Margita Alsina lives a fascinating dual existence—by day, she navigates the exacting world of accounting with precision and order, and by night, she dives into the vibrant, imaginative realm of polymer clay art. Bridging these two seemingly opposite spheres, Margita creates a unique artistic voice where logic meets whimsy, discipline embraces chaos, and craft becomes a powerful means of storytelling. From Numbers to Nuance: A Tale of Two Worlds During her professional hours, Margita is immersed in spreadsheets, balance sheets, and meticulous financial reports. “Being creative in my job would probably get me a one-way ticket to prison,” she jokes, highlighting the strict boundaries that define accounting. The predictable, rule-bound environment offers her comfort and control—a necessary counterbalance to the freedom of her artistic efforts. But once the workday ends, Margita’s studio transforms into a vivid playground of color, texture, and surreal imagination. Here, polymer clay is her medium of choice, a tool through which she channels emotions and stories that numbers cannot express. Her signature fruit sculptures—raspberries with rows of sharp teeth and tongues dripping exaggerated saliva—blend meticulous craftsmanship with an unsettling, playful edge. “People are always surprised,” Margita admits. “They don’t expect someone who spends their day with neat rows of numbers to create creatures that look like they might bite you.” This tension between order and chaos lies at the heart of Margita’s art. Her sculptures are not merely decorative but deeply personal, embodying a complex emotional landscape where logic fuels creativity—and, in turn, softens its own rigidity. Latvian Roots: Practicality Meets Creative Revelation Margita’s artistic journey began in Latvia, a country shaped by practicality and an environmental ethos where art traditionally served functional purposes. Growing up, ceramics held food, textiles mended clothes, and embroidery repaired rather than adorned. “Art was about utility, not self-expression,” she explains. Her turning point came late in school during a visual arts class—a “tiny personal revolution” sparked by entering a project into a national competition. This experience revealed that objects could convey feelings and ideas without practical function. “That moment changed everything,” she reflects. From there, Margita explored various crafts—textiles, beads, embroidery—until polymer clay revealed itself as the perfect medium. “It could mimic anything. I could mix colors, cure it at home, shape whatever I wanted. That’s when it hit me,” she recalls. Early whimsical experiments evolved into sophisticated metaphors: her fruit sculptures represent inner worlds, with delicate raspberries symbolizing her younger self and more aggressive, toothy fruits expressing a rebellion against corporate constraints. One standout design, the Angry Cherry Wireless Earphone Holder, doubles as functional jewellery, reflecting her Latvian heritage where beauty serves a purpose. “It’s jewellery, but it does something,” Alsina notes. The Creative Process: Intuition, Tools, and Transformation Margita’s artistic process balances ritual with spontaneity. Though she sketches ideas in a physical planner, she lets intuition guide the forms: “The mouths come first. Only after that do I decide what fruit it’s going to be. Each one has a personality. They’re all different. Just like people.” Her workspace is filled with tools, but only a few are indispensable. She fondly recalls her discontinued FIMO Professional Modelling Drill & Smoothing Tool, vital for finishing surfaces, alongside a craft knife and tissue blade. Pigments add vibrancy, transforming simple clay into living sculptures. “They’re not tools, but they make all the difference,” she says. A pivotal moment in her journey was attending a polymer clay event in Germany, where Alsina expanded her techniques, sanding, drilling, re-baking, after learning from world-class artists. The experience reinvigorated her practice and introduced her to the British Polymer Clay Guild, where she later served on the committee. Her advice for beginners is clear: “Learn from professionals, practice consistently, and avoid reinventing the wheel. Aim to work smarter, not harder.” Building Community: Clayphoria and Beyond Margita’s passion extends beyond her studio to nurturing a global polymer clay community. Through her YouTube channel, MadeByMargita , she shares tutorials, interviews, and behind-the-scenes insights that challenge the notion of polymer clay as “just crafts.” Her latest venture, Clayphoria , captures this mission perfectly. Scheduled for February 2026 in Scotland, Clayphoria is a four-day retreat blending creativity, learning, and connection. “It’s like a summer camp or a big sleepover with friends passionate about clay,” she explains. Unlike typical retreats, Clayphoria fosters a communal spirit with everyone staying together—sharing breakfasts, late-night clay sessions, and casual moments in the bar, sauna, or gym. Shared rooms invite a pyjama-party vibe, where artists bond over clay until sleep claims them. “Being together and claying more are both essential,” she says. “It’s about more than learning—it’s about laughter, friendship, and belonging.” Looking Ahead: Innovation Rooted in Purpose Margita’s work continues to evolve with new collections on the horizon. She is expanding her “fruit salad” series and developing a “creature salad” featuring vegetables, blending beauty with function and honoring her Latvian roots where art serves a practical role. Innovations like fruit-like vessels with hidden compartments and multi-functional jewellery illustrate her commitment to pushing creative boundaries. “Accounting gives me discipline and structure; art gives me freedom and expression,” she reflects. “Together, they make me who I am—a woman unafraid to bite back, both in clay and life.”

Rachel Dyke ’s miniature cakes from Little Things stop you in your tracks with their charm and detail. There’s a quiet magic to these tiny, meticulously crafted cakes—each one a reflection of Rachel’s passion for polymer clay and her journey from a childhood hobbyist to a fine artist. Rachel, now 38, began working with polymer clay at the age of 6, when her parents bought her a few blocks of Fimo. She crafted small animals, foods, and accessories for her Spice Girls Barbie dolls during the '90s. It wasn’t long before her artistic interests shifted to makeup, which became her hyperfixation throughout middle school and high school. In her early 20s, after reading an article about jewelry designer Tarina Tarantino , Rachel picked up the craft again, starting with jewelry before returning to her true love from childhood: sculpting miniature foods and cakes. At this time, Rachel was also attending community college, studying color theory, art history, and sculpting. She merged the lessons from her fine art courses with her polymer clay work, creating a unique blend of technical skill and creative expression. Eventually, makeup took center stage again as she enrolled at the Makeup Designory (MUD) school in Los Angeles, where she honed her skills in beauty makeup, special effects, and prosthetics. However, after working in the industry on music videos and short films, she realized that her true calling lay not in makeup, but in sculpting. In 2014, Rachel transitioned to working at a West Hollywood bakery, decorating elaborate cakes for celebrity kids’ birthdays and movie premieres. But it was when one of her miniatures went viral on social media that everything changed. A miniature cake she made for a bakery in Australia was shared online, and the response was overwhelming. Soon, her work was featured in major publications like Brides , Martha Stewart , and Huffington Post —a testament to her skills and talent. Her skill in transforming polymer clay into incredibly detailed cakes drew us in as well. "What I love about polymer clay is its versatility," she says. "It allows me to do everything from color matching to making food, cakes, and doll accessories. It’s a medium that keeps me inspired." Rachel’s favorite part of the process is capturing the precise details of real cakes in miniature form. “All my cakes are based on real-life examples,” she explains. "I use dollhouse scale measurements to ensure they’re perfectly accurate." Her work transcends the technical aspects of miniature sculpting, it’s also about storytelling and emotion. "I love to imagine my cakes displayed on someone’s shelf, next to their wedding photos. It’s like a little shrine to the day," she shares. The intricate, lifelike details of her creations evoke nostalgia, bringing joy to collectors around the world. The process of creating her miniatures is a delicate balance of planning and spontaneity. "I start by choosing the size, then I measure the scale. I need to work on my own pieces while doing commissions to keep my inspiration flowing," Rachel says. But working at such a tiny scale comes with its challenges, especially physically. Hours hunched over her work can take a toll on her body, leading to eye strain, back pain, and hand fatigue. "I’ve learned to take breaks every 15 minutes, stretch, and give myself rest," she notes. "I also use CBD balm on my hands at night to help with recovery." Despite the physical toll, Rachel finds immense satisfaction in the response her work elicits. "I’ve had people cry when they received a piece," she recalls, "and one person even drove to show their husband at work. That kind of response is so meaningful to me." Rachel’s work has resonated with collectors, including celebrities, and her art has even found a place in galleries.  "I’m proud to have my work in Parlor Gallery in New Jersey and be part of the MutualArt database, alongside artists like Keith Haring and Da Vinci,"  she says with pride. Rachel’s journey has been one of persistence and growth. "When I look back at my early pieces, they were terrible," she admits. "But through practice, my skills improved, and I’ve learned just how powerful the brain is. Seeing other artists grow and improve brings me to tears. Making art isn’t a waste of time. It’s about sharing your creativity with the world." Looking ahead, Rachel is excited to explore new directions in her art. "I’ve been thinking about creating tiny clothing, miniature rooms, and wedding scenes. My goal is to make a tiny wedding cake for a gallery someday," she shares. "I’ve always wanted to make the Spice Girls bus from Spiceworld—that’s a project I’ve had in my notebook for years." Rachel’s miniature cakes aren’t just charming—they tell stories, and we love that. With every tiny detail, she captures sweet memories, one polymer clay cake at a time.

