Sporadic Growth
December 5, 2013
Inspirational Art
Now for something completely different. Both for our theme and for polymer in general. Jasmyne Graybill has been a huge influence and inspirations for me since I first discovered her work some 4 years ago. Her pieces are pretty but not comfortable. Her subject matter is organic but not of a type you see often if ever. She takes old, ordinary objects and turns them into works of art but if you didn’t know it was polymer, you might try to clean it, or more likely run in the other direction. That’s because she takes inspiration from that part of nature that we try to erase, destroy, hide and kill off. But its these forms that in the end, will take over what we try to create.
In this piece, polymer has been shaped and textured into the likeness of some unknown mold which has taken over a pretty floral plate, turning a stacked composition of flowers into a scattered composition of nature taking over a manmade object.
Mold, mildew and fungus do not usually grow in any kind of pattern or regular application. They grow where their spores land, chance being their primary organizer. This chance approach is a valid composition as long as there is a relationship or visual connection among the elements. In this case, they are all the same basic form created in a color palette to match their host object.
I know many of you are probably grimacing at this piece. Yeck. But these less admired inhabitants of the organic world create some wonderful textures and forms. You don’t have to create faux mold, but you might find the textures and the way groups of fungi form, interesting enough to consider recreating what you see only in a context and with an approach that reflects your idea of beauty. Here are four dishes of other fungi possibilities that Jasmyne created. Quite pretty, I think.
If you, too, find Jasmyne’s work rather fascinating, you can see more of her pieces and installations on her website. She does not work solely in polymer, which is another reason I admire her work. She uses the material best suited for what she wants to represent. It just so happens that polymer can emulate so much. Even the icky things.
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A Weekend of Collaboration
October 27, 2013
Inspirational Art
I thought today I would just talk a little bit about what I was doing this weekend (besides running about trying to find an internet connection). And besides, my group built a piece off of what was basically a glass box, so it fits the theme!
The polymer retreat at the Mammoth Cave National Park was really different in that the whole weekend was collaborative. The attendees were split into six groups, each creating a collaborative piece based on an organic theme. Most of the people here have not done anything like this–collaborating with 4 or 5 other people and creating something that represented them all in a matter of 3 days. There was a lot of fretting at the beginning, but all the projects turned out great.
There is really something special about collaborating. You are forced to relinquish control over the end result, which can be scary, frustrating, or freeing depending on the kind of person you are, but in the end, it’s quite exhilarating because what is created could never have been conceived and produced by you alone.
You also find yourself trying things you wouldn’t usually do. I know Ron Lehocky, known for his perfectly finished cane covered heart pins, had to let go and allow the work to be rough and less controlled to create moss and the bark of a tree. He even ended up making the impression of flowers on the side of our cave sculpture rather than actual flowers.
Created by Ron Lehocky, Iris Weiss, Anita Kennerley, Ellen Prophater, Amy Nemon, and Sage Bray.
If you have never collaborated with another artist, I highly recommend trying it. You can discover so much about yourself and will probably have your ideas pushed in directions you never imagined. This is especially good for times when you are feeling stuck or feel like you’re getting into a rut. And if not that, at least get out and join a group of artists at a guild meeting or class so you have the chance to exchange ideas and get input on your work. It’s so amazing and invigorating.
An Open Pod
October 19, 2013
Inspirational Art
Our last look at pods this week will be the end of a pod’s purpose and life cycle. It’s a bit of an incorrect statement in that a pod is really part of a plant’s life cycle, so could we consider the pod to have a life cycle of its own? Oh, sure, why not. We’re artists. We can play it a little loose with concepts, right?
In any case, the final act of a pod would be to open up and release its seeds. I think the opening of a pod is not dissimilar from the blooming of a flower in that it opens up and shows the world what it has to offer, self-serving though it may be–but then most beauty is, in essence, self-serving, and there’s nothing wrong with that. These pendants by Judy Dunn are simple but quietly beautiful examples of the revealing stage of a pod.
