2 / 2023

POLYMER WEEK
magazine

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“There are always arguments and misunderstandings.
Knowing that those do not represent an ending but rather
a curious moment for potential growth is key.”

STEVE FORD AND DAVID FORLANO

POLYMER WEEK
magazine

6 Anfen Kuo
10 Obsessive Cat Disorder
14 Steve Ford and David Forlano
22 Zebra Sharks
26 Artists of the United Kingdom
34 African Brooches
36 Lynn Yuhr
40 Soutache Pendants
48 Amy Blair
52 Galaxy Brooches
56 Natascia Raffio
60 Coral Ring
62 Marina Andrei
68 Funky Necklace
72 Olga Vyshnyvetska
78 Divot Dot Earrings
82 Olivia Brydon
Five years.

We‘ve come a long way since the first Polymer Week was published. Back then, it all
began as a big idea in the mind of a little girl. Nothing was sure, not even an issue
number two.

With thousands of photos and too many words, we have published polymer clay
artworks of diverse artists, mapping the development of our community and giving
space to those who deserve to be seen, no matter if they work with the clay for months,
years, or decades.

Some may contend that expansion is the key to growth, getting more readers,
selling more, making more… I find greater meaning in delving deeper. Our contributors‘
willingness to share something, often on a very personal level, became the essence of
our publications and means way more to me than achieving some numeric goals.

These artists, some just trying to make a living, others championing the use of the
medium, and some simply enjoying their creative time, have been the most crucial
element that binds it all together.

We all have discovered the joy and passion in transforming ideas and thoughts through
a seemingly simple material like colorful polyvinyl chloride. Although it starts with our
hands when things go quiet around us and the only sound is the whirring of a pasta
machine, our passions connect into the greatest community of people I have seen.

Thank you. It’s been spectacular.

 ANFEN KUO

i strive to create a sense of

harmony and balance
Some polymer clay artworks have gained widespread recognition and left a
strong impression on the public. However, there are also noteworthy pieces
that you may not have come across before. Several years ago, jewelry artist
Anfen Kuo crafted a remarkable organic collection, drawing inspiration from
the elegance of nature and the balance of mathematical principles. By skillful-
ly combining metal and polymer, she brought her vision to life. Recognizing
instagram.com/kuojewellery

the significance of her work, we reached out to Anfen to delve deeper into
her original creations and give them the recognition they deserve.

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Hello Anfen! As an artist, what is the main con-
cept of your creations?

Through my work, I strive to strike a balance between

art and practicality, creating pieces that are not only
aesthetically pleasing but also wearable in everyday
life. Overall, I see myself as an artist who bridges the
gap between material science, goldsmith techniques,
art, and nature, and I hope to continue exploring this
intersection through my future creations.

Now you are known for delicate jewelry made

from metals. However, during your studies in the
UK, you came up with an original collection of or-
ganic pieces where you combined metal with poly-
mer clay. How did the idea come to your mind?

My interest in jewellery was sparked after visiting an

exhibition dedicated to silver clay products where
I was captivated by the fluidity of their shapes and
forms. I then took a silver clay masterclass and discov-
ered that working with the material brought me inner
peace and a state of creative flow. This led me to pur-
sue advanced skills in the profession, so I obtained a
teaching licence in silver clay and completed a gold-
smith apprenticeship.

Looking to further expand my skills, I applied for a

master’s degree in jewellery design with a prestigious
UK university. The program emphasised the use of
modern and advanced materials, which presented
a challenge for me as my prior experience was with
more traditional materials. However, I was deter-
mined to find a way to apply my skills to the new field
and that‘s how the idea of combining polymer clay
with silver emerged. This allowed me to use my tradi-
tional training and techniques while also experiment-
ing with new materials and designs.

Did you know a lot about polymer clay material

back then, or was it all one big experiment?

When I first began working with polymer clay, I had

no prior experience or knowledge of the material.
However, I was immediately drawn to its flexibili-
ty and the creative freedom it allowed in terms of
shapes, forms, and colours. As a designer with a back-
ground in architecture, I approached the world of
jewellery with a desire to explore and experiment
with new techniques and materials, as well as a de-
sire to express my creativity through pure creation
and unrestricted design.

Polymer clay provided the perfect opportunity

for me to do just that, without the constraints of
established rules or practices. While I had to learn
and adapt to the material as I went along, I found
that this experimentation and exploration ultimate-
ly led to new discoveries and breakthroughs in my
designs, as well as a greater appreciation for the
limitless potential of polymer clay as a medium.

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 Have the studies at the renowned School of designs and materials. What did your process
Jewellery in Birmingham helped you to shape look like when designing the organic polymer
your style? collection?

Undoubtedly, my studies at the School of Jewellery in As a designer, I believe that the most important part
Birmingham had a profound impact on my style. The of the creative process is the exploration and experi-
school encouraged us to develop our own unique mentation phase, where I can try out different tech-
artistic identity. They provided us with the necessary niques and ideas in order to develop my own unique
tools, techniques, and resources to create beautiful style and aesthetic.
works of art that truly represented us. The school‘s
approach was centered on research, skill develop- In the case of my organic polymer collection, I spent
ment, and continuous practice to achieve excellence. a significant amount of time researching and experi-
What I appreciated the most was the school‘s sup- menting with different colour palettes, shapes, and
port for translating material science into art. It was an ways to combine silver with polymer clay. Whilst I
enlightening experience that allowed me to explore drew inspiration from the natural world, studying the
the endless possibilities of polymer clay and silver. colours and patterns found in various organic life-
forms, translating this inspiration into finished pieces
On a more critical note, I personally found that con- was a real challenge that required extensive prototyp-
temporary art was not entirely in line with my expecta- ing and technique refinement. The key was to come
tions. I was searching for the perfect blend between up with a design that would please me while ensuring
art and commercial style, without leaning entirely into that each piece was structurally sound and durable.
either direction. As someone with a practical scien-
tific background, I valued the importance of bal- Colour definitely plays an important role in your
ance between creative expression and marketability. collection. Did you enjoy mixing the clay in order
Nonetheless, the School of Jewellery‘s encourage- to create gradients?
ment of creative freedom and commitment to artistic
excellence have been instrumental in shaping my style. The process of mixing clay to create gradients was
a true joy for me. It was a thrilling journey of explor-
Behind each artwork, there is an intense process ing different colours, researching new shades to add
of problem solving, skill building, and researching to the mix, and producing the final gradient effect. It

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was an adventure that allowed me to blend my inner
creativity with my scientific knowledge to produce
unique works of art.

My collection, titled “Organism Study,“ was inspired

by nature, specifically the spectrum of colours found
in flowers. I spent countless hours studying these
colours and found that in nature, there are no clearly
defined or “pure“ hues - everything is a gradient. This
perfect imperfection of nature became a significant
source of inspiration for my work, and the result was
my entire collection. Even more, I would like to sta-
te that the first name of my brand was “Imperfection
Jewellery Design” - this feature of nature had, and still
has, a very profound impact on my art and work.

How do you think about structures in your

designs?

When it comes to structures in my designs, I like to

think of them as the backbone of my creations. Based
on my architectural training, I have a deep apprecia-
tion for the mathematical order that underlies every-
thing around us. It‘s not just about linear structures,
but also about the complex shapes and forms that
can arise from seemingly chaotic arrangements of
elements. In my designs, I strive to create a sense of
harmony and balance, where every element has a
purpose and contributes to the overall structure of
the piece.

Ultimately, the structures in my designs are not just

functional elements but also serve as a means of
expression. Each piece transmits a feeling or an idea,
and the structure is an integral part of that transmis-
sion. Whether it‘s a bold geometric form or a more
fluid, organic shape, the structure is a reflection of
the ideas and inspirations that have shaped the piece.

After your collection was made, did you experi-

ment with polymer clay further?

After completing my initial organic polymer collection,

I continued to experiment with the material to push
my skills further. I began by making the pieces smaller
and more wearable, with the aim of creating pieces
that were marketable and could be considered as
jewellery. This ultimately led me to create a “mini
collection“ featuring pieces as small as 1 cm in length,
which still retained the essence of my original “Organ-
ism Study“ collection. These pieces were some of
my most challenging work but also represented the
highest point in my experimentation with polymer
clay.

Despite the progress I made with the medium, I found

that my true passion still lay in traditional goldsmith
work and fine jewellery design. As a result, I made
the difficult decision to steer away from the polymer
clay direction and concentrate on creating metal and
gemstone fine jewellery with my brand, Kuo Jewellery.
While I enjoyed working with the polymer clay, my
heart led me back to the classic and timeless beauty
of traditional jewellery design.

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 obsessive cat disorder
Delia Gerendi loves cats. She believes that cat brooches possess a special charm that
can instantly make any outfit look ten times more purr-fect! Whether you‘re wearing
a casual t-shirt or a fancy evening gown, just pinning on a cat brooch can take your
fashion game to a whole new level. Forget about catwalks: the real fashion show starts
when you parade with a sassy cat brooch!

MATERIALS AND TOOLS

• polymer clay • black ink pad • liquid clay, super glue

• machine • soft paintbrushes • permanent black marker
• scalpel, ball tool • black acrylic paint • textured sponge, tie tack pins
• black ground pepper • round mini cutters • sandpaper grit 600, 800, 1000
instagram.com/dellinedesigns

• paper, pen and scissors • alcohol ink, alcohol • UV lamp and vapor mask, UV resin

DELIA GERENDI
“I create not because I have to, but because that’s who I am,” says Delia Gerendi from
Romania about herself. When she accidentally stumbled upon polymer clay, it took
just a few hours and she was totally hooked. Delia is a dreamer and polymer clay is
the medium through which she turns the products of her imagination into wearable
pieces of art.

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Draw actual size cat templates with Roll white clay on thickest setting of the Roll clay on a medium setting. Cut out the
different poses. Cut out the templates. machine. Add some ground black pepper cat shapes using the templates.
and mix it well into the clay.

Stamp the clay using round mini cutters Stamp the eyes using round or oval mini Use a dotting tool to stamp the pupils in
with an ink pad. Start with the paws. cutters, according to your drawings. the eyes with an ink pad.
Continue with the ears.

Use a very thin brush and black acrylic Continue with other details and finally Add the whiskers as dots and lines.
paint to draw the rest of the details. Start the tails.
with the nose and the mouth.

The last step is to outline the margin. Allow the pieces to cool and sand the Use a permanent black marker to
Don’t aim for straight lines. It has to look edges. Don’t worry if you remove some highlight some of the details.
irregular, like a child’s drawing. Bake the of the paint in the process.
cats.

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 Use the marker on the edges where the Choose some thin brushes and a few Paint the cats using diluted alcohol ink.
initial paint was removed. alcohol ink colors. Aim for pale colors instead of strong
colors. Mix a few tints for every cat.

Blend the colors using alcohol. Add small Paint the ears and paws in saturated, Decide the place where the 2 tie tack pins
dots of plain alcohol here and there for a contrasting colors. Allow the ink to dry. will be. Puncture the template and mark
nice spotty effect. Make paper templates with the shape of the spots on the back of clay pieces with
every cat. a marker.

Glue two tie tack pins onto the back of Choose a color for the back of every cat. Use a brush to spread liquid clay or a
every cat. Texture the clay with a textured sponge baking adhesive product of your choice
rolling through the machine on a middle on the back of the baked pieces. Add the
setting. textured clay and trim along the edges.

Smooth the edges and make sure the Finish the pieces using UV resin. Don’t Cat brooches — the fashion statement
raw clay is perfectly attached. Bake again, forget the safety equipment! Cure the that says: “I’m sophisticated, stylish, and
facedown, upon a piece of paper. brooches under the UV lamp. secretly plotting to take over the world,
one purr at a time.”

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Delia Gerendi has a real passion for crafting tutorials,
and we’re thrilled to feature her work on our online
Polymer Week Society platform. Come join us and
explore hundreds of articles, online classes, step-by-step
tutorials, and video lessons, all about polymer clay.

polymerweeksociety.com

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 Photography by Marti Mills, Vida Vida, Jared Castaldi
STEVE FORD AND DAVID FORLANO

two heads are better than one

In an unexpected pairing, Steve Ford and David Forlano have defied all odds
to become a dynamic duo that has profoundly impacted the polymer clay
community. With a friendship spanning four decades, they continue to push
the boundaries of jewelry making, delving into new conceptual ways full
of color and structural patterns. “The work feels complete to us when the
balance of elements – abstract and imagistic — comes into focus in some
fordforlano.com

unusual way,“ they say. Enjoy the interview about Steve and David‘s journey
and unique approach to their craft.

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A lot of people might think that you two are
sharing a studio together where all the magic
happens. Yet you happen to live quite far apart
from each other. How does your collaboration
work?

