Painting a Story in Polymer
February 24, 2016
Inspirational Art
I thought I’d continue with the theme of story which, visually, can be told abstractly or with much more literal images. Today, we’re going to look at a literal set of images.
Today’s bit of story was created by Angenia (also known as Tonia Angenia Lupo) of Italy. I am not posting this because of the mermaid, although she is nicely executed and the curled and wavy polymer of the tail has a particularly nice flow to it, but I wanted to show you this painting. Because it is all polymer. It is rather hard to grasp that at a glance, but if you take time to peruse her blog or even just go through her process photos on Facebook, you will be amazed at the detail and work involved. It appears that she applies this all with a toothpick from tiny dabs of soft polymer clay. It’s so well done, though, that it looks like it might be a print set in a frame simply to accompany the mermaid, but no, the real masterpiece is the painting. Granted, the image is actually one of Thomas Kinkade’s, but the execution in clay is a great testament to what can be done with polymer in a painterly fashion.
The story here is being relayed purely by imagery with juxtaposition providing another layer of story. The ship out on the ocean, hit with rays of sunlight as a storm breaks behind it (or gathers around it, as I might have thought had I not just researched the original image), has its own story of courage. The mermaid creates another element to the story, including the possibility of other dangers in the sea. But only because the myth of mermaids are rather dark, not cute like this one. A more sinister air or refinement for the mermaid would have been a better pairing, style wise, for the seriousness and subtly of the painting for the sake of style consistency, but Angelina’s talent is undeniable.
If you have a couple of moments, take a look at her blog or Facebook page to admire her processes and other mini paintings, as well as her doll art and other miniatures.
Inspirational Challenge of the Day: Today, play with juxtaposition. You can do this with elements you already have if you don’t have time to create from scratch. Take two or three disparate things and arrange them together. Can you find a satisfying, if imperfect, way to compose them? Try this with a few other items, keeping track of what you’ve done (take photos if you can). Now, which ones worked better? You will usually find that the pieces that end up working together have something in common–sometimes its a design element, like similar textures or complementary colors or similar styles like geometric or organic or tribal. The other thing that makes things work is the stories in our minds. Like seeing animals in the clouds, our minds will try and make connections between elements even if they were not intended to be related. Is there a story in the compositions that worked best?
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Last Day of our Flash Sale and Art with a Story
February 22, 2016
Inspirational Art
Just a couple things to get out of the way here … The Polymer Arts is having a sale, and it’s probably the last of its kind for a while so, if you didn’t get the newsletter (you can can sign up for that twice-a-month missive with its bits of giveaways, eye candy, community news, and polymer tips on the left side of our homepage), here is the scoop:
We are on the verge of integrating a new shopping cart service on our website, but it will not, at present, allow us to do any more site-wide discount sales. So, while we still can, we are getting one in …!
Only one day left (Monday the 22nd) … 10% off anything on our Website! Yes, we mean it. Any subscription, renewal, back issue, or already discounted package, take 10% off with this promotional code–flash10
Also, today is the last chance to get on the mailing list for the first mailing of the new Spring issue, due out in just a couple of weeks. We are finalizing the list tomorrow for that first hot-off-the press mailing, so get your subscription, renewal, or pre-ordered print copy of the issue purchased today.
Now, lets look at something beautiful for a moment. I have no idea what I’m aiming for this week, so let’s go with the flow and see what my fingers tap out for you.
This falls into the category of things Sage really, really likes. I love texture and copper and compositions that include aged and marked things. Work like this, with a very particular composition, hints at a possible story and a certainty that the piece is trying to whisper some secret about the things it has seen. I know that sounds terribly dramatic, and you can probably guess I’ve been entrenched in a series of suspense novels the last couple months, but does this piece not seem to be full of some subtle story?
Karen Brueggemann has created quite a few of these lovely wall pieces along with visually textural and vibrant jewelry. And she has the most incredible Pinterest boards! So if you have the time today, go look around at the board with her art then prepare to get lost in all the colors and textures she’s gathered up on her other boards. What a nice way to spend a Monday!
Inspirational Challenge of the Day: Create a piece with a story behind it–be it or fiction a true story–yours or someone else’s. Don’t tell it literally, just keep it in mind as you choose, colors, forms, textures, and details. Don’t worry about what anyone else will think or if it follows the parameters of good design. Just create the spirit of the story.
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Unintentional Preciousness
February 19, 2016
Inspirational Art
What kind of polymer is this you ask? Well, as much as it looks like a super well polished bit of polymer mokume, it is not. It is a material called Fordite. If you haven’t heard of it before, you’re now probably thinking this is a semi-precious stone, right? Well, precious it is, strangely enough, and although it was created in a process not unlike nature’s layering and compressing, it isn’t stone either. Maybe its other names will give you a hint–it’s also known as Motor Agate, Detroit Agate, or “paint rock”and was mined, not from some exotic mountain region in a little known area of the Amazon but rather, in the depths of automobile manufacturing plants. That’s right, its layered car paint. Pretty wild, huh?
This ‘stone’ is now being traded, sold, carved and set like a semi-precious stone even though it’s a manmade product. The reason it is so special is because it is an unintentional product and some of the paint in those layers are really, really old. As described on www.thenewswheel.com: “It’s created by layer upon layer of slag-like material formed from spray-painting cars by hand. Each time a new car got colored, the oversprayed paint gradually built up on the tracks and skids holding the vehicle’s frame. Those paint layers harden as the cars entered “ovens” to cure the paint on the frame. After being baked hundreds of times, this agate would become an obstruction and had to be removed by hand.”
This meddlesome byproduct was thought to initially be something the plant worker’s pocketed as a curiosity but eventually it found its way into the hands of jewelers. Although there is documented use of this as a kind of stone as much as 30 years ago, it wasn’t until artist Cindy Dempsey of Urban Relic Design was interviewed by The New York Times that it really started to get noticed. And with demand going up but supply being finite (they don’t paint cars that way anymore), it is getting really expensive. There are even people talking about hunting down and mining the sites where the waste materials of the car plants were dumped. How crazy is that?
Okay, so it’s a cool story, but what does that mean for polymer? At the very least, it means that the mokume look is appreciated and in-fashion. We won’t be able to provide the sense of history or be identifiable by car types or time periods as these pieces are, but the way people are working with this and the kind of visual textures they are getting is just one source of inspiration for your own textural explorations. Plus, it’s just a cool story!
I choose this particular piece to share because the artist integrated the drips, rather than grinding them off or using a portion with less variation. The piece was created by a seller on Etsy whose shop is called “Walk On The Moon”. I am unsure if the artists who work in fordite commonly grind the stones from the chunk of compressed paint or if they get the pieces and just decide how best to present it. In any case, it’s pretty neat stuff for something so wholly unintentional.
Inspirational Challenge of the Day: Take a look at your half-finished pieces or scrap elements and look for the beauty in it that you didn’t see before. If you cut it, grind it down, drill it, add a layer, hang it in a different orientation, or do something completely unintended, can you see the wonderful thing it can become? Study or play with the piece until you find a form or treatment that makes it work.
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Teeny Tiny Surprises
February 15, 2016
Inspirational Art
This week is going to be full of little surprises, I decided. And nothing starts off a week of little surprises like the absolute smallest butterflies ever. They are not made of polymer, of course. Right? Well, actually, they are!
Julia Cissell of God’s Flying Flowers on Etsy takes miniatures to a whole new, well, height I guess you’d have to say. Butterflies are small enough in our own world so who would ever think of making them to Dollhouse scale? Well, apparently Julia did. And wow are they amazing. The detail is incredible, down to the nylon little legs and antennae! Oh my goodness … she must have amazing eyesight and really fantastic magnifying glasses to work under. And no, they are not painted. They are canes. Beautiful and incredibly detailed, they would be amazing at 10 times the size.
You can look over her collection, all slack-jawed with amazement, in her Etsy store. Also stop by Linda’s Art Spot where I found this story about Julia and her teeny tiny art pieces. You can see an example of her canes there and some other ways she presents her little treasures.
Inspirational Challenge of the Day: Change the scale of your work. If you usually work small, create or design something 5-10x as large as you usually work. If you work big, make the smallest, most delicate piece you can. How does changing the scale affect how you design?
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A Burst of Love
February 12, 2016
Inspirational Art
This last Valentine’s week post is a bit of a Valentine itself, being sent out to this amazing artist and friend whose work I am posting– not because I know her but because she is so inspiring.
