Critique

• Turn in your Color Harmony Freestudy
• Present your three most successful projects from this class.

Homework

• Join the ADGA department for the End of Year Celebration!
• Dec. 21st 4-7:30pm in the new Welcome Center – 1st Floor
• View the Senior portfolios
  

• Have a great break!

Discussion

• Review Design & Color Vocabulary and Concepts
• As we go through the review, add each vocabulary word to your Creative Process Book and include a small drawing or example that represents each Principle and Element.

Critique

• Color Harmony Palettes: Analogous & Split Complementary
• Color References for Proportional Inventory.

Lab

• Proportional Inventory
  • Find a color reference (your favorite sweater, household object, advertisement, photograph, book cover, etc.)
  • Create a color inventory palette that proportionally represents your color reference. If the 2/3’s of your reference is blue-violet with secondary hues of yellow and orange, then the palette should reflect this. EXAMPLE
  • If your reference has more than 6 parts, economize and limit the number of parts: max of 6, min of 3.
  • Here are few examples. See if you can see the color scheme in terms of proportions and how it’s used in the visual hierarchy:
  • http://www.ungarbage.com
  • http://rebeccaruth.co.uk/
• Free-Study – Color Harmony
  • Using your Proportional Color Inventory create a 9×12″ or larger composition of your choice that demonstrates the concepts we covered in our Color Progression and Harmony Studies.
  • Your composition should use the exact proportion of hues chosen from your color reference with at least 1 color progression (tints, shades or hues)
  • As with previous free-studies, research, thumbnails, color tests, consideration of overall compositional balance between figure and ground, and unity is important! Because this is your LAST class project, see if you can utilize other aspects of the Basic Tenets of DESIGN that we have covered in this class.
  • Using any materials you like, create a composition that uses the PRINCIPLES and ELEMENTS of design to communicate your concept and to evoke your intended meaning.
  • Specifically your final Free Study should demonstrate: The Practice: Concept + Form are ingredients that a designer uses to produce a composition that communicates meaning. The relationship between the Concept (idea) and the Form (process/result) produces the Content (meaning).
  • Concept = WHAT? What do you want to communicate?
  • Form = HOW? How will you do it?
  • Content/Meaning = WHY? Why is it important?
  • Create 5-10 thumbnail sketches in your creative process book.

Homework

Bring to class:

• Completed Proportional Inventory and Color Harmony Free-Study.
• Your three most successful works created in this course for our final critique.
• A sturdy portfolio to collect your past work.
• Your Creative Process Book; review the section in Understanding Your Grade.

Critique

• Review Tonal Progression Studies: Digital Progressions (Tints, Shades, Complements), Painted Progression
• Examine examples of harmonious color combination (your favorite sweater or household object, an advertisement, photograph, book, etc.)

Discussion

Color Harmony: Triadic Color System
A way to organize color based on a 12 step color wheel, wherein three colors are equally spaced from each other.

• Primary Triad: primary colors, yellow, blue and red, form an equilateral triangle with yellow at the top
• Secondary Triad: secondary colors, orange, green and violet, evenly spaced between the primaries are mixed from adjacent hues (example: red + yellow = orange)
• Intermediate Triad: intermediate colors, yellow-green, blue-green, red-violet, etc. are mixtures of a primary color with a neighboring secondary color.

Color Harmony: Color Relationships
In a composition you may wish to have certain colors that are harmonious and share visual qualities (value, hue, saturation), and others may need to assert their independence and stand out. These would have less in common with the other colors in the palette and would create an accent or focal point. It’s important, when choosing a color scheme, to resist the temptation to use all colors in equal volume. Unequal proportions are more interesting and aesthetically pleasing.

