a fairly new organization – it was created in 2015 – but it is growing quite quickly as an information and supportive advocacy trade association for all working craft artists – this includes you!
I really liked that this organization recognizes craft art as a broader community that is not segregated by material or form. Since the founders are primarily fiber artist, however, it started out heavy in that arena, but they are actively growing into other communities. I know this because the president of CIA (gosh, their acronym sounds so covert!) contacted me after I joined their organization online with an earnest request to get to know the polymer community better. After a lovely chat and a few emails, we are now working on polymer based content for the Alliance. How cool is that?
So, what is this organization and what might it do for you? Well, here is the skinny, straight from President, Abby Glassenberg:
Craft Industry Alliance is a community of craft professionals. Strengthen your creative business, stay up to date on industry news, and build connections within a supportive trade association. Artists who are interested in becoming teachers of their craft, writing books, and showing their work in galleries need to think about setting up a solid business foundation from which to grow. Marketing and branding, legal, accounting and tax issues, social media and blogging … these are all issues creative business owners need to think through. Don’t do it alone! Come together with 1,300+ fellow members in a supportive community where you can find solid answers to your questions, make connections with the right people, and find the resources you need. Check it out at https://www.craftindustryalliance.org
As you can see, the organization is focused on active artists who show and sell their work or promote themselves as teachers or writers. It doesn’t really matter how small or how big your creative operation is, you’ll always benefit from a little help and I think it’s a fantastic idea to have a community of people from all areas of craft supporting each other. I’ve always been a little worried that the polymer community has remained a bit insular since we have issues that few other material arenas have, being such a very young material, working with a plastic in an environmentally sensitive world, and battling the “kids art material” image. But growth in this community will come from the outside, not from within so the more we reach out and network with other craft artists and the larger craft community, the more energized and innovative we will be as a whole and that will keep the community growing and vital.
The Sage Sabbatical
So, as most of you probably know by now, August starts my little sabbatical from production work on print publications so I can attend to some health issues. I have to admit, it’s made me a little depressed. It’s just rather sudden and I’m such a workaholic and so used to having a deadline hanging over me all the time so it’s a little unnerving. Luckily, it actually started out busy since we wrapped up the release of The Polymer Studio Issue #3. It turned out just beautiful and we’ve already received so many great comments on it with particular excitement around articles like the fascinating story of Brazil’s polymer master, Beatriz Cominatto, Debbie Crothers’ acrylic and polymer exploration, and Jan’s multi-color skinner blend techniques.
If you’re waiting on your copy, the digital edition went out on the 31st – check spam/junk mail folders if you’re due one and didn’t see it in your inbox. Print editions went to the post office this past Wednesday, so they are on the way too. I have my batch of stock here if you need to order it. Just go to the website.
We also added a Special 3 issue Package of all three of The Polymer Studio issues if you need to do some catching up.
If you’re unfamiliar with my silly little situation that forced me into taking time off, you can find the more-or-less full story in our most recent newsletter here.
If you don’t get our twice a month newsletter, signing up for the newsletter is one of the best ways to stay informed on our publications and new projects, of which there will be something before the year ends even if I can’t do print! But yes, I promise I will not overextend myself and do with the doctor orders!
Speaking of which … I should go now. I hope you are excited by the peek at quilts and the connection to polymer. Have a wonderful rest of your weekend and an inspired week!
Read MoreNeon Paper beads necklace by Devi Chand.
First of all, thank you to all you amazing, wonderful, caring folks who sent me notes and words of encouragement and offers of help and even a book in one case, all due to my little tendinitis issue. You are the most amazing people. What a fantastic community we have! I expect most of you are dealing with something frustratingly disruptive in your life and things a lot worse than my little annoyance in many cases so know that my heart goes out to you too. Life is challenging. So, let’s go out and wrestle it and show the universe what we’re made of!
I do have more news but I’m going to save the update on my situation until the end so you can enjoy some artwork first.
Okay, on to the contemplation of art!
Rousing Repetition
This week I want to talk about repetition. Do you like heavy repetition in artwork, where a single form, mark, or motif is repeated over and over? Saying it like that makes it sound boring and unimaginative. But I think repetition has gotten a bad rap. I mean, sure, in some circumstances, like when someone says the same thing over and over again in a conversation, it is going to get on your nerves. But when it comes to design, repetition can be mesmerizing, energetic, and downright stunning. The trick is to put some rhythm and variation into that repetition. Or at least, if it’s very static, it’s best if it is obvious that a lack of variation is intentional to convey stillness, poise, or something of that sort.
