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Anyone who knows me very well . . . well, at least as a weaver . . . knows I love the four-shaft weaves.  For the first 30 years I wove, I didn’t weave anything except four-shaft weaves.  With Marguerite Davison’s book, A Handweaver’s Pattern Book, in one hand and a shuttle in the other, I never ran out of ideas . . . However, Robin and Russ Handweavers had a periodical that tempted me with weaves for more-than-four for a long time.

As I mentioned in my favorite thing #44 (Robin and Russ Handweavers and Warp and Weft), I was fortunate to grow up and learn to weave in Portland, OR.  Not only did my high school, Woodrow Wilson High School, have an art room with 15 floor looms . . . I was also a little more than an hour away from Robin & Russ Handweavers in McMinnville, OR.

Even though I was more than happy and fulfilled weaving on four shafts, it was the Robin and Russ periodical Drafts and Designs – A Guide 5 and 12 Harness Weaves that got me thinking about weaving on more than four shafts.

What impresses me is how contemporary many of the woven swatches look!   I hope everyone can take a look at some of my favorites swatches below from the periodical and get inspired.

The following link will take you to the entire collection available on-line.  https://www.cs.arizona.edu/patterns/weaving/dad.html

Deflected Doubleweave – Vol 2., No 6 – April 1960

https://www.cs.arizona.edu/patterns/weaving/periodicals/dad_2.pdfVol 2, No 8 April 1960

Red and Black Shadow Weave with Huck lace – Vol 4, No 3 – November 1961


4 3 1961

Black and white – Vol 6., No 1 – September 1963


8S - Vol #6, No 1 - Sept 1963

Blue ocean waves – Vol 7., No 1 – September 1964

https://www.cs.arizona.edu/patterns/weaving/periodicals/dad_7.pdf7 1 Sept 1964

Six-shaft single two-tie (aka Summer & Winter) – Vol 9, No 2 – October 1966


9 2 Oct 1966

Eight-shaft huck lace variation – Volume 11, No 8 – April 1969


11 8 April 1969

Eight-shaft supplementary warp weave – Vol 21, No 1 – September 1978


21 1 Sept 78

The above samples prove what’s old is new again.  I hope some of these will inspire weavers to check out Drafts and Designs – A Guide for 5 to 12 Harness Weaves.  If you don’t have a loom with more than four shafts, perhaps this becomes the tipping point to encourage  you to consider a loom with more than four.



When it comes to color proportion, did you know there is similarity between men’s suits, interior design, and web design? No? Then you may find the color design rule 60/30/10 of interest. Plus, it may aid you in planning your next weaving project.

First, what is the 60/30/10 color design rule? It’s an approach to using color in order to create harmony and balance. The fundamentals for developing a color scheme are as follows:

  • 60% is a dominant color
  • 30% is a secondary color
  • 10% is an accent color

Pretty easy, huh? Maybe I just have your attention. How about some examples? Okay, here we go . . .

In interior design, the 60/30/10 rule

  • 60% as the dominant color may include the color for the walls . . . or at least the majority of the walls. For large rooms, it might include major furniture, flooring, and even the dominant fabric.
  • 30% as the secondary color may include the smaller furniture, ceiling color, cabinets, and area rugs.
  • 10% as an accent color may include pillows, lap throws, trim and molding, and other accessories.


For men’s suits, the application of the 60/30/10 rule may be observed

  • 60% of the color is in the jacket and slacks
  • 30% of the color is in the shirt
  • 10% of the color is in the tie

Thor actor, Chris Hemsworth, looking fine in a dark suit (dominant color), white shirt (secondary color) and a red tie (accent color). YUMMY!

In web design, the 60/30/10 rule has been used in the following manner:

  • 60% is the primary color of the overall space. This may be the background color
  • 30% of the color is a secondary color and used to create contrast with the primary color
  • 10% is an accent color that should work with both the primary color and secondary color and used to highlight items to draw a reader’s attention.

Screen Shot 2015-06-07 at 8.31.27 PM

So, what does this all mean? Well, how about applying the 60/30/10 color rule when planning your next weaving project? Perhaps as warp stripes, weft stripes, or both.


Consider the color schemes below that were developed using the 60/30/10 color rule.

Screen Shot 2015-06-07 at 9.00.33 PM

If you’re interested in learning more about the 60/30/10 color rule, check out one or more of the websites below.








