Last week I went camping. While away I didn’t check the news. I had no phone calls. And no mirror. For a week it was just me and my family. On the way home we decided to drop in on a relative for a visit. It was then that I suddenly saw what we were wearing and realized my daughter had not combed her hair in days. Then I realized I hadn’t combed my hair in days either. It’s not that we didn’t have time! It just wasn’t important.
This article is a reprint. To see the original article click here. Over the years Ann and I have heard from so many artists how her article changed their lives. Read on and heal your “artself”.
My studio has always been an active working space, more of a workshop where things are made than a quiet space for inspiration. I’ve never needed a girly-girl space because I was a “Serious Working Metalsmith” and my professors, teachers, smithing friends all had, for want of a better description, tool shops. Everything creates grime!! To me having a clean space to do enameling meant one square foot of clean tabletop.
I used to do casting production runs. If you are not familiar with that, it’s often making one hundred of one thing in a week, after which of course it was a really dirty workshop. But I never questioned it. My work was fulﬁlling and proﬁtable, and I loved it. And so it went for 40-plus years and several different studios.
Viewing a Crafthaus exhibit, Studio Sanctuaries, created by Pat Morrow caused me to contemplate and reevaluate the space where I spend so much of my day. I felt it had become divided between the computer desk, bookkeeping, and fun-interacting with friends and the overstuﬀed, chaotic workshop side. This was something that had been bubbling up in my thought process and banging at the door of my conscious awareness for some time. The struggle between the messy “get to work” side and the computer “play” side ﬁnally crystallized into a thought. I had been disrespecting myself, my work- er self and my inner self, my whole self. Continue reading…
Nothing stops me in my tracks quicker than a friendly offer to come to my studio. My studio has been a mess for years. Last summer I started the mammoth task of cleaning it up. I think it looks pretty good now, but I still fear company. I used to blame the mess. I’ve recently come to the realization that I have other reasons. (Photo is NOT my studio…this is from the magazine Where Women Create, May 2014.)
One of the reasons is that my space is very personal. I have treasures on display…but not on public display. Rocks collected in Newfoundland, a kazoo Santa gave me, my military dog tags, a metal toy kitchen that was my mother’s, an old lamp in the shape of a green Buddha…stuff I like but that I don’t want to explain to another person why they are special. Continue reading…
(or What Distinguishes Inspiration from Copying? – For those younger than 40!)
An often-argued creative concept found in all artistic disciplines, is what distinguishes copying from inspiration? It’s a controversial and complicated issue with a lot of gray areas. For what it’s worth, I offer my take on the subject in the article that follows, hoping to give an insight on what I believe are the origins of inspiration.
Where would the art world be if Monet, who is credited as being the father of Impressionism, railed against his contemporaries (including Cézanne, Degas, Renoir) who followed in his footsteps, embracing this new way of interpreting subjects for their work?
As an artist, I don’t believe that something comes out of nothing. Everything I create is inspired by something; even when I’m not conscious of the origins of the inspiration. If I carefully consider some of my creations, I can recall something that has a hand in my designs and techniques. Perhaps the waves of the ocean, a sunset, or the pattern on a hotel curtain had a role in a creation. Only ego can drive the need to demand a work is truly and purely original.
That isn’t to say that the fine line between copying and being inspired isn’t easily crossed. As an artist who also teaches, this is a shaky area for many. Personally, do not dictate that once a student has compensated me for my knowledge and shared skill, that they are forbidden from putting the technique or design concepts into practice. That isn’t a universally accepted concept. I hear from my students, over and over again, experiences in which teachers told them they cannot use design concepts or techniques learned in their classes if incorporated in anything they teach or sell. I feel that if a student has paid to learn from me for my time and knowledge, they should be able to duplicate what I taught them for any use they deem acceptable. I do expect that they won’t take undue credit that it’s something they originated or won’t reprint or plagiarize any written material I hand out. Also, I’m careful to credit others when using techniques that I didn’t originate. If I don’t know who to credit, I am still careful to make it clear that I don’t deserve credit for concepts that I didn’t develop.
My hope is that those who copy what I teach, do so primarily as a means of mastering what they learned. Ideally, whether for fun or profit, students will go on to modify what they learned from me and modify it to bring their own voice and vision to their creations. Regardless, if I’m not ready to have others use what I develop, I shouldn’t put it out there; least of all receive compensation for teaching what I’ve come up with. A common technique used universally in the medium of polymer clay, is the “Skinner Blend.” This is the method for creating gradient blends with two or more colors of polymer clay, developed by Judith Skinner. It is one of the most widely used techniques in polymer clay. It has also been widely modified by myself, and others into more advanced polymer clay effects and techniques. As in the case of Monet, where would polymer clay be if Ms. Skinner, forbade anyone from using her blending method professionally or commercially?
I look, not only to nature, the imagination (which is feed by countless stimuli each day that accumulates over a lifetime) for ideas, but I also find inspiration in the work of others. I find it both within and outside of my chosen mediums. My goal is never to copy, but to create something that is “original” in as far as I use a shape, color scheme, or design concept I create. I don’t want my work to look like an imitation of someone else’s. I don’t think any true artist does.
