Category Archives: Studio

Pop-Up “How To” Books That Deserve Shelf Space

This post is the 4th in a series detailing the “How To” books that survived my studio clean out because they deserve the space they occupy. I’ve been waiting to share with you about the Pop-Up Section until the Pop Up Now II show opened at 23 Sandy Gallery in Portland, Oregon. If you’d like to see the show in person it isn’t too late. The show is open until December 17th.

In case you’d like to read the previous posts:

“How To” Books That Deserve Shelf Space #1

“How To” Books that Deserve Shelf Space #2

“How To” Books that Deserve Shelf Space #3

Pop Up Now II at 23 Sandy Gallery

Now, to move on to Pop-Up “How To” books. Here they are in no-particular order. And I have to mention there are a few more that I want but don’t own yet.

The Elements of Pop-Up: A Pop-Up Book for Aspiring Paper Engineers by David A. Carter and James Diaz

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Don’t like the title scare you away. You don’t have to be any kind of engineer to use this book successfully. If you’re going the kind of person who needs a physical representation of pop-ups in order to figure them out (as I am), this book is for you! It has step by step instructions and detailed information on each kind of pop-up included and…

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it has actual pop-up samples of each kind. If necessary you can take them out of the book and take them apart, but not easily. (Don’t ask how I know this.)

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The Pop-Up Book: Step-by-Step Instructions for Creating Over 100 Original Paper Projects by Paul Jackson

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This is a beautifully illustrated book with extensive diagrams, photos and examples of each kind of technique. For example, “Shape of Slit.” While it looks complicated, the pop-up below is actually two folds and a cut slit. Paul Jackson will have you making fabulous pop-ups in no time.

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Playing with Pop-Ups: The Art of Dimensional, Moving Paper Designs by Helen Hiebert

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Helen Hiebert’s books are always excellent. This one features moveable features like volvelles in addition to the pop-up elements included in the first two books. I especially like that she includes historical information about the techniques.

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If you feel like you already know all there is to know about pop-up techniques, it’s still worth the purchase of this Helen Hiebert book. In addition to a very strong “how to” section, there is this beautiful gallery section. Here are some samples by Julie Chen.

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The Art of Pop-Up: The Magical World of Three-Dimensional Books by Jean-Charles Trebbi

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While this book does have some “how to” at the end, and some samples (see the last photos), the real strength is the history and examples of pop up and move-able books. It’s an education and eye-candy combined.

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I especially love the “Picture from ‘Transforming Performers: with Surprise Pictures” on the page below. Such a simple and do-able concept, but also eye-catching and a terrific way to advance content in a book.

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There is also an extensive gallery section that will introduce you to pop-up artists and their work. It’s a great jumping off point to spend some time with Google and learn even more about these pop-up geniuses.

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These last two photos are samples of the “how to” section of the book. Adequate, but not a good starter book. And honestly I don’t use it for this. But the first two sections are fabulous.

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Well, now I want to go to the studio to make pop-up books! How about this? Next week I’ll give you a freebie tutorial on making pop-up trees. Perfect to use in holiday cards.

Do you have a “How To” Pop-Up book you’d recommend? Please share in the comments!

~Ginger

http://www.gingerburrell.com

“How To” Books That Deserve Shelf Space #3

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Still working on the studio clean out, but now working in the studio with some cleaning at both ends of the day. It’s exciting to see my new ideas for Codex taking shape.

In the meantime, here are the next five “how to” books that have earned their space on my  studio bookshelf.

As a reminder, my criteria for a book staying include one or more of the following:

  1. Unique binding ideas
  2. The best photos and instructions for a particular binding
  3. A gallery of book examples with outstanding artists books.

In case you’re wondering, here are List #1 and List #2.

This week’s five:

Sleight of Binding by Cherryl Moote

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This book has all of those fun “how did they do that?” bindings. Flexagons, KaleidoCycles and more. The instructions include basic drawings and are a bit more challenging than some of the other books on my shelf. I think my friend, Janice, would love this book. She loves puzzles and math and has the patience to make bindings over and over until she’s got them down. This is one of those books. Worth having, but you’ll need the time to make the structures work for you.

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The Essential Guide to Making Handmade Books by Gabrielle Fox

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This book has terrific step-by-step directions with very good photographs. Gabrielle Fox makes each binding accessible to beginners and experienced artists alike. Each section also has a Gallery of Ideas, like the one featuring the Train Log by Hedi Kyle, below.