I thought we’d pull up some really beautiful examples of repetition to prove the point. You’ll note in all these pieces that although form, shape, motif, or other characteristics are repeated, variation in other aspects of the design choices brings in the energy and rhythm that draws us in. The repeating element also serves to create cohesiveness and unity amongst all the other elements
So, as we go through these this week, identify the repeating design elements in each piece and then the variation that makes the repetition so interesting for you. I’ll show the piece first before I talk about it so you have a chance to consider and see what you come up with. Mind you, you will often come up with things that I won’t and that doesn’t mean that I’m right and you’re not. When art is viewed, it has to be fundamentally about personal interpretation so there is a ton of room for your unique point of view. Asking yourself these questions that I periodically challenge you with just gets you to actively think about the work, homes your eye, and, hopefully, gives you the understanding to verbalize those things so you can translate them into aspects of your own work.
So, let’s get to it!
Music in the Monotony
I am going heavy this week on non-polymer artists and I may do a bit more of this going forward too. There is just so much great design amongst craftspeople of other mediums that we could really learn from. I find it refreshing and immensely inspiring to consider how to get the aspects that I enjoy in the artwork of other mediums into my polymer designs. I hope you agree and will stick this out with me! But we’ll start with polymer work.
Here we have some really obvious repetition with a couple of bracelets from Maria Belkomor. A lot of things are being repeated here. How many do you count?
Depending on how you count, there are either two repeated elements– the black carved beads and the disk elements – or maybe four if you count the stacks of beads and the colors. Or maybe you counted more. Everything in these are repeated except for the clasps so pretty much every element can be counted as a repeating one. Variation and, especially, the contrast in the colors and the contrast in the shape between the round beads and the flat disks is what keeps the repetition from being boring. It’s very regular but the bracelets are still fun and visually engaging pieces.
Keep in mind, repetition doesn’t mean it needs to all be lined up to engage repetition. Take a look at the pieces below. Parallel lines are used over and over again but aren’t always the same types of parallel lines nor are they seated in the same orientation.
Anna Nel has a lot of fun with her bouncy graphic look by repeating parallel lines over and over but varying them from solid line sets to lines of blended clay, adding pops of color and focal points with the irregularly placed round cane slices. Her variation in color, going from black-and-white to very saturated hues doesn’t hurt the impact of these pieces either.
Looking outside of polymer, it is not hard to find gorgeous examples of repetition in construction jewelry like beadwork.
Obviously, the repetition here is primarily in the square beads, all lined up with the same orientation, as well as the repeated dangles. The designer, Beth Graham of Semper Fi designs on Etsy, switches up the color in the squares and the length of the dangles for a simple but very effective variation within the design. There are much more intricate bead designs out there, but I like this example because it highlights the concept in an easy to identify way and works to great effect.
I wonder if, in polymer, we might use repetition more often if it was not so easy for us to vary up our elements. I do think there is such a discipline in trying to create dynamic and intriguing pieces without using a wide range of variety to carry it. Just look at this necklace below. It could be polymer but is gorgeously carved, colored, and polished wood.
Liv Blavap’s works are amazing. She works with repetition in a way that it somehow becomes the focal point of her pieces. I think it’s because there’s an almost seamless transition in the variation between one element and the next, making a smooth undulation in the form and, collectively, feeling like one continuous piece even though it is dozens, maybe a couple hundred, individual elements. This approach and her workmanship make you hyper-aware that basic forms are being repeated, if changing along the way. If you’re unfamiliar with Liv’s work, jump over to this site for a quick peek at more of these stunning necklaces of hers.
Okay, one more piece that is not polymer but so readily could be and I think will be quite inspiring for those of you who like to work with sheets of thin polymer or, looking at the pattern only, cool geometric cane work. Paper does really lend itself to repetition as seen by this and the paper necklace of the opening image.
This is paper jewelry by Dutch artists Nel Linssen. Paper quite readily, and beautifully, lends itself to dynamic repetition. The energy here comes with the variation within each element that has been repeated. It doesn’t hurt that they’re basically arrow shapes all pointing inwards making it feel like all the movement is strongly and persistently moving towards the center. Yes, there is strength in repetition as well!
Meanwhile, back at the ranch (as they used to say) …
Okay, so, a little bit of an update on the situation over here at Tenth Muse Arts headquarters:
The not so great news is that the conclusion about my tendinitis progressed into something called tendinosis which takes a lot longer to heal and is why I am still dealing with it. On top of that, I have some possible physiological issues which may be the cause of my slow healing (on top of working too much, of course!) The good news is it is all fixable. However, I am going to have to disrupt my usual schedule to deal with this and, with the tendinosis, I am being told that I should stay off my keyboard as much as possible for the next 3-6 months. Ack! That means I can’t do layout, photo adjustments, or anything else that takes just a ton of mouse clicking and keyboard shortcuts. I can still write thanks to speech to text software but not much of anything else.