Creativity is a slippery slope and ideas don’t occur in a vacuum. This concept is worth repeating if you’re an artist who has ever struggled with the feeling that your creativity has been copied. Ideas don’t occur in a vacuum! On more than one occasion I have experienced or had other artists share the phenomenon of learning that someone else was is doing the same technique or design concept that I (or they) “created.” This is disconcerting when it occurs before I have shared my designs and techniques publicly – in a show, on the Internet, for sale, publication or classes. It can be very humbling to realize that another person has simultaneously or even preceded you in discovered the same “new” technique/design concept as you have.
There is a theory called the “Hundredth Monkey Effect.” It explains that the same idea can mysteriously occur in multiple locations without a direct correlation between them two. There are several websites and even books devoted to this concept. Read it more at: https://en.wikipedia.org/wiki/Hundredth_monkey_effect Clinging too tightly to the ownership of an idea is a dangerous thing and can result in a great deal of personal unhappiness. Who among us doesn’t wish to be recognized for their creative innovation? Making this important to yourself as an artist, robs you of your higher purpose to create and can hold you back from personal and professional growth.
I’ve even been on the receiving end of being accused of taking credit for someone else’s concepts only to find myself having to prove that I developed, introduced or used a design/technique before the accuser. In some cases, it was clear that they didn’t copy me, but it can be uncomfortable to have to defend your work. Having been on both sides of this experience, the oddest example for me was hearing someone I had just met tell me about a friend who told her about a profound artistic experience at an adjacent tradeshow to the one she was working at. Coincidently, I happened to know the same artist personally as a friendly acquaintance. Both of us were demonstrating for the same company, at the tradeshow at the time of this occurrence.
What a shock it was to hear the story retold as it had happened, only it had happened to me! While on a break, I went to the other trade show with a friend. People stopped me to admire work I was wearing. I made it with a new technique I had developed. They though it was a completely different medium and not the one I was using to replicate the look. I went back to the booth where I was working and shared how my “faux’ technique fooled many people at the other show. I shared this story with a group of eight people.
This group included the artist who then went on to tell my story as her own. Later, I saw another artist credit her for the technique in a magazine article. If you’re wondering how I handled it, I decided to let it go. I concentrated instead on developing the technique to take in new and exciting directions. Having done otherwise might have had a crippling effect on my creative ability. My energy was best spent in moving forward in my work and not feeling the need to salve my ego over setting the story straight. This person has to live with their lie, knowing they need the credit belonging to someone else to feel accomplished.
Of course, this is different from when your design concepts are copied and sold for profit in an arena in which you compete for your livelihood. Companies like Wal-Mart and Target have found themselves on the loosing end of lawsuits where they had taken the designs of independent artists, culled from buyers attending shows and had them reproduced – en mass – without the permission of the artist.
I’ve heard it said that sites like Etsy and Pinterest are nothing more than idea factories for other artists. If I have a problem with anyone using my techniques or design concepts for themselves, then I should not be putting it out there to begin with, knowing that in all likelihood, I’ll never be credited or profit from my concepts. Success as an artist for me is acknowledging that my “original” ideas all have their beginnings in something, but for me, it’s important that something is merely and influence and not a mold for me to duplicate.
Image Credits: All images by Lisa Pavelka, copyright to the artist.
Inspiration Credit for Lisa’s art:
Image #1- Inspired by Karl Faberge
Image #2 – Inspired by Karl Faberge
Image #3 – Inspired by 1960s Optical Pop Art
Image #4- Inspired by Dichroic Glass and Ocean Waves
Image #5 – Inspired by Mardi Gras
Image #6- Inspired by William Morris
Image #7- Inspired by Periscopes
Lisa Pavelka, a Colorado native who now resides in Las Vegas. She is an award winning artist, designer and author. Although she is well versed in several mediums, she is best known for her polymer clay expertise. Having worked with the medium professionally since 1989, she has focused her creative energies in taking polymer clay in new directions; especially in the areas of mixed media applications.
As a polymer clay pioneer, Lisa has tackled everything from jewelry making and home décor to scrapbooking and altered arts to name a few. She has shown the crafting world there is almost nothing that can’t be done with polymer clay, whether it’s coming up with new techniques or covering the back of a van.
Lisa is author of three books including the award winning best seller: Polymer Clay Extravaganza (North Light Books), and DVDs—Gifts from the Heart & Hand (Page Sage) and Claying Around with Lisa Pavelka(2007).
Local Artist Wants to Help Fort McMurray Relief Effort as She Competes for $10,000 Prize
-denoting an action, typically a crime, carried out in imitation of another.