Paula K Gilbert has been in the polymer art community for twenty-some years now. She has kept at it through a series of very difficult times that included health issues that made it hard to think clearly, much less hold a tool steady. But she kept creating and, not only that, kept sharing. And she still does. She has been a regular contributor to The Polymer Arts and has assisted us in research and administrative tasks, on and off, for nearly the entire existence of the magazine, much of it in a self-imposed volunteer status. She is one of the most generous souls I have ever had the pleasure of knowing.
This past year, Paula turned to an alternative source of art related to her work in polymer, one that could be more easily handled regardless of the kind of day she’s having. She started, if I remember correctly, making alcohol ink designs on small glass tiles for pendants. I don’t know why she was so surprised that they sold so fast. They were beautiful little gems. Eventually, she turned to painting tiles with alcohol ink in these beautiful abstract designs, and loosely-formed imagery bloomed onto them. Her sense of color and intuitive application has resulted in some amazingly energetic and entrancingly beautiful pieces. Although she has dabbled in more involved techniques, including scratch-off etching and stamping, I think her uncomplicated and obviously impassioned application, like what you see here, really shows her love for art as well as her persevering spirit.
Paula doesn’t have a website at the moment but she has been posting her work on Facebook. Nonetheless, she has a waiting list for her painted tiles, so if you are interested, well, line up behind me because I am on the list myself! If you want to contact Paula but can’t do so through Facebook, you can write us here and we’ll pass it on.
Inspirational Challenge of the Day: Create something for someone you love. Make it something small and uncomplicated. Don’t think about making a great piece or impressing them. Don’t even try to make something you think they would like. Just keep them in mind and pull materials and colors that remind you of them. Create spontaneously and without self-criticism, and see what your love for another and for yourself comes up with.
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Subdued Passion
February 10, 2016
Inspirational Art
I know it will be hard to top Monday’s piece. The energy in that sculpture was unreal. But intensity of that kind is not the only thing that visually defines passion. How about that low but long burning fire many of us have? It may be a passion for art or for our family or friends. It might be how we feel getting out in nature or the desire for adventure. It is not crazy but it is always there and that kind of passion, that persistent, ever present emotion, is sustaining and keeps us focused on the things that are good in our lives and good for ourselves.
So, to represent that slow burning passion, I picked this mellow yet fiery caned earring and pendant set. There is not the chaos of movement we saw Monday but you can still feel the energy. The Czech Republic’s Kejka creates the energy through both the purely warm color palette and the tapered but parallel and highly directional lines. The gradation from dark on the outside to light in the middle on the pendant also gives it a glow.
Kejka made a series of these flame-like canes in various colors. Take a look at the purple and blue one as well on her Facebook page.
Inspirational Challenge of the Day: Create or sketch in a completely warm color palette. That means from reds to oranges to yellows. Try either creating a subdued feel with your design for these highly energetic colors or see how insanely energetic you can make it.
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Repeating Yourself
January 29, 2016
Inspirational Art
It’s been a week of seeing something new in something you already have in front of you, and I have been having a lot of fun with the ideas while readers have been getting quite a kick out of what we’ve been sharing. So, let’s do this one more time, but with a twist. Let’s try out repetition and pattern.
Nature is full of repeated elements all brought together to create beautiful and perfectly formed patterns. If you follow nature’s guidelines, you can take any form or element and make it in the same or graduating sizes and repeat them side-by-side, over-lapping, sitting on top of one another, or all in a row. The formation is not as important to these beautiful patterns as the precision and consistency of form and placement. Apparently, an artichoke suggested the placement of the beautiful pieces that make up this necklace by Eva Ehmeier. Or maybe she created them and it made her think of artichokes. But the natural repetitive element is there, echoing that recognizable natural beauty.
This technique of layered, folded, and repeated elements has been a common approach of Eva’s in years past and she has plenty of examples of it on her Flickr photostream and her website.
Inspirational Challenge of the Day: Find a natural repeated pattern that intrigues you and try recreating the pattern using a favorite element. Nature has patterns everywhere. You might find yours in your fridge, a garden, on a hiking path, or something you see at the zoo. Recreate the pattern, not what you were inspired by. You don’t need an element that will recreate the look of that turtle shell, just something that can be fitted together in a regular pattern, like the hexagonal sections of the shell do. Or layer your favorite bright blue and purple canes slices in that similar overlay pattern you found in a pine cone you picked up. Try to see only the pattern and bring that into the studio or your sketchbook.
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An Artist’s Tail
January 27, 2016
Inspirational Art
Before I get into my little thoughts about today’s intriguing piece, I wanted to put out a couple of thoughts for all of you who are attempting to do the challenges. I’ve had some questions and concerns about getting them done. First of all, you don’t need to do all the challenges presented to gain insight and benefit from them. The goal is to push yourself to look at your work differently, to explore, and to see what there is to discover. A regular challenge will certainly help you do this because you would have committed to a particular goal. But you do not have to do 3 a week. Some people have the time to do so but certainly not all of us. Maybe just one a week, choosing whichever challenges I post that appeal to you most. Or take one night or one day a month and choose a couple to explore. Make your goal reasonable for you and your schedule. I can already tell you that three a week is really taxing me. I am barely managing the sketch suggestions and I have yet to take photos so I can share, but I do plan on doing it. If you thought you’d try to do them all and can’t, readjust your goal to something manageable.
Also, remember that these challenges do not require that you finish a piece each time. Being able to finish is extremely important and that is where sharing on the Flickr page can be a motivator. But maybe you do one challenge a week and aim to have one completed piece to share come the end of the month. Do what works for you and, please, do not give yourself a hard time if you are not able to keep the goal you set. Readjust and just keep trying. Keep your personal end-goal in mind. Mine is to have more regular studio time and, although I haven’t completed anything yet, I have at least been at my work table a lot more than I had been. Those are small steps, but they’re important. As long as you are moving forward and not stalling or going backwards, those are accomplishments to be happy about.
Speaking of small things, do you see what small adjustments were probably made here to create this mermaid’s tail? I am guessing, from the look of Kim Detmers flowers petal canes, that these cane components started out floral but, somewhere along the way, they suggested fins to Kim. I chuckled at the form being just the tail of the mermaid. Did she shed this when granted a wish for human legs? Is this the mythical aquatic version of a rabbit’s foot worn for good luck? I don’t know but I liked the whimsy and the re-purposing of the canes, if that is what she did.
Kim is all about fancy and fantasy as you can see in her Etsy shop. And what is fantasy but re-envisioning our common world?
Inspirational Challenge of the Day: If you want to try a challenge today, how about taking a cane, a motif, a form, or some element that you regularly create with and try to imagine it as something else. A bead could be a dolls head with the addition of a body and a hat. A heart motif could be petals on a flower or cut in-half to become tear drops. I’m looking at my vine motif that I usually use vertically and I’m thinking I could set them horizontally to become stylized wind motifs. But that is just a first thought. Let’s see where I can go from there. How about you?
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Material Suggestions
January 25, 2016
Inspirational Art
If you read Friday’s post about the fashion illustrators who used what we see around us every day to design their images of women’s clothing, then you might see the connecting thread to this week’s theme. I thought we’d explore the idea of the outcome of a technique suggesting the form and imagery of art work.
Crackle techniques and approaches to treating cracked clay have been rather popular the last few years, but they have been primarily used as surface texture in abstract and contemporary jewelry. I can almost see Silvia Ortiz de la Torre looking down at a conditioned sheet (you know how they get those cracked up edges after running it through the pasta machine) or one she created using a cracked clay technique, and with the sheets edge sitting horizontal on the work table, she saw the suggestion of a landscape. Or perhaps she saw crackle work created by other artists and she saw the landscape come out of those pieces. However it came to her, I think we are looking at an example of inspiration coming from the look of the material.
Just as we might look up at the sky and see animals in the clouds, we do also see imagery in what we are creating, unbidden and often unexpected, but it’s there. It’s hard for our minds not to try to create imagery in what it sees. The question is, do you let it guide your work? It is neither right or wrong to explore the imagery you see in the scraps before you or in the treated surface of the clay. It’s just another way to let the material guide what you create.
Silvia is definitely a texture enthusiast. These pieces are actually quite a departure from her bold and highly saturated colors. but the exploration of texture is certainly alive here. You can see more of her textural explorations and other ‘material suggestions’ on her Flickr photostream.
Inspirational Challenge of the Day: Take a look at something you worked on but didn’t complete or pull out some scrap and start playing with it. Don’t try too hard, just turn it this way and that and ask yourself what you see in it. Do you see faces, animals, objects, places, or patterns you hadn’t seen before? Find something intriguing and let it lead you in a little playtime or into working towards a finished piece.