D: Part of a strong collaboration is the differences

between each of us and the willingness to be open
to each other’s input. After working so closely to-
gether from the very beginning of developing our
work we had developed one clear voice between
us. We can shortcut the language and conversation
about the work and know exactly what we are talk-
ing about. In some ways, the distance and separate
studios opened a newness to our working that we
might not have had otherwise.

S: For the first twenty years or so, we did work

side-by-side in the same studio. When David moved
to New Mexico and got married, I frankly thought
our collaboration would not last very long. In fact, it
benefited from some distance and me not looking
over David’s shoulder saying, “I wouldn’t do it that
way.” Over the first twenty years, we did develop
a language to talk about what we were exploring,
which continued in conversations at a distance.

Texting pics back and forth helped me get David’s

input in real time. What I learned about myself
when David moved, was that I was much more
dependent on his reactions to my work, than he
was to mine. I felt a bit lost and abandoned for the
first year that he was gone.

Do you sometimes fly from Philadelphia to

Santa Fe or the other way to visit each other?

D: Most of the shows we had been doing over the

years are East Coast shows. So there hasn‘t been
much reason for Steve to make the trip to Santa Fe.
My studio is small and I keep very little work here.
Our archives and collection are in the main studio
in Philadelphia.

S: We have done so, but not recently. David would

travel to the East Coast to do craft shows with me
in Boston, Philadelphia, and Washington. I did go
out to Santa Fe soon after he moved there to help
him build a studio in his backyard. And I was the
“best man” at his wedding in Santa Fe.

You met in Rome, in 1984. What has changed

for both of you since then?

S: A lot has changed in the last twenty-nine years,

but I still treasure the thrill of living in Rome and
talking about history, art, and ideas. I love to read
about Roman history and Art History in general. At
the time, I imagined I would be a painter living in
New York, but there are many ways to make work.

15
 D: At fifty-nine years old and having had a very suc-
cessful career and collaboration following art school
I feel more settled. I feel extremely fortunate that
we could do it the way we did. Other than a more
mature confidence I don‘t feel much different. I
still make work and collaborate and diversify my
approach to artmaking as I have since high school.
My personal artmaking choices are with more con-
fidence and clarity now.

There is a wonderful sentence on your website

saying: “We could not have been more different,
or more unlikely to collaborate.” Did you have
any difficulties in your career?

D: There are always arguments and misunderstand-

ings. Knowing that those do not represent an
ending but rather a curious moment for potential
growth is key. One of the things that draws me into
my collaborations are those differences. I know I will
be learning something and be challenged by others
in ways that can help my vision grow.

S: Oh sure, like any long-term relationship, we’ve

had moments when we hated each other, and
weren’t communicating positively. At times like
that, meeting formally with a counselor helped get
us back on track. In the early days, we had some
difficulties with our media being taken seriously by There is basically no one in the polymer clay
top collectors, but especially after adding silver and community having such a strong partnership
gold to our work, we started being collected more with another artist. What do you think is crucial
widely by museums and individuals. for keeping your project working?

D: That is a hard one to answer. Partnerships

take on many forms and have many reasons for
existing. The basic curiosity and friendship that de-
velop as two young art students with big dreams of
a world ahead is a big factor. Both of us were driven
to make something happen. We had a passion to
make it work and endless ideas in our explorations
together.

S: I wouldn’t want to do what we do alone. I get ener-

gy and ideas from working with David, seeing what
he does with polymer, and thinking about how I
might do things differently. We’ve always shown our
work as Ford/Forlano, even though there are some
things that David does entirely and some that I do
without his input. Besides the two of us, we work
with several metalsmiths who each bring their own
skills and sensibilities to Ford/Forlano. I think it’s
crucial that we give each other space and respect
to keep the collaboration alive. I know when David
sends me a box of things that he’s made, that I have
his permission to alter and change anything that I
really hate. When I send things to him, it’s with the
same understanding.

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Would you say that working as a couple might
be actually easier in terms of making a living
out of art?

S: We’re a business partnership as opposed to a

domestic couple. In terms of collaboration, it just
makes it more fun to make things together. We
have produced a lot of work and shown with a lot
of fine craft galleries around the US. We recently
stopped exhibiting at craft fairs ourselves, although
we continue our collaboration at a slower pace. I
see that as just another step in our evolution as
artists/makers. Always the skeptic, it amazes me
that our career with polymer has lasted this long.

D: Two heads are better than one.

You have created an incredible amount of jew-

elry from polymer clay and other materials, and
many of them are truly signature pieces known
around the world. What is your experience of
combining polymer with other materials?

S: We started to incorporate sterling silver and

other materials into our work in 1999, which gave
our work more gravitas, and allowed for some
technical things that we could not otherwise do.
We design the metalwork to scale, but without
having the limit of our own metal hand-skills, we’re
more free to draw more challenging forms. At that
time we also changed our business name from
City Zen Cane to Ford/Forlano to reflect the shift
from production to more one-of-a-kind and limited
edition work.

D: There are so many masters at working in alter-

native materials with jewelry. I think we touch the
surface of that aspect. Polymer clay is not a great
structural component by itself so the addition of
precious metal is a natural and traditional way to
bridge materials. Personally, some of my favorite
artists are working with unusual materials and
approaches to jewelry.

How do you balance the use of abstract patterns

and forms with more concrete imagery in your
work?

D: Abstraction comes first. More concrete imagery

is less comfortable or interesting for us.

S: There’s very little concrete imagery in our work.

Most are simple colors and patterns. Our training
as painters helped us with color mixing, and a love
of textile design helped with patterns.

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 MIXED MEDIA
Ford/Forlano’s artistry remains bold and expressive,
thanks to the incorporation of precious materials
like sterling silver, gold, and pearls. Part of their goal
is to transform polymer clay into something that
looks as if it was found on the beach, or growing in
the woods.

GOING THREE-DIMENSIONAL
Their designs feature complex, layered surface
treatments with mysterious and unusual colors.
Together they give each element its own diverse
character while maintaining a unified look as a whole.

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SURPRISING ELEMENTS
Steve and David describe their work as inventive,
sculptural, and unexpected, with a goal to “make
something that someone loves enough to want to
wear on their body, that’s visually involving.”

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 One of the most beautiful things about polymer What have been some of the major influences
clay is its color. How do you approach the use of of your artistic evolution?
color in your jewelry designs?
D: Environment always has a great influence.
S: I was told by a painting teacher: “You obviously Travel always has a great influence. Culture always
know nothing about color.” So I thought, I’ll work has a great influence. The colors and textures of the
only in white. Then I learned all the many different place we live and work are an automatic influence.
things you could do with just white paint: that is, This happens more on a subconscious level than
matte or glossy, thick or thin, warm or cool… anything else.

With polymer, I’ve always taken an intuitive approach When either of us has traveled we come back with
to working with color. Because I don’t really under- new influences to share in the work. We are respond-
stand formal color theory, I rely on what I like and ing to witnessing a new environment. Experiencing
what I don’t, what’s working and not working for me different visual concerns and different ways of doing
personally. And if I don’t know, I’ll ask David. things triggers us to look at our own work through
another filter. The inspiration can come from just
D: I don‘t think much about color theory. We do about anything at any time.
have a general language that we developed to-
gether through different color phases of our work. S: While our collaboration has always been a busi-
I often look for the oddball thing to do with color. ness venture, it has evolved into a more personal
I like to throw away all of the carefully developed expression of our ideas about art. From our earliest
rules historically developed around color and see if days working together, David was always interested
I can surprise myself into seeing differently. Some in color and surface and I was more interested in form
very unsuccessful things come out of this on the and structure. We complement each other that way,
way to settling into an agreeable palette for a series. and by working together, we make a good whole.
And sometimes the oddball color moment gets to We also realigned ourselves from the polymer com-
remain in a piece. munity alone to the general art jewelry community.

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The fact that we work with polymer became less
important than the ideas we were trying to express.

And has your partnership and collaboration

impacted your individual artistic practices?

D: I think it continues to teach me to be a good

collaborator. As an individual artist, I am pretty
clear about what I want to be doing. This is not
always in line with others or even current trends in
art. Still, I prefer collaboration.

S: I started making unique prints and collages

about twenty years ago. That work grew out of the
love of color and pattern that Ford/Forlano had
long practiced.

How important is the concept of “wearability” in

your jewelry designs and how do you approach
creating pieces that are both artistic and func-
tional?

D: As a function of the business of making art jewel-

ry it is crucial. But knowing that does not stop us
from pushing what wearability means. It offers a
good challenge to push up against.

S: My partner, Ron, calls our work “Diva Jewelry,”

and luckily there are a lot of divas out in the world
that will wear large things that our mothers would
not wear, for example. We’re making work for the
fantasy client as opposed to what we know we can
sell at a craft show.

Cool! How do you envision your work continuing

to evolve and grow in the future?

S: That’s what we are about to find out. Having

stopped showing at craft fairs, our production
calendar has slowed way down, allowing for other
projects and other kinds of work, not suited to craft
fair audiences. One example of a recent project is a
unique handmade book that broadly describes the
way that David and I work together with polymer
although there is no polymer in it. The book features
drawing, painting, printing, stamping, and collage.
It was a five-year back-and-forth project we called,
“That & This” because we don’t take an intellectu-
al or conceptual approach to making work, rather
we say: ”I like this, I don’t like that.” The book was
acquired in 2021 by the Rare Books and Special
Collections Division of the Library of Congress in
Washington, DC for their permanent collection.

D: It’s very open at the moment. I am deeply

involved with the local music scene. I host a month-
ly avant-garde, experimental, and improvisational
music series and work with many local musicians.
I think of myself primarily as an improviser in life
and art. We are, at the moment, in an improvisa-
tion where anything can happen and if we are paying
attention we can make a very exciting shift. I like not
really knowing what that is just yet.

21
 zebra sharks
Let‘s dive into the ocean and draw inspiration from one of its most magnificent crea-
tures—the zebra shark. Super gentle, rare, and nocturnal, the pups are born with stripes
that gradually separate into spots as they mature. In this project, we‘ll aim to bring these
wonderful creatures to life using polymer clay and acrylic paint, either as an individual
sculpture or a set of figurines.

MATERIALS AND TOOLS

• polymer clay • paper towel • metallic paint or mica powder

• printer, paper, alcohol • acrylic paints • printed shark template - scale 21 cm
• wire cutters, blade, scalpel • paintbrushes • sculpting tools or wooden skewers
• metal wire, roughly ø 1.2 mm • aluminium foil • UV resin, UV lamp or glossy varnish

REBECCA BOLDE
boldestudios.com

Rebecca’s artistic journey began in the film and video industry. After a decade as a
motion graphics artist, her heart discovered true joy with polymer clay. This ignited
a passion for exploring the beauty of nature and wildlife, in particular marine life,
through using this unique medium. With her art, Rebecca aims to raise awareness and
inspire awe for the precious creatures that call our planet home.

22
Print the shark template to use as an Add bulk to the head by wrapping Begin smoothing the lumps, adding
anatomy reference. Bend the wire in a aluminum foil around the loop and or removing clay as needed to get the
loop, twist and wrap the wire midway optional thinner gauge wire, if desired, desired shape, tapered at the tail. To
down the body. for more grip. Cover both foil and wire create a slightly flattened head and a
with clay. short, blunt snout lightly pinch the top.

A wire armature is not always necessary. Using a wooden skewer, poke a small On the underside of the head, use a
It adds strength to the piece, but as an hole on either side of the head for the pointed tool or skewer to poke two holes
easier alternative, you can roll out a eyes. Behind the eye sockets, create an for the nostrils. Create a straight slit
snake of clay, thicker near the head. indent for the spiracle (a small opening for the opening of the mouth. This will
that helps them breathe). resemble a face.

Roll 4 small balls of clay and place two on Smooth the clay on the outer edges Using the template as a guide, cut out two
each side of the mouth. Using a scalpel to complete the mouth. Roll 2 small pectoral fins with a scalpel. Smooth the
or needle tool, add ridges to the inside of teardrops of clay. Place one on the inner edges with your finger.
the mouth to resemble tiny teeth. side of each nostril. These are the barbels
used to find prey.

Position each fin on either side of the On the underside of the belly, add Using a scalpel, cut a slit down the base of
shark, closer to the belly. Add a snake of another snake of clay to the bottom seam each fin, about halfway. Smooth around
clay on top of the seam and smooth with of the fins. Smooth with the base of a the edges.
the base of a paintbrush. Flatten a small paintbrush. Finish smoothing around all
ball of clay into each eye socket. sides of the fin with your finger.

23
 Cut a row of 4 gill slits into the body, just Roll 5 snakes of clay, 2 long and 3 short. Using the base of a paintbrush, blend
above the front of each fin. Most sharks Loosely place them on the body to get a down the side of each clay snake with
have 5 pairs, but with zebra sharks the 4th sense of their position and length. These small strokes, one ridge at a time. Do a
and 5th are so close together you can get will be the distinctive ridges that run along final smoothing pass with your finger.
away with just 4. the body.