Wow! It’s been way too long since I shared a ‘Favorite Thing’. It’s been a busy year so far; however, I felt I had to carve out a bit of time to share a new one. When I started sharing my favorite things, I committed to 50 . . . So, here’s #46 . . . the Shuttle Craft Guild BULLETIN.

We’re very fortunate to have access to weaving resources published in color. The visual impact is inspiring . . . almost intoxicating. Unfortunately, the appeal of weaving publications in color makes earlier black-and-white publications initially appear flat. But, if a weaver is really serious about learning to weave, these publications are chock full of wonderful patterns, lessons, and more! Plus, they provide us a glimpse into the history and legacy of those that came before us. The Shuttle Craft Guild BULLETIN is a cornerstone in the recent history of handweaving.  (Recent means in the past 100 years)

First, a little history about the publication. Mary Meigs Atwater founded the Shuttle Craft Guild in 1922 (which makes me think we need a centennial celebration in 2022!). The purpose of the Shuttle Craft Guild was to create an instructional resource for handweavers. In 1924, the monthly BULLETIN was started. An annual subscription was $5.00/year. This predates Mary Meigs Atwater’s iconic weaving book, The Shuttle-Craft Book of American Handweavers.

Original cover

Original cover

Later cover

Later cover

When Mary Meigs Atwater retired in 1946, Harriet Tidball took over the Shuttle Craft Guild. In 1952 the BULLETIN was augmented . . . the price increased to $7.50/year. In addition to the BULLETIN, the first Shuttle Craft Guild workshop was held in 1948. Harriett Tidball organized it. Mary Meigs Atwater taught it.

In 1957, the BULLETIN was taken over by Mary Black and Joyce Chown. Mary Black is the author of Key to Weaving (1945). (A little weaving trivia – Black’s Key to Weaving was not published for two years after being submitted to Bruce Publishing Company because of a lack of paper due to the war). Mary Black went on to publish New Key to Weaving in 1957, another iconic weaving books (and one of my all-time favorites)

Key to Weaving

The New Key to Weaving

In 1960, Harriett Tidball returned to the Shuttle Craft Guild BULLETIN.  Shortly thereafter, in 1961, Harriett Tidball published The Weaver’s Book.

The Weaver's Book

In addition to the BULLETIN, the Shuttle Craft Guild began to publish monographs. The monographs were each 24-48 pages long and provided an in-depth exploration of a single subject. In addition to the monographs was the Portfolio, a supplement to the monographs that included samples. As a result of the monographs, the BULLETIN was reduced to three times a year.

While looking through past issues, I was surprised to see many things that are of interest today.

First, in looking at a picture of a young Peter Collingwood, it’s incredible how much his son Jason looks like him.

Peter Collingwood

Peter Collingwood

Jason Collingwood

Jason Collingwood

Below are a few pages I thought may be of interest and encourage weavers to spend some time with my latest ‘favorite thing’

Birdseye Twill, Summer & Winter, and Bronson lace in the May 1931 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_31.pdf

Screen Shot 2015-04-09 at 11.05.49 AMWarp-faced rug weave and Crackle in the August 1931 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_31.pdf

Screen Shot 2015-04-09 at 11.07.25 AMFour and Eight-shaft twills patterns in the February 1936 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_36.pdf

Screen Shot 2015-04-09 at 11.01.12 AMIntegrated Twills in the May 1943 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_43.pdf

Screen Shot 2015-04-09 at 11.10.38 AMOvershot and Shadow weave in the June 1943 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_43.pdf

Screen Shot 2015-04-09 at 11.12.19 AMHistory of brothers, J and R Bronson, in the April 1950 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_50.pdf

Screen Shot 2015-04-09 at 11.18.37 AMEight-shaft Ms and Os in the June-July 1957 issue http://www.cs.arizona.edu/patterns/weaving/periodicals/sc_57_06.pdf

Screen Shot 2015-04-09 at 10.52.53 AMBateman samples in the October 1958 issue –http://www.cs.arizona.edu/patterns/weaving/periodicals/scb_58_10.pdf

Screen Shot 2015-04-09 at 10.49.19 AMScreen Shot 2015-04-09 at 10.50.39 AMWhat’s ‘old’ can be ‘new’ again!  These are just a few of the wonderful things that may be found in the pages of the Shuttle Craft Guild’s BULLETIN. Some of the links take you to multiple issues. Some are for individual issues. It’s a resource definitely worth knowing about!

