May 19, 2019 Inspirational Art, Technique tutorials, The Polymer Arts magazine news

Tanya Mayorova

Given the choice, would you create a necklace that was easy and quick to make and was still stunning, or would you explore an unknown technique with an unknown outcome that might take hours or days? For some of you, the answer may be complicated because you like to explore and you don’t even question how long it will take or whether you will be successful because you just want to see what material can do. I get that. That’s pretty much how I approach what I do. Not that I wouldn’t mind some of my explorations being quick and easy and more often successful than not. Being challenged and failing, though, are absolutely necessary parts of creating art but that doesn’t mean that everything we make should be frustrating and difficult.

I think, by default, we all gravitate toward the easy option when given a clear-cut choice. Easy means less frustration, less room for error, and less time involved but it can also be considered a bad choice. And I’m not just talking about the creative process. For instance, you might grab a paper plate instead of one that you have to wash, or you toss your groceries in a plastic bag provided by the store rather than bringing in your own reusable one. Those examples highlight the reason for our environmental issues right now, our desire for ease and convenience being at the root of our environmental tragedies. So, yes, taking the easy route can sometimes have a negative effect that that’s not always true. There is nothing wrong with choosing the easiest route to drive home or having yoga pants and a T-shirt as your default attire when not at work. And some very easy things are actually better. Fruit and a boiled egg for breakfast is a lot easier than making pancakes and bacon and is better for you too. And when creating your polymer components, simple techniques and forms are often not only an efficient way to create and express yourself but they allow you to concentrate on composition, contrast, form, and other design elements rather than getting you wrapped up in technique.

With social media and our online access to so much artwork, I think our minds are saturated with certain ideas about what we should be creating and, because of that, we may have a hard time finding our own voice or we may have an unconscious sense of how pieces should look or be put together rather than finding a look of our own. Or we are romanced by gorgeous, complex pieces so we try to make our work more complex as well without knowing if simple elements may be very thing we need to do or say what we want.

Part of the problem comes from the idea that simple and easy means boring. But it certainly doesn’t have to be. To illustrate this, I’d like to look at beads today. In polymer jewelry, the bead is the most basic element you work with. The idea of a bead encompasses all types of forms though, from the simple round bead to complex sculpted and layered mixed-media elements. But let’s explore the more classic idea of a bead, as a single element that is repeated in some fashion in a piece of adornment and let’s see how you might create easy beads that are anything but basic and boring.

A little note … Some of you long time polymer enthusiasts out there may recognize a few of these pieces as several were widely circulated back when but, even if you’ve seen these before, look at them with new eyes and see if some familiar techniques but unused techniques aren’t worth a revisit now. You’ll approach them differently than you did 5 or 10 years ago, and you never know what serendipitous discovery might be unearthed.

Beads Beyond the Basic

Round beads are, of course, the most common bead form and are a classic that are always great for showing off canes, color, and surface design. Still, round beads can get pretty complicated, one, because it can be difficult to make them perfectly round, and secondly, because to keep them from being boring often leads us to add complexity in the color scheme or how the surface is treated. But what if you took your round bead and just worked on the form? Go ahead … grab some clay, make a rough round bead, and then start messing with the form. Pinch it, press it, pull it, or roll it into a variation on a round bead or cure and carve it.

Genevieve Williamson started out with a round bead to create these side textured chunky disks. Just look at the variation here plus I bet you can think up a few other ways to quickly and easily change them up with different clays, inclusions, or texturing of the sides.

Tube beads can be a tad tricky, primarily when it comes to creating the hole for stringing them. An extruder with a core adapter makes the job much easier but you can also create easy, attractive, and unique tube beads from any surface treated clay sheet simply by wrapping a strip around a tube of your choosing. Here’s a whole selection by Tonya Mayorova who went really wide with her bead openings. As you can see, all kind of surface treatments adapt well to these wide tube beads, from mosaics like you see on the bottom of the stack, to carved, impressed, mokume gane, and seed bead wrapped. The beads here are all similar in width but she uses the same approach with skinnier varieties such as in the necklace that opens this post.

Tanya doesn’t have a tutorial posted for this, but I can help you with that:

1. Pick a favorite surface treatment to create a sheet of clay with and then wrap the sheet around anything that can go in the oven. I keep a few pieces of aluminum and copper tubing for just such projects. Make sure the pieces are straight and have unobstructed lengths so beads can slide off after curing.
2. Wrap the clay around the tube until the clay sheet overlaps then cut down through the length of the overlapping clay and then remove the excess clay.
3. Carefully blend the seam where the ends meet.
4. If the clay sheet has a smooth and even surface, you can lay it on the worksurface and, using a tissue blade, let it roll crosswise under the blade ‘s edge to cut each individual bead cut. Then just cure the stack as is.
5. Alternately, you can cure just after you blend the seam then cut the beads off it with a craft knife or slide it off the rod and use a jeweler’s saw to cut your beads.
6. You can string your tubes on multiple strands of stringing materials such as cording or leather thongs, a selection of various colored embroidery thread, colored Tigers tail, ribbon, etc.

Tanya has even more variations of this idea ready for your perusal on her Flickr photostream here. She also recently agreed to create a feature tutorial for Issue #3 of The Polymer Studio so be sure to subscribe or keep up your subscription to the magazine to get that beautiful project.

