Balancing Silkscreens
February 23, 2017 Inspirational Art
As mentioned yesterday, silkscreen is great for adding pattern to a piece but you want to be careful that you don’t lean too heavily on the pattern to carry your design. As fun and novel as silkscreening can be for the maker, it is still just a visual texture. Something else has to come into play.
So, of course, I had to check out Helen Breil’s silkscreened pieces because I knew she’d have a fabulous example for us. This gorgeous bracelet gets energy and an interesting texture from the silkscreen but if it weren’t for the color choices of gold against a rich red and the undulating form, the pattern would not be overly interesting. But with texture, color and form combined, we have a very dramatic and energetic piece. Let’s not forget the anchor of that black focal point. Without it, all the movement and energy might be a bit much but the button in the middle gives the eye a place to rest before heading back out to take in beauty of this great combination of elements.
Of course, Helen’s shop is an excellent source of silkscreens as well as instruction on how to use them. You can find both on her website here and her Pinterest board of examples here. Also take a look at her video classes, including her new Magnetic Pendants class, all on her website.
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Many Faces of Silkscreen
February 21, 2017 Inspirational Art
I just realized the other day, as I was admiring a slew of silkscreen work by one Noelia Contreras, that I don’t think I’ve ever spent a week admiring this little gem of technique. So as I keep focused on fixing a couple snags that are in the way of getting the Spring issue off to the printer, let’s admire a some nice silkscreens and look at ways it can be used.
Noelia’s set seen here shows a number of applications for silkscreened clay. It works as a background, a foreground, a peek-a-boo ground (yes, I just made that up) and even to create singular objects to raise about the surface. I enjoy these pieces because they all have focal points, some more subtle than others, but it is more than just a swath of pattern. What I assume are brooches on the right side are probably my favorite designs because of the energy of their shape, just off-center focal point, and the couple of layers there that lead to a small spot of negative space. A bit of the cloth those will be set against will be framed in those negative spaces which integrates the brooch and its background. It’s a nice touch.
The silkscreen and patterns are the primary focus in these pieces, which can be a little tricky. Just using lots of pattern can make for weak design if the artist depends on it to be the sole point of interest. As much as we might like a pattern, it needs contrast and context, at the very least, to create strong design. Here there is a mix of pattern that invites the viewer to find relationships between pattern choices and enough contrast in other design choices, including those bold black outlines, to show the pieces were well thought out. You can see alternate views of most of these pieces on Noelia’s Flickrphotostream and in her website gallery.
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Scratching Through
February 18, 2017 Inspirational Art
To finish up a stretch of blog posts on vessels, I have for you this interesting ceramic vessel done in a style easily translated into polymer. The technique is referred to as sgraffito. The beautiful texture and imagery are created by scratching into a surface that reveals a contrasting surface beneath it.
This vase is the work of Terri Kern whose choice of large bold scratches add to the illustrative and dreamy quality of her imagery. The way she has to work in ceramics makes the process all the more impressive. “Black is painted on in a small section and while it’s still wet, a carving tool is used to carve away the black to reveal the color underneath. It normally takes as long to apply black as it does to apply all the other colors combined on any given piece.”
This is where polymer would have the advantage. Although I have only done this in small decorative swathes, it is quite easy to lay a very thin layer of clay on top of a thick contrasting color, run it through the pasta machine until the top layer is even thinner and then you can scratch or carve the raw clay. It has got to be faster than the process necessary to scratch wet glaze out on ceramic clay. You can also shape and cure the polymer layers and then scratch or carve the surface afterwards since cured polymer, especially when still warm, is quite easy to carve.
The two approaches yield a different kind of mark with soft edges in raw clay and very sharp and smooth edges in cured clay. Although I have not tried it, I imagine you could apply a very thin layer of raw clay to a cured piece and scratch the raw clay which would create a uniformly shallow mark. It would be fun to try and I have it on my to-do list!
I was thinking you could also go over the scratched areas with paint, the way you apply an antiquing effect. I got the idea while I was analyzing Terri’s work since it looks like some colors would have been laid back in after scratching. That could really add up to some beautifully complex and intriguing color.
You can also use oil paints on raw clay as shown here by Kate of Kalinkapolinka. This is actually the page through which I found Terri’s very intricate work. Want to see more from Terri? Go to her website here.
Weekly Inspiration Challenge: Scratch out a little something this weekend. Whether you try one of the sgraffito ideas listed here or just scratch at the clay for textural purposes, let you mind go as you doodle-scratch your way to some interesting effects and imagery.
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Following the Rooftops
February 16, 2017 Inspirational Art
I so need something bright and cheery as we prepare for serious flooding level storms out here in Southern California. What a winter we are having! I wish it were snow though. Much less messy. But here we are, under cloudy skies, waiting for the deluge.
So, in looking for a couple more bowl style containers to share this week, I was delighted to find this beauty by the equally beautiful Nevenka Sabo. Her work lately has been so intensely bright and cheery. It was just the thing for a day such as this.
I love that she breaks away from the standard bowl form and cuts the lip of it to follow the roof tops of her little neighborhood. The bright blue interior and the mixed colors of the houses add to the playful look. The fully saturated colors are well matched to the illustrative look of the imagery on the pieces she creates. It’s just a wonderfully done, fun piece. If you like this, you’ll want to see the other views of it on her Flickr photostream.
Nevenka has been working with this technique for a couple of years now with really eye-catching results. She even put out a very detailed tutorial for this technique she calls Nambi. You can find it in her Etsy shop. But also take a look at her other examples of how this technique can be applied by checking out her Flickr pages and her Facebook page.
Ok, hopefully I won’t be heading to the rooftops myself this week. Hope you all stay warm and dry!
