Tenderly Organic
July 21, 2017
Inspirational Art
We are going through the final stages of emptying the family home this weekend and I must rush off to get working on that but wanted to leave you with one more organic and unusual piece to contemplate.
I suppose you can’t really say that this composition is so unusual. The side focal thing in necklaces is nothing new but can you tell that the flowers in leaves are neither real nor made of anything like polymer? These are actually created from leather which is certainly part of why it has such a soft look to it, one that might be hard–although not impossible–for polymer to recreate.
The leather work is so realistic, however, and the palette restricted to a very realistic leaf green and pale peach makes for a beautiful and tender look. I was thinking this even before I saw that Viola of the Viola Wizard shop on Live Master named it “Tender Age.” Just seems very fitting for the stroll down memory lane that will sure to be a large part of my weekend.
So off to join the family. But you can enjoy more of Viola’s work in her Live Master shop.
Weekly Inspiration Challenge: Give yourself permission to make something personally meaningful, something that you put time and effort into that has nothing to do with making a sale, creating the perfect gift, or impressing others. Make it knowing no one else will see it and the only person you are trying to impress is yourself. See where your personal passion takes you.
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Organic Support
July 19, 2017
Inspirational Art
Fantastical and fun as well as fundraising, this amazing polymer bra was Randee Ketzel‘s entry into the annual Art Bra event in Austin, Texas. The chosen pieces are showcased during a one-night event by local models, all of whom are breast cancer survivors. The huge event raises money for the Breast Cancer Resource Center which assists Central Texans affected by breast cancer in overcoming obstacles related to accessing treatment and confronting the issues that affect quality of life, all for free. What a cool event!
And what a beautiful piece Randee created for this very noble cause. The composition, with the leaves coming up to cradle the mix of flowers as they flutter off towards the straps, is nicely balanced by the composite cane flower beads that ground the upward sweeping cups on their centered, drop placement.
For more on Randee and her other work, go to her Flickr photostream or her Etsy shop. For more on the organization and event this was made for, go to the Art Bra event site.
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A Feast of Canes
March 7, 2017
Inspirational Art
The Spring issue is out and as usual, there is a bit of chatter on it out there in the social network world but there is an unusually high level of enthusiasm out there this issue. Is it that fabulously colorful cover? The wide variety of articles by or about amazing artists like Donna Greenberg, Christi Friesen, Wiwat Kalmpornjiwit, and Sylvie Peraud? So far the most talked about articles are the Lariat making, Donna’s inspiration from the past and Christi’s treatise on armatures which was pretty eye-opening since she picked the brains of some of the most amazing artists for which armatures are essential, namely Ellen Jewett (with that incredible opening piece!) and Adam Thomas Rees who I knew built his own animal shapes but had no idea how he did these huge things. But Christi revealed that for us.
The one thing we couldn’t do in Christi’s article was blow up some of the images so you could really see the detail of the work these artist’s do. Adam layers canes onto animal shapes in a manner reminiscent of Jon Anderson though they were developing their work around the same time so I don’t think Adam came to this idea from seeing Jon’s work although either of them may have influenced the other since. But other than canes on animal shapes, they have different approaches. Adam’s pieces are huge and his canes are large, broad patterns and often very bright. He sometimes mixes up other sculptural textures and additions to his creatures that create a feast of interesting details for the eye to roam over. The hanging matted hair like texture built up on this one creates a swath of white to give the eye a resting place below all that intense color and pattern above.
Just open Adam’s website and try not to be startled by the creature staring out at you. It’s beautiful but intense! Take some time out today and enjoy Adams colorful patterns in his galleries. And grab your copy of the Spring issue of The Polymer Arts on our website here.
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Signs of Spring … the cover of the Spring Issue, “Shape & Form”
February 11, 2017
Inspirational Art, The Polymer Arts magazine news
You may have seen this in the newsletter that went out a day or so ago but I didn’t want anyone to miss out on the beautiful art work we were so lucky to get for the cover of the upcoming Spring issue, “Shape & Form”. Due to popular demand, we decided to do a kind of “back to basics” set of themes for 2017 although I was a little worried about how that would work for people interested in contributing but as it turns out, the design categories have really got people excited and we’ve ended up with some really unique technique tutorials, interviews, and overview articles along with all the usual eye candy and tips and tricks articles you love to find in The Polymer Arts.
This lovely collection of platters you see here are the work of Angie Wiggins whom Lindly Haunani interviewed for our “Color Spotlight” section. Angie has a unique way of choosing and setting up her color palettes for the year, a process she shares in the article and the success of which we can see in the work.
The Spring issue and this intriguing interview will be out at the end of February. Print renewal notices were sent out by email this past Wednesday and we’ll be sending out digital renewal notices this coming week but if you aren’t sure about your subscription status, you can take a peek at your account here. If you don’t have an account or that page can’t answer your questions, you can find more information and the correct person to contact here.
