A Variety Show
January 24, 2021
Design lessons
Last weekend I talked about contrast, a concept closely related to variety, which is the subject for this week. Understanding the difference between the two can avoid a lot of confusion so I’ll be referring to contrast a bit today as well. If you didn’t see the last post, give it a quick read here.
Now, what is variation?
Variation is the range or assortment of differences throughout a design. Now, didn’t contrast also speak to differences? Yes, but those differences were between similar types of elements while variation is the degree of difference between all of the elements, principles, and placement choices in your work. It is like contrast in that variation is also used to create interest or energy or to otherwise support your intention, however, while contrast is often the key to adjusting the level of variation, you can have a fair bit of variation with little or no contrast.
To put it succinctly, contrast is the difference between two or more related elements while variety is about the relationship between all the elements in a piece. So, let’s talk about those relationships and how they are used in design.
Picturing Variation
First of all, keep in mind that you can create variation with elements or principles or pretty much any visual or conceptual part of your work.
Take the gorgeous pendant that opened this post. Liz Sabol has variation in color, line, balance, repetition, rhythm and even types of composition. In fact, even though we can identify a use of the Rule of Thirds, a Golden Spiral, and use of the Focus to the Right principle, it’s the barely-there nod to centered composition, created by an implied line from the midpoint focused, and yet asymmetrical, balance of the bail to the centered tip at the bottom of the pendant, that is holding all the chaos at bay. This piece is an absolute celebration of variation.
Alternately, if you use a lot of the same elements or employ principles in the same way throughout a piece, then there would be little variation. You can see that in this simple but still striking little pendant by an undisclosed creative on VK.com. (If you know who made this, do let me know and I’ll update the post.) Here there is regular rhythm, an absolutely centered composition, and every shape is circular. The only variation is created by contrast in the value difference between the black and white and the textural difference between the smooth outer elements and the rough interior disc.
Now, looking at the two pendants, I’m sure you can see that there is a huge difference between the energy and feel of them, largely because of the level of variation.
It’s a Matter of Degrees
So, as you see, a piece can be interesting with little to no variation or contrast. These concepts add points and degrees of interest. It’s your intention that should determine what role they will play in your work.
Just think, if you want a piece to feel solemn and quiet, avoiding high contrast and keeping your variation quite subtle may be what you need. That calm could be very awe-inspiring in its subtlety. Alternately, you can have a piece with the points of contrast and variation ranging from subtle to obvious.
You see an example of moderation in contrast and variation in Amy Genser’s Eventide pictured here. Yes, the piece feels quite busy and has a lot of energy but the contrast and variation are not that dramatic. There’s a lot of texture but it’s all rough and predominantly created from the rolled-up paper elements. The rolled paper elements are all ovoid in shape but with variation in regard to the roundness and width. They also range in size and are very in color although, like the rest of the canvas, they are predominantly blue and cyan, keeping to the cool side of the color wheel. The canvas does open up into a brief mix of reds and yellows in the middle and the color values do range from a dark blue to white. But the variation is applied in a gradual and moderated way. Most of the energy comes from the texture, the repetition, and the sense of movement.
So, we see here that the degree of variation doesn’t have to be high to create energy or interest as other elements and principles can do that quite well. However, I do think in this case that the level of variation included boosts the energy of the texture and repetition. It’s a team effort.
So, unlike some other concepts, there is no way to really list the different types or degrees of contrast and variation and what they might mean for your particular piece. As you’ve seen, this is in large part due to how much these concepts depend on, and play off of, the other choices made in the design.
This is only a quick introduction to the subjects of contrast and variation but I’ll continue talking about them in many of my future posts. If you think about it, I’ve actually been talking about these ideas throughout the year as the differences in your choices for the various elements and principles is quite wrapped up in your decisions on how you’ll employ contrast and variation.
Some of your choices for contrast and variation will be made automatically if you make characteristic choices for your elements before specifically thinking about contrast or variation, like choosing just daisies for a flower necklace or choosing green and red as your color palette because it’s for Christmas. Repeated daisies will dictate rather low levels of variation because of the sameness of the primary motif so you’d have to work with contrast in things like value and size to take it up a notch. And Christmas colors are high contrast so it would be difficult to make the work also feel calm or serene starting from that color palette.
