Pantone Color Everywhere
August 31, 2013
Inspirational Art, Technique tutorials, Tips and Tricks
So apparently, this has been quite the week for Pantone in the craft blogs.
Besides the posts here, Art Bead Scene chatted about the new Fall colors, showing off some lovely bracelets in the palette colors and throwing in a nice little tutorial for a hidden clasp beaded bracelet.
Then over at the 2 Good Claymates’ blog, Carolyn and Dave spent the last week breaking down the Pantone colors and giving away polymer clay color recipes for the majority of the Fall 2013 palette. Here is a collection of their trademark flowers, using their recipe for the rich orange that Pantone calls “Koi“.
The Goods also have recipes for Samba, Mykonos Blue, Deep Lichen Green, Linden Green, Turbulence and Carafe as well. (click on the color name to get to their post on each of the colors.) If you like the Good’s recipes, you might want to get Carolyn’s Color System tutorial for some more color exploration.
Thank you to Francie Owens, who sent me the Art Bead Scene link, and to Jamie Hibbs, who clued me into what the Goods were up to this week. Thanks for keeping me in the loop, ladies!
Outside Inspiration: Bead Embroidery in this Fall’s Colors
August 30, 2013
Inspirational Art
I am off a tad from Pantone’s palette on the colors of this piece, but of all the pieces I looked at, I kept coming back to this. Maybe it’s because I could see this being done in polymer (by a very patient and dedicated artist). The bib style necklace, not to mention the overall texture and stones, could be translated into an incredibly beautiful polymer piece.
Bead embroidery is a type of bead art that uses a needle and thread to stitch beads to an underlying surface, usually fabric or leather. It requires a tremendous amount of planning, precision, and, of course, time.
Guzel Bakeeva is a rather prolific Russian bead artist with some of the most amazing compositions in this type of work that I’ve seen. Mind you, I’m sure I need to investigate even further into this kind of work (what a horrible task to look forward to!), but her work is quite varied and always mouth-droppingly gorgeous. I can’t even say that this is one of her most stunning pieces. Yes, she has much more to rival this piece, but it stuck with me and the colors could work with this Fall’s palette.
Put some time aside today to look at her website. Just remember to occasionally pick your jaw up off the ground. As my dad used to say, “You don’t want to catch flies!”
Graduating Gray
August 29, 2013
Inspirational Art
Grays are not the most popular color choices for jewelry and home decor, and certainly not in polymer. Gray is completely neutral and is actually a shade, not a color. However, people do have gray outfits to coordinate and, honestly, if you’re going for more subdued accent pieces with a black outfit, gray is an excellent choice.
Using a variety of grays in graduating shades, all either cool or warm, is one of the best ways to create strong visual impact. Strong lines and graphical elements also work wonderfully with grays. Here is an assembly by Poland’s Jagna that demonstrates the drama of graduated grays and how well it can highlight a single color, even another rather neutral one. In this piece, Jagna goes from pale silver gray to dark slate, but with a trail of gold peeking out from her mokume pattern. Between the graduated grays, the graphic lines, and the contemporary shape contrast, this whole piece is the kind of adornment that could make a little black outfit really shine.
Here is another piece by Jagna that is just gray. It’s still very dramatic and high impact for a uncomplicated necklace design.
The one thing about working with gray (or any monochromatic palette) is that you are forced to rely heavily on your other design elements, rather than depending on color to carry a piece. In fact, one of the tricks we used in art school to analyze composition, contrast,and overall design was to take a black and white photo of the piece in question. If it didn’t work in gray scale, it was usually pretty weak even in color. Try taking a black and white photo of your work next time you get the feeling it’s not quite right, and see if that doesn’t help you find where the issue is.
Floral in Fall
August 28, 2013
Inspirational Art
Working up a Fall product line doesn’t mean leaving your floral tendencies behind; the fashion designers certainly aren’t this coming year. From all I’ve read about upcoming trends, pattern in general will be a big focus and flowers, especially wispy wildflowers, daisies, and even dandelions, look to be the “in”thing. So how would you change things up from your Spring or Summer collection of blossoms?
Color will be primary in changing up for a Fall look. Although the Pantone palette for Fall has some rather bright colors, they are not pure colors or pastel. The Samba red and the Koi orange are both deeper and a step or two off their color origin, and the lighter colors are neutral more than anything; the Linden Green comes awfully close to being a kahki, and the Deep Lichen Green is more a cool gray than a green. So, can your flowers still be beautifully ornamental if toned down from their summer brilliance or if created in neutral colors? Of course!