A quiet force, intuitive, humble, and full of quiet determination, Yukiko Fujita creates from feeling rather than formula, guided by curiosity and emotion. Rooted in Japanese culture, she gently resists conformity with grace and intention. Her warmth is matched by a deep sensitivity and a genuine love for bringing joy to others. When you first encounter the work of Yukiko, you’re likely to pause in disbelief. That’s clay ? The intricate brushstrokes of Van Gogh, the soft ripples of Monet’s lilies, the luminous echoes of Matisse, each recreated not in oil or watercolor, but in polymer clay, and often small enough to wear. It’s this act of transformation, of shrinking grand masterpieces into delicate, tangible artifacts, that defines right now Yukiko's voice as an artist: intimate, surprising, and quietly powerful. Yukiko describes herself first as a wife and mother. But beyond the domestic world lies a vibrant creative spirit, one rooted in a lifelong love of drawing, making, and imagining. “The desire to create and bring something beautiful into the world has always been a constant presence in my life,” she says. That impulse, once nurtured by the awe she felt encountering the works of great artists, now fuels her reinterpretations of them, in a medium she only discovered six years ago. Her connection to polymer clay began with a search for a material that could offer vivid color, hold form, and invite a sculptural dimension beyond the flatness of paint. “It took some time to get the hang of it,” she admits, “but once I understood its charm, I found myself constantly thinking about what to make next.” What followed was a journey of intuition, experimentation, and mastery. Starting with simple accessories, she soon found herself drawn toward more ambitious work: wearable tributes to fine art history, made accessible and reimagined in her hands. Despite the delicacy of her pieces, her artistic process is rarely rigid or pre-planned. “I’m not very good at following strict routines, I tend to act on inspiration and ideas as they come.” This spontaneity, paired with her technical precision, results in work that feels alive, never mass-produced, always singular. “Sometimes things go better than I imagined,” she says, “and other times, something I thought would be simple ends up being surprisingly difficult.” There’s a quiet humility in her reflection, one that echoes the Japanese aesthetic values of restraint, sincerity, and thoughtful imperfection. Cultural influence runs like a subtle thread through Yukiko’s work. Japan, she says, is a place of deep beauty, but also one of social pressure. “There’s a strong tendency to conform, to avoid standing out, to always look for the ‘right answer.’” In that context, she sees art as a form of quiet rebellion, a way to validate the feelings and expressions that don’t fit the mold. “Through my work, I want to continue spreading the message that it’s okay to break away from the norm, and to focus instead on how your own heart feels.” It’s no surprise that this sense of freedom infuses her reinterpretations of painters like Van Gogh and Monet, artists who, in their own time, were radicals of expression. There’s something poetic in her choice to revisit their works through clay: not simply imitating, but transforming, distilling their essence into something tactile and immediate. “People often say, ‘Wait, this is made of clay? I can’t believe it!’ That kind of reaction makes me feel both delighted and proud.” Still, Yukiko resists being boxed in by themes. While fine art reproduction has become a recognizable signature of hers, she insists that surprise is her true north. Her goal isn’t just to copy what’s admired, it’s to create moments of joy, wonder, and connection. “Rather than limiting myself to painting reproductions,” she says, “I want to create works that blend into people’s everyday lives, pieces that bring joy and make people smile.” That joy, for Yukiko, is a guiding principle. Whether she’s sculpting a shimmering Starry Night in miniature or capturing a quiet moment from Japanese daily life, her work always returns to that spark, the delight of making, the warmth of surprise, the quiet power of something small made with deep care. Her pieces are proof that big beauty can come in the smallest forms, and that the quietest voices often speak the loudest through their art.

When you first encounter Fabiola Pérez Ajates ' work, what strikes you isn't just the elegance of form or the deliberate use of color, it’s the sense of movement, of transformation caught mid-motion. Her art speaks in layers: textured, emotional, and rooted in a lifelong relationship with nature and design. Known for her tireless exploration of polymer clay and mixed media, Fabiola, better known as Fabi, has carved out a distinct voice in the international clay art scene. A self-described autodidact with  “many creative ideas”  and a “sensitivity to art,”  Fabi has followed an artistic path shaped not by convention but by intuition. “I would introduce myself as someone who wants to transmit life and passion through art,” she says. That passion began in childhood with drawing, which eventually led her to study interior design. But it wasn’t until years later, when she stumbled upon a polymer clay course, that something truly clicked. “I discovered the infinite possibilities I had with polymer clay, combining it with papers, pigments, inks... I got addicted right away,”  she recalls. That spark of discovery turned into an unstoppable flow of creativity. “It made me happy to be able to do it all, and I enjoyed it so much.” Fabi began working with clay in 2009, and by 2011, she had fully committed to it as her professional medium. Her work has since matured into a style that is unmistakably hers, organic, imperfect, vibrant. She draws inspiration from nature in the broadest sense: “rocks, leaves, weathered walls and doors, textures, fabrics with attractive colors... all of it gives me ideas.”  She sketches them out so none are lost. Her artistic process is intuitive and spontaneous:  “As I go along, I discover new variations. New shapes come to me and I change them, trial and error helps me improve.” A powerful dimension of Fabi’s story is that she was born deaf, a fact she never saw as an impediment, but rather as a gift. “Being deaf has shaped the way I connect with the world,” she explains.   “I developed a strong visual sensitivity, and I’ve always ‘listened’ through my hands. That tactile connection is essential to what I do.”  Her deep attention to form, balance, and movement seems to echo this way of experiencing life, through feeling, seeing, and creating rather than hearing. But the essence of her creative process, she emphasizes, lies in continuous and tenacious action. “It’s a metaphor for nature, only the things that stop are dead. Life is in the movement. I find happiness in that balance, in the flow that comes from permanent action.” One of her most striking recent explorations is a project called Contrasted Flowers , a bold departure from her traditionally colorful palette. “For the first time, I’m using only two colors, black and white,”  she explains. These stark opposites allow her to explore form and energy in a new way, while still embodying her signature emphasis on volume, movement, and emotional resonance. It is also a deliberate challenge to her own identity and a way of rethinking her relationship with color. Contrasted Flowers  aims for a unique balance between shape, texture, composition, and contrast, resulting in a visual language that speaks of elegant and sophisticated sobriety. “It inspires a stoic calmness and clarity to enjoy a pleasant life,”  she says. Over the past five years, Fabi’s work has been recognized across Europe, Oceania, and North America. She has contributed to PolymerWeek Magazine  and other international publications, building a global community around her voice. “This is my voice,”  she says. “You can’t hear it, but you can see it.” Her studio is both a sanctuary and a springboard, a place where she continues to teach, create, and dream. For Fabi, this space represents more than a physical workshop; it’s where ideas transform into meaning.  “I’m very aware that I’m evolving more and more in polymer clay,”  she shares. “And my goal is always to show my own way to understand reality and the world. Life is a state of mind, and that is precisely what I want to communicate, a very special and unique state of mind that amazes your mind and covers your heart with joyful smiles.” As she prepares for upcoming classes and international events, one thing is clear: Fabi’s work is not just about aesthetic beauty. It’s about emotional resonance, creative freedom, and a deep, evolving dialogue with the world around her. And we love that a lot! Her creations don’t simply sit still. They move. They breathe. They grow. Just like she does, becoming a living expression of her ever-evolving state of mind. We are looking forward to seeing her in action at the upcoming classes. Who knows, we might just pop in to witness the magic!