The beads below also require just a sheet of treated clay. These are similar to a popular paper bead technique you may have seen as well. They start with a sheet cut into narrow, long triangles that are then rolled up, starting with the wide end so that each overlap leaves part of the surface of the lower layer visible. It works with any sheet of polymer, treated or untreated, textured or not.

I love how Margit Bohmer keeps the triangles, created from a mokume gane sheet, really narrow so that the beads are nearly as big in diameter as they are wide. There is still plenty of surface showing but they blend into each other because the narrow bead doesn’t angle away as much at the point where they touch. As you likely already know, the longer the bead, the more space you’ll see between the bottom edges of the bead ends. These rolled up beads are also angled on their ends which can make them sit askew but the shallower the angle (like on these narrower beads) the more neatly they line up.

Margit has created the longer beads as well so you can compare them here or just look through her Flickr photostream to see what you like better. And if you want a full polymer tutorial on these types of beads, check out Emma Ralph’s classic tutorial here.

Another, maybe even easier, way to use sheeted clay for beads is to just roll up flat sections of clay without overlapping, in a loose, freeform way. This works really nicely with an organic treatment or texture. Just look at how lovely these wrapped textured beads are. They are simply flat sections of polymer impressed on a handmade texture plate and curled up on an angle.

These are created by Rebekah Payne who generously posted a tutorial here on how to make them.

A similar concept can be employed with snakes of clay. Just roll out or extrude lengths of solid, marbled, mica shift (see this post from earlier this month) or striped polymer and then wrap the strands up on a skewer, long thin knitting needle, or other thin rod and cure. You’ll end up with coiled beads like these created by Emma Todd, below..

You can also roll the beads, after wrapping them up, back and forth under an acrylic block or other small tile to level the strands, creating a smooth bead surface. Don’t use the rod to roll the bead as it will act like a rolling pin on the inside of it and widen the stringing hole. Unless you want that. You can also take them off the rod and gently press their length between thumb and forefinger to compress the coils a bit more and make flat ended cylindrical beads.

The interior of clay beads have a lot of hidden potential too, and they can so easily and quickly be revealed by just cutting them open. Here is my all-time favorite example of creating stunning beads by cutting the form. These fabulous beads are by Desiree McCrorey. Click the image to see her tutorial for this. Be sure to check out the beads she makes from the cut scraps at the end too!

Not only can you create simple yet complex looking beads by cutting stacks, you can use this technique with old canes as well. See Desiree’s tutorial for the same beads using canes here. And look around the site for other great tutorials. These are all older tutorials, but timeless techniques.

Beads Away!

The examples above are all easy to make, don’t take much time, and allow for your own take on composition, contrast, texturing, etc. So, I would like to suggest that you pick a couple you like and see if you can sneak in sometime today or this coming week to try them out to see which, if any, simple but expressive beads suit you.

There are also some publications you might want to check out if you are on a bead making bender or feel you will be after all this.

• My favorite polymer bead book is Carol Blackburn’s Making Polymer Clay Beads. There are beads for all levels of clayers and lots of jumping off points for those who like to explore.
• Although these get a bit more complex, the beads in Grant Diffendaffer’s book, Polymer Clay Beads are just stunning and there are so many tips in this book.
• If you really just want to try some new surface treatments or get other ideas for changing up your own bead ideas, Marie Segal’s, The Polymer Clay Artist’s Guide, is such a thorough exploration of techniques. It’s my go to book for creative brainstorming on polymer treatments.
• Of course, there are tons of ideas in The Polymer Studio and, especially for the more exploratory folks, in the back issues of The Polymer Arts. Grab a few of these in print or digital and let serendipity lead you into new creative territory. By the way, about 65% of The Polymer Arts issues are still available in print but quite a few are about to sell out completely so if you like your material in print, snatch them up while I still have them.
• For further inspiration in the form of eye-candy, pick up your copy of Polymer Journeys 2016 and/or 2019. Both are just brimming with ideas of all kinds. If you need a copy, get them on the website here.

Holes

Our foreman, standing guard at the pit to our main drain line in our front yard … there’s another guy down there!

For those of you mildly entertained by the situation here at Tenth Muse central, all I have to report is, well, holes. I counted 8 points of egress big enough for the entry of adventurous birds or, in 2 cases, an adventurous racoon, thanks to the workers punching through our walls for new plumbing and a new electrical panel. Its kind of unnerving to stand in the middle of one’s house and see so many wide-open entries into the space.

There are also some deep holes! The nearly 3 foot deep hole in the master bath is big enough for a couple suitcases of cash (like I have enough cash even in single dollar bills to fill a couple suitcases, not after all this work!) but the 7 foot deep one in the front yard is ready for hiding bodies. Or maybe just my entire stash of failed art projects. That craziness has us now investigating xeriscaping and ground cover plants because between the trench and the well at the end of it (and all the dug up soil covering the area around it), that grass ain’t coming back. It didn’t grow well there anyways. So now we are plant shopping. I never much liked shopping before (unless if was for art materials!) but, man, am I getting burned out on that particular activity. The shopping part, not the plants. I’ve been enjoying my plants, with all the spring flowers in bloom. The garden has been my escape from all the chaos and noise!

However, in all this, I have managed to clear up the studio table and started working on new stuff! It’s amazing what can happen when you don’t have distracting chores like housecleaning (although I miss having a house to clean!) Keep an eye on my personal Instagram page for new pieces and, hopefully, new poetry to accompany it. Find me @thesagearts

Now off to enjoy a rare cool and rainy Sunday. I hope you have a beautiful Sunday to relax in and a great week ahead!