Pantone Color Everywhere
August 31, 2013
Inspirational Art, Technique tutorials, Tips and Tricks
So apparently, this has been quite the week for Pantone in the craft blogs.
Besides the posts here, Art Bead Scene chatted about the new Fall colors, showing off some lovely bracelets in the palette colors and throwing in a nice little tutorial for a hidden clasp beaded bracelet.
Then over at the 2 Good Claymates’ blog, Carolyn and Dave spent the last week breaking down the Pantone colors and giving away polymer clay color recipes for the majority of the Fall 2013 palette. Here is a collection of their trademark flowers, using their recipe for the rich orange that Pantone calls “Koi“.
The Goods also have recipes for Samba, Mykonos Blue, Deep Lichen Green, Linden Green, Turbulence and Carafe as well. (click on the color name to get to their post on each of the colors.) If you like the Good’s recipes, you might want to get Carolyn’s Color System tutorial for some more color exploration.
Thank you to Francie Owens, who sent me the Art Bead Scene link, and to Jamie Hibbs, who clued me into what the Goods were up to this week. Thanks for keeping me in the loop, ladies!
Outside Inspiration: Bead Embroidery in this Fall’s Colors
August 30, 2013
Inspirational Art
I am off a tad from Pantone’s palette on the colors of this piece, but of all the pieces I looked at, I kept coming back to this. Maybe it’s because I could see this being done in polymer (by a very patient and dedicated artist). The bib style necklace, not to mention the overall texture and stones, could be translated into an incredibly beautiful polymer piece.
Bead embroidery is a type of bead art that uses a needle and thread to stitch beads to an underlying surface, usually fabric or leather. It requires a tremendous amount of planning, precision, and, of course, time.
Guzel Bakeeva is a rather prolific Russian bead artist with some of the most amazing compositions in this type of work that I’ve seen. Mind you, I’m sure I need to investigate even further into this kind of work (what a horrible task to look forward to!), but her work is quite varied and always mouth-droppingly gorgeous. I can’t even say that this is one of her most stunning pieces. Yes, she has much more to rival this piece, but it stuck with me and the colors could work with this Fall’s palette.
Put some time aside today to look at her website. Just remember to occasionally pick your jaw up off the ground. As my dad used to say, “You don’t want to catch flies!”
Graduating Gray
August 29, 2013
Inspirational Art
Grays are not the most popular color choices for jewelry and home decor, and certainly not in polymer. Gray is completely neutral and is actually a shade, not a color. However, people do have gray outfits to coordinate and, honestly, if you’re going for more subdued accent pieces with a black outfit, gray is an excellent choice.
Using a variety of grays in graduating shades, all either cool or warm, is one of the best ways to create strong visual impact. Strong lines and graphical elements also work wonderfully with grays. Here is an assembly by Poland’s Jagna that demonstrates the drama of graduated grays and how well it can highlight a single color, even another rather neutral one. In this piece, Jagna goes from pale silver gray to dark slate, but with a trail of gold peeking out from her mokume pattern. Between the graduated grays, the graphic lines, and the contemporary shape contrast, this whole piece is the kind of adornment that could make a little black outfit really shine.
Here is another piece by Jagna that is just gray. It’s still very dramatic and high impact for a uncomplicated necklace design.
The one thing about working with gray (or any monochromatic palette) is that you are forced to rely heavily on your other design elements, rather than depending on color to carry a piece. In fact, one of the tricks we used in art school to analyze composition, contrast,and overall design was to take a black and white photo of the piece in question. If it didn’t work in gray scale, it was usually pretty weak even in color. Try taking a black and white photo of your work next time you get the feeling it’s not quite right, and see if that doesn’t help you find where the issue is.
Floral in Fall
August 28, 2013
Inspirational Art
Working up a Fall product line doesn’t mean leaving your floral tendencies behind; the fashion designers certainly aren’t this coming year. From all I’ve read about upcoming trends, pattern in general will be a big focus and flowers, especially wispy wildflowers, daisies, and even dandelions, look to be the “in”thing. So how would you change things up from your Spring or Summer collection of blossoms?
Color will be primary in changing up for a Fall look. Although the Pantone palette for Fall has some rather bright colors, they are not pure colors or pastel. The Samba red and the Koi orange are both deeper and a step or two off their color origin, and the lighter colors are neutral more than anything; the Linden Green comes awfully close to being a kahki, and the Deep Lichen Green is more a cool gray than a green. So, can your flowers still be beautifully ornamental if toned down from their summer brilliance or if created in neutral colors? Of course!
