Iron Designer: MateVana

Imagine a client brings you a brand name, a niche market… and tea. The client wants branding, website design, and a few interior design ideas for an upscale, Japanese-themed cocktail bar named 'Katsu' (Japanese for 'thirst'). Your inspiration is a variety of loose-leaf tea sold by Teavana, the MatéVana^®. Iron Designer, begin!

MatéVana^® is a blend of mate and red rooibos teas with cocoa, almond, chocolate chips, and enhanced with hazelnut. It's mostly chocolate and nut browns, all with a woody but smooth texture. The tea is accented with a striking violet blue and a few shades of yellow ranging from citrus to sunflower. These portions of the tea are leaf-like and feminine. The client wants something that incorporates the clean, simple lifestyle of traditional Japan with a modern, rich atmosphere.

Color by COLOURlovers

I pulled the palette above from the tea provided. We have a dark rich brown, a milky chocolate, two tones of gold, and a vibrant electric blue. Once we have those, we can apply them to our logo ideas. The client wants something sophisticated, but also evocotive of Japanese design and culture. On that vein, we have the logo ideas below.

I chose design at the bottom right to fashion a web site. I used the textures of tatami and wood grain. The photographs are simple and all match with black backgrounds. The site design is spartan and clean.

The bar itself should feature the textures of tatami, a touch of brushed metal, dark wood, rice paper, and a nice blue and neutral Japanese print fabric. The fabric brings in the feminine touch we found in the cornflower petals of the tea. Lighting should be intimate and utilize the golds in the palette.

Clients often find inspiration in things you may not expect. Sometimes it's good to practice by figuratively pulling an idea out of a hat. To be an Iron Designer, you have to be versatile and agile and ready to tackle any request. Explore the possibilities and take a second look at the world around you.

^{Teavana and MatéVana are registered trademarks. No copyright infringement intended.}

Project Completion: Knowing When to Stop

"…letting well enough alone – which is the rule for grown artists only." -Winslow Homer

One of the most trying obstacles of art and design is knowing when to stop. Creative people, by nature, are often unimpressed by their own efforts. We can paint, sculpt, and tweak away until something is completely ruined. In order to grow as artists and designers, we must learn to step enough is enough.

When you're working on a personal project or make your money as a fine artist, it's oftentimes more difficult to put your signature on something and call it done. Doing something for yourself intimates a personal attachment and we all want personal things to be perfect. When you're collaborating, a project can be difficult to finish due to the principle of 'too many cooks in the kitchen'. When more than one decision-maker is involved, there are different ideas of 'complete'. How do we combat these roadblocks to success?

Where personal projects are concerned, the path to completion lies in understanding your expectations at the outset. What do you want your piece to accomplish? Do you have plans for the work when it's finished? What's your audience and what does this audience expect? It's also helpful to have a good set of sketches and references handy. As they say in carpentry: measure twice; cut once. This can be applied to art and design. Planning will save you time and help you create a more cohesive final product. When you know where you're going, you know when to stop.

Sometimes, all the planning in the world won't save you from feeling like something isn't quite right with your piece. If this occurs, step away. Speaking from experience, I attest to the difficulty of walking away, but it can really help you gain some perspective. Setting something aside for a while can allow you to revisit it later with fresh eyes.

If you're working collaboratively on a project—for an employer, freelance client, or volunteer project—planning, again, is a great way to avoid a lot of rough patches. Gather as much information as you can. Ask about audience again, be clear on expectations, and involve everyone in discussions about style, colors, and emotions. When everyone has input from the beginning, sticky confrontation down the road will be less prevalent. (I will add, confrontation is usually unavoidable, but the frequency can be lessened.)

Collaborative projects demand a high competency and confidence. Without being pushy or overbearing, speak your mind on technical matters. If someone suggests a typeface or color that just won't work, try to explain to them exactly why. Take your listener's experience into account. If they aren't creative, understand that some of your terms may not make sense. When all the cards are on the table, it will be easier to agree when a project reaches completion.

As with anything, it's possible to ruin a project by going only an inch too far. Planning for completion can really help you know when to step back, add your signature, and move on. Remember, even the masters had to put down their brushes and chisels at some point. Imagine if daVinci had put just one more swath of paint on the Mona Lisa. She may not be the enigmatic treasure she is today.

Color Flavor: Mesquite

With summer comes the joy of grilling. If one is resourceful, an entire meal can be prepared out of doors. While some prefer gas and others charcoal, many add a touch of smoke to their meal by adding wood chips. The varied, tepid tones of mesquite chips can really spice up design as well.