Translation… I have had to make the decision to halt production on The Polymer Studio magazine for the time being. I’ve also decided subscription purchases will not be available during this time because I just can’t take money for something that isn’t actively in process. That just feels wrong. And yes, I considered bringing on people to help but it would take a while to get anyone up to speed on graphics and editing work and if I’m going to work on myself, I can’t add to my schedule. My crazy long workdays are why I’m having the physiological issues, so I really have to take a pretty full break.
So, I’m making plans to play around with creating some other stuff that would be doable with written, spoken, or videotaped content because I am just not good at not being productive. But without deadlines, I can take my time. And, yes, I do plan to continue to post the blog. I like chatting with you all too much to stop if I don’t really have to!
So, some weeks I might have to go a little bit light, but I do plan to be here to join you on Sunday mornings for low contemplative art. Do please join me next Sunday – I’m putting together a survey to see what you all would like me to talk about on the blog and my other possible projects. I’m working on gathering goodies for a giveaway to go with the survey so don’t miss that!
Have a wonderful, creative, healthy, and inspiring week!
Read MoreHappy Easter or Chag Sameach or simply happy Sunday to you! I wasn’t sure I was going to get this one out between holidays and family and wrapping up the latest issue of The Polymer Studio (there has been a slight delay with the printer so we still have time to get you on the list for the first shipment from the printer if you subscribe or pre-order before Monday night … go here to get yours) and picking out shower and floor tile (yes, there is a tad more drama at Tenth Muse headquarters, a.k.a. home, which I will expound upon at the end for those of you find it humorous to see what craziness I’m steeped in.)
So, have you ever been in the middle of a busy, stressful, crazy, chaotic day and then all of a sudden you just are coming up with new art projects from out of nowhere? Well, yesterday I was in this ginormous tile shop, putting white tiles against dark tiles and smooth stone surfaces next to busy mosaics trying to see what works and, of course, being so design focused, when it didn’t work I would ask myself why, and when it did, I asked myself why as well. (My mind is like a three-year-old… Why this? Why that? Why…?) This led to considering how I pair up surfaces in my own artwork. The fact is, I don’t do a ton of it, but I do really like it.
I think this also came to mind because I had the pleasure of online chatting with Kimberly Arden, a potential contributor for a future issue, and she showed me some of her pendants and earrings which are often a split canvas – one side is busy with canes or extruder veneers and one side is a lightly textured black with a flower or other form laid on it in using just a few canes, like the one you see opening this post. So, I’m there comparing tiles and thinking about her pendants which got me thinking about how often we pair up surfaces in art and next thing you know, I’m writing you this post with all this in mind. That’s how these themes happen!
So, let’s just ponder the idea of having two different surfaces next to each other on the same canvas or form. How is this done to in a way that still creates a cohesive piece and what are the different ways this can be applied?
Splitting the Canvas
Two or more different surfaces on the same canvas or form is a great method for creating contrast but like any other element, two surfaces that are not alike do have to have some kind of connection to make them work together in a piece. Yes, that connection is there physically when the surfaces are within the same framework in or attached to a singular object, but that is not usually enough. The best way to ensure a connection is to have at least one design element that is the same or very similar.
For instance, both sides could be the same color but very different textures. Olga Bulat does this in this necklace. Making it monochromatic keeps us focused on that texture and that difference which creates the energy in the piece.
Now, Olga could have had two different colors in the above piece but the colors themselves would have had to have some commonality. For example, both sides could be pastel, or both might be similarly bright. They could even be next to each other or completely opposite each other on the color wheel (because complete opposites also connect in our mind as being related but in an opposing fashion, if that makes sense. Think how much green and red there is at Christmas time. It works, color wise, right?)
Below is an example of using different colors but with the same texture so that there is commonality in the texture, but at the same time, the colors are also completely opposite (a dark, rich, warm brown versus a light, colorless, cool gray). These opposites are paired in our mind the way good and evil, young and old, and night and day are paired conceptually.
This is the genius of Meisha Barbee who also puts the canvas split on the horizontal (notice how many of the examples I show you today are split vertically – vertical has a lot of energy but it doesn’t mean that vertical is right for every piece.) Just changing the color however does not give the work a ton of energy so she adds a band of multicolored spots. I added a few more examples below the first pendant so you can see the various ways she pairs up the competing sides of the canvas. She uses large bands to separate when the surface pattern is subtle but goes for a simple slim line on the one with a bottom half already busy and full of extruded canes slices.
