Body of Work
June 20, 2017
Inspirational Art
Looking over a collection of work can tell you quite a bit about an artist and what intrigues them. The posts this week will give us a chance to consider, in a more complete and varied way, what an artist might be doing or be after in particular types of work.
Carole Monahan-Kampfe recently posted some rather intriguing pieces in what she refers to as her Steampunk collection but instead of jewelry, it looks like we are seeing a lot of ornaments. We are looking at Swellegant treatments (click the ad link below for more on this fascinating stuff) which make for some very yummy textures but the various shapes and variation on an ornament is what is most captivating about this work.
Although she is calling it steampunk and the influence of that aesthetic is there, many of the common motifs are, gratefully, missing and we can enjoy the exploration of the surface treatment and the manipulation of the ornament forms. I love the negative space in the ones with the floating centers and then those forms that are folding in on themselves which she calls Infinity Orbs. No standard ornament forms here either. Carole actually looks to be taking not the motifs and objects from the Steampunk arena but rather the inventive nature it is supposed to be representative of. Regardless, the choice of shapes and decorative touches are beautiful and more so in a collection like this where the various take on the elements and forms can be compared and contrasted.
The orbs at least, she lists as being made with Makin’s clay which is an air dry clay, rather than polymer but this could all be done with polymer as well of course. Carole just likes to try all kinds of things out as you can see on her Flickr photostream–another method of looking at an artist’s collection of work and over time at that. In this collection though, she seems to have really hit her stride and I hope she keeps playing with these ideas.
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The Well Spotted Pendant
March 18, 2017
Inspirational Art
So let’s finish up this week on dots and spots with one piece which happens to have many, many ways of using the decorative and often dynamic element.
Shelley Atwood isn’t shy with her details as demonstrated here. Pin-pricks give way to tiny circles which play in the background behind spots of color and details of varying shapes, not just the roundness of the dots we know and love so well. But even the leaf shapes, repeated over and over, create the same kind of effect.
Having four sections doing basically the same thing helps with the suggestion that the leaf shapes should operate as spots rather than a distinctive visual. Even with all the variation, the dots, and spots and marks, all contained within a similarly sized space, balance each other out so you are left to just enjoy the riot of color and the joy of the spot.
Shelley’s work can be found, with all its many marks and delicious details, on her website and on Flickr.
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Standard in Stripes
March 2, 2017
Inspirational Art
So many artists spend an inordinately large amount of time looking for the next really cool and totally different thing that will get them all kinds of attention and make their work stand out. But here is the thing … nothing is really new anymore. It’s just a variation of something that was done before. Thinking and creating with this in mind can be so freeing. It allows you to just create what you love or what you want to express.
And some days you just want to be simple, clean and use some no-fuss forms and applications. Nothing wrong with that. Go for it. You can see how a basic striped composition on a bangle shape and a couple of lentil earrings did for Julia Peker‘s approach. Choosing an array of both visual and tactile textures gives this variation within the limitations of a palette of subdued and tinted cool colors. Nothing crazy or new design wise, but it pulls off a tasteful and understated elegance that most anyone can appreciate.
Julia takes notes from a lot of other polymer artists as can be seen in her work so I suspect she is still working on her voice but I think I see it emerging. Her postings look to be relegated to Instagram for the moment but I would be interested to see how her work develops. We’ll keep an eye out!ow
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All Out Pattern
February 25, 2017
Inspirational Art
Okay … so you know how I’ve been saying all week that you can’t lean on pattern alone. Well, I meant it but there is one kind of exception to that rule and that is, if you are going to do a lot of pattern, go all out with a lot of variation and then be reserved in other design elements so it doesn’t look messy. And this is what I mean by that.
Louise Fischer Cozzi focuses on pattern a lot. She will silkscreen, image transfer, etch, stamp or whatever suits to get the pattern down. I know this would have been made after she got more heavily into silkscreening but I can’t actually say whether any of it is. But that is fairly irrelevant because the idea is that you can see what using a lot of pattern, and successfully, looks like here.