Cut the remaining 4 fin shapes with a Position the pelvic fin (heart shape) on the Position the remaining fins using the
scalpel, using the template as a guide. belly of the shark about halfway between template as a guide. Blend the dorsal fin
The pelvic fin resembles a heart shape, the head and the start of the tail, slit (largest top fin) into the ridge on the head.
with a slit down the middle. Smooth all facing the rear. Smooth the top of the fin Add clay snakes to all seams (excluding
edges. into the belly, leaving two flaps. pelvic fin flaps) and blend.

To create the tail shape, pinch clay Support the tail against a ball of aluminum For a pup, repeat all steps, making
downward to form the caudal fin. Cut a foil. Do a final smoothing. Alcohol and a smaller, rounder fins and longer tails.
notch at the tip of the tail and smooth brush are great for removing fingerprints. Coat the pup with black acrylic paint. Coat
with finger. Bake for 30 minutes. the adult with a cream color and darken
with brown stripes.

Use dark brown to follow the stripes with For the eyes, paint a layer of black acrylic Dilute brown paint with water and wash
small dots. For the pup, use white paint, paint, followed by metallic paint. Using over areas you’d like to darken. Dab excess
or thin acrylic paint marker for stripes. a small paintbrush or thin acrylic paint with a paper towel. Once dry, brush on a
marker, draw a small slit of black for the layer of UV resin, cure under UV light, or
pupil. coat in glossy varnish.

24
25
 POLYMER WEEK EXPLORER

artists of the united kingdom

After presenting artists of Romania in the previous issue, we move to the
United Kingdom where the British stand out as a vibrant and dynamic hub of
creativity. At the heart of this community lies the British Polymer Clay Guild,
a nonprofit organization that serves as a guiding light for enthusiasts and
professionals alike. Committed to fostering learning, collaboration, and the
sharing of techniques, this guild has played an integral role in shaping the
landscape of polymer clay art in the country.

Currently boasting approximately three-hundred members, the guild‘s reach

extends not only across the United Kingdom but also to international shores.
The guild‘s diverse membership comprises individuals engaged in an array of
artistic endeavors, including miniaturists, jewelry makers, sculptors, dollmak-
ers, and artists who explore the medium in various other forms, desire to
learn, create and inspire one another.

Join us as we explore the rich tapestry of the British polymer clay scene, shed-
ding light on the distinctive styles, innovative techniques, and the close-knit
community that defines these artists.

26
ELLEN RANDALL

With a background in embroidery, Ellen Randall seamlessly

transfers her love for intricate details into her clay work.
She possesses a keen eye for texture and dimension while
drawing inspiration primarily from nature, whether it be
animals, landscapes, or flowers. Ellen strives to capture the
essence of each subject, infusing her pieces with a sense of
realism. Not one to shy away from pushing boundaries, she
experiments with painting in polymer and the possibilities
of translucent clay.

KAREN WALKER

Karen Walker honed her expertise for twenty years in

ceramics. A turning point in her artistic journey arrived when
she was presented with the opportunity to showcase her
skills on a popular shopping channel, using a new medium:
polymer clay. This marked the beginning of Karen‘s explo-
ration of this material and in the past thirteen years, she has
traveled across the globe, teaching workshops on behalf
of polymer clay manufacturer Cernit. Today, Karen proud-
ly runs her own venture, selling polymer clay and running
workshops from her personal studio space.

27
 MELANIE MUIR

Melanie Muir, a Glasgow School of Art graduate, has tra-

versed a professional path in retail, fashion, and marketing
before finding her passion in jewelry design. She has devoted
the last decade to exploring the mokume gane technique,
particularly drawn to organic forms. Her creations have
garnered international acclaim, earning prestigious awards
and being exhibited in venues such as the National Museum
of Scotland and Craft Central in London.

BIRDY HEYWOOD

Birdy Heywood captivates with her fairy-tale sculptures

and brings these mythical creatures to life in intricate
detail. Her sculptures showcase a deep understanding of
anatomy and storytelling and with Birdy’s skillful use of
color and texture, each sculpture reflects the artist‘s unwa-
vering dedication.

28
FIONA ABEL SMITH

Watching her grandmother painting in oils, Fiona Abel Smith

started her own career with solo painting exhibitions in the
UK and abroad. One day she was introduced to polymer clay
and her passion has remained steady. Starting with jewelry
pieces, she has been exploring new horizons, painting land-
scape scenery with clay, sculpting, crafting vessels, incor-
porating other mediums, and sharing skills via her Youtube
channel.

DAYL GOULSBRA-JONES

Using different mediums and surface treatments, Dayl

Goulsbra-Jones is capable of creating and combining
polymer clay patterns in order to create reversible neck
pieces and adjustable-length pendants that offer a wide
range of options. Dayl seeks out new possibilities of shape,
texture, and color, that all heavily influence her style.

ERICA STURLA

Three-dimensional scenes made from polymer clay are

significant for Erica Sturla, who expresses her creativity
through polymer clay pictures. Drawing inspiration from
everyday life, her figurative paintings capture the joy of
celebrating the familiar in a fresh and unique manner,
aiming to evoke happiness in the viewer. Displaying her
captivating artwork in galleries throughout the UK, Erica
also designs various ranges of greeting cards and fulfills
private portrait commissions each year.

29
30
 CAROL BLACKBURN

Carol Blackburn draws inspiration from various sources,

including nature, cityscapes, and the interplay of sunlight
and shadows in architecture. Instinctively using color, she dis-
regards theoretical constraints. Her designs evolve through
experimental work with polymer clay, incorporating geomet-
ric and graphic elements influenced by her background in
designing patterned, machine-knitted fabrics for knitwear
companies. Her expertise is recognized by groups and guilds,
who often invite her to teach workshops. Carol is also known
for her book on polymer clay beads.

BRIDGET DERC

With expertise in decorating home items, Bridget Derc‘s

mastery lies in transforming everyday objects into stunning
works of art. Her geometric and kaleidoscope patterns
breathe new life into vases, tables, and various home items.
Through the Skinner blends and the artful composition of
canes, Bridget‘s extensive portfolio showcases mesmerizing
motifs of waves, flowers, leaves, and geometric patterns.

CARA JANE HAYMAN

Specializing in millefiori cane work, and with a passion for

color and vibrant patterns, Cara Jane Hayman finds joy in
the process and the magical transformation that occurs
as the cane is reduced and the pattern shrinks. While she
has a rich history of creating jewelry, Cara Jane is currently
exploring sculptural possibilities. She embraces the op-
portunity to share her knowledge through teaching
and tutorials and, as the current president of the British
Polymer Clay Guild, she plays a pivotal role in the communi-
ty‘s growth and development.

31
32
 color pigments
Introducing a game-changing creative product for all polymer clay
enthusiasts. Lucy Štruncová‘s Color Pigments offer intense and vivid
colors, breathing life into your artistic projects. These pigments are
super concentrated, so you only need a tiny amount to make your
polymer clay projects pop. Plus, you can easily mix a little color with
white to create soft pastel shades.

Whether you prefer striking or subtle shades, this range does magic
and satisfies all your creative needs. Explore all colors and special
effects like metallic and neon.

polymerweek.com

33
 african brooches
“The inspiration for these brooches came from African masks and totem poles,“ reveals
Barbara Nalepa. With her profound admiration for African art, both traditional and con-
temporary. Enchanted by the vibrant colors and intricate forms, she has crafted a series
of brooches, seamlessly melding polymer clay with cold enamel.

MATERIALS AND TOOLS

• paper, pencil, scissors • liquid clay • VersaFine black ink

• black and white clay • brooch pin • embossing powders
• machine, hand drill • cold enamels • jump ring ø 8 - 10 mm
• scalpel, cutting blade • aluminum foil • small brushes, spatulas
• ceramic tile, texture sponge • sandpaper grit 240 • mini circle cutter ø 5 mm
instagram.com/barmisnal

BARBARA NALEPA
Barbara Nalepa, originally from Poland, has made southern Sweden her home since
the early 1980s. While pursuing a career as a doctor, she’s also embraced her artistic
side. About two decades ago, she stumbled upon polymer clay, and in recent years,
she’s been skillfully incorporating it into her work with other materials.

34
Draw and place your brooch design Striped cane slices placed on a thin sheet Attach a piece of the striped clay to neck
template on a sheet of 3 mm black clay elongate through the machine, reducing area, top points, and one for the mouth.
and cut out shape. Separate the small settings from thick to middle. Create a Place checkered clay on the body. Cut out
rectangle. checkered pattern by offsetting 1 mm a small rectangular pendant and texture
wide strips. the back side with a sponge. Bake.

Roll black backing clay with the texture Mark the length of the brooch pin on the Apply the clay with the pin to the back
sponge through the machine. Apply black clay. Cut out small circles with mini of the brooch. Trim away any excess clay
liquid clay to the back of the brooch. cutters to receive pin ends from behind around the edges.
with the textured side up.

Loosely crumple a sheet of aluminum foil Place the brooch securely on top of the Using a brush sprinkle white cold enamel
to form a support for baking. foil face up. Brush translucent liquid evenly on the liquid clay areas.
clay around the striped and checkered
pieces.

Add colored enamel over white starting Apply brown embossing powder Allow the surface to cool down without
with the lightest color at the top and sparsely at the bottom. Sprinkle white touching. Dab the edges with VersaFine
gradually transitioning to the darkest and black embossing powder over the ink. Drill a hole in the dangle and another
at the bottom creating a color gradient. entire surface. Bake the brooch at 135°C one in the body then connect them using
Repeat on dangle. for 30 minutes. a jump ring.

35
 LYNN YUHR

i haven’t found anything i would

not use with polymer
Lynn Yuhr has become an enthusiastic supporter of having fun, letting go
of expectations, and allowing her hands to busy themselves with various
artistic ventures. “I haven’t found anything I would not use with polymer,“
says Lynn, who, using her art journaling experience, successfully exper-
iments with techniques from different mediums, blending materials to
craft vibrant and cheerful pieces bursting with colorful patterns.

instagram.com/lynnyuhr

36
Hello Lynn! As a self taught, what inspired you More recently, in 2020, Covid gave me an opportu-
to become an artist in the first place? nity. I know many, many people suffered during that
same period of time and I don’t want to minimize the
I had always dabbled in crafts, but mostly related to toll it took on people around the world. But for me, it
my kids when they were younger. As they got older, was a gift of time. That year my schedule was packed
I transitioned to focus more on my interests, jew- with traveling, teaching, and attending workshops.
elry and art journaling. I got involved in a local arts Then everything stopped. I was forced to sit still.
guild and took every class available – enameling, That is when I tried my first 100 Day Challenge on
metalsmithing, wirework, bead weaving. I would try Instagram and played with hardware cloth. It was
anything at least once. But then I was introduced to just me, some crazy ideas and time. I didn’t know
polymer clay by an artist/teacher Meredith Arnold. what the outcome would be. But looking back, it was
She has no idea what an impact she had on my a gain in confidence, a nurturing of my own voice
life. Someday our paths will cross and I will let her and finding a real joy in playing with different ma-
know. But at this point, I was still working full-time terials. So, practice may not make you perfect but it
and running a family business as a consulting ge- certainly makes you better!
ologist. The idea had never occurred to me, or
even the possibility, of becoming an artist until I You are right. Challenges can be a great help.
found myself retiring from a thirty-year career. The What was the feedback of your audience on
chance to make a choice and change direction was social media?
very empowering, and a little scary.
The commitment to post something every day was
What advantages and challenges did it bring? daunting and silly at the same time. These challenges
are completely self-imposed, so you set the rules.
Since I am not formally trained in art, there was But I found the support, encouragement and differ-
initially a high level of ‘imposter syndrome’ I had ent perspectives so amazing! People were encour-
to get over. I have gone back and strengthened aging me along the way, even when I posted some-
my foundation on my own, principles/elements thing that was really terrible, at least to me. They
of design for example. But now, as I have gained would see something positive in it, that I could then
confidence, I am using the lack of formal training build on. It was a great experience.
as an advantage. I am not constrained by rules or
materials. Yes, there are occasions when I hit a wall You have been combining your polymer clay art-
because I am missing information or a skill. But I work with techniques from different mediums
am usually able to find what I need somewhere or and utilizing unusual materials. What drives you
figure it out on my own. I find those challenges so to keep exploring new ideas?
interesting and I am continually learning.
I love using different materials with polymer clay.
Can you describe a particular experience that I think our goals as artists should be to capture
has had a profound impact on your artistic someone’s heart or evoke a strong emotion or
journey? peak someone’s curiosity. The materials, what they
are, and how you have used them, should really
I had two points in my journey that had really pro- be secondary or maybe not important at all. I want
found impacts. One was in 2010 when I attended someone to connect with my work and not care
an IPCA Synergy conference in Baltimore, Maryland. what it is made of. If you are telling a story well
I knew I loved polymer clay and wanted to focus on and someone connects with it, the materials are
that medium. I made a commitment to myself to irrelevant.
learn whatever I could. I went to the conference by
myself and didn’t personally know anyone there. It When somebody asks you directly, which story
was a moment of really stepping out of my comfort are you telling through your art, what would be
zone and going where there were ‘real’ artists. I was your answer?
so intimidated, seeing all the big names in polymer.
I was such a geek. The learning opportunity was My mother always reminded me to not take
amazing and it really opened my eyes to the possi- myself so seriously as I was growing up and I hear
bilities. And everyone there was so encouraging and her whispering to me even today. So I am usually
welcoming. focused on evoking a smile or a sense of humor.

