Hitomi’s Week One Study Notes
WEEK ONE STUDENT NOTES
compiled by Hitomi Gilliam
Companion text to both the First Lecture & Hitomi’s first Mentor Session, which can be watched via the following links
Lecture One with Hitomi & Per - https://youtube.com/live/AWi2lvIhzo8
Mentor Session One w/ Hitomi - https://youtube.com/live/Uj5j5MTyVUU
It is apparent from the Fundamental Sessions Part 1&2 that developing exciting color blending that creates emotional attraction is to reach out for complex harmony.
To review the 2 ways in which we can achieve Complex Harmony…
Colour Extraction – look to the colours that exist within the bloom and build out that palette
Colour bridging – finding colours that help bridge 2 bookend colors by way of gradation to build the between the colors palette, seeking additional tones from the grey and brown scale… their neutral quality helps enrich the creative colour detailing.
In this advanced segment of Floristic Dialog Colour, we hope to pursue methods and solutions to colour challenges.
Hitomi’s Colour Challenge is BLUE, specifically Turquoise. I selected the colour that is most scarce in botanicals…. but is one of my favourite color derived from the American Southwest décor and jewelry.
Step #1: Building the Colour story around Turquoise.
Turquoise is the color that emerges on Copper metal when it weathers. The blue patina on copper is a beautiful and desirable colour finish on the metal.
It is a direct consequence of the mild corrosive attack of airborne sulfur compounds, copper reacts with oxygen over time. As the copper oxide continues to react with carbon dioxide and water in the air, it coats the surface with that iconic blue-green patina colour.
This natural phenomena will be the inspiration for the colour palette that I will carefully attempt to produce.
Step #2: Create the focus components that illustrate the 2 bookend colours to bridge.
Use a length of copper flatwire and UGlue random torn pieces of Turquoise Mulberry Paper to its surface and wrap with copper bullion wire in a decorative manner.
Also wrap some length of wood sticks (IKEA ‘Torka’ Willow whips) with torn paper, and wrap with Turquoise and various other shades of blue over it, and bullion wrap. Some sticks can have some orange or mustard color yarn inserts (banding) to marry the desired colors to be the visual goal of bridging exercise.
The intent in starting this challenge, is to introduce some prepared design components which add artful dimension to the floral colour bridging challenge.
Step #3: Choose the container color that fits the colour challenge, or prepare it decoratively to coordinate with the objective.
Design structural component in/on the container or surface to prep the design challenge to display the array of colours in between Turquoise and Copper, by bridging, by gradation.
Step #4: Careful gradation of colours can be accomplished via 2 directions on the colour wheel, analogously with the flower selected.
Blue to Orange via warmer half of the color wheel: Blue (Turquoise) – BV – V – RV – R – RO – Orange (Copper)
Blue to Orange via cooler half of the color wheel: Blue (Turquoise) – BG – G – YG – Y – YO – Orange (Copper)
*Note: Not every hue needs to be represented… the extended color palette can in part be implied.
TURQUOISE CHALLENGE:
DESIGN #1 Low relief sampling of Colour Extraction & Bridging
Colour Gradation:
Colour Container Design Components Botanicals
Blue Green (G) Korean Feathergrass (Calamagrostis
arundinacea)
Turquoise Yarn-covered Extenders
Blue (Lt.Blue Yarn)
Blue Violet Korean Feathergrass (Calamagrostis a.)
Violet (Lavender Yarn)
Red Violet Sugar Maple Leaf (Acer saccharum)
Pomegranate fruit on stem
Red Red (Pink Yarn) Lisianthus (pink)
+ Carnation tinted (pink center)
Red (B) Red (B) Mum Button ‘Doria”
+
Red Orange Red Orange
Red Orange (B) + Sugar Maple Leaf (Acer saccharum)
Orange Brown
Orange (B)) +
Mustard
Yellow Orange + Ilex verticillata (orange)
Yellow Orange (B) Sugar Maple Leaf (Acer saccharum)
Gold (B)) Gold (B) Carnation tinted (gold/brown)
+
Gold Gold
Mechanics: Kenzan