Eva Thissen does neutral floral with a very delicate and controlled application of lines, small shapes, and contrast in color. In this case, we have a rich red heavily contrasting a neutral green (pretty much that Samba red and Linden green in the Pantone palette) with subdued blue, cream, pink, and brown flowers accenting the scene. Feminine, fetching, and definitely floral, there is the reserve and the richness associated with Fall, although I would be putting this in my jewelry rotation year round.
Part of Eva’s distinction as a polymer artist is in her color choices. Although she is far from the only one to work heavily in the polymer embroidery technique, I find I easily recognize her work due to her color choices, not to mention the precision of application with those tiny bits of polymer and her penchant for story-like scenes. Enjoy perusing her Flickr pages and her enchanting pieces for a bit today.
Pantone’s Fall Colors
August 26, 2013
Tips and Tricks
I’m sorry I don’t have an actual polymer piece here today, but I’ve had this on my block to blog about since it came out. Pantone distills the color trends and comes up with color palettes for the coming season for designers and artists to use as a guide when developing their product line. With Fall just around the corner, I thought we ought to take a look at what fashion and home decor will be trending color-wise. And beside, they are really beautiful colors this year!
This palette is Pantone’s, but I pulled this particular image from “Brandi Girl Blog” because it’s a great image to print out and keep in your studio if you want to follow the color trends, but also because she’s provided a whole slew of color combinations that you could use to help map out your pieces.
The colors this year are saturated and rather bright, but I think it’s fantastic–perfect for polymer! I have my eye on this particular blue-green-purple combination. Yum.
Do check out Brandi’s page of color combinations, and if you want to keep a close eye on color trends, sign up for Pantone’s newsletter on their website.
Evoking with Color
August 7, 2013
Inspirational Art
Our connection to nature is so strong that a set of colors alone can represent the natural and a sense of being outdoors.
Elsie Smith does a nice job of keeping her colors simple, while still evoking a strong association with nature. The colors we identify with trees, earth, wood, and sunshine come through in the soft, brushstroke-like lines of this subtly designed pendant.
The combination of colors is what brings this sense of nature to us. But if the stripes were graphic and well-defined, or if the pendant was a square rather than a soft leaf shape, or if we had a glitzy, faceted gem instead of a water-drop-like cabochon, we’d probably lose that association almost completely. It’s a rare element in art (or in nature) that is not in some way dependent on other characteristics to carry the intention through. So although the right color palette may be key to portraying a sense of organic and natural, don’t forget that every choice you make in your artistic creations has the potential to change the message. Every choice is part of the whole.
To Cane Well
July 8, 2013
Inspirational Art
Most of us, if we’ve played with polymer for any length of time, have tried our hand at caning. Some of us have become obsessed and do almost nothing but canes, while some of us look at our attempts and then the many other great examples out there and decide to enjoy their wonder in the works of others. But no matter where you are on the caning spectrum, you probably use the concept of caning more than you think. The concept is a simple one that can result in immense complexity–lay various colors and shapes of of clay together lengthwise and cut it crosswise to reveal a pattern. In what we usually think of as a cane, the pattern is mapped out to result in a particular design, and the clay has been reduced so the pattern is solidified and spaces between the different pieces of clay have been eliminated. But that isn’t always necessary or desired.
This week I thought it’d be fun to look at what makes a good cane, what crazy things people do with them, and the way the concept is used in other areas. But today, let’s just admire some pretty caning work. Ivy Niles Koehn (pronounced ‘cane’, she says) creates the kind of canes I’m happy to sit back and admire rather than blunder through an attempt of on my own. Ivy’s kaleidoscope canes are richly detailed with recognizable images, like the leaves you can see here, as well as straight patterning. But generally her canes succeed because of color and pattern choices, as well as some decent skill in preserving the lines while reducing.
In this cane of hers, the palette is reds leaning towards oranges and greens leaning towards blues, so all the colors contrast from opposite ends of the color wheel. There is also consistency in the changes within colors as they are all only tinted or shaded (having white or black added) rather than changing in saturation (brightness or density of color) or moving around on the color wheel. The patterns are also from a rather small range of forms … flowing lines or spot/circles, all organic looking with no hard angles. The consistency throughout of both color and pattern make for a strong design.
