Dialing in From Frankfurt with French Polymer

April 28, 2014

I have been traveling for 16 hours as I sit down to write this and I have another 7 hours to go before I reach the hotel in Malta. Every change of scenery, the many different people, the  variation in languages is enervating–I’ve been trying to guess people’s country of origin based on jewelry and clothing but you know what … people are more or less the same everywhere. It’s still been a fun game. I just wish I was more awake to really take it all in here. Many polymer people are already in Malta. See if you can sneak a peek on Donna Greenberg’s Facebook page–she’s taken some amazing pictures of the places in Malta she and other polymer peeps got out early to see.  I just can’t wait to get there.

My opportunities for photos as well as a decent Internet connection while traveling have been slim so instead of sending the overcast images of Reykjavik and Frankfurt this will be simple and brief and get in some info I couldn’t squeeze in last week about polymer in print.

If you don’t know about Polymere & Co., it’s the newest magazine on the scene and the first one of its kind not in English. The French language magazine focuses on project tutorials and jewelry and is available in both print and digital editions. Even if French isn’t your language, don’t let that stop you from getting a copy. Get the digital and plug the articles into an online translator. In this day and age there is not any reason to stay away from publications simply because they aren’t in your language. What a wonderful time we live in!

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Editor Beatrice PICQ will be joining us at EuroSynergy to talk about why she started  this magazine. I’m so excited to talk to her and hear about her vision. Because at this point, there is definitely still room for more quality polymer instruction and inspiration.

Okay … I’m off to get myself set for my final leg to Malta!

 

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

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Influencing Polymer in Print

For those of you who may not have heard through our newsletter and postings on Facebook by others involved, next month in Malta, myself,  Marjon Donker and Saskia Veltenaar (From Polymer To Art) and Béa Picq (Polymère & Co) will be conducting a presentation and discussion on polymer art in print–what is available right now and what we as a community might want to see in the future. We would like to make this a chance for you to have your say about what you like, don’t like and want to see more of in books and magazines so we created a survey for that purpose. Not only is it short and fun and will get your voice heard, you can also win one of three magazine packages that will include a $10 gift certificate to anything from The Polymer Arts and a digital magazine issue of your choice from both From Polymer to Art and Polymère & Co.

And yes, if you took the survey through the newsletter, before I heard from the other ladies about wanting to add their magazines to the prize offerings, you will get the whole package if picked.

To help us with this presentation, get yourself heard, and to enter for a chance to win one of 3 magazine packages, click on this link!

If you are unfamiliar with either of the other magazines, they are both complimentary to what we do in The Polymer Arts, focusing more on project tutorials and some basic techniques and information, great for beginning to intermediate artists. From Polymer to Art is in English and Polymere & Co. is in French, but is available in a digital format so you can copy text from it into Google translate to read it.

 

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

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Intriguing Llama Found

One of the articles in the upcoming Fall issue of The Polymer Arts is an engaging piece about putting together a polymer-focused gallery show. This past May some folks at the Polymer Clay Guild of Minnesota took on the task of organizing and promoting a national juried exhibition, Polymer Clay–Gallery Style, at the Flow Art Space in St. Paul, Minnesota. Beth Wegener shares their experience as well as tips and ideas for putting together something similar at your own local gallery or art space. What polymer enthusiast wouldn’t jump at the chance to have great polymer art come to their town, where they can examine it up close and in detail? There is just nothing like seeing the work in person, and such shows give polymer more exposure, educating the public about just what polymer can do.

Due to space limitations in the article, we didn’t have much room to show the pieces that were at this particular exhibit, so I thought I’d share one of my favorites (and obviously one of the favorites of those attending the show, since it tied for the Viewer’s Choice Award) with you here today.

Tell me you aren’t drawn in by the this playful and fantastical llama created by Julie Johnson. From the big  wide eyes to the trio of–what are they exactly? horns?–and the lusciously colorful, spiky coat, this piece is not only fun, but curiously intriguing.

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Photo by Beth Wegener

 

You can actually still check out the art that was shown at the exhibit here on the Flow Art Space’s website, at least through the end of this week. Don’t you wish you could have been there?

 

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A Good Cane Improved by a Fitting Finish

Putting together a pleasing color palette and effective patterns is just half of what will make a good cane true art. The cane itself is just part of your art supply stash until it is sliced and applied to a form or shaped. Now don’t get me wrong; I believe caning is an art unto itself! So is gem carving,  fabric design, leather tooling, and film special effects. But like these specialized trades, cane work is a component of something else that will make the detailed designs involved really shine. It is part of a bigger piece.

That is why the application and finish of the cane is so important. You wouldn’t want to see an expertly faceted ruby in an uneven base metal setting or a gorgeously woven damask made into a dumpy house dress. A cane is actually very much like a gem or printed fabric. The design of the cane should determine the application and finish it receives. A delicately detailed kaleidoscope cane should be perfectly set and finished smooth while a goofy face cane can be sliced in a large chunk and strung with big funky beads.

Let’s look at how Carol Simmons applies her very detailed and near flawless cane veneers on these simple cuff bracelets. Simple the type of bracelet may be, but each cane is perfectly aligned, there is not one discernible seam, the edges are trimmed and smooth, and the surface has been buffed to a high gloss making for stunning pieces … far from simple or ordinary.

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Whether you are a novice or have had many years of experience caning, you can learn so much about caning from following Carol’s blog. It’s really a must for all caning fans. (Check out her February posts! Fabulous insight on building canes from concept on through. Start at this link then scroll down to move to each successive post.)

Of course, Carol teaches fantastic classes on caning and her mokume gane work. I believe there are still some spaces left for some of the workshops at the Master Class Camp where she’ll be teaching along with an overwhelmingly impressive list of other artists in Maryland in a few weeks. She also has her 2014 European tour schedule up, so if you are on that side of the globe, do check out where she will be when, and get in on her wonderful, information-packed classes.

 

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A Giveaway and Introduction to Movement This Week

This week I want to focus on the idea of movement in your artwork. Movement can be either a kinetic design (having parts that move as an integral part of the design), or a visual sense of movement. But before we move onto that, I’ve got a new little feature for you all.

Nearly every day I get an email, a card in the mail, pingbacks/notices or a comment on the blog with tips, ideas, thank yous for the blog and the magazine, as well as people who are just out promoting The Polymer Arts projects of their own accord. It’s hard to convey just how heart-warming and encouraging these notes and notices are to me, knowing that readers are taking time out of their busy lives to direct me to new information, help promote what we do here or just to let me know that TPA is making a difference.  So I have this idea. Although I won’t be able to acknowledge everyone, I’d like to take time on at least one blog a week to bring these helpful and enthusiastic readers to your attention. It would be my way of saying thanks as well as helping show all you readers just how supportive this community can be. I hope seeing this will encourage you all to to reach out and add to that support or take advantage of it when you need help and encouragement.

This week, I want to give away four back issues (winner chooses any four in print, or digital if preferred) to one of our enthusiastic readers. I’ll draw a name from the folks who help spread the word about our latest issue, Summer 2013’s Mixing it Up, and the flipbook sampler that is now up on the website. This little flipbook has sample pages from the latest issue for those who haven’t decided to get their own copy yet. If you have a guild member site, a Facebook page, Twitter account, Pinterest board, or blog that you know polymer people watch, I’d be ever so grateful if you’d share this fun little teaser. There are several other flipbook sampler issues available on the same page on The Polymer Arts website. Just post this share-able link, www.thepolymerarts.com/SampleIssues.html, and/or right click and “save image” using the image below.