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A Tower of Giraffes
February 14, 2017 Inspirational Art
I know it’s Valentine’s Day and I should be posting hearts or something but I’m guessing you’ve had plenty of that already today. So how about looking at something we are all sure to love because who can resist a tower of cute giraffes (‘tower’ is what a group of giraffes is called, so says Wikipedia) or the amazing precision of Wendy Jorre de St Jorre’s artwork?
I know I couldn’t resist these guys. This bowl just made me smile along with the usual stare of wonderment that accompanies the moment I spy a new piece by Wendy. She is so masterful in her control of her images. This is not, however, one of her canes although I did wonder for a moment. They would be insanely precise canes but she is so amazing, I wouldn’t put it past her. Instead, these are silkscreens but they are not store-bought. She made the silkscreens herself so they are completely original designs.
Her preciseness does give her some grief on occasion, although it looks effortless from here. Here are her words from her posting of the first version of her browsing giraffes:
My newest bowl, I call this one “Browsing Giraffe”. It has been quite a long haul getting this one done. I had to figure out a way to make a silkscreen veneer that would fit around a bowl. With compass and pencil I drew some circles and came up with a template that fit the bowl and also would fit on the “mini” silkscreens I have. It took a few goes to get the sizing right, but eventually I got what I thought would work and made 2 silkscreens that joined together. 3 repetitions of these fit around the bowl just right….whew! I had to wait a few days for the sun to come out so I could make the screens and then It was ready, set, go. Unfortunately the paint I was using was not quite right, so another day gone until I could buy some more, but eventually the silk-screened veneers were done. They needed cutting to shape to fit the bowl, that was tricky business, but patience won out in the end.
Although Wendy has a website, you’ll want to head to her Flickr pages or her Facebook account to keep up with her latest and greatest work.
A very happy Valentine’s Day to you all. You are all my Valentines for reading and supporting my blog and publications. I am a very lucky girl to have such wonderful readers!
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Signs of Spring … the cover of the Spring Issue, “Shape & Form”
February 11, 2017 Inspirational Art, The Polymer Arts magazine news
You may have seen this in the newsletter that went out a day or so ago but I didn’t want anyone to miss out on the beautiful art work we were so lucky to get for the cover of the upcoming Spring issue, “Shape & Form”. Due to popular demand, we decided to do a kind of “back to basics” set of themes for 2017 although I was a little worried about how that would work for people interested in contributing but as it turns out, the design categories have really got people excited and we’ve ended up with some really unique technique tutorials, interviews, and overview articles along with all the usual eye candy and tips and tricks articles you love to find in The Polymer Arts.
This lovely collection of platters you see here are the work of Angie Wiggins whom Lindly Haunani interviewed for our “Color Spotlight” section. Angie has a unique way of choosing and setting up her color palettes for the year, a process she shares in the article and the success of which we can see in the work.
The Spring issue and this intriguing interview will be out at the end of February. Print renewal notices were sent out by email this past Wednesday and we’ll be sending out digital renewal notices this coming week but if you aren’t sure about your subscription status, you can take a peek at your account here. If you don’t have an account or that page can’t answer your questions, you can find more information and the correct person to contact here.
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Decked Out Art Deco Bottle
February 9, 2017 Inspirational Art
Here is another way to cover a bottle, this time with the careful layering of sheeted and extruded clay. Beth Petricoin leans on the clean planes and lines of machined clay to help create a well finished and precise design. Her choice of art deco for inspiration works well with the sheets and extruded snakes since the era is marked by crisp shapes and balanced patterns.
And lucky us … Beth documented her process, making it look so very easy, even though I know it had to take a lot of patient application, not to mention a lot of clay. This old liquor bottle is quite large–16″ (a little over 40 cm) tall–and she used 7+ blocks of clay to complete it. I think it would be hard to find someone who would not agree that it was an effort well worth the time and clay.
Take a look at the process on her blog here. Her polymer work can also be found in her Etsy shop and her Flickr photostream.
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Tastefully Ornamented
February 7, 2017 Inspirational Art
You know how you start out looking for one particular thing but end up with somewhere completely different? That’s how I came upon this week’s theme.
I was going to do something pre-Valentine’s but something not having to do with hearts. I thought, maybe, flowers but I was overwhelmed by the many floral-ized polymer pieces out there so then I thought about vases because our valentine’s flowers need to go into something special. The self-imposed problem there was that sophisticated examples were a little hard to find. This landed me on a quest for sophisticated vases, which led me to all kinds of sophisticated vessels and the one thing I noticed is that there is a penchant to make the pieces quite complex or just covered top to bottom in color and pattern. So I decided we should look at uncomplicated designs that would be easy to create with little more than a bit of planning and patience to show how accessible a lovely, polymer covered vessel project can be. So, yeah … this has nothing much to do with Valentine’s Day. Oh well.
I am sure most all clayers have covered a bottle or two in their day. They are easy and inexpensive to acquire and make a great canvas to work on. This example of a tastefully ornamented bottle, subdued and yet feeling gussied up for a special occasion, was created by Jayne Ayre of Kismet Clay Designs. Jayne is an accomplished fantasy sculptor who makes regular forays into polymer covered objets d’art.
This design is actually a little unusual for her, if the Pinterest page I found this on is to be the measure, but I think it is one of her most successful covered vessels. Whereas her pieces are often adorned with medieval and steam punk style embellishments with regular and balanced placement, this piece is decorated in a free-flowing design, accented with a trail of varied polymer dots that meander casually about. The base layer brings in the color and an enticing aged look and texture so that the stamped clay laid over it doesn’t need to be complicated by color or too much of anything else, really. The one gather of flowers and leaves from this view works as a nice focal point for a simple, grounded design.
This is the kind of object that won’t necessarily grab your attention when you walk into a room but rather, it will make you smile when you discover it’s existence among a small collection of common liquor bottles and wine. Well, that is where I would put it. A bit of decorative elegance in among the labels to surprise and delight my thirsty guests.
