Get Caning!
July 13, 2013
Technique tutorials, Tips and Tricks
So my request earlier this week to have people send in caning links for this week’s theme resulted in more questions from people just getting into it. Since there were so many queries, I thought I ought to take a moment to address the basic question these emails had in common … how does one get started or work on moving on from the basics? (For those of you who are quite advanced, this list and links might be helpful as a list for your website [I imagine you get these questions too!] or to recommend before a caning class to get your students to work on the basics.)
So here’s what I would recommend if you are starting out caning …
1. Take a class. So much of what goes into caning, especially reducing, is rather difficult to explain without hands on demonstrations. Check with local guilds, bead stores, the IPCA website, and The Polymer Arts resource list to see what is going on near you. A keyword search using your state/country, “polymer” and “classes” or “workshops” might bring up a few things as well.
2. Get a book. A book with a lot of detail and variety of projects to try your hand at could get you far. Some of the better ones I know of are Sue Heaser’s Polymer Clay Jewellery for Beginners: Book 1 – Millefiori Canes,
Donna Kato’s The Art of Polymer Clay Millefiori Techniques and Patricia Kimle’s Exploring Canework in Polymer Clay: Color, Pattern, Surface Design.
3. Search the internet for caning tutorials. This will give you a broad variety of techniques and approaches to explore. If you’re a self-starter and really motivated, this is usually the least expensive option as many of the beginning cane tutorials are free. Once you get more advanced, you may want to invest in some of the tutorials sold on Etsy and CraftArtEdu.
One of your fellow readers, Meg Newberg, sent along this link of free cane tutorials which she also regularly posts on her very active Facebook page, Polymer Clay Workshop. Here is a post photo from her Facebook page a few months back that I thought was just a beautiful collection of kaleidoscope canes with nicely chosen color schemes that she was working on.
As I am admittedly not the caning expert and so many of you are, please do add your thoughts in the comment section if you have further ideas for those new to caning. Many thanks!
Outside Inspiration: Lessons from Mosaics
July 12, 2013
Inspirational Art
As mentioned earlier this week, if you cane, especially if you are looking to make canes from images, you can learn a great deal from mosaic artists who, like polymer caners, must break down images to their essential components.
I have looked at a lot of mosaic work in my day. I love the texture of mosaics and the genius that goes into creating recognizable images within the restrictions of the material at hand. But I have never seen anything like Atsuko Laskaris’ work. Can you believe this is a glass mosaic?
The image, composition, and emotion of this piece is gorgeous along with being amazing work done in this challenging medium. Her page shows the detail of the work. It would be quite the challenge to do this in polymer but it would be possible to get such subtle changes in color that you see in the skin and hair. Now that is something to aspire to!
Atsuko’s gallery is a long page of continuous inspiration for anyone wanting to attain realistic imagery in their canes, and for anyone that just loves soaking up beautiful art work.
The Advantage of Cane Complexity
July 11, 2013
Inspirational Art
Because reducing canes makes the details of the original grouping of colors and shapes so small, you really can add in a lot of complexity with multiple regrouping and reductions. This characteristic of caning can be used to do some pretty cool things with scrap as well. You can put together all kinds of scrap canes and through some manipulation and reduction basically erase the scrap cane images so they become just part of a new image. And the old or unsuccessful canes can become part of something great again.
Feathers seem to be a favorite image to rework scrap canes into in this fashion. I really like this version found on Polymer Clay Central by Jean Sheppard. She doesn’t lose the color composition of the original canes here, just the shapes. The elongation of things like a strawberry and star become realistic looking components of a feather. Rather of amazing, really.
There are also many, many examples online of clayers doing the same basic thing, but with kaleidoscope canes. The mix of colors and shapes in the scrap canes just add complexity to the these reworked canes, sometimes making them even more intriguing than if they were started with more uniform and planned colors and lines. Its just another way to reuse that scrap that keeps piling up, not to mention being a lot of low key fun that can result in great canes!
Cane Components–Breaking it Down
July 10, 2013
Inspirational Art, Tips and Tricks
When it comes down to it, canes are not much more than components that we collect into a visually cohesive whole. It sounds simple. Bring a number of shapes, colors and/or lines together and you have a cane. But its the intention of the design, the way you choose components and how you arrange them that makes the cane worthy of becoming that important part of a piece of art.