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To get in on the drawing for the four back issues, email me or post a comment to this blog post with a link to where you posted the information. You’ll be helping encourage other aspiring polymer artists, as well as giving yourself a chance to gain any issues you might be missing in your collection. On Sunday, I’ll share some of these links and reveal the winning reader for the giveaway!

Be sure to check in tomorrow; we will investigate movement in polymer art for the rest of the week. We have some really beautiful and unusual pieces to share and hopefully inspire you with!

Opportunity to Grow

If you have been enjoying the conversation about expanding your artistic voice, you may want to hop on over to Voila! this weekend. As of this Sunday, there is a new class you can join–Ways To Wow … and all you have to do is show up on the site Sunday!

Here’s the deal: Voila! is creating an opportunity for you to spend the next 6 months planning, designing and making a piece to achieve significant creative growth. At the end of the course, you will have a landmark piece in your body of work that exemplifies your creativity. You will also have learned a method that you can use for your future big projects.

Christine Dumont is a force for artistic growth in our community and regularly has classes like this running on Voila!. Look at what Angela Garrod did during the last class, How to Become a Better Artist.

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Angela has thoroughly explored this hollow pendant form with a variety of applications. Intense exploration into a technique, form or approach is a great way to explore your artistic voice. You find yourself drawn back to certain aspects of your experiments which gives you a direction to push yourself. This kind of in-depth exploration is what you can expect if you join in on one of Christine’s Voila! classes.

Here are highlights from the class description:

The course will require at least two hours of your time per week. The studio sessions will of course require as much time as it takes to complete the piece. This course is free and available to all but only Voila! members will have access to the forums to discuss the course material and post images in the gallery.

New course material will be posted on the Homepage every Sunday starting May 5th. You don’t have anything to do except wait for May 5th when Christine will be posting course material for the week.

Cool, huh? Head on over to Voila! if you aren’t familiar with the site and then we’ll see you back there on Sunday!  http://www.voila.eu.com/

 

The Journey of The Broken Telephone

For those of you who followed the blogging I did from Synergy, you may remember Dan Cormier’s Broken Telephone Project. We couldn’t reveal much then because Dan and partner Tracy were going to roll out the series on The Cutting Edge Facebook page and who was I to spoil the surprise.

Well Dan has now revealed all the beautiful brooches, their creators and his thoughts on the project and related subjects. The conversation he’s started on his wrap-up post (posted on both Facebook and Flickr) is very important and I would encourage you all to take a minute to read it.

While there, take a look at all the gorgeous pieces that came out of the project.

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I was lucky enough to get a close-up look of each of these brooches as I helped pin them on Tracy who became a walking exhibition on the last night of Synergy 3. I’ve held back photos of this unique exhibit until the roll-out was complete. Tracy was easily the best adorned lady of the evening!

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Best Business Practice: Cooperation not Competition

If you have the first issue of The Polymer Arts, you may have read the back page Muse’s Corner piece written by Marjon Donker and Saskia Veltenaar, the editors of From Polymer to Art. It told the story of how we e-meet and why we decided to work together, not compete, even though we were all producing polymer clay magazines.

The thing is, I would not have started The Polymer Arts magazine if Marjon and Saskia were producing the same type of magazine I wanted to produce. Nor would I have done so if our other industry magazine, Polymer Cafe was covering the material I wanted to cover. So, when it came down to it, we weren’t at all competing, rather we were complementing each other. The ways things are now, hobbyists and those who just want to play with polymer have Polymer Cafe to look to for basics and fun projects while the more experienced clayer who wants to branch out can look to From Polymer to Art for more advanced projects and articles on issues that interest the polymer fan. For those who look at what they do or aspire to as serious art or are looking to make their craft into an income producing business, they have The Polymer Arts to push and challenge them, make them think, and help them build a better art business. As one of the attendees said during the magazine editor’s panel, we’re now covering the full range for polymer clayers.

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Polymer magazine editors after our Q&A panel at Synergy 3. Starting top left and going clockwise, Sage Bray (The Polymer Arts), Anne Huizenga (Polymer Cafe), Saskia & Marjon (From Polymer To Art)

Do we have different philosophies on publishing for this community? Yes, we certainly do but we all have the similar goal of spreading the wonder and improving the work of polymer artists, regardless of their level of work.  We all four talked over the week in Atlanta for this reason. All the editors even came to my Writing for Polymer in Print workshop (get the guidelines from this workshop on The Polymer Arts website)which was fabulous as the attendees got to hear from us all once again. That’s exactly how it should be.

The thing is, my magazine really NEEDS these other magazines. Someone new to the material might be overwhelmed by The Polymer Arts (unless they are really gung-ho and determined, are coming from another art medium, or they got the polymer bug bad from the start!) So yes, if you’re new, you may want to start with one of the other magazines and if you find yourself getting serious and want to push yourself and your art, we’ll be here. Or just give in and get them all. I do! You just can’t have too much polymer information, can you?

If you are interested in writing for a polymer publication, please do consider sending us ideas. Any of the editors here would love to see your ideas. Just help us out and send it to us one at a time. If what you have doesn’t fit my magazine, for example, I’ll pass it on to one of the other gals. The more we share as a community, the better it will be for clayers everywhere.

 

Polymer Pioneers

March 20, 2013

One of the truly exciting things about going to an event like Synergy is getting the chance to meet the people who you admire and aspire to be. Although you may have the opportunity to meet a great polymer artist by taking a class, there is nothing like a lengthy event like this, a retreat, or a workshop to give you the opportunity to chat and hear their stories.

At Synergy, we had the opportunity to not only talk to a large number of highly talented and innovative artists, but we were also treated to their presentations and panels. One of my personal highlights was the closing banquet’s presentation with three of the most influential polymer pioneers – Nan Roche, Kathleen Dustin and Lindly Haunani. They told stories of the good old days, how they started in polymer, and how they started organizing polymer artists and the hurdles they encountered in the early days. A lot of funny personal notes and anecdotes were included as well. It was just great fun to hear of our polymer beginnings from these very important artists who were there.

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I have my own personal anecdote about Nan Roche from this past week. For those of you who might not know, Nan wrote the first book on polymer clay, The New Claypublished back in 1992. That book precipitated the advent of polymer being considered a true art medium, and really pushed the public awareness of it. And today, it is still considered one of the best books on polymer for beginners. So this genius of woman comes up to me the first day of Synergy, all bubbly and kind of bouncing and says, “Oh, I just love your magazine!” I was floored and started babbling back about how much I admire her and what she has done for the polymer communtiy. I knew she subscribed (she gets both the print and digital versions of The Polymer Arts) but I thought it was just a matter of keeping track of the industry. As it turns out, Nan had to back away from doing polymer for a number of years, so she actually considers herself far less talented than many of the folks she is often grouped with, and finds The Polymer Arts inspiring. Whoa. I get some really touching compliments but a comment from someone like her … its hard to explain how much that meant to me.

As you take a closer look at the picture here, note all the pretties down in front of the presenter’s table. Those are the pieces that were auctioned off at the banquet–they include vintage pieces by Marie Segal, Jeffery Lloyd Dever and Lindly Haunani. Most of the larger events run by guilds have such auctions, giving the attendees a chance to buy some really wonderful work while supporting the organization – just another reason to make it to a retreat or other big polymer event. Check your local guild to see what they have going on and keep track of others through the IPCA newsletter, or by checking The Polymer Arts Resource list.

