June 2, 2019 Inspirational Art

Have you ever looked at a piece that you are creating and think, it could use a little more contrast? And when you think of contrast, what do you turn to? Colors? Light or dark values? Maybe texture? How about, next time you’re looking for more contrast, you consider orientation?

In most work, there is a perceivable orientation of the pieces, marks, and edges. If everything is going in the same direction –vertically, horizontally, or some version of diagonally – there is a constant and strong flow in that direction which can be a wonderful way to convey certain emotions or levels of energy, but mixing it up can increase the energy of your work when it needs that extra boost.

I was thinking about that this week because we finally determined a suitable tile design for our new shower. The go-to design for shower accent tile is running it horizontally towards the top of the wall, although vertical lines have become a thing of late. I don’t particularly like either, but then I came up with the idea of having both – a vertical run of accent tile down the middle of the faucet wall and a horizontal one on the opposite side where we created a sunken ledge. I came up to this when it hit me that we had only been considering contrast in terms of tile color and not the orientation of those swaths of contrasting tile.

So, I thought this week we could look at contrast of orientation in polymer art. It can be such a simple thing to tweak in a design and yet it can make a huge difference in the feel, dynamics, and focus of the work.

Orientation versus Line

I think we need to define a couple of terms before we dive in here. As you’ll see, I’m going to use the words “orientation” and “line” a lot in this post, but I don’t want you to get confused and think of them as the same thing in terms of design.

Let me start out being the master of the obvious for a moment by defining those terms: Orientation is the relative position of an object or element from a particular viewpoint while a line is an element that follows a singular path and whose path can have an orientation. For instance, a bean pod lying on the counter has a horizontal orientation. The seam of the pod, on the other hand, is a line, which, following the length of the pod, will have the same horizontal orientation as the pod’s shape. Crack open that seam and you have a horizontal row of beans as well, even if each bean is sitting up (so each bean itself has a vertical orientation.) That’s because a row is a visual line. However, each item in a row will have its own orientation as well.

In other words, most everything will have its own orientation, including lines, but lines are not the only thing that has an orientation. Their orientation just happens to be very prominent and lines are a common and highly employed design element so I end up pointing them out a lot here.

Below is a more interesting example than a bean pod (although I found this while looking for polymer bean pods because Shelley Atwood, the creator of this pair of earrings has also made bean pod earrings!) Here there are a lot of vertical elements. The overall shape, the snakes of clay, and the row of balls are all vertical. However, the texture on one side runs horizontally within the vertical shape of the earring. And with that, she’s created contrast in orientation.

So, all you have to remember is that a line will have an orientation, but a shape, mark, or edge, also has an orientation. Orientation is like a bigger, more general characteristic of an element while line is just one type of element. Is that all a bit much for a Sunday morning? I wasn’t aiming to take you to class but there you have it!

Cases for Contrasting Orientation

Let’s start with a simple but high contrast example in orientation. This pendant by  Kseniya of Etsy shop Solar Bird has a vertical shape but is heavy on the horizontal lines. The contrast in orientation carries this piece. It takes a simple construction – a stack of extruded canes – and creates the energy this contemporary, understated piece needs. The contrast between surfaces (the horizontal lines versus the stack of concentric circle cane ends) creates interest but such a pendant would not have had as much presence if it had been a simple square or an equilateral triangle as those lack the contrast of the vertical shape against the horizontal lines we have here.

Here is another way to work with a vertical shape and introduce contrast in orientation. These polymer and metal earrings by Sue Savage include vertical polymer shapes with diagonal lines in the treated polymer and in the wire, creating a very dynamic, kind of spinning feel to the set.

The elements in Jeffrey Lloyd Dever’s work is a constant study of variation in contrasting orientation. His pin in the opening image of this post has elements that are strongly opposed in orientation. However, how the brooch is worn determines the level of contrast and how it feels when looking at it. If the long central body of the brooch is set vertically or horizontally the individual spines create a high opposing, and thus contrasting, orientation. If set on a horizontal, like it is in the image, it becomes a series of opposing horizontals which isn’t quite as stark a contrast. Isn’t that interesting?

There is one design element on that pin, and in his assemblage piece below, that does not have an orientation but is integral to the design, slowing down all that contrasting energy and giving the eye a place to rest. I bet you can identify what that is.

As you might have noted earlier, I said that “most” objects have an orientation. Well, you are now seeing the one type of object that does not – a symmetrically round one. A circle or a ball has no top or bottom, no sides, no vertical, horizontal, or diagonal edges. It is one continuous curve. Because of that it visually sits still. It is grounded and yet imbued with mild energy. That’s why circles, dots, and balls make such great focal points. So, if you going to go high contrast with lines or orientation, and it feels like it needs to be reined in, a round element may be just what you need. With every type of orientation included in the brooch assemblage above, the ball is needed to anchor all that energy, give it focus, and provide a place for the viewer’s eye to rest.

Let’s look at a more subtle use of orientation that is still high contrast. Sonya Girodon loves contrasting verticals and horizontals, sometimes in very obvious and stark ways, but other times her dedication to these absolute orientations is set in a more understated manner.

In the necklace below, most elements are involved in both horizontal and vertical orientations. The horizontals appear as marks on the clay but are also present in the row of staple-like wires, the two rows of circles (the horizontal emphasized by the lines running through them), and in how the vertical marks are lined up. The staple wires themselves are vertical as are many of the marks and the overall shape of the pendant. This high contrast in vertical versus horizontal within the elements that make up this piece creates a tremendous amount of energy but it is softened and contained by the curve of the central shapes and the circles which, again, create a focal point.

I think by now you must be getting the idea. You can switch up the orientation of elements such as shape, line, and marks to increase, decrease or anchor the energy of your designs. I think we all inherently know this, but how often do you make a conscious decision as to how the various components or elements in your work will sit in relation to the others? I think this may be one of those too often neglected design decisions. But maybe now it won’t be glossed over next time you sit down at your studio table.

I am going to have to leave it at that this week. I have much to do as I prepare to run off to Australia next weekend. I am going to put together something for you to have on the weekends while I’m gone and, with any luck, I’ll be able to sneak in some pics from the trip as well. But as those of you who travel internationally a lot know, you just can’t count on Internet connectivity. And I could really use some unplugged time.

Important Info in Our Recent Newsletter

In the meantime, if you got our recent newsletter or if you are a reader of our other publications (thank you so much for your support of our projects!), be sure to read about the upcoming increases in USPS shipping and why it has become so very important to keep us up-to-date on any change of address.

There is some fantastic news in that newsletter as well – we are having a sitewide SALE! Go ahead, stock up, and take 10% off everything in your cart. Head over to our website here by Thursday (June 6^th) and use Promo code Now10.

If you don’t get our newsletter, you can see this edition here and sign up for it on our home page (scroll down … it’s on the right side) here.

We have walls!

For all you fabulous and funny people who are still interested in the house progress here, we have walls and floors and many fewer holes! We still don’t always have a hot shower so we have to get that figured out and soon. But we have had some warm days for the first time in I don’t how long, so it’s been a good week. But the constant checking in with the contractors and this whole designing of the shower tile has eaten up a ton of time so I must run off. It’s a working Sunday for me, which is kind of sad, but it’s going to be worth it when I am snorkeling through the Great Barrier Reef and shooting pictures of curious creatures on Kangaroo Island!

In the meantime, stay inspired, keep creating, and enjoy a wonderful first week of June!