• Analogous: colors that are adjacent to each other on the color wheel (example: violet, blue-violet, red-violet). They have the shortest interval and the most harmonious relationship because three or four neighboring hues always contain a common color that dominates the group.
• Complements: using colors opposite on the color wheel. This relationship often produces visual tension, shock, or electricity (as we observed in our color interaction studies). This is often the least harmonious color relationship. A palette using complements should be “harmonized” with variations in value and saturation. (example: red and green when reduced to chromatic grays soften the effect of simultaneous contrast).
• Near-Complements: using a color and the color adjacent to its complement. This relationship softens the visual tension produced by using straight complements. (example: red and yellow-green)
• Split-Complements: based on the triad system, using one color plus two colors on either side of its complement. (example: orange and blue-violet & blue-green). This color scheme adds more variety and an opportunity for a specific accent or focus, if used in unequal proportions.
• Tetrads: based on a square, this relationship is formed when four colors equally spaced on the color wheel are used (example: green, blue, orange, red). This color relationship is more varied and can easily become un-harmonious without variation in value or saturation.

References:

• Color Harmonies– Interactive Tool
• Check out Adobe’s Kuler: http://kuler.adobe.com

LAB

Color Harmony Palettes (to be completed in class)

1. Analogous Palette
   • Choose three colors that are adjacent to each other on the color wheel.
   • On a piece of bristol, create 3 interlocking forms using your chosen analogous colors.
   • You may choose to vary the saturation or value of one or more of your chosen hues by adding complement, white, or black.
   • For example:
2. Split Complementary Palette
   • Choose three colors: one color plus two colors on either side of its complement on the color wheel.
   • On a piece of bristol, create 3 interlocking forms using your chosen split complementary colors.
   • You may choose to vary the saturation or value of one or more of your chosen hues by adding complement, white, or black.
   • For example:

Homework

Bring to class:

• Finished Color Harmony Palettes and Forms: Analogous & Split Complementary
• Finished Tonal Progression Studies: Digital Progressions (Tints, Shades, Complements) and Painted Progression Free-study
• An example of harmonious color combination (your favorite sweater or household object, an advertisement, photograph, book, etc.)
• Your full set of paints and any other materials you’d like to use

Critique

• Turn in ALL parts of the Assignment #5: Color Interaction Studies

Discussion

Understanding Color Systems

Additive Model: The RGB model is used to reproduce the spectrum of visible light. A monitor transmits light in this way. It’s called the additive primary model because the absence of all light is black. To create different colors you must add levels of the primary colors (Red, Green and Blue).

Subtractive Model: The CMY model represents reflected light or the colors you see in printed inks, photographic dyes, and colored toner. CMY is called the subtractive primary model because full values of the primary colors (pure Cyan, Magenta and Yellow) produce black and in order to produce different colors you must reduce the levels of the primaries. The inks filter out certain colors of light while reflecting others. If the ink pigments were perfect, combining cyan, magenta and yellow would produce a pure black. However, the inks are not perfect so black ink (K) is also added in the printing process.

Color Gamut: Because CMYK represents a much smaller range of color than RGB it is impossible to reproduce all the colors that appear on your monitor. When you convert RGB to CMYK in order to reproduce the colors in print, many of the values will change.

Color Harmony: Tonal Progression

• Grayscale: progression from black to white in the absence of hue
• Shade: progression of a hue produced by the addition of black
• Tint: progression of a hue produced by the addition of white
• Complements: progression of a hue produced by the addition of its complement

References:

• Color Harmonies– Interactive Tool

• 

  

  

  
  

LAB

Digital Progressions:

In the computer lab, using the files provided, complete the following Progression Studies
* NOTE: It might be helpful to turn on Guides. View > Show > Guides