 

The Party is in Full Swing. Come join us!

May 31, 2023
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What party is this? The latest project from little ol’ me, Sage. The Sage Arts podcast is more than up and running… I have 25 episodes up as of this posting, ready on your favorite podcast player (New to Podcasts? Click here to find out how easy it is to enjoy them!) and a new one coming out every week.

 

What’s This Podcast All About?

This podcast is all about feeding and exciting your muse. By enlightening or reminding you about important and maybe unconsidered aspects of creating and living as an artist, I hope to help you find more joy and satisfaction in what you do, sharing ways to create with authenticity and fearlessness, while supporting your uniquely defined version of success.

Now what the heck does that all mean? Well, let’s look at what this is and what this is not…

 

It IS…

… a way to consistently feed your muse

… all about you. Myself, my guests, and my guest co-hosts speak to the issues, curiousity, and hurdles that you as a creative deal with on a regular basis.

… focused on creating a more fulfilling, joyful, and meaningful artistic journey.

… a conversation that goes both ways with lots of opportunities for you to be heard.

 

It is NOT…

… all about polymer clay or any one medium, as it’s important stuff for all artistic folks.

… focused on “how-to” or the latest tools and materials.

… just interviewing successful artists and talking at you. Rather it is like a coffee house chat or other friendly gather and I include you, the listener, in every way I can.

 

I created this podcast to supercharge your creativity, motivation, and artistic style through novelty, story, conversation, and community. Everyone has how-tos and ways to increase your sales – valiant and necessary stuff, of course! But what does your muse need? What does your work and your love of your art need to thrive? That’s where I want to help.

I aim to give artists ways to further hone their unique voice, increase their joy and productivity, and create a version of artistic success that is meaningful, satisfying, and anything but ordinary.

 

Come Join the Conversation

If you have something to share, would like to be a guest (for a chatty interview), or be a guest co-host (you and I banter on a particular subject) drop me an email me via my contact page on the show website: https://thesagearts.com/contact/ or send a voice mail (use the red button on that same site, bottom right corner of any page.)

And join me on social media!

Instagram https://www.instagram.com/thesageartspodcast/

Facebook https://www.facebook.com/TheSageArtsPodcast

And don’t forget to click “FOLLOW” or that little arrow on your favorite Podcast player so you get notices of new episodes. New Episodes come out weekly on Friday evenings, barring natural disasters or other bits of interference, of course.  I hope you’ll join me there, on The Sage Arts podcast!

There are new artists and creatives joining every day with tons of great things to say…

 

“Just what I needed!” 

“I just binged-listened … and I can’t wait for more!” 

“There is so much validity in your presentation…” 

“Looking forward to all the thinking and creating that they prompt.” 

 

 

Taste test on my RSS website: https://rss.com/podcasts/thesagearts/

Or on the podcast home website: https://thesagearts.com/

Or start with this episode:

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Moving Art & My New Direction

January 3, 2021
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After all the talk of repetition and rhythm last week, it is only natural that we should discuss a concept I have casually brought up numerous times already—the concept of movement and its role in design.

Movement can be found in a single element or can refer to the whole of a composition. It can be implied, such as the sense of gravity pulling on objects set on diagonal lines or the flow of a wavy path of dots. It might be symbolically expressed as in arrows directing the eye or curled lines reminding us of wind. It can also be literal, kinetic movement as seen in the swing of a dangling earring or the moving limbs of a ball joint doll.

Although all those examples are recognized types of movement, you should keep in mind that, as a concept, movement is a range of possibilities. From absolute stillness to a maelstrom of energy, some level of movement is going to be present in your work whether you consciously consider it or not. However, its importance cannot be ignored. Movement does two particularly important things—it creates or restrains much of the sense of energy in the work and it is, usually, key to leading the viewer’s eye around the composition.

(Above) Using polymer marquetry J.M. Syron and Bonnie Bishoff create highly directional lines of branches, densely sweeping up towards the single bird flying through the open space of the sky beyond them.

 

Movement Through Elements

You can create movement with any element such as lines, marks, color, and texture in order to convey the degree of movement desired. Lines are the most obvious because they can be so insistently directional and our eyes follow them like paths. Marks can be arranged to create lines or can create a sense of movement by a progressive change in density, from sparse to crowded. Texture can be manipulated in the same progressive way.

Color can be a little trickier but can definitely still convey movement through the use of light versus dark values or saturated versus dull. Light and bright colors feel more dynamic and can accentuate a sense of movement while dull and dark colors tend to feel heavy and more inert.

In the brooch here by Sabine Spiesser, movement is created by line, form, and balance. The form in black is a blunted arrow heading left, the movement in that direction reinforced by the echo in the shape of the red line and the direction of the black lines connecting them. The textured form also creeps over the red line in that same direction. In addition, the balance favors a lean to the left with the heaviness of the black form but the broader gold and red side pulls it back, giving the impression that only the weight of the larger form is holding the black boomerang from taking off.

 

Movement Through Principles

As you may recall from previous lessons, movement is conveyed with these elements primarily through various concepts of design.

For instance, last week we saw how a sense of movement can be created by employing types of rhythm such as flowing (using wavy or curly lines) or progressive rhythm (such as colors going from bright to dull or marks going from sparse to dense).

Don’t forget that rhythm also creates tempo which is all about a sense of speed and the passing of time, and speed is about nothing if not about movement.

The concept of balance will also establish degrees of movement. A centered composition tends towards stillness while asymmetry can create a pull as our minds mentally try to move objects towards more grounded positions or a logical equilibrium.

 

Even the concept of proportion can affect the degree of active movement. Elements of equal proportion can convey inactivity while uneven proportions can be used to produce a sense of movement through space or larger objects bearing down on smaller ones.

 

Aleksandra Micic uses line to create a swirling movement, densely packed at the bottom of her pendant where the tempo seems fast compared to the area of open space above, but the dark, heavy colors weight that energy down in a way that quiets the movement. The light and brighter flowers would increase the energy but for their widely spaced placement which, again, slows the tempo down, giving the pendant a reserved energy that moves languorously underneath the delicate, twinkling appearance of the blossoms.

 

Movement and Intention

So, when designing your work, consider how much movement you would like to see. It should come up with the same question as to how much energy should the piece have to best convey your intention.

A piece reminiscent of a lazy day at the beach would probably have calm energy and therefore minimal movement. If trying to capture the bustle of the big city, you’d probably be going for high energy and a very active sense of movement.

No matter what degree of energy you want in a piece, the sense of movement it has is going to be a primary visual conductor of that energy. And since so many other elements and concepts feed the sense of movement, you may want to ask yourself while making your design decisions not just how your decisions will fulfill your intention but how they will create the degree of movement that your intention requires.

Geez, that sounds heavy. And, yes, movement is very important but is also extremely fun and fulfilling to create.

So, don’t be afraid to spend a little time planning or manipulating elements to increase or decrease, as needed, the sense of movement in your piece. Just an awareness of the movement in your work can reveal so many exciting opportunities for your design.

 

New Year, New Directions

Okay gang. Here we are, finally, out of 2020 and into a new year that I think we can be quite hopeful for. For many of us, this past year has been one of the hardest years in our lives. For me, and I expect a lot of you as well, 2020’s hardships got a lot of us doing some soul-searching as the trials and tragedies we watched or endured gave us a different perspective on our lives and on our world.