Mesquite is a small tree, usually shrub size, that grows in the desert and range lands of the southwestern United States and as far south as parts of southern and western South America. It is a hardy plant that withstands droughts because of its long taproot. Used for many things, mesquite is perhaps most well-known as a smoke flavoring for southwestern foods. When the hardwood chips are soaked prior to use on the grill, the deep colors are amplified.

The colors of wood grain run the gamut from the usual umber and chocolate to a bright mustard gold. When combined with the browns, the tinted yellow adds a great deal of interest. In design, these colors are tailor-made for masculine or earthy brands and themes. Food branding is a given for this scheme that is warm, rich, and spicy. Take, for example, this branding for Vint Coffee. It uses all of the tones of mesquite, showcasing the striking gold. The branding brings to mind a classic, easy sense of comfort while maintaining a contemporary style.

This web page and all holdings are © Vint Coffee.

In interior design, the colors work best in rooms where you really want to add energy and warmth all at once. Kitchens, dining rooms, and living rooms benefit from the gold's soothing vigor and the tones naturally work well with wood floors and furnishings. These colors alone may seem bland to some, so feel free to spice up the mood with some graphic print on furniture, pillows, or art. Here, the yellow is used as an accent with Cinnamon Brandy (Behr 23OD-7), Honey Bear (Behr 34OD-4), and Oyster (Behr W-B-720).

Finding inspiration from nature is easy and to find it in food, simply follow your nose and taste buds. The most alluring foods can bring some amazing colors to your life.

Color by COLOURlovers

With Gratitude to the NASA STS

alternate version with Eliot quote

The first space shuttle, Columbia, was launched on April 12, 1981. I grew up to the countdowns and launches, the brilliant trail arches and spacewalks. I mourned for Challenger (posthumously, I was too young at the time) and Columbia. I watched as the shuttle made the International Space Station a reality. This was the ultimate in ingenuity, this was creativity, this was courage to tackle an open-ended dream with an ever-uncertain outcome.

It's a panorama I will remember forever; the bold white shuttle appointed in sun-lit black holds tight to a silo tank of rusted orange. Two missile-shaped boosters stand at the ready like military guards. The countdown begins and soon a flurry of sparks swirl under the engine bells. 4… 3… 2… 1… liftoff! Steam and smoke curl from below the massive machine like a rolling sea of whitecaps. The shuttle is airborne, stretching toward the heavens and chiseling history with each second.

From a design standpoint, the shuttle 'stack' (the external fuel tank, the two solid rocket boosters, and the orbiter itself) is iconic. It isn't terribly flashy in color, but the bleached ivory, charcoal black, metallic titanium, and umber paint a very familiar palette. Over the years the NASA badge has changed, but the font used on the shuttle has always been Helvetica. The U.S. flag flies proud on the side of the shuttle as well on the right wing. The shuttle is an example of how utilitarian design enters into our culture as a comfortable norm.

Color by COLOURlovers

In season 4 of The X-Files, Fox Mulder gave his partner Dana Scully an Apollo 11 key chain for her birthday. In response, she said: "You never got to tell me why you gave it to me or what it means, but I think I know. I think that you appreciate that there are extraordinary men and women and extraordinary moments when history leaps forward on the backs of these individuals, that what can be imagined can be achieved, that you must dare to dream,  but that there's no substitute for perseverance and hard work and teamwork because no one gets there alone; and that, while we commemorate the… the greatness of these events and the individuals who achieve them, we cannot forget the sacrifice of those who make these achievements and leaps possible."

Great things have been achieved on the backs of these extraordinary individuals. From the ground crew to the commanders of the missions, these flights have been, each and every one, a testament to bravery and commitment. The people we lost along the way, the crews of Challenger and Columbia, will always be remembered for the courage to put themselves on the line for the advancement of man. The science and engineering are truly a nod to the greats before and will be an inspiration to the greats yet to come. Though the Space Transport System takes its final flight this year, the impact on all aspects of our lives will be eternal. I present this poster with gratitude to the NASA Space Transport System. Thank you for 30 breathtaking years; you will be missed. 

Dreams Aloft

original vector art, 11x17

© Rachael Sinclair, 2011

A Country Summer

It's in the way the late evening sun plays among the wildflowers. It's in the chill and refreshment of a juicy watermelon on a hot day. It's shooting stars over the clear wide open, whispering streams, screen doors, fireflies, and sun-bleached barns. Summer in the heartland is unlike anything else, full of charm and history, full of freedom. Capturing the authentic feel of this season in the sun may seem like a daunting task to someone who hasn't experienced a country summer first hand. And don't think a country theme always means hackneyed kitsch. Consider this blog post a cheat sheet to the perfect lived-in country style.

