by Cynthia Tinapple on October 11, 2011 · 9 comments
In preparation for my November trip to Nepal, I’ve been immersed in creating easy, fashionable polymer patterns that I can teach the women in the Samunnat project. The tour will be led by Australian polymer artist Wendy Moore.
I stand on the shoulders of many polymer artists who have taught me their tricks and tips over the years. You’ll find a little Toops, a dash of Korringa, a bit of Benzon, hints of Voulkos, a touch of Tinapple and more in these new designs.
You can be among the first to test out my crazy quilt/gypsy bead, bangle, and bowl designs in a class I’ll be teaching online on Craftcast on October 19 at 8:00 p.m. ET. Proceeds from the 90-minute class will help support the Nepal project. Sign up!
I’m anxious to report back to you on how Samunnat and other women-centered projects affect lives. Check out The Girl Effect (here on Facebook) to learn more.The videos are stunning.
To have polymer artists involved in efforts for change is exciting. Thank you for your help.
by Cynthia Tinapple on August 29, 2011 · 9 comments
Gera Scott Chandler shows her “starter sheet” of polymer that ends up covering a series of her fusion bangles.
The luminous sheet is a sandwich of polymer, foils, translucent clay and alcohol inks. Loose graphic designs are stamped and scored into the clay.
The big sheet is cut into pieces which are fitted and smoothed over bangle bases.
The black polymer bases underneath make the overlay glow like faux stained glass. Socket joints stretch and close easily over the elastic that holds them together.
A starter sheet is an efficient way to produce a series of companion pieces. It helps, of course, to begin with a signature palette and lots of experience with foils and inks. You’ll see what I mean when you study the colors in Gera’s Flickr site.
Working in circles is how Utah’s MaryAnne Loveless describes the polymer collages she assembles on boxes and books and jewelry.
I’d already spotted her work because of its range of pleasing patterns and palettes. A note from MaryAnne’s son made me bring her to you today.
“My mother is an amazing polymer artist, all familial bias aside,” said Joe. He thought that recognition on PCD would surprise her and make her proud. A son’s thoughtfulness makes for a heartwarming Monday story.
Sometimes good things happen even when you feel like you’re working in circles.
Washington’s Fanita Brandeis is another overlooked name in polymer history. Fanita opened the first bead shop in Washington, Sunshine Bead Co., starting in 1967. Ronna Weltman and Doris Coroch sent me links to Fanita but somehow I missed her page.
Recently a picture of her studio bead table on Flickr caught my eye and made me want to reach out and run my hand over her stash of polymer goodies.
Fanita prefers her art with some imperfections and I kept finding references to her “queen of collage” status. Her beads are not the result of any special tricks or techniques. They exude a spirited approach toward color and life.
In preparation for my November trip to Nepal, I’ve been immersed in creating easy, fashionable polymer patterns that I can teach the women in the Samunnat project. The tour will be led by Australian polymer artist Wendy Moore.