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Would you call yourself a selfish person? I doubt very many of us would think that way about ourselves. Yet, as artists, we often find ourselves “stealing” time away from others or other things to do what we love, reveling in it when we have it. Is that selfish? I mean, it is more about us than anyone else, isn’t it?
Yes, it is about us, and that is as it should be. In the requested comments for last week’s giveaway (scroll down to see the winner and this week’s giveaway), participants mentioned some version of the “me time” aspect of getting to sit down and create more than anything else. I mean, I know we create because it is something we enjoy, regardless of what anyone else thinks, but I just love that so many people acknowledged and celebrated it. We should!
I strongly believe that everyone should have something of their own, something they can turn to in order to express themselves or at least put something out into the world that would not have existed without their desire to create it. The art we create gives us purpose, exercises a uniquely human part of our brains, and helps us to love ourselves. Not to mention that we deserve the joy we get from it!
But, by definition, that is selfish—doing something because it’s what we want. I wish our society would get over the idea that doing something for ourselves is bad. I think not doing things for yourself is self-negligence. Why is that not a commonly understood thing?
This also highlights the bigger, contradictory world that we inhabit. We live in such strange societies where selflessness and humility are expected or requested, and yet we are also pushed to strive for excellence in what we do. How do we reach excellence without focusing on ourselves? And then there is this silliness where we are not supposed to acknowledge when the work we do is good or that we’re proud of it. If we do, others may think we’re being arrogant or grandiose.
So, do we strive to be great and then pretend that we’re mediocre? We talk about contrast being good in art, but this is so not the right kind of contrast!
I’ve long found the dichotomy of these contradictory but societally prescribed behaviors beyond aggravating as well as having the potential to be debilitating. I think that is why it made me so happy to see so many people acknowledging their creative hours as me-time, self-care, and a time of wonderfully selfish joy. Keep it up, I say!
Now, let’s talk about the good kind of contrast in art.
Design Refresh
Let’s look at the beautiful brooch by Lyne Tilt that opened this post. What do you notice first about this? There’s a lot going on in this little space, isn’t there? What are the three things that jump out at you as far as design elements?
I’m going to say color, shape, and texture. Did you come up with the same three? There is also a lot going on with marks and size. So, any combination of those would be spot on.
How about design principles? What do you think is the number one principal used in this design? Sure, we could refer to scale and proportion considering all the different sizes of the layers, or we could talk about focal point or even just key in on the centered composition. But the one thing this has in spades is contrast.
Obviously, there is color contrast in all the major color characteristics—she has a vibrant trio of warm colors contrasting the cool of the blue and cyan; color values range from the dark blue and deep red to the moderate orange to the light yellow and pale polished silver; and, if you check your CMY color wheels, you’ll see that the color of the bottom layer is a blue-cyan whose complementary AND split complementaries are the yellow, orange, and red that you see in the upper layers.
But doesn’t a color palette have to have at least one common characteristic between all the colors? Well, ideally, yes, and this does. Here it’s saturation. These are not muted colors. The orange may be slightly tinted (has some white in it) but not enough to feel it’s gone off base from the saturated characteristic that ties them all together.
Now, look at the contrast in the textures. The top and bottom layers might have the same texture, but the rest are vastly different. There are even different materials—metal and clay. But they work together pretty well, don’t they? Why?
The textures work together in part because they are all drastically different—the wide variety is part of the charm of this piece. But, like color, they need something to tie them together.
Did you notice that the textures are applied to the entire layer from one edge to another? Thier differences are connected because the application on each layer is the same. That does seem to be enough to allow them to exist in the same piece and not have it feel completely chaotic.
The shapes, on the other hand, are not completely different but they are not the same either, right? They are all some version of a hand cut circle, but some of them are definitely more oval. I think pulling back on the amount of contrast between the shapes also helps to rein in the potential chaos all this dramatic contrast and color and texture could fall into. The centered composition also adds a bit of calm to the piece.
Let’s take this week to consider the design principle of contrast. Would your pieces benefit from more contrast, or do you need to rein some of that in? Remember, it all depends on your intention. There are no wrong levels of contrast, at least not in art.
Last Week’s Giveaway
Drum roll please…
This last week’s randomly chosen winner is Eloise B! I’ve spoken to her and her clay is already on the way. Congrats Eloise!
This Week’s Giveaway
Thank you to everyone who participated in last week’s giveaway through comments on the post. As mentioned above, it really made me happy to see all the fantastic, positive and self-caring observations. I also hope it gave you a moment to focus on and appreciate what you love so much about creating.
So, let’s do this again.
The Goodies:
- This week I have a selection of Sculpey clays in 2 new Soufflé colors, 3 new Premo colors, and 2 big 8 oz. blocks of clay stash basics—Sculpey III in Pearl and Silver. That’s 26 ounces of fresh clay along with a three-piece set of Sculpey silkscreens.
- Or if outside the US, I have a $25 Tenth Muse certificate, since it would be such a gamble to ship clay outside the US.
How to Win:
- Put a comment in the blog comments* (below), telling me what type of contrast you enjoy creating most in your own work, or the type of contrast you wish you used more of. And, yes, if you want to share pictures, you can do so by including a link. Just don’t put more than one link in or it may spam filter the comment.
- Note: It can take some time for the comment to appear if you’ve not commented before since, due to annoying spamming, I have to approve it .
- Giveaway winners will be chosen by random—it will NOT be based on your answers. I do hope you’ll give it some thought anyway. The answers could be helpful to you as well as interesting for the rest of us.
- And let’s say you can only win once this month so we can spread the love around.
- Get your comments posted by Wednesday March 17th at midnight Pacific time to get in for the raffle.
- I’ll announce the winner here on the blog next weekend!
I’ll put together yet another pack of goodies for a giveaway in next weekend’s post, so stay tuned here!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like…
Read More
Have you started to see hierarchy in creative work everywhere since reading last week’s post? Consciously recognizing the hierarchy in artwork not only reveals the path our eye tends to follow around the work but can also tell you a lot about the artist’s intention and themes.
Maybe I’m a weirdo but I really enjoy searching out the hierarchy and the path the eye makes through a piece of artwork. Sometimes, though, the work seems so simple that one might assume there is not much of a path, if any, or that there really isn’t any hierarchy. But there always is.
Let’s do a deep dive on what initially appears to be a fairly simple composition. I’ve got a few surprise thoughts for you on this!
The Eye and the Hierarchy
I found this gem of a piece here a couple weeks ago on Lyn Tremblay’s Facebook page. It doesn’t appear overly complex at first glance, so where is the hierarchy? We probably all can see that the emphasis is on what looks like stitches between the predominantly yellow portion and the striated blue section. But does anything really take our eye around the canvas?
Of course, the answer is yes, there is a lot going on that brings our eye around the entire piece. Let’s map the probably path.
Before you read on, take a look at the piece and make note of where your eyes goes first and how it travels around the work. Then we can see if the likely path I found is similar to yours!
Did you find your path? Ok, great. Let’s do this!
I don’t think that there is any question that we are all likely to go first to the line of stitches and the edges they pull together but, I think, we don’t linger there for so very long. The brilliance of the yellow likely draws us towards the far end where we kind of float around like we are in a warm, comfy pool of sunshine.
However, the yellow’s disintegration into that murky gray-green is probably going to pull us away soon enough because that area has more contrast and there’s movement created by that color change as well as by the lines of yellow we follow back and forth as it tries to break through the gray-green.
The momentum of moving from one side of the yellow section to the other can be used to pull us off into the blue section whose striated lines push our view to the edge where we halt, ready to turn back but instead we may discover the grouping of impressed dots in the one corner, a surprising addition that slows our return so that we can land rather softly back at the stitches.
Of Interpretation and Uncertainty
Now, if you are to consider the hierarchy in terms of what you think the artist might find most important, I think you have to agree that it pretty much follows where the eye wants to go. Having found the path through the canvas and confirming what we believe her intended hierarchy would be, what do you think her intention was for the piece?
Something being held together must be central since the stitches are where the primary emphasis is. And there must be more significance in the yellow than the blue. Do remember what emotions and associations yellow brings up? It generally brings up thoughts of warmth, playfulness, and happiness when juxtaposed with primarily positive elements. (It can be associated with depression, stress, and cowardice is surrounded by dreary or negative elements though.)
So, is she trying to stitch a happiness that might disintegrate to the calm represented by the blue or to the openness of blue skies? She titles it Dream Weaver so could the line be where the edge of her dreams of happiness met the real world? Is that what she meant?