That got me looking back at the past two years of changes I’ve made to the business. Those changes were not only to relieve the physical toll it took on me but in hopes of giving myself more time for my own artwork and writing projects. That hasn’t worked out as I’d hoped, especially with all the wrenches thrown into things this past year.  So, this year, I’ve decided, is going to be the year of prioritizing my own creative work.

Unfortunately, that means I need to reduce what I do under Tenth Muse Arts and to that end, I am making these changes:

  • The next 4 Mini-Mags will be the last for the foreseeable future. These will wrap up the Principles of Design lessons, ending on January 20th. The Devotee Club will close after the last mini-mag.
  • I will still blog, although just every other week starting this month. I will continue building on your design knowledge plus share what I am making and writing.
  • There is a hold on art book production for at least for the first half of the year.
  • The shop will stay open and I’ll put out a newsletter when there is news or I plan a sale.
  • I’ll continue coaching and am looking into offering periodic group coaching and/or critiquing sessions once I have my own work going.

I’ll keep in touch on this blog and in newsletters so I’m not disappearing. Just resetting my priorities. I have some challenging mixed media art I want to try and I aim to finish a novel I have been working on for years. Well, I’m actually going to rewrite the whole thing so I have some serious work ahead!

I do feel this time with my own work will benefit you as well as myself since getting back to a more creative life will give more authenticity and depth to what I share with you. If I can renew the joy in my own work, I should be better able to help you find more joy in your own in all the things I share in the future.

So, let’s see what great things we can bring about in 2021!

–Sage


 

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

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A Lack of Absolutes

October 25, 2020
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Helen Breil’s variations lean on the principles of emphasis and movement using line, in particular, to create a feeling of unity and a sense of complexity even though these are not particularly intricate. The design just feels so complete and satisfying.

Do you feel, or have you felt, that design is a very confusing subject? I wanted to ask because as of next month, we dive into the PRINCIPLES of Design. We’ve been working on Elements thus far. Yes, there are two categories to define the ways we use design. So, before I go further, let’s define those.

Elements of Design – the components used to create designs. They are like the ingredient in a recipe, only they are not the materials or tools you use but rather the individual elements you create with them.

Elements of Design (my list for mixed media arts) include:

    • Line
    • Marks
    • Color
    • Shape
    • Form
    • Texture

Principles of Design – the concepts used to arrange and organize the elements of design. These are like the methods and choices used to combine the ingredients in a recipe in order to create the desired outcome.

Principles of Design (as I am going to teach it here) include:

    • Balance
    • Movement
    • Contrast<->Variety
    • Emphasis<->Hierarchy
    • Repetition<->Rhythm
    • Scale<->Proportion
    • Unity<->Similarity

Don’t they look so manageable in those simple lists? Well, Elements does, I’m sure. Principles … they are concepts, so they’re more complicated. But don’t worry. I’ve been fiendishly sneaking them in all along so you are actually familiar with many of them if you’ve been reading my blog even for just this year. Just in the last couple months, I’ve been drilling in the ideas of contrast, similarity, movement and even a bit about scale.

There may be two separate lists above but they are completely dependent on each other. You can’t use principles with out the elements to create with and you can’t create with elements without the principles pushing you, consciously or unconsciously, towards the beauty and satisfaction that comes from a good design.

 

The Ultimate List of Design

Now, you may be asking yourself, why are the notations above about these lists my version? Aren’t these things standardized? Well, unfortunately, they are not and that’s the crux of the problem I want to peel open today.

When I talk about elements and principles of art and design, I’m giving you what I believe would be the best set of these for what we do in polymer and mixed media art. If you go online and search for just a list of the Principles of Design, you will find everything from a list of 5 up to a list of 20 principles. That’s pretty crazy!

It is understandable when some people think one or two things don’t belong on a list but when you regularly get this whole range, with some items paired up (like I did above) and others listing those same paired items as separate and distinct concepts, it can really make you wonder how you will ever learn the “right” set of concepts?

To make it simple (but possibly no less frustrating), I’m here to tell you there is no single ultimate list of elements or principles of design. And, no, it’s not because people have different opinions, although they do, but it has to do with the type of creative work each source assumes the reader will be considering.

These lists of elements and principles change to best serve the medium the writer or instructor assumes you, the reader, are dealing with. For instance, in painting and illustration, value is its own element discussed outside of color because value is what allows painters to define dimensionality, space, and perspective in the work. Our work in craft is primarily dimensional to begin with which is why I simplified my list to included value as part of the color element discussion.

Likewise, mark making in crafts is extremely important while mark making in graphic design is nearly nonexistent or is replaced with the concept of motif or pattern. And motif is an extremely important element in interior design but it is usually a side note, if even that, in fine arts.

So, all those lists out there are customized and created for the particular creatives the creator of the list believes will be using it. Right? Right!

I just wanted to clarify that before we jump in the principles of design so if any of you have learned or been taught something different than the list I’m going to give you, you understand why. I do believe my lists will best serve you as a mixed-media artist but you are welcome to build your own as needed.

The bottom line here… Don’t worry about whether you’ve got design terminology down precisely. Worry about understanding the concepts, identifying them, and working with them.

 

Ack! What’s a Creative to Focus On?

If all these lists and their imprecise ways make you feel like you’re going to hyperventilate, take heart. When it comes down to it, there are really just a few things you need to focus on as I can distill what I am trying to teach you into just three things. If you concentrate on these, you can just read my posts and the club’s mini-mag content and all this design knowledge will work its way into your brain by osmosis:

Your Artistic Keys:

  1. Create with intention, whatever that means to you.
  2. Draw your intention from that authentic and unique core that is you.
  3. Aim to make conscious, intentional design choices on every aspect of your work.

If you can do these three things, you can and will be an incredible and fulfilled artist. The rest – the terminology, concepts, elements and such – you can gather like you do art supplies. You pick them up as you can and then use them at every opportunity that makes sense. It would be great if you actually thought of them as new shiny tools and materials on your studio table. They can be, and usually are, the most valuable tools you have at hand.

 

The End of Free Lessons is Nigh!

In the coming months, the Principles of Design lessons, although they will continue to appear here in some fashion, will be largely moving to the weekly Devotee Club mini-mags. I need to start transitioning the bulk of my content to the Club content as the full free lessons were intended just to help get us all through this tumultuous year, but I do have to get back to bringing in the funds so I can keep at it!

So … if you have been enjoying the lessons you’ve had here in recent months, come join the club! Not only will you be getting the full lessons, but I also have a lot of other content from tips on living a creative life to community news to subscriber only specials and first dibs on new products.

And for the rest of this month, get a 14 day free trial! Offer ends October 31st.

(By the way, the Success Club, which combines coaching with the weekly content, is full, in case you are wondering when you get to the page and don’t see it to add to the cart. I am taking names for the waiting list only at this time.)

Come support your design knowledge, creative growth, and these Tenth Muse Arts projects with a subscription to the Devotee Club. Just click here.

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Line Dependent

April 19, 2020
Posted in ,

Have you been able to spend any productive time in the studio this week? I’m finding that, for the most part, either people are busier than ever (myself included) or are having a hard time drumming up the motivation to create. It’s really no wonder, being this is such a strange time, with our routines thrown not to mention being unable to make plans or feel certain about the future.