Colors are a good base for any design theme. The colors of a country summer are different than other summer themes. The bright citrus yellows and oranges and azure teals of the tropics are replaced with berry red, harvest wheat gold, and the wick, deep green of corn stalks. Blue is there too, but in more pure hues. The tonal family of aged denim is very fitting. Depending on the time of day, these colors may be stained with gold from the sun and resemble an old photograph faded with age.

Texture and pattern are just as important as color. A country summer highlights the age and wear of slow-paced rural living. Think of breathable fabrics like cotton and linen. Toss in a vintage basket, a faded quilt, and the rough but strong striations of weather-worn wood. If bare wood isn't your thing, consider a wash of white, cream, or one of the colors mentioned above in a creamy 40's pastel tint. The cool metals of the city can visit the country too by adding some chipping enamel and slight spots of rust.

Where patterns are concerned, one can never go wrong with gingham, checks, plaids, and simple polka-dots. A ticking stripe would work with this theme as well. Imagine a well appointed picnic with a red and white blanket, hand-me-down reed picnic basket, and food fresh from the garden.

In design, be mindful of line. Predominately straight, mechanical lines won't look at home here. Consider some rough brushstrokes or lines that appear hand-drawn. There are a lot of hand-drawn resources out there for icons and clip-art. You could also draw things yourself if you're comfortable. By the same token, don't go overboard with roughness and texture unless the design specifically calls for it. Everything in moderation and too much is just campy. Spacing is important as well. It's best to leave things light to aid in the semblance of air and openness.

Stay away from saturated darkness and lots of black. Even the summer night sky has a bit of blue to it. In web design especially, lots of white and light colors can be hard on the eyes. In this case, some darkness is appropriate. If dark colors for backgrounds are necessary, consider a light texture or perhaps a gradient to break up the block.

Fonts should be playful but don't have to be overly so. A thick san serif font may seem overbearing and too modern unless the usage is minimal. Don't be afraid of vintage-looking fonts or ones with a little charming distress. These work wonders for a country feel. If you find a font you like, you can always distress it yourself with some simple effects.

The breeze is magic as evening descends. Fireflies leap luminescent from blades of green grass. The crickets chirp to one another and the rhythmic squeaks and pops of an old porch swing are almost hypnotic. When morning comes, set out in bare feet to feel the dew on your toes, pick some ripe blackberries, and watch the way the sun paints the earth as each hour passes. Adding a little country to your summer design themes can give people a reason to slow down and smell the flowers.

Color by COLOURlovers

Color by COLOURlovers

Color by COLOURlovers

Color Flavor: Coral Bells and Egg Shells

In this double dip of color, the melon-tinged pink of coral bells shares the stage with robin's egg blue. These two colors are a staple of late spring in some areas. Coral Bells (Heuchera) come in many varieties and are prized almost as much for their amazing foliage than they are for the bell-shaped blooms that perch on tall stems. They can thrive in full sun or shade depending on the variety and are a source of great visual interest in landscaping. Though the color of the flowers can vary, the most common flower color is a rich melon pink (PMS 709). This is a creamy color, tart and sweet all at once.

In design, the coral bell hues will naturally be appropriate for feminine ventures. Its freshness is great for food logos and design, such as dessert shops or paired with other bright colors and earth tones for an ethnic feel. This color is used a lot in Indian art and fabrics so it would be great for the logo and decor of an Indian restaurant. Due to the rich nature of this color, it does well as an accent in interior design. Its energy would naturally be at home in a kitchen, dining area, or bathroom. In this bathroom, coral bell pink is used on an accent wall with calm tones of gray (Behr: Hushed White W-F-710) and white (Behr: Off White int. flat enamel 1873).

Everyone seems to have a different idea of the exact hue of a robin's egg. Through research by matching a PMS book to an actual egg shell, I acquired the color you see featured in this blog post (PMS 570). A robin's egg is a bright teal with a hint of gray. This color is perfect for a wide array of uses and themes. It fits in well with beach themes or can be great for something with a bit of a vintage look as it is close to the 'pool' blue of the mid-twentieth century. For this look, group the color with black, white, and chrome or earth tones. It's relaxing, but not boring and would be a fresh and peaceful color for a bedroom. Robin's Egg is used here as an all-over color with trim painted in a crisp linen white (Valspar: December Starlight 7003-7).

These two colors add a lot of energy and excitement to any project. They can be very versatile and change feelings depending on their accents. Natural colors like these can tie us to creation without necessarily nailing us down to just bland earth tones. For your next project, see how you can use one of these amazing colors to take the interest up a few notches!