37
 I love the idea of reaching back and connecting with
our inner child. My whimsical, abstracted forms and
playful marks remind me of simpler times when
hope and optimism came naturally to people.

In your opinion, which materials work the best

for you when combined with polymer clay?

I haven’t found anything I would not use with poly-

mer. I think about the design and how it will be exe-
cuted, then I think about what materials would help
me achieve that goal. I have supplies from so many
different areas of art that I have tried over the years
to play with, most of us do. I also find it interesting
when one area of art crosses over and informs an-
other. So, mixing materials seems like a natural or
obvious thing to do.

Having such a playful yet aesthetic style of your

art, do your life and your surroundings influence
your work?

I was recently teaching a class and showing a num-

ber of samples, when someone commented on the
strong botanical theme in most of my pieces. I was
caught off guard. I knew it was there, I guess I just
didn’t acknowledge it before. But it makes so much
sense. I live in Miami, Florida, where everything
grows all year long. My husband is an avid gardener
and loves flowers. Orchids are his favorite. I am
surrounded with a diversity of size, shape, colors,
patterns, etc. just in my little backyard. It is simply
amazing how diverse Mother Nature can be! I am
always out there taking photos and looking at how
things are growing.

Lately, you have been really diving deep into

the magic of liquid clay. Are there still new ideas
popping in your mind in terms of this technique?

I have been a little crazy over liquid clays. I had used

them in limited ways before, but then had time to
really play and experiment during Covid. One of the
ways that I play and experiment is by taking a tech-
nique from another art form and seeing if it can be
applied to polymer clay. For example, most of the
techniques I use with liquid clay have come from my
art journaling experience.Stamping, mark making,
stenciling, and sgraffito were all things I did in my
journals.

38
It was a fascinating journey to see these techniques
transfer over to polymer clay. Some techniques
worked better than others. And every time I think
I have exhausted the possibilities, either I or some-
one else has a new idea. So yes, I think there
is plenty more that can be done with liquid clays.

Teaching is your favorite thing to do as well.

How do you balance the desire to create art
for yourself with the need to make a living and
connect with students?

That is an excellent question! I love teaching and

sharing what I have learned. Being able to present
ideas or techniques in easily understood terms is
something I really, really enjoy. I think people are
often surprised at the simple steps that are put
together to create something really special. I also
find that I learn from my students. It is never just
a one-way street. There is always an unexpected
moment in class when a student shifts my per-
spective or presents a new idea. Those are my
rewards during teaching, along with the many
friends I make along the way.

With that said, I recognize that there is a deli-

cate balance between teaching and creating. It is
something that I need to work on. I need to allow
myself the time to refuel and fill up my creative
resources so that I have something worthwhile to
share.

How do you see your artistic style and approach

evolving in the future?

I have really enjoyed my artistic journey so far

and look forward to what is next. My creativity is
fed by continually learning, experimenting and
challenging myself. I want to be strong enough
to push myself into those more uncomfortable
creative spaces, stretch my skills, work on clarifying
my voice, and telling better stories. So, while I want
to move forward in my artistic journey, I realize this
will require sitting still, listening to that little voice
in my head and working on ideas. A struggle to find
a balance again. Sitting still is not something I do
very well, so we will see what happens!

39
 soutache pendants
LILIA FADEEVA’S PROCESS

Lilia Fadeeva specializes in crafting beautiful brooches, pendants, and jewelry

boxes, drawing inspiration from the soutache technique. She loves using smooth
lines and curves in her creations and has decided to share her process of making
an elegant pendant in a black and green color palette.
instagram.com/l.fadeeva_art

For this project, you‘ll need basic tools for working with polymer clay, such as
gloves, plastic wrap, liquid clay, extruder, cutters, drill bits, silicone modeling tools,
as well as paper and pencil. Use your choice of cord and findings for the pendant.

To maintain cleanliness and precision throughout the project, it‘s essential to

work and bake on a glass surface or ceramic tile. Make sure to wear gloves and
have wet wipes on hand to keep your workspace tidy. Let‘s get started!

40
CONDITIONING THE CLAY
Prepare the clay in a variety of colors
and values. In this case: gray, blue,
blue-brown, light green, dark green,
and black. You can use any other color
combination that you like.

EXTRUDING
Extrude thin strings from the gray and
blue colors using the smallest single
hole disc.

CUTTING DOMES
Use small circle cutters of 10 mm, 5
mm, and 1 mm. Cut each dome through
the plastic wrap on the glass surface.
Use thicker clay for larger domed
components. For the four large beads
use five layers of the wrap, for four
medium beads you will need three layers
of wrap and for small beads, one layer is
enough. Bake the domes in advance.

MARKING THE GRID

Roll out a layer of clay in any color, with a
thickness of around 0.7 mm. Mark a grid
using the non-sharp side of the blade.

MAKING FIRST ELEMENTS

Add a thin layer of liquid clay and
center a large green dome observing
grid symmetry. Add the first extruded
strings using a silicone brush, and gently
press the strings against the dome and
base clay with a silicone tool.

41
 Repeat the same steps, adding two
more colors of strings to frame the
dome. Place two smaller, baked domes
symmetrically on the grid and surround
with the string ends and trim. Play with
your composition to find a design that’s
pleasing to you.

Create three more identical elements.

Use a blade to trim away most of the
excess clay base sheet. Bake for 20
minutes.

CUTTING THE EXCESS

After cooling down, trim away the excess
clay base sheet with a scalpel. Make
sure that the sides of each element are
smooth.

MAIN BASE
Draw a circle to the desired diameter
on a piece of graph paper and divide it
into 8 equal parts. Transfer the drawing
onto a 1 mm thick base clay sheet using
a scribe.

BUILDING SPIRALS
Add a thin layer of liquid clay on the
sheet and position your four elements
symmetrically in the circle center. Make
a black dome component to fill the
center where domes meet.

42
 Choose where to place the medium size
green beads. Build rows of strings using
a silicone brush to avoid any fingerprints.
Repeat at three other points.

Continue to develop the repeated design

by adding more elements, beads, and
strings. You can also decorate the upper
part to make the design dimensional.

43
 CUT EXCESS CLAY BAIL RINGS TEXTURED BACK SIDE
Use the scalpel to cut off most of the Using super glue, attach the metal rings to Roll a thinner sheet of black clay, texture it
excess clay. Leave some space around the the back of your piece. Examples shown with a texture sponge and cover the back
edges. Bake for 20 minutes and cut off the are 1 cm in diameter. Add liquid clay onto of your piece. Cut the excess away and
rest of the excess clay when the piece has the entire back side. bake for 20 minutes.
cooled.

WORKING ON EDGES
Using a straight blade, cut a strip from a
thin sheet of clay. Using liquid clay attach
strips to cover edges of the piece. Smooth
edges with a silicone brush around
the entire side edge. If desired, apply a
texture. Bake for 30 minutes.

BASE FOR SPIRAL BEADS

Draw a circle with a diameter of about
20 mm on a piece of graph paper. Roll
out a layer of clay on middle setting and
transfer the drawing onto the clay sheet
using a scribe.

44
 ROLLING
Put a green bead in the center of the circle.
Roll an extruded string around the bead
until you fill the entire circumference.

CUT THE EXCESS

Use the blade to cut off excess clay. Leave
some space around the edges. Bake the
piece for 20 minutes and let it cool.

FINISHING TOUCHES
Cut off the rest of the excess clay until
perfect. Add a thin layer of liquid clay to
the back, cover it with a thin layer of black
clay and trim the excess. Apply liquid clay
on the edges, and cover with a thin strip
of the same clay. Connect everything well
using a texture sponge and bake for 30
minutes.

45
 CREATING SKINNER BLEND
Roll out a thick layer of green and dark green clay, cut into rectangles, then diagonally into
triangles. Join them together, fold in half, run it through the machine, and fold again in the same
direction. Repeat until you get a smooth transition from one color to another. Cut out a 4 cm circle.

LAYOUT DRAWING FINAL ASSEMBLY

Smooth the edges of the circle with a damp Prepare black acrylic paint or black liquid clay Once you have all the components, you can
cloth. Bake for 20 minutes. Prepare any and a thin brush. Paint the inscription on the varnish all the rounded domes to make them
drawing or inscription and transfer to tracing circle and let it dry. Then apply a thin layer of stand out.
paper. Transfer the drawing on the tracing liquid clay and bake for 30 minutes.
paper to the blank.

Assemble the final necklace, drill holes,

and connect everything with rings, metal
findings, and cording. You can also make
additional polymer clay beads to decorate
the cord. Enjoy the possibilities of this design
and explore unusual color combinations and
shapes.

46
47
 amy blair
USING CONSTRAINTS TO SET YOU FREE

Imagine this: you excitedly get to your studio which is filled with all of your
favorite clay colors, tools, and materials. You can’t wait to start touching clay
to create something amazing. The possibilities seem endless. And then you
sit down at your workspace, and that sea of infinite possibilities stretches out
before you and suddenly you feel lost. What is going on? You’ve set aside this
time to create and you have every colorful block of clay at your fingertips. So
why can’t you seem to start on anything? Perhaps you will find an answer in
this article written by Amy Blair.

Amy‘s work is characterized by a playful and upbeat style, inspired by her origi-
nal watercolor paintings and textiles from her travels. She loves to experiment
sunahjewelry.com

with different patterns, textures, and color combinations, and she uses her
jewelry as a canvas to express her creativity and individuality.

48
How many of you have encountered this phe-
nomenon? I’ll be the first to raise my hand. I
often run into this problem when I have no press-
ing deadlines or orders to fill and I just have what
should be this luxury of free time to explore my
medium. Yet I find that these are the times I tend
to feel the most stuck. I think a lot of people as-
sume that artists are supposed to simply sit, and
suddenly this river of creative ideas will come
pouring forth. I used to think this way as well and
wondered what was wrong with me when I had
these moments of creative paralysis. Why did I
freeze when presented with so much freedom?
Choice is a wonderful thing, but too much choice
can often lead to feeling overwhelmed. That
is where constraints come in. I know, the word
constraint truly sounds like the buzz kill to cre-
ativity. No one likes to hear that they can’t do
something. However, once you realize the clarity
that constraints provide, you will start to see them
as a powerful ally to your creative process.

What is a constraint?

A constraint is simply a limitation. There’s really

nothing unique about it until you apply it to your
work, and that is where the magic happens. When
you hold yourself within a limitation it forces you
to focus and design more thoughtfully. Think of
it as a compass to navigate that endless sea of
possibilities. A lot of times it’s the fact that there
are too many paths we can take that stop us from
ever taking our first step. A constraint can offer
a form of focus that is often the one missing in-
gredient we need to actually begin. And, as Johann
Wolfgang von Goethe put it so succinctly, “What is
not started today, is never finished tomorrow.”

There are endless types of constraints that can be

used in art. If we zoom way out you’ll see things
like scale, color, and material. These are big overar-
ching constraints that can be seen in examples like
the famous painter Piet Mondrian who limited him-
self to using only primary colors. There are infinite
colors to choose from, yet Mondrian chose to work
within the constraints of red, yellow, and blue. The
street artist Banksy is a great example of material
constraint. His iconic work is easily recognizable
because of his almost exclusive use of black and
white stencils on exterior walls. We can go more
granular with constraints as well, with things like
audience, purpose, and story. Who are you making
this for? How will it be used? What are the emo-
tions you want to convey? You’ve probably made
something for a friend at some point. You created
something special based on what you know about
that person’s style, personality, favorite color, etc.
By doing this you were constrained by making this
specifically for my friend and no one else. Even if
you were unaware of constraints until now, you
probably have used them unknowingly.

49
 Some examples of how I personally use these in
my work are, for starters, I only work in polymer
clay, mainly white. I create patterns and choose
to only use these types of more abstract imagery
and nothing else. When I create a new collection
I will start with the limitation of a story and try to
make pieces that capture the feeling of the places
I’ve visited or the experiences I’ve had. I even use
constraints when I prepare for shows. I will give
myself a limit on the number of pieces to create
based on the size of my display and what kinds of
pieces to bring based on my audience. Being able
to harness these guiding principles really allows
me to be more prolific with my work and bring my
ideas into reality more consistently.