Ivy’s collection of available canes for sale in her Etsy shop, IKandiClay reveals other well-planned designs as well as some simple, basic canes that could be building blocks for more complex designs if you want to use her work to give you a good head start.
Have suggestions for other artists this week? I have been picking out canes to chat about, but if you have a favorite cane or caned piece that you think just must be shared and talked about, write me at sbray@thepolymerarts.com with a link to this icon of caning as well as your information so if I use your suggestion, I can show my thanks with a mention and a link to your own website, blog, or store!
Guest Post: Radiate!
May 9, 2013
Inspirational Art
My dear and darling friends Tracy Holmes and Dan Cormier are helping out a tired and worn out publisher this week by guest posting for me today. I wanted to write up something about their color projects for our color theme this week but Tracy graciously took the writing upon herself and Dan put together the fun image of the cubed color project they conducted for Synergy 3 (they are such incredible idea people!) So go ahead and ‘radiate’ with them …
When I invited artists to participate in a project that combined the diversity of polymer clay with the almost uncountable possible configurations of a Rubik’s Cube, I gave them a few guidelines. While each artist was welcome and encouraged to showcase their own skillset and sing in their own creative voice, this was, primarily, a project about colour. “Please,” I suggested, “Keep each of your six sides within a clearly identifiable Pentaradial Palette.”
A what?
Through this project, and through my workshop and seminars at the recent Synergy3 Conference in Atlanta in March, I introduced a new approach to colour that I’ve being playing around with; a new way to explore and understand it, in theory and practice. In my world, a ‘Pentaradial Palette’ is a group of colours that radiate from a single, central place to create a cohesive collection of related hues. Basically, it’s taking a standard ‘Colour Wheel’ colour and, rather than chasing it around in circles as one of six, moving it into the middle to become a single ‘Hub’ for the other five. Whether you start with RYB or CMY (that’s another discussion), for this discussion, can we all agree that Green is a Secondary colour? Good. So, here’s what my PC3 artists got as their ‘Pentaradial Palette’ grid guide for the Green side:
With the right recipe (concept + clay + courage), mixing custom colours is easier than you think. But having said that, if you’re not quite ready to go DIY with the CMY, there are plenty of prêt à porter spokes already on the pre-packaged polymer clay colour wheel. Starting as recommended, with the purest and simplest of Hubs, here’s what nine of my PC3 artists did with their Greens:
As a polymer clay artist and teacher, I think it’s best to work towards work that features a personal palette, rather than one that relies on colors that are right out of the package. And, as my color-courageous Cubists discovered, it’s amazing how quickly adding just a little of ‘this’ to a package of ‘that’ will shift the starting hue away from something everyone recognizes, to something that is so much more ‘palettably personal.’
So, whether you’re going Green, mellowing Yellow, seeing Red, feeling Blue, shifting Cyan or mixin’ it up with Magenta, stop spinning your wheels. Grab a color, start there … and radiate!
Follow Tracy & Dan’s color adventure on their Facebook page at: www.facebook.com/TheCuttingEdgePolymerClay
Naturally Formed Color Palettes
May 8, 2013
Inspirational Art
I have always found that one of the most fascinating and astonishing places to study color and find inspiration for combinations is in natural elements. Not just in the outdoors, mind you, but all things naturally formed. This may not seem like news but have you ever stopped and studied the actual combinations of color not just inherent in any single thing but even the combinations that occur naturally. Have you ever seen a rock including the tag-a-long bits like lichen, moss, rust, etc. that had clashing colors? Did you ever look at the shade of green in the leaves surrounding a colorful flower and think “That color green so doesn’t go with those flowers”?
Maybe I’m just a little odd but for years I would go on hikes or to zoos and actually try to find poor natural color combinations. I have seen a few that weren’t to my taste but by all I know of color theory, they always work. How does Mother Nature do that?
Drawing inspiration from natural color combinations is just another way to bring fresh ideas into your studio but that is also the trick … keeping it fresh. The thing is, you don’t have to be literal. You may love the autumn colors of the changing trees but that doesn’t mean you can only use those colors with leaf and tree motifs. Take the colors where they’ve never been before.
Peacock colors are extremely popular but so many of the applications are replicating the feathers as well. No need for that. Do something completely feather free. Here Chris Kapono goes wild with the peacock colors but with a very unfeathery pebble-like appearance in her Little Peacock Book Box.