I believe the possibilities of polymer clay are endless,”   says Nadia Hernández , with her excitement so palpable, as she talks about the material that has become her creative playground.  "I let my hands guide me, finding solutions as I go.”  This mindset has allowed Nadia to develop a style all her own, one that celebrates vibrant color, texture, and movement. After years of studying traditional ceramics in Chile, the Spanish artist transitioned to polymer clay, a material that offered her the freedom and versatility she sought. Through her self-taught journey, Nadia has developed unique techniques that seamlessly combine organic and geometric forms, some of which are based on essential materials such as metal stencils. Her work not only reflects her technical expertise but also her passion for pushing boundaries and exploring new possibilities. But how did it all start? Originally from a small town in La Mancha, Spain, Nadia has lived in many places, each shaping her understanding of art. Her artistic journey began in a place with a rich artistic tradition, which sparked her interest in creative expression from an early age. From oil painting and watercolors to photography and ceramics, Nadia explored various mediums before discovering polymer clay after her time in Chile. “Polymer clay completely captivated me,” she recalls. “I was amazed by its versatility and what I could create with it. The material let me experiment, develop my techniques, and build a body of work without the limitations I had faced with traditional ceramics.” Her excitement for this new medium quickly turned into an online presence. “In 2022, I began sharing my work on social media, and I was surprised by how quickly it caught people’s attention,”  she says, smiling. Nadia's pieces, vibrant, original, and bold, found an eager audience, and before long, her work was featured on our platforms Polymer Week   Magazine and Polymer Week Society . A captivating tutorial on creating a bangle inspired by the sunsets of her homeland, La Mancha—designed by Nadia for the Polymer Week Society . When asked about her artistic process, Nadia’s passion for color shines through. “Color is where my soul finds its balance,”  she shares. It’s clear from her work that vibrant hues are essential to her artistic identity. Yet, as she explains, it’s never just about brightness and energy. “I love using vibrant colors paired with darker tones,” she says. “The dark tones bring a sense of calm and balance to the piece. It’s like my way of merging my cheerful, outgoing personality with my need for solitude.” Nadia’s pieces, from the geometric to the organic, showcase her keen understanding of both structure and spontaneity. Whether it's a clean-lined geometric design or a flowing, textural piece, her work always feels alive. “I work instinctively,”  Nadia admits, “sometimes planning, sometimes improvising, but always pushing boundaries in search of new textures and colors.” One of the aspects of Nadia’s work that stands out is her willingness to experiment. “I’ve never been one to follow strict rules when it comes to creating,”  she explains. “My process is a bit chaotic, but that’s part of the fun. Whether I’m making geometric designs with clean lines or organic pieces that flow and twist, I enjoy the freedom to explore and make mistakes along the way.” But her creative journey isn’t just about the end product; it’s about the process itself. “When I’m working on a more geometric piece, I like to plan things out with some technical drawings,”  Nadia says. “But with organic pieces, I work directly with the clay, shaping and molding it by hand as I go along. Sometimes I’ll make adjustments, but I love finding solutions as I work.” She has also recently started experimenting with metal stencils , which have sparked a new chapter in her exploration of texture. “It was love at first sight when I first used metal stencils,”  she laughs. “I realized I could cut the designs with a scalpel and create depth in ways I hadn’t imagined before. These stencils opened up a whole new world of possibilities for me.”  Interestingly, that’s exactly what Lucy had in mind when designing them. While often used for applying additional media on top of clay, these stencils were also intended to cut out shapes and even create subtle textures, expanding their creative potential far beyond a single purpose. Beyond her own work, Nadia is passionate about empowering others to discover their creative potential. Through her website, Artembynadia.com , she offers online tutorials, workshops, and classes, both online and in person. For Nadia, teaching is an extension of her artistic practice.  “I love sharing what I’ve learned,” she says. “It’s about helping others explore the limitless possibilities of polymer clay, just as I did.” Nadia’s blog and YouTube channel are growing hubs where she shares her experience, advice, and techniques. It’s clear that she believes in the power of art to transform and inspire, and she’s committed to helping others on their own artistic journeys. With her work gaining recognition and her online platform thriving, Nadia is excited about what the future holds. “Art, for me, is limitless,”  she says.  “There’s always something new to explore, whether it’s a new technique, a new material, or a fresh perspective. I’m just getting started.” We’re sure she will continue surprising us with her artwork in the near future.

The first time you see a piece by Eduardo Farillo , you might smile without even realizing it. There’s something joyful, deeply human, and surprisingly whimsical about his polymer clay pots, a charming mix of realism and imagination that transforms home decor into storybook sculptures. Eduardo, currently on paternity leave, has found a renewed creative spark during this chapter of his life. Between nap times and toddler play sessions, he carves out moments to sculpt, forming small, bright vessels full of color, movement, and meaning. "Time is definitely the limiting factor for me right now,”  he shares, “so I try to do what I can when my son naps and when he goes to bed in the evenings.” A self-taught artist, Eduardo has been shaping clay since he was a child. His early art supplies were oil-based modeling clays and imagination. “I didn’t view it as an art form yet because of my age. At the time, the medium was a really powerful and accessible way for me to make the toys that I wanted for myself as a kid.”  From hand-sculpted zoo animals to stop-motion films with crayon backdrops, clay became more than a pastime, it was his portal to creativity and connection. But the shift to polymer clay came at a pivotal moment. “Around the time I was eight, my dad brought home a sampler box… it blew my mind that I would be able to make my creations more durable.”  That moment sparked a lifelong bond with polymer clay, a material he’s never strayed from. What makes Eduardo’s recent body of work—his series of sculpted miniature pots and vases—stand out isn’t just their technical detail, but their emotional resonance. Each pot begins as a simple cylinder, but through pushing, shaping, and sculpting, they transform into organic vessels with personality and flair. “One day I decided to see how far a cylinder of clay could be pushed in terms of manipulating it into different shapes of pottery,”  he explains. “And it paid off.” That spirit of curiosity and experimentation led him to create three standout tutorials for the Polymer Week Society , and more are yet to come! All pieces showcase his style: rooted in nature, rich in texture, and unafraid to play. Eduardo’s work embraces his love for flora but reimagines it through clay, where flowers bloom in soft pastels, cacti dance in miniature pots, and onions become elegant decor. “I’m not particularly fond of math and geometry,”  he admits with a laugh, “so in keeping with avoiding any calculations, I just sculpt and see where the clay wants to go.” What makes Eduardo’s story even more compelling is how he weaves his identity and values into his work. “I highly value kindness and empathy toward others… and speaking up for marginalized people.”  His art is both an extension of those beliefs and a quiet form of activism—rooted in self-expression, accessibility, and joy. Despite the challenges of fatherhood, Eduardo says being a dad has actually deepened his relationship with clay. “I’ve learned that even though a huge part of my identity is being a father, it’s equally as important to make time for the other parts of my identity that I value.”   His toddler is already showing signs of appreciation for Dad’s artistry— “He’s one of my biggest fans… though he’s in a throwing phase, so polymer clay toys are currently on pause.” When asked to sum up his artistic journey in three words, Eduardo gave us an answer as unique as his creations: “Pokémon, earrings, and pots.” And honestly? That tells you everything you need to know. Eduardo Farillo isn’t just an artist who makes clay pots. He’s a creator who shapes delight, infuses storytelling into every glaze and groove, and uses the power of polymer to build connection—one whimsical vessel at a time.