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The Art and Craft of Handmade Books by Shereen La Plantz

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This book has beautiful images and some great bindings. Among my favorites are her Recessed Skewer Bindings. You can see from the two sample pages below she begins with a binding concept and then extends it into other ways of using that binding. I just love that approach. She also includes many, many samples from terrific artists. In my opinion this is one of those “must have” books.

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Hedi Kyle Festschrift 2009 by Multiple Authors

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This is a fun book celebrating Hedi Kyle and her contribution to book arts. There are several stories from artists who have worked with and/or been influenced by her, several diagram drawings of her structures and articles about bookbinding and conservation. It is available on Lulu by Rutherford Witthus.

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Cover to Cover by Shereen La Plantz

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Another book by Shereen La Plantz and another must have. Terrific gallery images with samples from artists such as the Fish Messages by Judith Hoffman, below. Clear and conversational instructions with ways to extend each binding with new ideas.

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Well, there it is, three blog posts, 15 “how to” books and we haven’t even finished one square out of 15 in the bookshelf. We’re going to take a break from “how to” books until November when the Pop-Up Now II exhibition will open at 23 Sandy Gallery. Then we have the Keith Smith books. The books about being a professional artist. The inspirational eye candy books…

Next week, studio lighting and a guest blog post by my husband, Greg, who patiently researched and swapped out bulbs until my studio became the beautifully lit, real colors, less eye strain environment that I needed.

~Ginger

http://www.gingerburrell.com

 

“How To” Books That Deserve Shelf Space #2

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The studio is getting cleaner, but I’m still far from done. I’m afraid I’m having to undo years of bad stashing habits. Creating new strategies and new systems is taking longer than I’d like. I am, however, determined not to stash anything this time around.

In the meantime, here are the second five books that have earned shelf space on my new, cleaned out, bookshelf.

As a reminder, my criteria for a book staying include one or more of the following:

  1. Unique binding ideas
  2. The best photos and instructions for a particular binding
  3. A gallery of book examples with outstanding artists books.

In case you’re wondering about the first five, here are the “How To” Books That Deserve Shelf Space #1 from last week’s blog post.

This week’s five:

Making Books by Hand by Mary McCarthy and Philip Manna

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This book has outstanding diagrams and clearly labels everything. Excellent for a beginner and a good reminder for experienced artist. There are also several box structures that I find useful such as this portfolio, below. Apologies for the bad photo, the glossy black page and my studio lighting were not making friends, you get the idea.

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Books Unbound by Michael Jacobs

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This book is probably in my top 5. It does not have the clearest instructions and he does not use the best materials, but Michael Jacobs approaches bookmaking from a sculptural standpoint and the books and boxes he creates are truly unique.

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The Matchbox Marvel, above, is typical of his enthusiasm to combine book structures and boxes into interesting shapes and variations. His Specimen Book, below,  is one of my favorites. I’ve made this as a gift a few times. It is always a hit. A wonderful way to highlight a treasured (small) item.

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Also in my top 5, Making Handmade Books: 100+ Bindings, Structures & Forms by Alisa Golden

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This book is the most comprehensive on my shelf. If you’re only going to own one “How To” book on making handmade books – this is it. From basic accordion books to basic pop-up and move-able books, you can find something here to fit your ideas. If if you use scrap materials and patience, you can teach yourself any of these bindings or boxes.

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235 pages of instructions, diagrams and ideas!

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You’ll notice the next two books are also by Alisa Golden. There is a lot of overlap with the Making Handmade Books, above. Virtually all of the instructions and diagrams from the next two books are in the 100+ book. So… I wouldn’t recommend buying them, too. Unless you find them for a great price. What makes them worth having are the gallery/example photos that are not in the Making Handmade Books. I’m still debating whether they have enough value to stay on the shelves. But for right now they’ve earned a spot. When that shelf begins to overflow again, these are the first two I’d reconsider.

 

Unique Handmade Books by Alisa Golden

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Creating Handmade Books by Alisa Golden

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One more set of five to finish out that shelf and then we’ll move on to some other topics. In fact, I’m looking forward to my husband, Greg, writing some guest posts. One on lighting, which we’ve just redone in my studio and one on what it’s like to be in his role as a support system and collaborator for an artist.

