Everything in the Garden: A Short Saga of Color and Light

Everything in the Garden: A Short Saga of Color and Light

Starting with a journey from the Inside Out…one extraordinarily light-filled early evening.  Sunlight beckons.

Sunlight floods the garden, causing my camera to capture what just might be a mini-UFO, standing out rad against the green.

Catching the roses blushing against stucco.  Compliments green and pink (“light red”) create old world charm.

Yellow windblown roses explode out of luxuriant green bushes. They seem to be reaching for something…moisture?

Red and white stripes hover shyly behind leaves.

A  twist of tendrils around a solo pink blossom.

Pièce de résistance du jardin…perhaps its highlight….this perfect peach rose.

Fresh and cool, these beautiful whites light our way home like stars when the sun sets.

To the purple side of pink.  These keep us in the Pink…and strike us pink at the same time.

Lines of moire…and shadow of palm fronds create optics on the wall…a trick of light, shadow, and the distance between things.

A natural mural composition.  This arresting composition yearns to be painted.

 

Let There Be Shadow

Let There Be Shadow

“There is strong shadow where there is much light.” —Johann Wolfgang von Gogh Goethe

As we begin a new year, and the teen years of the millennium, there is a great deal of talk, longing and intention around new beginnings, fresh starts, new leaves, new chapters and so forth.

Let a new day dawn.    I am all for that.

Let the new page be started, the new leaf turned,  the fresh chapter embarked upon, longed for beginnings begun, and previously stalled starts started.  Let’s find that rainbow at the end of the storm, that light at the end of the tunnel.

But, let’s not forget, as the writer Goethe so pithily yet eloquently states, where there is light, there must also be shadow…and vice versa…we cannot have one without the other.

So, when confronted with the shadow side of our own natures,

even our own gifts,

 the coolness of the shade that we need as respite  from the sun,

and the shadow of our own fears, challenges, anxieties and struggles in the so-called dark,

as we move towards the light of fulfilling our longings and realizing our dreams,

let us remember that “Shadow owes its birth to light.” ( –-John Gay),

and not be stumped,

stopped,

or stupefied by

its presence,

but know…

that shadow will always be there…

a companion on our journey….

needing

to be acknowledged,

insisting,

on making its presence known,

 

so that we can continue

to feel the glory

of the light.

Here’s to 2013!

The Importance of Being Earnest…

The Importance of being Earnest…

I recently received an email, in which a Client expressed his appreciation this way:

” I know in the big picture, our job on Corbett is tiny compared to all that you handle. However, you really made us feel important and that is genuinely appreciated.”

My (emailed) response included this comment, ” …by the way- you/Corbett ARE important to me!!!”

This exchange gave me pause for thought…

Why would a Client think that his/their project, in this case, color consultation for the exterior of a 3 unit condo building where he is the HOA president, was not important, or as important then other projects that I, or for that matter, my colleagues might have?

We have all heard the adage “The customer is always right.” as well as “Every client is important.”  But, what does that really mean?

For me it means that if I take on a Client, I make a commitment to them and to their particular project  within the scope of the work we are doing together.  So much of our work as artists, decorative painters, craftspeople, designers, architects and color consultants (to name a few) is collaborative.   We work WITH  the Client to realize their vision, and our vision of their vision.  If we don’t have their contribution, commitment, buy-in, or what-have-you, that process can become difficult, stymied, or downright impossible.  We may even get our head, or someone else’s, handed to us!

In other words, yes, every Client and their project should be important to us. It just so happens that the particular Client I have quoted here,  falls into the category of “dream” Client.  Along with his partner, he has been responsive, communicative, cooperative, intelligent, and generous with time and fee.  Add to this reasonable, fun and funny, and I think you get the picture.  This is a great Client, with a fun and engaging project, and I have thoroughly enjoyed working with him and his partner.

I don’t value this Client and his project less because the Job in question is not as lucrative financially as some others.  Lucrative does not only refer to  the dollar amount received for a particular Job.  To me,  it means what I am getting out of the Job, vis-a-vis what I am putting into it. Is there positive return on all fronts: artistic gratification, compensation,  appreciation, and client interactions?  In essence,

and

must be upheld on both sides for a fruitful relationship that delivers results and satisfaction, perhaps even exceeding expectations.

I recently heard a marvelous audio interview with Wine Country painter Ann Rea, founder of Artists Who Thrive,  by Carlos Castellanos of Drawn by Success.  During the interview Ann brilliantly describes how she feels that she gets paid twice by those who purchase her paintings, prints, and other artwork. In money, yes, of course, but also in the appreciation of her work by her buyers and collectors, and the relationships she forms with them.