Meet Marina Andrei , a passionate Romanian polymer clay artist and a pioneer in innovating techniques. Learn from her experience in overcoming challenges and discovering new applications, such as her signature Faux Stones creations. The American artist Erin Hanson once said: "There is freedom waiting for you,   In the breezes of the sky,   And you ask, ‘What if I fall?’   Oh, but my darling,   What if you fly?’” There are always new and open horizons of possibility for those who venture into the unknown—discoveries within reach only for those who dare to try. How many of us live in our comfort zones without even realizing it? Where are the limits? They aren’t crystal clear. And that’s simply human nature. But it is also natural for us to play, explore, and wander, following one serendipity after another until... the magic happens. This could be the story of Marina Andrei. Glass inclusions sparked curiosity among polymer clay artists when they were presented in October last year at our PW event in the Czech Republic. At first, many were simply exploring their possibilities, some were intrigued, others were surprised, and many had no idea how to incorporate them into their work. These inclusions are made of incredibly fine glass particles, with pigment embedded directly within them. This makes the colors stable and allows the particles to withstand temperatures up to 500°C, making them a perfect addition to polymer clay creations. Innovative artists like Marina have embraced their potential, pushing creative boundaries and crafting incredible pieces. Marina has been captivated by handmade crafts for as long as she can remember. Balancing a full-time career as a pharmacist, she dedicates her free time to her studio, where working with polymer clay serves as a therapeutic outlet. Her jewelry is celebrated for its playfulness, precision, and vibrant colors, reflecting her deep-seated passion for the art form. Her professional background is evident in the way she explores various mixed media techniques with polymer clay. With the precision and mastery of an apothecary, she explains her process: “I really like to combine several types of paints, inks, powders, and so on. I have tried embossing powders before […] but not all of them are reliable in terms of color.” She discovered that while some materials reacted unpredictably during the curing process, glass inclusions remained stable, retaining their color and texture even after multiple bakes. This breakthrough opened new creative possibilities, allowing her to add depth and sparkle to her designs without compromising their integrity. As she notes, “The white translucent particles are really interesting because they shine in a unique way when placed on darker colors.” Through experimentation, Marina has developed several methods to incorporate glass inclusions into her work. She summarizes her techniques into four approaches: Surface Application : Sprinkling fine glass particles onto raw clay and gently burnishing them creates a subtle shimmer. Translucent Layering : Embedding inclusions within thin sheets of translucent clay adds depth, producing a soft, glowing effect. Faux Stone Effects : Combining glass inclusions with specific clay blends, such as Fimo Botanical or Cernit Nature, mimics the appearance of natural stones. Textured Finishes : Applying a patina over textured clay with embedded inclusions and then lightly sanding achieves a vintage, timeworn look. But no great artist’s journey comes without obstacles. Initially, Marina noticed that sanding pieces with surface-applied inclusions could cause particles to dislodge and scratch the finish. To prevent this, she began embedding the inclusions within thin layers of translucent clay, ensuring they remained securely in place. She also addressed a common concern among polymer clay artists: potential damage to pasta machine rollers. Marina reassures fellow creators, “For anyone who might be afraid that the glass particles might scratch the rollers of the pasta machine, they won’t. They are very, very tiny, much smaller than the thinnest setting of the pasta machine, so no worries.” Eventually, Marina found her touchstone. Inspired by her fascination with natural stones, she shares, “I have always liked stones—precious, semi-precious, even common pebbles or rocks.”   She used glass inclusions to replicate the intricate patterns and textures found in nature. This technique, Faux Stones , has become a hallmark of her work, allowing her to create pieces that closely resemble genuine stones, each with its own unique character and charm. As she expresses, “My latest pieces gave me a lot of satisfaction because they look quite real to me, even if they don’t imitate a specific type of stone.” Marina continues to push the limits by experimenting with various mixed media materials, including acrylics, pastels, alcohol inks, and metal leaf. She is also eager to delve into cane-making, a technique that allows artists to store intricate designs for future use. She explains, “Canes are very useful for people like me who don’t have several days in a row to finish their projects. Veneers dry pretty quickly, and it’s so difficult to store them.” Artists like Marina exemplify the innovative spirit within the polymer clay community, stepping out of their comfort zones and transforming challenges into opportunities for artistic growth. Her journey with glass inclusions not only enriches her own work but also inspires other artists to explore and embrace new materials and techniques.  What about you, dear reader? Are you afraid to fall, or ready to fly?

"Sculpting opens up a whole new way of thinking about clay," Inge Abrahamsen reflects on her recent artistic journey. "It’s not just about shaping figures, but about understanding the material in a completely different way." Her eyes light up as she talks about how the experience has expanded her perspective on polymer clay. Inge Abrahamsen, a Danish artist known for her delicate polymer clay creations, has been part of the clay community for several years. Her journey with polymer clay began in 1998 but truly flourished when she entered the community. While jewelry-making has always been a prominent choice among artists in this field, Inge’s curiosity led her to explore a less common path, sculpting. Her path took a significant turn after attending Polymer Week 2024, where she participated in the sculpture class led by Caroline McFarlane-Watts , a renowned miniature sculptor and artist behind Tall Tales Productions. Sculpting is still a relatively new addition to the polymer clay community, often overshadowed by jewelry-making. However, Polymer Week has been paving the way for this shift, including more sculpting classes in recent events. As interest grows, artists like Inge are proving that the process holds far more than just the final figure, it’s a gateway to honing fundamental skills like texture making, character building, and shaping the clay in unique ways. Jytte Abildstrøm stands in solidarity with the Dalai Lama’s call for climate action. "I joined the class without knowing exactly what to expect," Inge admits. "But Caroline's way of teaching, explaining how to create characters from scratch, adding tiny details, and giving personality to each piece, completely captivated me." The immersive experience helped her realize that sculpting techniques could influence her entire artistic process, regardless of whether she would continue making sculptures or not. Caroline McFarlane-Watts class focused on more than just the technical aspects. The emphasis on storytelling and character development sparked a new sense of creativity in Inge’s work. Inge’s sculptures of Cixi and Frida Kahlo show how one creation inspires the next. The dress originally made for Cixi was reimagined for Frida, blending two powerful figures through artistic storytelling. "It made me think differently about how I approach each project," she says. "Even in jewelry, the idea of building a narrative behind each piece has become so important to me now." The class also offered a wealth of practical knowledge. Techniques like shaping fine details, creating textures, and manipulating clay to mimic natural materials have since found their way into Inge's creations. "There’s something meditative about sculpting," she says. "It teaches patience, observation, and how to see the possibilities in every lump of clay." "My early works focused only on small painted details, like eyes and cheeks. After Pilsen, I embraced fuller painting, as seen in Barbra Streisand’s tweed cap," says Inge. Margaret Atwood’s scarf also gave her the perfect opportunity to use a technique she learned from Christine Dumont. Inge's Instagram page, showcases her evolving work, highlighting how the sculpting process has influenced both her jewelry designs and character pieces. As the clay community begins to embrace sculpting as an integral part of artistic expression, stories like Inge’s remind us that trying something new can open unexpected doors. Taking a sculpting class doesn’t necessarily mean shifting completely to figurative art, it’s about learning techniques that can transform any creative process. "I never thought sculpting would have such an impact on my work," Inge says. "It’s about exploring, experimenting, and letting the clay guide you. Whether you create characters or jewelry, the process itself holds so many hidden lessons," she says. With more sculpting classes becoming part of the Polymer Week experience, the future of polymer clay art is undoubtedly expanding, and artists like Inge are leading the way, one tiny character at a time. Theodora (left) is based on a famous mosaic from Ravenna, while Katarina (right) is inspired by a Venetian painting. Inge’s two latest creations use a bit of "reverse engineering" — taking inspiration from 2D paintings and translating them into 3D sculptures. Theodora is based on a famous mosaic from Ravenna, while Katarina is inspired by a Venetian painting. Inge was fascinated by Katarina’s story — a Venetian woman who died in East China in 1342. Though little is known about her life, the discovery of her and her brother’s tombstones tells a powerful story of human movement across the world throughout history. For Katarina’s veil, Inge incorporated glass inclusions , creating a beautiful silky sheen that couldn't have been achieved with mica alone. Well done, Inge!