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Decked Out Art Deco Bottle
February 9, 2017
Inspirational Art
Here is another way to cover a bottle, this time with the careful layering of sheeted and extruded clay. Beth Petricoin leans on the clean planes and lines of machined clay to help create a well finished and precise design. Her choice of art deco for inspiration works well with the sheets and extruded snakes since the era is marked by crisp shapes and balanced patterns.
And lucky us … Beth documented her process, making it look so very easy, even though I know it had to take a lot of patient application, not to mention a lot of clay. This old liquor bottle is quite large–16″ (a little over 40 cm) tall–and she used 7+ blocks of clay to complete it. I think it would be hard to find someone who would not agree that it was an effort well worth the time and clay.
Take a look at the process on her blog here. Her polymer work can also be found in her Etsy shop and her Flickr photostream.
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Tastefully Ornamented
February 7, 2017
Inspirational Art
You know how you start out looking for one particular thing but end up with somewhere completely different? That’s how I came upon this week’s theme.
I was going to do something pre-Valentine’s but something not having to do with hearts. I thought, maybe, flowers but I was overwhelmed by the many floral-ized polymer pieces out there so then I thought about vases because our valentine’s flowers need to go into something special. The self-imposed problem there was that sophisticated examples were a little hard to find. This landed me on a quest for sophisticated vases, which led me to all kinds of sophisticated vessels and the one thing I noticed is that there is a penchant to make the pieces quite complex or just covered top to bottom in color and pattern. So I decided we should look at uncomplicated designs that would be easy to create with little more than a bit of planning and patience to show how accessible a lovely, polymer covered vessel project can be. So, yeah … this has nothing much to do with Valentine’s Day. Oh well.
I am sure most all clayers have covered a bottle or two in their day. They are easy and inexpensive to acquire and make a great canvas to work on. This example of a tastefully ornamented bottle, subdued and yet feeling gussied up for a special occasion, was created by Jayne Ayre of Kismet Clay Designs. Jayne is an accomplished fantasy sculptor who makes regular forays into polymer covered objets d’art.
This design is actually a little unusual for her, if the Pinterest page I found this on is to be the measure, but I think it is one of her most successful covered vessels. Whereas her pieces are often adorned with medieval and steam punk style embellishments with regular and balanced placement, this piece is decorated in a free-flowing design, accented with a trail of varied polymer dots that meander casually about. The base layer brings in the color and an enticing aged look and texture so that the stamped clay laid over it doesn’t need to be complicated by color or too much of anything else, really. The one gather of flowers and leaves from this view works as a nice focal point for a simple, grounded design.
This is the kind of object that won’t necessarily grab your attention when you walk into a room but rather, it will make you smile when you discover it’s existence among a small collection of common liquor bottles and wine. Well, that is where I would put it. A bit of decorative elegance in among the labels to surprise and delight my thirsty guests.
Jayne also covers wine and martini glasses, ‘potion’ bottles, and capped jars. You can find these tucked in among her fantastical creatures on her Pinterest board and her blog.
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The Ethereal Moth
January 10, 2017
Inspirational Art
I don’t know what it is, but moths seem to be popping up all over the place in the polymer-sphere. They are pretty amazing too. This one was hard to miss. The translucent wings and choice of colors that are smoothly graduated in beautifully executed detail make this moth feel quite ethereal. Even the fluff and strands on the head are finely wrought clay with careful attention paid to the progression of grays. It’s a wonderful piece but unfortunately, I don’t have the artist to credit. It showed up on Pinterest with a link to a polymer group page on www.vk.com but with over 11,000 members, I have no idea whose it could be.
I can’t tell you how many pieces I pass up for features in the blog because there is no artist listed and initial searching leaves me no clues. Which means we are all without further knowledge of these artists. You can help change this.
If you like something so well that you save it, be sure there is a link to the source of the image’s information, not just the website’s homepage. You can ensure you are doing this by grabbing the web address of the post, article, or particular page you found the image on in the notes of the image on the social media site you save it to. If the address is just the website home page, you can usually click through on the post’s title or the “more …” link at the bottom of it to find the particular page with the artist’s information in whatever form the posting person has it.
Let’s give credit where credit it due. Not to mention giving us a chance to find out whose work we are admiring. As usual, if anyone knows who created this, chime in. I know I would like to see what other wonderful things they are creating!
UPDATE: We got our answer as to who the artist was–Darya Telegina of Balambeshka on www.vk.com. Thank you to Sherrie Brittig, Conny Brockstedt, and Natalya Aleksandrova for figuring it out and sending the links!
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A Fitting Start
January 5, 2017
Inspirational Art
At first I couldn’t figure out what Carol Blackburn had done here and could only stare at this in wonderment. But then, I was looking at the image on my phone as Randee Ketzel had forwarded it to me and I have to immediately check out anything Randee sends my way. On closer examination (and on a full size computer screen), I realized that these are sheets of Skinner blended clay fitted together using interlocking tabs. Carol refers to them as Dodecahedra and mentions in the thread of comments on her Facebook page that she plans to make earrings out of them so I guess they aren’t too big. I sure would love to see them in person. It’s her color combinations that really make these work with all cool or all warm colors on each one, making the variety of color relate.
