Changing Forms

Table by Alice Stroppel – www.polymerclayetc.com

So, have my suggestions thus far this month triggered any new ideas for fresh and exploratory directions in the studio? Well, if it hasn’t yet maybe it will this week. Even if this month’s ideas did have you looking into some previously uncharted territories, my theme today can work in conjunction with new materials, big new projects, and collaborations as well.

But first, at quick note … have you signed up for the new Virtual Art Box coming out next weekend? I do hope you plan to join us if you haven’t already. Not only will you get great material to keep you inspired and keep that creative wheel in your head turning all month long, I have a couple specials just for my art boxers including a freebie and deep discounts. 

I’ll be drumming up such specials from polymer and mixed media craft resources every month, most will be worth much more than you are paying for the art box itself. Plus, for just another week, you can get in on a forever lifetime discount, just because you jumped in both feet first with me on this new adventure!

Ok, back to pushing ourselves, or at least thinking about it, this month.

I was thinking that a really stimulating challenge would be to work in a form that you have not worked in before. You know, like if you normally do jewelry, try decorative arts or sculpture. If you do wall art try your hand at jewelry. But knowing most of you, you’ve probably dabbled in a quite a few different forms. So, I think we need to look at some unusual territories within various art forms you’ve already tried.

For instance, if you work in jewelry or other adornment, consider what types you haven’t tried creating. Hair adornments, perhaps? Ankle bracelets? Gauge earrings instead of pierced? Tiaras perhaps? How about lapel pins, cufflinks, tie bars, or bolo ties? Or just men adornment in general?

If you create or cover a lot of home decor, move beyond the vases and switch plates and look around for other hapless home victims like ceiling fixture pulls, trashcan lids, lampstands, or the finials on the ends of drapery rods. Really, nothing should be safe from your decorative touches.

I could probably make an insanely long list of oddball things that could either be made with their covered with polymer, but let’s just look at what a few people have done with some less than common forms and see if these pieces can’t push your ideas about what you can do with polymer clay.

Strange Polymer in a Strange Land

when sitting down to write this, I wandered around the house looking for things I thought could be made with polymer, but I hadn’t seen much of. It is actually kind of hard. I see a lot. But how about this– incense burners? Maybe people don’t burn incense quite as much as they used to and perhaps that’s why we don’t see people making them in polymer clay but, on the other hand, they’re so easy to make and you have a really wide range of possible shapes they could take. You would think a few people would be regularly popping some out. But they are hard to find.

For an incense burner, all you need is a stable form with a snug hole big enough for the incense sick to stand in and, preferably, a platform to catch the ashes. You can have incense stick standing straight up or have a long tray the stick would hang over or you can ignore the tray component completely. That should be easy, right? I do wonder if people hesitate to make incense burners with polymer because they believe the hot embers will singe the clay. I very much doubt that would happen, especially if you create a straight up stand type, where the ashes have a long way to fall. Here is one example of an incense burner created with cane petals by Israel’s Marcia of Mars Design. It’s a straightforward construction and a pretty, as well as functional, little piece

You should check out her dreidels as well. I’m not sure Marcia is working in polymer anymore, or at least she’s not posting, but she did have a lot of fun ideas you can find on her Flickr photo stream.

 

This next suggestion seems to be such a minimally explored area of adornment for a category with such a wide range of options. I’m talking about hair adornments. There are so many of them – barrettes, hair sticks, hairclips, hair combs, hair beads, bun caps and cages, hair slides, tiaras, head wreathes, hairbands, headbands, hair charms, hair rings, and hair twisters (a.k.a hair spirals or ponytail wraps). I am partial to hair slides myself because they can double as scarf and shawl pins so you can pull them out for all kinds of occasions. You can see how I make mine with the in-depth tutorial in the Polymer Art Projects – Organics book. Here’s another example of a hair slide from Emily May. Like the incense burners, as long as you planned for the basic form, one that allows a stick to pass through from one side to the other, you can create pretty much whatever you want.

 

And I did mention the nothing should be safe from polymer in the house? I can’t tell you how often I look up at window molding or the insets in a door panel or the trim on a cabinet and think “A bit of polymer could go right there!” Okay, maybe I’m pushing it for someone with limited studio time who wants to add sculptural elements, not canes or other veneers, to large immovable parts of my house. So, does may be a cane covered table sound more reasonable? That can be pretty ambitious as well but at least it can go with you if you move or can be sold. Just look at the table by Alice Stroppel that opens this post, or this amazing work by Bridget Derc.

Bridget’s canes are intense, as is her process, really. You have to skim through her Flickr photostream a bit (check out the bottom half of pages 3 and 4) but she posts a lot of photos of her process. It’s pretty amazing. And check out Alice’s website for more of her polymer table adventures.

 

Now, what if you’re into sculpture? How do you push the form there? I suppose if you normally sculpt “in the round” you can do bas-relief sculptures or vice versa. You could, of course, also venture into any of the other myriad areas of polymer and craft and apply your sculptural skills there, but this next piece might give you a whole other set of ideas. Why not, literally, take your sculpture somewhere you haven’t taken it before. Like outside maybe?

Tatjana Raum photographs her tree spirit sculptures as if they are in trees, although I think these are all in detached parts of trees like large swaths of bark and pieces of drift or dead wood. Even if they are not attached to a living tree, the tree material gives these other-worldly faces an unusual context that enriches the sculpture and how a viewer will perceive it. And what if you did put a bit of polymer art into a living tree? What a great surprise for a passerby!

 

Okay, that is all for today. I’ve got to start making these posts a bit shorter as I will have a lot to do for the Virtual Art Box each month. I am so super excited about what I have for our adventurous art boxers though. I don’t think it’s going to be what anyone is really expecting but I think it’s going to be a fantastic surprise, especially for readers who really loved The Polymer Arts magazine. I think we’re going to get to know each other a lot better and are in for a really creative year!

 

For now, have a wonderful and really creative week and I’ll see you next weekend!

 

New Materials for a New Year (and VAB subscriptions are open!)

Would you say that you are primarily a polymer artist or do you work with another type of material either separate from or with polymer clay? This is a question I asked in a survey I sent out late last year. I found it interesting, although not overly surprising, that 75% of the survey respondents said they worked with another material. That would seem to indicate that the majority of us are technically mixed-media artists even if we identify as polymer artists. Not that the labeling should matter but sometimes it does. I’ve had chats with a number of artists who have felt guilty when they wander off to work with another material, as if they’re cheating on polymer clay. Of course, that’s quite silly. We are creative’s first and should be open to whatever material works for us in the moment., Besides, polymer plays so well with others that you’re unlikely to abandon your stockpile of clay. Working in another material just grows your creative circle.

Trying out a new material is also a fantastic and energizing challenge you can pose for yourself this new year. I know it can be hard to step away from something you know so well and become a newbie once again but the excitement and the humbling aspects of having to learn something new can provide a fresh injection of ideas and creative motivation that is hard to achieve any other way. When first working with a new material, it’s best to let yourself fall into a childlike state full of curiosity and a hunger to explore. And, generally, it is not that hard to do because, acknowledging you have no experience in the material, you shouldn’t have particularly high expectations of yourself. It can be wonderfully freeing.

If you are tentative to step outside the polymer focused arena but are curious about what adding another material can do for your polymer creations, look to materials that quite readily combine with polymer clay. Yeah, I know, that’s pretty much everything but let’s look at a few that plenty of mixed-media artists who work with polymer already play with.

Making New Material Friends

Some of the easiest materials to explore for a polymer focused creative are other sculpting materials. Epoxy clay, paper pulp, and air-dry clays are obvious materials to pick up. You already have most of the tools and a good base of skills to work with them. But if you want to challenge yourself a bit more, precious metal clay is tremendously exciting and can increase the actual and perceived value of your work if you sell your art. (Yes, it’s sad that people don’t always value polymer because is not a “precious” material, but that’s a discussion for another day.)

These days, precious metal clay comes in every common metal type – silver, gold, copper, brass, bronze, steel, and even iron. This means it’s doesn’t have to be nearly as expensive an investment as it used to be. Yes, ideally, you’d have a jewelry kiln (or a friend that does!)  but there are also some metal clays (primarily silver, low fire varieties) that can be cured with a small, inexpensive blowtorch. And who doesn’t like to play with fire?

Dawn Stubitsch is one of the first people I think of when it comes to combining polymer and precious metal clays. She has worked with a range of metal clays although she seems to prefer copper. She creates stunning pendants that that look like the 70s got design lessons from the Art Deco era, blending some of the best attributes of both eras.

Dawn also wrote a tutorial on creating with precious metal clay and combining it with polymer in The Polymer Arts Spring 2016 issue – Convergence. Her article is one of the best overviews of the process that I’ve seen. It will give you a great idea if this is something you want to do dive into.

Working with metal is popular for many polymer art artists, although many of them go for more traditional metalsmithing processes. This is also an area where you probably have many of the tools you would already need if you’re already working in jewelry. Adding a jeweler’s hand saw and a small blowtorch (still get play with fire!) will allow you to investigate quite a range of metalsmithing techniques.

Consider the construction possibilities of metal by looking around at artists such as Celine Charuau. She combines metal and polymer so that neither material stands out, so entranced are we with the forms and her unusual juxtaposition of them.

 

Celine is actually working on a new workshop focusing on “metal and polymer clay and how to connect these different elements together. No need to know how to solder, no need for specific or expensive tools and materials.” That would be the perfect opportunity to try something new. Not sure when and where that workshop will be held yet. I expect she will give notice about her workshop on Instagram and Facebook.

 

For very inexpensive and quick to learn alternative materials, how about beads or macramé? Or maybe both beads and macramé? Here’s an example where polymer may be the focal element but most of the energy comes from the bead and macramé design. Yulia of Multi-craft Studio on Livemaster is, a Russian currently living in India. She works in a variety of materials with a definite penchant for fiber but is well skilled in polymer as well.

Micro macramé is another technique tutorial, written by Iris Mishly, that you can find in that same Convergence issue of The Polymer Arts, if you want to try that technique out right away. Honestly, if you’re looking to try a new material to combine with polymer, pull the Spring 2016 issue out of your collection or purchase it on the website. That same issue also explores cast paper, found objects, epoxy clay and a few other intriguing mixed media ideas.

 

Here’s another material and art form you may not have considered mixing with polymer – embroidery! I love how easy it is to get into a flow doing embroidery, but I had never considered adding polymer to it. However, as you can see by the piece this post opened up with and the work-in-progress below, it’s a wonderful combination. Justyna Wołodkiewicz is a Polish artist who likes to say that she “stitches with clay,” which is a great summation for what she does as both materials are equally important in her compositions.

 

I know I only really touched on metal and fiber options here but my objective is not to give you full sampling of what is possible – because that would be impossible with polymer being as mixed-media friendly as it is – but to get you to start thinking about other materials you may not be working with at this point but have been curious about. It doesn’t even have to be about combining with polymer. Just trying a new material can inject new life into your polymer work even if the two don’t go together for you.

Take a look at these gorgeous eggs that our Chris Kapono has been hand painting while still well entrenched in working with polymer. She’s not combining her eggs with polymer, but they do both influence each other. If you’re familiar with her polymer art, you can see how her polymer designs are reflected in her egg painting. Then take a look at her Etsy shop and see how often egg shapes pops up in her polymer work. These two different materials look to be informing each other quite a bit.

 

Whether you go out and explore a new material or not, I do highly encourage you to just try something new. Novel experiences not only help your creativity but it keeps your brain young. Being creative in general will do that but if you do the same thing over and over again it definitely diminishes its benefits. Yes, it can take courage and a lot of hard work to develop your own distinctive voice but I don’t think there is a better high than getting those ideas and feelings you have inside of you out into the world in the form of your own unique art.

 

Explore Your Voice with the Virtual Art Box

Exploring and developing a unique personal voice is a big part of what I will be trying to help you with through the new Virtual Art Box project which, by the way, is now available for sign-ups on the website. If you sign up for an auto renewing subscription, you can get yourself a forever loyalty discount that will get you the Art box at the lowest possible price for as long as you’re subscribed.

Note that the forever Loyalty discount will only be available through January 31st.

Go to the website to sign up now. With the auto renewing payment, you won’t be charged until the 1st of February and you can cancel at any time so if you are at all interested, jump over and get yourself set to receive the first virtual box. I’ll send it out on Sunday, February 2nd.

And remember, as of next month, this blog will be an abbreviated version because only members of the Virtual Art Box will be getting the full article. I’m not deserting you completely if you can’t afford to join my clan of VAB people. I’m still dedicated to sharing and exploring mixed-media design with as many people as possible but, you know, one has to make a living while, preferably, not working oneself into an early grave by trying to do too much. So, if you like these posts, for less than $10 a month you can get the full article every weekend plus other articles, downloadable tools, videos and much more by joining the Virtual Art Box project.

 

It’s All in The Genes

For those who have been so kindly keeping track and nudging me to take care of my health, I’ve got a little bit of news in that area.