Loretta Lam ’s art pilgrimage is extensive and multi-faceted. She has been teaching polymer arts and jewelry design for over 22 years. During those years, she has influenced the journeys of many learners, exchanging both technical and artistic knowledge, as well as personal growth experiences, becoming, in her own words, “the most important part of my creative business.” Her outgoing personality allows Loretta to make the most of live events, especially after the pandemic. When the real world is actually the real world, even the everyday acts become unique and extraordinary. As she puts it, “I get a lot of juice from being with a group of people all focused on the creative.” After all, it is when we share things and interact with each other in companionship that we get immersed and swept along by the magic of the present moment. That’s when a smile, a hug, or a simple word falls into place and bonds us together. And as Loretta correctly points out, “All under the umbrella of art!” As a matter of fact, she was one of the artists who attended the last Polymer Week in 2024 . When asked about her experience, she explained it clearly, “It was serious fun. Everyone was so eager to learn and try new things, playing and experimenting, fearlessly and joyfully. I loved it!” Loretta then points out how she loved getting to meet so many people who she had only known from the internet. “Getting to hug those that I've only seen on a Zoom screen was a complete joy for me.” And as she finally concludes, summarizing her experience, “You will make new friends, grow and develop your artistic ideas, and have an incredible time.” Loretta's pieces called "Bluestone" Loretta is frank and straightforward, and when asked about her passion in life—art—she reflects wisely, noting that “art is self-expression” and that you should create what you are, “what is more authentically you.” So, in order to be unique in life and by extension in art, Loretta’s advice is unequivocal: “You do you!” Many artists are inspired by special “places & times.” In fact, some of them speak so directly to their hearts and minds that their artwork is touched in some way. That’s the case for Loretta when asked about a place that has sparked her creativity. She mentions the environmental installation called Opus 40 , a magical sculpture garden created by Harvey Fite over 40 years in Saugerties, New York. “The reduced color palette and natural textures totally changed my vision of what I can do.” "Roots" pendant created by Loretta As a matter of fact, Loretta’s art piece “Bluestone” captures the essence of this influence, especially those details that only a trained eye can spot easily and be inspired by. As she highlights, “It’s the small details—the patterns, textures, and interplay of moss and lichen—that changed the way I see art.” Loretta still refers to the Opus 40 outdoor sculpture. We can tell by closely observing her other art pieces, “Fallen Trees” and “Roots,” how she has refined her technique to convey that subtle micro-world. If you are wondering where Loretta's path is leading for this 2025, be sure of one thing, as she puts it, “ideas are coming pretty fast.” On one hand, she has been doing portrait and figure drawing, reserving some painting for the future. On the other hand, regarding polymer clay, we have some good news. She will be in Europe next September, teaching a polymer clay masterclass in Turin, where she guarantees that “it will be a magic carpet ride of technique, design, idea generation, and finding your voice.”

You have been invited to attend a wedding in the elegant Red Hall of the Old Palace in Florence. With silk drapery, gold-framed mirrors, and antique chandeliers, the atmosphere is charged with romanticism. As the bride enters, you notice a stunning necklace—a bold declaration, a powerful feeling that fills the entire room.   "Most of my work has an overall romantic theme, and I wanted this piece to truly highlight that concept,"  Sara Amrhein explains about her necklace. "This piece also reflects the opulence of Florence during that time period."   Florence, the so-called City of Flowers, serves as Sara’s main source of inspiration. In her own words, from "the historic Renaissance and Baroque dress and interior design." History is rich with stories, and the splendor of this necklace speaks the language of flowers—the epitome of perfect beauty.   Upon closer inspection, you can appreciate the intricate details, such as the centers of the flowers enhanced by Lucy’s gold pigment . Sara notes, "I love these pigments because a little goes a long way. It’s not too yellow, not too brassy—it strikes a nice balance that I feel has been missing in some of the other pigments I’ve tried."  These details truly make a difference. In fact, Sara has discovered her own unique way of maximizing the pigment's potential to express her creativity. When asked about her technique, she shares, "I like to dust it onto dry, raw clay. I find that this method provides just the right amount of richness and intensity."   As seen in the photos, the flower necklace is voluptuous, featuring a complex interplay of volume, detail, and color. The result is a masterpiece, achieving a powerful and harmonious balance. This balance is further reflected in the necklace string, which is crafted from clay and adorned with natural motifs using Lucy’s Texture Stamp design .   Sara's creative use of Texture Stamps infuses her artwork with intricate patterns and detailing. Together with her other pieces, this collection speaks vigorously through the symbolism of flowers. Sara masterfully combines clay and semiprecious stones with touches of gold and silver, creating a sophisticated jewelry design.   If you long to learn more about Sara’s technique and be inspired by her mastery, don’t miss the opportunity to meet her. She will be teaching in Turin , Italy, on March 29th and 30th.

How to dwell between different worlds, exploring the connections between human nature and the micro universe of fungi, that is what the Philippines self-taught artist Pat Frades has been exploring and revealing with her detailed organic artworks made of different types of materials including polymer clay. Her work often fuses mushrooms with human body parts, evoking a whimsical and otherworldly aesthetic.  Inspired by psilocybin mushrooms and their mind-altering effects, her art reflects a deeper connection between humans and nature we decided to explore.  Initially focused on graphite illustrations, Pat shifted towards working with clay and exploring the art of sculpture. “Working with polymer clay has opened many doors for me to explore and has helped me discover my style as an artist,” says Pat, allowing her to develop a vision of a surreal and vibrant color palette that combines bold and soft tones to evoke playfulness and whimsy, immersing viewers in a dreamlike, otherworldly atmosphere which fits perfectly with her fungi universe. When the pandemic was casting its shadow over the world, Pat Frades found the perfect environment to emerge as a full-time artist. This shift was particularly influenced by the closure of the gallery where she worked, as she pointed out: “I worked as a gallerist for five years, gaining valuable knowledge in both the business and creative sides of the art scene.” Building upon that experience, Pat started her own journey and got to create these surreal, playful sculptures centered around mushrooms, blending vibrant colors, intricate details, and unexpected forms.  All the steps led her through different opportunities - showcasing her work internationally in China, Korea, and Spain, and participating in different enriching collaborations with other artists showing that her artwork is able to grow in depth, creatively. From a photography project with Aia Solis that turned her own body into a canvas for mushroom growth, to a central feast-like table, edible creations by Chef Iyay Ignacio. Currently, Pat's work focuses on the life of fungi and how they play a vital role in the ecosystems, from their symbiotic relationships with plants to their decomposition processes. “Through my art, I aim to celebrate these intricate connections and invite viewers to appreciate fungi as essential players in life,” Pat explains.  Inspired by the 2013 PlayStation game The Last of Us  and its narrative, Pat found motivation in creating a colorful yet bizarre interpretation of fungi, exploring its related topics such as the stigma with psilocybin mushrooms and their use.  Pat’s future goal is to further develop her style by experimenting with various mediums, including ceramics, air-dry clay, and polymer clay, blending techniques to refine their creative expression, since “polymer clay sculptures have been fundamental in shaping my artistic journey,” as she says. Pat's fungi creations made with air-dry clay. The previous artworks were all made from polymer clay or mixed media.