Carol does like to play with sheets of clay, much like paper and in ways related to paper art but the durability and embedded color add an aspect you just can’t get in paper. You can see what I mean by jumping over to her website. If you are on Facebook, jump over to Carol’s page and check out the comments and conversation.
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Close Color Calls
December 14, 2016
Inspirational Art
Our Color Spotlight section of the Winter 2016 issue of The Polymer Arts was graced by Donna Kato, interview by Lindly Haunani. How amazing is that combination?! Donna let us in on her colored pencil experiments and her reasoning behind her approach. Although colored pencil on polymer is not new, it is always fascinating to see into the workings of an artistic mind and since this section focuses on color choices and inspiration, we got a peek at how this master choose colors for her explorations.
One piece that I was sent to consider including was this beautiful necklace you see here. We ended up focusing so much on the pencil work that there really wasn’t a place for this in the article but it certainly deserves a bit of attention. Each section of the necklace deals with one basic hue in two different values. The disparate placement offsets the regularity of each hue showcased in the same shape and the relative dark to light hue being basically the same within each color set. The delicious saturated colors don’t hurt it at all either.
The most active page to see what Donna has been up to in her own art looks to be her Facebook page although you can see some of her more honed work and learn from her wisdom by going over to check out her classes on CraftArtEdu.
Inspirational Challenge of the Day: Let’s play with color hue. Pick 2-3 colors–they can contrast, be analogous (next to each other on the color wheel) or simply be your favorites. Choose two variations of each color–different saturation (how pure a hue it is), values (dark or light), or tints/shades (additions of white/black.) Now use just these to create a new piece.
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Libby Mills uses value in color to create drama and depth with a mostly monochrome color palette.
I planned on talking about color variation this week but then it occurred to me, that we will need to talk about color contrast and you can’t talk about contrasting color without talking about value. So, I switched up my plans and we’re going to talk about the often neglected concept of color’s lights and darks, otherwise known as value.
The Light and Dark of It
So, what exactly is value? Value is simply what I just mentioned – the lightness or darkness of a color. This has nothing to do with their hue. Remember, hue works more like a category so mint green and hunter green both are a green hue, but mint has a light color value while hunter green has a very dark value.
The most important thing to remember about value is that it used to create contrast. For instance, purple has a much darker value than yellow, right? Used together, they are high in value contrast and, so, make a rather dramatic color palette. On the other hand, a dark magenta and forest green will have the same or similar middle-dark value. Putting them together will not create much value contrast. Although there is nothing wrong with that – they belong to complementary (opposite) hues on the CMY color wheel so they have contrast there – the lack of value contrast greatly reduces the potential of their dramatic contrast in hues.
To be blunt, similar values in rich colors such as dark magenta and forest green would just be boring. Now, if you choose a slightly darker magenta and a lighter green such as a burgundy and an jade, that will increase the value contrast and make a much more interesting color combination, as seen in the example image here. Below the color combinations you see them with the hue removed, leaving just their gray value. So that’s another way you can think about value – it’s the lightness or the darkness of the color without any color in it.
Seeing the Value
If you are a painter you might be shaking your head at the simplicity of the above explanation so let’s get a bit more precise. (If your head is already spinning a bit, just read through this but don’t worry about understanding it fully yet. You can come back to this later.)
Value is not just the lightness or darkness of a color. It is the lightness or darkness of what is SEEN. That’s an important distinction because the color of things we are looking at out in the world won’t stay constant as the light changes.
For instance, have you ever been around someone in a restaurant or on a train – some poorly lighted space – thinking their hair is dark brown only to see them step outside and find that it’s a rich red? Their hair didn’t change color. The light did.
The less light there is, the darker things appear, right? That seems obvious, but it’s really important to consciously understand that. It underlines one of the primary principles about creating art, especially imagery you’re trying to reproduce in any realistic manner – it’s not about what you think something is, it’s about what you actually see. So, if you are painting a portrait of me in a dark room, you would not paint me with the bright henna red and copper hair you know I have, because in the dim light, my hair would not actually look red or copper.
You may not be a painter but if you plan to build images in canes or are painting with polymer or create pretty much anything where you are developing a two-dimensional illusion of form and depth , you will be working with these kinds of value changes in color. Even if you don’t create imagery, the concept of how light changes the value of a color is useful for understanding what value is and why it is important in your designs.
You’ve actually learned about the importance of value if you’ve ever tried to draw a ball – to make it look round you have a very light spot where light hits the sphere directly, a dark side where the light doesn’t reach, and a gradation from light to dark between the two. Now, if that ball had color, like the blue ball you see here, you can tell that it’s a solid blue ball even though it actually has a variety of blues in this rendering of it. But I couldn’t just fill in a circle with one shade of blue and have you understand it is a ball. We need to see that change in color value – the swatches pulled from the blue ball are all the same hue of blue but are all different values – in order to see a dimensional form.
Without those changes of value – those lights and darks, those highlights and shadows – everything would just look flat. That is also why you don’t want to take a photo of an object with the light shining directly on the front facing view – it will kill the shadows, eliminate value changes, and make it difficult to perceive its form.