One of the best ways to learn about arrangement of components for a cane is to actually do it backwards; start with any visual item of a recognizable image you wish–an illustration or a photo–and break it down into its components. Identify each color, each shape, every line that makes up the image. From these components you can reproduce the image in a cane. But first you need the analytical skill to break it down.
A big box of colored pencils can help you break down the colors in the image. Make sample ‘swatches’ of the colors with the color pencils on the side of a print out of the image. Yes, you could do this with polymer as well; but the color pencils keep you in a narrow focus of just analyzing color, not creating it, and speeds up the process. Same goes for not using a computer aided analysis of the image … you need to walk yourself through this, going through the process of comparing each color to the selection you have available.
To break down the shapes and lines, a bit of tracing paper upon which you outline each block of color and each complete line you would need to duplicate in a single polymer color will help you see the individual components.
This analysis you go through in order to reproduce the image will force your brain to do something it purposely and necessarily does not normally do … see an image as the bits and pieces that make it up, not the whole of the image itself. It can be quite a hurdle to get your brain to stop trying to make a recognizable image out of the pieces before it. But this is what you must do to reproduce an image as a cane. And learning how components work together will help you in creating even the most abstract canes. You learn how shapes, lines and colors work together, and that is the basis of every cane you will ever make.
Canes are not that different from pointillism or representational mosaics. An artist puts different colored dots or shapes together, and when you back away from the surface so you can’t see the components a complete image emerges. Take a look at any of Julie Eakes incredible examples of caning to see this exact effect.
If you want to really dig into this concept, read through Julie’s blog and/or get one of her CraftArtEdu classes on caning.
A Good Cane Improved by a Fitting Finish
July 9, 2013
Inspirational Art, Polymer community news
Putting together a pleasing color palette and effective patterns is just half of what will make a good cane true art. The cane itself is just part of your art supply stash until it is sliced and applied to a form or shaped. Now don’t get me wrong; I believe caning is an art unto itself! So is gem carving, fabric design, leather tooling, and film special effects. But like these specialized trades, cane work is a component of something else that will make the detailed designs involved really shine. It is part of a bigger piece.
That is why the application and finish of the cane is so important. You wouldn’t want to see an expertly faceted ruby in an uneven base metal setting or a gorgeously woven damask made into a dumpy house dress. A cane is actually very much like a gem or printed fabric. The design of the cane should determine the application and finish it receives. A delicately detailed kaleidoscope cane should be perfectly set and finished smooth while a goofy face cane can be sliced in a large chunk and strung with big funky beads.
Let’s look at how Carol Simmons applies her very detailed and near flawless cane veneers on these simple cuff bracelets. Simple the type of bracelet may be, but each cane is perfectly aligned, there is not one discernible seam, the edges are trimmed and smooth, and the surface has been buffed to a high gloss making for stunning pieces … far from simple or ordinary.
Whether you are a novice or have had many years of experience caning, you can learn so much about caning from following Carol’s blog. It’s really a must for all caning fans. (Check out her February posts! Fabulous insight on building canes from concept on through. Start at this link then scroll down to move to each successive post.)
Of course, Carol teaches fantastic classes on caning and her mokume gane work. I believe there are still some spaces left for some of the workshops at the Master Class Camp where she’ll be teaching along with an overwhelmingly impressive list of other artists in Maryland in a few weeks. She also has her 2014 European tour schedule up, so if you are on that side of the globe, do check out where she will be when, and get in on her wonderful, information-packed classes.
To Cane Well
July 8, 2013
Inspirational Art
Most of us, if we’ve played with polymer for any length of time, have tried our hand at caning. Some of us have become obsessed and do almost nothing but canes, while some of us look at our attempts and then the many other great examples out there and decide to enjoy their wonder in the works of others. But no matter where you are on the caning spectrum, you probably use the concept of caning more than you think. The concept is a simple one that can result in immense complexity–lay various colors and shapes of of clay together lengthwise and cut it crosswise to reveal a pattern. In what we usually think of as a cane, the pattern is mapped out to result in a particular design, and the clay has been reduced so the pattern is solidified and spaces between the different pieces of clay have been eliminated. But that isn’t always necessary or desired.