Darya Francuzova’s collection of animal brooches can instantly put a wide smile on anyone’s face. It feels as if you’ve stumbled into a whimsical fashion show, where every outfit stands out and highlights the personality of its wearer. We were captivated by the diversity of outfits Darya designed for her cute animals and were curious about how this collection was born and what inspired her. “I once took part in a polymer clay sculpting challenge,” answered the artist, “where I had to choose a theme to sculpt for 30 days. I chose animal brooches because there is a huge space for creativity. Even then, I had a Pinterest board called 'Outfits' where I saved interesting designs and color combinations in clothes. So it turned out that I dressed up my animals, inspired by real outfits that I found on the Internet," explains Darya. And of course, in the creative process, the imagination develops even more strongly: "At that moment, I begin to play with different pieces of clay, mix different colors, and look for unusual textures that will suit. I also like to add various accessories: bags, bows, headbands. This gives the impression of a complete look, and in life, I am crazy about accessories.” The combination of textures and tiny details that Darya used for the outfits of her adorable animal brooches is fascinating. We also loved the pastel shades she used and how well the colors harmonize. In the future, the artist plans to further expand the variety of animals and make zebras, toucans, pigs, cows, and maybe alpacas. “The animal world is amazing, and you can be endlessly inspired by it,” says Darya. “And of course, I have a lot of ideas for new outfits! There are also plans to create small scenes with animals in the interior, enclosed in a frame that can be hung on the wall or placed on a shelf. But here, I need to go deeper into anatomy because I want them to appear to be in motion, or sitting in chairs in a cozy home atmosphere.” Sounds wonderful. We can’t wait to see the next collection! Want to learn more and get inspired by Darya? Check out the latest magazine issue , where she shares a step-by-step tutorial on creating blooming letter designs with polymer clay! These designs can be crafted into pendants, keychains, pins, magnets, or anything else your imagination envisions. Though the delicate details may appear fragile, the letter frame ensures a lasting, joyful creation.

Amalia Beksi never considered herself artistically inclined, despite growing up surrounded by art as her father is a painter. Painting failed to capture her interest and she had not explored any other artistic avenues. Her childhood was dedicated to excelling in competitive sports, with tennis being her artistic outlet at the time. However, the universe had other plans for her creative spirit. In 2021, during a period of general quarantine, Amalia's adventures with polymer clay began as she sought a pleasant hobby from the comfort of her home. Little did she know that this pursuit would transform into her full-time job and an all-consuming passion. Under the brand "Ramura," meaning "branch" in Romanian, Amalia has crafted a small creative business inspired directly by nature. Polymer clay became her chosen medium and she feels as if she has only scratched the surface of this fascinating art form, with much more to discover and express. Rooted in the natural allure of flowers, Amalia's vision breathes life into intricate floral designs, capturing their essence through polymer clay. Recently, she started decorating vases, making them her primary canvas due to their limitless potential. "This year," she shares, "I started working on vases, and now I primarily focus on this category because I am excited about the infinite possibilities to create and always bring something new. Each vase is distinct from the others, and I love the feeling that this 'niche' passion has come to define me. It's my small business and my job." Ramura is more than a creative journey; it's a continuous adventure into the versatile and malleable nature of polymer clay, promising endless opportunities for exploration and innovation. As her brand flourishes, Amalia invites others to join her on this magical journey, embracing the power of artistic expression and recognizing the limitless potential that lies within each of us.

Have you had the pleasure of exploring Sara Amrhein’s latest jewelry collection? If not, allow us to introduce you to the captivating world she has crafted! What immediately caught our attention was the combination of colors that emanate a contagious sense of celebration. It's as if the flowers adorning Sara’s necklaces are hosting their very own wintertime party. The palette is a visual symphony, with vibrant reds harmonizing with bright greens, accented by touches of gold sparkle and silvery highlights. These creations are meticulously designed to draw attention and stay in the spotlight. As we gazed upon Sara’s storefront showcasing her new collection, a question formed in our minds: "Do women curate their jewelry selections based on the season? Is there a shift in preferences for winter compared to other times of the year?" This curiosity led us to seek Sara’s perspective, drawing upon her experience as both an artist and shop owner in Florence, one of the world's most enchanting cities. “I would definitely say yes,” she replied. “Women choose different jewelry in the winter than they do in the summer, especially Italian women. I often hear things like “this will be great in the summer” or “I love wearing a brooch on my coat in the winter”. You don’t see many bright colors in the winter months. This is why I like to have a little of everything in the shop when I can. Of course it’s important for me to make every color and there will inevitably be someone who wants the one color I don’t have but that’s ok! Even for me, my color preferences change depending on the season or what I’m inspired by. For example I got a little obsessed with gold and silver for my last collection. We often think of one or the other so I wanted to combine the two. I made a vast array of pieces.” Red and green are classic festive colors often associated with winter holidays. When it comes to festive jewelry, these colors are commonly used to create pieces that add a touch of elegance to one's attire. "I’ve just finished up a very festive red and green collection for the holidays," Sara mentions. "I find that red always works, no matter the season, it’s always classic and a good seller."

As snow blankets the world, a season unfolds like a whimsical canvas inviting us to join its tapestry of recreational activities. When it comes to capturing winter’s enchanting spectacle on canvas, Erica Sturla is a master. Let's embark on a heartwarming journey into the realm of winter's joy, where laughter echoes in the air and every snow-covered moment is a celebration waiting to be embraced. Erika’s paintings made with polymer clay fully encapsulate the magic of winter: the laughter that rises with each snowball thrown, the enchanting dance of snowflakes, the thrill of gliding across ice or sliding down the hill. In her artistic process, every painting starts with several thumbnail sketches, followed by a more defined pencil drawing at the full size of the canvas. This becomes her working plan and the clay figures are checked against as she creates them. She appreciates the humor, color and movement that three-dimensional figures bring to her creations. Depicting scenes with people doing everyday things is often the starting point of Erica’s paintings. Pavilion Ice Rink is a painting inspired by an ice rink that appears outside the iconic Brighton Pavilion every year. “It is a real spectacle!” the artist says. In Erica’s creations the clay figures take on expressive qualities, with easily adjustable limbs and almost always displaying smiles. Ice Skaters was her first attempt at skaters. One of the things she enjoyed the most during the creation process was painting the winter trees. After completing the clay modeling and baking, Erica focuses on background painting, approaching it with a studied perspective. “I think I paint in a fairly illustrative way,” she describes, “challenging myself to get the serious issues of light/shade and perspective right. I just love that relationship between sensible background painting and figures that are anything but serious! Now the painting will start to come together and I can think about adding little details in the paint as I see how the figures sit against the background.” In the quiet beauty of Erica’s winter polymer clay paintings, we discover not just scenes frozen in time but a vibrant celebration of the season's spirit. With each stroke, the artist has woven tales of joy, color and movement, encapsulating the magic of winter in a medium as timeless as the season itself.