The polymer pod shapes peel back to reveal shimmering pearls, a very appropriate option to include as the inside of every pod is a treasure of sorts, even if just to the plant that bore it. I enjoy the way the pearls are both a focal point and partly hidden. The formality that pearls often engender is countered with the unevenness of the open pod, as well as the choice of freshwater pearls, which form unevenly. This gives the open pod an understated elegance and a show of appreciation for a very important natural form.
Outside Inspiration: Polymer Lends Color to Kauri Wood
October 18, 2013
Inspirational Art
Today’s featured artwork isn’t completely an outside inspiration since polymer is involved, but the primary material certainly is. I found these pods on the Daily Art Muse blog. They are a collaboration between Kauri woodturning artist Alby Hall and polymer pen artist Toni Ransfield.
The collaborative work itself is quite beautiful, but in researching for this post I became rather fascinated by the wood itself, its history and the long, arduous process of preparing it. This is no ordinary wood. Kauri trees are among the oldest and biggest tress in the world. The wood Alby uses is actually Ancient Kauri, a wood recovered from swamps in his native New Zealand where the trees had fallen some 45,000 years before. Ancient Kauri is the oldest workable wood in the world and is also considered one of the most difficult to work with, primarily due to the drying and finishing that is required. It is a very soft wood with a tight grain but no sap, since that was dissolved in the swamp waters ages ago. This makes for some very different working characteristics. If you are as fascinated as I am by unusual materials and the processes required to gain and work with them, you’d enjoy reading about this wood on the Ancient Kauri website.
Alby himself doesn’t seem to have a website, but do take a moment to look at his other pod forms on the DAM blog (a blog I very highly recommend you follow if you don’t already). And then stop on over to Toni’s website to see more of Toni’s beautifully caned and finished pieces.
Odd Pods
October 17, 2013
Inspirational Art
Okay … we’ll take one more look at the many form possibilities of pods. A pod doesn’t have to directly translate to something out in nature. It can be more about the idea of a pod, something carrying or transporting, and the shape may be more about the promise of what’s inside than about the form itself.
Wiwat Kamolpornwijit works quite a bit with modified pod forms and forms that reveal what might be within. This pod necklace is a sample of the pod as a concept rather than literal interpretation.
The inside of a pod could look like anything, especially when it’s an exotic pod of your own creation. This mystery allows you to create whatever your imagination might come up with, the way Wiwat has done here. His vision is of some beautiful visual textures with a few seeds peeking out from between the slices, arrayed to define the volume of the pod. These are not like any pods I’ve ever seen, but that is the very beauty of them.
The Many Shapes of Pods
October 14, 2013
Inspirational Art
I have been seeing a lot of pods over the last week or two. Maybe it’s because it’s the Fall season up here in the northern hemisphere, when many plants have matured or given up their flowers to put forth their essential, seed bearing components. When I think of pods, the first things that come to mind are round but elongated forms, maybe larger on one end with the other coming to a point. But that is an extremely narrow image of a pod. In truth, pods come in quite a large variety of shapes.
When speaking of the pods grown in nature, pods can be round or flat, long or squat, smooth or rough, and as small as a pea or so large it takes two hands to hold one. The only defining factor with pods is that they hold something, encasing a collection of possibilities in their many seeds or whatever else might be hidden away within.
That’s why I thought we’d start the week of with an interesting piece that might be described a study of pod varieties. Lori Phillips, who looks to work exclusively in ceramics now, took a detour into polymer a few years back to create this piece.
Most of these beads look like they could have been inspired by real versions in nature, although I’m guessing from looking at the free form work elsewhere on Lori’s Flickr page that these all came from her own imagination; but either way, they seem to show a fascination with natural forms.
Why do we see so many pod shapes in polymer? Well, the truth is, we like to to play with all kinds of shapes; it’s just that I get the feeling that we may have a particularly strong affinity for pods. Why do you think that might be? We’ll explore that question while we admire the many pretty variations of the pod form in polymer this week.