I’m back working a fairly full schedule although my right arm is not super happy about the situation because I keep forgetting I shouldn’t be typing with it. (I’m working, right now, with a loose rubber band around my right-hand fingers which makes it just awkward enough to remind me not to type with it. But then, I have to remember to put the rubber band on in the first place!)

The really great news is that I think we finally figured out what’s going on with my metabolism. It looks like the root cause is a genetic condition whereby I don’t process fats efficiently and end up with too much fat in my bloodstream. Not breaking down fats is, strangely enough, related to high blood sugar as fat can block the mechanism that allows insulin to move glucose into cells, causing a vicious cycle of high blood glucose, high blood insulin, and a stressed pancreas, eventually resulting in type II diabetes. This can happen if you eat a lot of fat and processed foods or because you have a stupid, annoying gene like I seem to have.

So contrary to conventional wisdom, I am on a high carbohydrate diet but, mind you it’s all whole foods, mostly plants, and I still avoid all refined sugar. And, guess what? This week I’ve had 4 days in a row of normal blood glucose testing! I know, super exciting, right?! Okay, yeah, more exciting for me, I’m sure but my blood sugar readings were in the diabetic range when this month started and I was getting really scared, so this is an amazing turnaround. Thank the powers that be for my nutritionist! I get more usable information and better results from her than anything my MD has told me or prescribed. And not just for the metabolic issue. It’s true that we are what we eat so it makes sense that what we put in our body will have such a tremendous effect on our health and medical conditions. If you’ve never seen a nutritionist, and you have anything medical you’re dealing with, go find one. It could literally change your life.

Okay, off my soapbox now. I know this is not a health blog but, hey, as many of you well know, it’s really hard to make art when you aren’t feeling well so I just wanted to share what I’ve found in case it helps any of you. Let’s take care of ourselves as best we can so we can continue to add to the beauty and wonder of our world!

Okay, enough yammering from me today. Have a wonderful, healthy, and creative week!

The Collaborative Effect

[If you are getting this email mid-week, my apologies. Emails sending was turned of the last few days for the blog due to late night human error. But now you have a mid-week pick-me-up!]

Have you ever used accountability to help you get something done? You know, when you tell someone else that you are going to do something and then you feel obligated to do it because somebody knows and you don’t want to tell them that you couldn’t or simply didn’t do what you said you were going to do? Most of us are pretty easily pressured by what other people think of us which can be used to our advantage when we’re trying to complete something that is difficult, scary, or just no fun. Like finding motivational goals for the new year!

Having someone else know of your plans can help you prioritize goals and just daily life. It’s why people do challenges in a group and post on social media. Your online circle of fellow challengers and followers will be expecting to see something from you and so you’re less likely to set that challenge project aside for something else.

Sometimes, though, even telling others isn’t enough to keep you on task. But what if you are working with someone else? Collaborations put a lot more pressure on us than just having someone else know you have a particular goal. We aren’t likely to step away from a project when we know someone else is expecting something from us. So, if you need something to kickstart your new year or want to take on a big project but are feeling a little overwhelmed, maybe the answer is collaboration.

The Who, Why, and What of Collaboration

As an artist, you can collaborate with anyone else who is creating. That means you could collaborate with another polymer artist, someone in another craft medium, someone who works in a traditional two-dimensional art medium, or even someone who works outside the visual arts like a writer, dancer, actor or musician. You do your thing and they do their thing under the umbrella of a particular concept or with a particular final project or event in mind. Not only are you more likely to complete your part of the project when working with another artist, the excitement and interaction with that person can give you so much energy as you’ll both generate excitement through the communication and exchange of ideas.

Have you ever collaborated with someone before? If you have are not, this is something to consider for this new year. Why is that? Let’s look at a few reasons:

  • Collaboration helps you grow. Having to work within the constraints and compromises of another person’s artistic vision pushes you to go in directions that you would never have gone on your own. There’s a lot of self-discovery in collaboration.
  • Collaboration can help you reach a new audience, especially if you collaborate with someone who is not working in the same medium or selling to the same market as you.
  • Collaboration cuts the workload in half on big or time intensive projects which makes them more manageable, probably more enjoyable, and more likely to be completed.
  • Collaboration adds a social aspect to your creative process for the duration of the collaboration. It can be hard working alone in the studio for hours or days on end, especially if you’re a full-time artist. The occasional collaboration becomes especially appreciated when you work alone a lot.
  • And, as mentioned, working with someone else is extremely motivating and inspiring.

Let’s look at a few examples of polymer artist collaborating with others.

 

The Whole Is Greater Than the Sum of Its Parts

Although there are many ways to put together a collaborative project, quite commonly one person does one portion and then hands their portion off to the other person to do their share. Helen Breil and Annie Pennington did just that to create this gorgeous brooch. It started with the blue polymer framework from Helen and was finished off by Annie with her metal and felt work.

 

If you work in canes, trading canes with someone or sending canes to someone to work with is an easy type of collaboration. That’s what happens with the extra canes and scraps that are sent to Ron Lehocky who makes them into his wonderful hearts. The canes for these hearts were created by Jane Dwyer.

 

Finding someone with a similar aesthetic or style as you can really help bring a collaboration together, not to mention a friendship. Polymer’s master caner John Stuart Anderson worked with painter and sometimes sculptor Luke Brown on this Tryptamine Palace. Although it sounds like they have been friends for some time, you can only imagine what working on an intense project like this did for their friendship.

Get an even better look at this amazing piece through this video.

 

Here’s an interesting roundabout collaboration. Stephanie Kilgast took on the challenge of painting and adding to a sculpture produced by Moon Crane Press from a graphite drawing by Miles Johnston, a two dimensional artist working heavily in pencil as well as ink and paint. In this case, the drawing was done independently of a collaboration idea but then Moon Crane Press, who Miles already worked with, decided to create a three-dimensional image of the drawing from which sculptures could be cast. Stephanie was invited to paint and further embellish the work. I’m not sure that one could purposely re-create such a situation but it is a great example of a collaborative option to take something that has already been completed by one artist and have it further developed by another.

 

Stephanie’s example brings up the point that collaboration doesn’t have to be just between two people. The Into the Forest project, the Russian Quilt project, and the Fimo 50th year Globe had dozens, if not hundreds, of people working on the same project. Most of us aren’t up for organizing things that big but if it’s manageable for a local group like your guild, you could have the whole guild work on a single project. Or three or four of you best artist friends could get together and make something any one or two of you would never have conceived of. Pretty exciting stuff, right?

Just Gotta Ask

if you are going to embark on a collaboration, be ready to ask a few tough questions and be ready to answer a few of your own. These are the kind of questions you and your collaborator(s) should both ask and answer.

  • What are you hoping to get out of collaboration project? You want to keep focused on each participants purpose in taking part in the collaboration as the work progresses.
  • How much time do we each have to dedicate to this project? Be realistic about how much you can do and scale back the project if necessary.
  • Will the final project be sold or, if not, who will it live with or how will you share it? Not everything you make has to be sold, but if you do want to sell it, collaborative projects as charity donations will get you publicity and networking opportunities.
  • What concept, theme, or vision is important to both of us? This question tends to get the ball rolling on what you want to make and allows you to get to know your artistic partner.
  • Will one or both of you oversee the organizational aspect of the project? Commonly, especially if there’s more than just two people, one person will organize the timeline and process, and keep track of progress. Overseeing the project doesn’t mean that person makes all the decisions, it just means that they will keep the project on track. It’s nice to have this figured out from the start so collaborators don’t step on each other’s toes.

Keep in mind collaboration doesn’t mean the work is 50-50. If one of you wants to do a lot more than the other or the primary concept is one person’s (such as Miles Johnston’s sculpture) but is embellished or finished by another (which is what Stephanie Kilgast did with Mile’s work) it’s still a collaborative piece but you’re just working to each other’s strengths.

Also remember that collaboration is supposed to be an enjoyable and inspirational learning experience. Be patient with your partner(s) if they’re not doing what you’d expect, talk if you have concerns, and be ready to compromise. It’s kind of like a marriage – you know something great’s going to come of it but it’s a give-and-take to get there.

 

The State of Things

I had hoped to have sign-ups for new subscribers to the Virtual Art Box this week but unfortunately, I was not doing so well this week and had to take it easy early on. I’m back to full steam ahead now but I have some catching up to do. It will be very soon though.

 

Nudge Sale is Still On… For 3 more days!

Our year end Nudge Sale is almost over. All the reduced prices go back to full price after the 15th. Right now, almost everything is on sale so if you need more inspiration at your fingertips as you set yourself up for a great creative year, hop over to the website and snatch up a great deal on beautiful print and digital publications!

 

Okay, I have to stop working now as I’ve got a birthday to celebrate. The tradition in my house is that the birthday person doesn’t have to do any work which, of course, makes it a struggle for this workaholic. But I’ll be good and let my dear man make me breakfast and take me to dinner and I don’t know what else. Maybe just curl up in a corner with a book. I don’t think I’ve done that for ages and ages.

If you want to help me celebrate my birthday, my preference is actually to have friends and family do something charitable. You can donate to my charity listed on Facebook – the International Rescue Committee fund which assist refugees and other displaced persons. Any bit of help that can be given to our poor Australian friends would also be wonderful. Being a big picture person, I give to the Global Recovery Fund who set up assistance for the long haul. If funds are in short supply, as they often are after the holiday season, just be kind to the world that we live in by maybe giving up one less disposable item (get a filtering water bottle and never buy bottled water again for instance) or just doing something thoughtful and kind and make someone’s day.

You all just stopping to read my yammering makes my day! Thank you and have a wonderful week!

Go Big or Go Personal

January 5, 2020

So, here we are. The new year has begun, and we have 12 months and nearly 52 weeks of possibilities before us. Will you be changing the way you work or challenging yourself this coming year?

If you read last week’s post, you know I have mixed feelings about New Year’s resolutions, but I do believe in always having goals. Goals give you something to bounce out of bed for in the morning. Even small goals can get you up and going and keep you focused. However, this weekend I want to talk about making big goals, or particularly big projects.

This will mean different things to different people but whether or not the idea of doing something challenging in size or scope appeals to you, I think it’s just one of those things you should periodically ask yourself. Do I want to do something big, monumental, dramatic, or just drastically different? There is nothing wrong with saying no and just focusing on small, easily manageable projects. But I think you ought to ask the question just to be sure.

Nearly a decade ago, I interviewed Gwen Piña who, at the time, was the most prolific polymer artist I knew of in our community, with over 600 accounts she regularly fulfilled orders for. (She has since retired from polymer.) With all that work, I was really surprised when she took me to a side room to show me her personal projects. These were rather tall dolls and other pieces made from found objects and polymer. These were her personal projects which she didn’t always try to sell. Although they took time away from her primary wholesale work, she acknowledged that she needed that creative outlet to make her happy.

I think that is an important consideration. Not everything you make has to sell. Actually, unless your livelihood depends upon it, nothing you make needs to be sold. Go ahead – create for the sake of creating! How freeing is that idea? I bring this up because, many times, our big personal projects are not something that is either easy to sell or easy for us to part with.

So, setting aside the idea that everything you make has to support a business, let’s talk about big personal projects you might consider taking on to feed your soul.

A Big Way

Large, showy art pieces are often referred to as “statement” pieces. Big necklaces, towering vases, and wildly colorful wall sculptures can all be considered statement pieces when they outshine the wearer or dominate the room they occupy.

There is more latitude given for the functionality of craft art that is created as a statement piece. Awkward and uncomfortable collar necklaces, dangerously spiky brooches, and vases that are too monumental to hold any kind of flower arrangement are forgiven their lack of functionality in exchange for being a conversation piece or attention grabber. These can be great fun to create because you have fewer restrictions with that concern for functional construction set aside. If you’re looking for a bit more freedom in your designs this year, this might be something to explore.

But what if we change that definition of a statement piece and attach it to work that is primarily personal—making that kind of work a personal statement piece, as in you have something to say. You may just want to share your aesthetic views, or you may have opinions about the state of the world, or you might aim to share the emotion of a personal experience. These are all expressions of the artist being taken from inside themselves and put out into the world. That’s really at the core of what, arguably, defines something as a piece of art.

So how about YOU get noticed for some “big” piece of yours this year that is focused on expressing what you want to put out into the world? Being that this kind of project is more for you, you also get to define what a big project means to you. It could be literally large. It could also be small but so minutely thought out or detailed that it is big in terms of its process and scope. A big project could be based on a really delicate or difficult personal subject that you have previously found hard to share. It could also be a large collection of work instead of a single piece. Or a piece made up of a lot of smaller pieces. Do any of these ideas spark a fire in you?

Let’s look at just a few “big projects” other artists have taken in polymer.

 

Thinking Big

Heather Campbell goes big quite often. The piece of hers that opens this blog, Trippin’ in Spain, is 6 feet long! A handful of years ago, you might have seen the challenge she took on of making this insanely detailed polymer quilt called Keep Circling. Much of the texture and pattern is created with the attachment of many small, but easily replicated accents and objects as can be seen in the detail shot.