Constraints as a tool

Instead of creating on a whim and using any and

all techniques, colors and materials, we can use
constraints to create with more purpose which, in
turn, helps define our own unique style. When you
look at any artist’s body of work there are usually
A few practices you can try, using different types
defining characteristics that stand out and make
of constraints:
their work recognizable. Maybe it’s the size of the
pieces or their choice of color or perhaps it’s the
SHAPE
subject. Whatever it is, the underlying reason a
body of work feels cohesive can most often be tied
Using only one shape, see how many different
back to the invisible rules the artist has chosen to
ways you can use this form. Use as many as you
work within. Being able to create with this kind of
want, any color, any size, and you can modify it (ex:
purpose and intention when and how you want is
cut it in half) but it must start as the one shape you
the beauty of learning to use constraints as a tool.
chose.

COLOR

Create 3 different pieces using only 3 colors. You

can mix the colors and use them however you
choose but you are limited to only those 3 colors.

STORY

Picture your favorite place or a place you’d love to

visit. Try to imagine all of the sights, sounds, and
feelings of what that place is like and then create a
piece that captures these elements.

SCALE

If you normally create small pieces, your challenge

is to create something at least double the size you
normally create. If you normally work on a large
scale, your challenge is to create something at
least 2 times smaller.

TIME

Set a timer for 15 minutes and start working. When

the timer goes off you must stop! How does it feel
to create under pressure? This is also a nice way of
helping you start if you’re procrastinating.

50
Some questions you might want to ask yourself
after trying these practices:

• Did you learn anything interesting while working

within one of these limits?

• Did a specific practice push you out of your

comfort zone? If so, why?

• Did you feel a change in your creativity when you

were more focused?

• What type of constraint would be most beneficial

in your own creative work?

• Have you been working within constraints

unknowingly? If so, how are they being used?

After trying some of these practices, I hope you can

see how working within a limit can actually force
us to become more thoughtful and creative. A lot
of times these kinds of practices lead to creating
something unexpected. These practices can also
help give you the momentum to continue explor-
ing your craft by removing the barriers to starting.
Of course, using constraints isn’t at all necessary.
However, it’s nice to understand what they are and
how they can be used so that you can call on them
if and when you want to.

The benefits of focusing our creative ideas through

using constraints can be powerful in transforming
our work. They give us a guideline for where to start.
They can help us build a cohesive, recognizable body
of work. They can challenge us to create something
outside of our comfort zone. And most important-
ly, they can forge a path through the onceendless
sea of possibilities. When you feel decision fatigue
setting in or become frozen by too much choice, you
now have a new way of cutting through the noise
and getting your ideas flowing again.

51
 galaxy brooches
The dark sky sprinkled with tiny dots of light has inspired people to dream and wonder
for many centuries. Andreea Corpodean invites you to take a walk among the stars and
let yourself be inspired by distant galaxies. Grab your polymer clay and let’s create a
brooch that captures a tiny bit of the cosmos’ magic. You can take the galaxy theme to
another level by making your piece glow-in-the-dark like celestial bodies in the night sky.

MATERIALS AND TOOLS

• polymer clay • brushes • super glue

• liquid clay, varnish • soft pastels • jewelry pliers
• small gemstone • acrylic paints • pencil and paper
• sculpting tools • needle tool, scalpel • thin wire, brooch pin
instagram.com/wildflower.tales

• machine • round micro-cutters • glow-in-the-dark paint or clay

ANDREEA CORPODEAN
Andreea Corpodean from Romania has always been into art. It was polymer clay that
stole her heart. She never plans her creations in advance, she simply starts working
and inspiration comes along the way. One of the most important aspects of her art
is detail. She believes that small things matter and have the power to make a big
difference.

52
Sketch a moth on a piece of paper and Cut out an extra pair of clay upper wings Cut the outline of the moth and smooth
transfer it to a thin sheet of white clay and position them on the clay moth, the edges. You can strategically poke
using a needle tool or a pen. according to the sketch. holes in the shape of constellations to
remove any air trapped between the two
clay layers.

Make the abdomen area slightly domed To make the antennae, fold a piece of Slightly press the clay components on top
by pushing the clay from the margins of wire with pliers and prepare two tiny of the wire, then flip the antennae over
the body toward its center. Use a sharp- elongated petal shapes out of black clay. and add enough liquid clay to embed the
edged tool to segment the body. Use a scalpel to add feather-like texture wire. Bake the antennae for 20 minutes.
to the clay pieces.

Place the antennae on the moth and Set the cabochon between the top of Use round micro-cutters of different
cover the exposed wire with clay. Prepare the upper wings, then create a simple sizes to make decorative holes on the
a thin strip of black clay and frame a small head shape out of black clay. lower wings.
gemstone or glass cabochon.

Color the moth with pastels, using a Apply pure hues and blend them with the Scratch thin lines to connect constella-
galaxy-inspired palette: blue, violet, tints, until you’re happy with the intensity tions with a needle tool. Poke sockets
magenta, and black. Add pastel-tinted and transitions. Add a bit of black in areas for the stars and add a bit of liquid clay
colors first for better results. near head, cabochon, and body to create inside. Use thin clay snakes and tiny balls
more contrast. to create the constellations.

53
 Add more decorative elements, such as Add thin snakes around the cabochon, Roll another sheet of white clay. Add a
crescent moons and balls. around the edges of the wings, and wavy thin layer of liquid clay to the back of the
accents. Attach them with liquid clay. baked piece, place it on the sheet, and
Bake for 30 - 45 minutes. remove the excess clay.

Smooth the edges thoroughly. Cut a hole Texture the back to your liking and add Color the back with pastels, using the
the size of a brooch pin and glue the pin some simple decorative elements. same color scheme as before. Bake for
inside with super glue. Cover the pin bar 1 hour and let the piece cool.
with a thin layer of clay.

Paint the lower part of the upper wings Color the edges with black acrylic paint Add white paint to a slightly damp brush
with black acrylics. Use white and gold and the back of the antennae to cover and flick bristles to sprinkle some areas
paints to add details. the wire embedded in liquid clay. of the wings, to imitate the faraway stars.
Practice on paper first.

Use paper or baking paper to cover the Do the same on the back of the piece. Optionally, you can add luminous paint or
areas that you don’t want to splatter. Sprinkle the ‘stars’ and add details with use glow-in-the-dark clay when making
white and gold paint. the thin snakes for the constellations and
other decorations. Finish with varnish.

54
 Since moths are often overshadowed by butterflies
and sometimes dismissed as pests, her goal was
to transform them into beautiful and eye-catching
creations. “Making these pieces was such a joyful
process. From sketching the designs, all the way to
sprinkling stars on the wings,” says Andreea.

Andreea has beautifully captured the essence of

moths’ graceful flight and gentle movements. The
combination of vibrant colors and intricate details
in her jewelry not only makes it visually appealing
but also enticing to wear, allowing people to carry
a piece of nature with them.

55
 NATASCIA RAFFIO

at some point, someone

will notice you
Natascia Raffio, a versatile Italian artist, uses her creations as a form
of personal diary. With a wide array of artistic expressions including
drawings, sculptures, and polymer clay artwork, she delves into the
possibilities of materials and techniques while simultaneously explor-
ing her inner self. Her ability to seamlessly navigate between different
mediums, while showcasing the interplay between history and con-
temporary expression, underscores her status as a truly dynamic and
culturally resonant artist.

natasciaraffio.com

56
Hello, Natascia! You present yourself as a
painter, cartoonist, and doll maker. What suits
you the most?

I‘m not sure which answer is truer. Each story re-

quires a different technique. I believe in a baroque
approach to creativity, in which different arts in-
tertwine to give greater echo and emphasis to the
message.

As you were born in Rome, has Italian culture

influenced you as an artist?

Being born and raised in a city like Rome is a price-

less fortune. Art is everywhere, in most cases free
and within everyone‘s reach. This also creates a
lot of pressure because you enter into senseless
competition with history. I can‘t explain how funda-
mental it was for me because it‘s much more than
an influence, it‘s part of me as a person rather than
an artist. On a practical level, I think I can say with
a certain precision that I have absorbed and then
expressed a certain taste for exaggeration and
decoration that is very present in Rome.

In your sculptures and drawings, a certain

character is repeated in many different forms.
Are you expressing yourself through semi-auto-
biographical stories?

Totally. I express my feelings through my work. I

express them outward but I also explain them to
myself. All my production is a personal diary.

When you compare your current artwork to the

first ones made from polymer clay, what has
changed?

What has definitely changed is my knowledge of

the material. I made many experiments and many
mistakes, and I still do. Over time I have discovered
different polymer clays and understand which one
is more suitable for the different parts of my sculp-
tures.

Do you remember when the first idea of sculpt-

ing enchanting dolls came to your mind?

I‘ve always wanted to make dolls, ever since I was a

little girl. But I can be a professional procrastinator.
Which doll? What material? How big? Then a funny
thing happened. A gallery owner I wanted to work
for liked one of my pins on Facebook. I thought it
was absurd. I worked hard on my paintings and she
liked one of my brooches? That night I took one
and began to expand it and so I created my first
sculpture which then ended up in the gallery that I
liked so much. For dolls, it was the same thing.

57
 An artist that I love very much told me one day: “You have to make
dolls and maybe work with stop motion.“ Even at that moment I
thought it was absurd but then I did it. Sometimes to start a fire
you need the right spark.

How different for you is creating in two dimensions and then

sculpting in space? Does it require a different way of thinking?

For me, the sculpture is easier and more direct and this is very
strange because I have studied drawing and painting a lot but for
sculpture I am self-taught. Of course, I did a lot of practice and
threw many prototypes but when I make a sketch I already know
if it will be a 3D or 2D work. It‘s all very natural.

We can see a lot of details in your artwork. Do you consider

yourself a patient person?

I am not a patient person in general. I think when you love some-

one or something you become patient. When I get lost in all the
details I create I don‘t think about how much work I‘m actually
doing. It’s funny! But try to make me fill out a form or queue at the
post office! Hahaha.

Obviously, colors are an important part of your art. What

colors fit you the most?

I have a palette that I use very often made of pastel tones. I‘m
obsessed with it. I also love playing with complementary colors.

Has that ever changed?

For a long time, I worked in black, white, and red. Then I used all
the colors from the box and all together! I was confusing myself so
I narrowed it down. Obviously, it‘s not a fixed rule but this palette
represents me well and I only walk away from it when it serves to
better express the subject and its meaning. I studied color theory
but mine is more of a sentimental choice.

You have experience with presenting your artwork in muse-

ums and in art shows. When did the very first offer come into
your life?

I exhibited my work for the first time when I was nineteen and
studying art history. The University posted an open call for artists,

58
physically, because it was the ‘90s. I called and
attended this student exhibition which surprising-
ly attracted a lot of attention. It was an incredible
experience where I met wonderful artists who are
still my friends today.

For many of us, the doors of galleries opened, with

ups and downs, successes and failures, then with
the advent of pop surrealism as a concept in Italy
too, the doors of museums also opened. It seems
obvious but the important thing is to work and
resist, to always be present! At some point, some-
one will notice you.

What is your experience when people from

museums or galleries realize that your artwork
is made from polymer clay?

In galleries and museums, no one has ever blinked

an eye because of the materials I use. I do not deny
that there is discrimination, however, but in other
areas. Polymer clays are used on a large scale for
craft and this creates prejudice in some people.
The difference between art and craft is so fleeting
and fluid that this topic immediately becomes slip-
pery.

A painter is always considered an artist when

maybe he is expressing nothing but his technical
skills and then there is a potter considered a crafts-
man who instead expresses very high concepts
through his works. Being “crowned“ an artist some-
times depends on the luck of crossing the road with
someone who believes in what we express. Certain-
ly, but regardless of the material, we must sincerely
talk to ourselves without filters, give ourselves to the
world without hesitation and truly express what we
feel. At that point, nobody will care if we use ceramic
or polymer clay.

Do you feel you accomplished that? Does your

art express who you are and what you feel?

Always and never. Sometimes it doesn‘t work at all,

sometimes it works a little, and sometimes it gets
really close. After so many years of attempts the
number of total failures, which still exist, are re-
duced. In everything I expose to the public‘s opinion,
I‘m 100% there. As soon as a piece is finished, I always
think about what I would have done differently, even
when I like it. It‘s not frustrating, it‘s stimulating and
so I immediately start working on something else.
Maybe that will be the lucky piece.

59
 coral ring
This ring is a modern, edgy piece that deviates from the norm with its square shapes.
The cultured pearl inlay adds an element of elegance that complements the matte finish
of the clay, while the three rows of red coral beads add warmth and a pop of color. This
unique combination of elements results in a polymer clay piece that exudes contempo-
rary style.

