DIS­PLAY AMAZ­ING ART­WORK

The Weekend Post - Cairns Eye - - Front Page -

Us­ing tex­ture can add depth and tone to a colour scheme, but how do you work it into a room? Tex­ture plays with nat­u­ral and ar­ti­fi­cial light to change the colour of any item and give it depth. It also adds in­ter­est to a room.

On a per­fectly flat sur­face light bounces in one di­rec­tion and this is how you get an added shine on a sur­face. With any tex­tured or sur­face vari­a­tion, light shoots off in a num­ber of di­rec­tions (not seen to the naked eye) but it means you are see­ing how light in­ter­acts in a 3D way.

Yes this is tech­ni­cal but it is sim­ple light re­frac­tion that adds depth in­stantly on a non-flat sur­face. For sur­faces that have deeper tex­tures, such as fab­rics, rugs and car­pets, this traps light and cre­ates lit­tle ‘caves’ of dark­ness in the fi­bres.

This cre­ates great tonal dif­fer­ences in a sur­face.

You can have just one colour in a fab­ric, but be­cause fi­bres move and sit in dif­fer­ent di­rec­tions, you are hav­ing mul­ti­ple di­rec­tions of light shoot­ing in mul­ti­ple di­rec­tions.

This means you can have one colour in sev­eral ap­pli­ca­tions – a hard bench sur­face, a low-pile rug or an open weave on a couch – and you will get great tonal vari­a­tions in the room with­out colours clash­ing be­cause in the end you have one colour.

So how does tex­ture cre­ate in­ter­est? Well, we all get pretty bored with a flat sur­face. Yes, it is neat and stream­lined, but if we have a pure flat sur­face on ev­ery­thing, the room be­comes clin­i­cal and bland.

Tex­ture adds ‘move­ment’ to a room. It gives lines and un­du­la­tions for the eye to fol­low. Once you have the vis­ual in­ter­est it is hu­man na­ture to see how it feels and you make a ‘con­nec­tion’. WOR DS : T R AC E Y HO R D E R N

I once had an es­pe­cially pre­ten­tious friend who worked as a stylist and in­te­rior de­signer. She had this par­tic­u­lar word that she would pro­nounce with a fake over-the-top English ac­cent; “Oh what a lovely ar­range­ment (ahh-ron­nggg-mont)”. This was pro­claimed when­ever she came across an ar­range­ment or in­te­rior set­ting she deemed in­ter­est­ing or stylish.

I still laugh as I hear that ridicu­lous voice in my head, but there re­ally is an art to ar­rang­ing spa­ces, in­clud­ing art­works and decor items. Like many great art forms, styling, de­sign­ing or ar­rang­ing any space or home is as much about break­ing the rules. But as with all art forms, you do need to know the rules be­fore you can suc­cess­fully break them.

For in­stance, when hang­ing art pieces, al­ways aim to hang the art­work at eye level. How­ever, if you hang a larger piece of art at a lower height, this can have a spec­tac­u­lar, more dra­matic ef­fect, es­pe­cially if it co-or­di­nates and is tied-in with a piece of fur­ni­ture, such as a sofa.

One of my pet aver­sions when it comes to hang­ing art is hang­ing tiny pieces on huge walls. This is where the won­der­ful tra­di­tion of cre­at­ing a clus­ter of art­works can re­ally work.

With­out doubt, the most mem­o­rable homes and ar­range­ments also in­clude those that in­tro­duce un­ex­pected el­e­ments. For in­stance a glass box or cloche over an un­usual or an­tique piece al­most al­ways in­spires in­ter­est. You can even use light boxes, or hand-dipped gold leaf framed pieces as these cre­ate drama, orig­i­nal­ity and fo­cus, which re­ally is the point of any ar­range­ment – how­ever you pro­nounce it.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.