Material led design – Light and colour with enamels.

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Testing texture and colours for tonal variations.

I have spent some time, mixing colours on several sample pieces of copper, also adding texture to the copper, as in the sample above, creasing the copper.

Varying tint in a blue enamel.

The enamels below were given a transparent layer, than a blue opaque, following this part of the enamel was given a transparent orange, which darkened and gave tones, a white layer was mixed with a transparent and was sieved as the last layer. It had not been filtered for impurities and so clouded. I like the effect of tonal blues and cloud, I tested a transparent green which formed a patch in the first enamel… not really what I was looking for and turned darker than expected.

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How the light hits the enamel colours and then is perceived visually will be somewhat individual, I feel.The tastes in colour preference as we know are individual,possibly affected by cultural norms or memories.  But I am interested in how we individually perceive light and colour. I intend to test out this theory by asking people to give feedback regarding colour samples I have made. What colour each person perceives? Is there wide variations in peoples perception of colours. If I mix several colours can they perceive the variations?

The red enamels below were darkened in tints by adding thin layers of orange transparent enamel… the more layers the darker the tint.

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Adding transparent green, blue and orange gained an olive green

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Screen Shot 2017-03-12 at 15.09.47.png This pendant from my degree work combined a gloss and matt texture of enamels which changed the tones of the green and blue, allowing the translation of primary coloured enamels to a more subtle shading. It saved the pendant from initial primary tones, as it added more complexity and variations of colour intensity.

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These 9cm enamel discs  were made for a commission in 2016. The primary red was toned down with frequent layers of transparent enamel…. the constant return to the kiln, allowed the transparent layers to merge more and more with the red, and for the oxide of the copper to reach the surface. The darkened smoked effect felt more “real” than the primary fixed solid colour that would have initially been the end result with out returning the discs to the kiln.

My intentions are to let this process continue, enjoy the mix and material play, whilst discussing the results and gaining others insight by offering the enamel pieces for feedback.

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