Being a home-based business owner, I’m always busy and I’m always home so the transition to the stay-at-home orders is not difficult but since everyone else’s life has been thrown, mine has as well. I’ve been hearing the same story from many of you as most artists work from home and, even if sales are waning, we have a lot to figure out to keep our businesses afloat or at least on a sustainable hiatus. Then there’s all these additional things we do now such as trying to keep in touch with friends and family and all the inventorying and planning of our situation at home to secure our necessities and well-being that really eats away at the day.

If that’s your situation, I’m with you! This drastic change in our lives really gets you thinking about what is necessary and what is not because we all are time strained, financially strained, or both. No wonder it’s hard to get the mojo going to create.

I think feeding our creative selves is still very important though. You create out of some internal necessity and although you may be distracted now, you are going to want to access that creative well of yours in the not too distant future, maybe to be distracted in a different way or as a means for processing what is happening or to add beauty and joy to your world when it is feeling in short supply. Just don’t feel bad or guilty if you aren’t creating finished work in the studio, even if you have the time. You can keep that creative well full in other ways such as reading blogs (you know, like this one maybe) or magazines or books, watch inspiring videos, shows, or movies on creativity, art ,or artists, visit museums virtually, or do more mindless but expressive creative work like doodling, dancing, or stream of consciousness writing.

Of course, I want to help you wherever I can while also attending to my creativity and my family’s needs. So, again this week, and possibly for the rest of our shut-in time, I am going to be sharing a pared down version of the Virtual Art Box’s Weekly Nudge content so I can still bring you creative food for thought while keeping my work load in check. I am also going to start working on the Artist’s Salon discussion idea (more on that at the end of this post) and I’ve added a section to the newsletter just called Grins and Giggles with fun and interesting tidbits I find during my weekly research sessions in the world of art. (You can sign up for the newsletter here if you don’t get it already.)

So, hang out with me when you have the time and we’ll keep our creative wells filled and take care of what we need to take care of. Now, onto ideas about this month’s theme – Line!

 

All in on Line

Have you been noticing line as a design element more readily this past week or two? It’s such a strong and expressive element of design that it’s bound to be a part of any thing that uses design at all. You can even make entire pieces were line is the overriding if not only prominent design element. Let’s me show you what I mean.

Take canes for instance. Lines, either in boundary form where clay is wrapped around components to better define them, or the edge where two colors meet, are immensely important in cane designs. Without dimensionality of any sort, line is the one thing that allows a cane to present pattern and imagery. An entire cane design, including the level of energy, can be solely dependent on the lines created.

Meg Newberg is a master at using line to create energetic patterns. Take a look at this cane she calls a flower doodle (doodles are becoming quite the thing this month!). It has tremendous energy as well as dimensionality. The optical illusion is accomplished through a combination of variation in color value and the use of lines to define and energize the layers that seem to be popping out of the design. But she only uses one color plus white and black, so line really carries this design.

 

A more dimensional example of a line dependent design would be quilling. Although more commonly done in paper, the formation of pattern and imagery with strips set on their sides after being curled and folded has also been mastered by a number of people working in polymer. Beth Petricon was the first person I was aware of that worked out a technique to do quilling with polymer. She even wrote a very detailed tutorial article on how to create your own quilling masterpiece in the Spring 2015 issue of The Polymer Arts. You can see how she uses the technique for both a necklace, below, and the book cover that opens this post, showing it’s (literal) flexibility in different applications.

There is no reason why, with all the ways that you can create line, that you shouldn’t mix up the many variations of line as well. In this brooch by Kathleen Dustin she has at least a half-dozen types of line creating the texture, movement, and focus of the brooch. The shapes and judicial use of color are integral to the design as well, but the lines dominate and create the energy and atmosphere.

 

Now that you have a few more ideas about how you might use line in your work, how about exploring some line only designs? In fact, if you have kids at home and you’re looking for ways to entertain them, why not teach them about line? I can tell you from my many years of experience teaching and training that the instructor can learn just as much as the student through the process of teaching.

Using the article from the Virtual Art Box, you can demonstrate to your kids – be they preschoolers or teenagers or just big kids at heart –the different types of lines and then ask them what they think each type of line feels like. Then ask them to draw lines (in clay or on paper) based on specific words and/or have them create patterns or drawings with just lines. I actually did this in an introduction to art class in the high school where did my student teaching eons ago and was surprised at how intensely they got into it. This type of project is really just a kind of advanced doodle in that it has concepts and parameters to jumpstart it but is otherwise free form. It can just be a lot more fun to do it in a group.

And if you don’t have kids at home to do this with, dial up your friends and just do this, or other projects, online together. The camaraderie might just be what you need to get your creative juices flowing if motivation has been in short supply, along with everything else.

 

The Results Are in

Thanks to all of you who took part in the survey for the Artist’s Virtual Salon idea. The overwhelming response was that people were up for listening to such a discussion but participating in a live event is not necessarily on the top of everyone’s list. Perhaps we are all a little worn out from our packed Zoom schedules—there has been an initial zealousness to stay connected with friends and family plus so many of us are virtually conferencing for work but after a month full of online chats, perhaps we need a break from the scheduled screen time.

However, readers sent fantastic such questions, so I do really want to get together with some of the artists that reached out to me about participating and answer some of those questions. Just recording it should also keep it simple on the technical end. Assuming I can wrangle up the artist for the discussion, I hope to get back going by the beginning of May and then I’ll get them posted, most likely on the blog, so be sure to check in and I will keep you apprised of the project.

 

Sharing the Love … and some deep Savings!

If you need further inspiration, get in on the 30% off Sale going on at the website to scoop up great magazine back issues, project books, and retrospective books. Just hope over to Tenth Muse Arts and browse. Discount is good on anything in the shop that isn’t already discounted (basically no discounted packages or VAB subscriptions) and the sale is on until April 30th.

Use the promo code: SHARE30

 

Now off to get some spring gardening done. My vegetable seedlings are anxious to get into the ground and the battle with the spring weeds is in full swing. It’s also a salve for the soul, to be outside in the sun with my hands in the dirt, creating a satisfying arrangement of newly planted seedlings in the raised beds we set up down near our little creek followed by a triumphal foray plucking weeds, root and all, from the rain soaked soil. Maybe that’s not everybody’s idea of a good time but I have to say, I’m looking forward to it.

 

I hope you have something wonderful to look forward to this weekend and in the coming week. I wish you a safe, healthy, and creative week.

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Markedly Punctured

March 29, 2020
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How is everyone holding up out there? I’m guessing that most of you reading this are not bored. That is one of the advantages of being a creative – we have tons of ideas to work on and a great imagination to work with so let’s keep at that!

I’ve not only had a busy week, I have also been under the weather. Is it the coronavirus? Probably. I have had most of the symptoms, although none too severe, and my husband spent hours in close quarters with someone hospitalized for it not long after while I have rarely left the house but was super cautious when I did, being the (then) annoying lady in line asking everyone to stay 6 feet away from her. I got through the illness with tons of vitamin C and other immune support supplements (having a nutritionist in the family is really helpful!) while my husband never showed signs so we are all good here and I just have that dry cough hanging on. It did, however, slow me down this week.

So, I’m going to share with you a slightly pared down version of the one thing I completed this week which was the Virtual Art Box weekend nudge. So, if you got your VAB nudge yesterday, you’ve seen this, not that a second read isn’t useful!