Take nature’s challenge and find some natural color combinations that strike you and see what you come up with in your studio. Keep your camera at the ready … you never know when nature will bring you the perfect palette.
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We are going to be dropping in on some big names this week and next to see what they are up to and what they have to inspire us with.
First up: Bonnie Bishoff. Her focus on jewelry these last couple years has been a journey through a variety of styles as she moves from working primarily in veneers on furniture with her partner J.M. Syron to smaller and more intimate work. But regardless of the style, her quietly strong and confident sense of color and pattern mark each piece like a signature. These lovely earrings are paired almost solely by color scheme although they do work within a limited set of variations in composition, visual texture and shapes. Each variation relays a slightly different mood, adjusted through the level of contrast in value and hue. The subtlety of this communication is what really brings home how masterful her color work is.
You can see what I mean by looking at the body of her work. You can do so by jumping onto her Instagram page and the website she shares with J.M. Syron.
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Guest Blog Post by Donna Greenberg
We don’t seem to talk much about emotion or mood in polymer art. We share a lot about color, design, construction, and problem-solving, which are all necessary and practical ideas, but seem to shy away from work that is clearly emotional, thought-provoking or even frightening. Although not a polymer artist, Beth Cavener’s work takes this subject head on with her large-scale animal sculptures and offers us food for thought, especially those of us that love to create human or animal sculptures.
Hares, foxes and other familiar and beloved creatures in folklore are given uncanny human-like facial and bodily expressions, making us look twice at Cavener’s sculptures. Occasionally she will even add a decidedly human body part to the animal, yet manages to do this in such a way as to make it seem quite natural. Her creatures seem to have been frozen in a moment of action, often expressing fear, uncertainty or other primitive human instincts. If we look closely, we can almost see our own human emotions reflected in them. It’s not always comfortable to witness these works, but Cavener’s attention to every detail, exquisite craftsmanship and control of the narrative masterfully lures us into her world nonetheless.
Her sculptures are also technically brilliant. The artist methodically goes through multiple steps during weeks and months of creating thumbnail sketches and numerous small maquettes, and then makes many changes in designing the right armature before she even starts on her final work. Yet as traditional as some of her methods are, she still has no fear of flouting “rules” when it comes to achieving her desired look. Interestingly, Cavener ignores most ceramic glaze-type finishes in exchange for basic household latex paint, an action that is often frowned upon in purist ceramic circles. Keeping a limited color palette helps support the mood as well as shows off her prodigious sculptural handwork. Surprisingly as well, she will sometimes incorporate classical delft porcelain colors with elegant Japanese-style tattoo designs such as those on the snake in “Tangled Up in You” which adds a soft, accepting moodiness to an otherwise disturbing subject. Combining all these disparate artistic goals in any single piece could easily become a messy affair for many of us, but in the hands and mind of a master like Cavener, it all comes together beautifully.
See more of Beth Cavener’s striking work at her website.
Check out the new “BioSystem” wall works from Donna Greenberg on Facebook. This is a brand new series incorporating her love of organic forms such as lichen, fungi, and corals with her interest in painted details in a true wall-hung format. Her self-challenge is in combining multiple intricate complex forms with a limited color palette to create depth and dimension with a strong yet subtle outcome. Visit Donna’s website here.
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Is this pattern from cobblestones, beehives, bubbles on the surface of sudsy water, or the mash of cells under a microscope? I have no idea, but I do know this kind of pattern is all over the place in nature. I cannot be sure which, if any, of those guesses inspired the surface design of Sandrine Arevalo Zamora’s tube here but what I do know now is that you can take that fun natural pattern and add a great color palette and you have the formula for a piece of adornment that the eye will gravitate towards.
I think I gravitated towards this not just because of the color and pattern but because it is just a tube. And I wondered what she created this for. I was thinking napkin ring (we’ll blame that on a recent visit to Ikea), which, I think, you still could use it for but she is selling this as a versatile scarf and necklace component. It really does make a great scarf piece and is very easily tossed onto a chain or leather thong for an eye-catching necklace. Click the image to get to her Instagram string of images for how she suggests this is used.
I tried translating the French commentary she posted with this and got something about balloons so perhaps she was not inspired by nature but being Google was translating, one just doesn’t know. Nonetheless, if you look, you’ll see this pattern all over. Sandrine plans on teaching this technique in Provence Easter week at the Polymériades event along with Christine Dumont, Karine Barrera, and Mathilde Colas. Check out Sandrine’s Instagram and Facebook page for more of her work.