Guess what? It doesn’t matter overmuch what her own specific intention was. The fact is, the piece feels complete and cohesive which is likely due to a consistent adherence to her intention, and If the whole of the design is good enough to draw you in and to have you wondering or making your own conclusions, the artist has done a splendid job.
The composition and sparse elements seen here are enough to create metaphors in our minds, leaving us to fill in the blanks about what it might mean based on our own life and outlook. That’s the kind of thing that makes great design and wonderful art!
Uncertain Orientation
Here’s a bonus little lesson and a different view of the piece found on the same post. I found it really interesting that Lyn posted this piece in both a portrait and landscape orientation. The piece can be read rather differently depending on which way the piece is sitting.
The vertical orientation makes it look like the undeniable presentation of a wish or, not so coincidentally, a dream. On its side, and with the stitches to the right (remember the Rule of Right!), it feels more like a journey or a process as we have a gradual change going from left to right.
It may seem like a piece of art that is presented as not needing to be shown in a particular orientation suffers from a lack of commitment to the artist’s intention. It is the case sometimes but not always. I think in Lyn’s piece, it works both ways since the same basic idea of trying to connect the strange world of dreams with the reality of life, or whatever metaphor you might have found there, is still present although one way shows a strength of position while the other feels open to change.
And I think it works particularly well with the concept of dreams since they are subject to such wide interpretation. So why not allow the owner of the piece to hang it in the orientation they prefer because it best represents their interpretation of it? Kind of cool really.
That doesn’t mean you don’t need to create your work with an orientation in mind. Most of the time you probably should. But, in some cases, if it’s abstract enough, follows at least one of the compositional rules, (we have the Rule of Thirds working here) and it makes sense for the piece, leaving the orientation open to the owners preference can really work.
What Next?
Phew! That was a deep dive, wasn’t it? Were you able to follow my interpretation? I’d like to do this kind of thing fairly regularly, focusing on a different design lesson each time so you have a chance to really dig into the concepts along with me. But if it’s just a lot to wade through on a Sunday morning with the cobwebs not quite cleared out of your brain yet, let me know.
You can reply to this email, if that’s how you get this, or go to the contact page here. I am always thrilled to hear what you think whether it’s a commendation, criticism, or suggestion. Absolutely love getting all of them. It really helps me steer what I create for you.
During the next couple weeks, I think I might steer us away from design and talk about other things that can really help take your artwork up a notch. I’ve been in a lot of conversations and have been reading a lot about novel length fiction writing and I keep finding equivalences to the way one can approach art and so that’s where my mind is and I think some of the ideas might be pretty exciting for you.
So, join me again next Sunday for an easy read and some, hopefully, brilliant ideas. And the meantime, have a wonderful, safe, and warm (or cool if you’re down under!) week!
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Last weekend I talked about contrast, a concept closely related to variety, which is the subject for this week. Understanding the difference between the two can avoid a lot of confusion so I’ll be referring to contrast a bit today as well. If you didn’t see the last post, give it a quick read here.
Now, what is variation?
Variation is the range or assortment of differences throughout a design. Now, didn’t contrast also speak to differences? Yes, but those differences were between similar types of elements while variation is the degree of difference between all of the elements, principles, and placement choices in your work. It is like contrast in that variation is also used to create interest or energy or to otherwise support your intention, however, while contrast is often the key to adjusting the level of variation, you can have a fair bit of variation with little or no contrast.
To put it succinctly, contrast is the difference between two or more related elements while variety is about the relationship between all the elements in a piece. So, let’s talk about those relationships and how they are used in design.
Picturing Variation
First of all, keep in mind that you can create variation with elements or principles or pretty much any visual or conceptual part of your work.
Take the gorgeous pendant that opened this post. Liz Sabol has variation in color, line, balance, repetition, rhythm and even types of composition. In fact, even though we can identify a use of the Rule of Thirds, a Golden Spiral, and use of the Focus to the Right principle, it’s the barely-there nod to centered composition, created by an implied line from the midpoint focused, and yet asymmetrical, balance of the bail to the centered tip at the bottom of the pendant, that is holding all the chaos at bay. This piece is an absolute celebration of variation.
Alternately, if you use a lot of the same elements or employ principles in the same way throughout a piece, then there would be little variation. You can see that in this simple but still striking little pendant by an undisclosed creative on VK.com. (If you know who made this, do let me know and I’ll update the post.) Here there is regular rhythm, an absolutely centered composition, and every shape is circular. The only variation is created by contrast in the value difference between the black and white and the textural difference between the smooth outer elements and the rough interior disc.
Now, looking at the two pendants, I’m sure you can see that there is a huge difference between the energy and feel of them, largely because of the level of variation.
It’s a Matter of Degrees
So, as you see, a piece can be interesting with little to no variation or contrast. These concepts add points and degrees of interest. It’s your intention that should determine what role they will play in your work.
Just think, if you want a piece to feel solemn and quiet, avoiding high contrast and keeping your variation quite subtle may be what you need. That calm could be very awe-inspiring in its subtlety. Alternately, you can have a piece with the points of contrast and variation ranging from subtle to obvious.
You see an example of moderation in contrast and variation in Amy Genser’s Eventide pictured here. Yes, the piece feels quite busy and has a lot of energy but the contrast and variation are not that dramatic. There’s a lot of texture but it’s all rough and predominantly created from the rolled-up paper elements. The rolled paper elements are all ovoid in shape but with variation in regard to the roundness and width. They also range in size and are very in color although, like the rest of the canvas, they are predominantly blue and cyan, keeping to the cool side of the color wheel. The canvas does open up into a brief mix of reds and yellows in the middle and the color values do range from a dark blue to white. But the variation is applied in a gradual and moderated way. Most of the energy comes from the texture, the repetition, and the sense of movement.
So, we see here that the degree of variation doesn’t have to be high to create energy or interest as other elements and principles can do that quite well. However, I do think in this case that the level of variation included boosts the energy of the texture and repetition. It’s a team effort.
So, unlike some other concepts, there is no way to really list the different types or degrees of contrast and variation and what they might mean for your particular piece. As you’ve seen, this is in large part due to how much these concepts depend on, and play off of, the other choices made in the design.
This is only a quick introduction to the subjects of contrast and variation but I’ll continue talking about them in many of my future posts. If you think about it, I’ve actually been talking about these ideas throughout the year as the differences in your choices for the various elements and principles is quite wrapped up in your decisions on how you’ll employ contrast and variation.
Some of your choices for contrast and variation will be made automatically if you make characteristic choices for your elements before specifically thinking about contrast or variation, like choosing just daisies for a flower necklace or choosing green and red as your color palette because it’s for Christmas. Repeated daisies will dictate rather low levels of variation because of the sameness of the primary motif so you’d have to work with contrast in things like value and size to take it up a notch. And Christmas colors are high contrast so it would be difficult to make the work also feel calm or serene starting from that color palette.
However, you might find it more advantageous to make choices about the degree of contrast and variation that would best suit the work and then make that happen through the characteristics you choose for your elements. In fact, knowing the degree of contrast and variation you want can help you make more confident and intentional choices for your elements, various principles, and composition. That’s how influential the concept of contrast and variation is in art.
Perhaps this talk of contrast and variety will get you jazzed to try out some variations on variety your own self. So, while the sun is shining and the muse is calling, do try to have a wonderful, safe, and creative week!
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Helen Breil’s variations lean on the principles of emphasis and movement using line, in particular, to create a feeling of unity and a sense of complexity even though these are not particularly intricate. The design just feels so complete and satisfying.
Do you feel, or have you felt, that design is a very confusing subject? I wanted to ask because as of next month, we dive into the PRINCIPLES of Design. We’ve been working on Elements thus far. Yes, there are two categories to define the ways we use design. So, before I go further, let’s define those.
Elements of Design – the components used to create designs. They are like the ingredient in a recipe, only they are not the materials or tools you use but rather the individual elements you create with them.
Elements of Design (my list for mixed media arts) include:
-
- Line
- Marks
- Color
- Shape
- Form
- Texture
Principles of Design – the concepts used to arrange and organize the elements of design. These are like the methods and choices used to combine the ingredients in a recipe in order to create the desired outcome.
Principles of Design (as I am going to teach it here) include:
-
- Balance
- Movement
- Contrast<->Variety
- Emphasis<->Hierarchy
- Repetition<->Rhythm
- Scale<->Proportion
- Unity<->Similarity
Don’t they look so manageable in those simple lists? Well, Elements does, I’m sure. Principles … they are concepts, so they’re more complicated. But don’t worry. I’ve been fiendishly sneaking them in all along so you are actually familiar with many of them if you’ve been reading my blog even for just this year. Just in the last couple months, I’ve been drilling in the ideas of contrast, similarity, movement and even a bit about scale.