However, you might find it more advantageous to make choices about the degree of contrast and variation that would best suit the work and then make that happen through the characteristics you choose for your elements. In fact, knowing the degree of contrast and variation you want can help you make more confident and intentional choices for your elements, various principles, and composition. That’s how influential the concept of contrast and variation is in art.
Perhaps this talk of contrast and variety will get you jazzed to try out some variations on variety your own self. So, while the sun is shining and the muse is calling, do try to have a wonderful, safe, and creative week!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like, just …
The Lively Creation of Contained Beauty
August 28, 2015
Inspirational Art
Speaking of inspiring containers this week … I found this little box to be utterly enthralling. This beauty was created by Australia’s Debbie Sheezel. According to the description I found with this on Pinterest, this piece was made using cloisonné wiring and enamel, of course, embedded with pearls on the lid of a sterling silver box.
It is the forms and the coloring here that make this so pleasing to look at. The red and orange feel like fire, but the flames come from a cool, organic green. The loose form of the red lines feel alive and with them all coalescing at the center with its gathering of pearls, you have the rich and glorious feeling that this is a visual metaphor for beauty being created. That is even before you know the piece has been entitled Seed. It’s one of those pieces you enviously realize that the artist made all the right decisions, from color to form to line to accents. Even the fact that it is a box with all its possibilities inside seems right.
Debbie is an uncommonly talented enamel artist. Her work is not only beautiful, but you can feel a liveliness in her pieces that is more than the depth this glass ‘painting’ technique affords the artist. We can get such depth with polymer when we are layering translucents, so it’s possible to get this with our medium. It’s just finding the muse that leads you to such colors and lines that would be the challenge.
See more of Debbie’s beautiful pieces on her website and on this enamel artist’s gathering site, Grains of Glass. What a great name. And what a site. Be careful you don’t get lost in there.
Like this blog? Help support us … with a purchase of The Polymer Arts magazine and visit our partners:
Outside Inspiration: Shadows of Enamel
November 7, 2014
Inspirational Art
I don’t know if it’s fair to say that enamel work can give the illusion of depth because usually you are looking into some depth. Enamel work is commonly layered, so you are seeing light reflected back through various colors and treatments applied in the process of laying down and firing powdered glass. But, if the artist works it right, there appears to be a lot more depth than there actually is.
The illusion in enameling can be created with illustrative techniques such as painting (yes, enamel work is often referred to as painting) in deeper colors along the edges of objects and lines. I find Ruth Ball’s work in this approach just mesmerizing. This piece is a small dish all of 10cm wide used for serving spices or condiments. The decorative cloisonne (a type of enameling using thin strips of metal or wire in the design) has many lines and objects to apply a touch of shadow to, making the longer lines seem like deep walls and the reed like dashes appear to float above it all.
I thought this piece would be of interest to those of you who play with translucent clay and alcohol inks. I’m thinking getting painterly with the inks on translucents could result in some very interesting looks, especially if layered. Because layering really thin sheets of translucent clay is not that different than layering enamel, is it? I wish all this blogging didn’t bring up so many amazing ideas. I don’t have time to try all these things, but I hope some of you do!
A break in the day to take time to wander around Ruth’s website would be time well spent. Take a look at her jewelry and see if you aren’t reminded of one of the work of one of our bigger polymer artists. Interesting isn’t it?
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Outside Inspiration:PMC & Enameling
November 9, 2012
Inspirational Art
Even though it may feel like it at times, we aren’t the only craft material that struggles with it being new in the art world. Precious metal clay and polymer are like cousins in that sense. They’re both part of a family of craft materials that still has to prove itself and is still being heavily experimented with.
Joy Funnell is extremely passionate about precious metal clay. Like polymer, there is still much to learn about how PMC can be worked and many persevering ideas about what you can and can’t do with it. Joy took on the myth that enamel was incompatible with PMC by creating pieces entirely made of silver clay with enamel. One of her signature techniques is Enameled Accents which creates jewel-like colors in fine silver wire outlines like in these beautiful masks below.
Of course, I saw this and thought, easy to translate to polymer! Using extruded polymer and colored liquid polymer, you could have the same colorful and delicate look. Or if into PMC but not sure you want to expand into enameling, LPC is an alternative to using enamel on PMC. Because some of us just do not need to add another art material to our repertoire!