MATERIALS AND TOOLS

• black, white, red, translucent polymer clay • roller • rigid and flexible blade
• baking paper • super glue • mesh abrasive grid 180
• coral texture • Dremel tool • sandpaper grits 1500 - 3200
• liquid clay • talcum powder • diamond burrs and grinding disc
• machine • silver pearl pigment • round metal cutters with plungers

CÉLINE CALONE BENISTI

ccbenistyle.com

Céline, a talented French artist, first stumbled upon polymer clay in 2007 while
creating miniature models for children. However, it was not long before she found
a new passion for designing unique jewelry pieces that delighted her clients. With
an endless array of possibilities offered by this versatile material, Céline’s creativity
knows no bounds.

60
Condition red clay and pass it through Condition translucent clay on thinnest Adhere red clay-filled stamp onto translu-
machine on middle setting. Apply talcum setting. Continue to stretch it as thin as cent clay sheet, using a roller to ensure
powder on texture. Press red clay deep possible with your fingers, making sure it good contact.
into texture to fill the pattern. Cleanly doesn’t tear.
shave excess clay from the surface.

Gently remove texture so that the red Condition black clay and pass it through Use a round cutter to cut the hole of the
clay transfers onto the translucent. Bake. machine. Form a roll and flatten it to 0.8 ring.
mm in thickness.

Depending on your finger size, you can Cut the sheet of red coral into 3 parts. Sand the ring with 180 sandpaper to
enlarge the hole. Once the desired size Cut to remove the excess translucent refine edges. Continue sanding with finer
is reached, cut vertically in the middle of clay around the outer edges of the red grits. Polish by hand with denim for a
the top part of the ring. Bake in the oven. coral. matte finish.

Using a Dremel tool, make 3 long slots on Condition white clay. For the pearl, make Use a Dremel burr to create a recess on
the top of the ring. a small ball and roll it in the silver pearl the face of the ring and insert the pearl
pigment. with a bit of liquid clay and bake. Glue the
sheets of red coral into the slots.

61
 MARINA ANDREI

maybe you won‘t arrive to perfection,

but it must be your best instagram.com/things.i.love.byma

The artwork of Marina Andrei has captured our attention multiple times
during the last few years. The Romanian artist is known for her statement
necklaces which feature clean lines, carefully chosen color palettes, and
intricate patterns. She has a keen eye for detail and pays close attention to
the finishing, ensuring that each piece is flawless. “I might not be one of the
top leaders and innovators in the polymer clay field, but if my creations can
put a smile on people’s faces, if they can stop someone from scrolling and
scrolling, if they can revive a dull outfit, then my creations are worth all the
time I spent in making them,” says Marina.

62
Marina, for those who are not familiar with your
artwork, how would you introduce yourself?

I might say I am a polymer clay self-taught artist,

but this wouldn‘t be completely true. I feel more
like an artisan than an artist. I always ask myself
this question: What makes an artisan a true artist?
Probably a remarkable, vanguard, unique, unseen-
-before style. I have no formal training in visual arts
and I’m asking myself if this is an impediment or a
disadvantage. You’d probably say nope, not at all
and you’d give me some examples of remarkable
artists with no art education.

So, you think an art degree would have been

helpful for you, right?

Polymer clay, being a relatively new material,

borrowed tools and techniques from other art fields.
Well, you must be aware of the existence of these
tools and techniques to even think you might use
them with polymer clay. Formal art training would
give you the fundamentals, and the fundamentals
are the starting point for innovation. The rest might
be talent, curiosity, or perseverance.

During the last couple of months, you have

shared with our community so many wonderful
artworks. Is there an explanation for your skills
growing so quickly?

Thank you very much! Receiving a compliment

from someone who is so deeply involved in the
polymer clay world means a lot to me. I can think
of at least two explanations. First, it‘s the time I
can allocate to this activity. About two years ago
I had the courage, and possibly the madness,
to give up on my academic career and have
chosen to work as a full-time pharmacist. It was
by far the most difficult decision I have ever made
because it was a lot of work, energy, and dedi-
cation to leave behind. But sometimes you just
must open your eyes and admit that something
that others wish for might not be suited for you.

After several moments of panic, my decision came

with peace of mind and, as a bonus, some extra
free hours weekly. I took advantage of the time to
do something that really makes me happy: crafting.
Talent is important in every domain, but hard work
and perseverance are the best tools to use if you
want to evolve.

63
 What a brave decision. What is the second one? jewelry and objects, otherwise, it wouldn‘t be so
popular.” She ironically laughed at me, but my first
Second, I guess that all the experiences I got since polymer clay packages came from her, as a Christ-
I began working with clay about eight years ago, all mas present.
the positive results I achieved, and all the mistakes I
made finally placed me into a more confident state. Lovely! Were there any artists that really in-
spired you in the beginning?
I should also include here the two online master-
classes I took with Dan Cormier last year. I wasn‘t I was impressed by many consecrated artists,
planning to try to recreate his work, but all the tips but my beginnings were deeply and irreversibly
and tricks, all the technical solutions that I couldn‘t marked by Olga Ledneva and Dan Cormier‘s styles.
think about on my own but that Dan kindly and I admired the unexpected, large, statement pieces
professionally taught me helped me improve my that Olga creates, her faux natural materials sur-
own designs. face techniques, like wood and stones, that you
can see in her early creations. I find her designs
I feel that all these aspects converged into the abili- truly unique and very wearable if I could say so.
ty to understand better how I can achieve a certain
result. Better said, I feel more confident to juggle Dan‘s work doesn‘t need recognition or validation.
several surface and construction techniques to It speaks for itself, and I consider him the “God-
approach a desired design. father“ of polymer clay. He has influenced, inspired,
and taught people for over twenty-five years. His
You are right. We see a lot of polymer clay designs were really intimidating in my early tries,
enthusiasts getting better and better after but it is his work that made me establish a target:
attending Dan’s classes. Anything else that has a perfect finish for my jewelry. I am in continuous
changed for you and evolved? competition with myself ever since in achieving
well-finished pieces. The back, the edges, the closure,
I have begun paying more attention to the colors and the connections in a piece are aspects I am always
I use; I did more exercises with color theory and concerned about.
now I take my time to obtain the colors I want
before each new project. “Finishing begins in the first steps of the construc-
tion process, and you should give a piece all the
Do you recall the first moment you found poly- time it takes to achieve the best result you can,”
mer clay? says Dan. Maybe you won‘t arrive to perfection, but
it must be your best.
I am not sure if there are many people who
remember as many details about their beginnings Your own portfolio includes an impressive
with polymer clay as I do. So, long story short, it collection of bold, statement necklaces. Did you
was the winter of 2014, and I was at a craft event always feel attracted to this kind of jewelry?
with a friend. I kept seeing tiny flowers and sculp-
tures, in the form of jewels or decorative vessels. I have always been attracted to big, bold, statement,
Pretty much, everyone was doing the same thing. artisanal jewels. I had this idea for a long time: A
I asked my friend: “What are all these made of?‘‘ small, conventional jewel… How can it impress?
She said: “Fimo.“ I thought this was the name By being precious! Using common non-precious
of the material. The brand sounded familiar, so I material? How can it impress? By being bold enough
searched for it on the internet. And it was “Boom!“ to be seen and heard. It must speak another lan-
guage: an unconventional, surprising, different one!
I remember I kept showing my friend photo after
photo, saying “Look! It is the same. It is called poly- Polymer clay can be too heavy when used in
mer clay, but look, this is so different! You wouldn‘t larger pieces. My second challenge and soon-to-be
say that this is made from the same material,“ and obsession? Hollow forms! As soon as I found out
so on, for the whole evening. We stopped for a they were possible, I began to try making them. I
coffee and while still scrolling, I told her: “I will try it! still remember when I first succeeded in making a
I bet it can be used to make more sophisticated hollow form. I did a happy dance because I knew I

64
65
 had just opened the door to endless possibilities. I often make mistakes: too light, too dark, com-
I kept improving and refining my hollow forms over pletely out of the story, it doesn’t match anything,
the years, finding more possibilities to make them, how could you think these two would pair well?
each with its own advantages/disadvantages. Those kinds of mistakes. Some of my best pieces
were born from mistakes, though. Sometimes there
Would you say that you get better with every is something I don’t like, and I don’t know what it is.
new creation? I put the project on hold for a few days and then I
turn back, usually with fresh ideas. But in the end,
Every piece I made taught me something and helped when I am able to gather together all the disparate
me take a step forward. In fact, every piece I‘ve made elements into a complex, uniform necklace, I feel
was born from the will to learn/try a technique or truly rewarded. I am happy when I hold a finished
from the need to see “what happens if.” Almost all necklace that I like, but I also like the whole process
my necklaces were born from a testing result. I can of making it. These are my good quality time mo-
still remember how I learned a certain technique by ments, spent with my favorite music, in my small
looking at my older jewels: the first time I succeeded studio. I find working with polymer clay very thera-
in making a blend or a nice mokume gane pattern. peutic.

How do you start your designs? Do you make Looking back at your journey, can you say that
sketches and think about everything from the you have found a style of your own in which
beginning? you create?

I don’t follow a pre-sketched design. I‘ve seen people Looking back to my first creations I can see that my
doing this, and I admire them. But I still find myself work improved. You’d probably ask what my style
in the learning process. Yes, I draw a general shape is, and my first thought would be I don’t have my
and color palette in my mind before I start a new own style. But at a closer look, this can’t be true!
project, but polymer clay keeps surprising me. So, I We all have our own style, even if we can’t name
start making one veneer, or one or two elements for it. The way we choose the colors, the patterns, the
my necklaces and then I try to adjust the rest of the shapes, and especially the way we put all of these
pieces to my result. together, reflect our own personal style. It might

66
not be innovative or spectacular, but this doesn’t
mean it is not personal.

You are right! What are your favorite aspects in

terms of art?

I love organic shapes and I prefer more neutral-

ized colors versus strong, saturated ones. I find that
the color field is very interesting, and I would like to
explore it more. I began reading the basics of color
theory on my own and as time went by, I felt more
confident in mixing my own colors. This was another
step forward because it helped me develop and
personalize my color palettes. I had a problem from
the beginning with the straight-from-the-package
colors: they were just too strong for me.

I absolutely adore metal findings; I keep adding

them to my necklaces. I like metal rivets, headpins,
and nice spacers. Oh, and metal leaf, no matter
what color! If I should name three other materials
that pair well with polymer clay, these would be
metal, leather, and wood. I tried to include glass in
my creations, but I didn’t like the result. It seems to
me that glass reveals the plastic nature of polymer
clay.

One thing is to create all those parts from poly-

mer clay and other materials, but most of us are
wondering how to connect them together. What
is your experience?

The construction of a necklace, the “stringing”

material, and the stringing technique are also
aspects that I would like to explore more. I think
that an ingenious way of constructing a piece can
definitely catch the attention and increase its artis-
tic value. I always thought: yes, I could make some
holes and attach some jump rings, but is there any
other possibility?

However, even if you use some of the simplest

techniques for constructing a piece of jewelry, you
can still make something beautiful and unique by
playing with colors, shapes, and textures. In the end,
I could say that I like to create pieces of jewelry for
modern, ordinary ladies that have billions of things
to do and to think about in one day. I imagine that a
nice and easy-to-match accessory would help such
a woman to grab some comfortable clothes in the
morning and be able to add a bit of something to
her outfit. Making the difference in just a moment!
For this reason, but also because I feel rewarded
every time I can hold a finished piece, I like to call my
creations “wearable pieces of happiness.“

67
 funky necklace
Enjoy creating this unique necklace featuring a playful combination of tubular pieces and
flexible spheres made from thin translucent clay circles. The colors and shapes evoke the
feeling of sea waves, a warm breeze, and the relaxed joy of summer vacations.

etsy.com/shop/SilviaOrtizDeLaTorre

SILVIA ORTIZ DE LA TORRE

Silvia has been working with polymer clay since 2008 and continues to enjoy exploring
its possibilities. Inspired by the Spanish landscape and culture, Silvia incorporates
vibrant colors and organic shapes into her artwork and also explores other mediums
like tatting, acrylic paint, and beading.

68
MATERIALS AND TOOLS

• colorful and translucent polymer clay • square glass tile 10 cm • 4 crimp beads ø 2 mm
• tissue blade, roller, machine • circle cutters ø 5, 9, 12, 15, 19 mm • cutting and crimping pliers
• ceramic tiles, long needle • micro circle cutter, drill bit ø 1 mm • 2 crimp bead covers ø 4 mm
• baking and office paper • nylon-coated steel thread ø 0.38 mm • Miyuki Delica seed beads 11/0

Use white, pearl, yellow, and red to mix and Roll with an acrylic rod to adhere and flatten It is not necessary to get a very smooth
compose a scale of colors with a touch of pearl so that you can pass the clay vertically gradient. Fold again, turn 90 degrees, and
added to each one. Form elongated teardrops through the machine at the widest thickness pass through the machine on the thickest
and align colors alternating their orientations. about 8 - 10 times to make a narrow blend. setting to lengthen the blend.