The following link will take you to the list of available copies. http://www.cs.arizona.edu/patterns/weaving/scbulletin.html




I love stripes!  Stripes allow us to incorporate multiple colors, create effects, and in some cases even make our bodies appear slimmer.  As weavers we can incorporate stripes in our warp, our weft, and even some twill diagonal create angled stripes.  If you think about it, plaids are merely stripes in the warp intersecting with stripes in the weft.  Weaving stripes can also be a way to use up small amounts of yarn and thread.

Screen Shot 2015-02-07 at 8.55.21 AM


In this installment of my favorite things, I want to share some on-line stripe generators.  A few minutes creating stripes can stimulate new ideas for color combinations, proportion, and much more.

Stripe Maniahttp://www.stripemania.com

With only a couple of simple controls, a multitude of stripe patterns.  I often find myself working with vertical stripes as a way of designing warp stripes; however, horizontal and diagonal stripes may be generated.

Screen Shot 2015-02-07 at 9.00.14 AM


What I also enjoy about using Stripe Mania and the ability to look at other stripes created by other users.  These can inspire ideas too!

Screen Shot 2015-02-07 at 9.02.26 AM

Biscuits and Jam – http://www.biscuitsandjam.com/stripe_maker.php

What’s interesting about the Random Stripe Generator at Biscuits and Jam (other than it’s name) is the step-by-step process.  Below is the screen where you begin.

Screen Shot 2015-02-07 at 9.03.33 AM


The first thing you do is select your colors.  Below, it shows I chose five different colors.

Screen Shot 2015-02-07 at 9.05.08 AM


The second thing you do is select the stripe widths that will be allowed.  I was inspired to select the first five numbers of a Fibonacci sequence – 1, 2, 3, 5, 8

Screen Shot 2015-02-07 at 9.06.06 AM


Then you set the value for the total number of rows that will be generated.  I used 100.


Screen Shot 2015-02-07 at 9.06.44 AM


The click on the button Generate my Stripes and see what happens.  Remember, this is a random stripe generator so you may be very surprised by the results.  Below was the first set of stripes generated from my five colors and five different widths.


Screen Shot 2015-02-07 at 9.07.21 AM


By refreshing the screen, a new set of stripes is generated

Screen Shot 2015-02-07 at 9.07.53 AM

And refresh again . . . (I think I like this one best) . . . Although, if I don’t like what I get, I can go back and change my selections.
Screen Shot 2015-02-07 at 9.08.22 AM


Patternizerhttp://patternizer.com/q12i.  Patternizer has something intriguing for weavers . . . there’s an opacity value than can be adjusted.  I find this is  a way of simulating what happens when colors interlace in plain weave.

Screen Shot 2015-02-07 at 9.10.25 AM


Stripe Generatorhttp://www.stripegenerator.com/index.php?page=index.  The fourth on-line stripe generating resource has one feature the others don’t . . . if you look in the bottom right hand corner of the page, you can take the colors and generate a tartan pattern.

Screen Shot 2015-02-07 at 9.11.38 AM


Stripe Generator is also another resource where you can look at stripe combinations other users have generating.

Screen Shot 2015-02-07 at 9.13.22 AM


I hope you find these resources helpful if you are planning a new project and looking for inspiration.  Stripes can be very powerful in adding visual impact.


I grew up in Portland, OR.  I always thought Portland was a pretty fabulous place to grow up.  It’s just big enough that everything you need is available and no one I knew of while I was growing up ever thought they needed to break out and see the world.  At the same time, Portland wasn’t so large that it was overwhelming.  It has an active arts community, Powell’s City of Books store, Washington Park, and really good food to name just a few of the attractions.

I find myself frequently returning to my home town; however, there is one thing missing . . . Robin and Russ Handweavers.  No, Robin and Russ Handweavers was not in Portland.  It was an iconic weaving store that relocated from California to McMinnville, OR in 1962 . . . about an hour away from where I grew up.  Close enough to constantly be on your mind.  And, as a young weaver before I was old enough to get my driver’s license, too far away to persuade parents to drive you more than once a year.

I went to Wilson High School . . . a high school that had a robust fiber arts program.  There was always excitement about the first one of us to turn 16, get a driver’s license, and receive permission to borrow one of our parent’s cars to drive to Robin and Russ Handweavers for an unchaperoned trip that we could take at a leisurely pace.

