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Colors of the Seasons COLORS OF THE SEASONS Nature is the source of all true color. In her harmonies are supreme beauty and artistry. Each flower's stem displays just the right match of greens. Each animal's fur sports its own sublime tonal gradations. Not only are nature s harmonies beautiful, they are also functional. She uses precision and purpose to color each life-form. Plants and animals are designed with colors that accentuate or attract, hide or disguise. The colors of sl^, earth, and water fluctuate con- stantly, reflecting the function ofeach season: seeding, abundant growth, harvest, and rest. Our world is a glorious work of architecture, majestically beautiful and marvelously functional. Each of us is drawn intuitively, almost instinctively, to certain colors and color groupings. Why does an array of spicy earth tones make one person tingle with pleasure and another cringe? Beyond condi- Jeanette Ahtgreii finds tier inspiration in many places, including tioned responses lies a deeply personal connection to the fuel lines of a 931S engine, which was the basis (or her wire- color. Looking closely at the color constellations we weaving series. The colors of "Mantra" reflect the subtle tonal find irresistible, we may discover they correspond variations of the shy at dawn. The colors are delicate and femi- directly to those aspects of nature we find most allur- nine, reminiscent of gardens teeming with wildflowets. ing. It is possible that through natures colors we can discover more about ourselves. The stark contrasts and cool undertones of "La Llorona" by Mary Taloya make an icy winter palette. Layered bead embroidery on leatlier. 58 COLOR THEORY & DESIGN We are not just observers of nature. Each one of the masses, and in their attempt, grossly over- us Is part of nature's beauty. And she has colored simplified the approach to personal color us as purposefully as any insect, plant, or ani- analysis. Everyone was crammed into four sim- mal—uniquely and functionally Though our ple palettes. "Gettingyour colors done" was all unique colorings may not serve to accentuate, the rage, and "I'm an autumn, I can't wear hide, or disguise, they do serve a purpose, for blue!" was heard ringing above the racks in bou- coded into our coloring are clues to who we are. tiques everywhere. The limitations of a The idea of using color for a better under- simplistic four-season approach became evident. standing of self and others began in 1928 when and. ultimately, seasonal color analysis became Swiss artist Johannes Itten observed a relation- no more than a passing fad. But the concept ship between color preference, personality, and itself was not the problem. appearance. Color expert Suzanne Caygilt knew the pro- In his book The Art of Color, Itten expounds on found value of seasonal color analysis and what he termed "subjective color," the colors to denounced its oversimplification. In her book which one is naturally drawn. Itten found there Color: The Essence of You, she classifies sixty- was a strong relationship between the way stu- four seasonal color types, each according to dents looked, their personality, and the colors specific weeks of the season, some overlapping. with which they liked to work. "In my studies of "In discovering, through nature's harmonies, color subjective color. I have found that not only the as a key to self, we find a way of understanding choice and juxtaposition of hues, but also the exactly who we are. a way of getting outside of size and orientations of areas may be highly char- personal rigidities to connect with those energies acteristic" [of people with certain coloringsj. He that permit us to be ourselves. The more we can further discovered that in many cases, one's sub- accept the colorful messages in the rhythms of jective colors point to aptitudes for specific the universe, the more authentic we become as vocations. He postuiated that much of a person's persons, the more pleasure we derive for our- mode of thought, feeling, and action can be selves, and the more we give to others." inferred from their subjective color combinations The study of nature's colors is not only a path and the coloring of their skin, hair, and eyes. to self, but also a path to the mastery of your art. Itten also saw that one's subjective colors Embedded in nature's colors are itten's "objective correspond to the colors of the seasons. He rules of general validity" As you learn her encouraged educators to use color analysis to palettes, yours will expand, and your work will uncover and respect the uniqueness of each become more congruous and coherent. You will student. understand what textures, patterns, shapes. In the 1970s and '80s the fashion industry co- designs, and styles work most harmoniously with opted personal color analysis. It was a novel certain