Editor's note: The following is an abridged version of an article that appeared in POLYinforMER, vol. V, no 4, June/August 1995. IPCA members can read the complete text on our website.

The questions raised here are still central to our growth as artists, and Kathleen's suggestions are still just as valuable.  The final paragraph of this article invites us to consider how our medium has advanced over the last 15 years. If you'd like to comment on any of these ideas, or on polymer's status as a fine craft, please submit your response to the president via the IPCA website.  

"Is my polymer work good art?" "I'm not completely satisfied with my jewelry--what do I do to make it better?" "I have all these great ideas, but I'm not pleased with the final results--why not?" "What are the strong points of my work? What are its weaknesses, and how can I improve them?"

Do you ever ask yourself these questions or have the nagging feeling that your polymer clay work just isn't there? I would encourage polymer artists and their guilds to begin with these suggestions:

1. Conduct group critiques.

2. Take a college studio art course.

3. Ask a respected polymer artist or teacher to give a group critique.

[Editor's note: With the  proliferation of on-line resources since 1995, new opportunities have emerged to have your work critiqued; for example, Voila! offers critiques and mentoring by one's peers.]

In the meantime, to help you evaluate and improve your own work, ask yourself honestly the following questions. They're not exhaustive and won't apply to everyone's work, but they will get you started:

Purpose: "Why do I make this stuff, and what am I trying to do?" This is the initial and pivotal question that all artists must confront.

Design: "Does my work have some visual impact? Does it encourage someone to look at it longer or more closely?" Design incorporates color-texture-shape and function in creating a strong total visual impression. In addressing this question, take each aspect separately.

• Color-Shape-Texture: One of the greatest problems  is proper control and use of color. A suggestion is to take a color workshop or a college color-theory class. [Editor's note: A resource that has become available since this article was published is the book, Polymer Clay Color Inspirations, by Lindly Haunani and Maggie Maggio, 2009.] Similar questions can be asked about texture and shape. I would encourage all polymer clay workers to explore more textures, especially because it's something polymer clay does so well.
  

• Function: "If my work is intended to be used, is it usable?" Does a necklace rest well on the body? Does a brooch hang well? is it convenient to attach? Is a vessel or picture frame easy to use? Is polymer clay a suitable application for this function? These questions are particularly important to keep in mind when you sell your work. 
  

Craftsmanship: "Do I finish my edges cleanly? Do I need to sand or polish? Is gluing clean and neat? Are findings well integrated into the overall design of a piece of jewelry?" With all questions of craftsmanship, the ideal goal is to make something perfectly finished, with all elements perfectly integrated.

So while we are mastering techniques and excitedly devising new ones all the time, it takes effort and honesty to analyze our own work in striving to make it good art. Ultimately, though, I believe we will raise polymer clay as a medium to the level of fine craft. When we achieve that goal, our work will be more in demand, and we--as polymer clay artists--will feel a deep sense of satisfaction.

Martina Weller and Anke Humpert are so passionate about European polymer clay art that theydecided to do something really positive for their fellow artists. Anke Humpert explains:

"The idea started in 2009 when Donna Kato came to a workshop in Germany. Talking about the American and the European polymer clay scenes, we soon discovered that there was not much knowledge in America about what is going on in Europe. However, the other way round (form Europe to America), there is a constant flow of information. Donna was surprized about the quality and level of European art work.

"Soon the idea of an exhibition of European polymer clay work was born. Originally, I wanted  to show everything at the Synergy2 Conference in Baltimore in February 2010. It soon turned out to be way too difficult to collect real objects from European artists and take them to America. So the project changed into a gallery book. I asked my friend Martina Weller, what she thought of the idea and if she would be willing to join in.

"We started our calls for entries and tried to reach as many artists in Europe as we could. We collected hundreds of pictures, wrote countless emails, and worked on the layout of the book.  Since we had more entries than we could publish, it was hard to make the selections for this book. Unfortunately,  there were a couple of difficulties we never dreamed of, and so we ran out of time. Both Martina and I were also extremely busy with other projects, and at the beginning of 2010 it was clear the book would not be finished before Synergy2. So we decided to have an extra slide show with all entries and presented it at the conference.

"In March the book was finally done, and we are very proud to present it!  Since we committed ourselves to this high financial risk, we hope we will be able to sell enough books to cover the costs of this project."

European Polymer Clay Art is a gallery-style collection of polymer clay art made by 45 artists from 16 European countries. The book is self-published by Anke Humpert and Martina Weller.  For more information on ordering your own personal copy visit:

http://www.etsy.com/shop/AnartIsland

http://www.polymerclay.de/Polymer-Clay-Buecher/European-Polymer-Clay-Art.html

Additional International News:

The IPCA is very proud to announce that Progress & Possibilities 2010 attracted entries by artists from 11 countries: Australia, Austria, Canada, France, Germany, Indonesia, Israel, Norway, Spain, the United Kingdom, and the United States.

• IPCA. Progress & Possibilities A three-year retrospective catalog containing 115 color photographs, 2009.
• Friesen, Christi. Steampunkery: Polymer Clay and Mixed Media Projects, Jan. 16,  2010.
• Haab, Sherri. Jewelry Inspirations: Techniques and Designs from the Artist's Studio, March 9, 2010
• Kimle, Patricia. Perfectly Paired: Designing Jewelry with Polymer and Metal Clays, April 6, 2010.
  
• Pavelka, Lisa. The Complete Book of Polymer Clay, Feb. 2, 2010.
  

• Krzyzevewski, Peggy, and Christine Hansen. Making Mixed Media Art Charms & Jewelry, June 30, 2010.
  
• Haab, Sherri. The Art of Metal Clay, Revised and Expanded (with DVD), July 27, 2010.
• Kawaguchi, Noriko. Amazing Clay Flowers: Creating Realistic Flowers and Floral Arrangements in Polymer Clay, Oct. 1, 2010.
• Arzalier, Sophie. Making Jewelry from Polymer Clay, Oct. 2010
  
• Stowell, Charlotte. Tasty Trinkets: Polymer Clay Food Jewellery, Nov. 1, 2010.
• Heywood, Birdy. Polymer Clay Bears, Nov. 1, 2010.
• Otterbein, Kim,  and Angela Mabray. Polymer Clay 101, Jan. 1, 2011
  

• Polymer Cafe,  June 2010: "Pinch, Pull Flowers and Leaves." Heather Campbell; "CaBezel Cane Pendant." Wendy Orlowski; "Kaleidoscope Caning for Everyone!," Karen Lewis (aka Klew); "Flower Garden Clock," Michelle Herren; "The Red, White, and Blue Challenge Winners"; "Resin Pendants," Jeannie K. Dukic; "Bugs For Your Mushroom Home, Part II," Laura Schiller.
• Belle Armoire Jewelry, Summer '10, "A Steampunk Master! Designer Collection: Christi Friesen
  
• Art Jewelry, July 2010: "Expand Your Polymer Skills with a Savvy Stretch Bracelet," Helen Breil
  
• Bead & Button, June 2010: "Starlight: Combine Polymer Clay with Metal Clay in the Project Straight Out of Crystal Brilliance," Anna Elizabeth Draeger; "Bobbin Beads," Dotty McMillan
  
• Bead Unique, Summer 2010, "ClayTime with CF," Christi Friesen