What We See in Lines
October 8, 2013
Inspirational Art
We’ve all doodled at some point. There’s something addictive about putting an inactive pen or pencil to paper and drawing random lines, allowing them to be aimless and formless until perhaps we see something in our doodles and from it create an actual image or design. I’m sure you’ve done that same kind of thing in clay, whether you equated it to doodling or not. The random, seemingly aimless lines we draw or carve or lay out with a snake of clay are suggestions of things that already exist out there in the world. Like looking for shapes in the clouds, our minds will see an object or creature or other symbol in the clay, if you give them a little time.
I think this may have something to do with the fact that you can find similar lines in nature for almost any line you randomly come up with. However, nature’s lines are rarely aimless. The winding path of a stream or river, the marks of receded waves in the sand, or the undulating profile of a mountain range on the horizon are all lines that don’t have consistency or focal points, but are still very purposeful—they are the result of change and action and define some feature of nature. Seeing this, I think we want to find purpose in lines that look random and decide what they might define. That would be why you would look at these earrings by Lina Brusnika and see in the layer of undulating lines a landscape, maybe hills or a beach at sunset. Lina looks to live in Kamchatka, a peninsula in the far east of Russia. Her posted photos on LiveJournal of beaches and sunsets make me think she had these views on her mind when she created these.
We as humans want to see our world in every line; so consider how your lines, especially the ones you think of as abstract, might be viewed. Usually what you think you see in it will be how at least some others will see it. So if your aimless lines look like vines, you might continue with the plant theme by adding leaf-like flicks of clay for accents. Or if they are rather straight and precise, a very graphic look might be developed from those. If you want to work with a particular set of colors, what do they represent to you? If they remind you of a tropical beach, then simple, soft lines representative of an open beach, the ripple of waves on the ocean, and/or the waving fronds of palm trees might work well and will likely be recognized by the viewer of the work, since the colors and lines are both associated with such a scene.
So doodle away with pen or clay and see where the lines take you.
Yay for Trees!
October 1, 2013
Inspirational Art
This work is simply the kind of thing that personally draws me in. Trees and vines and tendril-y things are my weakness, and Kael Mjoy does love her trees. It’s obvious that she has a lot of fun with these “fairy trees” of hers.
The tree wall art idea came from an illustration of a spooky set of trees that Kael rendered in polymer. She enjoyed it so much, she started making her own versions of tree-inspired wall art. She has this great snowy tree and fire tree on her blog that are simpler than the one here, but are really cool images nonetheless. Just being a tree geek for the moment. Don’t mind me.
Humans Elevating Nature
September 22, 2013
Ponderings
When I started researching the theme for this past week, I jumped over to the online thesaurus and was surprised to find that the synonyms for “man-made” were all things like “fake”, “counterfeit,” and “false”. There was no synonym that celebrated the genius of human creation, that referred to things made by man as positive. How silly is that? Man-made is not a bad thing, not when done with care and awareness.
So here is a quote to counter that negative sense of man-made:
If there was a shape that could represent state of the world today, what would you say that is? Chances are, you’re thinking of something that works as an icon or symbol rather than something as simple as a circle or octagon. Abstract shapes are something I touched upon only briefly in the article about shape and form at the beginning of the month. They are most commonly created for things that we are already familiar with, many of which are considered universal. Some have been with us for ages such as stars, teardrops, and hearts, but simplified shapes will pop up whenever a quick method of communication that is not language dependent is needed or preferred.
For instance, right now, a square with half circles on the ends, often with a few horizontal lines in the square, represents a medical mask. Such an icon may have meant nothing to you at the start of this year but it’s hard not to recognize it for what it is now.
That is the power of abstract shapes. With minimal characteristics, these shapes represent an object if not an entire concept. For this reason, I suggest you to not use them too frivolously. If you pop a heart shape on something, it should be because your intention necessitates calling on the viewer’s emotions rather than just putting it on to be cute. Now, I’m not saying that using hearts to be cute is a bad thing but realize that people will see it as an emotional expression. And I say emotional, not love, because the heart represents a base positive emotion associated with love, caring, and happiness but if your heart shape has a hole in it, is cracked or torn, or is jet black, the viewer will start thinking of things like loneliness, sadness, or even animosity.