And speaking of changing up directions, you can also change up the point at which they meet. It doesn’t have to be a straight line or a simple curve Here is a simple design, actually done in terra-cotta, offered by a website called Tradenimbo. The zigzag line splits up the two sides with enough energy to carry the simple graphic look. Note how the pendant is the stronger design between it and the earrings, with the dots being a place of focus and rest for the eye as it jumps back and forth between the two sides.
Juxtaposing two different surface designs doesn’t mean it needs to be on the same canvas facing the viewer in the same direction. It could be on something three-dimensional so that the viewer has to walk around to compare. Or take it a step further and have a different surface on the front and back or get really ingenious and make it a curved surface so you can see both sides at the same time as Arden Bardol does with these whimsical earrings of hers.
You can also contrast different surfaces by creating one surface on the outside and another on the inside. Martina Buriánová did that here with two surfaces contrasted in pattern and treatment, yet with similar or highly contrasting colors which make a strong connection between them.
Splitting up is Not Hard to Do
If you find these contrasting surfaces interesting, click on any of the above artist names to see additional pieces for further inspiration. Then get to work trying your own!
Here is a simple series of steps you can try right now … A Cane Split Canvas:
- Choose a cane (or a few canes that go together) and pick a base clay in a complementary color.
- Roll a thick sheet of the solid color and apply canes to just one section, trimming or lining them up to create a boundary between a cane side and a solid clay color side.
- Burnish the canes into the clay sheet so the surface is smooth.
- Then, texturize a similar sized section next to the canes. You can use something as simple as sandpaper or add lots of tiny dots with a hand tool or stripes or lines or whatever you like, but I think you will find it more successful if the texture is very different from the canes. So, for instance, if you applied a series of flower canes with dots in the center, don’t texturize with dots but rather create something quite unlike anything in the flowers, such as a lot of orderly vertical lines or go for the randomness of a filter sponge texture. The cool thing about applying texture here is that if you don’t like it you can burnish it away and try something else.
- Once you have a texture that you like, use a cookie cutter, first as a frame to find the section to cut that includes the two sides– it doesn’t have to be half canes and half texture. In fact, 1/3 to 2/3 will probably look nicer in many cases. Move your cookie cutter around to see what you like.
- Once you find the section you like, cover it with plastic wrap and cut with your cutter.
- Your new split canvas form can be used as the beginning of a more complex piece or punch a hole at the top and you have a pendant or the first of a pair of earrings.
Now, if you want to splice together two different sheets of clay onto the same piece, you might want to check out this tutorial by Samantha Burroughs.
You may also want to take a look at the first issue of The Polymer Studio for the great tutorial by Julie Picarello who has a beautifully simple way to splice together a mokume gane slice and simple textured clay.
Got any great split canvases of your own? Share it with us by leaving a comment or a link at the end of the post!
Now for the Great Tile Adventure
Story time! For those entertained by the little dramas of my little life.
So, as you might have read in previous posts, we have been forced to do a kitchen renovation earlier than planned, in part because of a drain that collapsed under the slab on the kitchen side. The bad news came when the plumbers came out to plan the job and determined that the drain in the master bath was about to go as well so in addition to the kitchen, we have to tear out the shower in the bathroom. Oh, joy!
Actually, we were kind of happy about this because we really dislike that shower. It’s like a tiny tile covered phone booth, which is great for singing in but, not big enough for even a tiny mobile recording studio to make that worthwhile, it’s otherwise rather claustrophobic feeling. This is not to say that the news and the added cost to the budget didn’t give me a few more gray hairs, but I won’t be sad to see that go.
So, after spending two hours in a tile shop yesterday, mostly searching for just the right basic white but still subtly veined tile (veins in a cool, not a warm gray on a cool but not bright white – we are both artists so the color conversations have been quite intense) to go with our more dramatic accent choices and coming home and putting every tile sample we bought up against the wall, and not finding any to be quite right, I went into my studio for something and there in my stack of tiles on my studio table was the exact pattern of tile we were looking for. And I’ve been curing clay on it for the last six years! Now we just have to see if we can find eight full boxes of it somewhere!
Here I am giving my better half the not so great news that our ideal tile came from my studio stash and I don’t remember where I got it. But at least we know what we like!
I’m also, by the way, designing and making our kitchen backsplash which will, of course, have polymer in it somehow. So that should be exciting. Especially the part where I have to figure out how to carve out the time to do actually make that happen. But I will!
So, with my head full of tile images, I say goodbye to you for now. Have a wonderful rest of your holiday weekend and a great coming week.