You may have noticed that I haven’t talked about the Pop-Up “How To” books in that shelf cubby. I’m saving that discussion for November when the Pop-Up Now Exhibition opens  at 23 Sandy Gallery.

Do you have a “How To” Book  in your studio that I should have in mine? Give me some of your recommendations in the comments!

~Ginger

http://www.gingerburrell.com

 

“How To” Books That Deserve Shelf Space #1

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I’m in the middle of my studio clean out. It definitely got worse before it got better, but today I can see the light at the end of the tunnel. Or at least the floor in some places.

I’m being rather harsh in my clean out, I don’t want to do this again soon. Everything has to earn its space. Especially books. So far I’ve donated 4 bags of books to the library and I’ve got two more boxes of books to donate to the Bay Area Book Artists Sale on Sunday, October 16th.

In my studio I have one of those Ikea bookshelves with the squares to divide books. Above is a photo of one of two squares labelled, “Book Arts How To.” I thought I’d share with you the books that I think are worth keeping in my studio and why.

Most books about Book Arts include the standard bindings, Accordion, Coptic, Pamphlet, etc. In order for me to keep a book in this category, it has to have one or more of the following:

  1. Unique binding ideas
  2. The best photos and instructions for a particular binding
  3. A gallery of book examples with outstanding artists books

Today, the first 5. Note, these are in no particular order of preference. Rather the order they are on my shelf.

Book Art Studio by Stacie Dolin and Amy Lapidow.

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The primary reason this book gets to stay? The Limp Paper Binding. A variation on the traditional Limp Vellum Binding. I haven’t tried it yet so the book goes back on my shelf.

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re-bound: creating handmade books from recycled and repurposed materials by Jeannine Stein

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This book deserves shelf space for the gallery. Here two of my favorites by Elaine Nishizu and Judi Delgado.

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Next, Book Arts: Beautiful Bindings for Handmade Books by Mary Kaye Seckler

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I keep this book for The Raven’s Foot Binding. It is a fun and unusual binding and well described here.

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More Making Books By Hand by Peter and Donna Thomas

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While there are instructions about how to make books, this one gets to stay as a catalog of Peter and Donna Thomas’ artwork. Here one of my favorites, The Trout.

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Book + Art: Handcrafting Artists’ Books by Dorothy Simpson Krause

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This book is unique in that it has Thermal Bindings (bindings created with the use of heat)

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And Drumleaf Bindings, bindings created by applying glue to the spine. Neither of which I’ve done, but both of which look interesting and useful.

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Next week, the next five.

On a personal note, the wedding in Virginia Beach was wonderful, beautiful, sentimental. We’re still smiling from the joy we shared with Samantha and Jeff.

We also experienced Tropical Storm Hermine which turned out to be stormy enough to create some challenges for the bride and groom but also disappointing after watching all of the weather channel doom and gloom.  For fun, Greg and I went to the coast at took some Hermine selfies. Here is my favorite.

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~Ginger

http://www.gingerburrell.com

 

Cleaning the Studio Between Trips

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As I mentioned last week, we were off to Tucson for funeral. We went to show our respect and mark the passing of a man important to Greg and our family. Mike Enis was somehow related to Greg and his dad, although we couldn’t really tell you how. More importantly, Mike Enis was kind and welcoming and had terrific stories. He was also a wonderful father, grandfather and great-grandfather, a political activist, and a cultural historian and language teacher for the Tohono O’odham people. Mike also helped create a contemporary type of music particular to the southern Arizona desert, Chicken Scratch. It was an honor to have known Mike Enis.

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While in Tucson, we visited family, including our niece, Diana, who just started college at the University of Arizona. We were glad to get to see her sooner than expected, even if it did involve getting up at 4 a.m.!

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We also enjoyed some Indian Fry Bread (some of the best we’ve ever had), at “Indian Fry Bread Manna From Heaven” on St. Mary’s Road in Tucson.

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A trip to the Desert Museum in Tucson was inspiring both in terms of its beauty

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and also for this tree, which gave me some new artist book structure ideas. Can’t you just see this as a central binding structure with leaves/pages/books?

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And two more pieces of inspiration, the first, a statement by a young artist on the Tohono O’odham reservation about why he uses graffiti art. “Graffiti Art is not bad it is art. Graffiti Art is not tagging. Tagging is not art. Graffiti Art is a way for the next generation of our kids to carry on what makes us a tribe, what makes us “us.””