This piece is both a great approach to creating big, beautiful artwork in polymer and a metaphor for how to take on a big project or any daunting goal. Just do one small thing at a time and, if you just keep at it, next thing you know, you have something huge and amazing and that goal is reached.

 

A similar approach can be used in jewelry. A gloriously monumental bit of adornment does not have to be complicated. You can simply make a lot of something that you love to create and bring it together into a single magnificent piece. Gloria Danvers does a lot of this type of thing with polymer butterflies, leaves, and other caned shapes.

 

You know how I mentioned you could set your big goal to not just be one thing but that you might consider just creating a big collection? Well, what if you did both? That’s essentially what Jeffrey Lloyd Dever did with his Edensong Revisited installation piece from 2011. Taking dozens of individual pieces, he created a fascinating wall piece that you have to just keep looking at to take it all in.

Edensong Revisited | 2011 | Approx. 50”H x 42” W x 3.5” D | Polymer clay, steel wire, plastic coated wire, repurposed mixed media, latex paint | Photo credit: Jon Bolton/Racine Art Museum

 

The idea of something big for you though, might just be a project that’s really different and daring. If so, I would strongly suggest looking at artwork in other mediums for inspiration, not just polymer. I don’t know if anyone’s doing any really wild with ear cuffs like the ones below in polymer, but this is just one possible inspiration for what could be done with polymer and unique forms of jewelry. Check out this site for some wild pieces. No artists are listed although they do say these are handmade.

 

Sometimes your big idea can simply be sticking with a particular theme and really pushing yourself to see what you can do with it. I got a wonderful email from blog reader Suzanne Andrews, noting how the last post on having a goal really resonated with her. She’d already started on her goal to get focused this year by cleaning up her studio (and that’s a pretty big project for many of us, I know!) And then, she said she, “placed one photograph for reference on the wall in the studio. It is of a painting that speaks to me and my goal is to create pieces that belong with this painting.” I don’t know if she’ll make anything literally big or complex, but I love that idea of committing to that painting. It will give her a focus on something that she feels personally connected to, which can take some bravery. And that is a statement!

 

The Big Idea

So, whether or not you’re ready to take on something big, in whatever way you define it, or just want to play around this year, I’m hoping to make setting goals, or at least working on a focus, to be a bigger part of what we talk about throughout this year. It’s something I’m going to focus on with the Virtual Art Box, hoping for those of you who are up for it, to make what I share with you a more active kind of information exchange. Most of us aren’t reading this to simply pass the time, are we? This material and our creativity drive us to make art, right? So, let’s do that and make art that we are personally passionate about! I can’t tell you how fulfilling it is to take risks and push yourself. You won’t always succeed but, man, when you do, there’s nothing like it!

We’ll go over a few other ideas for possible goals and focuses you might want to take on over the coming year if you’re not sure what you want to do yet, if anything. There really is no rush so just let ideas wash over you until something grabs you.

Myself, I need to put a rush on some things. I think we finally have the technical end ironed out for the new Virtual Art Box so I’m getting ready to get sign ups set up on the website. Just need a few more tests. Then back to whipping the content into shape. That’s my focus this week so keep an eye out for newsletters for more info and I’ll update you on the blog this next week and as well. Get on this list here to be notified first for special discounts.

 

Nudge Sale is Still On!

Don’t forget we have that nudge sale going for another week or so. Almost everything is on sale so if you need more inspiration at your fingertips as you set yourself up for a great creative year, hop over to the website and snatch up a great deal on beautiful print and digital publications!

 

 

Happy first full work week of 2020! Hope its a beautiful and creative one!

The Problem with Resolutions

December 29, 2019

Think creatively about artistic challenges if you want to do one this year. Create your own. This collage is from an article by Anke Humpert in The Polymer Arts Winter 2014 – Boundaries issue. 15 artists created a piece based on a voted on set of limitations – an organically inspired pendant with a 3 color palette. The real challenge came when, after finishing their pieces, she asked them to make the same piece again to see what they would change. Could limitations or repeating your creations be the kind of thing to gain the skill and growth you are after this year?

Here we are, looking out towards a new year, and the most common question people probably have is some version of, “What do I do different this year?” This may manifest as a list of resolutions or a new art business plans or just a verbal pronouncement of productive intentions that only the cat will hear (and will actively work to thwart too, so maybe don’t tell the cat. The dogs, though, they got your back!) There is just something about a new year that begs for a new start, or new restart, but there is a question you should ask yourself first—are you ready to set goals and challenges for yourself right now?

There is definitely something motivating about joining so many others in committing to New Year’s resolutions, but they need to be the right resolutions for the right reasons and either this needs to be the right time or you need to be realistic about when you can start.

Where Your Motivation Comes from

One of the biggest problems with New Year’s resolutions, and the reason so many of them fail, is that most people set goals that are motivated by something external, such as the opinion or expectation of spouses, parents, or friends, or they are ideas that come from the culture or society we are entrenched in. Doing something that is simply expected of you versus it being something that you are personally driven to do makes a huge difference in being able to accomplish the goal and to have it be the fulfilling and helpful change in your life that you hope it to be. So, if your goals are not something internally motivated, something that comes from a core source of desire or inquisitiveness, it’s going to be very hard to make them a priority and to get through every step required.

Determining if something is internally or externally motivated, however, can be very difficult. External expectations and our desires are often so intertwined or so bred into us that it is hard to tell the difference. But there are a couple questions you can ask yourself about any goal you want to set that can be helpful in this regard:

Would I still want to go after this goal if no one else knew or had the opportunity to approve the results?

Do I feel excited, physically, and emotionally, at the idea of working on and achieving this goal?

If you can say yes to both these questions, then you can be more certain that this is a goal important to you personally which means you’re more likely to be successful at it. I know the first question won’t always make a lot of sense for some goals such as “I want to make more time for my spouse,” or “I want to get my art into 4 galleries this year.” Reaching either of those goals would be noticed and commented on but just imagine that no one gave you supportive commentary in connection to those goals. Would you still do them?

Artistic challenges are popular New Year’s resolution that helps get people focused and productive in the studio. If you’re thinking of doing a challenge but maybe on the fence about it, ask those two questions. For instance, if you make a goal to create one pair of earrings each week this year, ones that you never post and no one will ever see, would you still do it? If the only thing that motivates you is the thought of the comments and hearts you will receive when you post them on social media, you may not be going after that goal for sustainable reasons and it could even inhibit your artistic growth if, for instance you change your focus from jewelry to wall art midyear – you may feel inclined to complete the challenge even if your heart isn’t in it.

The Question of Timing?

Also remember that you don’t have to jump on your goals on January 1st. Maybe take a week or a month to recover from the holidays and get yourself into a good position to take on your goals and resolutions. You can write down those goals, give yourself a realistic start date, and put that on your calendar, as an alarm on your phone, and tell at least 3 people about it. You’re sure to start it as planned that way but you won’t have to get crazy with it on day one of 2020.

You also need to be realistic. Can you really do one pair of earrings a week along with everything else that you plan to do and that life demands of you in the coming months, not to mentionthe entire year? Maybe it would be better to create a pair every other week or once a monthor maybe after you catch your breath from the holidays a bit at least. Or you might simply set aside one hour each week to work on a challenge but don’t scold yourself if you don’t create a pair of earrings in an hour or if you want to change the challenge to something else. You can simply put in the work for that hour and see where it takes you.

Embracing the Best of Teachers: Failure

I also think resolutions are hard because of the way people look at failure. If you gave yourself a weekly challenge and then didn’t hit it one week, the fact that you didn’t meet the challenge perfectly can make you feel that the rest of the challenge is pointless. However, not meeting a single small step toward your goal does not cancel out the value of what you’re trying to do as a whole. You aren’t doing it just to be successful every single step of the way, are you? Its a journey not a test. You don’t lose points if you mess up here and there. In fact, the more you trip up, the more you’ll learn so, really, failure is like getting extra credit.

Keep focused on why you decided to go after this goal to keep “failures” from getting you down. If you are doing it to learn, explore, or stretch yourself, then the occasional failure should be expected and welcome as opportunities (yeah, I cringe at that over-used corporate term too but it’s also true) to assess why it happened and find better and easier ways to do it well. Failure is where most of our change and growth happens.

Determine the Why

The one piece of week, or month or day challenges give you easy guidelines but keep in mind they may not be the thing that you need to be spending your time and energy on. I would suggest that you start with an end goal and then determine what kind of challenge or process you should go through to accomplish that. End goals are not “I want to make 52 earrings this year.” That’s the work you do to reach your goal, but your end goal is what you get out of going through that process.

Let’s be honest – you are not going to make 52 earrings unless all that work is going to do something beyond having a growing stack of earrings. Yes, possibly, it’s going to give you a huge portfolio of earrings that you can take to specific gallery or show to get in there and sell them. If that’s the case, your end goal looks to be about increasing your sales through a specific venue, or to have the stock necessary to get you in so you can gain the recognition that being in that gallery or show would bring, thus helping you grow your art business. Do you see how the process and your end goal are different?

Decide what you want and work back from there. Create a challenge as unique and specific as you need it to be for what you are trying to accomplish. That might sound like a tall order, but stick with me this coming month on the blog and with the new Virtual Art Box  project and I’ll help you figure that out. A major part of the Box project is to help you create challenges that makes sense for where you want to go creatively and why you create as well as providing you with a community of artists all in the same boat, with myself and other contributing artists to help guide you and coach you along the way.

For the month of January, the blog will be filled with art and ideas around challenging yourself as a kind of nudge to get you thinking about what you want to accomplish, improve, or explore this coming year. You can make your first goal to determine what it is that you yourself truly want to accomplish. That’s an important first step that will ease you into the new year and give you time to find the right challenge, if any, that you need.

I’m in This With You!

Okay … I know I said I would keep these short over the holiday weekends, but I have a lot to say on this subject and I am contemplating this all myself. What do I want to accomplish for myself in the year and months coming up, in my art, my business, and my writing? Also, what about my work-life balance and my health? I can’t work on those all at once so part of figuring out what I might want to set a goal for will be prioritizing. My inherent challenge, no matter what goals I might come up with, will be checking my workload to stay well while doing the “smart” things needed to keep a business growing. I do really want to create more and write more fiction but recognizing and working within my limitations are huge. I know that’s probably a goal for quite a few of us enthusiastic creatives. We just have too many ideas. We can make that a kind of umbrella goal though, to keep checking in our commitments and be open to changing them as needed.

So, how about this to start us out: Just be kind to yourself, be your number one priority so you have the energy to help others, say no to doing things that don’t feed your heart and soul, and give yourself permission to relax and enjoy the moment.

I, myself, am starting there.

And with that, I want to wish every single one of you a very joyous, inspiring, and wonderous new year!

 

Encompassing Holidays

December 22, 2019

Laurie Mika, Tree of Life. www.mikaarts.com

When do the holidays kick in for you? For me and my Southern California family, it started yesterday and, because we give a nod and due respect to several different holidays and beliefs, we’ll have important days and gatherings for the next week and a half. And I think all of them, religious and not, are beautiful and moving. Some here are simply using the time off to be with family and friends, others to rejoice in their passion for Christ, still others celebrate the Jewish liberation from oppression, and others still drum up the sun on the shortest day of the year for the winter solstice or Yule. And they all fall within the same week this year!

Not everybody feels the need to be strictly spiritual but its week’s like this that make me appreciate the variety and possibilities. The range of spiritual beliefs and how we celebrate them feels very much like art. Particular religions, personal levels of spirituality, or faith only in science gives us all so many canvases upon which to create ourselves, enabling beliefs and expressions of those philosophies in very individual ways.

I’m particularly happy about the holidays that come with so many of these beliefs as they give us a chance to assess what is important in our lives, to stop the merry-go-round that we’re on for a moment and really look at ourselves, what we’re doing, and who we are surrounded by. A lot of this gets lost in the craziness of this season’s shopping, parties, and travel, but I hope you all have time to look to what’s most important – the people you share your life with.

You, my readers, are part of that for me, out there as a large, extended creative family that listens to my babbling and writes, more often than expected, to relate and relay your own stories, to cheer me on, and to simply be a friend.

I just want to take a moment to say thank you and to let you know how much I appreciate and adore you for your creativity and passion, and especially for letting me express mine through things like this blog.

It’s hard to find art work that encompasses all we might be celebrating this week but, I think, to open this post, a Tree of Life comes pretty close and who doesn’t love to just get lost in the details of a Laurie Mika mosaic?

Speaking of mosaics, I took a day at the end of the week to finally grout the kitchen backsplash. There will be too many gatherings at the house to leave that undone! I still need to get back to the polymer pieces that will go on the magnets in the glass mosaic but we have an otherwise finished wall,  finally! Here is quick pick of it.

And with that I am off to enjoy the Yuletide today with some sugar free wassail (basically just ginger tea for me … *sigh*) and the first night of Hanukkah. All this is to commence with a house full of college kids (girls and boys) who will be doing something a bit different … knitting and drinking tea. Yep. Their idea, not ours. Nothing welcomes winter like freshly knitted scarves and hot tea apparently. I think its wonderful!