In the VAB this month we talk about a rather basic but very important design element, the mark. This last weekend of the month, I want to talk about a rather common mark although it’s rarely thought of in those terms. Most of you would simply call them holes. This refers to any kind of puncture that goes through (or nearly through) the material or form that you’re working with.

I, like many people, am fascinated by holes. You can see things through them, revealing layers, depth, and the space beyond. They draw the eye. Think about traveling past caves in a canyon wall or passing an open window. You try to look in, if even just briefly, don’t you? Think of the hollow in a tree trunk or the big holes in a piece of artisan bread. You take notice of these, I bet.

This is why holes are such strong marks. They will be noticed. If there is just one or a spare few, they usually become focal points. When there are many, we usually try to take them all in, see into and through them all. That causes our eye to wander all over the piece, peeking in at all the open spaces. But small holes used as marks are particularly intriguing because we have to take a closer look to see in and beyond them, inviting the viewer to get a bit more intimate with the piece.

Let’s look at a few examples and pay attention to how you look at them. How strongly are you drawn to the holes? Can you imagine the piece without those puncturing marks? How would it change the piece if the holes were just surface marks and not punctures?

 

We can start with the opening image – a brooch with some variation in hole marks by Sabine Spiesser simply titled, Reef 1. What draws your eyes first? It might be the red, being a strong draw itself, but did you stop to look into the little holes?

Sona Grigoryan’s holes nearly take over her pieces sometimes, as in these brooches.

 

Sometimes holes become edges, as readers discovered in February in the Virtual Art Box with the featured pin lace technique, but in the enameled piece by Danielle Embry that opens this post, we can see through them clearly to the bright yellow background beyond. This brooch made 10 years ago, and I didn’t know when I picked it that she had titled it “Corona”, but it feels visually metaphorical for us all right now. Kind of gives me shivers actually.

Holes as marks don’t have to be round or organically scattered as most of the above are. They can be any shape and can be orderly, even to the point of creating an image as show in this ceramic bowl by Annie Quigley who does nothing but make holes in her ceramics.

 

Okay, now it’s your turn to find holes being used as marks. Go look at work in your studio and see if you use holes and if so, how do you use them? Are they used as marks or for functional purposes or maybe you don’t know or recall your intention with those holes?

If you’re not seeing holes in your work, I would normally say go out and look for them at galleries and shops, but most of us can’t and shouldn’t be doing that kind of thing. So how about a virtual tour. Or 30? Click here to get a list of virtual tours. This list is actually more than museums which I thought was neat in case you have young ones with you that might really enjoy a virtual tour of an aquarium or zoo. There are some wonderful places to virtually visit here.

Ok, now to go rest up for a bit as I have much to write this coming week between sewing masks and keeping up with isolated family and friends. (We have THE busiest social schedule we’ve ever had, and its all virtual!) Please, everyone take care of yourselves and make the most of your indoor time with a lot of creative exploration!

 

 

https://www.thegreatcourses.com/?fbclid=IwAR0-pI2eqMCBE6M1fERp5XsNRmR7ydW2szeBCtMAHXBSleY2cfwsnVf4VZA

https://www.craftcast.com/ 30% off code: Spring2020

Christi Friesen free play days, next one on Sunday

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A Voice Inside (Big Sale Inside too!)

March 15, 2020
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How often have you heard that you need to hone your artistic voice? It’s a bit of a catch phrase in the art world, a nebulous goal that sounds like it will herald your arrival into the art world as a “real artist”. Well, although I am one of those who talks about artistic voice a lot, I thought I’d put the record straight and just say … you don’t need to develop a unique artistic voice to create meaningful work.

It’s true. The need to develop a creative voice isn’t for everyone as it rather depends on why you create. Some people simply enjoy the process of creating or have an intense passion to acquire new and better skills. If that’s you, then fabulous! Go at it and don’t worry about a unique voice. Just create what you like but don’t copy (or don’t sell or teach those pieces if you do.) Do hone your skills so the work goes more smoothly and so you can enjoy your creative time that much more.

If however, you are one of those who have something to say or some­thing they need to pull from inside themselves and put out into the world, then having a particular voice, versus just muddling around with the styles and inspiration of artists you admire, is rather important. Your particular voice is a pathway to self-expression and sharing your vision with the world. Even so, I don’t think you should put undue pressure on yourself to find that voice. I know… I sound rather contradictory, but the fact is, if you put in the work, learn the skills, follow your true passions, and work with a particular intention always in mind, your voice will come out of its own accord.

I don’t know why people go on about the need to be unique so much. We all are unique already! There is no one else in the world quite like you so there is no rea­son to try to be, or create, something that will make you more unique than you already are. If anything, we need to lose those crippling preconceptions of ourselves and how we need to be or act in order to find a more authentic sense of self. (That would be a discussion for another time, though!)

So, keep in mind, a discussion of creating a unique voice has nothing to do with becoming a unique person. Rather, it is about determining what, if any, mode of expression you want to explore in order to share your­self, your passion, and your vision with the world.

Voices Calling

Who do you know of that seems to create with that kind of authentic voice? Think on that for a second. Then ask, why does their work come across as unique and personal or as a passionate mode of self-expression?

Asking myself those questions, I just have dozens and dozens of artists that come to mind and probably as many reasons why. I really believe that polymer clay draws some very unique people due to its broad range of possibilities which leaves so much room for expression as well as room to reach into the realm of other materials and approaches.

For instance, is there anyone else that you’ve seen that does the range of work that Wendy Wallin Malinow does? It’s really different, a bit macabre (or sometimes more than a bit), and utterly fascinating. What I personally really love about her work is that she creates in absolutely whatever medium fits her purpose. Polymer clay is one she returns to time and again, but really, no material is off limits to Wendy.

Here is a collection of nests of by Wendy that I got a photo of at the Racine Museum in 2017. The upper left one is cut from copper, the one on the right (if memory serves me well) is created from polymer and paint, and the third is a detailed pencil drawing. Wendy seems to explore ideas and materials simultaneously, but lets the project determine the possible material, not the other way around. That distinction can be so necessary when feeding your own voice as, ideally, you don’t want to restrict your options simply because you identify with one material more than others.

 

Wiwat Kamolpornwijit also comes to mind as a really authentic voice, primarily because his artwork developed out of pure exploration while learning the material for a purely charitable reason. He had not set out to be a jewelry artist but was merely looking for a way to raise money for a cause he deeply believed in. But then the need to raise money continued and so the creating never stopped. His distinctive look came out of a natural progression in his process as he picked up skills and developed ideas out of a self-imposed necessity. As I understand it, he never aimed to create a distinctive voice, it just manifested itself from all the work he put into his craft and from letting his curiosity lead his designs. The result is that his award winning work is always easily recognizable. Below is a collection of his pieces from the Smithsonian Craft show in 2018.

 

Meredith Dittmar is another artist that is definitely on her own path. She too moves between materials, largely polymer and paper, in order to fulfill the needs of her projects and vision. It’s interesting to see though how polymer is sometimes treated like paper in a very flat manner, while other times, paper is rolled and folded to become more dimensional. The piece opening this post is listed as mixed media although I think it is primarily polymer. You can see how some pieces of it could be (and may be) paper. And below, she had to be working with some construction materials as well as paper and polymer, for this huge installation piece at the KAABOO Del Mar 2018 festival in southern California.