Intentional Value
So, a change in color value provides us with visual information, right? We like that. We like to be able to perceive if something is round or flat, textured or smooth. The contrast between light and shadow gives us that information. It is one of the reasons that we look for (mostly unconsciously) the contrast in value in works of art as well. Contrast, or the lack of it, can tell us a great deal.
In these beads by Jennifer Morris, there is very little contrast in value but these are not about drama so it makes sense. There are muted and pale colors with feminine floral motifs on round forms with low value contrast to match. The intention for this to be soft and quiet is obvious and with all the characteristics servicing that intention, she has designed some very lovely beads.
On the other hand, here are liquid polymer painted pieces by Lynn Yuhr who is clearly going for a bold and graphic look with wide ranging color values to support that objective.
So, don’t think that you must have a high contrast in the value of your colors. It can be high or low depending on what will best serve your intention. Value contrast also can bring attention to certain portions of your work or lead your eye around the piece.
For example, the fish on this clock by Gera Scott Chandler are much lighter in value than the background, bringing our focus to them first. The light value of the circles on the background subtly connect to the larger fish since they are similar in value so that your eye moves from fish to circles, going around the face of the clock.
Furthering Your Color Consciousness
So, before I get into how to manipulate values – something we will get into next week – I suggest you spend some time getting familiar with the values of color. I have a couple suggestions for you.
Go Grayscale
To better familiarize yourself with the actual value of colors, I find it helpful to look at colors in grayscale. A grayscale image will show you the actual value of colors, relative to the colors they are grouped with.
This means taking photos of your work in “black and white” mode or changing color images (yours or other people’s if you want) to grayscale in a photo editing app or software. Not all cameras have a black and white (or grayscale) mode. If you’re not sure, look up your camera model online along with “how to shoot black and white” and if no information comes up, then it probably doesn’t have that option.
The other way to do this is to edit the image. To do this on your computer, use Photoshop or whatever default photo editing software is available on your computer.
- In standard Photoshop, go to Image> Mode> Grayscale.
- In Microsoft Paint.net, you go to Adjustments> Black and White.
- If you are using another program, search the web for “how to convert image to grayscale” along with the name of your editing program.*
If you take a picture with a mobile device, you can usually edit it to grayscale directly in the phone or tablet.
- On an iPhone or iPad, select an image, hit “Edit”, tap the three overlapping circles icon, then scroll the little thumbnails of the photo over until it is in “mono”. Tap “Done” if you want to save it but keep in mind it will save over the original. If you do this accidentally, just follow the same steps and you’ll find the original version in that little row of thumbnails so you can convert it back.
- In Android, and pretty much any mobile device, you can use Google photos. Open your image in this app, tap it to bring up the icons and choose the three stacked lines. Slide the thumbnails over until it is in “Vogue” mode. You can also save it and undo it later.
*Note: There are quite a number of articles online suggesting you convert an image to grayscale by using a “saturation” adjustment. DO NOT do that for this value exercise. As we will discuss next week, saturation has nothing to do with color value. Reducing saturation tends to also reduce value, more for some colors than others. It will completely mess you up. You need a conversion to “grayscale”, “black and white”, or “mono”.
If using software and apps is just too much of a bother or you don’t have a software program, here is a free online service. You just click the file icon, browse to and open the file, and it will appear in the browser window in grayscale. You can save it from there by hitting the floppy disk icon.
Once you have these grayscale images, start looking at how much value contrast shows in the images.
- Is there a lot of contrast or all the values fairly close?
- Does the amount of value contrast match with the probable intention or feel of the piece?
- Do any of the colors set next to each other just blend into one another because the values are so close? If so, do you think that works for the piece or do you think more value contrast could help it? (We’ll talk more next week about how to choose alterantives when you want a different value.)
Just make yourself more familiar with value. You can also use this value scale (click on it, then print it out) to check values of colors or pieces you have. You can lay the scale next to a color and see which value you think is the closest. Then take a photo of the scale next to the color, convert it to grayscale, and see how close you came to matching the color to the right value. Do this a few times and you’ll be seeing in values quite quickly!
Get a CMY Color Wheel
You know how I recommended you get a CMY color wheel? Well, the more I work on these articles, the more I wish you ALL had the CMY color wheel from the Color Wheel company. I can’t tell you how many times I reference mine, and I am convinced that when we get into how to use these color concepts to pick color palettes and to mix color, having this particular CMY color wheel will make it all such a breeze.
No, they’re not paying me to push this. I have met the owners and they are a fantastic little family company (who worked with the polymer community’s very own Maggie Maggio to help build a CMY based grade school art curriculum, by the way) but more than that, they are so intensely passionate about color and education. That’s why they’ve done such a superior job with this particular color wheel.