Jayne also covers wine and martini glasses, ‘potion’ bottles, and capped jars. You can find these tucked in among her fantastical creatures on her Pinterest board and her blog.
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A Collective Shine
February 4, 2017 Inspirational Art
The art form with the ultimate bits-and-pieces approach has to be mosaics. With mosaics you can take any material that can be collected in chunks that are small enough to puzzle together among themselves or with other smallish chunks. That makes for a lot of possibilities. The possible forms for the application of mosaics is pretty wide open. Even opening the form is possible and breaking the frame is a possibility with mosaics.
Robin Evans‘ choice of material is primarily glass from which she creates jewelry and, apparently, some pretty amazing wall art in a mosaic style. I hesitate to call it a full mosaic as it looks like the swaths of gold, copper, and green are cracked glass or mirrors which gives the impression of a mosaic even though it’s not although it is a pretty cool look.
Then there are the actual mosaic parts which not only flow through from one panel design to the next but also move right off it and onto the wall to make their ways across. This not only connects the vertical panels but brings the piece alive with movement that breaks the frame of each one. And it’s shiny!
I couldn’t find a gallery of much of Robin’s wall art or at least not a gathering of it but you can find pieces scattered among her jewelry on her Facebook page, in her Etsy shop and on Instagram.
Weekly Inspirational Challenge: Create something beautiful from unassuming elements. This could be a great way to use old canes, extra beads, scrap clay and even cured and deserted elements. See what you have in your spare bins and boxes in your studio space and see what can be resurrected from the stuff you set aside.
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What size art do you work in? Have you even ever thought about that? Do you work small, big, or a nice moderate middle size?
I think many of us have a limited size range that we feel comfortable working in and rarely, if ever, venture outside that range. There’s nothing wrong with that but it does beg the question, do you think about what the appropriate size is when you create something?
As you might be guessing, if you’ve been reading my blog or design articles for any length of time, I’m about to point out that making the decision about the size of your work can help to fulfill your intention.
(Do you ever think, “If she says something about intention one more time…!” Well, I do hope it’s not annoying. It’s just that important!)
Size in art simply refers to how big or small something is. It is used in a variety of ways to emphasize, organize, assist in functionality, and symbolize the intention of the artist. A lot of the size choices made have to do with relativity – something can only be called small if something else is big and vice versa.
In design, this is actually a principal known as proportion and scale. Proportion is about the relative size between two or more objects or elements when they are grouped together or juxtaposed. Scale refers to how big or small something is compared to the general understanding of how a thing usually is or should be. For instance, we expect a chair to be sized for human beings to sit in and a teapot big enough to hold several cups of tea. Anything significantly larger or smaller than these expectations would be a change in scale.
Scale represents an interesting concept in that it makes note that we do have expectations about how big or small thing should be. That may sound like we have some kind of undue constraints placed upon those of us who create, but actually, scale gives us an opportunity to step outside those expectations and make a point.
As mentioned above, size can be used emphasize things. Making something bigger than expected usually draws attention, so if you created a beaded necklace with beads as big as golf balls, those are definitely beads that are bigger than normally expected.
The same concept of emphasis works with proportions. Let’s say that you only made one of those beads as big as a golf ball in the previously mentioned beaded necklace and the rest of the beads were of a more reasonable size. In that case, you would be drawing attention to the big bead as a focal point. Size allows you to direct the viewer’s eye and their impression of the work.
It may seem that bigger items will be more impressive or have a bigger impact but, honestly, very small artistic creations can be just as fascinating, sometimes more so due to the skill needed to create beauty in such a small space. I think you can see that in the opening image of this post. Small art requires the viewer to come close to it to really see the details, creating an intimacy between the viewer and the piece.
So, have you ever thought about these considerations for size when creating your work? Don’t worry if you haven’t. It’s not that uncommon for size to be determined in some arbitrary or organic manner. And I’m not saying that doing it that way is wrong, but you could be missing out on an opportunity to better express your intention if size was a conscious decision.
A Sizable Story
When I was a working artist, I often made decisions about size based on what I thought people would want. It wasn’t a particularly conscious choice, more of an aim not to make pieces too big. I was not trying to make statement jewelry, but rather something that could be comfortably worn all day, or so that was my train of thought.
I can’t say what got me to start thinking about size, but at some point, I started to ask myself why I was afraid to go big. So, I started to push myself, making big collar pieces that would sit as high as the jawline and come down to the collarbone. Some were a little crazy, some were so uncomfortable, but I still found so much joy in making all of them.
I found something freeing in pushing myself beyond what I thought my market would like. And, as it turned out, my market liked them big too. I sold every one that I put up for sale. They never came home with me after a show. So, what I discovered was that the sizes I had been working in were completely self-imposed without any supportable basis for my choices other than my own fear of not being able to make a sale.
Once I realized why I had been working in those smaller sizes, I was able to start making decisions based on what the work needed to be instead of what I thought the market might want. For example, if I was going to make an ornate piece with the intention that the wearer feel like a queen, I would probably decide that it should be big and bold, not small and delicate or demurely moderate, to better emphasize the feeling of nobility I wanted it to embody.
What’s Your Size?
So why do you work in the sizes that you do?
Is it purely functionality or rooted in the idea of what people would expect the size to be?
Is it limited by the tools or forms you have on hand, or by the capability of the materials being used?
Do you let the size come about organically or unconsciously or do you make a conscious decision about size based on the impact or response you would like the viewer to have?
I truly don’t believe that there’s really a wrong way to determine the size of your work but, like any design element, you are only truly a master of it if you are aware of its possibilities and make conscious choices.
So maybe this week, think about the size of your artwork in terms of your intention. Look at pieces that you’ve made in the past and ask yourself how the look and message, if there was one, would have changed if the piece had been smaller or larger. And in the next few things that you design, ask yourself what size piece would best serve the artwork before letting your tools or expectations of scale determine it for you.