 

These are just a few of the people that have intrigued me over the years with their unique expression and sense of authenticity. By the way, the reason I can make rather certain statements about these artists is because they were all interviewed for articles in The Polymer Arts at some point. You can read more about Wiwat’s intriguing path to art in the Spring 2017 issue, about Wendy’s color approach in the Winter 2013 issue, and get a peek at Meredith’s process and studio in the Summer 2018 issue of The Polymer Arts.

 

Coaxing Your Authentic Voice

Okay, so I have an idea to help you bring out your authentic voice but it’s going to sound like a sales pitch because, well, it is although that’s not my primary motive. I want to help people find a place of joy, solace, and accomplishment in their personal creative endeavors. That’s my passion! My publications and projects happen to both help you in your creative pursuits and helps me pay few bills so I can keep doing this.

But let’s talk about you now. If the subject of your artistic voice and identifying your passions or the direction of your artwork is important to you, then you really should join us for the March Virtual Art Box. The VAB is not just another publication–it’s a community and virtual classroom with group creativity coaching that focuses on design education and exploration to help you cultivate the creativity and skills that lead to joy and fulfillment in your creative endeavors. The content applies to all professional and aspiring artists who, like the artists above, want to follow an authentic and fulfilling creative path.

So, come join your kindred spirits (from novices to some really well known and accomplished artists) already enthusiastically digging into their Boxes by snapping up the March box, or both boxes for February and March, available without a subscription if you just want to get a taste. Or jump in feet first while getting significant savings on recurring subscriptions. It’s a minor investment in your art and your creative self – less than a couple cups of coffee and it’ll warm you from the inside for longer, too!

As it does look like most of us will be spending a lot of time at home these next few weeks, it seems like a perfect time to put your spare energy into your creative endeavors. If you join VAB, you will also have access to a deep store-wide discount on all publications on the Tenth Muse website (much bigger than the one below even) and on Christi Friesen PDF tutorials as well!

But if you just want good old magazines and books, well, I want to help you out too. So, here …


“Make Your Own Package” Sale: 25% off $29 or more!

The discount is good on whatever collection of single publications, print or digital, that you put together in your cart when they total $29 or more.

Use coupon code: MYOP2529

Offer good through March 31, 2020. Discount doesn’t apply to sale items, packages, or the Virtual Art Box.


 

Okay, my dears, I am off to clean the studio so, hopefully, I can get some creative time in this week. I hope everyone is staying safe, staying sane, and keeping in touch with loved ones, especially those that can’t get visitors or go out during this crazy period. This too will pass. We got this!

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A Bit Abstracted

March 1, 2020
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Have you ever thought about how often polymer work is abstract? Many polymer artists who work in jewelry, wall art, and functional art do not work with recognizable imagery. Quite often polymer artists express themselves with little more than color, lines, forms, and textures. Technically, much of polymer art is decorative art due to so much of polymer craft being created in functional forms (decorative art being defined as functional as well as beautiful), but is there that great a difference between the intuitive arrangement of elements to create mood, impressions, and symbolic meaning in a piece of jewelry and that used in a painting on canvas? Well, no, there’s not, except in how we categorize it.

Unfortunately, that separate categorization, in my view, performs two disservices—it allows for a perceived difference in value (where art that is not functional, created just for art’s sake, is deemed more valuable) and creates a mystique around non-functional abstract art that makes us think we need to “understand” it, while nearly the same thing on a pendant can simply be admired. I find that sad. Why can’t just any piece of art be simply admired without looking for deeper meaning? Let’s look at just a few pieces that you can recognize as similar to familiar polymer work but is not, and use it as a back door to appreciating the inspiration that non-functional art can be for us “decorative” artists.

Abstracted Double-Takes

Take a look at the beautiful mixed media painting by Carol Nelson that opens this post. Can’t you see it as a lovely polymer pendant? Carol’s painting is cracked and textured and layered with metal foil. Is that not a familiar combination in polymer too? I think of the wonderfully crackled and painterly effects of Debbie Crothers’ work like this pendant below when rummaging through Carol’s portfolio.

If you are familiar with the polymer and metal jewelry of Susan Dyer, then this next painting might immediately bring to mind some of Susan’s well-known designs, of which there is one example below. The painting is Squares with Concentric Circles by Vassily Kandinsky.

These two pieces are so similar, you might think the jewelry was a direct translation of the painting but I would guess the designs came either quite independently or wholly unconsciously from the painting.

Much of polymer surface design is about abstract expression. We just immerse ourselves in the color, texture, marks, and mix of materials until we’ve manipulated it into a place that speaks to us. I know that is how I worked on abstract paintings when I had my short stint with those. I imagine that is not too different from what Christine Krainock was about when she created her painting Drifting Away, that you see below.

Now, doesn’t that remind you a bit of some lovely mokume created with translucent polymer and metal leaf, such as in this bracelet by Tatiana Parshikova? It’s a different material but has a similar feel, doesn’t it?  That painting would make a lovely bracelet if the painter was so inclined to make her work decorative art.

So, why isn’t our jewelry highly revered abstract works of art? In some arenas it is in its own way but being functional or wearable will likely always be separate from what is often referred to as “fine art”. It really doesn’t matter though. What does matter is that what we often do in polymer can be derived from much larger work hung on walls in museums and galleries. Also, if you’ve been stumped by abstract art but can appreciate the wide breadth of polymer art, you can apply your appreciation of the decorative to an appreciation of abstract paintings–the colors, textures, lines, etc. are used in a similar manner and often with similar goals.

So if you have time this week, maybe you can go to a museum or traipse through some galleries and try to imagine the pieces you see translated into polymer. You might find some amazing inspiration and ideas in work you just hadn’t considered in that way before.

VAB-ulous March

The next Virtual Art Box will be released at the end of the coming week and here’s a peek at the digital cover. Not only will we be exploring our passions, finding one’s unique artistic voice and, the wide world of mark making, I have a couple amazing discount offers for members as well. March is going to be a great month! Come join us if you haven’t already.

Shimmer and Shine

Also, if you haven’t seen the newsletter, I am presently taking submission ideas for tutorials for the next book, Shimmer & Shine Polymer Art Projects. You can get more details by going to this online version of the newsletter if you are interested in pitching an idea.

My apologies for any distracting typos this post. I’ve been a bit exhausted and my dyslexia, usually quite mild, is playing havoc with my proofreading skills. So, I’m off to just relax for a bit before I take up the reins on a busy first week of the month.

Have a beautiful first week of March!

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Giving Voice to Vision

February 16, 2020
Posted in ,

Alev Gozonar, Herd Psychology I, 2019

Do you consider yourself one of those people who like to talk about their art, or do you want never to talk about it, like it might lose some of it’s magic if you try to explain it?

I think a lot of artists feel a little of both. We love what we do so much that we want to share it with anyone who has the slightest interest, but at the same time, we don’t want to over analyze it for fear of diminishing the personal and often mysterious process that is the creation of art work.

You don’t have to be over analytical about your art in order to verbalize what you do but you should consider how putting your thoughts about your process and what drives you to create into writing can help both yourself and those who view your work.

Let’s look at a few artists and their words to see how authentic and intelligent discussions of one’s work can illuminate and grow our appreciation for the art and its creator.