So, if you haven’t gotten one yet, you can buy it directly from the company for $9 (including shipping in the US) and you will have it within 5-7 business days. It’ll be the best $9 you ever invested for your creative journey. Outside the US, I am not sure where it is best to get them but you can search for “Color Wheel Co CMY” and look for this wheel:
https://colorwheelco.com/buy-now/product/cmy-primary-mixing-wheel-7-3-4-diameter/
Well, I hope you’ve enjoyed this immersive in value. I have to say I am always surprised at how much there is to talk about each characteristic of color. These articles really could be much shorter but I don’t know if you would walk away really understanding and feeling confident about these concepts. We retain concepts better when we spend some time with them. I’m hoping these articles do that for you! If you have any thoughts or suggestions about the length or detail of these articles, I am always up for hearing them. Just reply to this if you get it by email or write me through the website.
Wondering about my references to Intention? Or how to support this content?
Read what so many VAB members have said was a life altering (or game changing or mind opening) set of articles on Intention in the February edition of the Virtual Art Box and catch up on the concept of marks, lines, and shape too. And they are all on SALE, 25% off right now – no promo code needed. I’m also having a 20% off sale on ALL books!
The purchase of a box would help support this free content that I am creating now as well as give you a stronger base for the conversations we will be having going forward. You can help me keep the lights on by making a purchase of any of the publications I have on the Tenth Muse Arts website or by making a one-time or monthly contribution here.
Thank you for your past, present, and future support!
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Craft art is visual right? But is it just visual? One of the unique things about craft items in the world of art is that a majority of it is functional which means it is often handled which makes it not only visual but often tactile. When someone mentions tactile characteristics, you probably think texture, right? Well, our tactile sensation perceives form as well as texture (and density, temperature and even weight but that’s another set of subjects.) Functional objects and jewelry in particular are pieces that are regularly touched so people experience these works both visually and tangibly, even if the sense of touch is not always recognized as part of their enjoyment of the piece. However, the tactile experience can make a huge difference between people liking your work and being utterly in love with it.
Think about how often you touch adornment when you wear it – pendants, necklaces, earrings, and bracelets, are often where our hands go when we are nervous, contemplative, or excited. Functional objects often have parts that are specifically designed for our hands such as handles, knobs, and grips, or are formed for handling such as the neck of a vase or width of a cup. Because of these interactions, you have an opportunity in the form of such pieces to further express your intention.
I realized as I started to research potential pieces for this post, it can be really hard to “show” you things that feel good in the hand. So, we’re just going to have to guess and imagine it!
All the Feels
It’s interesting to note that the characteristics we might associate with visual shapes and forms often translates to our perceptions through touch. For instance, full, round forms, such as spheres and pods will relate the same characteristics as visual curvy shapes and forms – that primarily being comforting and feminine qualities. Imagine wearing this spherical bracelet by Bettina Welker. Even with the energy of the cracks and directional streaks paired with a deep black and the dramatically contrasting yellow-green, the roundness, both visually and tangibly, bring down that energy and drama to a refined and rather relaxed level.
If you want to encourage people to touch your work, a soft, smooth surfaces and smooth, knobby ones are pretty irresistible. Exploration of the texture may often be the original draw to touch something, but further tactile exploration can be encouraged by the form, especially those that lead the fingers around through amorphous, curvy structures or strong but flowing angular forms. For comparison with Bettina’s example, take a look at the opening image, a bracelet by Jana Roberts Benzon, which is primarily curvy but has sharp aspects to it in the form of those regular incisions. It’s a great combination as the fingers can follow a winding curvilinear path through the valleys of the bracelet’s form with vibratory sensations from running over the cut clay, making those cuts more texture than form but however it might be classified, those two elements certainly work well together.
Flowing forms, even when sharp and angular, are extremely alluring when it comes to touch. Tell me you don’t want to run your fingers along the ruffling but angular fins of this vessel by Melanie West. Honestly, it’s impossible not to touch Melanie’s polymer work if it’s in reach. Her forms are full and inviting, begging to be nestled in the palm of your hand, for details to be explored with your fingertips, and the softness of her unfathomably smooth matte surfaces … just dreamy! Seriously.
I don’t think you can come up with any object handled more than hand tools and writing implements. When decorated with polymer, the handles of most of these are simply covered rather than intentionally formed. Take pens for instance – polymer pens are typically cylindrical forms that are covered with a sheet of treated polymer or cane slices but why stick with just the cylinder? Look at these pens by Jana Lehmann. They’ve gone from cylinder to pod like with additional forms added for visual and tactile interest.
Now, I believe Jana’s pens are created over a standard wood form as they all have that basic elongated pod shape but since polymer is so sculptural, there’s no reason why functional objects you are decorating with polymer can’t be reformed. These spoons by Jacques Vesery are wood rather than polymer, but it would be no big thing to sculpt such enticing handle forms.
Okay, enough of just looking at the forms of artwork – why not search out forms in your house or around your yard that you like to touch and hold in your hand. Most likely you’ll find that you are drawn to the more rounded and curvy forms. They are simply more comfortable to touch then angular or blocky forms but that doesn’t mean when creating a form that will be touched by the user that it needs to be round or curvy. Sometimes comfortable is not what you’re trying to express. Other times you’ll want to focus on the visual aspect and not encourage people to touch so much as look at it. It all depends on your intention.
So, go be a 3-year-old and touch everything!