Goodies are About Gone
If you didn’t see the newsletter yesterday, I shared the stock I have left for a few special items that were first offered to Art Boxer Club Members, but a couple things are sold out or nearly so already. These are limited items that I will periodically offer publicly, without the discounts or freebies club members get, when there is extra stock, so if you can’t join us in the club, keep your eye out for my newsletters and sign up here if you aren’t on that list for my next offering.
Getting first dibs as well as discounts and freebies is one of the advantages of being part of the Art Boxer clubs, along with the weekly mini-magazine pick me up you get in your email. (The Art Boxer Success club that includes coaching is also unavailable at this time as spots are full up but I do have a waiting list going – just write to me if interested.)
These limited supplies are available on this page if you are still interested.
All Quiet on this Western Front
I have little to report on the home front. I did go in in for a small surgery Thursday only to find out I’m going have to go back in six weeks or so from now to have it completed. Nothing is straightforward and simple this year, is it? So, just trying to make myself take it easy this weekend although I am just a horrible patient in that regard.
Next weekend, assuming nothing else weird happens, my better half and I are going to slip away for the weekend to test the camper van conversion we’ve been slowly working on. I do plan to put something for you together before I go so you should still be able to visit with me next Sunday.
In the meantime, all your hopes and plans, big or small, all go off as intended this week!
Read MoreSince 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.
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?
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
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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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.
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.
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.
Read MoreNow 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?
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.).
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!
Read MoreDid you work on identifying colors similarities and contrasts, even though I was unable to get anything out midweek like I’d hoped? I ended up with an exceptionally busy week but, unlike many of these past months, it was mostly good, positive things going on. I’ll catch you up on some of that stuff at the end here (including notes about my latest big sale if you’re interested) but, this week, I thought we would take a break from the intensive design lessons so I could get back to writing what I call creative growth articles.
These kinds of articles were included in every Virtual Art Box but I had set them aside while we thoroughly explored color the past few months. I’d like to do these at least once a month now to keep you thinking about why and how you create and to give you a break from the lessons here and there.
The Question of Conscious Intention
When I started the Virtual Art Box, the first thing I wrote about was artistic intention. It was easily the most impactful thing I’ve ever put out if measured by the enthusiasm and number of the comments, messages, and emails I received and, if you read this blog regularly, you’ve probably noted that intention comes up over and over again. But I realized, after an interesting conversation recently, that I’ve never really talked about the variety and ways creative people approach intention.
The core question that came up in this conversation was about whether the person creating has to be consciously aware of their intention in order for the design to be intentional. In other words, can decisions be intentional without being understood by the creator? Sounds rather philosophical but it is, in truth a very practical and rather important question.
By definition, intention means that you have some knowledge of your motivations but, it doesn’t necessarily mean that you are wholly conscious of them, not in a detailed way that allows you to verbalize it to yourself or others.
For instance, you could head to the grocery store intending to get something for your sweet tooth but you may not realize what you want until you’ve wandered through the bakery section and the candy section and then found yourself entranced by some caramel gelato in the ice cream freezer. Alternatively, you may have specifically headed out to get a pint of Talenti Caramel Cookie Crunch. The intention, and the outcome, would be the same for either trip out but there was a varying degree of awareness as to what you were after.
This works the same way when it comes to intention in art. You aren’t just fully intentional or not intentional in your design choices. There are variations and degrees to which you understand and apply your intention as you create although, I will argue, having some intention is necessary.
First of all, understand that when I talk about intention, I’m speaking about the concept, story, or theme that directs your design decisions. In the shopping trip example above, the intention was to satisfy a sweet tooth. In your artwork it could be anything from re-creating an image or place to telling a story to relaying a message to simply sharing your aesthetic tastes. But that intention guides your design decisions.
You could, for instance, choose round shapes for a pair of earrings. That choice might be made because round is a soft shape and the theme or story or idea behind your piece would be best supported by soft characteristics, but it also could be a gut feeling that round feels right compared to squares or triangles or amorphous organic shapes. If you have strong instinctual reactions to certain options for your design, you can absolutely make decisions based on that intuition. You just need to check that it supports and is related to your intention rather than it just being something that you are drawn to in general.
The Role of Instinct
Instinctive decisions are very common in many artist studios but they work best when there’s knowledge behind them. If a creative person is well versed on design, they will likely transition to working almost wholly by instinct at some point. That education and understanding works away in the background, guiding the artist’s instincts, but when they run into a problem, they still have the ability to puzzle out possible solutions based on the knowledge that they have. That is actually the primary intention that drives all my publications and this blog – to get you to the point where you understand design well enough for your design decisions to be instinctual. That way, you can approach your creative work with anything from a general to very specific intention and can begin to make purposeful decisions from the start.
There is also an argument in the art world that proposes that the artist does not have any responsibility to create with an intentional concept, meaning, or story for each piece, suggesting that it is completely up to the viewer and not the artist to give the piece meaning. I can’t say that I disagree with that but, if you create without any direction or some kind of framework to work off of, I think it becomes rather hard to create cohesive work that is meaningful to viewers.
I know, I am getting all abstract here so here’s a concrete example. Let’s say you want to create an eye-catching, one-of-a-kind piece to be showcased in your booth at the next fair or on the opening page of your shop’s website. You could just sit down with your materials and mess around with them until something comes out of it that you like. That is a valid way to design. But how do you even start doing that? Do you work with just whatever happens to be out on your table or do you pull out your newest, coolest materials and tools or do you open up your drawers and cupboards and stare at them until something jumps out at you (you know, kind of like when you stare at the fridge contents trying to figure out dinner)? I think we’ve all started something in this rather mindless way but how often are we successful compared to when we have some bit of intention?