There are more patterns here than I have been able to count but for all that chaos of pattern, there is this very clean collection of circles carrying it all along. Some variation in size and solid versus donut type circles mix it up some, but they are placed at regular intervals to keep everything orderly. A little order in the chaos allows the viewer to enjoy the variety without feeling lost in it. Plus this works as both a necklace and a belt so for those of us that like versatility, this piece has quite a bit going for it.
Louise does a lot of wholesale and a lot of shows so you don’t see her stuff bouncing around the internet too much. To see her latest work, just pop over to her website or check out what she is selling to us mere mortals in her shop.
Weekly Inspiration Challenge: Focus on pattern this weekend–bit it silkscreen, stamps, image transfers or even hand made marks. You could pick one pattern and see how many ways you can use it. It could be an accent on a bead or the background on a vase upon which you lay other elements. How does the use change how you see the pattern? Or go for an all out piece like the one here, using as many patterns as you can while keeping the design in check.
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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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Outside Inspiration: Through the Trees
November 18, 2016
Inspirational Art
I’m going to end this week with something that is translucent although maybe not the way you are thinking, a piece that shies away from the fall colors, moving into Winter, as so many of us are, at least in terms of upcoming plans if not weather.
I share this work with you upon one condition (okay, maybe it’s not a condition, but it is a very strong urging) … that you visit the links I have for you for this artist. Michelle McKinney is one of those artists whose work you need to see in its many variation to really understand the scope and beauty of her vision. She works in what she calls ” hand cut translucen
That fact that she calls her material translucent and we see it as delicate makes for a fairly dramatic contrast with our understanding that this is metal. There is further contrast between concept and material in that images are almost all organic and yet what they are made of is industrial. More impressive though, is the undeniable beauty in her subject matter, the usually simple images that are a bit torn and twisted. I think it garners empathy for the idea of something so delicate being in such a state. It’s rather hard to put one’s finger on exactly what it is that is so striking about these but it is there without question.
You need to look at her collection of work for yourself and see if the pieces speak to you in a similar fashion. Please treat yourself to the beauty of her pieces on her Facebook page which looks to hold the largest collection of images like these trees here. But also stop over at her website to see the black and white prints she is creating with these sculptural pieces, developing a collection she calls Ghost Editions. They are eerily beautiful and not to be missed.
Inspirational Challenge of the Day: Design or create something whose imagery is one thing but the texture, color or embellishment would say something else. Work in conceptual and visual contrast. Don’t think too hard about it or too long. Start with a few ideas and see where the muse takes you.
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Outside Inspiration: Varied Strokes
October 21, 2016
Inspirational Art
We’re wrapping up this week with a little more series variation with artist Mary Karg who works in metal, beads and glass although I find her pieces like the ones here very inspiring for polymer related work.
These pieces are copper with colored pencil. Did you know that was a valid way of coloring metal? It takes a couple of steps of preparation and, of course, a sealant to set it, but it’s actually very much like coloring polymer with colored pencils. The technique, although central to the success of these pieces, feels so well-integrated. The strokes are texture that compliments the texture of the metal behind those layers, further meshed into the design with what looks like pitting of the colored pencil surface. Unlike Wednesday’s pieces, the variation here is fairly minimal but each change upholds the expert design and the choices of dangles, colors and contrast fit the slightly varied mood of each.
I found Mary’s website quite interesting, especially her About page. She’s comes across as a real down to earth person, with making art rather than making a name for herself being her primary focus. Here is a little snippet from her website:
“I consider myself a wearable artist rather than a jewelry designer. I seldom make the same thing twice, although I will get hooked on something I can’t quit until the itch is totally scratched (SERIOUS ART people refer to this as a series, I believe).”
Go explore her fun and varied designs on her website here.
Inspirational Challenge of the Day: Work with a fairly simply design but make three related variations to each. If you change the color, consider what that color says or represents then change the form to match and seeing those two together, change up the texture to complement that. Do this 4 or more times to see how far your little explorations take you.