Eva Thissen does neutral floral with a very delicate and controlled application of lines, small shapes, and contrast in color. In this case, we have a rich red heavily contrasting a neutral green (pretty much that Samba red and Linden green in the Pantone palette) with subdued blue, cream, pink, and brown flowers accenting the scene. Feminine, fetching, and definitely floral, there is the reserve and the richness associated with Fall, although I would be putting this in my jewelry rotation year round.
Part of Eva’s distinction as a polymer artist is in her color choices. Although she is far from the only one to work heavily in the polymer embroidery technique, I find I easily recognize her work due to her color choices, not to mention the precision of application with those tiny bits of polymer and her penchant for story-like scenes. Enjoy perusing her Flickr pages and her enchanting pieces for a bit today.
A Bright, Mature Fall
August 27, 2013
Inspirational Art
Have you found some color combinations in the Pantone Fall palette posted yesterday? I did quite a bit of searching looking for pieces that fit this palette. Searching by color palette is no easy task, let me tell you! But I did find these lovely beads by Claire Wallis that use two of the brighter colors in the Pantone palette.
Although we don’t think of Fall as a bright season, people don’t stop wearing rich, saturated colors simply because the air is cooler outside. We don’t match our outfits to the changing color of the trees outside (although I have seen people change their home decor to match it). If we are to follow the Pantone Fall palette, there is going to be some brightness in our creations this coming season. Great news for polymer!
The Pantone Acai is a more blue-leaning purple. Purple is associate with royalty and extravagance due to its rarity in centuries past as it was simply a difficult and expensive dye to produce. Because this purple has more blue in it, the calm associated with blue makes this feel more reserved than extravagant. The magenta, which appears a bit richer than the actual Vivacious Pantone color, is also leaning a bit more towards a sense of maturity with its deeper tone, rather than going towards the bright and girlish pink end of the magenta spectrum. And what is Fall but the richer and more mature end of our cycle of seasons?
I will continue my search for more polymer work associated with Pantone’s color palette for this week’s posts, and we’ll certainly talk more about color choices, color mood, and creating palettes; but if any of you find a well-done piece you think I need to share, please give me a head’s up: sbray(a)thepolymerarts.com.
In the meantime, take a closer look at Claire’s work on Flickr. Her pieces are excellently finished and her variety of forms she creates is quite interesting and are also very well done.
Pantone’s Fall Colors
August 26, 2013
Tips and Tricks
I’m sorry I don’t have an actual polymer piece here today, but I’ve had this on my block to blog about since it came out. Pantone distills the color trends and comes up with color palettes for the coming season for designers and artists to use as a guide when developing their product line. With Fall just around the corner, I thought we ought to take a look at what fashion and home decor will be trending color-wise. And beside, they are really beautiful colors this year!
This palette is Pantone’s, but I pulled this particular image from “Brandi Girl Blog” because it’s a great image to print out and keep in your studio if you want to follow the color trends, but also because she’s provided a whole slew of color combinations that you could use to help map out your pieces.
The colors this year are saturated and rather bright, but I think it’s fantastic–perfect for polymer! I have my eye on this particular blue-green-purple combination. Yum.
Do check out Brandi’s page of color combinations, and if you want to keep a close eye on color trends, sign up for Pantone’s newsletter on their website.
Connecting the Dots
August 25, 2013
Ponderings
I thought it would be hard finding a relevant dot related quote for our Sunday contemplation, but surprisingly, it wasn’t that difficult. I am not Steve Jobs’ biggest fan, but this is very apropos for artists as well as entrepreneurs and anyone trying to create anything new in their lives.
My take on this: don’t try to predetermine how things will be. Set yourself up to be in the best position to grab opportunity and push your goals forward. Trust that things will work out and don’t worry about what has not yet happened. Oh, I am so lecturing myself here! It is pointless to worry. It’s much better to just do what seems to be the best you can do with what you have now.
An Abundance of Dimensional, Tentacled Dots
August 24, 2013
Inspirational Art
I wanted to do a post focused on dimensional dots and their variety; but in my search, I found this bit of beautiful insanity and just had to share it. It’s one kind of dimensional dot, but there are so many!