There may be two separate lists above but they are completely dependent on each other. You can’t use principles with out the elements to create with and you can’t create with elements without the principles pushing you, consciously or unconsciously, towards the beauty and satisfaction that comes from a good design.
The Ultimate List of Design
Now, you may be asking yourself, why are the notations above about these lists my version? Aren’t these things standardized? Well, unfortunately, they are not and that’s the crux of the problem I want to peel open today.
When I talk about elements and principles of art and design, I’m giving you what I believe would be the best set of these for what we do in polymer and mixed media art. If you go online and search for just a list of the Principles of Design, you will find everything from a list of 5 up to a list of 20 principles. That’s pretty crazy!
It is understandable when some people think one or two things don’t belong on a list but when you regularly get this whole range, with some items paired up (like I did above) and others listing those same paired items as separate and distinct concepts, it can really make you wonder how you will ever learn the “right” set of concepts?
To make it simple (but possibly no less frustrating), I’m here to tell you there is no single ultimate list of elements or principles of design. And, no, it’s not because people have different opinions, although they do, but it has to do with the type of creative work each source assumes the reader will be considering.
These lists of elements and principles change to best serve the medium the writer or instructor assumes you, the reader, are dealing with. For instance, in painting and illustration, value is its own element discussed outside of color because value is what allows painters to define dimensionality, space, and perspective in the work. Our work in craft is primarily dimensional to begin with which is why I simplified my list to included value as part of the color element discussion.
Likewise, mark making in crafts is extremely important while mark making in graphic design is nearly nonexistent or is replaced with the concept of motif or pattern. And motif is an extremely important element in interior design but it is usually a side note, if even that, in fine arts.
So, all those lists out there are customized and created for the particular creatives the creator of the list believes will be using it. Right? Right!
I just wanted to clarify that before we jump in the principles of design so if any of you have learned or been taught something different than the list I’m going to give you, you understand why. I do believe my lists will best serve you as a mixed-media artist but you are welcome to build your own as needed.
The bottom line here… Don’t worry about whether you’ve got design terminology down precisely. Worry about understanding the concepts, identifying them, and working with them.
Ack! What’s a Creative to Focus On?
If all these lists and their imprecise ways make you feel like you’re going to hyperventilate, take heart. When it comes down to it, there are really just a few things you need to focus on as I can distill what I am trying to teach you into just three things. If you concentrate on these, you can just read my posts and the club’s mini-mag content and all this design knowledge will work its way into your brain by osmosis:
Your Artistic Keys:
- Create with intention, whatever that means to you.
- Draw your intention from that authentic and unique core that is you.
- Aim to make conscious, intentional design choices on every aspect of your work.
If you can do these three things, you can and will be an incredible and fulfilled artist. The rest – the terminology, concepts, elements and such – you can gather like you do art supplies. You pick them up as you can and then use them at every opportunity that makes sense. It would be great if you actually thought of them as new shiny tools and materials on your studio table. They can be, and usually are, the most valuable tools you have at hand.
The End of Free Lessons is Nigh!
In the coming months, the Principles of Design lessons, although they will continue to appear here in some fashion, will be largely moving to the weekly Devotee Club mini-mags. I need to start transitioning the bulk of my content to the Club content as the full free lessons were intended just to help get us all through this tumultuous year, but I do have to get back to bringing in the funds so I can keep at it!
So … if you have been enjoying the lessons you’ve had here in recent months, come join the club! Not only will you be getting the full lessons, but I also have a lot of other content from tips on living a creative life to community news to subscriber only specials and first dibs on new products.
And for the rest of this month, get a 14 day free trial! Offer ends October 31st.
(By the way, the Success Club, which combines coaching with the weekly content, is full, in case you are wondering when you get to the page and don’t see it to add to the cart. I am taking names for the waiting list only at this time.)
Come support your design knowledge, creative growth, and these Tenth Muse Arts projects with a subscription to the Devotee Club. Just click here.
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Corvid sculpture from the rich imagination of Ellen Jewett. I don’t know where she draws her creative energy from, but I’d take a sip or two if she bottled it!
Do you ever get artists block? I’m not talking about times of procrastination or being afraid to start something but literally not been able think of anything to do. Does your brain ever just feel empty?
Well, this weekend, mine was, which was weird. I’m not usually at a loss for words, especially when it comes to blogging or writing articles. I usually feel like I can write about art and design nonstop and never run out of ideas. But, this weekend, I hit a bit of a wall.
What is that all about? Honestly, I think it’s about burnout and not just from my usual mad pace. I think many of us are running into burnout this year.
Burnout and blocks are often related in their causes. We all have an infinite number of ideas inside our heads all growing from our countless experiences, ever-growing knowledge, and ever present desires. So, I believe that it’s not that we don’t have ideas sometimes but rather that we are missing the keys to access them.
Without Resources
Although so many of us supposedly have all this extra time and flexibility this wacky year, we don’t always have the energy needed to navigate the constant changes, the stress, the worry, and, probably more than anything, the uncertainty while still juggling our family, jobs, and creative aspirations. Some days it’s just too much. Our well of energy goes dry.
I’m hearing this from a lot of artists. Some are wondering if they are burned out on their medium or their studio space or their creative time in general. Others are lacking motivation because there aren’t shows and fairs to give them those all-important deadlines. Still others, having lost major avenues of income with both in-person teaching and live shows on hiatus, are questioning the fragility of their chosen path.
What it comes down to is that the usual motivations that push us to create are missing. We don’t even have social engagements for which to create new pieces of jewelry for ourselves to wear or guild meetings to encourage us to complete work so we have something new to share. Many of our usual energizing motivators just simply aren’t there.
Signs of the Times
It has been noted throughout history that when there are traumatic and life-threatening circumstances within a society, such as war, famine, or major natural disasters, the people first focus on survival, initially neglecting most other pursuits. However, one of the very the first things that come back into society, once people begin to feel safe and secure, are creative pursuits. Perhaps we don’t all feel quite safe and secure yet, not feeling settled enough to bury ourselves and creative work but as the world starts to right itself, the creative urge will return. Take heart from that.
The other things very particular to this pandemic that may be making it hard to create are that we aren’t having as many novel experiences and are certainly deprived of a normal level of social stimulation. Both these things provide us with inspiration and energy to be creatively productive but they are rare commodities right now.
In other words, while the world and all the bad news is slowly but surely draining us of our day-to-day energy, our sources for renewed energy are spare to nonexistent. It’s really no wonder that so many people are feeling uninspired or burned out right now.
Filling Your Well
So, the first thing I want to say, to myself as well as you, is that it’s okay. Burnout is normal. Our creative path, and life in general, is not a smooth and even highway but more of a roller coaster. This will happen sometimes, especially in times like now.
The other thing I’d say is, rather than worry about any lack of productivity or trying to force it, do what you can to recharge your creative battery. Get out and go places and do things that you don’t normally do. Obviously, stay safe and follow all recommendations in your area, but go take a hike in a nearby forest or walk through an unfamiliar part of town or go photo hunting (a kind of self-structured scavenger hunt but you are gathering photos rather than things). Just come up with things that you can do safely but that are brand-new and interesting to you.
Getting out and doing new things will create new pathways in your brain which will, in turn, energize it and keep your mind fit and flexible. As you get older, new and novel experiences become more and more important so never lose your adventurous spirit. Those same mechanisms that help keep your brain young also keep your creativity flowing, as shown by a number of recent studies. In fact, at least one study suggests that creative thinking is boosted most after weird or even traumatic experiences. If that’s true, we should all be insanely creative when this period in world history is over! There’s another reason to take heart I suppose.
Besides novel experiences, also be sure you are getting some kind of social time in. Sure, it might have to be a zoom call but, if it can be done safely, a socially distanced backyard or front yard gathering (while we still have some weather we can sit outside in) with a handful of creative friends or family can do so much to boost your spirits and energy level.
I myself am going to heed my own advice. Next weekend we are going to take out the camper van conversion I’ve been working on and do a little van camping. That’s the other thing. Sometimes burnout or creative blocks just simply need space and time. We can try to barrel through it – and I often do just that – but sometimes we really just need to kick back and relax and let the mind “marinate” on life and our present experiences. Combine some downtime with some new experiences and, if you can swing it, some socially distanced social time, and you are sure to come back with renewed energy and inspiration.
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Kathleen Nowak Tucci going big with not-so-precious intertubes and other disposables.