colors. approach that appealed to the masses: Label The study of nature's colors brings to each day yourself according to your hair, skin, or eye color, an exhilarating sensory experience. How alive you and dress more in tune with "your season." can become, scrutinizing the leaves, the air, the But seasons, like people, are complex, each grasses, the bark of trees, and the creatures. abundant with countless specific nuances. And Watch how the colors change from week to week seasons are made up of many weeks of tempera- and season to season. Indeed, the Impressionists ture and light fluctuations that alter color. No worked to express the minute-to-minute profusion week is exactly tike the week before. The com- of nature's changing colors! plexity required for accurate analysis according Through the study of nature's colors we to season could not be reduced to a one-size- become more connected to our world, its ele- fits-all approach. Some tried to accommodate ments, and forces. Let her palettes inspire you. COLORS OF THE SEASONS 59 SPRING Clear, fresh colors washed by melting snows; new life unlurling on trees and springing from the soil—ail enveloped by sunshine warming an awaken- ing world. This is springtime. To instill your work with the essence of spring is to imbue it with clarity, efferves- cence, and warmth, which will inspire hope and optimism in those it touches. DESIGN & STYLE COLOR Spring palettes With hues delicate and gentle, reflect new birth or vibrant and lively, the spring and cheerfiilness. season is a colorful profiasion of They are burst- life and activity. Keep the ing with lile, palette clear and bright, avoid- color, and light. They can even ing low-intensity, dark colors be frilly. There's nothing sleek METALS and shadows. Throw in a few about spring. Texture is lush, Springtime is sunshine, so gold, pastels witb your mix of more yet delicate. It is built up in in all its sbades of light, dark, vivid colors. Use a high-key light layers, or made with many and rose, is a must. Green-golds palette (see page 96) and think tiny beads, rather than large, and brass, in small portions, warm! Spring colors have warm chunky beads. Carved beads in convey sunshine. Silver harmo- undertones, as they are bathed the form of butterflies, birds, nizes best when the palette in sunlight. and plants, especially flowers, contains blue tones. Bronze convey the whimsy and charm does not agree witb tlie energy ENERGY of spring. If those are too cute of spring because it is too heavy Movement—carefree, buoyant, for your tastes, convey whimsy and dark. and peppy—is vital to this sea- and charm through form: son bustling with life. People curved lines, rolls, and fluted STONES who resonate with spring are petal shapes. The spring style is Peridot is the quintessential energetic and enthusiastic. light and carefree: filigree, spring stone. Its clear, liquid Include moving parts, like openwork, netting, beaded cro- yellow-green looks like new charms, drops, and dangles, and chet, delicate fringe that leaves moist with dew. Ebullient use patterns that move, such as rustles, and charm bracelets citrine and gentle, petal-like spirals and curlicues, and espe- that make tinkling sounds. rose quartz are next. Team them cially florals. Some spring with mother-of-pearl shell or palettes may prefer a more clear quartz for an extraordinar- sinuous movement, like the ily clear, fresh palette. Cooler winding, intertwining curves spring tones include blue lace of Art Nouveau motifs. agate, amazonite, translucent moonstone (in the white range), aquamarine, apatite, pale amethyst (avoid the heavier Spring Color Wheel tones), and chrysoprase. 60 COLOR THEORY & DESIGN Alice Walker captures the exuberance of spring in this necktace (far ieft) of glass, cloisonne, and painted wood. Abundant movement, color, and life (in the forin of tur- tles, frogs, and flowers) are ttre prevailing themes. These colors combine beautifully because of the clarity of each hue. Sunny accents of gold tie them together. Jacque' Owens's version or spring (near left) IS delicately lush and feminine. This is early spring, with its buds tightly furled and leaves just heginning to uncurl. All coiors have warm undertones, and the whole palette is light and airy. Flowers are built with lay- ers ot tiny seed beads in peyote stitch. SURFACE FINISHES SUGGESTED PALETTES When choosing bead finishes, 1. DEUCAS: DB-053, DB-174. DB-235 Springtime at its most effervescent: Two hold in mind visions of AB finishes and a pearl finish bounce spring: dew on new buds light off each other like sunshine on dew. (color-lined beads look like The AB finishes on the lined pale yellow (DB-053) flutter like a butterfly, while morsels of color suspended in light neon lime AB (DB-174) is the green drops of dew); a breezy after- of a tiny new leaf.
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