I have a bit of a soft spot for polymer artists who work what we call the “con” circuit–known to muggles as those weird Sci-Fi/Fantasy conventions. That is the arena in which my polymer art sales actually got started. These shows can be wonderfully weird, it’s true, but they also gather some of the most vibrant and active artistic imaginations on the planet. Even after my art went in another direction, I still participated in a few of these shows each year just to be surrounded by the tremendous talent and intellect as well as discuss the state of art in general; as with polymer, the Science Fiction, Fantasy and Horror art genres are other areas that struggle to be appreciated as true, fine art. Not that the genre arts aren’t appreciated–DragonCon, which occurs every Labor Day weekend in Atlanta, had about 65,000 attendees last year, and Comic Con had to cap their show at 130,000 last year. And these people buy a lot of art! I would sell out or come awfully close at the shows I attended. It’s a fantastic market if you create genre art. But that is a conversation for another day or another magazine article.
Back to this crazy use of dimensional dots … this set of tentacled wonders by Kaity O’Shea was sold at the most recent Comic Con. Talk about a lot of dimensional dotting! I’m amazed at the patience it must have taken to create this, not to mention I’ve been wondering how she held up the forms so nicely while baking!
I’m pretty sure she created the tentacles in three sections, with the center swirl latching onto the twining tentacle masses on either side. Can you imagine trying to give someone a hug with this on? You do have to admire the engineering here, even if tentacles are not your thing.
You can see more of Kaity’s cephalopod inspired dimensional dotting on her Deviant Art page and in her Etsy shop.
Outside Inspiration: Cosmic Dots
August 23, 2013
Inspirational Art
In searching for dot-focused art for today’s Outside Inspiration, I found that, outside of textiles and glass blowing, polymer seems to be one of the most dot-obsessed crafts. This strikes me as maybe a little odd, because it seems just as easy to create dots in the form of holes and inlay in so many other crafts. Maybe we just like to talk about our dots, and so search engines are able to gather more of them. But in any case, I did actually come across a silversmith with a great appreciation and fondness for dots — cutting holes and inlaying, as well as the applied dimensional dots we are so fond of.
Abi Cochran of SilverSpirals works with her dots in an organic and gorgeously colored manner at that. She crafted the piece here in silver (I think silver clay, as she mentions it’s what she primarily works with), used gold for the dimensional dots, then added resin in a glass enameled fashion to compliment the focal opal in this cosmic-style pendant.
In other pieces of Abi’s, semi-precious stones become the dots that accent her work, or she uses granulation to add small grains of metal for her surface design (see the first issue of The Polymer Arts, Fall 2011 for a faux granulation technique, along with other faux metal approaches). You could spend a lovely break from work or during your downtime this evening looking through her site or checking out the close-ups of her work on her Facebook page. Just a suggestion!
First thing I had to do today was check and see if art work by this particular artist by the name of Sage Bray was ever featured on this blog. My goodness … no, she hasn’t been. How could she have been overlooked for so long?
Answer: Easily! And on purpose.
Not that I don’t like affirmation that there are some people out there that enjoy my art work but I’ve never been a limelight kinda girl and, besides, I’m overly critical of my own work, always feeling it could have been done better which makes it hard to share sometimes. Still, every once in a blue moon, even the most self-critical artist can be excited about something they’ve done. In this next issue (that starts mailing out next week, the mailing list for the first batch of print issues is going to the shipper’s Thursday morning so get your order in!) I have on article on a series of techniques I only recently developed and am having so much fun with them!
I’d been playing with techniques to emulate weathered and worn textures on and off this year and recently had some surprising results that have opened the door to even more great textures. I have to say I was pretty amazed by the effects. This stuff look very realistic! How cool. Here is article’s header image with a little piece of wall art I created with the techniques. What do you think?
This article is ridiculously packed with 6 basic techniques/skills that can be used to show wear and weathering and 3 faux applications that combine these (rusted metal, charred wood and weathered wood–all in the piece you see here). And the thing is, what this article shows is just the tip of the iceberg for any adventurous artist who wants to push these techniques (I know I will be in the coming months!)
I’ll see about updating you on my faux organic weathered texture experiments later in the year. In the meantime, be sure to get your Fall issue so you can go play with these too. And then please share them with me if you do! You can post work on our Facebook page or write me at sbray(a)thepolymerarts.com with your artwork, thoughts, comments, criticisms or whatever you feel you need to share … I always love to hear from our readers!