Never Face a Blank Canvas
It is often said that facing a blank canvas is the hardest step in creating because it is, as yet, directionless which can be rather daunting. However, if you look for your intention first, then you never actually face a blank canvas. Instead, you come to that blank space or yet to be formed material with something to work on already. It’s the difference between walking into the grocery store only knowing that you want something to eat versus knowing you specifically want something sweet. You might not realize what you want is the gelato but at least you know where to head off to when you walk in those doors. Otherwise it is a lot of wandering up and down the aisles and that can be frustrating. You might not even make it that far. You might just turn around and leave because you don’t know which direction to take.
So, I do think you need to have something to work off of but it doesn’t always need to be something that you understand well enough to explain to someone. That was actually one of the hardest things for me in graduate school as I work towards my MFA in Poetry. Every word I chose in a poem was very intentional but a lot of the time there was more a feeling of it being right than an understanding about why it was right and yet, I was called on to explain my work all the time. I could always explain the theme of the piece and my inspiration but I could not always explain the specific significance of an image or sensation in the poem. To be honest, I think my lack of explanations was partly a kind of rebellion against the dissection of creative work. I know a lot of you feel that way too, that some (maybe most) art should be a visceral experience not an intellectual exercise.
However, trying to glean understanding from a piece of art, writing or any other creative work can be very satisfying so I’m not saying that I don’t think art should be approached that way. With some work, that’s the only way to approach it. And I did eventually come to the understanding that, as creatives, we can learn so much from that kind of examination but I also don’t think we need to do it all the time. I mean, there is some work we may want to just enjoy for what it is.
It can be the same in regard to how you approach intention. You might just want to enjoy the creative process and let your fingers and mind take the designs where they will. That’s great, especially if you are doing the work primarily because you enjoy the process. In that case, intellectualizing your intention can take away from that visceral experience but I will still argue that you need something to guide your design choices , even in a general way, if you want to arrive at the end of that process with a well-designed and engaging piece. Alternately, fully understanding your intention and planning out the details of a piece will allow you to boldly move forward as you work but you may also want to allow for modifications as your ideas and construction may change as you work.
So, I think the best way to think of intention is in degrees of awareness. You can be fully aware of your intention and be able to verbalize it in detail, you can access your intuition with a more general idea driving your choices, or it can be somewhere in between.
I think the most important thing is that you make all of your individual design choices purposefully whether or not you fully understand your reasons. (I mean, I have no idea what I like caramel gelato so much but the lack of understanding certainly isn’t going to stop me from enjoying it!) Just try not to allow your design choices to be decided for you. Like don’t just default to a smooth surface because that’s how your clay comes out of the pasta machine. Choose a smooth surface because that is what best supports your intention. Purposefully choose shapes that support the concept you are inspired by rather than determining them based on your available cutters or because organic shapes are easiest to create freeform. Pick colors based on symbolic or emotive qualities not just what you have on hand. And ask yourself, every time, whether your piece will benefit from lines or marks or if there shouldn’t be any so you don’t miss out those possibilities.
These kinds of purposeful decisions will show a controlled and skilled intention, creating depth and cohesiveness and, likely, a lot more satisfaction on your end as well as in your finished pieces.
Dare I Say Winds Are Changing (in the Right) Direction
Yes, I’d hoped to do a midweek blog last week with some more examples about how to look at color and pick contrast and similarities, but not only did I have a busy week taking care of my husband after his biking accident (he is healing amazingly well and quickly, thank you all for asking!), I also had the opportunity to bring a staff member back on board so I’ve been getting her up to speed and we start work on possible new projects this coming week. It’s going to be so nice not doing this solo!
Also, you all really took advantage of the Damage Sale! I am nearly cleared out although, as I write this, there is still a small handful of slightly imperfect publications on the Specials page if you want to grab up those last $4 magazines and $12 books.
Then I got so excited about how cleared out the shipping room was looking (I’ll need the room to bring in new publications!) that I added a 25% off sale through September 15 on all regular print publications. No coupon code is needed if you want to take advantage of that. Just go over to the website.
So, there has been a ton of packing and shipping this week which not only kept me busy, it also made me more aware of an issue I’m having with my bad right arm. It’s kind of worked into my shoulder. But I saw a new orthopedic doctor and he had some wonderfully encouraging things to say so this coming week I start a new and different regimen of physical therapy that he believes will actually heal my arm. I am reservedly hopeful!
So, I’m busy but relatively happy over here. I hope to have some concrete new project announcements after this coming week. It’s been such an aimless, up in the air kind of year for us all, hasn’t it? I look forward to having a production schedule of some sort to keep me feeling relevant and to keep you inspired. So, keep fingers crossed!
I hope all of you have had your own dose of good news, light at the end of the tunnel, or other positive developments. I’m sure we could all use a bit more of that right now. So, keep an eye on impacts for incoming upcoming newsletters and announcements. In the meantime, take good care of you and yours!
Read MoreSo, are you ready for your last weekend of color design exploration? Not that you will ever be done exploring color but this will be the last of the installments on color in this blog series. We will move on to other design elements in September but for now, let’s look at one final aspect of working with color that I find particularly important and rather fun to identify.
If you read last week’s post, you will have gotten a good idea of how to start choosing colors to use together. If you paid close attention though, you may have noticed that those suggestions for color combinations last week primarily revolved around one particular characteristic of color. Did you notice that? Do you know which one?
Creating color combinations using the color wheel and things like complementaries, split complementaries, triadic, or square (aka tetrad) combinations are rooted in the characteristic of hue. They don’t necessarily take into the account all the other characteristics, not directly. So, this week we’re going to learn how to choose colors with two goals in mind – creating contrast and similarities.
Why Similarities?