I think many of us know what she means.  We need to have our work connect with others and the larger world outside ourselves to have it really mean something, outside ourselves. So that our work, (and ourselves) do not remain in shadow, or behind bars.

So yes, every Client is important, and especially those with whom we can have a great rapport, grow, and create something that is more than the sum of its parts. When we find ourselves in the path of these dream Clients, all we can be is grateful…

to grow ourselves by working closely with them, realizing their vision, and our own.

Lucrative?  More like priceless!

What priceless Client experiences  have made YOU grow lately?

If you feel so inspired, share them with us here.  We love to hear from you.  Remember, we are all growing though this thing called Life, together.

 

 

 

Color Muze Quarterly: Our View on Hue

Color Muze Quarterly:  Our View on Hue

One of the things we discuss often during our Color Muze segments on Artistically Speaking Talk Show is how we can make our lives just a little bit easier as decorative painters, faux finishers, muralists, artists, artisans, and “atre-preneurs”. Learning and experiencing more and more about the function, properties, and effects of color can help us in this endeavor, which ultimately will support not only our bottom line, but our ability to offer more effective service to our Clients, as well as enhance our creative efforts.  Color know-how is another tool in the kit we can bring to our work, our art, our business, and our Life!

This article is a round-up of sorts, a quarterly review of Color Muze since its debut in May of 2010 on Artistically Speaking Talk Show, powered by Rebecca E. Parsons, creative entrepreneur extraordinaire, and master decorative artist, Lyna Farkas.

In May we discussed ways to add ease to our glazing life!

By keeping base coat and glaze colors close together in hue (color), we can effect easier, smoother blending of the glazes over the base coated surface. This can make any joins, overlaps, or other undesirable drama created by drying glaze edges less visible.

In order to create the sunset sky requested by the Client for their daughter, the ceiling below received five successive application of colorwashed glaze. The base coat is purple, and four of the five glazes are hues of purple, including the almost white clouds, with a fuchsia pink added for intensity. Because all of the glazes were related in hue to each other, as well as to the base coat, they blended easily, and created the sense of depth and airiness desired by the young inhabitant, and an immediate tie-in to the rest of the purple  painted room.

Sunset Sky, Purple Style

We  talked as well, about using the base coat color itself as one of the glaze colors, which was done in this breakfast room. What could have been a daunting challenge: blending fast-drying latex glaze over a domed ceiling that sloped into wall sections, became a gratifying creative endeavor by tinting clear glaze with the chiffon-colored base coat paint, and using it as one of several glazes blended together with sponges over the surface. Use of the base coat color softened the mix of the other glaze colors, so that the treatment texture and color flows smoothly over the entire surface with no breaks, streaks, or heaviness to mar its subtlety.

Breakfast Room Dome Flow

Perhaps inspired by June’s golden sunlight, we talked about gilding, and how we can make our leafing lives easier by choosing our base coat color with care. Whether we are using “schlag (combination metal leaf),  or the real thing (gold), we may be working under time restrictions, material limitations, or other challenges on a site. By choosing a base coat color related to our leaf color, we can camouflage any tears or holidays in the always precious metal leaf we are applying.  Here is the original Cross for All Saints Episcopal Church in San Francisco, which was stripped down to its original wood, primed to seal the surface, than base painted in an ochre color, to coordinate with the 22 carat gold leaf applied over it.

Simulating Clay Bole

Clothed in Gold

Ochre , black,  and red are some of the colors of “clay bole”, used historically as a surface preparation for gilding, “There are many shades of bole that may be used including ochre, red, black, orange, blue, and green, imparting various tonal affects under the layer of gold leaf. “ — CHARLES DOUGLAS GILDING STUDIO, (Please click  for further information on GILDING).

Celestial Gold

July found us Muzing about the Color Wheel, and some of its many applications to the work of the decorative painter.  “As the Color Turns” ,  Color Muze article #1 in Cre8tive Compass Magazine discusses primary, complementary, analogous and “neutral” colors, how we can use them, and why “neutral” may be a relative term! Please read the article here.

In August, we heated up our Muze, with a chat about how to use tints and shades to create highlights and shadows.

A tint of a color is created by adding increments of white to it, and a shade, adding black.

Tints and shades were created from the wall color and used to highlight and shadow a subtle “Mid-Century Retro” design in a guest room.

