PRE-PRODUCTION

Conceptual product styling is one of my favorite ways to showcase products in unique and interesting ways for my clients. For this partnership between Lamps Plus and Dunn Edwards I was tasked with showcasing the new colors for Lamps Plus Color Plus line. Lamps Plus wanted to create a set featuring props that would tell a story, have a postmodern feel, and all be painted in the featured color. They also wanted to incorporate some kind of a paper element for each set as well. After researching and buying a huge chunk of props online (not my normal method, but thanks to covid I’ve adapted). All props were primed with white spray paint and then I used the actual latex paint from Dunn Edwards to paint each prop. To prep the paint, first I strained it to take out any chunks (this will gum up the mechanism of the paint gun). Then using a graduated container I diluted the paint with water. 1/4-1/2 cup of water to 1 cup paint – and then gave it a good stir. I found this video very helpful about how to spray paint. Since this photo shoot was during the height of summer and 115 degrees is not very conducive to painting of any kind, I executed this project entirely indoors, inside this very chic Amazon box. I wore an N95 for the priming process and had proper ventilation.

MARIGOLD

“Warm golden orange tinged with sunlight, influenced by abstract and postmodern art as well as nature’s floral bounty.”

For the creative direction for Marigold, with its distinctly 60’s retro feel about it, I picked a collection of props with cool hexagon, starburst, and angular shapes. Distinctive retro elements like a record player and a Diana camera added to the vintage vibe. For the paper element I used oversized flowers from Paper Source which I painted with a foam brush.

RUSTIQUE

“A lovely coral hue with sunrise and sunset infusions inspired by coastal romance and positive energy.”

Rustique, a very pretty coral seemed like a perfect color for a feminine, vanity inspired set. I spray painted brushes, a mirror, and even “lotion” and “perfume” bottles. For a hint of coastal vibes per the marketing copy, I incorporated a pineapple and monstera leaves. For the paper element, I hand cut a cameo from foam core and painted it to match. I think my favorite prop from this set was the painted fiddle leaf plant.

WILD BLUE YONDER

“This clear blue offers cleansing breath, serenity and calming influences. A soothing touch of irreproachable simplicity and lightness. A faint and shy but liberating tone that is a symbol of transparency and lightness.”

The serene nature of Wild Blue Yonder lended itself naturally to a very zen, contemplative set. I painted a Buddha head, faux coral, and sculptural vases. For a moment of postmodern inspiration, I created a picture of butterflies, which “escaped” from the picture frame and traveled up and out of the set. And for a moment of meditation with a postmodern twist, a “hand” puts together a puzzle. This color has also been chosen by Dunn Edwards at the color for 2021.

FLOWER STEM

“A light grass green signifying the continued strength and sustainability of nature’s omnipresence.”

For flower stem, a gardening scene seemed a natural choice. Featuring mini plants, garden tools (originally children toys), a watering can, and even a petite wrought iron garden gate. For the paper element I made palm leaves out of cardstock sheets. I folded the paper at even intervals and used a bone folder for sharp creases. I then cut each folded section to give it that palm leaf look. To paint the palm fronds I used a foam brush and as the paper dried, I re-folded the paper and pinned it with a binder clip so it would dry in its folded, fanned shape. Finally, simple dowels were painted our hero color and attached with hot glue for the “flower stems.”

BURNT ALMOND

“Deep burnt orange brown inspired by the color of fall leaves and evening sunsets.”

For this decidedly fall color, I wanted it to feel like a painter’s studio (get it?). To that point, I made a “painting” of mountains out of foam core for the paper element and styled the scene with a painter’s palette and brushes. Ironically, of all the things I had to paint, it was the paint brushes that took the primer and the color the least well. For a modern take on taxidermy, I painted this flat deer cameo and encircled it with a contemporary wreath of fall leaves.

A big thank you to the amazing team at Lamps Plus for building the backdrop, surface, boxes and platforms, all of which gave each set it’s unique levels and depth.