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Pushing Variation
October 14, 2016
Inspirational Art
Before we leave the realm of canes, I thought I’d toss out a little reminder and challenge (along with adding another colorful image to our week … guess I’m feeling the need for color!) to really push what you do with canes. Or if you don’t cane, consider ways you can manipulate and vary the applications you commonly use.
Carol Simmons, a master with both canes and colors, shows the many, many opportunities for beautiful and complex designs you can find in just one cane with this image of 36 kaleidoscope versions. It is absolutely amazing to see the variation. It takes a while to find where and how she switched up and cut up the canes slices to come up with these. A couple are still a mystery to me, I must admit, but it is such a delight to find each one. It’s like 36 little puzzles. It is more than just a puzzle though. Going through and finding the patterns and determining how she arranged them can do a lot for your understanding of the possibilities of manipulating pattern which you can, in turn, turn around and apply to canes, mokume, textural patterns and anything else with a sheeted surface.
The post on this was actually from about 3 years ago but it’s a timeless lesson. Jump over to Carol’s blog post to read the whole thing and get further insight on this.
Inspirational Challenge of the Day: You know what this challenge will be … create variation with a cane or other surface designed sheet. How can you cut, rearrange, or manipulate the pattern to come up with other designs?
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Further Shaping Complexity
February 5, 2016
Inspirational Art
If you read Wednesday’s post, and especially if you took on the challenge, you might very easily find the connection between what you see here and what I talked about then. This is a great example of a repeated shape creating complexity. In this case, the repeated shape is actually a circle and most of the circles here are created with jump rings. As a way to create complex faux enamel with the wire boundary lines, this use of jump rings is pretty darn clever.
The piece and short tutorial are by Muchi at Muchi Creaciones. Something like this would have been a perfect exercise for Wednesday’s challenge. No, it looks nothing like Bettina’s stacked shapes, but it is built on that same set of ‘rules’, and in these challenges I really hope you will use the rules as the most skeletal frame to build off.
Here the repeated shape has a fair amount of variation to it which creates a cohesive as well as interesting piece. There are three types of circles (the pendant shape itself, the jump rings, and the crystals) but in different sizes and colors and yet they all look like they belong together. See, using the same shape over and over could get a little mundane, but on the other hand changing up every element in a piece makes it feel chaotic. If you have one strong, repeated element, it won’t matter how much variation there is between them as there is a common characteristic and therefore we see them as related. As long as we find a relationship between elements, we feel there is some level of order and intention. Intention-less art is simply not interesting. And although you can make something chaotic, it should be obviously intentional if you want people to have an interest in it
If you want to check out the brief instructions to making this type of faux enamel, hop on over to Muchi’s blog post here then stay to check out her other clever little tutorials and creations.
Inspirational Challenge of the Day: Take a single, simple shape or form and create at least 10 different variations, making them as different from one another as you can imagine. Don’t think about what you will make from them, just create the elements. Once you have your 10 or more pieces complete, put them together in one piece or create a series from them. Don’t forget, you can share what you come up with while participating in these challenges on the Flickr page!
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Last weekend I talked about contrast, a concept closely related to variety, which is the subject for this week. Understanding the difference between the two can avoid a lot of confusion so I’ll be referring to contrast a bit today as well. If you didn’t see the last post, give it a quick read here.
Now, what is variation?
Variation is the range or assortment of differences throughout a design. Now, didn’t contrast also speak to differences? Yes, but those differences were between similar types of elements while variation is the degree of difference between all of the elements, principles, and placement choices in your work. It is like contrast in that variation is also used to create interest or energy or to otherwise support your intention, however, while contrast is often the key to adjusting the level of variation, you can have a fair bit of variation with little or no contrast.
To put it succinctly, contrast is the difference between two or more related elements while variety is about the relationship between all the elements in a piece. So, let’s talk about those relationships and how they are used in design.
Picturing Variation
First of all, keep in mind that you can create variation with elements or principles or pretty much any visual or conceptual part of your work.