Some Big News
So, I’m going to be making some changes again, mostly to your advantage. The gist of it is that I’ve decided to share the upcoming planned content for FREE!
I’m doing this both because I’m not comfortable with the VAB’s automated subscriptions costs in a time when things are so uncertain. Nearly all the people who have had to cancel the last month or two are writing to apologize for not having the budget for it and lament missing out. That has made me terribly sad, especially for some of my long-time readers who have lost jobs and income.
The other reason is that with my increasing physical limitations, and no staff to pick up the slack, hitting deadlines are hard and quality suffers which isn’t fair for paying subscription members. But I want to create content—I love doing this stuff. If it is not paid for, though, I will have more leeway to take the breaks I need or change what I put out.
So, starting in June, I’ll be posting VAB content here, on the blog and have it sent by email to VAB and blog subscribers.
If you are a present subscriber, you should have received an email Friday night/Saturday morning to explain how that affects you. If you do not see this notice, please check your spam or junk mail folders first but if not there, write me to get the notice resent.
For those want to contribute to the cause …
Creating and getting out the free content will still cost money and time but with my husband still working, I feel secure and fortunate and am happy to share what I can. I am, however, happy to get a boost from those who want to support my work.
The best way, honestly, is to buy yourself an inspiring book or magazine back issue on my website where you can further get to know other artists and community businesses. It’s a real win-win-win. I have also set up a contribution option on the website for those who want to support the free work I do but have everything they want from the shop. Between steady sales and a contribution here and there, I can keep writing, pay the digital services and my tech guy, maybe hire back my proofreader, and support my need for dark chocolate!
There’s a bit more news but I will wait to post that in the newsletter coming out this week. If you aren’t signed up for it, I’ve been adding tips, bits of community news, and just fun creative finds to make you smile. You can sign up for it here if you don’t get it already.
So, with that, I am off. Still waging war with the ground squirrels in the veggie garden so getting my outdoor time and the movement my neck needs to not stiffen up although I have to watch how much I use my right arm still. Yesterday, I planted the last round of sweet potato slips which are up on a hill, hidden behind the ice plant, and will finish this weekend relegating the green beans and zucchini to pots up where the dogs like to hang out and the squirrels do not. I’ve given up on the cantaloupe though. That’s a little depressing but everything eats those leaves! So, wish me luck!
As always, I wish you all a safe and healthy week ahead!
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Are you familiar with something known as the flow state? This is that space you get in where you are lost in your own little world because you are so wrapped up in what you are doing. It happens quite commonly when people are working on creative projects and it’s a really good thing for you, both because it dissipates stress and because it increases your level of “feel-good” chemicals like serotonin and dopamine. It’s also defined as an “optimal state of consciousness where we feel our best and perform our best.” Now, who wouldn’t want that?
I bring this up because I want to talk about mosaics. I think a lot of people look at all those tiny pieces and think, “That looks like a ton of work!” And, yeah, there might be a lot of steps to putting a mosaic together, but the technique is also one that really gets you deep into a flow state. It can be kind of like doodling but with little pieces.
It would not be a hard thing to start on. Most of us have access to tons of tiny pieces, either through leftover canes, unused polymer sheets, or failed projects we haven’t had the heart to toss out. Just slice up those canes, cut up those sheets, and/or start chopping up those cured elements and you have all you need to start creating mosaics. Of course, you can make pieces specifically for mosaics from fresh clay, too!
Mosaics have been on my mind these last couple weeks because, while working on the latest book, Polymer Journeys 2019, it became quite apparent that one of the bigger trends making a splash right now is polymer mosaics and so I thought we ought to take a closer look at this not so new but definitely interesting and flexible technique. (By the way, today is the last day to get the Pre-order Sale pricing on Polymer Journeys 2019! Go to the website to get it at 30% off the cover!)
Mind you, being the insanely creative and exploratory artisans and crafters that they are, polymer enthusiasts aren’t just slapping together any old standard expectation of a mosaic. They are mixing mediums, trying out every shape in the book, using three-dimensional forms, and generally just pushing the boundaries of what the mosaic technique is. Gotta love polymer crafters!
So, let’s take a look at what some people are doing as of late and we’ll end with suggestions for getting into the mosaic flow yourself.
Different Kinds of Bits & Pieces
One of the folks who, at least initially, takes a classic approach to the art form of mosaics but certainly adds her own flavor to it, is Christi Friesen. She cuts out squares of polymer, lays a base to adhere them to and then arranges the pieces in pleasing and energetic patterns. But of course, Christi can’t leave well enough alone — she has to add bling and embellishments of all kinds! She’s been mixing in glass, wire, charms, beads, and probably a bunch of other things I will never be able to identify, to create her whimsical tiles, vessels and jewelry. Can’t you just sense the depth of the flow state she must have been in creating this beautiful maelstrom?
You could say that Claire Fairweather is classically inspired too, but her work has a twist to it. That twist is a commitment to circles used to create these wonderful images of graduated color and varied texture. Using round elements instead of squares and straight-sided shapes that join neatly together, leaves more open space but it’s one that has a fairly regular rhythm that flows in and out of the carefully placed circles. This gives the imagery more orderliness and a softer look as you can see in the many sides of her mosaic globe below. (Be sure to jump over to her blog to get the rundown on what each side is showing.)