This week I thought it’d be fun to look at what makes a good cane, what crazy things people do with them, and the way the concept is used in other areas. But today, let’s just admire some pretty caning work. Ivy Niles Koehn (pronounced ‘cane’, she says) creates the kind of canes I’m happy to sit back and admire rather than blunder through an attempt of on my own. Ivy’s kaleidoscope canes are richly detailed with recognizable images, like the leaves you can see here, as well as straight patterning. But generally her canes succeed because of color and pattern choices, as well as some decent skill in preserving the lines while reducing.
In this cane of hers, the palette is reds leaning towards oranges and greens leaning towards blues, so all the colors contrast from opposite ends of the color wheel. There is also consistency in the changes within colors as they are all only tinted or shaded (having white or black added) rather than changing in saturation (brightness or density of color) or moving around on the color wheel. The patterns are also from a rather small range of forms … flowing lines or spot/circles, all organic looking with no hard angles. The consistency throughout of both color and pattern make for a strong design.
Ivy’s collection of available canes for sale in her Etsy shop, IKandiClay reveals other well-planned designs as well as some simple, basic canes that could be building blocks for more complex designs if you want to use her work to give you a good head start.
Have suggestions for other artists this week? I have been picking out canes to chat about, but if you have a favorite cane or caned piece that you think just must be shared and talked about, write me at sbray@thepolymerarts.com with a link to this icon of caning as well as your information so if I use your suggestion, I can show my thanks with a mention and a link to your own website, blog, or store!
Be Art or Wear it? I Say Be it or Make It!
July 7, 2013
Ponderings
I love Oscar Wilde’s work. He has such intelligent and observant wit. But why did he advise us to wear art if we don’t consider ourselves to be art? Why not create art if you aren’t up for the other two options? Maybe he considers anyone who makes art as being art? I don’t know, truly, but I do like the sentiment that art should be a part of your every day, either in who you are and how you present yourself to the world or in what you show off to the world. Just a simple thought today as we wrap up a holiday weekend here in the States and get ready to dive back into work. Think about what art and creativity you can bring to your Monday tomorrow. Make it a bright and inspirational day!
Keepsake Imagery
July 6, 2013
Inspirational Art
Since image transfer can be used with any kind of imagery, why not use it to memorialize important people, moments, places, and photos that are near and dear to you or your customers?
I just love what Cynthia Tinnapple did with transfers on some of her husband’s turned bowls a few years back. The image transfers were applied to polymer sunk into a channel around the bowl, and all the images were of the women in her family. I believe she quickly and simply turned a beautiful bowl into a priceless heirloom. How many people display their family photos in anything much more than picture frames?
This same approach can be use to add photos to anything you can adhere polymer clay to (which is just about anything). If you want ideas for objects you can start adorning with favorite family photos, take a look at the “Covered Objects” article in the present Summer 2013 issue of The Polymer Arts. Also check out the article on collaboration to read more about how Cynthia and her husband combine their crafts.
Also. be sure you have an up to date subscription, because the Fall issue that will be out next month is packed with tons of great stuff, including a review and peek into Cynthia’s new book Polymer Clay Global Concepts, due out July 30th. (But you can pre-order on Amazon if you just can’t wait to see the review. We wouldn’t blame you!)
Outside Inspiration: Transfers Inspiring Metal
July 5, 2013
Inspirational Art
This will be a bit of unusual Outside Inspiration post. Usually, I have artwork that is made from all kinds of other materials–anything but polymer. But Lorena Lazard, who works primarily in metal jewelry art, has created a series of pieces formed around transfer images made on what else but our favorite medium.
The forms in this piece that continue and define the images in the transfer are subtle and haunting. I know this piece seems a bit dark but the emerging shine of copper at the tips of the leaves and the silver pod forms are quite beautiful, especially against the dark and thorny image of the drawing they are accenting.
Lorena is the daughter of Jewish immigrants living in Mexico. She grew up in a country full of images and symbols she couldn’t relate to and as a result her work focuses on the differences in the world, the contrast and the things that appear to sit opposite each other like the thorny weed adorned in precious metals. Perhaps that is what drew her to add polymer into her work, it being such a different medium than metal.
When it comes to our theme for the week, the one thing I hoped would stand out here is how the transfer is the base for the design, but isn’t really dominant. It inspires the design and works with the additions. In other words, a transfer doesn’t have to sit on its own, untouched. Try adding to a transfer … other layers of clay, embellishments, inclusions floated in a layer of LPC or resin, etc. Use the image as a skeleton for the design and see what it inspires you to do.
