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This “Margie’s Muse” column excerpt is available in it’s entirety at http://www.margiedeeb.com/html/muse.php
What makes a well designed piece of beadwork? How do you create a unified, harmonious piece so completely balanced and whole that nothing added or taken away would improve it? Emphasizing differences is one way.
Contrast is the opposite of concordance. A composition needs contrast because too much visual similarity becomes monotonous. Imagine if everything in your day-to-day life was the same shade of the same color. There would be few cues to help you make a visual distinction between your beads and, say, your lunch. We need contrast not only for visual distinction, but for pleasure: variety can add zest and delight to life.
The more contrast you use, the more dynamic and energetic your work. If you like high drama, begin by emphasizing differences.
The major ways to create contrast among colors are by using differences in color properties: value (dark and light), intensity (dull and vivid), hue (the actual colors), extension (the physical amount of color used), and temperature. To create contrast, vary these properties of color. The easiest contrasts to discern are those of value and hue.
Stingray, 2010 by Yoli Pastuszak. An emphasis on varied texture adds depth and intrigue to this bead embroidered bracelet. How dull it would have been had the artist maintained similar texture throughout the background.
But don’t limit your exploration of emphasizing differences only to the realm of color. Contrast basic design elements. Juxtapose straight lines against curves, diagonals against horizontals, blocks of color against spheres of color. String patterned beads next to solid colored beads and squares shapes next to ovals.
Play with contrasting finishes and materials. Combine smooth beads with faceted, irregular, or chunky beads. Place shiny metallics next to flat matte finishes.
In single strand necklaces, a contrast in size piques interest. A strand of large, faceted amethyst chunks separated by spacers and seed beads is far more intriguing than a strand of amethyst beads that are all the same size.
Texture contrasts are both visually and tactilely fascinating. Everyone loves to touch fringe laden with different sized beads. Add texture to seed bead weaving by introducing larger beads, peyote ruffles, kinky fringe, or netting.
But be careful with contrast. Too many contrasting elements overwhelm and confuse the viewer. When exploring contrast, aim for balance and unity.
Hey, Bead Artists: check out this sneak book preview: Japanese Beadwork with Sonoko Nozue… you can download a free PDF project from the book. It’s a gorgeous book with stunning beadwork:
http://www.larkcrafts.com/jewelry-beading/japanese-beadwork/
Ink and Prismacolor pencils in my Moleskine sketchbook.
The following is an excerpt from the December Margie’s Muse.
Readers often ask “what is a color that is flattering to anyone and everyone?” I never believed there was one because people are so very different and millions of colors, shades, tones, tints, and intensities abound in fabrics and beads. I decided to learn what others have to say about this, and lo and behold, the Real Simple website has an interesting feature on the subject… complete with photos!
It is the photos that make the article worth devoting a column to: four photos show four differently colored women in what Real Simple calls “The 4 Universally Flattering Clothing Colors.” The pictures do support the thesis, though four skin/hair colorings is a small sampling. However, I applaud Real Simple for the photos: these kind of claims are usually accompanied by no support photos and just a written description of a color, which is of no help to anyone.
I’ve made swatches of the four colors (and a light and dark version of two). They are in my PDF article that corresponds to this blog post.
Please read the Real Simple article. And tell me what you think.
My opinion? For those of us who make jewelry to sell to the ubiquitous Unseen Customer, these four colors provide a launch pad and give us a little more confidence that our color selections will fit someone.
The most promising colors are Eggplant and Indian Teal: they are muted versions of appealing, sophisticated colors. I would use them first when making jewelry for my Unseen Customer.
True Red is the wildcard. A strong, striking color, it looks fantastic on many people. The article quotes Bill Blass as saying “When in doubt, wear red.” It lends power and allure to the wearer. But everyone? I’m wondering how the palest, blondest woman would stand up to it.
I find Mellow Rose questionable, as I know many women and men whose faces would look washed out by this pale, gentle tint (including mine).
I’d like to hear your thoughts: color@margiedeeb.com
The following is an excerpt from the October Margie’s Muse column.
I’m in the process of writing my 5th book, The Beader’s Guide to Jewelry Design. Because I want to make it invaluable, I’ve been soliciting feedback from my newsletter subscriber list and Facebook. I asked about the challenges you face as a jewelry designer in several arenas: color, composition, style, durability, wearability, and more.
Rosanne Andreas responded “…working with iris/metal beads is a color challenge.” Since the topic of last month’s Margie’s Muse column was “Escape the Dark Metallic Iris Trap,” I’d like to explore some of the most aesthetic approach to incorporating metallic iris beads in jewelry.
First, let’s visually dissect the metallic iris bead. When we look at the bead we are seeing three things simultaneously: the actual base color of the bead, a coaing on the surface much like shifting oil slick colors, and a reflective “hot spot” (a bright white dot reflecting the source of illumination right back to us). Each bead is like a little planet with its own surface (the original color), atmosphere (the AB finish), and sun (the hot spot). Keep in mind that all of this is taking place on every single bead. Visually, these are active, busy beads.
The most common mistake is…
Two years ago while teaching at the Toronto Bead Society Bennet explained the phrase “matchy-matchy” to me: “If a woman is wearing a turquoise dress, turquoise hat, turquoise earrings, turquoise necklace and everything is the same shade of turquoise, it’s very… matchy-matchy.” She frowned. (You have to frown or scowl when using the phrase.) Urban Dictionary explains it as “Often used in fashion blogs. Used to describe an outfit that is too co-ordinated and consists of too many of the same types of colours, patterns, fabrics, accessories, designer pieces, thematic elements, etc.” The term is a distinctly negative.
Today’s question(s): What are your thoughts about a set of jewelry (earrings, necklace, bracelets) that closely? As a jewelry designer, how much do you want your earrings to match your necklace and bracelet? As a jewelry wearer, how much do you want your earrings to match your necklace and bracelet? If you steer away from matchy-matchy, how much do you vary the design of each piece?
Thanks, Co-authors, for helping me write “The Beader’s Guide to Jewelry Design.”
Color for Bead Artists 