One of the more difficult parts of editing a magazine is deciding not what will go in, but what won’t. For every article you see and every artist featured, there are many more ideas and pieces that are worthy of attention and examination. This week, I thought I’d present some art, artists, ideas, and references that were in my notes or folders but which didn’t make it into this issue (not that they won’t in a future issue!) or that I wish I could have explored further.
The Fall 2013 issue of The Polymer Arts prints the last of the three article series on Wall Art put together by Alice Stroppel and Suzanne Ivester. I’ll miss their in-depth investigation into this form of polymer art, but hope to get back to the subject through other avenues of discussion. I have a whole page of ideas and artists that work in wall art that we haven’t gotten to yet. Here is one such polymer wall artist that works with tiles pieces and multiple treatments. Gail Woods began exploring the possibilities of polymer clay tiles after taking a class with the very talented Laurie Mika (who is the featured artist interviewed in our Color Spotlight in this upcoming issue, by the way.)
Her wall pieces go from mosaic to bargello to puzzle style compositions like the one here. Her wall art allows her to directly explore favorite subjects such as the ocean, being out in nature, and just the favorite things in her everyday life. Enjoy looking through her eyes in her gallery here.
Why do we, with all our yearning for the latest technology, for the clean and controlled, for the precise and permanent, find ourselves drawn to nature? I think John Burroughs has it right. For all the time we spend trying to control our world, I think we find true order and peace only in the random, cycling, uncontrollable but dependable elements in nature. Nature is where we are all from, and where we will return; and unlike anything we humans think up, is the one thing that always makes sense.
Read MoreI’m a very busy beaver today, wrapping up some final items for the upcoming release of the Fall issue of The Polymer Arts. I really wish I was goofing off in the studio though. But since I can’t quite do that yet, maybe you can do so for me?
One of my favorite articles in the next issue includes making molds and texture sheets from natural finds. (The article, Plein Air, is all about taking your art outdoors and bringing the outdoors into your studio … such fun!) Lynn Lunger‘s “ugly molds,” as she deprecatingly calls them, are a slightly different approach to some of what Kate Clawson will show you in the upcoming issue. So while you anxiously await the Fall issue to arrive, you can play with bringing a little nature into your studio right now.
Lynn’s tutorial blog post has tips on pulling texture from natural elements as well as down and dirty mold making for a fun day in the studio. So go enjoy a (hopefully) sunny day out in the yard or on a hike gathering from nature itself; then get back and play in the studio for me!
Paper is actually a wonderful sculptural art medium. It is inexpensive and accessible, and much of your material can be gleaned from the recycle bin. But it does have its limitations–for instance, you don’t want to get it wet!
I don’t know that Amy Eisenfeld Genser uses recycled paper in her stunning sculptural wall pieces, although it looks like it would be possible. These pieces are rolled colored paper, adhered to acrylic painted canvases. The very organic way the paper components are laid out is reflective of coral reefs with the colors of the sea behind them–an exotic ocean landscape made from, of all things, paper.
I think using a material to represent a natural scene the material itself couldn’t exist in is delightfully ironic–or maybe it’s just me. In our chosen art, polymer clayers constantly experience the irony of working in a material that is considered the antithesis of organic, yet can so accurately and beautifully recreate the organic; so maybe I just enjoy these kinds of ironic connections.
Aside from the ironic beauty of Amy’s work here, I thought the textures were something that might inspire any number of you who work in extruded canes or enjoy sculptural texture. The variety of color and size in the components as well as their application–crowded and overlapping in some areas, scattered in others–is an approach that could be emulated quite easily in polymer, giving you yet another textural option for playing and designing with little bits of clay and bringing the inspiration of nature to your work.
I grew up in California, in a coastal desert region where natural color commonly comes in muted tones. In art school, though, I was exposed to landscapes from the southwest that were painted in all kinds of bright and what I thought were unnatural colors. It wasn’t until I actually moved to New Mexico that I saw, even though I was in another desert, that the landscape paintings I witnessed were not an exaggeration. Those deep pinks and oranges, the brilliant greens and purples … they existed even there. It was then that I realized every color we know exists in nature. So thinking that a natural color palette should be restricted to earth tones is really selling nature short.
The other association with nature which is also incorrect is thinking that the natural world is all about growth and life. It is, but life is not all about growth. There is a cycle to it and part of that cycle is the mortality of all elements, the breaking down and return of things both living and inert to the earth and to their most basic components. There is such beauty in this part of the cycle–rust, cracks, crumbling, even organic decay reveals textures and colors to be appreciated.