Not all abstract shapes have such a wide range of potential meaning but many can elicit a similar or even stronger reaction, such as the shape of a cross or particular types of star shapes, depending on the context in which it’s used.
If you want to use abstract shapes but do not want to be so obvious or bring up the more common associations, you might find it useful to combine abstract shapes or to use them in unexpected ways. This approach to the use of abstract shapes can make for a much more subtle or complex statement which means your viewer will probably react more viscerally even with a readily recognized shape since its associations won’t be so blunt.
Here are just a few examples of abstract shapes where the association with them has been toned down.
Here, Elsie Smith overlays the impression of leaf forms on heart shapes showing just how perfectly they fit together. Pairing these makes the heart a gentle emotional background to the focus on, and apparent love of, nature’s intricate leaf formations.
This next one is a really good synergy of recognizable abstract shapes. Speaking in terms of the silhouette of the piece below as well as the focal point of the opening image, we could see a sunburst, a starburst, or a flower shape. Since Zuda Gay Pease was primarily creating flowers at the time she created this, we can assume her intention was for it to be a flower, but the energy of all those many pointed tips makes it come across as celestial. So, we get a combined association – the femininity and beauty of the floral shape with the energy and excitement of bursting light. It’s quite an impressive mix.
It’s interesting that practically all types of celestial bodies have a recognizable abstract shape (or variations of them.) There is probably nothing quite so common in abstract celestial shapes as a crescent moon. Our association with it can be fairly wide ranging from simply symbolizing the quiet and dark of night to embodying the ebb and flow of life.
In this example, I found it very curious that the lines on these crescents appear to be sun symbols with all their brilliant energy, and the bright blue ends of the crescent, visually truncating the shape, make us less likely to think crescent moon than simply an angular and curvy shape. The moon and its mysteries therefore become a quiet background to the louder energy of the colors and lines. I really like this contrast of concepts here as the sun and the blue color brings in a liveliness while the unconscious reaction to the moon shape is a quiet but divergent undertow. (Unfortunately, the Etsy shop from which this was saved is no longer available, so I am not sure who created it. If anyone knows, I would be ever so grateful if you would send me their name so I can update it.)
Is this making sense? I don’t think it’s hard to grasp the general idea of how iconic an abstract shape can be so I’m going to keep this short today. It’s also been a busy week getting all your accounts fixed up and so I should get off this computer. I challenge you to look around at the way abstract shapes are used in art work, be it your own or other people’s pieces.
Go Forth and Be Free… to be Inspired, For Free!
If you haven’t heard yet, starting in June (this next weekend) I will be posting the upcoming Virtual Art Box content previously planned for the VAB membership project on this blog so everyone can read it for free. I wanted readers, regardless of budget right now, to have access to these discussions, lessons, and exercises so we can all work on our art and increasing our skills and enjoyment together as well as give me the opportunity to take my work load down a notch or take breaks when necessary without being unfair to paid subscribers.
So, you can look forward to some in-depth article length discussions and ideas with a bit more juice to it than the blog usually has along with ideas on how to work with and apply the concepts if you so desire. Take it like a free class or just let the ideas sink in and enjoy the art. It’ll be here for you, starting next weekend.
Supporting Free Content
I am glad to have your support, in anyway you can provide it, to help me produce this content for free. Your supportive emails are always appreciated but if you want to help me keep the lights on, making purchases on the website is one of the best ways to do so since it gets you (or a lucky giftee) something to enjoy as well giving the contributing artists further exposure all while helping to keep me in busines.
If you have everything you want from the website at the moment, I have provided a donation option here for those who have asked and can afford to toss me a little something to help me, in particular, pay my tech guy and allow me much needed doses of dark chocolate!
So … until next weekend!
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I love how silver can be representative of snow in winter even though it’s gray and not white. It’s that clean simplicity, I think, that echoes the simplicity of a landscape under newly fallen snow. That’s why think this piece by Wiwat Kamolpornjiwit makes me think of wintertime.