What would you say if I suggested that you create a piece and then, after you are done, remove your favorite bit? Yes, I realize the request might be physically impossible without causing complete destruction but, alternately, what if I asked you to destroy something you just spent your valuable time and effort creating?
I know you might be wondering if this is some kind of dreadful crafty torture. Why in the world would anyone ask that of you and what would be the point?
Well, this was done to me and a couple dozen other classmates back in college… twice.
The first time was in a creative writing class. We brought in a piece we had been working on all week then were asked to highlight all of our favorite lines. We passed the highlighted sheets to the person next to us and then the professor asked that we scratch out all the highlighted lines in the story we had in hand.
Of course, all us sensitive little budding Hemingways and Dickinsons sat there stunned and appalled as our pieces were read aloud without the sparkling gems that we thought would certainly reveal our genius. Strangely enough, all but one of the pieces still made sense and sometimes, the author even admitted it sounded a bit better. The point was, the professor said, that we tend to fall in love with phrases or sentences and will leave them in even when they don’t serve the piece.
The point was that without our wittiest word choices we could, in theory, make better editing decisions. In art, is it possible that we could make better design decisions if we were willing to set aside the glitzy accents we love so much or not fall back on our favorite tried-and-true textures all the time?
The second time I had a professor crush my little angsty ego was in a ceramics class after we each had done a small series of slab vessels. The professor asked us to pick up our favorite piece, bring it to the center of the room, and hold it up. We were then asked if we would be willing to drop it from a height into the trash bin that sat there. Of course, no one did it at first and he just stood there waiting until a couple brave souls let their pieces go. Then the pressure was on for the rest of us to follow. Even though I wasn’t particularly attached to the piece I had in hand, it was still so hard to drop it but I did. I seem to recall that a handful of students did refuse.
Sounds like a real jerk of a professor to ask such a thing, right? Well, I have to say that, at first, that’s what I thought but then he started to talk about preciousness. His conversation had something to do with becoming too attached to particular pieces. He wanted us to put value on our process, our growth, and learning, not on impressing him or our classmates. I think he was also looking for a way to wake us up as he had been getting frustrated with our attention span during the lecture portion of the class. Well, he sure did that.
I remember thinking about that lesson some years later, when I was better able to take it in. It made me realize that each successful piece I made was really just a step in a journey more so than an end goal unto itself. That changed the way I looked at my work. And it somehow made me braver.
I still did, and do, have favorite pieces that I cherish and will never sell, but seeing the work as steps and creation as a process rather than an investment of time in an end goal has allowed me to work a bit more freely. I have a ton of pieces that remain unfinished, and although it’s disappointing every time to come to a point where you realize it’s not going to succeed how you wanted it to, I don’t have any qualms about setting it aside. I don’t see the work as wasted because I know I’ve gained a little bit more experience and a little better understanding of the process. I’ve let go of the preciousness I used to have about everything I made.
Preciousness arises not only in our valuing our time to such an extent that we will not give up on a piece even when it’s no longer salvageable, or ignoring possible design solutions because they would eliminate our favorite part, but it also happens with the material itself.
Liz Hall creates in polymer and (a lot of) precious metal clay.
Quite a few years ago, I was itching try precious metal clay but it really wasn’t in my budget. Then I found some at a really great price and bought it. But you know what? I never even opened the packages. I just couldn’t get myself to work with this very expensive material for fear I would ruin it. But, of course, it’s rather wasted now that I’ve had it so long that is not workable. Pretty stupid, right? But we can be like that, putting value on the material and not on the process and the joy that we get from learning and creating.
Preciousness is tied into fear and failure in a lot of ways. Our idea of what we think we can do or what we think we should be able to do may be so lofty or so dear and treasured that we are afraid to try, fearing that we will make a mistake and ruin our efforts or that it will not come out as we imagine it. So, we do nothing, which is the same as ruining it, just really early on.
We may also get to a point in a piece where we love it so much that we are afraid to take the next step, a step that might spoil it, and so we set it aside, with all the best intentions to take that next step at a future time but all we’ve done is deny, or even end, the work’s potential.
I thought we’d start out this month on the concept of preciousness because it felt like a good segue into discussing October’s design theme – size.
Preciousness is one of those factors that comes into play when we decide on the size or scope of the work we will take on. Our sense of preciousness can make us hesitate to do something large or particularly complex, as we may fear that we will invest a lot of effort, time, and materials into something we are not assured will be successful.
Julie Eake’s cane mosaic portrait of actress Sophie Turner was, like most of her cane mosaic portraits, a huge undertaking. But aren’t we glad she takes those risks?
But, again, have we not already failed by not attempting it in the first place?
If we looked at everything we create as precious, all the time and effort that we put into it as well as the finished work, we would have to play it rather safe in the studio. However, art is not about playing it safe.
Art is largely about the risks you take.
If you’re not taking risks, then are you actually creating art? There’s nothing wrong in creating just for that sense of accomplishment or the high of that Zen like flow we fall into when the work is familiar and comfortable. It is more than valid to have the process of making things with your hands be the primary purpose in what you do. However, it’s the hours of exploration, the failures, the false starts, our vulnerability, the deep digging, like miners looking for gold, that makes the work that we inevitably uncover truly art.
The risks we are willing to take is the thing that is truly precious.
So, keep the concept of preciousness in your mind as we talk about size this month. Of course, we’ll talk about variation and contrast in size since that is what is primarily being referred to when speaking of it as a design element, but there are other things about size that we can take into consideration as we create, move forward, and grow as creatives.
Speaking of considerations…this week, I am going to have to take my health into consideration, so although I do plan on preparing a blog for next weekend, if it ends up being short or skipped it’s because I’m having a little surgery towards the end of the week. It’s just my esophagus and I should recover in all of two days. I have to fit in all my usual physical therapy before then though, along with all the regular weekly business tasks so it will be a full week.
Don’t worry though – all you club members will get your Midweek Mini-Mag as usual including a goodies giveaway so you can look forward to that if you signed up for one of the clubs.
If you haven’t signed up for one of the clubs yet but really appreciate the information inspiration you find in this blog, help support this project by subscribing! Get your weekly mini-mag, exclusive discounts, giveaways, and special offers along with your support. With everything you’ll get, you can also think of the club as a unique and special way to acknowledge the preciousness that is your creative self!
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Evgeniya Aleksandrova has a rough texture over everything here but varies the depth and pattern of the texture as well as the color.
Since we talked about tactile texture last week, it would seem logical that I would talk about visual texture this week.
But I’m not! I don’t want to be too predictable!
No, that’s not why. Actually, it’s that most of what needs to be said about visual texture has to do with the usual recommendation of choosing characteristics that fulfill your intention. If you read my blog, even sporadically, you’ve heard this before.
As long as you understand that visual texture is a purely visual variation on or within a surface (such as marbling, mokume, ikat, or any application of an ink, powder, dye or paint medium), then, as described in the post from the week before last, you can choose visual textures simply by coming up with adjectives to describe your intention and do likewise with possible visual textures and match them up based on similar adjectives. That is the core of the approach for working with visual textures.
So, that being established, I’d like to, instead, talk about another thing you’re also familiar with if you have been reading the blog for the past couple months but which we have yet to specifically associate with texture.
Creating a Relationship
Last month I talked about choosing color palettes in terms of contrast and similarities. But guess what? Combining different types of textures also plays by the same basic rules of contrasts and similarities.
I love how Joy Kruze echoes the spots in the stone with the spots of metal in the texture created in the spaces between the metal lines of her unusual bezel
Most work you create or look at probably has more than one texture. It could be a combination of smooth and rough textures or a variety of different rough textures or variations of smooth ones. You may often combine tactile texture and visual texture, as well. What these combinations all achieve is variation. Variation in texture is pretty instinctual for most creatives, as is a desire for variation in color.
The variation between textures can be heavily contrasted but, like color, it helps to have at least one similar characteristic so there is some relationship between them. With texture, you can actually use other design elements to create that relationship such as using the same or related color or a similar shape for the texture’ s space. Once you have that similarity, everything else can be contrasted.
But what about using similarities between the characteristics of the textures? For instance, you could create only rough textures but vary how that roughness is created. Or all your textures could be stippled holes but you vary the shape or size of those holes.
Just as you need similarities, you’re probably going to want variation, too, not only to create contrast, but also to create shapes, layers, and compositional direction (which we will get to later this year).
The Need for Variation
Variation, as always, adds some level of interest, energy, and complexity to your work and you can adjust how much you add of these by adjusting the variation between textures (or any design elements) – from subtle to bold or somewhere in between.