Place the sheet on a white piece of paper and Press the cylinder slightly from the ends to Without removing the needle, gently roll the
cut circles, in color order, with a 5 mm cutter. adhere the circles together. Roll using light cylinder under the glass again to even the
Stack them in a cylinder to form a striped pressure with a glass tile, press again from thickness. Remove glass. Roll the bead holding
graduation. the ends. Insert a long needle halfway. Repeat the needle by the ends to detach and widen
from the opposite end to connect the hole. the hole.

Make as many tubes as desired. Curve tubes With the same steps, form tube beads in the Once the tube beads are cured, select and lay
without pinching holes closed. To prevent range of blue gradients. Bake all the pieces on out tubes to compose the necklace.
the more curved, overlapping pieces from paper on a tile for 30 minutes.
touching themselves, insert a small piece of
paper before baking.

69
 Now it’s time to create spheres made from For disc sets made from gradients in orange Drill the hole of each disc with the 1 mm drill
stacks of beads formed with 7 discs of 4 and blue ranges, smooth clay sheets to tile and bit. Thread the tube beads and the sets of 7
sizes, tinted in 2 translucent versions of both cut 7 discs in gradient order with the cutters discs spheres on steel thread, separated by
color blends. The thickness of all discs is 9 - 19 mm. Cut a micro hole in the center of seed beads matching the colors of the discs.
approximately 1 mm. each disc. Burnish and bake.

This necklace is quite long and does not need Slide one more crimp bead on each wire and Cut excess wire leaving 1 mm. Hide the two
a clasp. First, block the beads with a crimp slide next to the first crimp bead. Insert both crimp beads on each side in a crimp bead
bead at each end. Reserve enough cable wires from opposing ends of the tube bead cover. Close with crimping pliers. The necklace
length to accommodate the final tube bead and through crimp beads. Tighten the wire is finished!
from both ends. and crimp with pliers.

Enjoy more of Silvia’s artwork

in her beautiful colorful style.

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instagram.com/mr.spacelobster
 OLGA VYSHNYVETSKA

seeing so much destruction

broke my heart
Despite the unprecedented challenges Ukraine has confronted in the past
year, artists persist in lighting the way with their resilience and creativity.
Making art brought comfort also to Olga Vyshnyvetska, Ukrainian sculptor
focusing on working with several materials, including polymer clay. Join
us on a heartfelt journey into her world, where art becomes a source of
healing and hope.

Hello, Olga! What have you been creating lately? step and living through another day. We will analyze
everything later once the war is over.
Hi! I’ve been very busy recently working on a bunch
of new models. My latest project is a new one-of- And the same thing is with my sculpting. Seeing so
-a-kind piece from my Grimwood Edge series. much destruction broke my heart and made me
I‘m using a new clay for me - CosClay and I‘m very want to create more. I think I became more deter-
excited because I have wanted to try it for a very mined to make something more serious of my hobby.
long time. You see, I like to integrate lots of rather I hope to reopen my shop someday and I’ve decided
fragile details into my larger works like branches, to make the most of my time now concentrating on
staves, spears, etc., and it can be challenging to sculpting new models. So I’m working on that and
keep all of that intact while painting and assembling. hoping that if or when the time comes I will have
So since CosClay stays flexible after baking, I count something to surprise everyone.
on it to solve this particular problem.
For almost every artist, there can be struggles
Lately, I‘ve been dedicating some of my sculpting of different forms that we have to overcome,
time to experimenting with new materials. Another and creating art itself can be healing. Have you
example of this is my teeny-tiny project – a Pileus had any similar experiences?
coin. I made it on the spur of a moment as soon as
I found out about another brand of polymer clay – I’m living through the same experience right now.
BeesPutty. It is designed to hold the tiniest details My life changed drastically a year ago and sculpting
and I just had to try it myself. I was so impressed is something of a link to my former self. And that’s
with how easy it was to work with, so I‘m thinking not the only reason. I love the immersion that you
about using it more! get in the process, sculpting fantasy creatures will
do that to you. It’s a way to clear your head, to fan-
Sounds exciting! Obviously, the situation in your tasize, to see something you just imagined appear
country is tragic and very sad. Does it influence under your hands. The whole process itself is so
your artwork as well? captivating that it becomes almost meditative and
even therapeutic.
I’m not sure if I can tell you the truth. If you are
asking in terms of content, the answer is no, not yet. What about the community in Ukraine? Has
I think it might come as an afterthought, but now that been helpful when it comes to your life
we are just trying to survive. The thing is that once and art itself?
the war started I was nine months pregnant; my
daughter was born one week into the war and we Yes, very much so. This kind of turmoil that we live
have lived mostly on autopilot since then. through right now is a very dynamic atmosphere
for artists. There‘s been an explosion of war-related
Our life this year is a series of moving, constant air artwork mostly from illustrators, musicians, and
raid alerts, and sleepless nights. We are either out photographers. The emotions put into them help
of power, heat, or water, and often all at once. So you deal with the psychological implications of these
we are mostly concentrated on making the next events. I remember that at the beginning of the war

73
 when everything was particularly uncertain the right Paintings found in caves and on rocks were used
verse sung acapella could guide you through some mostly for communication and probably played a
tough times. vital part in the emergence of human languages.
Yes, all of us indeed make art based on our her-
Besides, as it happens, you feel very isolated during itage. We all differ in which media we work in,
the war, especially if you rely on the help of the rest colors, shapes, and forms we use, but we all can
of the world as much as we do. Every artwork cre- relate to a work of art as a viewer despite our loca-
ated makes us heard and helps us overcome the tion, language, artistic background, or lack of it.
fear of being forgotten. Everyone here does every- This also implies that a viewer can see something
thing they can to help. This is one aspect of our fight different than an artist intended, but that‘s a
and it makes us feel united. perfect opening for a dialog.

Looking at other artists around you, have you I, like any artist nowadays, try to post at least a bit
spotted something really inspiring that evokes on social media, and despite being Ukrainian, I have
feelings in Ukrainian people? done it in English starting from day one. This way I
can connect to lots of incredibly talented people all
The main thing that comes to mind is not a specific over the world. But at the same time, English plays
work of art or something like that, but the general a secondary role, since the main introduction goes
support that everyone expressed toward us and through the visual language. Sometimes when you
our efforts. During these long months, I have been see works similar to yours in style, it feels like a
contacted multiple times to offer help and shelter, reconnection to long-lost friends. A few posts
asking about my well-being and one of my loved might offer insight into something rather personal
ones. And I‘m talking about people all over the about an artist. It is almost scary sometimes to
world! I can‘t describe how much it means to us. It share this much with the world.
is very scary to be left alone in our situation and all
those messages meant the world to me. Where do you think the main inspiration for
your style comes from?
Can art itself be a connection for people of
different nationalities? Perhaps as a language I’ve been working in two directions so far. One is
that we all share together no matter where we nature and macro-inspired fantasy. Before sculpt-
are from? ing, I was into wildlife photography and later shifted
to macro for a bit. I loved the aspect of revealing
Absolutely! Visual art is much more intuitive something hidden and secluded. So in a few years
since it shows directly what an author wants to say. when I started sculpting, natural motifs were there

74
for me and this time I had an opportunity to add
another layer, a magical one, and show something
that I had imagined myself. This became the core
idea of my hobby. It is very important for me to
create original designs. I think that nowadays too
many people spend too much effort recreating
popular ones. This is understandable in our world
of social media, but I wish people would concentrate
more on fantasizing and making something new.

Another direction that I also love dearly is art toys.

I think that this genre is very tricky. Art toys look
so lovely and simple, but an artist still needs to
put all that content and emotion into this simple
shape. I admire artists who manage to come up with
something clever and well-executed in the end.
From time to time I try to make one too. My latest
design is a mascot of sorts—a space lobster. I was
very anxious to start working on it and had a sketch
lying around for a year or so. But a few weeks ago I
decided to give it a go. I‘m incredibly happy with the
result and I hope to cast and paint it soon.

Your sculptures are highly detailed and full of

interesting textures. What are the tools that
you cannot miss in your studio?

Thank you! I use pretty generic sculpting tools

that anyone can buy in any art store: ball styluses,
silicone brushes, dental-like tools, etc. I like to
experiment a bit with unconventional objects, for
example making a worm or a corrugated pipe with
the help of a comb, but that’s pretty rare. The thing
with organic textures is that they don’t have to be
too accurate, even the opposite: they look more
realistic if you don‘t try to polish everything. There’s
still a lot of work to do of course, but it is very satis-
factory. Most of the time.

Having said that, as any other artist, I have collected

a rather large number of tools by now and I think
I would be devastated not to find some of them at
my disposal at some point.

A lot of those details come up when patina or

other colors are added. What does your process
look like? Do you sculpt with one color of clay
and then paint everything?

Yes, exactly like that. As you said I love adding lots

of details and I incorporate them into the sculp-
ture itself. I know that some artists like to paint
with more details and they usually prefer smoother

75
 surfaces, but I apply the opposite approach. The
thing is that I often like to cast a few copies of my
models, so it is much more efficient for me to spend
more time sculpting the original and less time paint-
ing each copy afterward. So once I’m done with
sculpting and painting a base coat, I highlight the
details by dry-brushing some lighter colors, then
add washes to make everything look a bit weath-
ered and it’s done!

Casting and creating molds is definitely one

approach that many sculptors prefer to work
with. After having several copies, do you still
feel differently about the original one?

Learning this technique was a very exciting step for

me. My attitude to the original is rather ambiguo-
us. On one hand, making it is a very creative and
satisfying process. It involves lots of fantasizing a
nd putting yourself into a hero‘s shoes. I love the
character-building aspect of it and I want to preserve
and share it as much as I can.

On the other hand, once the sculpting is done the

original becomes somewhat of a technical detail. I
start the long process of making a mold and casting
resin copies and those become the product them-
selves. I‘m very happy with the possibility to paint
them in different styles and maybe customize the
sculpture itself. So it starts a new creative stage
altogether. But the most satisfying part is the next
one! I feel like Santa Claus sending all those copies
to their new homes. It adds so much joy to our
everyday lives and this makes it all worthwhile. So
yes, I do feel different, but this is all a part of the
process.

When the time of peace finally comes to your

life, how do you see yourself and your art at
that moment? Are there any plans that you
can’t wait to start making happen?

You know, I have thought a lot about this ques-

tion. It‘s not that I don‘t have any hopes and dreams
about my art path, but making plans in times of war
plays tricks with your mind because, frankly speak-
ing, we don‘t count on this situation to be resolved
soon. Meanwhile, I try to make the most of what I
have now and hopefully will come back from all of it
more skillful and experienced. When the time comes
I would love to try some things that are off-limits at
the moment, like visiting some offline events, collab-
orating with other artists, and taking part in some
group events. The art world is so chaotic and it is
difficult to keep track of everything that‘s going on in
my state of mind, but I stay open to any suggestions
and would love to do all from that list someday.

76
77
 divot dot earrings
Shelley Atwood is known for her tribal art creations, drawing inspiration from the rich
colors and diverse shapes found in various cultures. In this tutorial, Shelley delves into the
concept of crafting earrings by using a single veneer of varying sizes, skillfully intertwined
with textured patterns.

instagram.com/shelleyatwood

SHELLEY ATWOOD
Shelley lives in a remote, mountain town in west Texas where she is surrounded by
interesting people and beautiful flora and fauna. She shows and sells her work in a
local gallery, teaches polymer to groups, and tutors students one-on-one, and her
work reflects the ruggedly beautiful high desert country in which she lives.

78
MATERIALS AND TOOLS

• polymer clay • texture plates • sandpaper 600 grit

• liquid clay • scalpel, shape cutters • earring posts, pin tool
• machine • small round ferrule cutters • piece of denim, deli paper
• tissue blade • narrow u-shaped carving tool • burnishing tool, buffer tool

Roll a piece of white clay at a middle thickness, Place the blue clay on top of the white clay Use narrow gouge to carve small divots into
around 10 x 10 cm. Roll a piece of blue clay at and burnish to ensure good contact. Run the blue clay, exposing the white layer. Be sure
a thin setting of the same size. through the machine at the middle setting. not to go through both layers of clay. Practice
flicking out divots on scrap clay.

Fill sheet with columns of divots. Start new Apply the divot sheet on top of a white clay Run the layers through the machine with the
columns halfway between the first and sheet on a middle setting. Smooth and trim columns parallel to the rollers at the second
second divot of the previous column. Cut off excess. and then the third thinnest setting. Turn the
one third spacing between two columns and clay 90º so that the columns are perpendicular
reserve for later. to the rollers and roll at the fourth setting.