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Our Eastern European artist today is Olga Zhukova from Bila Tserkva, Ukraine. Like her neighbor from Russia we saw yesterday, Olga does a lot of sculptural floral work in polymer; but if you look over her body of work, you realize that she enjoys playing with all kinds of polymer recreations, as long as there are vibrant colors to show off.
I would not say that this bracelet below is representative of the majority of her work, but it is representative of the breadth of sculptural techniques and realistic recreations she is capable of. And maybe I just really like the idea of the frog being the focal point of the bracelet. I can certainly see this being the center of conversation wherever the wearer goes with it. How often do you see a complete, rather realistic sculptural scene on someone’s wrist?
See the wide variety of Olga’s work in her shop, on her blog and on her Flickr photostream. Olga creates in cold porcelain as well as polymer–especially with her sculpted flowers–so keep in mind that not everything you see is made out of polymer clay. Nonetheless, all her work is beautiful and inspiring.
(To translate pages you find in the links this week, copy the web address for the page and paste into the translation box at http://translate.google.com/ or use Google Chrome as your web browser as it automatically offers to translate pages for you into your native language. Go here for more information on this cool toolbar.)
I don’t know what it is that makes three-dimensional floral work in polymer so popular in Eastern Europe, but there is a lot of it … and most is done breathtakingly well!
Irina Dzhalilova, known more commonly on the Web as Zafirka, hails from Yekaterinburg, Russia and creates the most amazing polymer flowers. I read through a couple different pages I found this necklace on just to make sure that these flowers really were polymer. They are quite amazing.
Irina’s work leans towards romantic vintage, often using natural stones, crystals, pearls, and glass beads in addition to polymer. She found polymer in 2009 and left her bank job in 2011 to become a full-time creative. She generously shares quite a few of her amazing her techniques and tips on her website so do take a moment to jump over there and see what she has to offer.
(To translate pages you find in the links this week, copy the web address for the page and paste into the translation box at http://translate.google.com/ or use Google Chrome as your web browser as it automatically offers to translate pages for you into your native language. Go here for more information on this cool toolbar.)
I recently noticed that there has been quite the decline in representation of the non-English speaking countries in our community on this blog lately. It is certainly nothing intentional; I previously worried I leaned a bit too much that direction since I am personally drawn quite strongly to the aesthetic tendencies of many of our European clayers. But when I thought about how I have been finding the material lately, I realized that my search methods necessarily leave out non-English websites–or more specifically, sites and images that do not have “polymer” spelled out in English. This has to be fixed, I thought, and I immediately went about determining ways to search based on theme and not miss wonderful artwork because of English search terms. Turns out this will not be easy, but then, it must be done.
I will get to my solution at the end of the post (and ask for a little of your help!) but first, let’s start rectifying this shortcoming by making this week’s theme based on artists living in non-English speaking countries. Since The Polymer Arts readership has such a huge Eastern European following, I thought it appropriate to honor our talented clay folks from that region.
Variation in visual texture is the hallmark of work created by Slovenia’s Ursa Polak. This piece uses canes, crackle, and hand tooled circle patterning, with little to no repetition in the lines and shapes of the surface treatments as applied to each bead. The collection of applications is made cohesive by the green and black theme throughout and the symmetry of the basic bead shape, size, and arrangement.
Ursa is a self-taught polymer jewelry artist who works heavily in millefiori and mokume, with a great deal of exploration into the variety of shapes upon which to apply her canes and other surface treatments. More of her work can be found on her blog and on her Flickr photostream.
How to Search for Polymer Art in Other Languages
So here is my solution to finding more polymer art when it is not posted in English. It requires actually using the translation for the word polymer in both the spelling and text characters used. This could be quite a job if I did this for every search; so for now, I think I will try and do themed weeks based on languages or geographical regions. What do you think?
Based on the subscribers of The Polymer Arts magazine, I made a list of how polymer is spelled and written out. I thought some of you might find this of interest if you regularly search for polymer art online; these are the languages in the many countries where we have readers of The Polymer Arts magazine that do not spell polymer as we do in the English alphabet. I think I might still be missing a few, so if you don’t see your language and you know polymer is not spelled or typed as it is in English on native language pages, do let me know! You can leave a comment below or, if getting this by email, reply to the email.