Raised in Bolivia within a sizable family, Susana Martinez fondly recalls her childhood in a colonial multi-family house. Surrounded by crafty great aunts, skilled in diverse arts, from cooking to healthcare, Susana developed an early appreciation for beautiful creations. And that we share! Encouraged by her mother, she explored various crafts but found her true passion in sewing. Despite pursuing a degree in psychology to meet societal expectations, the artist faced an internal conflict, realizing her desire for a career in fashion. “While I was working on my thesis in college,” she recalls, “I started attending a small design-couture-pattern making academy, the only one in town, three times a week. It was then when I started the new chapter of my own and genuine life. After a very frustrating couple of years of working as a psychologist, I moved to Chile, where I pursued my fashion and design career professionally and developed my skills in full.” Susana decided to do what made her happy and became a fashion designer with a passion for contemporary jewelry. From the beginning of her career she designed and made jewelry to compliment her fashion collections. Always open to experiment with a variety of materials: glass, metal, wood, felt, thread and most recently with polymer clay, the artist usually creates small collections that express the duality of her aesthetic sensibilities. “My approach to working with clay is the same I have for designing garments,” Susana explains. “I design based on concepts (images or words) that will lead me to the selection of colors, textures, forms and emotions involved in the project." "The imaginary and whimsical, as well as the playful, unexpected and extravagant are expressed on my rings, which are colorful and randomly shaped. The seriousness of reality is applied mostly on my earrings and necklaces, where pieces look more thought-out, geometrical and even monochrome, adorned with intricate textures and print combinations, yet still dynamic and easy to wear. I aim to create intriguing pieces of jewelry that will bring joy and fun to the wearer.” Susana moved back to New York in 2021 and took a four month long zoom workshop with Carolina Pazos from Chile. That’s when she started to systematize her knowledge of many techniques, became a student of the Blue Bottle Tree, started to know more and more people of polymer clay and attended many workshops. Most importantly, the artist expanded her tribe and community to all over the world. “It is really amazing,” she mentions, “how so many people are part of this wonderful experience that is working with one material and how these relationships motivate each other to know more, share more and enjoy making beautiful and meaningful art.”

“It seems to me that flowers are probably the most banal thing that can be made from this wonderful material, but I am very inspired by them,” reveals Vera Veselova, who immerses herself in the intricate world of jewelry. Vera is Lithuanian by origin. Her grandparents were exiled to Siberia under Stalin dictatorship, where Vera also has been living, in the harsh city of Novosibirsk, dreaming that one day she will have the opportunity to move to Sweden. Never trained in the art of sculpting, Vera is completely self-taught. “For the first time I saw how a girl made beautiful beads for dreadlocks on Facebook back in 2010. I liked it so much that I started looking for information about this material and the next day I bought my first polymer clay blocks. When I first baked my works, I kept them in the oven for about an hour and could not understand why they were still soft. Only then I realized that the clay becomes hard only after cooling. But now it's a little funny to remember. I can say that I learned only from my own experience.” Vera never makes sketches of her designs. Often she just imagines flower arrangements in her head and just sits down and starts working. It often happens that the result is completely different from what she imagined. Her studio is very modest, it's just a table where she keeps everything she needs. The main rule is to always keep her place very clean. In her free time Vera loves to draw and walk in the woods. “Fortunately, I live in Siberia and we have a lot of forests here,” she mentions. “By the way, I also draw flowers most often, which is kind of funny. I also like to cook. I love all things that are somehow related to creativity in general.” How does a typical day in Vera’s life look like? It’s almost always associated with clay. At the beginning of the day she does routine chores and responds to customers' messages or spends her time editing photos of new works. Then she makes a task plan of which jewelry she should create that day. Closer to nighttime is when her imagination wakes up and she just sculpts for fun. The thing that Vera enjoys the most about her work is that when she creates she can retreat in her own world. “I am an extreme introvert who loves being alone the most,” she mentions. Beyond personal fulfillment, her creative endeavors serve as a source of income, adding an extra layer of satisfaction to her artistic pursuits. “You can say that I am a happy person,” the artist says.

Susana Paredes' distinctive artistic style is easily discernible through the vibrant colors and exquisite gradients she uses in her creations. Renowned for her mokume gane tutorial, "Contours and Blends," this Peruvian artist, now based in the US, operates an Etsy shop primarily selling custom-made graphic jewelry components. This unique approach allows customers to request personalized pieces at their convenience. In addition to a diverse array of beads, crafted using Susana's signature color-blending technique, her Etsy shop occasionally features exclusive, one-of-a-kind finished designs. “I mostly enjoy creating jewelry components using various techniques, especially mokume gane,” she mentions. Taking a closer look at Susana’s finished jewelry, we were mesmerized by her remarkable way of creating mixed-media jewelry, combining various materials to produce unique and eclectic pieces. The type of jewelry she creates often incorporates a mix of polymer clay or glass beads, metal findings, wood, ceramics, and other materials the artist buys from other artisans, resulting in designs that are visually interesting and diverse. “Regarding my creative process, when I get inspiration for a polymer clay piece, like a brooch for example, I usually envision it in my mind and then do a rough drawing on paper to determine the size, shape, and balance I want for the design,” Susana explains. “Afterwards, I start experimenting with scrap clay to get a better understanding of how to make it in the best way possible, do some adaptations according to my tools, and see how the finished design will look, once I am satisfied with it, I start working on it using the veneers, or canes, and colors blends I had planned at the beginning.” Considering the design of the earrings, the inspiration comes directly from the components that are available and the artist starts playing with different combinations of beads and findings until she is happy with the color schemes, balance, and weight. Whether crafting earrings, necklaces, brooches, or hair accessories, Susana's mixed media jewelry invites all artists to explore diverse materials and techniques. The resulting pieces are visually captivating but also bear unique stories and artistic expressions, showcasing the limitless possibilities within the realm of creative jewelry design.