Here’s to all your wonderful and wacky traditions! All the best this holiday week to you and yours!

Getting It Together

How do you feel about failing? If a piece doesn’t work out do you just shrug, set it aside, and try again? Or do get frustrated and just leave the studio for a while? Or maybe you just glean your lessons from it and move on to something completely different? Honestly, I think these are all valid responses, as long as you don’t let failure stop you from moving forward. And I hope you can refrain from telling yourself that you are a failure. Failing is a pothole in the road, not who you are. Once you’ve gone through a pothole, you will be better equipped to avoid them in the future.

I’ve had a number of failures this week. A lot of them involved the technical backend of the website so it wasn’t too hard to refrain from calling myself a dummy there because it’s not really my forte. But I’m one of those who usually shrugs and tries again. Even when I still don’t quite know what I’m doing. After this long week, I realized that’s not always a good thing!

So, yep, I spent the entire week working on website stuff and testing the upper limits of my not being frustrated by failure threshold. I have a lovely tech guy who finally got me all straightened out on Friday but then I still had a blog to write. I have written (or at least started) three blog posts so far. Two rambled on and didn’t go anywhere and the third, as it turned out, I did basically a year ago. My brain is tired and I’m going to do something I don’t normally do… I’m giving up! Sort of.

Especially as artists, we all need to know when to stop. When to stop working on a piece before it becomes overworked. When to stop working, When to stop putting stuff on your plate. Right now, I’m still mostly a one person and one-armed business, wearing so many hats I’ve been thinking of taking up millinery! But it’s not like I need another craft! But all joking aside, one of the things I am trying to do better at is knowing when to stop, particularly when it comes to work. That’s not my forte either but I’m working on it!

So, it’s literally the 11th hour and I would end up working into the wee hours to get something done in the format I usually give you these Sunday mornings, but I’m not going to do that to myself or to you. Instead, I’m going to leave you with the image above by Patricia Roberts-Thompson. I’m sure many of you can recognize that these are designs based on Helen Breil’s work. Specifically, they were made from Helen’s Mad about Bowls tutorial.

Patricia gives Helen full credit, proud of what she was able to accomplish from the tutorials. It’s not hard to feel well accomplished after going through any one of Helen tutorials. She is a fabulous teacher. What can be hard is knowing what to do with completed exercises from tutorials, but there’s no reason not to collect and display one’s well accomplished results and I think Patricia did a lovely job of doing just that.

You may remember from back in August this year, I did a post about collecting little things. I honestly think this is the perfect time of year to look at doing something like this for yourself. While you’re out doing your holiday shopping, keep an eye out for shadow boxes and wall display cases. When things slow down after the holidays, you can start cleaning up the studio and collecting little odds and ends and arranging them in the boxes. Check out the “Pretty Little Bits” post for more ideas. These can be great little stress-free, and practically failure free, projects to look forward to!

 

Go Check out the Nudge Sale! (We now have Christi Friesen books!)

One quick note of business … I started a “Nudge Sale” on the website. I’ve “nudged” down prices on nearly everything in the store, so most everything is 15%-40% off. We have freshly listed 8 classic books by Christi Friesen which make great gifts for polymer curious friends and family.

I’m going to keep the sale going till the first week of January so you can buy presents for your crafty friends or come back and use any gift money stock up on inspiring publications.

 

Sign Up for Early Notice on Virtual Art Box Discounts

I’ve also started a list for people who want to get in early on the Virtual Art Box subscription discounts I will be offering come January. If you want to be directly notified about that, you can sign up here. If you’re wondering what I’m talking now, you can find out more on this page.

 

Okay… off to bed with me! Considering how busy the next two weekends are for most of us, I will probably leave you with something short and sweet for the last Sundays of this month and then will get back into the groove in January. All the best to you and yours as we dive into this holiday season!

 

Creative Courage (and Survey results!)

October 6, 2019

Do you consider yourself an artist, an artisan, or a hobbyist when it comes to your creative work? You might remember a similar question being asked on the recent survey we sent out (and for the curious, I’ll reveal some of the results at the end of this post.) Does the question make you stop and consider how you see yourself or maybe what those terms actually mean? Or did you answer that question without hesitation? Personally, I really dislike labels, but they are necessary for us to group and categorize the many people we meet and learn about. Our brains simply can’t file everybody in their own little space in our heads. It would be like throwing all your beads in a bucket and then hoping you can find the one you want when you need it. So, we have labels for others as well as ourselves. The label for ourselves gives us a way to identify our “tribe” – those people that approach their life or work in a similar fashion or think or see the world in a similar way.

Of course, to group ourselves with others we have to have a common definition, but definitions related to creative and skilled practices can be so extremely vague and wide ranging. This is, in part, due to the history of the concept of art and artists themselves. Did you know that the idea of an artist as a respected individual with skill and expressive intention was not a solidified concept until the early 19th century? Early on, among the ancient Greeks for instance, people who created in what we now think of as the fine arts, such as sculpture and painting, were often thought of as lowly craftspeople, not much better than slaves. The word “artist” didn’t even exist.

Even after the word “artist” came into use in various parts of the world (circa 1507), it only helped to define those crafters that were highly skilled. That which was called art was not produced as a product of self-expression but was largely created in the service of organized religion or government, quite frequently as a kind of propaganda. Art as a form of expression, an extension of the creator’s unique view of the world, and created for its own sake, was not a well-formed concept until early in the 19th century. That’s a mere 200 years ago! How crazy is that?

Nowadays, we play with the idea about what makes one an artist. I am all for including the requirement that it is an act of unique and intentional personal expression but, as most people proclaim, it’s really up to the individual as to whether they want to call himself an artist or not. However, I don’t think one has to have a certain level of skill or experience, they don’t have to sell their work, or have the value of what they do be confirmed by others. When it comes down to it, I think the only thing that matters is that an artist is willing to put a bit of themselves out into the world, bare their soul some, and share themselves with others.

Because art involves a bit of personal vulnerability, it does take an immense amount of bravery to keep producing, growing, and discovering. Even if you don’t show your work to others, isn’t it a tiny bit scary to sit down and work on something new, not knowing if you’ll create something you find successful? We don’t like to fail, even when we are the only ones judging it, but trying (and failing sometimes, maybe a lot of the time) is the only way we can get to the point of creating something truly satisfying and accomplished.

But even then, even when we create the most magnificent thing we can imagine, we will want to keep at it, to try something new even if just to tweak our best successes, and that takes more brave exploration. I think that being an artist is, in large part, about constantly striving, and regularly failing, but calling up the courage to keep trying regardless.

Why do we put ourselves through such torture though? Because when we create something wonderful, that is uniquely our own, there is just no better feeling in all the world. And you know, those times you don’t succeed are really what makes the successes so intensely satisfying. We just can’t fully appreciate the highs without experiencing the lows. It’s the contrast between them that makes it feel so good when we get it right!

So, this week I wanted to share with you the work of just a few people who are really putting themselves out there, looking honestly at themselves and their work, even though it’s scary. Being brave doesn’t mean that you’re not afraid. Being brave means you do it even though you are afraid.

Brave Artistic Souls

There are several Facebook groups that invite and encourage crafters and artists to share their work and ask questions. It was in one of these groups that I saw this beaded pendant from Amy Jamroz posted with a note about this being part of her quest to create work that she really enjoys making. She was very honest about her fear of moving forward with these new changes. It’s hard enough to try pushing yourself in a new direction but it has to be more nerve-wracking to share it.

First, I want to applaud Amy for posting in the “Polymer Clay Success” group about her journey and her fears. Just that inclination shows a tremendous amount of dedication to her work and herself as an artist. You can definitely see the joy and confidence in what she’s doing now in the color choices and the skills she’s gained with her dedicated focus.

 

Israel’s Yudit Yitzhaki was one of those brave folks who sent me links of her work directly. I do get this a lot but, to be honest, most of the time, it is from people quite new to the material, people who really need to invest in their work a bit more by putting time into honing their skills and finding their own beautiful and unique voice. It can be quite a long and bumpy road, and I do know how enthusiastic one can be when the polymer addiction first sets it, but we all need to take the time and invest in our creative self before putting new work out there. Remember … the internet never forgets so you want what you post, or ask others to share, to be something you believe you will be happy to have others see a decade from now. Don’t rush it. The thing is, once someone’s skill and voice have come into their own, chances are that others, upon recognizing a unique and passionate voice, will do the sharing and promoting of the work for them.

The work Yudit sent me was obviously already there but I think coming from a non-English speaking country, it was harder to break into the very active English sector of our community. So, sending her work to me and others was a good idea. She has such brave and bright sense of color and her obvious love of the world around her where she lives in Israel, just jumps from the work.

 

Back before EvaMarie Törnström made such a tremendous breakthrough in her art, I had an email conversation with her about her Malta horse, seen below, which I also blogged about in January of 2015. My then assistant, Paula Gilbert, championed her work for consideration for the magazine but I was hesitant to do so, not because I didn’t think it had merit but because I felt like her previous work was not quite there but the Malta horse was amazing and I wanted to hold out a bit and see where she was going with that.

I wrote her to express my thoughts and yes, she was thinking about heading in a new and exciting direction and within a year she came out with some of the most expressive animals sculptures I’d ever seen. I could tell from our email conversation that she had been a little uncertain about the new direction although I wasn’t sure why, but she did the work and really let her own voice shine and the response to her new sculptures was so very enthusiastic. I am so glad that I listened to my gut and waited to feature her a year later when we could show her very emotive horse sculptures, like the piece this post opened up with, that she is so well known for now.

 

Now, is there something you have been hesitant to try or a new direction in your work you’ve wanted to explore or maybe a change in your art business that gets you excited? If so, why haven’t you started down that road?

Sometimes we are fearful for good reason and that emotion always warrants a bit of consideration before jumping in but if you feel driven to do it, don’t let the fear hold you back. We have to take some risks to make progress. I find it helps to ask, “What is the worse that can happen?” Usually the worst thing that can happen is that you temporarily fail but can readily get up and try again. You’ll learn more through your failures than through your successes so be open to the learning and go for it!

 

Thanks for the Survey!

Thank you to everyone that completed our Reader’s surveys. I LOVE to hear what you have to say. Nearly 400 people responded, and a lot of you left custom suggestions which I am still going through, so I’ll need more time for that. However, there were a few interesting results. So, here is a rundown for those of you who are into statistics or are curious about your fellow readers here.

I have had the sneaking suspicion for a while that my readership was no longer just polymer artists and sure enough, 1 out of every 4 readers that answered the survey did NOT identify polymer as their primary medium and half of those folks didn’t even consider polymer as their second medium. That was a surprise but a happy one for me as I do hope what I write, here especially, appeals to a broad range of crafters.

Also surprising was that only 7% of survey respondents said they work exclusively with polymer while the majority worked in a mix of polymer plus another medium, most commonly beads, mixed media, and metal. And the most surprising statistic, for me, was that only 58% identified jewelry as their primary art form. I thought it’d be a lot more! Tons of readers said they worked primarily in home décor, wall art, and sculpture. So, okay … I seem to be speaking to a wide range of artists and crafters here and I am sure glad to do so.

Remember the opening question of this post …. Well, 55% of survey respondents identified as artists, either part-time or professional, which I was glad to see since I think in terms of what artists would want or need when I write these blogs. The vast majority of the other 45% said they were avid hobbyists and much of the design and aesthetic talk is good for those folks as well!

When it came to content, I was rather surprised but encouraged that only about 1/3 of the survey folks thought project tutorials were a must have in what I post and publish. That has not been the case in past surveys where half the respondents were clamoring for them. Is there a shift in the community or in my readership? It’s hard to say.

If you’ve been reading my blog for a while, you know I push for people to find their own voice and although project tutorials are a fabulous way to hone one’s skills, it really looks like you all are clamoring to learn  more about design, with a good 40% saying that’s a “Must Have”, another 40% saying they looked forward to that kind of thing and absolutely no one saying they didn’t want that kind of information. That was the only category of content preferences that didn’t have anyone say they weren’t interested in it and it had the highest level of interest although learning about other mediums came in a close second. I just love where your focus is, all you beautiful readers!

The only other thing I thought was of particular interest was how many people pay for digital media such as blogs, Patreon accounts, and membership sites. It looks like almost ¼ of you do, even with all the free stuff out there. That is wonderfully supportive of your fellow artists who put together digital online content. It looks like that goes up to about half if you if we include downloadable PDFs and videos. Of course, the majority of people put their money into books and magazines. After all, this is the readership of Tenth Muse publishing but it good to know a lot of you are open to other options that can monetarily support what I do!

I doubt it would be a surprise to you all to hear that over 85% of the folks on the survey access publications and online sources primarily to improve their skills. So, no matter what I do, I will endeavor to help you do that, but I am really going to have to think on what these results mean and how I can help you all get the content you need and want.