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And the second, a mosaic, in the Tucson airport. Dora, this made me think of you!

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And we’re off to the airport again for a trip to Virginia, this time for a wedding.

In the meantime, I decided that habits are useless without a usable work space. I’m terribly embarrassed to admit it, but this is what my studio looked like as of last Sunday.

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It is an archaeological dig/representation of the projects, classes, and ideas of the last year. In between caring for Marisol and keeping our day-to-day lives running, I met deadlines and got projects done, got organized for classes, and more on a just-in-time basis.

I am a packrat, I love keeping things “just in case,” and I have never met a scrap of paper I don’t love and need to keep. But enough is enough. I’ve filled bags full of things to donate and I’m being rather harsh about what has to go. I can’t create good working habits if I don’t have room to work. So this week is step 1. Clean out.

I’m still reading the organizing/habits book. It will go with me on the next airplane ride. And next week, I’ll show you the “after” photos of the studio and share about our trip to Virginia.

Hey look. Three blog posts in a row. This is starting to look a bit like a habit!

Are you a packrat? What determines whether or not something is valuable enough to take up space in your studio? Comments are welcome!

~Ginger

http://www.gingerburrell.com

 

 

Workshop: Valentine’s Book for Your Sweetheart – Saturday, Feb. 6, 2016

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Valentine’s Book for Your Sweetheart

**Two spaces left for the workshop this Saturday, February 6, 2016 10 a.m. – 5 p.m. at Ginger’s Morgan Hill Studio**

Create a box full of books that we’ll make out of polymer clay “chocolate” and paper. Your sweetheart will want to eat the delicious looking chocolates and then be tickled to find out that each is really a book with your sentiments inside. Make a whole box full for someone special or several small books for individuals. Class fee $100, Materials Fee $15

Here are some photos of the chocolates that other students have made in this class in previous years:

Stephanie Wolfson

Nancy Welch

Carol Dwinell

Questions? Please feel free to email.

~Ginger

http://www.gingerburrell.com

The Color of Real-World Studios

Have you ever gazed at images of perfect studios? You know the ones in magazines that are impossibly beautiful and organized? I often wonder about the palette (wall colors, not painter’s tool…) chosen and whether it fosters creativity or is distracting. Does it compete with the art making and finished art or highlight it?

One of the most viewed blog posts I’ve ever written was on the color of one’s studio and which colors facilitate creativity. I was building my own studio at the time and doing research. In the end, I went with white walls and a neutral floor color. Everything in my studio is white or natural wood, even the curtains are a natural and restful blue. Except that it isn’t. My studio is a cornucopia of texture, color and projects (or a rampant mess, depending on my mood…)  I’ve got photos, artwork, inspiration, supplies, books, stacks, etc. adding color everywhere. I suppose you could say that my studio is actually every colored.

As an extension of the original post, which you’ll find here: While We’re Talking Paint Colors, I asked artists that I know through the Bay Area Book Artists about their studios and colors they’ve chosen, or not, and why. Here, in no particular order, are their replies.

Lilac

My studio is blue based purple tinted out to a lilac color for walls and trim.  Grey based white ceiling to reflect light back down into space, and flooring a light green.  There are accent colors in all of the colors of the spectrum introduced in art work and assemblage pickings.  Surrounding rooms are a saturated grey because it is wonderful to display artwork on.  – Rhonda L.

white walls

1. My studio, as well as my entire living space, has white walls. I respond to emptiness, which white represents for me. The invitation of emptiness allows me to put up drawings, paintings, pieces of ephemera, words, and photographs that provide stimulation for creativity. 2. I feel that my creativity stems from a quiet center, and in order to have that quiet center, I need an interesting visual space. It’s almost as if the first creative act is to take the white walls, and begin a “room collage” of imagery that appeals to me, and once I’m ensconced in the arms of the imagery, my deepest creative place gets activated. This may look like clutter to others, but there is purpose, movement, order and balance to my eyes, and this is how I journey back to my center.  – Karen K.

green

My studio walls are the color of leaves with a cream ceiling. My studio has windows on two walls and looks out on to the garden.  I like the sense of working in the great outdoors, it makes me happy.  That being said, the walls have lots of art, books and stuff on them, so the true sense is a garden that’s gotten outta control.  It keeps me stimulated. (Raesofsun.com) – Rae T.