McMinnville, OR is located in Yamhill County . . . one of the best areas for wine in Oregon.  About 15 years ago, I organized a Women’s Weekend of Weaving and Wine.  We took over Wine Country Farm, one of the  bed and breakfast places in Yamhill County.  On Saturday morning, we rendezvoused at Woodland Woolworks . . . another wonderful fiber arts establishment (also, no longer there) . . . and our caravan of cars wound its way through Yamhill County stopping at different places, mostly wineries . . . before reaching our final destination of Robin and Russ Handweavers.

I’ve been in larger weaving stores, but going to Robin and Russ Handweavers was always a tremendous adventure.  You never knew before you got there what was going to make you blow your budget.  But, what the heck, it was in Oregon and no sales tax.  Over the years, I made some of my most memorable purchases, including one purchase of 88 skeins of a fire engine red cashmere-blend wool for $1.00/skein.  The funny thing was that wasn’t all he had of the red cashmere blend and I’ve never figured out why I didn’t purchase an even 100 since I have a propensity for symmetry.

Robin and Russ Handweavers owner, Russ Groff, had a unique knack for having some of the most wonderful mill ends yarns available and I still have some of it patiently waiting on my shelf waiting to be woven.  Russ also always had a recent adventure to share with others.  The Robin and Russ Handweavers booth was one of the most popular stops in a vendor hall at any weaving conference.  It’s an era gone by, but many of us still reminisce about the place and the finds we made.  Syne Mitchell wrote a touching story about Russ when he passed away nearly five years ago.  You can read In Memorium:  Russ Groff at the following link http://www.weavezine.com/weavegeek/memoriam-russell-e-groff

In February 1955, Robin and Russ Handweavers took over the publishing of Warp and Weft and continued the periodical’s tradition for approximately 30 years.  Warp and Weft was originally published in November 1947.  It was a wonderful insight into what was going on in the weaving community, featured weavers, and included a woven sample along with the instructions.  It was modest in size . . . 8 pages . . . but, there were 10 issues a year.  Early issues were clearly put together using a typewriter.  The format evolved over the years, but no matter what there was always something to intrigue and entertain . . . Which brings me to my latest favorite thing . . . access to 307 issues of Warp and Weft  http://www.cs.arizona.edu/patterns/weaving/warpweft.html

Below are a couple of covers and some of my favorite samples from Warp and Weft.

Cover - March 1985Cover - November 1980


Hostess Delight from the December 1950 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_04_02.pdf

December 1950


Opalescence in the February 1955 issue  –

February 1955

How to Make Chenille in the June 1957 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_10_6.pdf

June 1957


Twills and M’s & O’s for Table Linens from the June 1962 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_15_06.pdf

June 1962


Yak, Yak, Yak in the November 1979 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_32_09.pdf

November 1979Superhighway from the November 1980 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_33_09.pdf

November 1980

Carrickmacross from the Cecember 1982 issue – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_35_10.pdf


December 1982

Flaming Twills from the September 1985 – http://www.cs.arizona.edu/patterns/weaving/periodicals/ww_38_07.pdf

September 1985


Hopefully, some of the above samples will entice you to take a closer look at Warp and Weft.  If you’re dissuaded from these samples because they only require four shafts (something I think is pretty darn cool), Robin and Russ Handweavers did publish other resources.  Two that may be of interest are accessible with a little effort.

First, 200 Patterns for Multiple Harness Looms – 5 to 12 Harness Patterns for Handweavers.  You can find this used.  Check out www.addall.com to see if there’s a copy you just have to have.

200 Patterns for Multiple Harness Looms


Second, if you’re fortunate enough to have a loom with 16 or more shafts, you may be interested in 16 Harness Patterns – The Fanciest Twills of All.  This book became difficult to find; however, you can access all of the variations at http://handweaving.net/PatternBook.aspx?BOOKID=27   There are 205 patterns . . . which are basically tie-ups for a 16-shaft point threading.  This is great especially if you have a loom with a computer interface.  (By the way, www.handweaving.net is a pretty fabulous resource if you don’t already know about it!.  Nearly 60,000 drafts!)

16 Harness Patterns


This is likely my last blog post for 2014.  But, I’m still working my way to providing 50 of my favorite things . . . six more to go.  In the meantime, Merry Christmas, Happy Hanukkah, and Happy New Year’s!  Or if you have a Seinfeld bent, you may be celebrating Festivus and are preparing for the airing of grievances.  Either way . . . enjoy!

Onward to 2015!



It is a truth universally acknowledged, that an artist in possession of a creative mind, must have a great space in which to work.