Bulgarian: полимер
Dutch: polymeer
Estonian: polümeer
Finnish: polymeeri
French: polymère
Greek: πολυμερές
Hebrew: פולימר
Hungarian: polimer
Indonesian: polimer
Italian: polimero
Japanese: ポリマー
Latvian: polimēru
Lithuanian: polimeras
Persian: پلیمر
Polish: polimer
Portuguese: polímero
Romanian: polimer
Russian: полимер
Slovak: polymér
Slovenian: polimer
Spanish: polímero
Turkish: Polimer
Ukrainian: полімер
I do worry that I will still miss out on a quite a few gems out there, even searching with these translations. So for those of you who live outside the US, especially non-English speaking countries, would you help us out and send links to blogs, websites, forums, and specific artist’s websites to help me with the geographical themed weeks and just to get me linked in on pages I might be missing? Art has no language barriers, but the web often does, and I don’t want that to get in the way of us being able to learn from the whole of our international community!
(To translate pages you find in the links this week, copy the web address for the page and paste into the translation box at http://translate.google.com/ or use Google Chrome as your web browser as it automatically offers to translate pages for you into your native language. Go here for more information on this cool toolbar.)
This week we talked about using materials from other art forms. Why? Because variety in our art provides more options for expressing ourselves. But it’s not about using more materials or adding more to your work. It’s about choices. Sometimes you’ll want to use just polymer and maybe even just one color. That may be exactly what you need to say or show what you want in that particular piece. You don’t always want to use a variety of materials, but you should know what options you have so they are there when you need them.
This past week I vacationed on the Oregon coast with my immediate family (which was 23 of us!) even though I am going into crunch time getting the next issue of The Polymer Arts ready to go to print. Yes, I worked while I was there, but just being somewhere different and visually inspiring, even with the pressure of deadlines sitting heavy on me, was just what was needed to give me back the energy and enthusiasm for all I do.
As some of you know, the production of The Polymer Arts projects is primarily a one woman operation so at this point, TPA pretty much is my life. I love the polymer community, polymer art itself of course, and feel so very fortunate to get to do what I do. It’s such fun, even with the stress. But there needs to be something else besides work, no matter how much one loves what they do. My second love is traveling, especially in the US where there is such a variety of people, sights, and adventures to experience. The photo behind the quote is from my recent trip, my brother-in-law and his son searching tidepools in the background. It’s these adventures that I take that influence my art work and even what I present to readers. It is the variety I include in my life that allows me to keep thinking up new art, new articles, and new approaches to what I do on this blog, in the magazine, and in the upcoming books we have planned. Changing things up is important for you both mentally and physiologically as the novel input forces your brain and body to learn, not just experience. It is what will keep you young and ever curious, and thus always pushing yourself including what you do in your art.
Scrapbooking pulls from many other artistic sources, just as polymer does. Whereas we have heat restrictions, they have the solubility and fragility of paper to contend with. But that hasn’t stopped the scrapbookers from trying tons of materials from other art forms, even polymer clay. And then, here we come along and borrow from them as well.
I suspect Russia’s Victoria Mkhitarian borrows from just about anything in reach. Her polymer work includes yarn knitted backings, wire work of all kinds, spice inclusions and, most recently, a lot of scrapbook materials. This reversible necklace–pretty cool design for a reversible, I have to say–uses embossing powders, rub-ons (similar to temporary tattoos), and acrylic paint to decorate her polymer beads.
There really is no reason not to use just about anything available if it works for the design and effect you are after. Polymer’s versatility is one of its greatest characteristics, so borrowing from other artistic mediums is going to a pretty natural extension of working with polymer clay. I know some people feel such dedication to the clay that they want to work only with polymer and what it can inherently do. But I say, don’t let any one material restrict your artistic expression. Your vision comes first. Yes, a medium can be the inspiration for what you do artistically; but let what you do grow from that inspiration, not keep it confined there.
If you would like to explore more of Victoria’s work, check out the variety of work she has on her Flickr photostream.
The artist I’m introducing today is not a polymer artist, which is why I decided he belong in the Outside Inspiration category. However, he does use polymer. No, he doesn’t always use it, but when it suits the vision he is trying to create, polymer can play a prominent role in his images.
Andy Kehoe is an painter with quite the imagination. In researching him for this post I got completely lost in his stories and ramblings found throughout his website and on his blog. Trying to find out one serious bit about him was nigh impossible but I can’t say I didn’t have fun going down the rabbit hole of his imagination! So, back to what I do know. Andy works in painterly mediums, has a keen fascination with layers and depth and recently started playing with painting on multiple layers of resin, building up the strata of imagery that gives these works an almost surreal depth. This in conjunction with his stylized scenes that often look like paper cut-outs and/or uncertain dreamworld creatures creates an unusually strong atmosphere in the limited space the work exists in.
