A Little Dance
March 3, 2015
Inspirational Art
So, yes, more about repetition but in slightly less obvious or more varied manners will be in store for you the rest of the week. Hopefully, you aren’t bored with the subject. The ways you can apply it are limitless really.
For instance, take this fun, contemporary piece titled “Little Cities Necklace” by Ann Dillon. There is plenty of repetition in the shape of the beads, the colors and order of the layers and the general placement of the thick cane cuts. But, the canes are laid out in a varied manner and are all different canes. This wonderfully illustrates the interconnection between repetition and rhythm. Repetition doesn’t mean regular, measured, evenly applied elements. It means something is used over and over, but how those elements are applied create rhythm that can be steady and strong or varied and even chaotic.
An underlying regular rhythm, like the bead bases here, provide grounding for the less predictable rhythm of the canes that kind of dance about in close but buoyant manner. The fact that they are applied across the horizontal center of each bead gives them that floating feel, so it’s definitely more of a dance or flight. If they were in the same formation but at the bottom, they could look heavy, as if they were spilled–nothing wrong with that, but definitely a different feel to the rhythm because they will look grounded.
Ann works in polymer and also a lot in seedbeads–talk about repetition and rhythm! That kind of bead work is all about that. Take a look at her website and practice identifying and feeling the rhythm of the pieces. It’s rather fun to think of work in that way.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
Pushing Mokume
January 9, 2013
Inspirational Art
The texture and color of mokume gane doesn’t necessarily warrant any additional work other than applying it to the chosen form it will adorn. But that doesn’t mean you shouldn’t push it a bit more.
Ann Dillon works in primarily straight-forward forms to display the texture and color of her surface treatments. But occasionally she add a little bit more.
In this pin, she goes back in and adds scratches and pin points to help define the shapes, add richness, and impart more definite direction in the existing lines. It probably looked nice without the additions but the marks really do make the pin pop.
So, yes, more about repetition but in slightly less obvious or more varied manners will be in store for you the rest of the week. Hopefully, you aren’t bored with the subject. The ways you can apply it are limitless really.
For instance, take this fun, contemporary piece titled “Little Cities Necklace” by Ann Dillon. There is plenty of repetition in the shape of the beads, the colors and order of the layers and the general placement of the thick cane cuts. But, the canes are laid out in a varied manner and are all different canes. This wonderfully illustrates the interconnection between repetition and rhythm. Repetition doesn’t mean regular, measured, evenly applied elements. It means something is used over and over, but how those elements are applied create rhythm that can be steady and strong or varied and even chaotic.
An underlying regular rhythm, like the bead bases here, provide grounding for the less predictable rhythm of the canes that kind of dance about in close but buoyant manner. The fact that they are applied across the horizontal center of each bead gives them that floating feel, so it’s definitely more of a dance or flight. If they were in the same formation but at the bottom, they could look heavy, as if they were spilled–nothing wrong with that, but definitely a different feel to the rhythm because they will look grounded.
Ann works in polymer and also a lot in seedbeads–talk about repetition and rhythm! That kind of bead work is all about that. Take a look at her website and practice identifying and feeling the rhythm of the pieces. It’s rather fun to think of work in that way.
If you like this blog, support The Polymer Arts projects with a subscription or an issue of The Polymer Arts magazine as well as supporting our advertising partners.
The texture and color of mokume gane doesn’t necessarily warrant any additional work other than applying it to the chosen form it will adorn. But that doesn’t mean you shouldn’t push it a bit more.
Ann Dillon works in primarily straight-forward forms to display the texture and color of her surface treatments. But occasionally she add a little bit more.
In this pin, she goes back in and adds scratches and pin points to help define the shapes, add richness, and impart more definite direction in the existing lines. It probably looked nice without the additions but the marks really do make the pin pop.