Article written by Delia Gerendi When observing the polymer clay guilds across Europe, it strikes me that they resemble beehives, buzzing with constant activity, from events to workshops. Looking at this vibrant scene from tranquil Romania, the image is mesmerizing. The Romanian polymer clay community is akin to a sprout, tentatively stretching its stem and delicately extending its branches towards the light. As a leader of Polymer Clay Guild Romania I set my mission to bring the culture of workshops and creative gatherings into my country also. While the Romanian polymer clay community has already made remarkable progress, there's a shared aspiration to widen its horizons even further. At its core, this desire for growth is driven by a profound appreciation for the benefits of creative workshops and events, which have the potential to elevate not only the craft but also the spirits of those involved. Good friends, brought together by their creative tendencies and love for polymer clay, Annamária Vrzáčková and Ildikó Tank Szigeti shared a dream: to promote and introduce the love of polymer clay to more people by organizing an event to help them transform this dream in reality. Living in Prague, Annamária had the advantage of organizing and participating in courses by Czech artists and instructors from abroad. Together with Ildikó, she founded the first annual event dedicated to polymer clay jewelry making workshops. The first Carpat Clay Festival should have taken place in Oradea in the spring of 2020. Unfortunately, due to the pandemic, the entire event had to be rethought and organized online. It took a sustained effort for everyone involved, both the organizers and the instructors, to make a change and suddenly learn how to use Zoom, how to change the methodology and make sure that the participants feel like they attend the course in person. Of course, moving to the online platform had the advantage of being able to reach more people and also offered the possibility to record the courses. The following Festivals in 2021 and 2022 took place in Oradea, and participants had the opportunity to attend workshops in person. This year, with the support of Polymer Week, Cernit, Fimo and Sculpey, on July 29-30, the fourth edition of the Carpat Clay Festival was organized, an event larger than the ones that have taken place so far. Along with Ildikó and Annamária, Tünde Vass and myself joined the team as instructors, bringing our unique expertise and creativity to the festival. I met Annamária, Ildikó and Tünde in October 2022, in Prague, and destiny had a plan none of us could have anticipated. We found ourselves gathered in a cozy space, brought together by a shared curiosity for Marina Burianova's 'Enigma' workshop. It was an instant match. Our hopes and dreams seemed to resonate on the same frequency, laying the foundation for an unforgettable collaboration. All the details for the 2023 Carpat Clay Festival were discussed then, during one evening, over a bottle of wine and delicious Czech food. The event took place during an entire weekend, beginning with my project, “Mystic Necklace”. Looking back and remembering those days, a large smile settles upon my face. So many happy memories! The event was such a huge success, exceeding all my expectations. But back then, on that Saturday, the first day of the event, I was terrified! As I prepared to step into the role of an instructor for the first time, my hands shook, my voice quivered, and it felt like my brain was playing a game of 'hide and seek' with the words it was supposed to provide. Three instructors and twelve eager attendees gathered around my table, their curious gazes fixed on the tools and jars full of colored powders. It was a mix of seasoned artists and newcomers to the world of polymer clay. For half of the students it was their very first encounter with this medium. One of the most challenging aspects of the Carpat Clay Festival was the constraint of time. Each instructor had just four hours to guide students through a complete project. This limitation meant we had to carefully select projects that not only showcased the versatility of polymer clay but also could be accomplished within this tight timeframe. As a devotee of mica powder and vibrant pigments, I chose a project that I believed held the potential for stunning results with little technical complexities. Our quest was to slowly reveal the infinite faces of polymer clay to our students, so I chose a theme revolving around the creative interplay of just two ingredients: black polymer clay and mesmerizing mica powder. What truly delighted me was witnessing the students' immediate enthusiasm and creativity. As I unveiled 'the secret' behind the project, a wave of inspiration surged through the room. Each student brought their unique artistic vision and originality to the table. It's a joy for any instructor to witness when people take an idea and run with it, transforming it into something uniquely their own. Among the students we had the pleasure of welcoming Noortje Kuhlman, who drove from the Netherlands to join us. I met Noortje in Liege, where we were both students of Delphine Vignoble’s whimsical “Funny Face” workshop. Our mischievous nature made us bond instantly, and I was overjoyed when she decided to come to Romania. The day before Noortje arrived at Oradea the city was struck by a terrible storm, which left havoc in its path. Take a closer look at the jewelry Noortje created: she used some pieces of broken glass she found near her hostel, transforming her jewelry into wearable tales of resilience and beauty rising from chaos. The anxiety I felt during the morning slowly dissipated as I walked among the tables, capturing the intricate details of each attendee's creations through my camera lens. Everybody emanated enthusiasm and laughter filled the air as everyone admired and celebrated each other's artistry. The joyful atmosphere was contagious and in no time it felt like we’ve known each other for a lifetime. As lunchtime approached, I was pleasantly surprised by my diligent students' creativity. Not only had they completed their necklaces, but they had also crafted matching earrings—a feat I hadn't initially planned for, thinking we wouldn't have enough time. Their dedication and talent proved me wrong in the most delightful way. During the two days of the festival, the whole group had lunch together, indulging in delicious ‘sarmale in clay pot’, skilfully cooked by Mihaela Olah, also one of the festival attendees. Sarmale, or cabbage roll, is a dish in Romanian cuisine consisting of fermented cabbage leaves wrapped around a filling traditionally made with pork, beef, bacon, rice, spices and aromatics, broiled in a tomato sauce and served with sour cream and spicy pickled peppers. The “sarmale” were slowly cooked during the night and the clay pot was wrapped in blankets to keep them warm until lunch time. None of us could resist the flavorful allure, and the clay pot was left gleaming clean two days in a row. Tunde’s project took the attendees to another level, guiding them deeper into the mysteries of polymer clay. We commenced with exploring gradients, gradually building the foundation of our creations and then we dived into the imprevisible “crackle technique”, using a heat gun. We created colorful bangles, matching earrings and pendants. Do you believe she spared the attendees the arduous pain of sanding? Nope! We sanded the pieces until they were smooth and shiny and buffed them to perfection. As the sun dipped below the horizon, the first day of the festival ended with a delightful raffle. Our generous sponsors had showered us with an array of gifts, making each attendee feel like a cherished guest. Polymer Week Magazines, textures and stamps signed by the talented Lucie Štruncová, polymer clay and jewelry handcrafted by the instructors themselves graced the tables. But it was the sight of our students opening 'A New Generation of Polymer Clay,' a book brimming with exquisite tutorials, that truly warmed our hearts. Their faces lit up with awe and in that moment we realized that the true treasures of the day were the bonds we'd forged and the knowledge we'd shared. The second day of the festival commenced with Annamaria's workshop, a kaleidoscope of creativity where each element of the necklace we crafted was a unique blend of shapes and colors. The students were introduced to another way of achieving the crackle effect, using alcohol inks and texture stamps. Alongside, new elements were introduced into our creative arsenal, including translucent clay, vibrant metallic acrylic paints and an array of meticulously crafted handmade stamps. The fourth workshop revealed to our attendees an ingenious method of making large, impressive hollow beads. Ildiko has a skill for teaching and her precise explanations sent us all running to our tables, eager to recreate the steps she showed us. We sprinkled our creations with glitter and colorful pigments and we felt like children, playing and laughing together. Looking at the faces of our attendees it was hard to believe that we were marching towards the end of a two day claying marathon. Now when I think about it, I realize that it was not really a marathon, but a sprint. Nevertheless, everybody was happy and dopamine was flowing. Everybody was amazed by the lightness and elegance of the jewelry sets we created. The festival culminated in a joyous ceremony where diplomas were distributed, and the creations we had collectively crafted were proudly showcased. It was a moment of immense satisfaction and pride for both instructors and students alike. However, our greatest joy was witnessing the boundless enthusiasm and radiant smiles of our students. Their unanimous declaration of eagerly awaiting the next edition of the festival warmed our hearts. The success of the festival was like a wakening call for the Romanian polymer clay community. The pictures taken during the event and shared on social media made the members of Polymer Clay Guild Romania thirsty for more gatherings. Our journey continues with a new workshop in Brașov, where I will once again reveal the secrets of the 'Mystic Necklace.' Creative workshops have a magical way of not only nurturing artistic skills but also forging deep bonds among participants. As we come together to learn, collaborate and create, we find ourselves on a shared path of artistic exploration and friendship. We will continue to share our love for polymer clay with people who want to spend some time pushing their creativity further. The fifth edition of Carpat Clay Festival will take place in Oradea, Romania, in July 2024, with the same team of instructors. At this moment, Carpat Clay Festival is the largest Romanian workshop event created for the polymer clay artisans. Join us! Let's create amazing things and have fun together!

As the days grow shorter and the leaves begin to change their colors, a certain magic descends upon the world. Autumn, with its vibrant tapestry of shades and invigorating crisp air, inspires a sense of wonder and reverence for the beauty of nature. During this enchanting season, we decided to turn our gaze towards the world of jewelry, seeking adornments that capture the essence of autumn's splendor. Enter the world of Janna Baranovska, whose polymer clay mastery has given birth to jewelry pieces that not only mirror the season's beauty but also encapsulate the spirit of fall. “I really like autumn," says Janna, "especially it’s beginning when you can see a combination of bright colors of foliage and still blue skies. There is nothing more beautiful than color combinations created by nature itself and looking at all this beauty I just want to try to repeat them in my creations.” Janna's jewelry isn't just an accessory. Her pieces are miniature works of art, capturing the essence of autumn's allure. We couldn’t help but be captivated by the enchanting stories they whisper – tales of fairies dancing among the fallen leaves or the serene beauty of a forest at twilight. One of Janna's remarkable qualities is her ability to translate her love for nature into tangible art without the need for preliminary drawings. Her process is an organic dance between her hands and her heart, resulting in jewelry that's as unique as the season itself. Just like the leaves that sway in the autumn breeze, each piece possesses a distinct character and story. “I never make sketches and therefore I can’t even imagine what the final result will be," says the artist. “All small details are born during the creation process, the main thing is to have inspiration. I have been sculpting with polymer clay for many years, but I never cease to be amazed at its possibilities. Of course, experience and skills are of great importance, but the main thing is to do everything with love, then you can expect an excellent result." As we embrace the changing landscapes, we invite you to indulge in the elegance of Janna’s autumn-inspired jewelry. Whether you're looking for a gift that captures the essence of the season or a piece that resonates with your own connection to nature, her creations offer a bridge between art and fashion.