Our minds are always analyzing our world, weighing and judging all kinds of things our senses take in, but the mind works particularly hard to find connections between things, trying to divine a relationship between objects or concepts we encounter. When we can’t find the relationship or common connection between things that seem to belong together, it feels uncomfortable. Like, if you see 2 people sitting on a park bench in close proximity to each other, you assume they know each other. But if one is dressed in a business suit and the other is all punked out in black clothes and sports a mohawk, you may find it weird. The close proximity makes you think there should be a connection between them but their appearance makes a connection difficult to ascertain.
Now, if those same 2 people both had French bulldogs sitting at their feet you might assume that they are part of a French bulldog lover’s club. Or, if they have similar documents in hand then you might think that they are a businessman and a client going over paperwork. Once you find a connection, then the relationship makes sense even if the contrast between the two is odd. That contrast simply makes for an interesting combination but not a wholly uncomfortable one once you divined a possible reason for them to be sitting together. This all comes down to the fact that we simply want things to make sense.
This is true of how we see color as well. We want to see that colors grouped together are related and not just because they are near each other or on the same piece of art. Yes, we like contrasting color as well since that creates energy and interest but when there is no similarity between the color characteristics, there is no specific relationship and that can feel (and look) uncomfortable.
This doesn’t mean you can’t combine colors that have no particular color relationship or common color characteristics. You can … but you would be conveying chaos, discontent, disorder, and/or anxiety. That might be exactly what you want a viewer to feel, so if that is what you are after, go for it. But if you want pleasing color combinations or at least comfortable ones, you’ll want both similarities between your color choices and some level of contrast.
In other words, the color choices for a piece you are creating will usually work best if connected by a similarity in one or more of the characteristics we have been learning about the last couple months. Of course, you will want contrast as well. Let’s look at how the various characteristics work as similarity or contrast characteristics.
Hue
Hue is usually used as a contrast characteristic unless you are doing something in a monochromatic palette (using different versions of the same hue). If your palette is analogous, your contrast in hue is relatively low since you are using colors close on the color wheel. But if you choose complementary or split complementary colors for your palette, then you have high contrast and, usually, higher energy.
Value – this is also more commonly used as a contrast characteristic since relative lightness and darkness so often help to define images, shapes, and boundaries. If you use it as a similarity characteristic, with all your colors are similarly light, mid-tone, or dark, it is harder for the eye to differentiate between changes in color. It also results in fairly muted energy. Again, that may be what you want. There is no right or wrong, just your intention.
Saturation
This, on the other hand, is more often used as a similarity characteristic between colors in a color set in large part, I believe, because of the emotional value of saturation. Bright colors are generally happy and high-energy while muted colors tend to feel calmer, quieter or more reserved. Because of this, contrasting bright and muted colors in the same color palette can result in a clash of emotions that may make your viewer uncomfortable. This is not always true but it is something to look out for if you choose to use this for contrast rather than a point of similarity.
Tint, Shade, or Tone
These characteristics actually have to do with saturation but because they can be so distinct, they can be chosen as their own point of similarity or can contrast against each other. For instance, we’ve all seen pastel color palettes. Their similarity is that all the colors are tinted with white. Organic palettes tend to have rich but muted colors, displaying a similarity in toning. The one area where contrast between these characteristics works well is if you contrast tinted colors which shaded colors, creating light and dark colors. Why? Because tint and shade can produce a dramatic contrast in color value and, as mentioned, color value can be an important characteristic for many designs.
Temperature
Creating a color palette that is predominantly cool or predominantly warm will create a subtle but still recognizable similarity. Contrasting cool and warm colors is more readily recognized and creates high energy. Note that if you choose to use a triadic, 3 color split complementary, or a square (tetrad) color combination (as described last week), you automatically create contrast in temperature because of how far across the color wheel these classic color combinations spread.
Quantity
Yes, it’s true we haven’t talked about this in terms of color characteristics because it is not in and of itself a characteristic of color. But it is something you can manipulate to address similarity or contrast in your color palette. For instance, if you use the same amount of vastly different colors, the brain will find that quantity relationship – the balance between the otherwise disparate colors – as an apparent reason to be grouped together. And when it comes to contrast, quantity differences can help the viewer understand the hierarchy of your color palette. So, if you want one color to dominate because of its emotional connection, you can use a lot of it then just enough of the other colors to add the amount of color contrast and energy you need without drowning out the primary emotion.
Leeway, Accents, and Matchmaking
So, after telling you all that, I have to qualify those notes by saying that even though the above are good rules for helping you choose colors, choosing palettes don’t always fall into such tidy formulas. If you pick a few favorite pieces of yours, or favorite pieces by other artists, you may find that some color palettes do not readily fit into any of the classic color combinations we talked about last week or do not adhere to the similarity your contrast rules, not neatly at least. The fact is the perfect color combination all depends on what it is you’re after and where your inspiration comes from. You know that mother nature isn’t out there purposely throwing together split complementary color palettes or worrying about similarity characteristics. But, if you allow for some leeway, you will often find classic color combination sets and similarities as well as contrast in most every scene you see in nature. You just can’t be too exacting when looking for them.
One of the areas that can really throw these ideas about color palettes is accents. Accent colors, usually added in small quantities, tend to contrast in all the characteristics but one, and sometimes none. That’s what makes the accents stand out. You could choose a palette of rather neutral colors (thereby having a similarity in saturation and tone) but if you really want to kick up the energy or create a focal point, there is nothing like a dot of red to do that for you. That red could have nothing in common with the rest of your color palette, but because it’s an accent, it can, acceptably, look out of place. This will cause a bit of tension which can be really cool if it fulfills your intention. If you don’t want it to cause too much tension but you still want that spot of warm color, choose a version of red that is similar in saturation to a couple or all of the colors in the rest of the palette. If you want that accent to create a focus but not tension, instead of using red, choose another neutral color but one that contrasts in all the other characteristics as much as possible.