Tinkertoy? No..."Mid-Century Retro" Style

In the color-saturated logo below, a tint was mixed from the white, red and yellow used in the rest of the painting, while just a pinprick of black was added to both the yellow and the red to create shades of each. Creating even a hint of highlight and shadow can create dimensionality to make your treatment, design, image or mural pop, and add life, and even drama to your walls, ceilings, furniture, and floors!

Top 1 Oil is TOPS

We  offered up some advice on how to use color “tactics” in laying out your website’s image thumbnails, in order to catch the eye of visitors and surfers.

In this set of 7 thumbnails introducing  decorative treatments on a website, a balanced, yet not symmetrical distribution of hue (the “color of a color”), value (lights to darks), intensity (saturation, or concentration of color), texture, and detail creates a pleasing composition which catches the viewer’s eye without giving away too much about the image as a whole. Create thumbnail images and layouts that entice your site visitors to  click to see more.  Compose your webpages,  like you compose your canvasses, walls, rooms, and everything else you consider Art and Design!

As always, we continued our Muze on the relationship between Color and Light, with the help of Donald Kauffman and Taffy Dahl, creators of Donald Kauffman Color, and their beautiful book: Color and Light: Luminous Atmospheres for Painted Rooms.

Say the authors:

“Glazed walls refract the light—bending each ray as it moves through two different mediums, from the translucent layers to the more opaque undercoat. (Whenever you glaze a wall, if you make the undercoat lighter and warmer then the topcoat, it will create a more luminous effect.)”

What a luscious, luminous world we have as finishers, decorative painters, muralists, artists, artisans and humans, to explore!

Please join our Color Muze exploration on Artistically Speaking Talk Show, and Cre8tive Compass Magazine, “where we honor your passion, and your vision, in this community we are co-creating”– Rebecca E. Parsons

Here’s to a Color Full Journey!

And thanks for visiting…we are all in this thing called Life, together.

 

Featured Work: “Mid-Century Retro”: Starburst, Atom or Tinker Toy?

Featured Work: “Mid-Century Retro”:   Starburst, Atom, or Tinkertoy?

When my Clients Ted and Mark expressed interest in a wall treatment for their guest room, they knew that whatever was done had to fit into the eclectic brand of “Mid-Century Retro” style they had developed throughout the rest of their home.

From their TV tables, to the artwork on the walls, to their shower curtain pattern, the colors, patterns, feel and sensibility of the interior design and objects recall the visual aesthetic of the 1950’s.

TV tabletop pattern

Touring their home, I observed earth colors re-imagined in plastic, textiles, dishware and furniture. Browns, yellows, beiges and ivorys were applied to patterns created by combining  repeated elements of line, shape and form.

Unadorned wall, a bit empty

Their sunny guest room needed adornment on the headboard wall , which captures attention upon entering the room. The wall color was already reflected in the pillows and bedding, and enhanced by the use of natural wood, pussywillow branches, and carefully selected artwork. Yet the wall felt bare.

Given the scale and function of the room, Ted and Mark were concerned about overwhelming it visually.  They wanted a treatment that would complement what existed, and add a sense of whimsy, depth, and dimension, without cluttering the space.

Ted, who had worked in graphic design, sketched out an image of  a “starburst”  which brought to mind molecular structure, resonating with their mid-century design sensibility.

TInkertoys? No, Molecular Structure

Or, to get more complicated, Tetrahedral Molecular Geometry.

Jack? No, Tetrahedral Molecular Geometry

I created a modular (molecular?) stencil based on his design, and cut the “line” and “circle” elements in a variety of sizes to mix and match, and create the visual impact we sought.

Ethereal Molecular

Assemblages of repeated parts, (lines and circles), were given depth and form through the addition of highlights and shadows, created with tints (white added) and shades (black added) of the wall color.

Line and circles were “built” into larger shapes and designs, just like some of us once built with tinker toys…

The resulting treatment is reminiscent of designs and patterns that emerged with advent of the “Atomic Age”, and became integral to “Mid-Century” style. A nexus of science and design, perhaps so familiar to us now, that we may be barely cognizant of its origins.

Mirror Image Module Multiplies

Mirrors expand the space and subtle visual impact of the treatment. Values of light and dark add dimensionality and a soft “pop” to the shapes, which seem to do an dream-like, molecular dance across the wall.  Although it was not easy to articulate, this is the effect and feeling the Clients were looking for.

“The subtle starburst pattern enlivens our mid-century look. Our houseguests love the playfulness it contributes to the room.” – Ted and Mark, San Francisco, Ca.   August 2010