black and white

My studio currently has white walls and ceilings, with neutral to black surfaces and furnishings. It’s calming and visually quiet environment so that I can both work and play here. It’s not stark, as there are areas of creative clutter, but the overall space is peaceful and inviting for making art. The best moments are when I turn on some music and put my phone on silent. – Karen C.

tiffany

My studio is Tiffany blue with white trim. I work full-time at a hospital, and this color helps me forget my day. I can think better at my studio. When I sit down to create, it usually never takes longer than 10 mins before ideas start to flow. – Linh D.

multicolor

I don’t really have any colors. Behind me is floor to ceiling shelving with supplies. To my left is a huge cabinet with wood doors, though often they are open showing more supplies. Next to that we have the television sitting in a brick fireplace. In front of  me, is mostly my huge iMac honestly can’t see much beyond it. (It’s new. 🙂 yay) and off to the right is an open area that turns into the kitchen area, again mostly wood cabinets  there’s very little wall in the whole room, what we have is the same white as when we moved in. So I’d have to say my studio is “art supply” colored, mostly vintage paper and books. And the matte aluminum of my epson r2400 and  iMac. I wish it were prettier like those spreads you see of people’s studio. I had Kit come help me organize it, but frankly, I work chaotically, and don’t have lots of energy to tidy up after, so everything is a massive pile of paper I’m working with, loosely held in clear plastic tubs. (Kit pointed out that I like to see what I have or I forget I have it, so clear tubs work great).  I was raised by my Gran who liked need and tidy, so I always feel a bit of shame in regards to my work space. (https://www.flickr.com/photos/violentbloom/10355425414/) – Raven E.

tomato red

My interior studio walls are warm white and with tomato red /orange accent walls and maple shelving with views of trees out my windows. My studio is a relaxing environment which sparks my creative energy. – Bernadette C.

ivory

I painted mine an ivory-white. Warm tone supports good vibes. Also good lighting helps. I have sky lighting plus warm light bulbs for night work. Has been great since 1984! ~ Jone M.

gray

How color affects one’s creativity is a good question. I prefer white walls in a studio. I like to use colors and a placing a painting/print etc, against a white surface gives me the best idea of the true color, i.e. there is minimal color interference. I even prefer a white palette and ink rolling surface for that reason. Also white walls reflect light best. If I had my choice I would have one wall be a pale ‘photo’ grey, neither warm, nor cool, again for minimal interference with true color in a painting, print etc. BUT the best psychological stimulus to my creativity is having plenty of Northern light. Artificial light is a downer for me. – Conni R.

warm white

My last studio had knotty pine walls, very warm but too dark. I couldn’t bring myself to paint them because they were beautiful wood. I like a lot of light, from windows if possible, with no shadows under my hands. My new studio has slightly warm, white walls, our landlord’s choice. But it’s working well. I like the brightness. I feel most colors on the wall would bounce onto whatever I’m working on and have an effect. Later in a different setting my finished art would not be the color I want. My table tops are a light grey, I prefer my grey cutting mat over the dark green one most of the time, too. I think these simple colors create an environment that makes me feel like it’s a good place to be making things. ( judithhoffman.net) – Judy H.

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My studio walls are white but you can barely see them. The walls are covered with every color possible of artwork and art supplies. This colorful atmosphere is what charges and inspires me. For me “more is more” in every sense of creativity. (http://lifeasafiveringcircus.blogspot.com/http://www.doritelisha.com) – Dorit E.

navajo white

In my studio I keep pretty neutral with color and have a Navajo white which has some warmth to it and grey. It makes a great backdrop for all colors and does not intrude.  It keeps the space clean without being sterile and helps keep the light level up. The color is in all the inspiration pieces I have around. My artwork, objects that inspire, plants, and fabrics hanging on the walls or on shelves. There are a lot of natural items…rocks, wood, dried leaves and pods that warm up the space without effecting other colors. – Karen R.

What color is your studio? Or what color is your dream studio? Have you changed your studio color over time? If so, why? Please share in the comments!

Thank you again to the artists in Bay Area Book Artists. They are a tremendously generous group and always willing to share their thoughts and ideas.

~Ginger

http://www.gingerburrell.com