 

From the Mouth of Artists

For some artists, their intention is wound up intensely in the stories they would like to tell. Christine Damm is an artist who believes so strongly in the power of storytelling, that she named her business “Stories They Tell”. In her own words:

Stories They Tell is the name I call my company, because I am a storyteller. For me, life is a process, a journey, a transformation, an unfolding. And as our lives tell a story, so does our art. We – and it– are shaped by what we’ve done, who we’ve met, what we’ve learned, what we’ve struggled with or succeeded at. Life is an intersection with other souls, other lives, other ways of seeing, other ways of living. Art expresses that in a wonderful and ever-changing, topsy-turvy marvel of creation and discovery.

This paragraph from her website is an honest expression of how she sees the world and how that viewpoint lives with her and her day to day creative work. You can tell that it is a heartfelt view and description of herself, right? She’s not saying anything that hasn’t been said before, but she is saying it in her own words, and it gives us an understanding of what is important to her and what drives her creative process.

 

Alev Gozonar is a very conceptual artist. She clings to, and explores, words, stories, and specific ideologies as she creates. In the piece below I found on Instagram, she tags her images with just a handful of descriptors, primarily #concrete and #brutalism, referring to an architectural style in the mid-20th century that was characterized by monolithic, blocky, concrete elements. She contrasts the concrete shapes with delicate floral petals in this piece, but in other pieces in this line, the polymer petals are spattered or covered in concrete rather than just existing alongside the harsh building material, so there’s both an interesting juxtaposition and an immersion of the delicate in the hard and harsh. (You can find those other pieces on her Instagram page.) Now read how she sees her work. Her statements about reveal even more layers to her approach. In her words:

The dominant theme in my works is the composition of a whole via the repetition of parts.  This can be seen as an extension of my textiles education and has become a cornerstone of my identity as an artist. If I make an attempt to describe the general framework of my artwork, I would say that the most important starting points for me are the emotional losses and gains I have experienced in various phases of my life, my observations about life, my personal experiences and the way all of these things reflect on daily life, behavior and emotional states. 

Now what do you think when you look at this piece, or at the piece that opens this blog? Does it change how you see them?

 

Debra Adelson is a jewelry artist working in a “centuries old Bohemian cold work glass technique. Cold working does not use heat but, rather, water to keep the glass cool while manipulating it using abrasives such as sandblasting, grinding, drilling, and cutting.”

Look at her pieces below. If you did not know what her process was, you might take but a very quick glance at her work but you would not have had a lot to ponder. However, you now know something of her process and so probably have an increased appreciation and so, you’ll linger longer to identify how her process forms the work.


She has a very specific design process as well and often photographs her work to show the original inspiration which further informs us about the piece. For instance, it will be hard to look at the amber colored brooch and not see the water worn slot canyon walls, now that we have seen the photograph – the image is forever connected in our minds to that brooch, even if we see it without the image.

So, yes, images can help but, still, Debra gives us further insight into her process and thoughts with this selection of words from her online bio:

I am inspired by the natural world and our relationship to it. My pieces pay homage to changing forces that shape our landscape—both natural and manmade. I seek to create harmony in my work and find balance between our need to shape our environment while preserving and respecting the natural world. Each series begins with a distinct inspiration or concept. I base the initial piece on an image, a moment in nature and experiment to come up with my ‘visual language’ that tells a story for the series.

Her work is really amazing so do stop and click through to look at the colorful and very interestingly carved glass “gems” on her Instagram page or website.

 

Obviously, this is just a small taste of what people post to talk about their art. I might suggest that, as you zip around online and run into various artists that you admire or work that inspires you, go to their websites and read the ‘About’ page or their artist statements. The more of these you read and the more aware you become of how statements inform the artwork, the easier it will be for you to form a statement, a bio, or other text about you and your work that is authentic and truly brings across what it is you would like people to see in what you do.

 

Me and My Projects

I can’t tell you how energized and excited I am these days! For one, the Virtual Art Box which was released a bit over a week ago, has been so enthusiastically received (for which I am so relieved as I wondered how people would like it) and, secondly, because I’m getting to write tons about the things I am most passionate about! I get up in the morning and write like a mad woman. It just comes pouring out. I have to actually stop myself so I can make room for some guest artists and writers. When was the last time you were so excited about something that you could hardly think of anything else? It’s a great feeling!

It truly helps my enthusiasm to have such glowing comments sent to me (“This changed my life, already!”, “This was just what I needed. I thought I was burned out on creating but that wasn’t it …”, “I feel like I’m taking a college course!”) but I was a bit overwhelmed and emotional at moments. I am trying, in everything I do with my publications and projects, to affect other people’s lives in a positive and nurturing way but, unlike when teaching in person, in this business, you don’t get a clear idea of what people are doing with what they learn. But with the Creative Pursuits (a challenge and form in the Virtual Art Box that lets readers connect with me on their focus and goals) and the social media pages, not to mention the kind emails and messages I’ve been getting, I’m hearing exactly what your fellow polymer enthusiasts are up to and what they want. It’s fascinating and creates such energy for me and, I think, it will do so for the active VAB members. It’s so exciting!

If you aren’t getting the VAB, you can join in today by buying the one month February box, no subscription required, and then you can  check out what we are doing. You can get a subscription right now too although that won’t start you until March. Whatever you do, I just hope you have a chance to get in on this energy.

 

 

Lindly Needs a Little Love

If you have not already heard, one of our very dear community leaders and pioneers, Lindly Haunani, had a horrific accident a bit over a week ago. She has multiple broken bones, including bones in her dominant hand, and although she is sure to recover, it is going to be a very long and difficult road. Of course, this community jumped in to help her out in a huge way, but she will need your continued love and support for quite a while.

Take a look at her Go Fund Me page and send Lindly a little love this Valentine’s weekend if you can.

Additional fundraising avenues are being worked on as well. I will keep you updated on those and her well-being as I get news.

 

Shimmer and Shine … and Get Published.
Deadline for submission of ideas is March 15th

Scheduling this for Fall 2020, the Polymer Arts Projects – Shimmer and Shine book will, like the PAP – Organic’s book, feature numerous in-depth tutorials by some of our community’s most accomplished artists.

If you feel you are one of these folks that have something fantastic to offer readers for this theme, I am now open for submission ideas. Here are the basic guidelines:

  • As the theme is Shimmer and Shine, the project should be shiny, glitzy, sparkly, or blingy but also artistic, well-designed, and skillfully conceived.
  • The tutorial should work for readers in the experienced novice to moderately advanced range. This will not be for absolute beginners.
  • The tools and materials, or workable alternatives, should be obtainable by the majority of our worldwide readership.
  • The project should have a specific technique or look that can be reproduced in different forms and styles with examples of possible variations shown.
  • Artists submitting should be experienced at photographing their process and writing detailed tutorials.

This special publication offers payment and profit sharing for our contributing artists. Keep an eye on these newsletters for your submission opportunity next month. Check out the Polymer Arts Projects – Organics  book for further examples of the kind of tutorials we will be looking for.

At this time submit just the summary of your idea–just a few sentences–and links or small attachments to images of the technique and/or pieces of the kind your proposed tutorial would include. Send them to sage(a)tenthmusearts.com. My response will be sent after the March 15th deadline.

I look forward to your ideas!

Well, my dear readers, I do hope you’ve had a loving weekend. I’m off to spend the rest of it with my sun and stars. I hope you have an exciting and creative week!

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Changing Forms

January 26, 2020
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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!

 

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