Wiwat’s mastery is often in his simplicity although a lot of his work isn’t simple. For instance, he does not usually treat the surface of the clay but rather goes for smooth shiny layers, accented with simplified or symbolic motifs of natural objects like flowers, leaves, trees, etc. In this piece, those motifs are nothing but pokes in the clay but we get an entire scene out of it. The rolled wire accents are like flowers popping out of a pot, and add a touch of energy outside the frame of those repeated shapes, breaking the line the top of the half-circles make. It’s not complex, but it’s not all that simple either. It’s just those little touches that give it a sense of sophistication and make it a satisfying design.
If you have not seen Wiwat’s work, or haven’t looked at it lately, you can find it on his website.
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We are going to hop back to the new book, Polymer Art Projects—Organic (which you can still get 10% off on for the next couple of days, promo code PAP10), for one last day this week to give you another taste and some additional information on one of the beautiful projects in there.
One of our contributors, Fabi Ajates, has this wonderful collection of objects at the end of her tutorial, showing you some of the different decor items you can make with the many little techniques she teaches. In a conversation we had after the tutorial was in layout, I found out that some of the objects are actually reversible and Fabi, with the help of her son David, graciously sent us these additional images and some information about the pieces for you to enjoy. Here is what they sent:
CORAL KELP
All the textures and shapes I create are one-of-a-kind and handmade, conceived in the pursuit of the pieces’ harmony and the most dramatic result. Furthermore, the project [in the book] is meant to be versatile because it can be used not only to create jewelry such as the necklace, but also décor elements which can add a touch of individuality. When used for interior design pieces, these can have a double purpose which makes this technique even more resourceful, attractive, and interesting.
What looked like a turquoise coral vase from which a leaf of kelp languidly emerges, has become a bowl or small plate. We observe the same effect with the piece that imitates an anemone; its face changes relative to whether it sits upright or it is reversed, while it contrasts or harmonizes with the landscape and with the rest of the pieces.
Inspired by coral and marine vegetation, [these forms are] mysterious nature that awaits silently like a treasure in the depths of seas and oceans whose colors and shades, a combination of seawater and sunlight, are uniquely beautiful.
Thanks for the extra images and your thoughts, Fabi!
Find out more about this amazing artist who has not let her deaf condition or language barriers get in the way of sharing her skills. Check out her class schedule here and follow her artistic adventures on her blog.
And don’t forget to get in on the 10% off offer to get your own copy of the book or other items we presently have in print, here on The Polymer Arts website. Use promo code PAP10 before midnight on Sunday Pacific time to get the discount off everything in your cart!
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Today’s attention grabbing item is brought to you by Mother Nature. Yes, you read that right. This is not polymer. It is not resin. It is not some new crazy Zentangle-like method of doodling on rocks or something. This is a 176 carat Koroit Boulder Opal from Australia.
I know a lot of you already look to the natural world for inspiration but the more you look, the more amazing natural creations you’ll find. It’s still baffling what a huge array of shapes, textures and colors are put together without conscious thought but with pattern and purpose nonetheless. These opal patterns are formed in voids and cracks, like natural molds that are filled with a deposit of silicon dioxide which settles and forms spheres under specific conditions. These spheres are reflective and, if I am understanding the research I just did correctly, are the cause of the variation in reflected color. And I thought some of our processes were painstaking!
Now to figure out how to recreate this in polymer. Some fairly old methods like a Damascus ladder or other Lizard’s Tail technique might get close with a layer or two of black clay tucked in. Are you up for experimenting on that? If I had the time, I would but I don’t yet. So I leave it up to you, my fearless friends. If you create anything cool, inspired by this bit of nature, post it here. Let’s see what you all can make this weekend!