With all due respect to Jane Austen, from whom I borrowed her opening line to Pride & Prejudice, but I believe every artist needs a space to call their own.  Not only do you need a space, it should also reflect you as an artist and promote creativity and creation.

As every year begins to wind down and I sense a new year is close, I start to contemplate what I need to get done to wrap up the current year.  I also consider what I want to do to prepare for the upcoming year.  One thing always on my to-do list is to organize my studio areas for the upcoming year.  There’s something very calming about a tidy and well-organized space.  Unfortunately, my desire tends to be stronger than my execution as life sometimes has other ideas for me . . . but, I try.  Doing better is an improvement over doing nothing, right?

This year, my aspiration to have my studio areas ready-to-go for 2015 is stronger than ever.  At the same time, I find myself in the early stages of designing a separate studio space.  Both of these undertakings have sent me on an adventure of seeking out studio design and organization ideas.

Here are some I have found helpful and I thought I should share them with others as my favorite things . . . just in case I’m not the only one thinking I’m going to get organized for the coming new year.  If none of these do anything for you, you may find a glimpse at the studios spaces of famous artists inspiring.  Are you more like Picasso or Georgia O’Keefe?  Chagall or Cézanne?  Kipling or Pollock?

Okay, first let’s initiate this journey with getting motivated and started.  Cloth Paper Scissors has a free PDF Art Studio Organization Ideashttp://www.clothpaperscissors.com/free-art-studio-organization-ideas/

No, not everything may be suitable for a weaving or fiber artist studio.  It has some great ideas.  Plus, it’s free!  Best of all, it has 12 ways to get motivated and start organizing.  Pretty good place to start in my opinion.

Art Studio Organizing by cloth paper scissors

Art Studio Organizing - 12 ways to get motivated and start org

The Clutter Fairy has me figured out.  She not only provides suggested solutions for getting organized, but she begins by outlining why it can be so difficult for those of us with a creative mind struggle with getting organized.  Whew!  It’s not just me.

I love the affirmation and find it a great way to face the task with a better understanding.  Her Tips and Tricks have me ready to head to the office supply store and get started.  http://clutterfairyhouston.com/wp/wp-content/uploads/2011/07/Organizing-Your-Art-Space-for-a-Creative-Explosion.pdf

Interweave Press (Yep, the publisher of Handwoven magazine) has a short write-up, Art Studio Ideas for Real People, that inspires some easy and quick http://www.interweavestore.com/art-studios-ideas-organization-resources

  • How to make a home studio that works for you
  • Top 10 free and low-cost art studio storage ideas
  • Embroidery Hoop Wall Pockets by Bonnie Ferguson (Shown below – I love this idea and now know what I can do with all of of those old embroidery hoops I have laying around and small amounts of handwoven fabric!)
  • 10 Easy Studio Decorating Ideas

embroidery hoop organizers


Live Simply by Annie has some storage towers and an art cart that I think I really need to look into.  http://www.livesimplybyannie.com/organizing-the-art-studio/

5-bin storage

Art Cart

I also like how she shows some discreet organizing ideas and then pulls them together in some real life applications.

Real life applications

Pinterest is a great source for organization ideas.  Check out some (or all) of the links below to see if there’s an idea that suits your needs.


Wine rack and lg plastic cups

A couple of things that have worked well for me are below


  • Pegboard for organizing shuttles (I show only a portion of my shuttles.  What can I say?  I love cool shuttles!)
  • Sewing thread spool rack for holding bobbins (A great way to keep track of bobbins that normally want to roll around)
  • Reed rack (This is how I made use of space near the ceiling to organize some of my longer reeds)
  • Crocks (I love ceramic crocks and metal tins for organizing stick shuttles, threading hooks, and more)
  • Binders (How would I ever live without binders and sheet protectors?)




Reed racks

Spool rack with bobbins


Now, if that doesn’t inspire, maybe taking a peek inside of the workspaces for some famous artists will inspire . . . or at least make you feel better.  I think any time I feel disorganized and the clutter is getting away from me, I’ll return to this website and take a gander at Alexander Calder’s space.  Yowza!

40 inspiring workspaces of the famously creative – http://www.buzzfeed.com/summeranne/40-inspiring-workspaces-of-the-famously-creative#49xzd3



Pablo Picasso


Paul Cezanne

Enjoy!  Here comes 2015 whether we’re ready or not!