Take the gorgeous pendant that opened this post. Liz Sabol has variation in color, line, balance, repetition, rhythm and even types of composition. In fact, even though we can identify a use of the Rule of Thirds, a Golden Spiral, and use of the Focus to the Right principle, it’s the barely-there nod to centered composition, created by an implied line from the midpoint focused, and yet asymmetrical, balance of the bail to the centered tip at the bottom of the pendant, that is holding all the chaos at bay. This piece is an absolute celebration of variation.
Alternately, if you use a lot of the same elements or employ principles in the same way throughout a piece, then there would be little variation. You can see that in this simple but still striking little pendant by an undisclosed creative on VK.com. (If you know who made this, do let me know and I’ll update the post.) Here there is regular rhythm, an absolutely centered composition, and every shape is circular. The only variation is created by contrast in the value difference between the black and white and the textural difference between the smooth outer elements and the rough interior disc.
Now, looking at the two pendants, I’m sure you can see that there is a huge difference between the energy and feel of them, largely because of the level of variation.
It’s a Matter of Degrees
So, as you see, a piece can be interesting with little to no variation or contrast. These concepts add points and degrees of interest. It’s your intention that should determine what role they will play in your work.
Just think, if you want a piece to feel solemn and quiet, avoiding high contrast and keeping your variation quite subtle may be what you need. That calm could be very awe-inspiring in its subtlety. Alternately, you can have a piece with the points of contrast and variation ranging from subtle to obvious.
You see an example of moderation in contrast and variation in Amy Genser’s Eventide pictured here. Yes, the piece feels quite busy and has a lot of energy but the contrast and variation are not that dramatic. There’s a lot of texture but it’s all rough and predominantly created from the rolled-up paper elements. The rolled paper elements are all ovoid in shape but with variation in regard to the roundness and width. They also range in size and are very in color although, like the rest of the canvas, they are predominantly blue and cyan, keeping to the cool side of the color wheel. The canvas does open up into a brief mix of reds and yellows in the middle and the color values do range from a dark blue to white. But the variation is applied in a gradual and moderated way. Most of the energy comes from the texture, the repetition, and the sense of movement.
So, we see here that the degree of variation doesn’t have to be high to create energy or interest as other elements and principles can do that quite well. However, I do think in this case that the level of variation included boosts the energy of the texture and repetition. It’s a team effort.
So, unlike some other concepts, there is no way to really list the different types or degrees of contrast and variation and what they might mean for your particular piece. As you’ve seen, this is in large part due to how much these concepts depend on, and play off of, the other choices made in the design.
This is only a quick introduction to the subjects of contrast and variation but I’ll continue talking about them in many of my future posts. If you think about it, I’ve actually been talking about these ideas throughout the year as the differences in your choices for the various elements and principles is quite wrapped up in your decisions on how you’ll employ contrast and variation.
Some of your choices for contrast and variation will be made automatically if you make characteristic choices for your elements before specifically thinking about contrast or variation, like choosing just daisies for a flower necklace or choosing green and red as your color palette because it’s for Christmas. Repeated daisies will dictate rather low levels of variation because of the sameness of the primary motif so you’d have to work with contrast in things like value and size to take it up a notch. And Christmas colors are high contrast so it would be difficult to make the work also feel calm or serene starting from that color palette.
However, you might find it more advantageous to make choices about the degree of contrast and variation that would best suit the work and then make that happen through the characteristics you choose for your elements. In fact, knowing the degree of contrast and variation you want can help you make more confident and intentional choices for your elements, various principles, and composition. That’s how influential the concept of contrast and variation is in art.
Perhaps this talk of contrast and variety will get you jazzed to try out some variations on variety your own self. So, while the sun is shining and the muse is calling, do try to have a wonderful, safe, and creative week!
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Neon Paper beads necklace by Devi Chand.