Let’s say you want to make a piece with a strong graphic look. You’ve already chosen hard edged graphic shapes and bold colors. What about the texture? You might choose a slick, glossy surface as a primary texture. Now, what other textures can be used to vary the surface but have it still related to a glossy one?
Hélène Jeanclaude creates glossy surfaces on all parts of this necklace but between mica shift and mokume, and the contrast of colors, she creates variation and lots of energy.
If you want to go subtle, you could stick with variations on smooth textures such as a matte or satin finish. Alternately, you can choose to rough up the surface but in a very orderly way similar to the orderliness of your graphic shapes. This can be done with a series of dense, parallel lines, or a dense but orderly mark.
As long as the marking of the surface is the only thing that changes, then all raised portions of the comparatively rougher texture will be glossy. That will give you your similar characteristic – the gloss of the smooth surface and the occasional gloss of the rough surface.
This is not to say that you can’t have textures that are completely and utterly different. The extreme contrast could be, in and of itself, a relationship. That difference will cause tension or discordance, but that could be exactly what you want.
Here are just some of the characteristics in texture that could create similarity or contrast:
- Tactile or visual
- Smooth or rough
- The quality of the finished surface (glossy, satin, matte, or chalky)
- Type of mark, technique, or tool used to create the tactile or visual texture
- Organic versus graphic styles
- Size (how much space each texture takes up)
- Direction (if the texture visually flows or moves from one part of the piece to the other)
- Shape of the space it is applied to
A visual texture shows variation in density and repetition of the dots that make up this surface. Melanie Ferguson actaully etched the surface and then polished it with cold was so she has smooth tactile but rough visual texture on her surfaces.
As you can see, other design elements can become quite intertwined with texture. Marks, lines, size, direction, and shape all can play a role in the similarity or contrast of areas of texture in your piece. It really doesn’t take much for us to see a relationship between textures. If it’s there, we’ll see or sense it and the design will feel more cohesive for it being there.
Since that texture relationship can be, and often is, developed through other design elements we work with, this is not always something you need to be wholly conscious of. But, if something in your work is not looking right, check for the relationship between your textures as well as your colors and other elements.
And, if next time you are looking at your work and feel like it needs some contrast in its tactile or visual texture, just look at the dominant texture that you have and, using it as a starting point, choose possible other textures or design options that will create at least one similar characteristic, still provide contrast at the level that makes sense for you piece, and has characteristics that recall the theme of your work.
Last Days for Club Discounted Forever Pricing
3 days left to join the Devotee or Success clubs at the FOREVER discount price so you can get first dibs on limited stock offers, discounts, and goodie box giveaways, all while getting a mid-week mini-mag of brief articles to keep your creative energy and ideas going. And right now you can also get in on it with a 2 week free trial! .
So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club 0r buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.
Visual Contrast … Out of Doors!
Packing up to take the camper van conversion for a test drive up the coast, just one night. That’s been my little side project that I’ve been getting myself lost in for an hour or so most days. It’s not completely done but good enough for one night out for my better half and me. I need some contrast between life inside this lovely home of ours and the outside and distant world! So, I am off. I hope you all are looking for new and novel things to add a bit of excitment and contrast in your lives as well!
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Melanie West’s satiny smooth finish has a heavanly tactile texture even though many people might think of her pieces as being textured because they’re so smooth. Yet smooth is actually one of world’s most loved textures.
How often do you touch art?
No, I don’t mean being the unruly museum visitor who gets yelled at by the docent, but in your everyday life, how many things do you touch that you would also consider art?
Works in the applied arts, which encompass decorative art, adornment, and functional objects, are often things that we touch. Because of this, the tactile texture of most applied art is exceedingly important. Not only can the wrong texture put someone off from buying a piece, but the right texture can make a huge difference between people liking your work due to its visual appeal and being utterly in love with it because it feels so good to touch. It is also another means by which you can express your intention.
Choosing Tactile
The first time I touched a Melanie West polymer bead, it was like taking a bite of the most heavenly chocolate mousse. Her finishes are flawless and so soft; my fingers just couldn’t get enough. That kind of tactile reaction is golden. It also supports her soft and organic themes. As wonderful as her finishes are, that kind of texture may not be wanted in your work or may not even be possible due to techniques or materials you are using.
The point is that her textures are part of the experience of her work and, if you’re creating things that will be handled, you too should consider the experience of touching your piece as part of its aesthetic value. As always, let your intention drive your decisions, but pay attention to the physical sensation experienced when handling the work and aim to have it support your intention, alongside all your other design decisions.
For instance, if you want to share your love of the beach through your work, think about the physical sensations that stand out the most – the soft breeze on your face, the refreshingly cold water on your feet, and your toes digging into cool sand. Now, how do you translate those physical sensations into tactile texture that will help you share that experience to those who will handle your work?
You can do so by thinking in terms of those adjectives – soft, refreshing, and cool. You probably want those to be the dominant sensations so don’t go for, say, a sandy texture just because the beach has sand. Is a gritty, sandy texture going to convey soft, refreshing, and cool? Chances are, it’s just going to remind someone of getting sand in their shoes and other uncomfortable places. You can create a visually sandy texture that includes sandy colors and a speckled look, but in terms of tactile sensations, going for a soft, maybe matte surface that will feel cool and soothing to the touch will share something closer to the sensations you want to relay.
Felt may have textural limitations but the final texture is still a choice. Olga Demyanova contrast a tight, even texture with the rippling and rougher orange edging and accents in this intriquing handbag.
There are a lot of materials that have limits on the tactile textures available. Polymer clay can replicate most tactile surfaces except for fuzzy, but felted work is limited to that dense and slightly rough feel of matted wool while glass will almost always have a smooth aspect. There are also techniques that create their own texture or limit how you can further manipulate the material to create texture. Learn the range of tactile sensations available in the materials and techniques you use so you know what options you have.
Work that Begs to Be Touched
There are a couple things you can focus on in order to create work that people will love to touch. It primarily involves smoothness and variation.
Smooth Surfaces
Our sense of touch enjoys traveling along a pleasantly smooth substance such as polished metal or stone. But what we like most is softness, such as a fluffy blanket or bunny fur. Softness is a type of smoothness as it allows our skin to glide across, unimpeded.
Note that you can re-create the look of fluffy and furry textures in hard substances such as clay or wood but you can’t re-create the same associated softness because, in those materials, you lose the ability for our fingertips to effortlessly glide across it in the same way due to the unevenness in a hard surface. So, recreating the look of fur doesn’t necessarily re-create the tactile experience. The ‘look’ of fur is just a visual experience.
So, be careful to think of smooth tactile texture, not in the way it looks, but the way it feels.
Klavdija Kurent gives the wearer of her jewelry much to explore with their fingertips.
Variation
Our fingertips were made for receiving information, and lots of it, so they do very much enjoy a variation in texture. However, we don’t normally enjoy variation that is sharp, prickly, scratchy, or sticky. These textures make it hard for our fingers to glide along and take it in, not to mention that they are also often painful.
However, bumps, grooves, and fine lines excite the nerve endings. It’s just like the sense of taste – we aren’t too happy with things that are bland but a lot of flavors that go well together thrills our tongue. Our fingers, likewise, enjoy complexity.
The Best of Both – Smooth and Varied
I think you’ll find that pieces with both a smooth and varied surface attain the pinnacle of touchableness.
Take a look at the pearled bracelet here. It is not even in your presence and you probably still feel a tiny urge to reach out and touch it. That’s because each half pearl has a small, smooth surface which is further aided by the round and unimpeded nature of its shape as well as there being a varied field of them.
The combination of smoothness and variation in this bracelet makes for an engaging texture, adding energy to the piece both in its tactile and visual nature. Note that this also has a bit of rough texture around the edges to provides textural contrast. Because contrast is important in texture too!
The contrast of texture fit well into my intention of showing the classic perfection and allure of pearls in an organic setting. I wanted it to be a subtle reminder of the messy world pearls actually come from even though we now associate them with neat, tidy, and conservative dress.
The Tactile Balancing Act
The textures you choose will dictate limitations in terms of surface treatments and other parts of your design, so you have to balance out your tactile texture choices with your other design choices. For instance, if you create a deep and dense texture on a light color, it’s going to appear darker, which you might not want. Or you may want a very smooth surface but want pattern to raise the energy so you would have to figure out how to incorporate pattern visually with inks, veneers, or other smooth surface applications.It just needs to make sense for your intention and the limitations of material.
If your tactile texture decisions, weighed in light of all the other decisions you have to make about color, shape line, function, etc., are chosen in service of your intention, you are sure to have a beautiful, cohesive, and interestingly touchable design.
Should I Call Them Mini-Mags?