The impetus for this favorite thing was a presentation at an event I attended last night.  As a member of the Seattle Design Center, I have the privilege of attending some pretty great functions.  Last night was no different.  The presentation was by Leatrice Eiseman, the executive director of the Pantone Color Institute (who I also found out is one of my neighbors . . . or at least a neighbor of my neighbors).

Lea’s presentation was a look back-and-forward on color trends in interiors, with insight on color in fashion design over the last century, which she shares in her most recent book: Pantone on Fashion, a Century of Color in Design.   It was funny.  It was poignant.  It was insightful.  Plus, it shared a view on color palette trends projected for 2015.

Previously, I have shared two color-related ‘favorite things’ posts.  The links to these are:

These are a few of my favorite things: #1 – Colourlovers.com  https://spadystudios.wordpress.com/?s=colourlovers

These are a few of my favorite things:  #21 – More color resources  https://spadystudios.wordpress.com/?s=%2321

I wondered if I should do another color-based favorite thing and it didn’t take me long to think Why not?  We can always be inspired by color. Plus, it’s been over 20 months since I’ve shared favorite thing #21.

My latest favorite thing is focused solely on the Pantone Color Institute and the position they maintain on identifying color trends.  We don’t have buy in to them.  We can reject them if we like.  But, I find them interesting.  Plus, if you’re familiar with the projected color trends, you can use them to interject a more contemporary angle to your work.

So who is PANTONE? According to their website, PANTONE began as a commercial printing company in the 1950s.  Their primary products include the Pantone Guides, which consist of a large number of small thin cardboard sheets, printed on one side with a series of related color  swatches bound into a small “fan deck”.  The PANTONE MATCHING SYSTEM (PMS) is not the only color standardization system, although it is the most widely used and the one that most printers understand. The idea behind the PMS is to allow designers to “color match” specific colors when a design enters production stage.  (In my previous professional life in ‘Corporate America’ we relied on these guides to effectively communicate with others about color.  It’s one thing to tell a printer we wanted a ‘red accent’ added to the cover of a manual.  It’s a completely other thing when you can define a specific red that can be definitively quantified.)

The Pantone Color Institute offers a variety of trend forecasts for every design market.  This provides inspiration.  As I mentioned previously, you can reject them.  They’re not a rule.  But, they often encourage me to explore incorporating new colors.    Pantone even selects a Color of the Year. For 2014, it was Radiant Orchid.  For 2013, it was Emerald.  For 2012, it was Tangerine Tango.  (I was not enthusiastic about orange being a color of the year; however, it encouraged me to consider it and look for opportunities to include it in my work).  Below is a Color of the Year short history going back to 2000.


Last night, Leatrice Eiseman told us the color palettes for 2015 had recently been added to the Pantone website.  The 2015 Color of the Year hasn’t been announced yet (I’m hoping for something blue).  But, looking at the spring 2015 color trends will show you colors are evolving into a cooler and softer look and give you an idea of what they will draw from when selecting the 2015 Color of the Year.  You can access and learn more about them by clicking on the following links:

Spring 2015 color trends – http://www.pantone.com/pages/fcr/?season=spring&year=2015&pid=11

2015 Spring

Women’s fashion color trends for spring 2015 – http://www.pantone.com/pages/fcr/?season=spring&year=2015&pid=3

Women's 2015 fashion(Yeah, I know . . . The Spring 2015 and Women’s Fashion colors are the same thing)

Men’s fashion color trends for spring 2015 – http://www.pantone.com/pages/fcr/?season=spring&year=2015&pid=4

Men's fashionNotice how the colors for Men’s Fashion are a little darker and more muted version.

The link below will take you to the PDF of the 2015 color palettes for home and interiors – http://www.pantone.com/downloads/pvh/PANTONEVIEW_home___interiors_2015.pdf

In this PDF, there are a series of color palettes.  I really like reviewing these because it gives me ideas for new color combinations and possibly even how to use the odd cone of yarn sitting on the shelf in my studio.  I also love some of the names they’ve chosen to name the color palettes:

  • Style Settings
  • Abstractions
  • Botanicum
  • Zensations
  • Urban Jungle
  • Tinted Medley
  • Past Traces
  • Serendipity
  • Spontaneity

I was captivated as she shared the background stories about how these were developed.  I’ve grown from dreading the color trends, palettes, and the color of the year to anticipating them with eagerness.  They have influenced how I use color.  There are still colors I migrate toward whether or not they are part of color trends (like fire engine red), but color is supposed to be fun and trying something new can feel very liberating.


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