First of all, thank you to all you amazing, wonderful, caring folks who sent me notes and words of encouragement and offers of help and even a book in one case, all due to my little tendinitis issue. You are the most amazing people. What a fantastic community we have! I expect most of you are dealing with something frustratingly disruptive in your life and things a lot worse than my little annoyance in many cases so know that my heart goes out to you too. Life is challenging. So, let’s go out and wrestle it and show the universe what we’re made of!
I do have more news but I’m going to save the update on my situation until the end so you can enjoy some artwork first.
Okay, on to the contemplation of art!
Rousing Repetition
This week I want to talk about repetition. Do you like heavy repetition in artwork, where a single form, mark, or motif is repeated over and over? Saying it like that makes it sound boring and unimaginative. But I think repetition has gotten a bad rap. I mean, sure, in some circumstances, like when someone says the same thing over and over again in a conversation, it is going to get on your nerves. But when it comes to design, repetition can be mesmerizing, energetic, and downright stunning. The trick is to put some rhythm and variation into that repetition. Or at least, if it’s very static, it’s best if it is obvious that a lack of variation is intentional to convey stillness, poise, or something of that sort.
I thought we’d pull up some really beautiful examples of repetition to prove the point. You’ll note in all these pieces that although form, shape, motif, or other characteristics are repeated, variation in other aspects of the design choices brings in the energy and rhythm that draws us in. The repeating element also serves to create cohesiveness and unity amongst all the other elements
So, as we go through these this week, identify the repeating design elements in each piece and then the variation that makes the repetition so interesting for you. I’ll show the piece first before I talk about it so you have a chance to consider and see what you come up with. Mind you, you will often come up with things that I won’t and that doesn’t mean that I’m right and you’re not. When art is viewed, it has to be fundamentally about personal interpretation so there is a ton of room for your unique point of view. Asking yourself these questions that I periodically challenge you with just gets you to actively think about the work, homes your eye, and, hopefully, gives you the understanding to verbalize those things so you can translate them into aspects of your own work.
So, let’s get to it!
Music in the Monotony
I am going heavy this week on non-polymer artists and I may do a bit more of this going forward too. There is just so much great design amongst craftspeople of other mediums that we could really learn from. I find it refreshing and immensely inspiring to consider how to get the aspects that I enjoy in the artwork of other mediums into my polymer designs. I hope you agree and will stick this out with me! But we’ll start with polymer work.
Here we have some really obvious repetition with a couple of bracelets from Maria Belkomor. A lot of things are being repeated here. How many do you count?
Depending on how you count, there are either two repeated elements– the black carved beads and the disk elements – or maybe four if you count the stacks of beads and the colors. Or maybe you counted more. Everything in these are repeated except for the clasps so pretty much every element can be counted as a repeating one. Variation and, especially, the contrast in the colors and the contrast in the shape between the round beads and the flat disks is what keeps the repetition from being boring. It’s very regular but the bracelets are still fun and visually engaging pieces.
Keep in mind, repetition doesn’t mean it needs to all be lined up to engage repetition. Take a look at the pieces below. Parallel lines are used over and over again but aren’t always the same types of parallel lines nor are they seated in the same orientation.
Anna Nel has a lot of fun with her bouncy graphic look by repeating parallel lines over and over but varying them from solid line sets to lines of blended clay, adding pops of color and focal points with the irregularly placed round cane slices. Her variation in color, going from black-and-white to very saturated hues doesn’t hurt the impact of these pieces either.
Looking outside of polymer, it is not hard to find gorgeous examples of repetition in construction jewelry like beadwork.
Obviously, the repetition here is primarily in the square beads, all lined up with the same orientation, as well as the repeated dangles. The designer, Beth Graham of Semper Fi designs on Etsy, switches up the color in the squares and the length of the dangles for a simple but very effective variation within the design. There are much more intricate bead designs out there, but I like this example because it highlights the concept in an easy to identify way and works to great effect.
I wonder if, in polymer, we might use repetition more often if it was not so easy for us to vary up our elements. I do think there is such a discipline in trying to create dynamic and intriguing pieces without using a wide range of variety to carry it. Just look at this necklace below. It could be polymer but is gorgeously carved, colored, and polished wood.