Keep in mind that a mosaic piece does not have to be all mosaic. Large swaths can be made up of other types of polymer elements such as textured, silkscreen, impressed, or hand tooled layers or forms. A lot of Susan Crocenzi’s work, especially earlier in this decade, consist of entire halves of her pieces being a kind of polymer landscape, surrounded by glass mosaics or a mix of mosaic mediums. Here is just one example below but you can find more on her website too.
For all of you mad caners out there, here is an example of how beautifully energetic a piece can be just by arranging thick cane slices on a simple form. This bib necklace is a yet-to-be-hung creation by Ivy Niles, who makes some of the most impressive canes. You can see how much more impressive they are when working together in this off-center mandala type pattern.
If you really like the idea of doing mosaics don’t relegate your sources of inspiration to the work of polymer artist’s, as unique as they may be. Take a look at what glass and tile mosaic artists are doing these days as well (just type “mosaic art” into your favorite browser or an image-centric site, like Pinterest or Instagram) if for no other reason than there is some amazing and gorgeous work out there to enjoy. Here is a gorgeous piece by Francis Green in what seems to be a rare piece of wall art. This woman will mosaic anything she can get her hands on! She kinda reminds me of some unbridled polymer artist with their canes. Just take a look at her website.
The How-Tos of Mosaics
So, are you itching to try some mosaics now? Here are a few places you could start:
- If you want to start with something classic, even, and orderly, check out this straight-forward mosaic tile tutorial by Korrina Robinson on her blog.
- Prefer a more open and visually textural approach that is flexible enough to use any type of clay sheets or even canes? Take a look at this mosaic vase by Kathy Koontz on the Sculpey website.
- If you’re ready to really dive in, might I suggest you invest in this great tutorial on micromosaics and faux glass by Pavla Čepelíková. The opening image of this post shows examples of some of the things she’ll teach you to make in this downloadable PDF.
- If you want to use mosaic as a way to diminish your pile of scrap clay and cured bits, take a look at Christi Friesen’s mosaic video tutorial here. You can also have fun creating mosaics Antoni Gaudi style on an unusually formed box with Christi in the Polymer Art Projects – Organic book (go to our website to get your copy!)
- And if that’s not enough, Christi sells mosaic kits on her website where you can also find tons of other embellishments and bobbles to assist in your mosaic flow. Just click here!
- I even have some exciting mosaics for you to look forward to too … We just found out that Staedtler/Fimo is going to sponsor Ann and Karen Mitchell, the Masters of liquid polymer clay, to create a mini mosaic tutorial for the next issue of The Polymer Studio magazine. This is a changeup to Karen’s tiny micromosaic technique published in The Polymer Arts back in the Fall of 2015.
Whew! I got into a flow a bit there myself writing excitedly about all this fun stuff. I hope you’ll give mosaics a try if you have not already, or at least give yourself some time to just get lost in your craft today. It’s good for the brain and the soul and you never know what will come of it later in your creative journey!
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I’ll wrap up this week with some adorable creatures that will just pull at your heartstrings.
Alexis is the creative soul behind Meadow and Fawn, crafting in an unspecified clay and painting the most endearing little details in her jewelry, sculpture and shadow boxes. I found the painting on these owls intriguing because it’s not just feathers and texture, there are little scenes on them or other animals. Does the artist feel that the owls embody the wisdom of all types of nature and that is why she is inclined to paint natural scenes on them? Or are their cute little bodies simply a convenient canvas?
For those of you who have followed me for a while, you know I am very big on intention and the relationship between the elements in a piece. Logically, I am not finding an obvious relationship between the owl shapes and the fox, deer and butterflies on them, but somehow it still works and how readily they sell is a testament to how strongly they must speak to people as they are so quickly snatched up. That’s what is intriguing to me. Is it that they are natural images on a natural shape alongside her soft and gentle style of sculpting and painting?
Logic does not always provide the answers, especially when it comes to the heart and art. I think we can just simply look and enjoy and snatch up our own if so driven. You can follow Alexis on Instagram or find out more about her and peruse her shop on her website.
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I spent a lot of time looking for differently constructed clocks in polymer and couldn’t find much that really illustrated the point I was hoping to make. What I wanted was to show that a clock does not have to be on a flat surface. It can be made of many parts, attached or not, and fully dimensional. As long as you have something that can house or hide the clock mechanism while holding out the hands, the rest is wide open. You can have the hour markers designated by any form and attach them with sticks or wire or be free floating–whatever suits the piece and your inclination.
These two examples are commercial designs rather than polymer art but I think they give you the basics of this idea of moving beyond the flat clock face. Not only do these kinds of clocks make for really interesting wall pieces, they give you the freedom to use pieces you may already have such as large hollow beads, faux stones, unhung pendants, small figurines, flowers, etc.