I have to say, this kind of natural beauty is well represented in polymer. Who doesn’t love a well-done crackled surface or faux patina? Ivana Brozova from the Czech Republic has a body of work that looks to be quite heavily inspired by this side of nature. She combines crackling with some of nature’s more brilliant colors in this pendant.
If you didn’t read yesterday’s post, you should go do so. Compare this pendant, which is very similar in basic design, to the pendant from yesterday–a domed form with a single large gem for a focal point. They are both working with organic elements, but with quite divergent styles. Ivana uses a faceted gem (which, if you recall from yesterday, I said would kill off the sense of nature in that pendant) and bright colors here, but they still evoke a sense of something more organic than man-made. Chances are, if someone is asked what is represented here, I think the most common answer would be sun or sunlight. There are few things more natural than the sun, the one thing that allows nature and life to exist.
But the same goes here as with yesterday’s piece: if the surface treatment of this pendant had been some well-defined graphical pattern with perfectly straight lines or a machined look, the idea of sunlight would not have been conveyed. Cracking is a natural, organic pattern which helps keep the ray-like lines and the sparkle in the faceted gem well within our sense of natural sunlight.
Ivana has a truly lovely collection of work both similar and quite different from the piece here. For a truly special visual treat and great color inspiration, spend some time on her Flicker photostream.
Our connection to nature is so strong that a set of colors alone can represent the natural and a sense of being outdoors.
Elsie Smith does a nice job of keeping her colors simple, while still evoking a strong association with nature. The colors we identify with trees, earth, wood, and sunshine come through in the soft, brushstroke-like lines of this subtly designed pendant.
The combination of colors is what brings this sense of nature to us. But if the stripes were graphic and well-defined, or if the pendant was a square rather than a soft leaf shape, or if we had a glitzy, faceted gem instead of a water-drop-like cabochon, we’d probably lose that association almost completely. It’s a rare element in art (or in nature) that is not in some way dependent on other characteristics to carry the intention through. So although the right color palette may be key to portraying a sense of organic and natural, don’t forget that every choice you make in your artistic creations has the potential to change the message. Every choice is part of the whole.
Meredith Dittmar has an affinity for organic forms and natural motifs; but instead of representing nature in any direct or realistic manner, she often tells stories in which nature, including leaves, vines, animals, the sun, stars, and mountains, are contrasted against men’s buildings and machinery in detailed, illustrative wall pieces. She also has a very playful side which can be seen in the imaginary creatures she calls her “Guys“.
This piece here falls somewhere between her more serious psychepolymereganic art (her term) and the “guys”. It’s a rather idyllic scene, with stylized creatures and plants that come close to a direct natural interpretation, but are more representative of a wish for something that doesn’t quite exist.
Check out the many sides of Meredith on her website. Her main portfolio has a nice overview of her work including her personal art, some of her “guys,” and client work. But if you have a minute or two more, go have fun looking through the many variations of her “guys”.
Since the upcoming issue of The Polymer Arts is all about organics, I have spent the last few months immersed in the idea of defining “organic”. This is a truly interesting subject to study in relation to polymer, a material that seems to be anything but. In an age where we have come to focus on green and sustainable materials, we work in a material that doesn’t easily break down. This guilt factor has been an on-going discussion in our community; it took up what seemed like half a day’s discussion at the RAM symposium in 2011. We as artists in this medium are not unconcerned about the environment and how we as humans affect the natural order of things; quite the contrary. If it weren’t for the minimal waste (how often, if ever, do you throw away scrap clay?), minimal energy usage (small ovens rather than kilns, torches, or major power tools) and durability of the medium (this is not disposable or temporary art!) we might be facing a conflict with today’s view on plastics. But it’s not only that; as a whole, polymer artists seem heavily drawn to recreating and bringing attention to nature and the organic state of our world. I think we do darn good for artists working in ‘plastic’.
This week, I want to look at just a few examples of polymer bringing people’s attention back to the natural. For instance, jewelry like this necklace allows adornment that would be too fragile and temporary if picked directly from nature.
Olena Mysnyk from Ukraine created these realistic leaves, as nature and leaves in particular are a favorite subject of hers. There is definitely something to be said about being able to throw a bit of Mother Nature around your neck and have it still fresh and lovely at the end of the day.
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