Liv Blavap’s works are amazing. She works with repetition in a way that it somehow becomes the focal point of her pieces. I think it’s because there’s an almost seamless transition in the variation between one element and the next, making a smooth undulation in the form and, collectively, feeling like one continuous piece even though it is dozens, maybe a couple hundred, individual elements. This approach and her workmanship make you hyper-aware that basic forms are being repeated, if changing along the way. If you’re unfamiliar with Liv’s work, jump over to this site for a quick peek at more of these stunning necklaces of hers.
Okay, one more piece that is not polymer but so readily could be and I think will be quite inspiring for those of you who like to work with sheets of thin polymer or, looking at the pattern only, cool geometric cane work. Paper does really lend itself to repetition as seen by this and the paper necklace of the opening image.
This is paper jewelry by Dutch artists Nel Linssen. Paper quite readily, and beautifully, lends itself to dynamic repetition. The energy here comes with the variation within each element that has been repeated. It doesn’t hurt that they’re basically arrow shapes all pointing inwards making it feel like all the movement is strongly and persistently moving towards the center. Yes, there is strength in repetition as well!
Meanwhile, back at the ranch (as they used to say) …
Okay, so, a little bit of an update on the situation over here at Tenth Muse Arts headquarters:
The not so great news is that the conclusion about my tendinitis progressed into something called tendinosis which takes a lot longer to heal and is why I am still dealing with it. On top of that, I have some possible physiological issues which may be the cause of my slow healing (on top of working too much, of course!) The good news is it is all fixable. However, I am going to have to disrupt my usual schedule to deal with this and, with the tendinosis, I am being told that I should stay off my keyboard as much as possible for the next 3-6 months. Ack! That means I can’t do layout, photo adjustments, or anything else that takes just a ton of mouse clicking and keyboard shortcuts. I can still write thanks to speech to text software but not much of anything else.
Translation… I have had to make the decision to halt production on The Polymer Studio magazine for the time being. I’ve also decided subscription purchases will not be available during this time because I just can’t take money for something that isn’t actively in process. That just feels wrong. And yes, I considered bringing on people to help but it would take a while to get anyone up to speed on graphics and editing work and if I’m going to work on myself, I can’t add to my schedule. My crazy long workdays are why I’m having the physiological issues, so I really have to take a pretty full break.
So, I’m making plans to play around with creating some other stuff that would be doable with written, spoken, or videotaped content because I am just not good at not being productive. But without deadlines, I can take my time. And, yes, I do plan to continue to post the blog. I like chatting with you all too much to stop if I don’t really have to!
So, some weeks I might have to go a little bit light, but I do plan to be here to join you on Sunday mornings for low contemplative art. Do please join me next Sunday – I’m putting together a survey to see what you all would like me to talk about on the blog and my other possible projects. I’m working on gathering goodies for a giveaway to go with the survey so don’t miss that!
Have a wonderful, creative, healthy, and inspiring week!
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So, I am discovering that the puffed trillion shape is almost as popular as the lentil bead form when it comes to dimensional jewelry elements. I don’t have anything against either, of course, but in trying to find some more pillowy shapes for us to contemplate the trillion shape comes up again and again. I think this is largely due to its inherent movement as it is much like the shape of an arrowhead, pointing persistently in one direction. They also allow for a lot of different embellishments as well, not appearing to be just a canvas as a square or even a circle might be. The softened sides keep them from being too severe, lending them well to the softer puffed shape.
Here, Ukrainian crafter Lela Todua makes the puffed trillion her central focus and creates a bit of variation with color and some change to the embellishment. As you can see, once you master this simple but dynamic shape, slight variations can lead to an entire line of exciting little pieces like this.
See more of Lela’s dimensional work in a variety of technique in her Etsy shop.
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We are going to be dropping in on some big names this week and next to see what they are up to and what they have to inspire us with.