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We don’t often look at food as inspiration on this blog but I am starting to think maybe we should. Just look at these cookies! They are little works of art that I can’t imagine actually eating, or at least there would be great hesitation … at first. I bet they are as delicious as they are beautiful.
This tasty artisan is Frances of the Banana Bakery in Dallas. Texas. With a background is in product design, she had a good basis for developing visually appealing pastries when she started on her baking journey in 2010. Realizing that this was where her real passion lies, she left the world of product design behind and turned to focusing on the thing she loved the most–decorating sugar cookies. Her love of this art is quite apparent and her skill is mind-blowing. It’s not that other people are not doing this kind of thing but from what I’ve seen, her skill and range of application is fairly rare.
As for why this would be a polymer inspiration … I suspect it is obvious how one could create this kind of thing in polymer either with extruded strings or as design inspiration for polymer embroidery. The color combinations are wonderfully joyful and could be a source of color palette ideas.
The sad thing is, you can’t order these shipped to your house, at least not at present. It looks like she keeps exceptionally busy filling orders as it is but if you are in the Dallas area, I’d suggest making a point of seeking out the shop. In the meantime, you’ll just have to drool from a distance with a stop by Frances’ website or Facebook page.
Weekly Inspiration Challenge: Take a piece or technique that you have recently created or worked with and make at least 5, preferably 10, or more, versions of the piece or technique. Change it up each time in some significant way to see where your muse takes you.
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Moving along with the minimal color palette, as well as an unusual way to work tendrils into a piece, I have here, for your kind consideration, a piece by the lovely Klavdija Kurent who is always very inventive and exploratory.
The chaos here is kept to a minimum and feels more like a small rebellion by some underground snakes wanting to get out and dance. The circular layers of the bracelet keep a hand-hewn quality while being very controlled with its regular pattern. The contrast comes in with these squiggling little tendrils that add just the spark needed with their shiny red tips. Their grouping and where they are rooted along with their direction and degree of wave all vary to add a bit of an unexpectedly festive touch. That just goes to show that not every element in a piece must fit a particular style or theme. A change in style, even within a piece, can also be valid. As long as it’s obviously intentional.
If you too are attracted to the unexpected, take some time to tour Klavdija’s Flickr photostream and her blog.
Inspirational Challenge of the Day: Take an existing piece you’ve been working on or a design you commonly create and try adding an element or elements in a very different style or theme. It should have some connection to the other elements, thematically, visually, or otherwise.
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So I spent my day at Sandy Camp in San Diego with a wonderfully enthusiastic group. I taught a mokume gane workshop with my little clayers coming up with some gorgeous results. However, I was too busy chatting and answering questions to direct my in-room photographer (thanks Mrs. Friesen!) to get some close up shots of the really wonderful color combinations and patterns that filled the tables. But what I did get, as did the rest of the lucky attendees, was a first look at a great new app created by our community’s own Nancy Ulrich. It may not seem like digital apps would have a place in hands-on craft, but this one was created just for clayers like you and me. Especially if you like color.
Well, that’s a silly thing to say. Who here doesn’t like color? But who here dreads trying to work up a color palette then figure out the color recipe for each color? If you raised a virtual hand in response to both those questions, then the ColorMixr app is going to be your new best friend! This is a purely polymer-clay-centric, color-picking, and palette-creating app. It was just released last night–it had just gone live in the Google Store hours before the demo I saw and the first Apple downloads happened by people in the room as Nancy presented it.
Here’s how it works: You take a photo, upload an image, or pick something you find online and feed it into the app . The app has little circles that will automatically pick out 5 colors to create a palette but you can also move over the image until each circle is over a color you want (see the screen shot upper left). You can also choose colors in a color wheel to adjust the color choices (screen shot upper right). Once you have your palette saved inot your palette library (screen shot lower left), tap on the palette to get a list of the color recipes for each color in it (screen shot lower right) … based off your specified brand of polymer! That’s pretty darn nifty! And know that Nancy has personally mixed and checked all 2000+ colors recipes available in this app–she even brought all the boxes of samples she made to prove it. Phew! She has been one busy lady!