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Apparently, I’m a bit of a wreck. I’m only telling you this because you are probably going to see a bit of a slowdown in our publications coming out and maybe a little less research here on the blog. As many of you know, I’m the only full-time person who works on The Polymer Arts projects and I’m dealing with two injuries that occurred earlier this year and arthritis in my neck, none of which are happy with how much I work. So, doctor’s orders, I have to cut my computer time down the next few months while I focus on healing. It’s going to be hard to slow down, workaholic that I am, but I’m counting on you all to hold me to it!
So to minimize my research time, I’m going to be pulling things to share from my stash on my Pinterest boards and favorites on Instagram and Flickr and such for a while. We will, therefore, be seeing a fair amount of older work, but there’s so much really inspirational and timeless work to share.
This week’s first piece is from Adrianne Jeswiet whose work I discovered not too long ago. Her shop on Etsy is called “Kissing Glass” and it is filled with various glass vessels covered in detailed imagery. This piece includes tiny dragonflies, water lilies, irises and cattails applied to a recycled glass vase colored with glass paint. Take a close look to see the myriad of tiny details that are sure to make this a conversation piece wherever it finds its new home.
Pop over to Adrianne’s Etsy shop to see the full range of what she does.
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Today we’re going to look at some actual flowers. Well, petals at least. This design is by Janine Bjornson, a Canadian life coach who, apparently, is drawn to color and pattern much like many of us polymer artists. She decided to make ephemeral art the subject of her 100 Day Project on Instagram and this is just one of her many beautiful, natural, and temporary designs.
If you’re not familiar with ephemeral art, it is art created with the intention of it being transitory. Its temporary nature is usually due to either the materials being something that quickly breaks down or the construction being set up in a place where nature or man will quickly and inevitably bring it down. The art is created for the momentary enjoyment, contemplation, or appreciation of it, and, often, also for the experience the artist has in the process of creating it.
In my 100 Day Project, which has completely changed parameters (I do manage to create a texture every day but the writing and posting have been more challenging!), I knew I would be traveling and considered ephemeral art as an option for those days when working with clay was not going to be possible. Some days we are not in a place where we get to be creative with our chosen material but that doesn’t mean we can’t stop and create something beautiful with what we have on hand.
Janine uses natural materials including flower petals, branches, leaves, berries, feathers, and even water droplets. Pretty much anything she can find outdoors, it looks like. So her work allows her to connect with nature and bring us these beautiful images as well. But this begs the question, that if it is photographed, is it still ephemeral art since we’ve made it lasting in recording it? That is a purely philosophical question, and irrelevant to our enjoyment of these beautiful colors designs.
Although this is an obvious mandala, she doesn’t commonly create symmetrically but changes it up pretty dramatically every day. You can take a look at her beautiful temporal creations on her Instagram account.
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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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Pattern in nature is everywhere and not just on the surface but in the groupings as well. I know for certain that Wendy Moore, the creator of this lovely riot of red leaves, is heavily influenced by the patterns and energy in nature. You can hear it in the things she writes on her blog and her focus on repetition of natural shapes in her work which you can find on her Instagram account.
This piece was actually a commission but from one of the people most certainly to be a heavy influence on her as well–her mother. I’m thinking now that perhaps this connection to nature is also one her mother has and maybe she influenced Wendy’s appreciation of the natural world. Or maybe it’s Wendy’s life in Australia and her time in the outback or her years in Nepal and her continued visits there to support the Samunnat women‘s project.
I only ponder this because how much we interact with nature and how connected to it we are has been on my mind lately. I am so immensely lucky to have a wide swath of nature right outside my office and studio here. I have tried to make a point of spending time out there every day. Recent trending reports on “forest bathing” and how short immersive excursions among trees can really help reduce stress has led me to consider how important such moments of connection and relaxation are to creativity. The more I get outside, the more inspired I feel.
So, weather permitting, try to get outside this weekend. If weather is not being cooperative, perhaps there is a greenhouse or enclosed botanical garden not too far away. Or spend some time tending yohouseplantsnts. Notice the textures and patterns in nature, breathe in the smell of the growing things and just connect to the most constant thing we have interacted with in our history as a species–mother nature. I think you’ll find it invigorating, relaxing and inspiring!
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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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