This piece, Approaching the Watcher of the Veil, combines oil, acrylic, polymer clay, and resin on wood. In what serious material I could find Andy is presented (usually on other people’s and galleries’ sites) as a painter, but obviously he doesn’t limit himself to any one medium. The polymer clay, which I assume is in the tree, also has a painterly look to it, making it blend into the work so that the piece transcends its motley medium existence to exist simply as an artist’s sincere and authentic vision.
Polymer is no stranger to being combined with paint or even becoming the paint so, no, this outside inspiration is not really about the painterly way polymer can be presented, but rather that polymer can be a medium used in conjunction with something as old and revered as painting and be an equal when chosen, as needed, for its particular characteristics. The medium is not the key. Its the choices of medium and how they are applied that defines a well-done piece.
Don’t miss some of Andy’s great posts on his blog as well as the entertaining material (especially in the “About” section) of his website.
We usually think of adding color to polymer in terms of pigment that can be mixed in or applied to the surface. But color can be added in a number of forms, including light itself.
Crystals, because of the colors they come in along with the way they refract light, can accent and splash color across a polymer surface in ways that can change as the piece or viewer moves. The grouping of crystals across Elvira Krick’s simple drop polymer earrings work off the color of the polymer (colored with inks, incidentally) by reflecting the color behind them as well as lighting the polymer up with their own refracted brilliance.
Using crystals in a tasteful, not overly garish way can be a little tricky, especially if you want them to be the primary colorant and focus of the work. I think Elvira has gotten that balance down here, keeping the polymer base simple so the crystals can shine, abandoning an evenly placed and orderly arrangement for an organic sprinkling which also speaks to a simplicity of application that helps keeps the dense grouping from being overwhelming.
Elvira seems to be quite a bit of experimenting and playing with both color and form. You can explore more of her exploration on her Flickr pages and in her Etsy shop
Read MoreChalks and pastels have been grabbing the imagination of quite a few polymer clayers in recent years. Their matte, subdued colors can add a subtle texture and softness that isn’t found in other common surface colorants like mica powders and alcohol inks. This can be of particular use to sculptors and those working in translucent clays, since chalk pastels can be easily added for just a blush of color where needed.
The best use of this approach that I know of has to be the way Jodi Creager adds color to the skin tones of the amazing art dolls she creates with her husband Richard Creager. Her most stunning work is probably her realistic dolls with historic or cultural representations of people around the world, but I thought I’d share one of her fantasy dolls where the application of pastels might be more easily imagined not to mention there are a lot of fun details to explore with this elfin character.
You can see her incredibly easy to follow approach to using pastels on her doll sculptures in her sample sculpting video that covers this part of the couple’s doll making process. Even if you don’t do any sculpting, this approach can be used to add a blush of blue or tinge of purple to the edges of a translucent bead or opaque shape. The blush effect can add dimension to an expanse of color that you feel appears too flat, or exaggerate the shadows of a form. It’s an option for subtlety that would be difficult to achieve with most other media.
See more of Judi and Richard’s stunning work on their collaborative website, Creager Studios.
Read MoreSome of our major pioneers borrowed, almost from the start, mediums from other disciplines. Elise Winters‘ easily recognizable undulating forms sparkle with the crackle effect she got from adding acrylic. Likewise, the Bonnard Disc Collar Necklace by Rachel Carren that you see here is textured with acrylic paints, carrying the design so the polymer, as essential as it is, is the foundation rather than the star of the piece.
Acrylics are also widely used in screen printing on polymer, antiquing, accenting, and just straight up painting either to add realistic, exaggerated or decorative elements to polymer sculptural forms or to actually work with polymer in wall pieces and even jewelry. Acrylic, a plastic cousin of polymer that had its coming out as a true three dimensional medium in the 90’s with the production of new and highly varied thickening and texturing mediums, has also become known for its versatility and ease of use; along with polymer, this makes for a mind-boggling number of possibilities that I think have only been touched upon as of yet. We shall see what acrylic and polymer together have in store for us in the coming years as our innovative community continues to push the boundaries of what our medium can do.
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