As for the drawing winner … Congrats to Judy Santini who is $50 richer! And tons of people are richer in information for taking advantage of the 15% off coupon! If you answered the survey but didn’t get to use that discount yet, give me a few days to get a mailing list together to resend you the code and a reminder.

 

On the Road

On that note, I need to ask for a pardon as next week’s blog will not be quite the same as I have been doing. Getting internet access during all this traveling, as well as free time while visiting family and taking care of other business, has been trying. I will get you something next week but as you see in this one, there’s not as many examples and I don’t know what I will be able to pull off this coming week as I help my sister get ready for her wedding. On top of that, Christi Friesen and Debbie Crothers will drop into Denver in the midst of that so free moments will be spent sneaking off to commune with my like minding polymer pals. But if you are in Denver next weekend, look into the classes Debbie is teaching at the Great Create. I will try and drop by on Saturday to say hello there as well and maybe I can at least share some photos with you next weekend.

 

Ok, my design minded, skill honing, courageous creatives. Go forth and conquers those fears and create bravely this week!

 

 

The Colors of Now

September 29, 2019

Where does the inspiration for the colors you use come from? I think more than a few of us simply have our favorite colors and keep returning to them while a good handful make a conscious effort every year or even every season to come up with a new palette or variation on an old palette to work with. But regardless of our usual approach, we are, constantly getting input on color. We differ in how we process it and whether it affects our tastes and, more to the point here, how it might affect our color choices in our artwork.

Color constantly changes in our surrounding world, most commonly in goods like clothing and cars and such. There are even announcements about the upcoming colors of the season and articles on color trends. These can be useful if your market is sensitive to these changes, but it won’t necessarily feed your personal color cravings. I myself am quite aware that I lean towards a very autumnal inspired palette. Well, lean is a bit too soft a word … I cling to it like a shy child with a favorite worn out blanket! I have to constantly push myself to broaden my palette not because my choices are bad or are getting stale but because if I don’t, I won’t know what I might be missing out on.

However, right now I get to have my fill of my favorites as I glory in the fall colors of the Western United States. I headed out a couple days ago on a 3-week trip that will be primarily rooted in Colorado, starting my trek with a drive across the deserts of the west and into the quickly changing foliage of the Rocky Mountains. There are so many colors out there in the wide-open spaces and the majesty of the mountains this time of year. The yellow of the aspens leaves me in awe but I rarely work with it. This trip may inspire me to do so!

I thought we’d take a casual Sunday stroll through what others are doing with their colors palettes these days and see if any don’t inspire you to play with something new.

 

A Trip Over the Rainbow

Let’s start with Liska Flower, whose work graces the start of this blog above, as I can segue from last week’s visual movement to color. Because, wow, this has so much visual movement! Remember me saying curved lines are an easy way to create a feel of movement and energy? Well, she has that here in every corner of the piece. It creates its own dense texture too but for all the busyness, it’s not overwhelming as the colors are all slightly lightened from their full saturated hue, giving the wall piece a rather easy going feeling. The heavy use of blue and the idea of looking at an ocean helps that too. The little creature poking out from the waves and ripples give focal points for your eye to rest on so you don’t get lost in the swirling texture and, aside from those design notes, the little signs of life are so cute! Cuteness should be made an official design element, I just decided.

 

Angela Barenholtz has a great sense of color and can get quite wild with it but always in a way that feels intentional and controlled instead of chaotic. She’s also gotten into creating “paintings” with chopped raw polymer recently, reproducing images from other artists with her own interpretation. I’m not sure if these are just color studies or practice with the techniques but I am hoping we’ll get to see original images soon too! This one is from a 1970 album cover for Derek and the Dominoes. I put the original in so you can she how far she ran with it color wise.

 

Irina Akulina definitely leans towards high contrast in her color choices but otherwise the whole rainbow is up for grabs in her studio. Being in Denver, I’m seeing a lot of orange and blue due to the hugely popular Broncos football team here but nothing quite so gorgeous as this combination with the slightly tinted and varied orange and the blue leaning towards teal. Taking your color a little off from the primaries and secondaries or pushing them to be a little muted (easily done with a pinch of contrasting color, black, or white mixed in) can result in such elegant combinations.

 

 

I think Laura Tabakman and I are similarly enchanted by the dark, rich colors that dominate fall. Here is a set of leaf brooches she made this past summer, perhaps in preparation for the new Into the Forest exhibit in Atlantic City New Jersey. If you are anywhere nearby while this is up, you have to go. So much great polymer work in one place! Its mind boggling.

 

The dramatic color choices of this recent piece by Christine K. Harris just stopped me in my tracks. I am used to seeing muted tones with drama in the use of reds but this is really striking. Blue is usually a color of calm and control but this dream inspired piece is not really either of those and yet, it works, perhaps because the blue grounds it a bit, making it more magnificent than frightening.

I find it interesting that it started, color wise, here.

 

So, how about you? Do you tend towards one color palette or do you change it up with the ebb and flow of trends? Are you ever just driven to recreate the colors you see out in the world or do you primarily work from packaged colors? There is no right or wrong way to choose the colors you work with but if you haven’t changed it in a while or are feeling like you’re in a rut, take a look around and let yourself be inspired by the incidental color you run into

 

Survey and Cash Drawing Reminder

Today is the last day to be heard and to get in on the drawing for participants of our latest Reader’s survey. If you haven’t already, would you give me just 2-3 minutes to fill out this survey? Not only does it help us help you get the information you want and need, but survey respondents will get a 15% off coupon for your entire cart on our website and a chance to win $50 cash! Who couldn’t use a few extra bucks, hmm?

Look for the 15% off code on the page that comes up after submitting the survey and write it down. Its good through the end of October. The drawing for our one $50 cash prize winner will be done tomorrow night, Monday the 30th.

 

Here, let me bring you along on my travels. These are a few pics from my drive yesterday–views right off the I-70 highway. Hoping I have a couple days to go see the interior between a couple weddings and family and friend visits. The color changing here is mostly yellows but there are swathes of deep red brush that are mindblowing but you have to dive farther into the mountains in for those. I have been quite a few places throughout the world but I still find Colorado to be one of the most beautiful spots on earth. Put it on your bucket list if you’ve not yet visited!

Ok, I need to go get some sleep. Road weary and dealing with the elevation gain has made me quite sleepy! I hope I caught all the typos and wonky grammar but if not, please forgive me!

 

I hope you’ve had a beautiful weekend and have yourself a colorful week!

Persistence of Ideas (And 50% OFF+ Damage Sale!)

June 20, 2021
Posted in ,

First, my apologies for being absent the last few weekends. I kept thinking I’d be able to post something, but my days have been exhausting.

The roller coaster of the last month, not to mention the last year and a half, has really brought into perspective the concept of self-care. Balancing responsibilities with care for yourself as well as for others can be a tricky thing but, it’s not unlike art—if the composition can’t achieve some sort of balance, not much else is going to work.

So, I’ve been hashing out some ideas that will allow me to keep chatting with you as well as do what I need to do for my family and with my creative projects. I am hoping that will all be settled this coming week and we can have a little chat about that next weekend.

 

Persistent Ideas

In the meantime, let me share a thought by a fellow polymer artist, Adam Thomas Rees. He posted this intriguing piece, seen above, on Facebook last month, saying:

This was my first hybrid sculpture mixing metal and clay. I’d had this idea floating around in my head for about 10 years before I finally went for it. If you have an idea you’ve been sitting on, it might be time to go for it!

I have to agree. The first of the two novels I’m working on was also started a decade ago, maybe more. It can take some time to get around to it but, if an idea sticks with you, I think it’s a sign that you should really try it out!

What have you always thought about doing but haven’t tried yet? It can be very invigorating to take on something brand new and challenging.


Annual Damage Sale!

Grab Imperfect Publications for as little as $3.98 or Perfects & Supplies for 30% off

So, it’s that time! I’m cleaning out the mailing room and collecting all the publications with a dinged corner or a little shelf wear and am putting all these perfectly readable publications up for purchase at 50%-60% OFF the list price.

  • Print Magazines: 3.98 each
  • Print books: $5-$12 each.

Half of the imperfect issues will sell out day one if tradition holds so don’t wait!
This only happens once every year or so and once they are sold, the great deals are — whoosh –outta here!

Go here to grab up these steals before they’re gone.

Need Something Else?

Get new PRINT items and design tools for 30% off! So, if you can’t round out your collection of TMA publications with an imperfect copy, you can do so with an amazing deal on a shiny new one!

PROMO CODE FOR 30% OFF : damsale21

Promo code works for any PRINT publications or Design Tools NOT already on sale on the whole of the website. 

 

30% off sale end June 30, 2021. Not good with other discounts, coupons, or on shipping. Damage sale ends when stock is gone, which can be pretty darn quick so don’t wait!

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A Second Collective Look

April 25, 2021
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This week, I need to beg your forgiveness as I am recycling a post from a couple years ago. There’s been a small avalanche of family emergencies — nothing life-threatening — and I need to head out to Colorado and Kansas for a couple of weeks. I’ve been unable to put something together for the blog with all the distractions, but I’ve been thinking about this idea of collections again. It seems a lot of us were doing it a bit of exploring last year, which tends to result in lots of unused bits and pieces. So, this might be a useful reminder of things you can do with those bits and bobs.

Do you have a bin or box of pieces and parts of your handiwork yet unfinished but which you are too in love with toss? If you regularly create, I can’t imagine that you don’t. But what exactly do we do with these pieces? Do we hold on to them, hoping that they will be just the thing needed someday or do we toss them?

It can be quite the dilemma, one that even Marie Kondo can’t easily help with because, hey, these do spark joy for us! We see value in them, in that they represent our creativity and what we can accomplish. But do such little jewels of our work belong in a bin where we don’t get to admire them?

I’ve been thinking about this question for a while and came up with a few solutions of my own. If you have a copy of Polymer Journeys 2019, you can see, in the very last entry, my contribution, which is a display case of small exploratory items for which I had no particular use in mind when created them. I created them without thinking, “This is going to be a pendant,” or “This is going to be a set of earrings,” or “This is going to decorate a vessel.” I just made them to see what the material would do, most of which I liked, and they all represented a little exploratory learning experience.

I had already been tying bits onto ribbons and hanging them off the edge of my studio corkboard as little festive decorations. That doesn’t work for pieces that only had one viewing angle though as they would twist around on the ribbons, so I was still in search of other options.

Then I was out talking to the butterflies in my backyard (Yeah, I talk to the creatures in my yard,) and remembering how I used to catch and collect them in shadow boxes as a kid. It just randomly struck me that my little creative bits were like butterflies. They are lovelies I caught in a moment of exploratory creativity and in that small frame of time, they became a kind of unexpected friend, going through that creative time with me. I didn’t want to toss my little friends, even though I had no end-use for them. You don’t do that to friends! You hold on to them and support each other, right?

Does that sound silly? Maybe it is, but it was revealing to me to realize that I kept certain pieces not because they were so beautiful or well done, but because I felt connected to them. So, why not collect them and put them out like a collection of butterflies or a collage of photos? What you see here is what I started making. My husband and I would find shadow boxes at garage sales and thrift stores for cheap, and I’d arrange my bits in them like compositional jigsaw puzzles. I’ve made half a dozen of these so far.

By the way, I use a hot melt glue gun to tack the pieces onto a bit of mat board cut to fit the box. The nice thing about the hot melt glue is that if you do every want to take a piece out of the collection, you warm the back of the mat board with heat gun or hair dryer for a couple seconds and pop them right off. So, your “friends” can come out and play in another piece or a new collection if you like!

As I shared in the previous version of this blog in 2019, people have also used old collectibles display boxes to show off small sculptural pieces or heavy pieces of fabric to pin or hook jewelry pieces as a means of display as well. Look around at how you are other people put together collectibles for ideas about how you might display your polymer bits.

So, do I have your little wheels turning? These should give you ideas not just for what to do with your extra bits, but many of these could be a jumping-off point for creating your own unique show displays and photo setups.

Do you have a cool and unique way to display your extra bits or jewelry? Send me links to images if you do. Put it in the comments below, or if you’re reading this by email, click the header for this post to get to it online to leave a comment.

 


 

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Hard Won Joy

April 18, 2021
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Libby Mills’ Mod Flowers are her latest challenges. Take a look at her Instagram page and all that she’s been doing over the last couple of years, including process and studio pics.

How adverse are you to hard work and challenges?

Recognizing your ability to face the challenges and incredible effort that goes into creating original artwork can be a necessary, if somewhat painful, bit of self-assessment. Most of us find ourselves on one or the other extremes—either we give up too soon, not doing the work or finding shortcuts that don’t help us grow, or we don’t give up even when the process becomes pointless or detrimental.

Are you one or the other, or are you somewhere in the middle? Or does it depend on the type of work or challenge?

The Easy Way

Trying to find an easy way around hard work and difficult challenges is probably a bit more common. If we’re all being honest, there’s few of us who have never used a tutorial or ideas from artwork we’ve seen to develop our own pieces. That’s okay. I’m not saying that it’s bad or wrong—taking inspiration from other people’s design is one way we learn. However, if you don’t get past that stage, you are missing out on some of the most joyful work you’ll ever experience.