Cut in half between two columns. Continue Roll out copper clay to the middle setting. Roll out more copper and gold clay and apply
processing half, two more times yielding four Texture with sponge on one side to create a multiple textures to be used on the front of
sizes of divot-veneers. Turn the last size in the backing sheet for your veneers. your pieces to add interest.
machine to prevent the divots from stretching
lengthwise.

79
 Create drawings to help you visualize Apply the layered and textured veneers Using a template or cutters, cut out your
combining patterns and textures, juxta- to the smooth side of the backing sheet, earrings. You can also cut them freehand.
posing lines and shapes to compliment following your design. Burnish the layers
one another. together carefully to prevent flattening
the textures.

Roll out a thin sheet of gold clay. Use Apply a thin coat of liquid clay to the Repeat this process with the other
a long blade to cut long narrow strips edge and apply gold strips. Use two veneers, combining them or using them
approximately the same thickness as sizes of ferrule cutters to cut out two solo as desired. Then bake for 30 min.
your earrings. small donuts from gold sheet. Apply the Lightly sand and buff the sharp edges of
donuts to the top of your earrings using your earrings and insert the ear wires.
liquid clay.

CM

MY

CY

CMY

80
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81
 olivia brydon
EVERYTHING I WISH I HAD KNOWN BEFORE MY FIRST ART MARKET
Hi! I’m Olivia Brydon: polymer clay artist and owner of Creatiive Natiive. If you’re a
creative small business owner like me, you know that getting more eyes on your
artwork means showing up in as many ways as possible. For me, that means selling
through online platforms as well as vending at local art markets.

In a little over a year, I’ve participated in over forty-five markets where I’ve sold
hundreds of art pieces, connected with fellow vendors, introduced thousands
of people to my work, and established myself as a local artist and business in
my community. Through this process, a huge company even discovered me as a
growing creative business and invited me to join their small business ambassador
collective.

But – it all starts with the first one. Before my first market, I searched high and low
for concrete information on best practices and came up empty-handed. What kind
of tent do I need? Which markets should I sell at? How do I know if I’ll make a profit?
I’m here to share everything I’ve learned about being an art market vendor in hopes
of answering all your questions.

creatiivenatiive.com

82
HOW TO CHOOSE YOUR MARKET Large Fixtures

There are a million and one different markets out I bring a 6’ table and two 4’ tables, plus my two display
there to choose from, and the first thing you can do to boards. I recommend the Lifetime brand, check OfferUp
set yourself up for success is to pick one that’s a good or Facebook Marketplace to see if anyone’s selling them
fit. Before even applying, do some research. Visit the secondhand. Depending on what you sell, it might make
markets you’re interested in before you apply. Trust sense to have a different type of free-standing display
me: not all markets are created equal. Start by choosing like a pegboard or wooden shelving. Before purchasing
established, regularly occurring markets over new or an expensive display fixture, try to DIY it first to stay
sporadic ones, as established markets typically have a budget-friendly. Can you use something you already
larger and more consistent flow of customers. have? When I first started, I visited local thrift shops and
hardware stores to make my own displays.
If you‘re visiting a number of different markets, take
notes so you can remember the details and compare each Table and Booth Display
market you visit. Notice the vibe and feel of the market:
Do the people attending seem like they might enjoy your Products look best when displayed on something. Think
aesthetic? Does the price point of your product fit in? Are about everything having a “home” and feeling intention-
there vendors selling products similar to yours and, if so, al in your space. Try out different trays, risers, mirrors,
how will you stand out? Take note of similar vendors’ jewelry holders, or baskets. The display pieces you choose
setups and how they display their products. It can give will depend on your product. I always try to display my
you inspiration when designing your booth. product on different levels, not all just flat on the table,
to keep people’s eyes moving and interested. Consider
Social media can be deceiving, and the actual vendor displaying your product and how it might be used in real
experience is sometimes totally different than what’s life so customers can imagine owning it.
being portrayed online. Have they sold here before?
Do they like it? Not all vendors will have the same out- You’ll need tablecloths that fit the tables you have and
look, so don’t be afraid to talk to a few. Connecting with that look cohesive with your brand. Wrinkled tablecloths
fellow vendors is a huge part of what makes selling at look messy, so make sure to steam or iron them before
markets so special, and can lead to great friendships the market. You can also hang tablecloths to the floor to
and potential collaborations. Make sure you take their hide boxes beneath the table.
business card and follow their social media to show your
support. Before committing to a market, check out their It’s something not everyone thinks about, but a rug
fees. Some markets charge more to vend or apply and makes a huge difference in making your booth feel more
visiting the market beforehand can help you decide if it’ll inviting and cozy. I prefer outdoor rugs because they’re
be worth it. light and easy to clean.

PREP FOR YOUR MARKET Chairs

So you’ve chosen your market! Now what? Markets are long, you’ll want the option to sit if you have
a moment. Bring either a stool so you’re up higher, a
Get a Tent foldable camping chair, or just a plastic folding chair.
Some markets offer chair and table rentals, but I‘d invest
For outdoor markets, you need a tent. Not only will a tent in a comfy chair. I have forgotten my chair before it was
make your booth feel more like a shop, it provides shade not a fun situation!
for you and your customers as well as protects your prod-
ucts from sun damage. A standard booth size is 10’x10’, Mock Setup
so look for something that size. American tent brands I
recommend are EZ Up, ABC Canopy, and Master Canopy. You’re often given one - two hours for setup on the
day, and you don’t want to be figuring out your setup
Avoid beach or camping canopies even though they’re for the first time when you arrive. Give yourself time to
less expensive; their legs angle outward to make a 10’x10’ curate your space when you’re not in a rush. During this
area, meaning the actual coverage is not 10’x10’. Some mock setup, finalize the products you want to bring, and
tents come with weights already, but if yours doesn’t, I get everything displayed to ensure you have enough
like disc canopy weights. If you want walls on your tent to product. Decide whether your pricing will be on individual
create a backdrop for your display, consider zip-up walls. pieces or on a pricing board, and get that done during
They‘re often the most convenient and won’t wrinkle if your mock setup. Take photos or draw a diagram of your
stored away properly. setup to use as a reminder.

83
 IT’S MARKET DAY! Transactions and Payments

You made it! You might feel anxious before your first Decide how you want customers to pay. I take payment
market, but don’t worry: you got this. through a few different platforms so customers can pay
how they like. Here’s what I use:
Weather
• Card reader (Square)
Check the weather for a few days leading up to market • Online payment apps (Venmo Business, Zelle, PayPal)
day to pack any last-minute incidentals. Market days are • Cash
long, so if it‘s cold make sure to bundle up, and if it’s hot
bring plenty of water, sunscreen, and a fan to keep you For online payment apps, print and frame QR code signs
cool. Weather won’t only affect you and your customers, so customers can easily scan to send payment or have a
but also your product! If it’s windy, could your product nice one printed from a website like VistaPrint.
blow off the table? Polymer clay is so light that I’ve had to
chase my pieces down more than once. The same goes Inventory
for tablecloths: consider table clips or fitted elastic table-
cloths in case of wind. Make sure to track your inventory. If you have a POS
system connected to an online store to keep inventory
Loading for you, great! I often bring items that aren’t listed on
my online store, so I prefer to bring a notebook and
Before market day, your coordinators should send you manually track what I’ve sold. The best time to write down
information on how to load in and load out. If they don’t, sold items is when you’re packing it up so you don’t miss
reach out to them and ask if you’re able to drive up to the a sale. Not only does inventory tracking tell you what
booths, or if you’ll be loading in from the parking lot. If you made that day, it’ll give you a good understanding of
it’s the latter, bring a trolley, wagon, or cart (and bungee what you sell most.
cords) so you’re not carrying everything. I like the trolleys
without sides so I can fit my tables on them, then I bungee Packaging
cord everything down. It’s a heavy lifting day, so make
sure you’re lifting properly to prevent hurting your back. Set up a packaging station with your bags, stickers, busi-
ness cards, and whatever else you use to package your
Marketing products. I like a small pop-up side table devoted to
packaging.
The coordinators should be doing marketing for the
events, but make sure to let your community know Marketing Materials
where you’ll be. I have an events calendar on my site that
will show month-to-month what locations I will be selling This is essential for keeping your customers connected
at, along with the address, hours, and if there‘s a fee to to your business. Bring plenty of business cards to put
get in. Don’t forget to blast it on your socials and your out on your display table to include in your packaging
mailing list. For my socials, I make sure to post at least for every sale, plus extras to restock. Have a notebook
3 times in 10 days because not everyone will see it. On out for customers to be added to your mailing list. Social
occasion, I also give special offers to my subscribers to get media has its perks, but email marketing is the most
them to come out and support me in person. direct way of sharing information with your community.

Pack Your Essentials If you make jewelry, wear your work. If you don’t make
polymer clay jewelry, wear someone else’s work. Make
In addition to my handmade artwork, I teach children’s art every effort to support the polymer clay community.
classes at families’ homes all over Los Angeles. Because I’m
always traveling, I’ve learned to pack anything and every- It is also definitely helpful to have one printed page avail-
thing I think I might need. In the same vein, prepping for able that shows, in a few photographs, the steps it took
art markets follows a similar philosophy: I have a check- to create a final item. Have a short and sweet defini-
list of essentials and incidentals that I pack before every tion of what polymer clay is to explain to the uninformed.
market, and trust me, you’ll thank me for some of these: For those very interested, you can have a one-page list
available of local guilds, publications, books, or organiza-
pens, Scotch tape, hand wipes, small dustpan, hand tions to learn more about the medium.
broom, weather-related items such as battery-powered
fan, sunscreen, hot hands packet, portable power source, Customer Service
Band-Aids and aspirin, scissors, zip-ties, small trash bags,
microfiber towels for spills, string or rope (trust me on Greet every customer who walks in. I always say hello, ask
this one) them how they’re doing, and give a quick elevator pitch

84
of my products. If I’m with another customer, I always
acknowledge my new guest so they know I’m aware they
came in and let them know I’ll be with them shortly.

Read your customer’s body language. Are they here just

to browse, or do they seem like they’re looking to pur-
chase? You don’t want to talk someone’s ear off who
doesn’t want to chat. For customers who want to know
more about you and your artwork, be prepared to open
up and have a conversation. Connecting with this type
of customer is one of my favorite parts of vending, and
often it starts with a simple compliment about a piece of
jewelry they’re wearing or asking about what else they’ve
seen at the market that day.

Invest in your customer’s experience. Are they shopping

for themselves or someone else? Notice what they’re
looking for, learn a little about their taste, and give mean-
ingful recommendations. This can help you guide your
customers to pieces they’ll love. During slow times you
can refresh your table, rearranging items to fill in blank
spots and spotlight pieces that haven’t really been taking
notice. Just because someone doesn’t purchase today
doesn’t mean they won’t in the future! Remind guests
that they can purchase through your website if they end
up not purchasing today. This type of customer is a great
addition to your email list.

POST MARKET REFLECTION

You finished your first market! You should feel proud of

yourself and all of your hard work, and that you took the
leap of putting yourself out there. I encourage you to
fight the urge to categorize your experience solely on
how much money you made, or simply as a “good” or
“bad” day. Take stock of the whole experience, not just
the financial side. Here are some things to consider:

• Did I connect with people? Vendors? Customers?

• Were the coordinators pleasant to work with? Did they
market the event well? Did it feel organized?
• How was my booth? Do I need to make changes?
• Did I leave feeling good about the experience?

I like to try each market up to three times before decid-

ing if it’s a good fit or not, simply because each market
day can differ so greatly. Even if you had a slow day, it
might have been the weather, a holiday, or just a one-off.
Give things a chance to evolve.

Selling at your first art market can feel like a huge and
daunting task, but for me – and I hope for you – the
hard work is totally worth it. Markets provide key oppor-
tunities that you can’t get through online sales alone,
including seeing in real time how people respond to
your work, new inspiration and ideas, connecting with
other small business owners, vendors, and artisans, and
learning about your clientele and target audience. I hope
this insight gives you the push you need to get started.
See you out there!

85
 IN THE NEXT ISSUE
Cynthia Tinapple’s journey with polymer clay
spans decades, during which she has published
online content, authored books, shared her
expertise, and curated a remarkable collection
of artwork. In the forthcoming magazine,
Cynthia opens the doors to her home, where
you’ll encounter clay art in unexpected places,
from her bathroom to the staircase and even
the pavement in front of her house.

Polymer Week Magazine is published by Lucy Štruncová.

support@polymerweek.com

Editors: Lucy Štruncová, Maurine Kramerich,

Jan Montarsi, Delia Gerendi
Graphic design: Karolína Plachá Kufnerová
Photo editing: Linda Štruncová, Honza Bárta
Distribution: Ivana Sychrová
Cover photo: Ford/Forlano

Do not share any parts of the magazine without previous permission.

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THE WORLD ALWAYS SEEMS BRIGHTER WHEN YOU’VE JUST
MADE SOMETHING THAT WASN’T THERE BEFORE.

NEIIL GAIMAN