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Ginger Davis Allman of The Blue Bottle Tree is doing a veneer day. A post of hers on Facebook alerted me to the #the100dayproject challenge she is doing these for and I figured that if Ginger, as busy as she gets, is doing this, then I should be able to as well so we busy women are getting even busier!
#the100dayproject is a general artistic challenge on Instagram to create one something each day for 100 days. The participant determines what they will do and with what medium, if they are even that specific. Some people are doing nothing but doodles while other people are creating completed pieces.
For instance, while Ginger is doing veneers in polymer, I am creating textural pieces and writing poetry to go with it (I’m posting these to my personal Instagram page, The Sage Arts.) The image here is Ginger’s Day 2 project. Her beautiful crackle is overlaid with silkscreen. It looks even cooler when you see it move as Ginger shows us in this little video.
There is nothing like being accountable to 2 million other people to get you back on track! If you want to learn more about the challenge, here is the Instagram page and the website. It did start on April 4, but that does not mean you can’t jump in and start a daily challenge too.
I am going to post highlights from those in the polymer community doing the challenge on our Instagram account for The Polymer Arts, so follow us there for an easy way to stay in the loop. And if you are taking the challenge, comment on this Instagram post and I will be sure we are following you back as I track the community’s involvement.
Read MoreFor an easy but classic set of techniques that you might want to explore, just pick up your ripple blade. Most all of us have one. They come in those beginner pack of polymer blades so they are easy to acquire if you don’t have one. The effects you can create with them go from controlled pattern to random to sculptural texture.
I just pulled out a few that caught my eye today. The top one was posted by Libby Mills back in 2012. She used stacks and played around with manipulation and how to slice them, following instruction she got from Jody Bishel both at a retreat and through a project in the book Polymer Clay: Exploring New Techniques and New Materials. She really had too much fun as you can see on Libby’s blog post from back then.
I could not find attribution for the center image but I didn’t want to skip over the sculptural aspect of this handy blade. Cutting beads and stacked edges with this blade gives us quick and interesting textures. The ripple tends to lend a fun quality as well as the instant tactile quality so it’s not for all pieces but whimsical and graphic pieces might be something to try this on.
This last one was created by Nevenka Sabo some years back. I don’t have a date as the links are broken but you can see well enough what she did. Create a bulls-eye cane with a Skinner blend laid on a white sheet of clay and roll. Cut sideways and you have some wonderful veneers with an interesting patterned center swatch. Click here to get a more detailed view.
There are tons of tutorials online for using the ripple blade so if these tickle your fancy, do try a Google search or spend some time on the many Pinterest boards featuring techniques with this tool and then head off to the studio table with a new infusion of ideas.
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I can hear you already asking, if you read my introduction to the idea of soft or almost-triangle shapes on Monday, whether these beads by the elegant hand of Melanie Muir really qualify as versions of triangles. My answer is, that is up to how you want to see it.
To me, it is both triangular in that the space it takes up is about what a triangle would cover, and based on an oval since it is also an oval cut in half. But what this points out about triangles, or any shape really, is that they are just a step away from something quite different. Soften one angle on a triangle and you have the makings of an oval in hand. Basic shapes are just a couple of steps, simple lines arranged in simple ways. More complex shapes are usually a conglomeration of basic shapes.
As an artist, keeping this in mind means you are keeping your designs open to being pushed past the basics or as far and as complex as you see fit. Not that a basic square, triangle or circle are not valuable shapes. They certainly are! But the more options you see as you create, the more likely you are to come up with something that truly reflects your personal aesthetic and what you want to express.
Melanie, who is so well known for her organic shapes and thickly framed organic mokume veneers, has really been pushing her signature techniques, heading into more graphic waters and adding in a few more techniques. I am really enjoying the directions she’s been taking and look forward to seeing what else she has in store for us in the near future.
Keep up on Melanie’s work on her website and on her Facebook page.
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Read MoreI know I already did a week of curls and swirls a few months ago, but this week we will be enjoying some squiggles and tendrils which are a tad different. During Curl and Swirl week we saw some rather contained curling lines, usually with consistent repetition and a feeling of control over their direction. The lines often came to a tight circle at the end or center of the line, creating a strong focal point. This week is going to be all about the wild lines, the ones that go in different directions, wander off the edge, undulate across the space, and create a more open sense of movement.
This piece is what got me thinking about the effect of uncontrolled lines, how they create a different kind of beauty with maybe a little chaos in the mix. Lines like these make me think of dancing rather than flowing, and showcase a bit of wild abandon. This piece is a J.M. Syron and Bonnie Bishoff collaboration of walnut trim and polymer veneer. How I would love to see this in person.
What sense do you get from this piece?
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