Using other people’s instructions or ideas allows you to create something without putting your creative self or your ego at too much risk. However, it’s taking chances and doing the hard work that makes the successes so exceptionally sweet. By going out on a limb and creating purely from your own inspiration can result in one of the most joyful feelings I think a human being can have. Seriously. There is nothing like hard earned success in your creative work to put you on Cloud 9.

Now why do we feel that way about our own artwork? Well, for one, the work is born of our ideas, experiences, and loves. But more so, it’s because of the struggles we went through either to learn the skills that allowed us to make the art and/or the hard work and time we put into its creation. When it’s done, your talent, your spirit, and your perseverance become a concrete thing that you can revel in and share.

In one of my writer’s group, a friend of mine asked why every story has to have conflict. The answer is that story IS conflict. Can you imagine watching a movie where the hero of the story had everything happen just the way they wanted it to? If Harry Potter just flicked his wand and make Voldemort go away, or Hamlet didn’t care that his father was killed, why would we watch those shows? Do you gossip about the good things that happen to people or the difficulties people are having?

Now, think about how satisfying it is when Harry vanquishes his nemesis and Hamlet finally avenges his father. Those moments are so immensely satisfying to us because of what we went through with the characters to get there. And that is true of anything we want to attain as well. The more conflict and struggle we face, the more satisfying it is when we accomplish or gain what we are after.

There’s actually science behind this. Researchers have studied everything from job positions to winning the lottery and they have found that when people are simply given something without having to work for it, not only does any elation from the acquisition die quickly but people are far less fulfilled and, sometimes, even become depressed. However, when people struggle to get promoted or have wealth because of years of hard work, they are not only happier, but they are also more motivated to keep at it than those that were simply given those things.

So, when you’re in the studio, don’t be frustrated or shy away from challenges. When you find them, think, “This is my chance to achieve something wonderful and fulfilling.” If you presently lean on the ideas of others, challenge yourself to create from your own designs as much as possible if not completely. Take risks. Push yourself just past the point of being comfortable. Do the hard work and see if you don’t find it more than worthwhile.

 

The Other End of the Spectrum

Now, if you’re one of those that doesn’t give up when you should, or you don’t give yourself the time off when you should, learn to take more breaks both physically and from the work you’re struggling with. It often helps to put a difficult piece away for a little while. Pull it out a few days or a few weeks later and you can see whether it is still worth working on. If it is, you’ll probably see a solution you didn’t see before.

Just don’t be afraid to set aside a piece that is going nowhere. Don’t feel you have to try finishing something because you put a lot of time into it. None of your time spent is wasted. Everything you do helps you learn and hone your skills.

Me, I’m of this sort. A dog with a bone, as they say. I look at every challenge as a battle to be won, and I don’t know the meaning of surrender. It’s rather ridiculous sometimes. I also don’t stop working when I should either, which is why I keep hurting myself.

 

Scaling Back on the Blog for a Bit

For those of you that were not with me for the Great Elbow Drama of 2019, I developed an advanced form of tendinitis in my right arm and can no longer type with it for any length of time. Well, now I have an overused left arm after too much research for my novel and too much gardening. *Sigh*

So, this post, and probably the next few, will be primarily chatting rather than deep dives into design concepts as I’m limited to using my speech to text software while my arm (hopefully) heals. Searching for a selection of great art images to go with what I’m writing about requires too much mousing I’m afraid. I hope you’ll stick with me though. I’ll aim for a mix of “Life As an Artist” articles like this one and design refresh posts that need only one image for the time being.

In the meantime, for those of you who can, get to the studio, give yourselves some reasonable challenges, and enjoy the fruits of your labors.

 


 

You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…


 

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Compositional Bones

November 8, 2020
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This glass vase by Robert Coby is broken up into a rough but simple composition of thirds.

Composition is really an intriguing design aspect. It is how everything comes together because it is the structure of it. It’s the bones upon which all your elements and principles are placed. It’s a functional concept and an all-encompassing one.

The structure of our compositions use a number of anchoring concepts, all rooted in design principles. We could learn the principles first but since they are less concrete than the elements you have been learning, I think an overview of the possible compositional structures will allow you to immediately see how the principles of design we’ll get into later can play out in a composition. But in order to talk composition I need to at least touch upon a few of the principles.

Last week, I started your compositional knowledge with a brief discussion of focal points. As we dig into new compositional concepts this week, remember that focal points will be either an element we are strongly drawn to, will have tremendous contrast, will be a place where elements converge, a place where an element is isolated, or will simply strike us as unusual. In other words, they stand out more than anything else when taking in the whole piece.

So, that was a first introduction to that principle. Here are a couple more.

 

Hierarchy

In your piece there will be elements that stand out more than others and ones that are barely noticed. The one that stands out the most, as you are sure to surmise, should be your focal point or points but after those, all the other pieces will likely be vying for attention in a visual hierarchy. That order creates a perceived perception of each element’s importance.

Rebecca Thickbroom’s necklace elements almost always take up separate spaces with little or no overlapping. It makes them feel presented, like they are part of a story. She is also fond of including negative space beween parts in her designs which, with jewelry, make the body or clothes of the wearer part of the overall landscape of the piece. There is also a definite hierarchy of elements. Where does your eye goes first? Where does it go after that? And after that? Do you see how this hierarchy moves your view around the piece so it feels full and cohesive?

You can determine what elements are more important than others by giving them more space, making them bigger, having them high contrast, setting them where line or shapes converge, giving them a lot of energy through color, marks, lines, etc.

Hierarchy, knowing which items are most important, is needed for most standard compositional arrangements as their placement can be successfully arranged based on them.

 

Space

When we talk about space, we talk about positive and negative space. Positive space is usually the action, the focal point, or an area of primary interest. The negative space is usually a background or an area where the viewer can rest from analyzing the more active areas. It’s also all the empty space around sculptural object.

Yes, these principles can get kind of complex that’s why I’m going to take these things one at a time after you get this overview.

 

Easy Peasy Composition- The Rule of Thirds

The Rule of Thirds provides an easy but very pleasing way to lay out your elements. It is also pretty dynamic while easily remaining balanced. Let me explain.

Imagine a tic-tac-toe grid laid over the primary view of your work, like it is in the opening image of this post. If you look at your work in terms of this 9 box grid, you end up with several choice positions for focal points and breaking up the space.

For instance, the points near where the horizontal and vertical lines intersect are great places to set a focal point as well as secondary focal points.

The grid can also be used to break up the space. If you want two background textures, instead of just splitting the “canvas” of your piece in half, you can put the stronger texture on just one third, covering 3 squares of your grid. The second texture would have more space but if not as visual strong as the other, that extra space would balance against the visual draw of the stronger texture. Again, that gives you balance.

 

Classic Composition – The Golden Ratio

Like the Rule of Thirds, the Golden Ratio is a kind of grid but this time, it is based on the ratio of the body and other natural occurrences—it’s a matter of proportions.

A Golden Ratio grid for composition is made up of Fibonacci squares which are a visual representation of a mathematical sequence of the same name. If you skip the math, you can just create the grid starting with any sized square then start adding squares that are as wide as the widest side of the shape you have at that step. The first time, it’s just the same size square but after that, it keeps doubling in width.

The Fibonacci sequence and this Golden Ratio are the basis of the natural world’s primary compositional method. The most often referenced example is the nautilus shell. The interior pattern is a Golden Spiral. Its shape will curve from corner to corner in every square in the GR grid. That’s because the widening of its spiral is based on the Fibonacci sequence. Cool, right?

My Ice plant brooch fits nicely in a Golden Ratio grid. I didn’t do this consciously but having studied the Golden Ratio quite a bit, it is very intuitive for me. It won’t take long for it to be intuitive for you either once you’ve worked with it a bit and start to recognize and feel the graceful balance of its compositions.

You can find these proportions (approximately 1.68 to 1) everywhere—in the proportion of your limbs (your upper arm to the rest of your arm, your whole arm to your body, etc.), the arrangement of flower petals, the way tree branches grow and split, even in the double helix of DNA. In other words, it’s everywhere and so we find order and comfort in it, even if we don’t recognize it consciously.

In art, focal points that land on that first tiny square turns out to be one of the most pleasing compositions to the eye. The grid can be oriented in any direction, flipped upside down or whatever. If the focal point lands there, you are pretty, well, golden!

 

Keep in mind that these compositional grids and standards I’m introducing are not used precisely. They are loose guides.

 

 

So, now you have two orderly, well balanced compositional arrangements you can use as go-to ideas for composition. These work best on groupings of elements like you might have on a brooch or pendant, single contained elements that will be part of something larger like the focal bead/element of a necklace, the primary view of decorative objects, and, of course, for wall art. They are also fantastic compositional arrangements for those photos you need of your art!

Try these out next time you are laying out a design, sketching, or snapping pics of your pieces. Scroll down for apps and gadgets to help you find these compositions in your designs.

 

Changing the Composition of Our World

I was so going to just let this post slide without any commentary on the news here in the US but I just want to add whatever unifying voice I can out there but I ended up writing a whole article about it! Since this is so not about art, I am not posting this here, but if you are at all interested in our understanding each other, perhaps my words here can be a helpful start or an additional push.  Go to my Facebook page here.

In other news, I do have Grayscale Value Finders back in stock for those of you who missed out on them last time. If you pop over to the Design Tool Supplies page, you might find another gadget, a compositional tool/ViewCatcher, available if it hasn’t sold out to the Art Boxer Club members yet.

Keep in mind that Art Boxer Members get a much more in depth article, exercises, and other articles on living an artistic life in the weekly mini-mag so if you like these posts, support this blog and your artistic endeavors by joining up here.

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Beating Burnout

October 18, 2020
Posted in ,

Corvid sculpture from the rich imagination of Ellen Jewett. I don’t know where she draws her creative energy from, but I’d take a sip or two if she bottled it!

Do you ever get artists block? I’m not talking about times of procrastination or being afraid to start something but literally not been able think of anything to do. Does your brain ever just feel empty?

Well, this weekend, mine was, which was weird. I’m not usually at a loss for words, especially when it comes to blogging or writing articles. I usually feel like I can write about art and design nonstop and never run out of ideas. But, this weekend, I hit a bit of a wall.

What is that all about? Honestly, I think it’s about burnout and not just from my usual mad pace. I think many of us are running into burnout this year.

Burnout and blocks are often related in their causes. We all have an infinite number of ideas inside our heads all growing from our countless experiences, ever-growing knowledge, and ever present desires. So, I believe that it’s not that we don’t have ideas sometimes but rather that we are missing the keys to access them.

Without Resources

Although so many of us supposedly have all this extra time and flexibility this wacky year, we don’t always have the energy needed to navigate the constant changes, the stress, the worry, and, probably more than anything, the uncertainty while still juggling our family, jobs, and creative aspirations. Some days it’s just too much. Our well of energy goes dry.

I’m hearing this from a lot of artists. Some are wondering if they are burned out on their medium or their studio space or their creative time in general. Others are lacking motivation because there aren’t shows and fairs to give them those all-important deadlines. Still others, having lost major avenues of income with both in-person teaching and live shows on hiatus, are questioning the fragility of their chosen path.

What it comes down to is that the usual motivations that push us to create are missing. We don’t even have social engagements for which to create new pieces of jewelry for ourselves to wear or guild meetings to encourage us to complete work so we have something new to share. Many of our usual energizing motivators just simply aren’t there.

Signs of the Times

It has been noted throughout history that when there are traumatic and life-threatening circumstances within a society, such as war, famine, or major natural disasters, the people first focus on survival, initially neglecting most other pursuits. However, one of the very the first things that come back into society, once people begin to feel safe and secure, are creative pursuits. Perhaps we don’t all feel quite safe and secure yet, not feeling settled enough to bury ourselves and creative work but as the world starts to right itself, the creative urge will return. Take heart from that.

The other things very particular to this pandemic that may be making it hard to create are that we aren’t having as many novel experiences and are certainly deprived of a normal level of social stimulation. Both these things provide us with inspiration and energy to be creatively productive but they are rare commodities right now.

In other words, while the world and all the bad news is slowly but surely draining us of our day-to-day energy, our sources for renewed energy are spare to nonexistent. It’s really no wonder that so many people are feeling uninspired or burned out right now.

Filling Your Well

So, the first thing I want to say, to myself as well as you, is that it’s okay. Burnout is normal. Our creative path, and life in general, is not a smooth and even highway but more of a roller coaster. This will happen sometimes, especially in times like now.

The other thing I’d say is, rather than worry about any lack of productivity or trying to force it, do what you can to recharge your creative battery. Get out and go places and do things that you don’t normally do. Obviously, stay safe and follow all recommendations in your area, but go take a hike in a nearby forest or walk through an unfamiliar part of town or go photo hunting (a kind of self-structured scavenger hunt but you are gathering photos rather than things). Just come up with things that you can do safely but that are brand-new and interesting to you.