As a gift, giving a clock that has separate pieces might be best attached to something that can be hung as one piece, like a backing of Plexiglas or painted plywood. Or include instructions for a template to mark on the wall where each piece goes. There is little to no construction to deal with but you will have to make concessions in the design for how the individual pieces will be hung. Alternately, go for a design where the elements are attached like the flowers you see here.
The sky is the limit with these kinds of designs. For more ideas, try searching “DIY clocks,” which was the keyword set that brought me to these two pieces. I hope these sparks some ideas and I look forward to seeing inventive clock designs this month!
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Well, it’s that season again. While everyone else is shopping, crafters and artisans like yourself are working madly away on the stock that your audience demands to make their gift giving season the best one to date. For some of us, that audience is a retail account but for many more of us, it’s the far more intimidating circle of friends and family that we fret over. What do we do this year for gifts and surprises that we haven’t already done? Asking myself this question, I came up with a couple of ideas and in researching, clocks really hit a note for me. Any clayer of any level and any specialized set of techniques can create a clock that is both personal and expressive and everyone of every age can appreciate a lovingly created handmade clock.
Cane-covered clock faces are an easy project for clayers of any skill level. You can buy old clocks at the thrift store, or inexpensive ones at the big box store, or just a clock kit from a craft or hobby store that you put into your cane-covered clay sheets. Here is a fun and colorful, slightly off from the norm, cane-covered clock face for some initial inspiration. Mira Pinki Krispil is quite fond of cane covered decor but she always takes it one step beyond.
I like this piece because of the slight off-centeredness and the imagery in the center. It is more than decorated. The image in its center is intriguing with energetic lines bouncing back and forth through intertwined imagery. It’s just a great visual piece to start with. The fact that it’s a functional clock is a bonus.
Mira creates her colorful piece in south Israel and sells her work on Etsy. You can also see more of her designs by checking in on her Flickr photostream.
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I thought I’d continue to keep it simple this week and still talk a little about line, the theme of the latest issue of The Polymer Arts that came out last weekend.
This simple pendant by Yuliya Zharova uses two elements to tell a story—line and dots. The form of the people here is nothing more thank tall lines with a variation in thick and thin. The dots on the top of this line make up the heads, and the small dots and large gold one somehow become stars and a moon. It’s quite amazing how much can be shown with so little detail. But lines, in particular, can do that. It is a nice reminder of how little we really have to put down to get our viewers to see what we have to convey.
It is also a nice reminder that line has characteristics and qualities of its own. They do not always have to be even. The way the line is formed can convey imagery, as we see here, or emotion. The articles on design and the technique tutorials on using lines and dots and soutache to create emotion and texture will help fill in more on those ideas when you get to reading our latest issue.
Yuliya’s compositions are almost all some variation online and dots and are all lovely in their understated design. See more of her work in her Etsy shop, Wild Onion Art.
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I know this week will be a particularly busy one for many of us, especially in the US where we are kicking off the holiday season with our family-oriented Thanksgiving festivities involving way too much food and way too much shopping to follow it up the next day.
So for today, I thought I would harken to the theme of the just-released issue of The Polymer Arts, our Winter 2017 – Line, with a simple piece that represents a quality of line that I discuss in the article in this issue, “The Language of Line.” The simple circling forms, in the signature wavering organic forms of Anarina Anar, keep the composition centered and focused with a soft energy that continuously winds around in these soft but warm colors. Although the pendant is three-dimensional, it is the line the forms follow that gives the piece its balance and verve.
For more of Anarina’s colorful and energetic compositions, take a look at her Flickr site or her Etsy store. And to learn more about line, get a hold of your copy of this wonderful issue through our website if you have not seen it already or have it on its way to you.
Read MoreFirst of all, my apologies for my unsuccessful attempts to post while traveling. My original plan was to have posts all set before I left but technical issues and the need for a last-minute change of service threw that plan out the window. And getting decent internet at hotels is nothing one can depend on! But I will make it up to you this month, I promise.
Now that almost all of you have seen the myriad of photos from the Into the Forest installation that attendees to the opening and talk posted this past week, I invite you to spend some time virtually walking through it. This is a walkthrough of the gallery and installation, from stepping through the front door to wandering from tree to tree, wall to wall, and corner to corner. I apologize that I am no expert videographer and trying to fluidly skirt around the artwork and step unobtrusively through the attendees created a few moments of spinning and diving that might leave some sensitive individuals momentarily dizzy. But all in all, I am thrilled to have captured some of the feel of walking through our polymer forest that night.
In other news … the latest issue of The Polymer Arts, Winter 2017 – Line, has arrived! Digital issues were sent in the wee hours (3 am EST) on Saturday so if you are expecting a digital copy and haven’t seen it, check your spam/junk folder as that is where the errant access emails often land. If you need help, write my assistant Sydney at connect(at)thepolymerarts.com or, if you get this by email, just respond to this email.
Print editions were at the post office as of Thursday so if you are expecting one in print, depending on how far you are from northern Idaho, you will be seeing the new issue in your mailbox in 5-15 business days from then.
If you need to start or renew a subscription or buy the single issue, you can do so at www.thepolymerarts.com/Subscribe.html
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