The other thing about color combinations is that sometimes you can have colors that are not just tiny accents but that do not share the same similarity characteristic as the rest of the colors share. As long as that one color has a similarity or two with another color in that group, it may work. So, for instance, you can have a palette of cool colors that includes fully saturated blues and greens as well as shaded versions and then throw in a dark yellow (aka gold) which is not a cool color but since it has a bit of black in it, it is a shade like the darker versions of the cool colors.
I know, exceptions to the rule just complicate things but you don’t need to work with the exceptions if you’re not ready for it. Just know they’re there and you can play with them when you’re ready.
That Color Game
Okay, now that you are clued into the contrast/similarity importance between colors, you can quickly hone your eyes for this by playing a little identification game. Look at any of your own work you really like, or the work of other artists that you really admire and identify what is similar in the color sets chosen. What are the contrasting characteristics that add to the energy and interest.
I did plan on having examples for you to play with all conveniently here but only got part way with that before my preparations got cut short this weekend. My darling man took a bad spill on his bike and I spent my alloted blog time today running back and forth to the hospital and being nursemaid when I got him home. He didn’t break anything and no concussion so it could have been much worse but he ended up with 49 stitches in his face and road rash all over so, needless to say, I was a tad distracted.
Is it me or does it seem like I have some bit of tragedy to report at least once a month lately? I have to say, I could use a break. Heck, we all could! What a crazy year.
Well, I may surprise you with a mid-week post to drive this home with the examples and a few more photos that I originally had planned but I didn’t want to leave you without on this last weekend of color. So go out and spy those similarities and contrasts and you’ll be ready to play with whatever I get together for you.
Have a beautiful, color-filled week!
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As promised, this week we are going to start talking about creating color palettes. But first, because I love you all so much for following me as I blather about color and design, I want to make sure that you get in on the Damage Sale that is going on right now.
Damage Sale is on Now … and They’re Selling Fast!
Once every year or two, I pull out these boxes of publications that have been slightly damaged or marred and put them on sale, usually for 40-50% off. This time though, I marked it all down by 50-60%.
I started that yesterday and sold nearly half of them before lunch! Not wanting my blog readers to miss out, I went through my backstock boxes yesterday and pulled a number of imperfect copies that got shelf wear from storage so I’d have something to offer you.
Those got added to the sale inventory last night and so you all now have a fighting chance to grab some too. Just click here. But best be quick. It’s not quite toilet paper but I think there is a pandemic response thing going on here!
(If you got in on this Saturday but something was out of stock and is available now, buy it and I’ll combine the orders, refunding the difference in shipping if the order comes in by noon EST on Monday.)
Color Combo Considerations
Okay, now on to the business of color. Choosing colors to use in a piece takes into account quite a number of things but let’s hit on what I think are the three most important things to keep in mind:
Intention – What is your intention in creating the piece? What is the piece about? Go as far as writing it down and come up with some adjectives. Now, what colors go with those words and match your gut feeling about what you want this piece to be. I believe one should never ignore the gut but you do need to discern between instinct and taking the easy road or simply being dazzled by a color. That’s the hard part of using instinct but keep at it and hone it!
Importance – Should color play a major, supportive, or minor role in your design? I think this question is more important for color than for most design elements because we have such a strong and visceral reaction to color. There is usually a hierarchy of design elements in a piece and you benefit from intentionally deciding where color lands in that order. If you create a super tall vase, size is probably the major player in your design so do you want to draw attention away from that by making it a rainbow of bright colors? You absolutely might want to, but the size can make the colors even louder, which is great if that’s what you are after. However, if you want to focus on size because you want people to feel how monumental the piece is, one or two analogous colors in a supportive role might better support your intention.
Contrast – What level of contrast does your piece call for? High contrast creates high energy, low contrast creates calm, while something in between can be comfortable but still energized. Levels of contrast in a color palette can be created between color values (light versus dark), saturation (bright versus toned down), hues (complimentary colors), temperature (warm versus cool), and relative quantity (how much each color is used versus the others.)
Like everything else, how much contrast you choose should fulfill your intention but also, high or low contrast can be chosen to balance the energy of the work as needed. For example, you might have a busy piece with a variety of shapes and lines plus a lot of marks fulfilling your intention to create high energy but if you don’t want it too chaotic, you might use low rather than high contrast colors. Some intentional restraint in contrast will make the energy of the other elements feel more grounded. Alternately, you could go high contrast on the colors but go less busy on other design elements, especially if you deem color to be of high importance to the piece and don’t want it to be overlooked.
Okay, so, yeah, those are quite conceptual points and are very important to keep in mind when choosing a color palette but now, how do you even begin choosing colors? There are actually so many ways you can approach choosing colors for a piece and once you work with color intentionally and intelligently for a while, you will find your own way. But this week and next, I’m going to make some suggestions to get you started. Here is the first for this week.
Go with Your Gut
It’s going to sound like I’m saying this quite blithely but I’m serious about this – the most common way to start choosing colors is to go with your gut. Yeah, as mentioned, it may be something you have to hone but your instincts are really a great place to start and will help make your work truly your own. Now, you may think you have no instincts about color but we all do. We all react to color so the connections you make to color are in there and those connections are exactly what you need to find the colors you need for your work.
So, you can think about your intentions and see what colors come to mind or you can, with your intentions or associated adjectives running through your brain like a little chant, start shuffling through your colored art materials, a collection of color cards if you have them, or browse about online. Find yourself a base color to work off of. It doesn’t have to be the exact color yet but think of it as an anchor point for the time being.
Once you have that, you can start adding in other colors based on one of the following color wheel schemes. Keep in mind, this is not math. You don’t have to be exact in these color schemes. Think of them as templates that give you an idea of what colors to pair up with your anchor color.
You’re going to recognize a few these terms from the post on color relationships if you read that one. Those relationships for color mixing are also great starting points for choosing color palettes but I’m going to add a few more possible color combinations to your repertoire today.