Getting out and doing new things will create new pathways in your brain which will, in turn, energize it and keep your mind fit and flexible. As you get older, new and novel experiences become more and more important so never lose your adventurous spirit. Those same mechanisms that help keep your brain young also keep your creativity flowing, as shown by a number of recent studies. In fact, at least one study suggests that creative thinking is boosted most after weird or even traumatic experiences. If that’s true, we should all be insanely creative when this period in world history is over! There’s another reason to take heart I suppose.

Besides novel experiences, also be sure you are getting some kind of social time in. Sure, it might have to be a zoom call but, if it can be done safely, a socially distanced backyard or front yard gathering (while we still have some weather we can sit outside in) with a handful of creative friends or family can do so much to boost your spirits and energy level.

I myself am going to heed my own advice. Next weekend we are going to take out the camper van conversion I’ve been working on and do a little van camping. That’s the other thing. Sometimes burnout or creative blocks just simply need space and time. We can try to barrel through it – and I often do just that – but sometimes we really just need to kick back and relax and let the mind “marinate” on life and our present experiences. Combine some downtime with some new experiences and, if you can swing it, some socially distanced social time, and you are sure to come back with renewed energy and inspiration.

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Why Size Matters

October 11, 2020
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Fanni Sandor creates exquisitely small and biologically accurate creatures in polymer clay and mixed mediums. Her choice to go small is born of a fascination with minature art and we, likewise, are fascinated by the tiny masterpieces. See more on her Instagram page.

What size art do you work in? Have you even ever thought about that? Do you work small, big, or a nice moderate middle size?

I think many of us have a limited size range that we feel comfortable working in and rarely, if ever, venture outside that range. There’s nothing wrong with that but it does beg the question, do you think about what the appropriate size is when you create something?

As you might be guessing, if you’ve been reading my blog or design articles for any length of time, I’m about to point out that making the decision about the size of your work can help to fulfill your intention.

(Do you ever think, “If she says something about intention one more time…!” Well, I do hope it’s not annoying. It’s just that important!)

Size in art simply refers to how big or small something is. It is used in a variety of ways to emphasize, organize, assist in functionality, and symbolize the intention of the artist. A lot of the size choices made have to do with relativity – something can only be called small if something else is big and vice versa.

In design, this is actually a principal known as proportion and scale. Proportion is about the relative size between two or more objects or elements when they are grouped together or juxtaposed. Scale refers to how big or small something is compared to the general understanding of how a thing usually is or should be. For instance, we expect a chair to be sized for human beings to sit in and a teapot big enough to hold several cups of tea. Anything significantly larger or smaller than these expectations would be a change in scale.

Scale represents an interesting concept in that it makes note that we do have expectations about how big or small thing should be. That may sound like we have some kind of undue constraints placed upon those of us who create, but actually, scale gives us an opportunity to step outside those expectations and make a point.

As mentioned above, size can be used emphasize things. Making something bigger than expected usually draws attention, so if you created a beaded necklace with beads as big as golf balls, those are definitely beads that are bigger than normally expected.

The same concept of emphasis works with proportions. Let’s say that you only made one of those beads as big as a golf ball in the previously mentioned beaded necklace and the rest of the beads were of a more reasonable size. In that case, you would be drawing attention to the big bead as a focal point. Size allows you to direct the viewer’s eye and their impression of the work.

It may seem that bigger items will be more impressive or have a bigger impact but, honestly, very small artistic creations can be just as fascinating, sometimes more so due to the skill needed to create beauty in such a small space. I think you can see that in the opening image of this post. Small art requires the viewer to come close to it to really see the details, creating an intimacy between the viewer and the piece.

So, have you ever thought about these considerations for size when creating your work? Don’t worry if you haven’t. It’s not that uncommon for size to be determined in some arbitrary or organic manner. And I’m not saying that doing it that way is wrong, but you could be missing out on an opportunity to better express your intention if size was a conscious decision.

 

A Sizable Story

One of my high corset collars with stitched copper and polymer embellishments.

When I was a working artist, I often made decisions about size based on what I thought people would want. It wasn’t a particularly conscious choice, more of an aim not to make pieces too big. I was not trying to make statement jewelry, but rather something that could be comfortably worn all day, or so that was my train of thought.

I can’t say what got me to start thinking about size, but at some point, I started to ask myself why I was afraid to go big. So, I started to push myself, making big collar pieces that would sit as high as the jawline and come down to the collarbone. Some were a little crazy, some were so uncomfortable, but I still found so much joy in making all of them.

I found something freeing in pushing myself beyond what I thought my market would like. And, as it turned out, my market liked them big too. I sold every one that I put up for sale. They never came home with me after a show. So, what I discovered was that the sizes I had been working in were completely self-imposed without any supportable basis for my choices other than my own fear of not being able to make a sale.

Once I realized why I had been working in those smaller sizes, I was able to start making decisions based on what the work needed to be instead of what I thought the market might want. For example, if I was going to make an ornate piece with the intention that the wearer feel like a queen, I would probably decide that it should be big and bold, not small and delicate or demurely moderate, to better emphasize the feeling of nobility I wanted it to embody.

 

Georg Dinkel works large when he is trying to make a point about our reverence for technology, like with this iPhone docking station titled IReliquary.

What’s Your Size?

So why do you work in the sizes that you do?

Is it purely functionality or rooted in the idea of what people would expect the size to be?

Is it limited by the tools or forms you have on hand, or by the capability of the materials being used?

Do you let the size come about organically or unconsciously or do you make a conscious decision about size based on the impact or response you would like the viewer to have?

I truly don’t believe that there’s really a wrong way to determine the size of your work but, like any design element, you are only truly a master of it if you are aware of its possibilities and make conscious choices.

So maybe this week, think about the size of your artwork in terms of your intention. Look at pieces that you’ve made in the past and ask yourself how the look and message, if there was one, would have changed if the piece had been smaller or larger. And in the next few things that you design, ask yourself what size piece would best serve the artwork before letting your tools or expectations of scale determine it for you.

 

Goodies are About Gone

Support this blog and your creative endeavors … join the club!

If you didn’t see the newsletter yesterday, I shared the stock I have left for a few special items that were first offered to Art Boxer Club Members, but a couple things are sold out or nearly so already. These are limited items that I will periodically offer publicly, without the discounts or freebies club members get, when there is extra stock, so if you can’t join us in the club, keep your eye out for my newsletters and sign up here if you aren’t on that list for my next offering.

Getting first dibs as well as discounts and freebies is one of the advantages of being part of the Art Boxer clubs, along with the weekly mini-magazine pick me up you get in your email. (The Art Boxer Success club that includes coaching is also unavailable at this time as spots are full up but I do have a waiting list going – just write to me if interested.)

These limited supplies are available on this page if you are still interested.

 

All Quiet on this Western Front

I have little to report on the home front. I did go in in for a small surgery Thursday only to find out I’m going have to go back in six weeks or so from now to have it completed. Nothing is straightforward and simple this year, is it? So, just trying to make myself take it easy this weekend although I am just a horrible patient in that regard.

Next weekend, assuming nothing else weird happens, my better half and I are going to slip away for the weekend to test the camper van conversion we’ve been slowly working on. I do plan to put something for you together before I go so you should still be able to visit with me next Sunday.

In the meantime, all your hopes and plans, big or small, all go off as intended this week!

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Preciousness

October 4, 2020
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Kathleen Nowak Tucci going big with not-so-precious intertubes and other disposables.

What would you say if I suggested that you create a piece and then, after you are done, remove your favorite bit? Yes, I realize the request might be physically impossible without causing complete destruction but, alternately, what if I asked you to destroy something you just spent your valuable time and effort creating?

I know you might be wondering if this is some kind of dreadful crafty torture. Why in the world would anyone ask that of you and what would be the point?

Well, this was done to me and a couple dozen other classmates back in college… twice.

The first time was in a creative writing class. We brought in a piece we had been working on all week then were asked to highlight all of our favorite lines. We passed the highlighted sheets to the person next to us and then the professor asked that we scratch out all the highlighted lines in the story we had in hand.

Of course, all us sensitive little budding Hemingways and Dickinsons sat there stunned and appalled as our pieces were read aloud without the sparkling gems that we thought would certainly reveal our genius. Strangely enough, all but one of the pieces still made sense and sometimes, the author even admitted it sounded a bit better. The point was, the professor said, that we tend to fall in love with phrases or sentences and will leave them in even when they don’t serve the piece.

The point was that without our wittiest word choices we could, in theory, make better editing decisions. In art, is it possible that we could make better design decisions if we were willing to set aside the glitzy accents we love so much or not fall back on our favorite tried-and-true textures all the time?

The second time I had a professor crush my little angsty ego was in a ceramics class after we each had done a small series of slab vessels. The professor asked us to pick up our favorite piece, bring it to the center of the room, and hold it up. We were then asked if we would be willing to drop it from a height into the trash bin that sat there. Of course, no one did it at first and he just stood there waiting until a couple brave souls let their pieces go. Then the pressure was on for the rest of us to follow. Even though I wasn’t particularly attached to the piece I had in hand, it was still so hard to drop it but I did. I seem to recall that a handful of students did refuse.

Sounds like a real jerk of a professor to ask such a thing, right? Well, I have to say that, at first, that’s what I thought but then he started to talk about preciousness. His conversation had something to do with becoming too attached to particular pieces. He wanted us to put value on our process, our growth, and learning, not on impressing him or our classmates. I think he was also looking for a way to wake us up as he had been getting frustrated with our attention span during the lecture portion of the class. Well, he sure did that.

I remember thinking about that lesson some years later, when I was better able to take it in. It made me realize that each successful piece I made was really just a step in a journey more so than an end goal unto itself. That changed the way I looked at my work. And it somehow made me braver.

I still did, and do, have favorite pieces that I cherish and will never sell, but seeing the work as steps and creation as a process rather than an investment of time in an end goal has allowed me to work a bit more freely. I have a ton of pieces that remain unfinished, and although it’s disappointing every time to come to a point where you realize it’s not going to succeed how you wanted it to, I don’t have any qualms about setting it aside. I don’t see the work as wasted because I know I’ve gained a little bit more experience and a little better understanding of the process. I’ve let go of the preciousness I used to have about everything I made.

Preciousness arises not only in our valuing our time to such an extent that we will not give up on a piece even when it’s no longer salvageable, or ignoring possible design solutions because they would eliminate our favorite part, but it also happens with the material itself.

Liz Hall creates in polymer and (a lot of) precious metal clay.

Quite a few years ago, I was itching try precious metal clay but it really wasn’t in my budget. Then I found some at a really great price and bought it. But you know what? I never even opened the packages. I just couldn’t get myself to work with this very expensive material for fear I would ruin it. But, of course, it’s rather wasted now that I’ve had it so long that is not workable. Pretty stupid, right? But we can be like that, putting value on the material and not on the process and the joy that we get from learning and creating.

Preciousness is tied into fear and failure in a lot of ways. Our idea of what we think we can do or what we think we should be able to do may be so lofty or so dear and treasured that we are afraid to try, fearing that we will make a mistake and ruin our efforts or that it will not come out as we imagine it. So, we do nothing, which is the same as ruining it, just really early on.

We may also get to a point in a piece where we love it so much that we are afraid to take the next step, a step that might spoil it, and so we set it aside, with all the best intentions to take that next step at a future time but all we’ve done is deny, or even end, the work’s potential.

I thought we’d start out this month on the concept of preciousness because it felt like a good segue into discussing October’s design theme – size.

Preciousness is one of those factors that comes into play when we decide on the size or scope of the work we will take on. Our sense of preciousness can make us hesitate to do something large or particularly complex, as we may fear that we will invest a lot of effort, time, and materials into something we are not assured will be successful.

Julie Eake’s cane mosaic portrait of actress Sophie Turner was, like most of her cane mosaic portraits, a huge undertaking. But aren’t we glad she takes those risks?

But, again, have we not already failed by not attempting it in the first place?

If we looked at everything we create as precious, all the time and effort that we put into it as well as the finished work, we would have to play it rather safe in the studio. However, art is not about playing it safe.

Art is largely about the risks you take.

If you’re not taking risks, then are you actually creating art? There’s nothing wrong in creating just for that sense of accomplishment or the high of that Zen like flow we fall into when the work is familiar and comfortable. It is more than valid to have the process of making things with your hands be the primary purpose in what you do. However, it’s the hours of exploration, the failures, the false starts, our vulnerability, the deep digging, like miners looking for gold, that makes the work that we inevitably uncover truly art.

The risks we are willing to take is the thing that is truly precious.

 

So, keep the concept of preciousness in your mind as we talk about size this month. Of course, we’ll talk about variation and contrast in size since that is what is primarily being referred to when speaking of it as a design element, but there are other things about size that we can take into consideration as we create, move forward, and grow as creatives.