Last weekend I talked about contrast, a concept closely related to variety, which is the subject for this week. Understanding the difference between the two can avoid a lot of confusion so I’ll be referring to contrast a bit today as well. If you didn’t see the last post, give it a quick read here.
Now, what is variation?
Variation is the range or assortment of differences throughout a design. Now, didn’t contrast also speak to differences? Yes, but those differences were between similar types of elements while variation is the degree of difference between all of the elements, principles, and placement choices in your work. It is like contrast in that variation is also used to create interest or energy or to otherwise support your intention, however, while contrast is often the key to adjusting the level of variation, you can have a fair bit of variation with little or no contrast.
To put it succinctly, contrast is the difference between two or more related elements while variety is about the relationship between all the elements in a piece. So, let’s talk about those relationships and how they are used in design.
Picturing Variation
First of all, keep in mind that you can create variation with elements or principles or pretty much any visual or conceptual part of your work.
Take the gorgeous pendant that opened this post. Liz Sabol has variation in color, line, balance, repetition, rhythm and even types of composition. In fact, even though we can identify a use of the Rule of Thirds, a Golden Spiral, and use of the Focus to the Right principle, it’s the barely-there nod to centered composition, created by an implied line from the midpoint focused, and yet asymmetrical, balance of the bail to the centered tip at the bottom of the pendant, that is holding all the chaos at bay. This piece is an absolute celebration of variation.
Alternately, if you use a lot of the same elements or employ principles in the same way throughout a piece, then there would be little variation. You can see that in this simple but still striking little pendant by an undisclosed creative on VK.com. (If you know who made this, do let me know and I’ll update the post.) Here there is regular rhythm, an absolutely centered composition, and every shape is circular. The only variation is created by contrast in the value difference between the black and white and the textural difference between the smooth outer elements and the rough interior disc.
Now, looking at the two pendants, I’m sure you can see that there is a huge difference between the energy and feel of them, largely because of the level of variation.
It’s a Matter of Degrees
So, as you see, a piece can be interesting with little to no variation or contrast. These concepts add points and degrees of interest. It’s your intention that should determine what role they will play in your work.
Just think, if you want a piece to feel solemn and quiet, avoiding high contrast and keeping your variation quite subtle may be what you need. That calm could be very awe-inspiring in its subtlety. Alternately, you can have a piece with the points of contrast and variation ranging from subtle to obvious.
You see an example of moderation in contrast and variation in Amy Genser’s Eventide pictured here. Yes, the piece feels quite busy and has a lot of energy but the contrast and variation are not that dramatic. There’s a lot of texture but it’s all rough and predominantly created from the rolled-up paper elements. The rolled paper elements are all ovoid in shape but with variation in regard to the roundness and width. They also range in size and are very in color although, like the rest of the canvas, they are predominantly blue and cyan, keeping to the cool side of the color wheel. The canvas does open up into a brief mix of reds and yellows in the middle and the color values do range from a dark blue to white. But the variation is applied in a gradual and moderated way. Most of the energy comes from the texture, the repetition, and the sense of movement.
So, we see here that the degree of variation doesn’t have to be high to create energy or interest as other elements and principles can do that quite well. However, I do think in this case that the level of variation included boosts the energy of the texture and repetition. It’s a team effort.
So, unlike some other concepts, there is no way to really list the different types or degrees of contrast and variation and what they might mean for your particular piece. As you’ve seen, this is in large part due to how much these concepts depend on, and play off of, the other choices made in the design.
This is only a quick introduction to the subjects of contrast and variation but I’ll continue talking about them in many of my future posts. If you think about it, I’ve actually been talking about these ideas throughout the year as the differences in your choices for the various elements and principles is quite wrapped up in your decisions on how you’ll employ contrast and variation.
Some of your choices for contrast and variation will be made automatically if you make characteristic choices for your elements before specifically thinking about contrast or variation, like choosing just daisies for a flower necklace or choosing green and red as your color palette because it’s for Christmas. Repeated daisies will dictate rather low levels of variation because of the sameness of the primary motif so you’d have to work with contrast in things like value and size to take it up a notch. And Christmas colors are high contrast so it would be difficult to make the work also feel calm or serene starting from that color palette.