“No one likes a copycat”….in fact I’d rather the word was stronger when it comes to artists stealing ideas from artists. Last week we posted a video on FaceBook that started a lot of conversations. Which is EXCELLENT! What a wonderful use of technology to have artists all over the world talking! But will things really change? Will you stop seeing derivatives of artists’ work? “If you copy someone’s else, that is a derivative work. It doesn’t belong in a gallery or showcase and it should not be published anywhere—this includes your website and all social media.” -Sean McCabe (quote from video)
California artist Harriete Estel Berman has written extensively on the topic of copyrights and copycats on her blog: Ask Harriete. “The issues are serious. By our silence, we in the arts and crafts community are cultivating a climate of copycats. Bringing this issue into the open is not going to be popular, but the undercurrents are eroding our economic, ethical and legal boundaries.”
Here are some links to select articles by Harriete. Be an informed artist!
40 COPYCAT THIEVES that have been seen
http://askharriete.typepad.com/ask_harriete/2014/03/40-copycat-thieves-i-have-seen.htmlUntil awareness gains traction in every “craft corner”, workshop, retail fair, wholesale show, online forum, manufacturer, retailer, designer, internet site, and becomes a public discussion, the copycat thieves will continue as pirates of our work, our ideas, and our content.In the “Age of the Internet” and digital technologies we can no longer go back to the studio and come up with the next idea fast enough. Ideas and images are stolen at the speed of light.
- Are you prepared to protect your work?
- Do you understand the concepts of Fair Use under Copyright Law?
- Do you understand DMCA
The Guild Guilt of Unauthorized Sharing
AFTER my lectureThe GOOD, The BAD, and The UGLY in the Age of the Internet, many people have responded. Views of the lecture continue grow. Dialog and discussion continues about many topics…..but, …..
But there is a situation that I didn’t consider, didn’t even think about… until it was brought to my attention after the lecture… “The Guild of Unauthorized Sharing.”
Here are the examples:
- A guild member takes a workshop, then comes home to show everyone else the workshop’s techniques, tips and tricks.
- Guild members distributing copies of handouts that they did not create or own.
- A member demos a skill learned in a magazine tutorial.
- A guild hires a copycat workshop instructor instead of hiring the original innovator of a skill or technique.
Ironically, all this sharing is usually rationalized as “helping” each other. But with some reflection, this “feel good” cloak of generosity is concealing ethical, legal and moral issues that, in the long run, have an impact on our community.
I Love Your Work and Want to Make One for Myself
There are rampant versions of copycats within the arts and crafts community. Some are cloaked in naiveté, admiration and enthusiasm.The problems are multi-faceted. One of the problems is that the copycats don’t realize they are stealing from the professionals they most admire.
Purchase of an Object versus Purchase of the Copyright or Right to Copy
Has anyone ever purchased your art or craft work and then started copying the original? I’ve seen this issue discussed online. Or people write to me when they find out about unauthorized copies of their work, especially when other people are profiting from their designs. The situation is frustrating and nearly impossible to stop – once it is out of control.
So often, we are asked if we know of a metal clay teacher in a certain area. All too often, the answer is “no, we don’t.” When this happens, it’s not necessarily because there isn’t a skilled teacher in the area. Instead, there hasn’t been any easy way to keep track of metal clay teachers in many years. Thanks to a joint project between Creative Fire and PMC Connection, metal clay students and teachers now have a much easier way to find each other.
The teacher map on the PMCC site is based on a past project by PMCC president Jennifer Roberts and designer Scott Benton of Cmpreshn, Inc. During the Summer of 2014, Roberts was a member of the Dallas Animal Shelter Commission. Looking for a way to help convince the Dallas City Council to give more money to the shelter, she sought Benton’s help to find a way to prove to the council members that people all over the city used the shelter services more than the council believed. The map at fund- das.org was born and the pair were able to collect and present valuable data to the Dallas City Council about the location of DAS customers and the shelter services they relied on.
“We talked at the time about finding a way to adapt the technology to help put metal clay teachers and students together,” Roberts explained, “but we knew that the teacher map would need some added functionality to really be useful to students looking for teachers.” The new map combines the intuitive map interface of the fund-das site and also allows teachers to list contact information, website addresses, skills taught, certifications and other information. It can also be navigated in a number of ways. Benton, the architect of the map, described one of its key benefits. “Gone are the days of slogging through a list of teachers by state and looking for your city. With our map, you can search by zip code or navigate by using the hand tool and zooming in and out.”
There is an added bonus for teachers, who can list up to five locations. “We know that many teachers work from a home base, but also travel to teach.” By creating one main teacher profile and allowing teachers to list up to five locations within that profile, we can send potential students directly to the resources for those classes away from home. With the ability to edit and delete locations, teachers let students know exactly when and where they will be teaching.
Creating a profile is easy. Head to PMC Connection and get on the map today!
I make jewellery. No wait. I MAKE jewellery. These days my hands are never clean looking. Normally I don’t really care what my hands and nails look like. But recently while out to dinner with some friends I felt like the “one of these things doesn’t belong.” Each of my friends had such nice nails. Nicely painted nails, clean hands. We were sharing sushi so I felt the need to announce that my hands were in fact “clean”. As I said the words, I realized that I wasn’t ashamed. The public announcement was to put the other diners at ease. I am actually very proud of my raggedy nails and the permanent black stains. To me it is a sign that I am working in my studio. I am making jewellery. Continue reading…