We’ll be working on a review and a how-to-use-it article for the next issue, but in the meantime, download it for yourself and go play! It’s free to use for the next 30 days. If you like it, you can have this handy tool literally at your fingertips to capture any color sets you see out and about or online for a monthly membership ($3.99 with big discounts for pre-paid 6 & 12 month memberships) with regular color updates and/or new colors every week. Just search for “ColorMixr” (no ‘e’ in mixer) in the Google App store or Apple store.
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I always hesitate to post pieces with little or no color, as they just don’t get that immediate attention that really colorful work does. But, it would be hard not to talk about monochrome, which is another classic color palette that is ideal for mokume. The advantage of monochrome is it’s striking and often graphical nature. As artists, we are forced to look at value, form, line, etc. instead of leaning on color. Now, I know lots of color is one of the fun advantages to creating mokume, but monochrome is a little bit of a challenge and one that can result in amazing pieces.
This pendant by Rebecca Geoffery is just one such example. The fact that she worked with a very controlled approach to line and value works so well for a piece that can’t lean on the impact of color at all. Sure, this could have been done in a really striking set of colors, but I think it might actually have taken away from the beauty of the lines and the repetition. They take front and center in this simple piece, and I think it’s just about perfect as is.
I can’t sign off today without a virtual hug to all my American friends celebrating Thanksgiving today. This is the day we should be contemplating the truly wonderful and blessed advantages, people and opportunities in our life. I am most thankful to you, my many readers, who allow me to blather on about things I love and am so passionate about. Thank you for allowing me to have this as part of my daily life! A very Happy Thanksgiving and a big hug to all my friends and readers across the globe!
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I know we’ve looked at mokume before, but I have quite a few pieces that I’ve been storing up and want to share. Since the question of color palettes came up almost every day last week, let’s look at mokume and the chosen colors palettes as a jumping off point for this week’s discussion.
This set of mokume pieces was created by Carrie Harvey using a tutorial by Albina called “Hidden Flowers” (find it on Clay Lessons here.) I don’t usually post student renditions of other people’s techniques, but I think this was well done, and the color palette and shapes were a decent departure from that in the tutorial (as least as far as I can tell), which is as it should be. And the technique is really a take on mokume polymer, so it’s not particularly exclusive. It does, however, offer us an opportunity to talk about color choices.
This palette is pretty straight-forward, but can you recognize right off why it works? You have a sky blue, a coppery brown and a rust red. The blue and copper (basically orange for the sake of this conversation) are color opposites while the rust red is analogous to the orange (next to each other on the color wheel), which makes it a close contrast to the blue. In other words, all the colors have a relationship to each other, either contrasting or close enough to give the color palette cohesiveness. Although, this is a rather scientific look at these color choices, the instinctive connection comes from nature. The copper and rust red are fall leaf colors you might commonly see against a clear blue autumn sky. Nature knows how to use colors well herself, so if you are every stumped, take a look outside!
And drum roll please … The winner of our active critique week is Debbie Goodrow. Congrats Debbie. You should have an email in your inbox to let you know how to claim your giveaway. Thank you all so much for commenting. I think you all win in this little contest–the comments were incredibly insightful, and the varied point of you certainly demonstrates how much of art is really in the eye of the beholder. I hope you all found that it helped inform your view of the work and that you will keep it up, if not posting comments (and I would love to see more comments just any time), at least in your own viewing of the posts and art work. I give my opinion and my view, but as you saw last week, there are many, many ways to see a work of art.
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This week, I just want to put up some examples of perfectly executed and finished work, to focus on skill and craftsmanship and look at how that attention to detail and care in handling can be, and often is, at the center of what makes a piece work.
Daniela Klein is not a master artist, not yet, but her efforts point to really excellent potential. Looking through her Flickr photostream, you can see that a good looking finish is important to Daniela but execution has had its challenges at times. But then, in her timeline you see two pendants and the couple of pieces that come after, that show an increased attention to the fine tuning of the pieces final look. The two pendants were created in a class with Dan Cormier’s, one of our community’s absolutely perfection obsessed craftsman. This pendant, although made in Dan’s class, doesn’t look like a Dan Cormier piece but the techniques are recognizable. The color choices and lines follow trends in Daniela’s past pieces making me think she followed her own creative muse in the class but made a great effort to emulate the fine finishing details that are a large part of Dan’s signature look.
As far as I can tell, Daniela’s work is only present on her Flickr pages right now. But take a look at her journey there and then keep an eye out for her in the future!
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