However, you might find it more advantageous to make choices about the degree of contrast and variation that would best suit the work and then make that happen through the characteristics you choose for your elements. In fact, knowing the degree of contrast and variation you want can help you make more confident and intentional choices for your elements, various principles, and composition. That’s how influential the concept of contrast and variation is in art.
Perhaps this talk of contrast and variety will get you jazzed to try out some variations on variety your own self. So, while the sun is shining and the muse is calling, do try to have a wonderful, safe, and creative week!
You can support this blog by buying yourself a little something at Tenth Muse Arts or, if you like, just …
Read More
Speaking of inspiring containers this week … I found this little box to be utterly enthralling. This beauty was created by Australia’s Debbie Sheezel. According to the description I found with this on Pinterest, this piece was made using cloisonné wiring and enamel, of course, embedded with pearls on the lid of a sterling silver box.
It is the forms and the coloring here that make this so pleasing to look at. The red and orange feel like fire, but the flames come from a cool, organic green. The loose form of the red lines feel alive and with them all coalescing at the center with its gathering of pearls, you have the rich and glorious feeling that this is a visual metaphor for beauty being created. That is even before you know the piece has been entitled Seed. It’s one of those pieces you enviously realize that the artist made all the right decisions, from color to form to line to accents. Even the fact that it is a box with all its possibilities inside seems right.
Debbie is an uncommonly talented enamel artist. Her work is not only beautiful, but you can feel a liveliness in her pieces that is more than the depth this glass ‘painting’ technique affords the artist. We can get such depth with polymer when we are layering translucents, so it’s possible to get this with our medium. It’s just finding the muse that leads you to such colors and lines that would be the challenge.
See more of Debbie’s beautiful pieces on her website and on this enamel artist’s gathering site, Grains of Glass. What a great name. And what a site. Be careful you don’t get lost in there.
Like this blog? Help support us … with a purchase of The Polymer Arts magazine and visit our partners:
Read More
I don’t know if it’s fair to say that enamel work can give the illusion of depth because usually you are looking into some depth. Enamel work is commonly layered, so you are seeing light reflected back through various colors and treatments applied in the process of laying down and firing powdered glass. But, if the artist works it right, there appears to be a lot more depth than there actually is.
The illusion in enameling can be created with illustrative techniques such as painting (yes, enamel work is often referred to as painting) in deeper colors along the edges of objects and lines. I find Ruth Ball’s work in this approach just mesmerizing. This piece is a small dish all of 10cm wide used for serving spices or condiments. The decorative cloisonne (a type of enameling using thin strips of metal or wire in the design) has many lines and objects to apply a touch of shadow to, making the longer lines seem like deep walls and the reed like dashes appear to float above it all.
I thought this piece would be of interest to those of you who play with translucent clay and alcohol inks. I’m thinking getting painterly with the inks on translucents could result in some very interesting looks, especially if layered. Because layering really thin sheets of translucent clay is not that different than layering enamel, is it? I wish all this blogging didn’t bring up so many amazing ideas. I don’t have time to try all these things, but I hope some of you do!
A break in the day to take time to wander around Ruth’s website would be time well spent. Take a look at her jewelry and see if you aren’t reminded of one of the work of one of our bigger polymer artists. Interesting isn’t it?
If you like this blog, support The Polymer Arts projects with a subscription or issue of The Polymer Arts magazine as well as supporting our advertising partners.
Even though it may feel like it at times, we aren’t the only craft material that struggles with it being new in the art world. Precious metal clay and polymer are like cousins in that sense. They’re both part of a family of craft materials that still has to prove itself and is still being heavily experimented with.
Joy Funnell is extremely passionate about precious metal clay. Like polymer, there is still much to learn about how PMC can be worked and many persevering ideas about what you can and can’t do with it. Joy took on the myth that enamel was incompatible with PMC by creating pieces entirely made of silver clay with enamel. One of her signature techniques is Enameled Accents which creates jewel-like colors in fine silver wire outlines like in these beautiful masks below.
Of course, I saw this and thought, easy to translate to polymer! Using extruded polymer and colored liquid polymer, you could have the same colorful and delicate look. Or if into PMC but not sure you want to expand into enameling, LPC is an alternative to using enamel on PMC. Because some of us just do not need to add another art material to our repertoire!
Read More