The first week of the Art Boxer Clubs has commenced and one of the first comments about the weekly Pick-Me-Up is that it ought to be described as a mini-mag. I guess it is. It’s hard to take the magazine attitude out of me. There were 5 little articles and a good handful of links for further exploring. So, yeah, maybe it is a mini-mag. I might have to rethink what I call it.
But regardless of what it’s called, joining the club will get you a little extra boost each week and at least once a month, you’ll get a special discount, a first dibs or limited stock offer, and/or a giveaway. And right now you can get in on it with a 2 week free trial and a FOREVER discounted rate.
So, if you enjoy my blog, support this while boosting your own creative endeavors by joining us in the Devotee Club or Success Club (there are only a few spots left in this upgrade to personal coaching option, at least as of my writing this), or buy yourself a good book or an inspiring magazine to curl up with. Just visit the website by clicking here.
No Fires Here
We are still a safe distance from all the fires and the sky has started to clear up from the smoke so nothing too exciting to report from Tenth Muse central. I’ve already gotten started on the next project but I don’t want to say too much about it. It seems like every time I say something, I get jinxed and delayed. So, you’ll just have to stop by and check in with me on the weekends, or read the newsletters, or, if you want to be the first to know, join one of the new Club options as Art Boxers will be the first to know (as well as getting extra discounts … just sayin’.)
I hope you all have a relatively unexciting week yourselves. It’s not like we need much more excitement with the craziness of the world providing plenty already. Just go make beautiful things and be kind and caring to each other.
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Dawn Deale, Crackle bracelet using gold leaf with alcohol inks.
Now that we’ve spent three months intensely delving into color, are you ready to completely switch gears and explore a different design element?
How often, when you are creating something, do you ask yourself “What kind of texture do I want?” Or, more importantly, “Why this texture?” I think we can all agree that texture is an extremely important part of all types of arts and crafts and, like color, is probably more often than not chosen consciously. But why do you choose a smooth texture versus a rough texture? Or a simple texture versus a busy one?
I think the first thing we need to define in terms of texture is what it actually is. Do you automatically think of some uneven and fabulously tactile surface? Well, certainly, that is a type of texture, but that is only one type. Texture is more wide-ranging than that. At its most basic, it is the feel or appearance of a surface.
Texture can be of two primary types – tactile or visual.
For instance, tree bark is generally rough. If you can reach out and touch the actual tree bark that is tactile texture. If you have a glossy photo of tree bark, the texture is still rough, it’s just visual rather than tactile. If we don’t make this distinction, you could say that the photo of tree bark is smooth but you’re actually describing the tactile texture of the glossy paper.
So, you know what? That means you potentially have two decisions to make when it comes to texture – what kind of tactile texture and what kind of visual texture will your piece have?
In this necklace by 2Roses (Corliss and John Rose), softly marbled polymer gives subtle variation to the visual texture of its beads.
Your initial decision for each is not too hard being that you really only have two basic options for each – will it be smooth or not smooth? Or you can say smooth or rough, although I think rough has a lot of specific associations but it does describe the alternative to smooth.
Your chosen texture will actually be on a scale from smooth to rough. It will also be relative to the smoothness or roughness of other textures either on the piece or to similar textures. Beech tree bark is relatively smooth compared to oak bark although it is relatively rough compared to, say, glass.
Lightly marbled polymer clay (like that in the necklace seen here) will have a rougher (or busier or denser) visual texture than a solid sheet of clay but is not as rough a visual as a finely crackled alcohol ink surface treatment (as in the opening image), don’t you think?
You may be tempted to say that sometimes you choose to have no visual or tactile texture, but what you’re really saying is that you want a smooth visual or tactile texture. There is still texture; it’s just smooth or without variation breaking up the surface.
Now is it really important to call what we might see as the absence of texture as smooth? Well, how will you define the emotive, symbolic, and/or psychological meanings or effects of your surface if you don’t acknowledge its type of texture? I think that would be a little rough. (Sorry for the pun!) And that’s what I really want to talk about today.
Talking with Texture
As with color, different textures communicate varying emotions and atmospheres but, unlike color, texture can rather easily communicate all kinds of abstract ideas in very concrete, and sometimes quite literal, ways. Concepts that deal with the physical nature of things like force, fragility, turbulence, or stillness are not only readily interpreted or felt by viewers but they are also readily determined by artists. I bet you can think of a texture that could represent each of those for physical concepts within a couple minutes if not a handful seconds.
Texture can also readily elicit specific emotions such as comfort, fear, revulsion, and desire. To come up with textures for emotions, you could just think of a physical thing associated with each (fuzzy blankets for comfort, sharp knives for fear, etc.) and from that come up with a texture (a soft, matte surface for comfort, or sharp, erratic lines for fear, etc.).
“Lichen” tiles in porcelain by Heather Knight. They are all dense, tactile textures but they convey different things. What words would you associate with your favorite 3 in the image?
You can pretty much come up with a texture to go with the intention of the work you’re creating simply by identifying what characteristics you associate with the ideas or emotion of your concept or theme. For some people, recognizing these characteristics is very intuitive. For the rest of us, or even for those who feel they’re intuitive, it can help to come up with words you would associate with your intention and develop your textural design decisions from them.
This could be as simple as throwing out a few adjectives to describe what reaction you want from the viewer or you could list specific ideas or objects related to your theme or concept and then consider textures that you associate with the words you’re writing down.
If you have a hard time just freely coming up with textures, you can find possibilities to jump-start your ideas by looking through your texture plates/stamps/random objects stash for textures that evoke those words. Or you can look at artwork to get ideas. Determine what emotions or sense you get from various pieces and then identify what textures are used.
I know I brought up visual versus tactile texture but I’m got not going to talk about them any further today. I’m going to save those for the next couple weekends this month. I haven’t decided which to do for next weekend so it’ll just be a surprise. Just have fun coming up with adjectives to associate with textures that you can use to help support the intention of your work.
Announcing the new Art Boxer Clubs!
The first of the latest projects I have been brewing has launched!
The content of these Art Boxer clubs will be aimed at all types of mixed media creatives, not just polymer clay artists. Like the blog, the focus will be on increasing your design and creative skills while helping you stay energized and engaged in your craft, all while mixing in a good dose of fun and exciting bonuses!
I am keeping core design lessons free here on the blog for now but giving you many of the other features that were in the original VAB plus some new exclusive offerings:
The Art Boxer Devotee Club… $9/month: Exclusive weekly (Wednesday) content including mini-lessons, creative prompts, project ideas, and challenges as well as member only discounts and offers, giveaways, and early notices on all sales, new publications, and limited items. Get 2 weeks free to try this out if you join during the month of September. Go here for full details!
The Art Boxer Success Club… $35/month: For serious aspiring artists or artists looking to take it up a notch, this includes everything the Devotees get plus twice a month email or once a month chat/zoom coaching sessions. I’m reviving my creative coaching services but in a limited way – only 20 of these memberships are available. This is a very inexpensive option (normal rate is $65 for similar coaching) for one-on-one support to help with whatever artistic and/or business goals you have been aiming for. Click here for the details.
*If you are already a monthly contributor toward the support of my projects and free content, you will automatically be added to the Devotee Club member list, even if you contribute less than $9. If you would like to move up to the Success club, just write me. Thank you for your early and continued support!
If you have questions about the clubs, write me here and I will get back to you on Monday.
And don’t forget … the 25% off PRINT publications sale is still going on.
Good only until Tuesday! Click here to get in on this before the sale is gone.
Under Smoky Skies
Thankfully (for me), I have no crazy personal updates or unfortunate stories to tell you about. I hope I haven’t disappointed those of you all into the Sage soap opera over here. I’m loving my new physical therapist and although I haven’t seen any significant progress thus far, my knees, shoulder, and elbow have not gotten worse. And hubby’s face is healing just beautifully so we are pretty content in our recoveries here. So that’s cool.
Speaking of cool, how many of you are dealing with weather changes due to fires in your area? We were supposed to have another hot week but the dense smoke all over California has developed its own little weather system, blocking out the sun and cooling down the day. Too bad the air quality is too poor to go out and enjoy the nice temperatures. We also have this weird orange-yellow cast to the daylight. It’s just otherworldly.
To be clear, there are no fires anywhere near enough to endanger us although I suppose that could change at any moment. Between the wonky weather and just what a ridiculous year this has been, I think we all should just stay in and create beautiful things for a while. At least until the skies clear up. What do you think?
Well, I hope, wherever you are, you are staying safe and healthy. If you join one of the clubs, then I’ll chat with you on Wednesday!
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