Complementary – This color scheme involves focusing primarily on two colors, ones that are opposite each other on the color wheel. It provides great color contrast but, sometimes, these combinations create an almost uncomfortable tension. Fully saturated complements, when butted up against each other, will even cause a visual buzzing where they meet. Again, the tension between the complements is not a bad thing if that is what you are after but, because of this, this kind of color scheme should be carefully and quite intentionally chosen.
Analogous – this involves choosing colors that are near each other on the color wheel. These are usually two to four key hues so although you’re limiting yourself to one section of the color wheel you can still have quite the range.
Combining colors that are near each other on the color wheel creates palettes with low hue contrast and low or moderate value contrast, at least between the key hues themselves. If you choose colors that are desaturated (have reduced purity) due to tinting, shading, or toning of the color, that can increase the value contrast between analogous colors. So, you could create in blues and greens but go for a dark blue and a bright green so color value and saturation will be contrasted but since there analogous it will be relatively subtle. That’s why analogous color schemes are often found in moderate to low energy designs.
Triad or Square – I put these together because they are simply choosing a set of colors that are equidistant from each other on the color wheel. In a triad you are choosing three and a square you are choosing four colors. These create quite colorful and moderately high contrasting hue schemes. These color palettes tend to work best if one color is dominant (like your anchor color that you started off with) while the others play supporting roles in the color scheme.
Split Complementary – This can be a combination of two colors although I think it is best used as a three-color scheme. Here you choose one color and combine it with one or both colors to the side of the color’s true complement.
These create beautiful, high contrast color schemes but without the tension that direct complements can create. The combination remains lively and high in hue contrast but it feels much more refined than direct complements, triads, or squares. This is because you actually have a pair of basically analogous colors set against a high contrast one but not with high-tension contrasting hues. It’s kind of the best parts of all the previously mentioned schemes.
Monochromatic – The term monochromatic itself is synonymous with boring, I know, but this color scheme is anything but that. You may have just one base color but you then create a variety of shades, tints, and maybe even some tones of that one hue. Although it lacks hue contrast, you still get to play with saturation and value contrast so you can scale your energy level up and down with great control. I personally don’t think there is any other color scheme quite so sophisticated and clean as a monochromatic one so if your design is primarily about refinement, this color scheme should be seriously considered.
So, now you have one, somewhat structured way to start choosing colors. I would suggest this week that you play around with the various color schemes above. It could be as simple as pulling out your art materials and shuffling colors around on your tabletop to find complementary, analogous, triadic, and split complementary color schemes or continue practicing your color mixing by at least mixing up one luscious monochromatic scheme. Go with your gut and play with the colors as you feel you need to.
Not Much to Say
I know, I usually catch you up with what’s going on with me at this point, but it’s been a rough and tiring week for a variety of reasons and I am a bit talked out. I’ll tell you about drowning my sorrows in my minvan camper conversions project at a later date, okay?
I’ll just leave you pondering classic color combinations for now but next week we’ll going to get into some slightly more advanced ways of choosing color. Don’t worry, it’s nothing too difficult and you have all the tools to do it. In fact, I think a lot of you will be quite surprised at how easy and fun it will be. All this color study has been great fun, hasn’t it? I do hope so!
So, enjoy your week and fill it full of color!
Read MoreDid you get some practice in mixing and matching colors last week? Those proposed exercises are only the beginning of the possible uses of that formula I gave you: hue + bias + tone, shade, and/or tint =your target color.
The thing about last week’s post is that we talked about matching a color that you found out in the world but the formula also works for creating a color that you want to achieve even without a sample and it will also help you in choosing color palettes. I have limited time this weekend for you so we’ll get to palettes next week but let’s quickly talk about creating colors when you only have an idea of what you want and not a sample to go by.
A lot of times, especially when you are organically creating a palette at your worktable, you are making choices from the premixed materials that you have or you might have some idea of what you want. If you start with a prepackaged color you want and need to choose additional colors, don’t limit yourself to the colors on hand. Consider what would best go with it (and again that would be about palette choices which we will talk about next week but just go with me here) – is the main color you have chosen fully saturated or is it toned down? If you break down the color formula for your main color in the same way, you may discover that it’s not fully saturated or has a strong bias towards blue when you thought it would lean towards magenta or whatever.
Once you’ve broken down your main color, you can more accurately choose a complement, your range of analogous colors, or choose similarly toned down colors so the additions to your color palette don’t seem dramatically brighter.
If you are working with just the idea of a color, start with the hue you believe it would be a part of, look at the color really consider whether it should have a bias of one side or the other and whether it should be lighter, darker, or toned down. Start mixing your best guess and then, knowing what the formula includes, you can change the portion to make it more saturated or brighter, lighter or darker, or toned down more as needed.
The other reason you want to be able look at colors in terms of this formula is because when you put palettes together you’re going to be making them relate based on the details that formula lays out. I know that probably doesn’t make a whole lot of sense right now but, trust me, looking at colors in terms of that will not only help you mix the colors you want but it will help you pick out color sets that will be more successful and satisfying for your intention.
So, for this week, either continue mixing color based on the formula or get yourself started so that you, ideally, can name the details of a color’s formula in moments. It’s cool to be able to rattle off Hue – Bias – Tint/Shade/Tone at glance. And will make you much more comfortable mixing your own colors as well as pairing them.
Get ready to dive into color choices next week. I think you will be surprised at how easy the method I have for putting together colors really is. So, keep mixing. Yes, it’s always practice, practice, practice. You have to do the work, of course, to gain the skill, but once you have it, it cannot be taken away from you to keep your eye on the prize!
And if any of you had trouble getting to that online mixer game, I know some people were getting error messages, so use this link here.
I’m still in Colorado but leaving to travel back on Tuesday. I’ll be out of touch most of Tuesday and Wednesday but will certainly see you back here next Sunday!
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Thank you so much!
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