Thomas Maitland Cleland

If someone mentions Bauhaus, Bass, Rockwell, Pollack, or Warhol, designers and artists will know the names instantly and probably intimately. But what about Thomas Cleland? Who exactly is this person? Does anyone recognize the artist and designer who went by T. M. Cleland? Years ago, I bought an advertisement for Cadillac taken out of a Saturday Evening Post from 1928. I was enamored with the design and the illustration; the happy 'flappers' and bright red car against the soft green of the golf course. I managed to make out the signature on the ad and have been researching and collecting Cleland ever since.

Thomas Maitland Cleland, the son of a Scottish doctor, was born on September 28th, 1880 in New York. When he was in his mid-teens, he convinced his parents to enrol him in the The Artist-Artisan Institute of New York. He saw this avenue as one that would bring easy success. After some time there, he had yet to find that particular thing to stoke his creative fire. One day, he observed a classmate designing a book ornament with pen and ink. He was in awe of the stark contrast and fine detail. This was the push he needed and soon his natural talent for detail and design blossomed. From here, he became a consummate and driven professional, running his own printing businesses at an early age. He took a break from his work (perhaps his only break from creative work) to serve in WWI.

His talents were almost savant-like. It is said that his knowledge of his field was encyclopaedic and intimidating. He was known to be taciturn at times, controlling, obsessed with perfection, and even 'quite a bit of a snob'. Cleland was proud of his self-taught profession, from print and typeface design (Della Robbia) to his complex and colorful illustrations and even set and costume design for plays.

He was married in 1905 to Elinor (formerly Nellie) Lane Woodruff. Elinor was 13 years his senior and preceded him in death by nearly 20 years; they had no children. He spent most of his later years in his home in rural Connecticut. Here, he continued his work designing and painting, building cabinetry and metalworking. He had an affection for dogs, debate and had quite an interesting circle of friends, one that included the more well-known artist, Rockwell Kent. Kent, who provided the frontispiece portrait of Cleland for the 1929 collection of his work had this to say of the artist, "... I may term myself his disciple. I proudly do. He was the most consummate craftsman of his time in every last least thing he did in all the many arts and crafts he ever undertook. His sensitive perception of beauty made him always keenly sensitive to ugliness..."

Though an innovator and master of his art, Cleland was extremely critical of 'modern' art and design. He felt the 'new' styles were lazy, distasteful, and lacked discipline. In an address to the Society of Typographic Arts on November 5th, 1948, he said, "Art was once the business of artists and not of writers and was taught to artists by other artists and not professors; and its rather wholesome definition seems to have been -- before anything was said about "art for art's sake" -- the doing of anything, from ploughing to painting especially well. Craftsmanship was not suspect or thought to be ruinous to individuality -- or perhaps individualities were not so feeble then that they could not survive the rigors imposed by craftsmanship. I do not know when the term "fine art" was invented and the breach between it and craftsmanship began to widen, but I have come to believe that it was a sorry day for both. For then, it seems to me, the spirit of art departed from its body and the body began to decay and the spirit to wander aimlessly in space."

In his career, he designed for Locomobile, Cadillac, the Red Cross, and served as the art director for 'Fortune' magazine. He's known today for his skill in art direction, but that seems to be the limit of his notoriety. He illustrated countless advertisements and books, many of the Heritage Press Limited Edition club stories of which he also designed the books themselves. His work was sold as prints and used to cap off magnificent wall calendars. Though his career was vast and his impact on those who knew him great, he remains an unknown. To this, I can only say, what a shame. There is much to be learned from a commitment and passion like Cleland's. No matter what style of art and design you choose, his work and words can be of great inspiration. Cleland died on November 9th, 1964, leaving behind a larger-than-life legacy and a collection of work to rival that of any master craftsman.

In his address to the American Institute of Graphic Arts on February 5th, 1940 entitled "Harsh Words", Cleland said, "And, remember, there is always progress to be made within yourselves, no matter if it is the same progress in the same direction that has been made by countless other souls. And there will, I hope, always be things new to you, as there are every day things new to me, even if the sun has seen them all before. I don’t want to live a day longer than I can learn."

Art from my collection: 
Cadillac advertisement from Saturday Evening Post, 1928.
"God Bless America and Her Allies" print, 1943
Rare hand-sketched rough and final Christmas greeting for Nestle's, 1919
"Romance" print taken from a Harris-Seybold calendar, 1948
Front and back cover illustration "Commerce" for Westvaco's 'Inspiration for Printers' magazine #82, 1933