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Hong Bao
by Claudia Lim
The Hong Bao is a traditional Chinese method of gift giving. During celebrations, weddings and birthdays, hong bao, translated as “red envelopes,” are filled with money and given to the honored persona. In keeping with its Asian theme, Claudia’s layout features patterned paper with an Asian flair and a traditional Chinese color scheme.
Supply Credits Cardstock: Bazzill; Patterned paper: American Crafts, SEI; Lettering: Heidi Swapp; Photo anchor: 7gypsies; Buttons: Foof-a-La; Sticker letterings and arrow: EK Success
Yin and Yang by Lynita Chin
Yin and yang represent dark and light, or negative and positive—the ultimate balance. Lynita created this layout to highlight the differences between her two children and simultaneously represent the concept of harmony and balance in traditional Asian culture.
Supply Credits Cardstock: Bazzill; Patterned paper: BasicGrey; Acrylic alphabet: Heidi Grace; Chipboard coasters: Urban Lily; Tiny alphabet stickers: Making Memories
Compositional Yin and Yang
Using Symmetry and Asymmetry in Your Projects
Balance from the Chinese perspective can best be described by the principle of yin and yang. Every positive has a negative, every dark spot has light and hard is countered by soft. The Chinese believe deeply in a sense of balance, which is manifested in the concept of something being two-sided or paired. Examples of the Chinese sense of balance can be seen in the use of the “Double Happiness” characters—such as the mandarin duck pairs used as a wedding decoration, the dragon and the phoenix that balance each other and of course the simple yin and yang symbol. Chinese balance is the equal treatment of the dual sides of nature. Symmetrical balance is attained in projects where two (or more) objects having equal weight are used together. It’s easy to achieve symmetry with pairs, an even number of columns and mirrored images. For example, two-page layouts can be symmetrically balanced if the page designs are mirror images of each other.
The Japanese, however, tend to think of design asymmetrically. Asymmetry is the practice of setting off one large image by several smaller ones. Japanese artists believe that asymmetry represents life and that the flowing energy of a subject is expressed in its asymmetry. Design rules in Japanese arts such as ikebana hold that a symmetrically balanced layout is stagnant and represents stillness or death. Japanese asymmetrical balance, or more correctly imbalance, can be done with colors, shapes and position.
Mulege by Kristy Harris
Using the layout and organization of a tatami room as its inspiration, this layout gives a lesson in both asymmetry and symmetry. (Tatami mats are traditional Japanese flooring made from woven straw.) Traditional Japanese homes have a specific room filled with these mats, always in specific configurations and often in groups of three. Each page, when viewed individually, is asymmetrically composed. Yet when combined as a two-page spread, the photographs balance one another symmetrically as they are the same weight and size. In effect, they are mirror images of one another, which creates a symmetrically, balanced layout when viewed as a whole.
Supply Credits Cardstock: Bazzill; Patterned paper: Urban Lily; Rub-ons: Urban Lily; Chipboard embellishments: Scenic Route; Journaling spot: Jenni Bowlin Studio; Chipboard letters: Junkitz; Acrylic paint: Making Memories
Source It!
Asian architecture can be a great source of inspiration for your projects, especially when making compositional choices in your layouts. A search through your local library will yield a number of inspirational books that are filed with images of homes, buildings and plans for Asian design.
Using different colors symbolic of different Asian cultures, these projects highlight the beautiful colors of Asia. Projects are by Wendy Steward, Brenda Marks, Heather Taylor and Odile Germaneau.
Coloring Your Projects with Asia’s Inspiring Spectrum
From China’s Yellow River to the Pink City of Rajasthan
People identify Asia with certain colors. Rich vermillion reds, imperial yellow and that specific “Chinese blue” evoke images of a majestic China. While images of modern Japan include the vivid neon lights of Tokyo, the colors of Japan are more traditionally connected to muted earth tones. Thailand, the Philippines and Bali are tropical Southeast Asian locales that are visions of tangerine, mango and lime. When thinking of India, vibrant colors of jeweled saris and exotic Bollywood movie sets come to mind and affect the way we imagine that country. Colors also have specific meanings in Asian cultures; for example, imperial yellow was once reserved only for China’s royal family, and the Japanese believe that the color green symbolizes rebirth and a connection with the natural world. The color black, throughout Asia, is commonly viewed as a noncolor or connected with evil spirits.
Throughout this chapter we will discuss color theory, in practical terms, using the colors of Asia as our guide. The use of color is the most basic of all of the tools we have in our scrapbooking toolbox; and I hope to give you some new tricks, expand your color horizon and have you thinking in combinations you might have otherwise not considered. Note: On occasion, I refer to a color wheel. If you don’t already own a color wheel, I strongly suggest you invest in one as color wheels aren’t expensive and are an invaluable resource. They are readily available at most scrapbooking stores and almost all craft/fine art stores.
Looking through the Kaleidoscope
Understanding Asian Colors
We see and interact with colors on a daily basis. Colors can change the mood and feel of the projects that we work on. Many people, and certainly most crafty people, have visceral reactions to certain colors and may think of colors in connection with specific locations. Asia is a big bright mix of colors. For me, the Near East represents the color of spices such as cinnamon, turmeric and sage. The bright colors of purple, fuchsia and peacock blue trimmed in gold remind me of Indian saris. The colors marigold yellow and grass green represent the Balinese offering baskets that are placed on the streets every morning; and the wild colors of red, green, orange, pink and gold can be seen on a Taiwanese street performer during a Taoist festival. All of these colors are separately Asia to me, but yet they combine into a wonderful kaleidoscope quilt of memories. It is these memories that often guide me when I am preparing to do a layout.
A quick introduction to what we are going to cover in this chapter can be done by looking at the two projects on page 13. In these layouts I used colors to highlight the emotion and the memory of the place that I wanted to capture. Both layouts feature pictures from the JW Marriott resort in Phuket Thailand, but by changing the color scheme the resulting projects feel very different. For me, when I think of Thailand, I immediately think of the aquamarine sea, the warm white sand and the bright blue sky. The first layout, called JW Marriott, highlights the water features of the hotel and the view of the seemingly endless horizon as seen from the hotel lobby. The colors used in the layout, blue and yellow, draw your attention to the water features in my pictures. Now, contrast this with the second layout using greens and bright pinks to give the layout a more energetic and warm feel. The picture of