First up: Bonnie Bishoff. Her focus on jewelry these last couple years has been a journey through a variety of styles as she moves from working primarily in veneers on furniture with her partner J.M. Syron to smaller and more intimate work. But regardless of the style, her quietly strong and confident sense of color and pattern mark each piece like a signature. These lovely earrings are paired almost solely by color scheme although they do work within a limited set of variations in composition, visual texture and shapes. Each variation relays a slightly different mood, adjusted through the level of contrast in value and hue. The subtlety of this communication is what really brings home how masterful her color work is.
You can see what I mean by looking at the body of her work. You can do so by jumping onto her Instagram page and the website she shares with J.M. Syron.
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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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We can’t talk about wall art right now without bringing up Donna Greenberg’s newest series—BioSystems. She’s creating these amazing conglomerations of organic shapes, bursts of color, and all kinds of variation of texture in these wall pieces.
Like Pavla’s piece on Monday, there is no particular focal point in these wall pieces. However, there is a flow-through from one set of shapes and forms into another through the use of repetition and a gathering of color that defines multiple paths from which one can explore this visual adventure.
This series was an adventure for Donna herself as she wanted to work on something that she was inspired by without concern for the selling of the artwork. Ironically, these pieces have resulted in numerous commission requests. I love that because I have long believed, since my days of being a full-time artist trying to read the market, that if you put yourself into your work it will speak to people and the sales will come.
So, I say, create what pleases you, that which is drawn from your passion, and your vision will come through in a more original and meaningful way, creating work that will please both you and many a customer.
Do set aside some time to explore the other pieces in the series as well as the photos that show the different views of the work. You can do so on Donna’s Facebook page and Instagram.
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Although this is not part of #the100dayproject, Nevenka Sabo stopped to show us what she does with the sheets she has been creating on her challenge so far.
Nevenka has been working with the torn watercolor technique that Maggie Maggio created. In this small bowl, she uses these surface treatments to create vibrant color and variation within the swirling and crackled lines of the nautilus shell design. The movement and energy of this combination of line and color have made for quite the eye-catching piece as can be seen in the long list of comments about it in the post.
To keep an eye on Nevenka’s challenge and what she does with her watercolor polymer studies, follow her Instagram page. Also, don’t miss out on her tutorials found in her in her Etsy shop.
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There is nothing quite like a challenge to really push one to try out really different things in a design, especially if you are doing one a week for a year or some such challenge.
Cristian Marianciuc, however, went nuts and created one artistic paper crane every day for, not one year, not two years, but for nearly three years! 1000 days to be exact. That’s 1000 variations on the origami paper crane and most of the variation did not come from the paper but from the additions he brought to his little creations. And his efforts were well rewarded, not only because he now has this wonderful collection but because it caught the eye of the editors of the Colossal blog and got him this little article here.
Just take a look at the article to see a small sampling of all the ways he added to the cranes. And if you really want to go down that wonderful rabbit hole, start with his Instagram page. No material or curl of paper seems to be safe from his mad craning. But how wonderful it is.
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You may have already read about this in Cynthia’s blog a couple weeks ago but a new, enticing picture is fitting into our theme of variation this week, and I couldn’t help but share.
The Samunnat Nepal project is sending three of their ladies to the States for training, and the sale of these beautiful angels is part of the fundraising. The variation on these is aided by the help of the many busy hands at the Samunnat house along with a lot of scrap sari. The variations are not huge—a change of color in the top, a different hairstyle and slight changes to the face—but it makes each unique and something to be treasured.
The angels are $50 including free shipping within the continental United States. Ron Lehocky will be taking care of the orders so you can write him at rlehocky@bellsouth.net and send checks to him, made out to Ron Lehocky and mailed to 1763 Casselberry Rd, Louisville, KY 40205. If you’d like to support Samunnat with direct monetary support, you can do so on Paypal by donating here.
If you are working on variations, take a cue from these ladies and work with other artists to see what you can come up with. They do this all the time as you can see on their Instagram page
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