 

Speaking of considerations…this week, I am going to have to take my health into consideration, so although I do plan on preparing a blog for next weekend, if it ends up being short or skipped it’s because I’m having a little surgery towards the end of the week. It’s just my esophagus and I should recover in all of two days. I have to fit in all my usual physical therapy before then though, along with all the regular weekly business tasks so it will be a full week.

Don’t worry though – all you club members will get your Midweek Mini-Mag as usual including a goodies giveaway so you can look forward to that if you signed up for one of the clubs.

 

If you haven’t signed up for one of the clubs yet but really appreciate the information inspiration you find in this blog, help support this project by subscribing! Get your weekly mini-mag, exclusive discounts, giveaways, and special offers along with your support. With everything you’ll get, you can also think of the club as a unique and special way to acknowledge the preciousness that is your creative self!

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Relationships in Texture

September 27, 2020
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Evgeniya Aleksandrova has a rough texture over everything here but varies the depth and pattern of the texture as well as the color.

Since we talked about tactile texture last week, it would seem logical that I would talk about visual texture this week.

But I’m not! I don’t want to be too predictable!

No, that’s not why. Actually, it’s that most of what needs to be said about visual texture has to do with the usual recommendation of choosing characteristics that fulfill your intention. If you read my blog, even sporadically, you’ve heard this before.

As long as you understand that visual texture is a purely visual variation on or within a surface (such as marbling, mokume, ikat, or any application of an ink, powder, dye or paint medium), then, as described in the post from the week before last, you can choose visual textures simply by coming up with adjectives to describe your intention and do likewise with possible visual textures and match them up based on similar adjectives. That is the core of the approach for working with visual textures.

So, that being established, I’d like to, instead, talk about another thing you’re also familiar with if you have been reading the blog for the past couple months but which we have yet to specifically associate with texture.

Creating a Relationship

Last month I talked about choosing color palettes in terms of contrast and similarities. But guess what? Combining different types of textures also plays by the same basic rules of contrasts and similarities.

I love how Joy Kruze echoes the spots in the stone with the spots of metal in the texture created in the spaces between the metal lines of her unusual bezel

Most work you create or look at probably has more than one texture. It could be a combination of smooth and rough textures or a variety of different rough textures or variations of smooth ones. You may often combine tactile texture and visual texture, as well. What these combinations all achieve is variation. Variation in texture is pretty instinctual for most creatives, as is a desire for variation in color.

The variation between textures can be heavily contrasted but, like color, it helps to have at least one similar characteristic so there is some relationship between them. With texture, you can actually use other design elements to create that relationship such as using the same or related color or a similar shape for the texture’ s space. Once you have that similarity, everything else can be contrasted.

But what about using similarities between the characteristics of the textures? For instance, you could create only rough textures but vary how that roughness is created. Or all your textures could be stippled holes but you vary the shape or size of those holes.

 

Just as you need similarities, you’re probably going to want variation, too, not only to create contrast, but also to create shapes, layers, and compositional direction (which we will get to later this year).

The Need for Variation

Variation, as always, adds some level of interest, energy, and complexity to your work and you can adjust how much you add of these by adjusting the variation between textures (or any design elements) – from subtle to bold or somewhere in between.

Let’s say you want to make a piece with a strong graphic look. You’ve already chosen hard edged graphic shapes and bold colors. What about the texture? You might choose a slick, glossy surface as a primary texture. Now, what other textures can be used to vary the surface but have it still related to a glossy one?

Hélène Jeanclaude creates glossy surfaces on all parts of this necklace but between mica shift and mokume, and the contrast of colors, she creates variation and lots of energy.

If you want to go subtle, you could stick with variations on smooth textures such as a matte or satin finish. Alternately, you can choose to rough up the surface but in a very orderly way similar to the orderliness of your graphic shapes. This can be done with a series of dense, parallel lines, or a dense but orderly mark.

As long as the marking of the surface is the only thing that changes, then all raised portions of the comparatively rougher texture will be glossy. That will give you your similar characteristic – the gloss of the smooth surface and the occasional gloss of the rough surface.

This is not to say that you can’t have textures that are completely and utterly different. The extreme contrast could be, in and of itself, a relationship. That difference will cause tension or discordance, but that could be exactly what you want.

Here are just some of the characteristics in texture that could create similarity or contrast:

  • Tactile or visual
  • Smooth or rough
  • The quality of the finished surface (glossy, satin, matte, or chalky)
  • Type of mark, technique, or tool used to create the tactile or visual texture
  • Organic versus graphic styles
  • Size (how much space each texture takes up)
  • Direction (if the texture visually flows or moves from one part of the piece to the other)
  • Shape of the space it is applied to

A visual texture shows variation in density and repetition of the dots that make up this surface. Melanie Ferguson actaully etched the surface and then polished it with cold was so she has smooth tactile but rough visual texture on her surfaces.

As you can see, other design elements can become quite intertwined with texture. Marks, lines, size, direction, and shape all can play a role in the similarity or contrast of areas of texture in your piece. It really doesn’t take much for us to see a relationship between textures. If it’s there, we’ll see or sense it and the design will feel more cohesive for it being there.

Since that texture relationship can be, and often is, developed through other design elements we work with, this is not always something you need to be wholly conscious of. But, if something in your work is not looking right, check for the relationship between your textures as well as your colors and other elements.

And, if next time you are looking at your work and feel like it needs some contrast in its tactile or visual texture, just look at the dominant texture that you have and, using it as a starting point, choose possible other textures or design options that will create at least one similar characteristic, still provide contrast at the level that makes sense for you piece, and has characteristics that recall the theme of your work.

 

Last Days for Club Discounted Forever Pricing

3 days left to join the Devotee or Success clubs at the FOREVER discount price so you can get first dibs on limited stock offers, discounts, and goodie box giveaways, all while getting a mid-week mini-mag of brief articles to keep your creative energy and ideas going. And right now you can also get in on it with a 2 week free trial! .

So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club 0r buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.

 

Visual Contrast … Out of Doors!

Packing up to take the camper van conversion for a test drive up the coast, just one night. That’s been my little side project that I’ve been getting myself lost in for an hour or so most days. It’s not completely done but good enough for one night out for my better half and me. I need some contrast between life inside this lovely home of ours and the outside and distant world! So, I am off. I hope you all are looking for new and novel things to add a bit of excitment and contrast in your lives as well!

 

 

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Tactile Allure

September 20, 2020
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Melanie West’s satiny smooth finish has a heavanly tactile texture even though many people might think of her pieces as being textured because they’re so smooth. Yet smooth is actually one of world’s most loved textures.

How often do you touch art?

No, I don’t mean being the unruly museum visitor who gets yelled at by the docent, but in your everyday life, how many things do you touch that you would also consider art?

Works in the applied arts, which encompass decorative art, adornment, and functional objects, are often things that we touch. Because of this, the tactile texture of most applied art is exceedingly important. Not only can the wrong texture put someone off from buying a piece, but the right texture can make a huge difference between people liking your work due to its visual appeal and being utterly in love with it because it feels so good to touch. It is also another means by which you can express your intention.

Choosing Tactile

The first time I touched a Melanie West polymer bead, it was like taking a bite of the most heavenly chocolate mousse. Her finishes are flawless and so soft; my fingers just couldn’t get enough. That kind of tactile reaction is golden. It also supports her soft and organic themes. As wonderful as her finishes are, that kind of texture may not be wanted in your work or may not even be possible due to techniques or materials you are using.

The point is that her textures are part of the experience of her work and, if you’re creating things that will be handled, you too should consider the experience of touching your piece as part of its aesthetic value. As always, let your intention drive your decisions, but pay attention to the physical sensation experienced when handling the work and aim to have it support your intention, alongside all your other design decisions.

For instance, if you want to share your love of the beach through your work, think about the physical sensations that stand out the most – the soft breeze on your face, the refreshingly cold water on your feet, and your toes digging into cool sand. Now, how do you translate those physical sensations into tactile texture that will help you share that experience to those who will handle your work?

You can do so by thinking in terms of those adjectives – soft, refreshing, and cool. You probably want those to be the dominant sensations so don’t go for, say, a sandy texture just because the beach has sand. Is a gritty, sandy texture going to convey soft, refreshing, and cool? Chances are, it’s just going to remind someone of getting sand in their shoes and other uncomfortable places. You can create a visually sandy texture that includes sandy colors and a speckled look, but in terms of tactile sensations, going for a soft, maybe matte surface that will feel cool and soothing to the touch will share something closer to the sensations you want to relay.

Felt may have textural limitations but the final texture is still a choice. Olga Demyanova contrast a tight, even texture with the rippling and rougher orange edging and accents in this intriquing handbag.

There are a lot of materials that have limits on the tactile textures available. Polymer clay can replicate most tactile surfaces except for fuzzy, but felted work is limited to that dense and slightly rough feel of matted wool while glass will almost always have a smooth aspect. There are also techniques that create their own texture or limit how you can further manipulate the material to create texture. Learn the range of tactile sensations available in the materials and techniques you use so you know what options you have.

 

Work that Begs to Be Touched

There are a couple things you can focus on in order to create work that people will love to touch. It primarily involves smoothness and variation.

 

Smooth Surfaces

Our sense of touch enjoys traveling along a pleasantly smooth substance such as polished metal or stone. But what we like most is softness, such as a fluffy blanket or bunny fur. Softness is a type of smoothness as it allows our skin to glide across, unimpeded.

Note that you can re-create the look of fluffy and furry textures in hard substances such as clay or wood but you can’t re-create the same associated softness because, in those materials, you lose the ability for our fingertips to effortlessly glide across it in the same way due to the unevenness in a hard surface. So, recreating the look of fur doesn’t necessarily re-create the tactile experience. The ‘look’ of fur is just a visual experience.

So, be careful to think of smooth tactile texture, not in the way it looks, but the way it feels.

 

Klavdija Kurent gives the wearer of her jewelry much to explore with their fingertips.

Variation

Our fingertips were made for receiving information, and lots of it, so they do very much enjoy a variation in texture. However, we don’t normally enjoy variation that is sharp, prickly, scratchy, or sticky. These textures make it hard for our fingers to glide along and take it in, not to mention that they are also often painful.

However, bumps, grooves, and fine lines excite the nerve endings. It’s just like the sense of taste – we aren’t too happy with things that are bland but a lot of flavors that go well together thrills our tongue. Our fingers, likewise, enjoy complexity.

 

The Best of Both – Smooth and Varied

I think you’ll find that pieces with both a smooth and varied surface attain the pinnacle of touchableness.

Take a look at the pearled bracelet here. It is not even in your presence and you probably still feel a tiny urge to reach out and touch it. That’s because each half pearl has a small, smooth surface which is further aided by the round and unimpeded nature of its shape as well as there being a varied field of them.

The combination of smoothness and variation in this bracelet makes for an engaging texture, adding energy to the piece both in its tactile and visual nature. Note that this also has a bit of rough texture around the edges to provides textural contrast. Because contrast is important in texture too!

The contrast of texture fit well into my intention of showing the classic perfection and allure of pearls in an organic setting. I wanted it to be a subtle reminder of the messy world pearls actually come from even though we now associate them with neat, tidy, and conservative dress.

 

The Tactile Balancing Act

The textures you choose will dictate limitations in terms of surface treatments and other parts of your design, so you have to balance out your tactile texture choices with your other design choices. For instance, if you create a deep and dense texture on a light color, it’s going to appear darker, which you might not want.  Or you may want a very smooth surface but want pattern to raise the energy so you would have to figure out how to incorporate pattern visually with inks, veneers, or other smooth surface applications.It just needs to make sense for your intention and the limitations of material.

If your tactile texture decisions, weighed in light of all the other decisions you have to make about color, shape line, function, etc., are chosen in service of your intention, you are sure to have a beautiful, cohesive, and interestingly touchable design.

 

Should I Call Them Mini-Mags?

The first week of the Art Boxer Clubs has commenced and one of the first comments about the weekly Pick-Me-Up is that it ought to be described as a mini-mag. I guess it is. It’s hard to take the magazine attitude out of me. There were 5 little articles and a good handful of links for further exploring.  So, yeah, maybe it is a mini-mag. I might have to rethink what I call it.

But regardless of what it’s called, joining the club will get you a little extra boost each week and at least once a month, you’ll get a special discount, a first dibs or limited stock offer, and/or a giveaway. And right now you can get in on it with a 2 week free trial and a FOREVER discounted rate.

So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club (there are only a few spots left in this upgrade to personal coaching option, at least as of my writing this), or buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.

 

No Fires Here

We are still a safe distance from all the fires and the sky has started to clear up from the smoke so nothing too exciting to report from Tenth Muse central. I’ve already gotten started on the next project but I don’t want to say too much about it. It seems like every time I say something, I get jinxed and delayed. So, you’ll just have to stop by and check in with me on the weekends, or read the newsletters, or, if you want to be the first to know, join one of the new Club options as Art Boxers will be the first to know (as well as getting extra discounts … just sayin’.)

 

I hope you all have a relatively unexciting week yourselves. It’s not like we need much more excitement with the craziness of the world providing plenty already. Just go make beautiful things and be kind and caring to each other.

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