• Shades (shades_progression.psd): In the PHOTOSHOP Layers Palette, turn down the arrow next to the Shades folder. Select the layer name Shade Step 1. Choose the Paint Bucket tool from the Tool Palette and double click on the Foreground Color Square (also in the Tool Palette). In the Color Picker, choose the Radio Button [B] and select a hue along the top edge of the color ramp. Click OK. Then apply the color with the Paint Bucket tool to the Shade Step 1 object. Repeat this process with each Shade Step layer, adding more black at each step. Your goal is to create 7 evenly graduated steps, based on your visual perception, not the computer’s measurement.
• Tints (tints_progression.psd): In the PHOTOSHOP Layers Palette, hide the Shades Folder by clicking on the eye. Then turn down the arrow next to the Tints folder. Select the layer name Tint Step 1. Choose the Paint Bucket tool from the Tool Palette and double click on the Foreground Color Square (also in the Tool Palette). In the Color Picker, choose the Radio Button [S] and select a hue along the top edge of the color ramp. Click OK. Then apply the color with the Paint Bucket tool to the Tint Step 1 object. Repeat this process with each Tint Step layer, adding more white at each step. Your goal is to create 7 graduated steps.
• Complements (complements_progression.ai): In ILLUSTRATOR choose the Selection Tool from the Tools Palette and Color Guide from the Window Menu. Click on one of the rectangles with the Selection Tool. In the Color Guide Palette, select Complementary from the pull-down menu and Show Tints/Shades from the little arrow in the upper right corner. Click on the Color Wheel icon in the lower right-hand corner to open the Live Color Palette. Click on the Edit button and then on the Segmented Color Wheel icon. Drag the circles around the color wheel, making sure you keep them equidistant from each other. Experiment with increasing and decreasing the percentage of black and white. Repeat this process for all three progression blends.
• Save all files to your Flash Drive.

Painted Progressions in gouache:

Complements

• Based on the digital studies above, choose two complementary paint colors. Create a progression from 1 color to its complement, for example: Yellow to Violet. Create a series of shapes of varying sizes on bristol. You will use scissors to cut out each shape, so don’t worry about making perfect edges in paint.
• Mix the two colors in varying amounts, increasing and decreasing the saturation of the original color by adding more or less of the complement, until you have created at least 7 steps. Consult your color wheel to make sure you working with accurate complements (red-violet complements yellow-green, but not green).

Tints and Shades

• Next create a Tint Progression with your chosen color. Starting with the fully saturated hue, create at least 7 steps to white.
• Then create a Shade Progression with the complement color. Starting with the fully saturated hue, create at least 7 steps to black. You may use black for this exercise.

Final Composition

• Once you have a full 9×12″ page of shapes, cut out each, assemble and glue a new composition on a fresh piece of bristol.
• Your composition should demonstrate an obvious tonal progression from one color to its complement, as well as tint and shade progressions from the hue to white and the complement to black, respectively.
• Experiment with creating a progression of proportions as well– such as a progression of shape (small to large) and interval (variety of space between shapes from broad and tight).

Homework

Bring to class:

• Finished Painted Progressions (Tints, Shades and Complements). We will work on the final progression composition in class.
• An example of harmonious color combination (your favorite sweater or household object, an advertisement, photograph, book, etc.)
• Your full set of paints (buy more if you are running low), and related materials
• Flashdrive or CD

Critique

• Present your Color Interaction Studies
  • 2 color study pairs will explore interactions by shifting hue, but not value.

LAB

Free-Study – Simultaneous Contrast

• Working in groups of 2 or 3, design a 14”x17” or larger composition that demonstrates the concepts we covered in our Color Interaction Studies.
• GOAL: Give a color at least two different identities throughout your compositions by exploring shifts in value, hue and temperature.
• Using the color interaction pairings as guide, try to give specific colors at least two different identities throughout your compositions by exploring shifts in value, hue and temperature.
• Use your own forms of expression and experiment with process. The final composition can take any form or utilize any medium you choose.
• As with previous free-studies, research, thumbnails, color tests, consideration of overall compositional balance between figure and ground, unity, and communication of a clear concept or theme is important!
• Divide up the project responsibilities. Each member of the group must physically create some part of the final composition.

Homework

Bring to class:

• Completed Free-Study and ALL parts of the Assignment #5: Color Interaction Studies
• Your group work to continue working in class.

Critique/Discussion

• REVIEW Color Interaction concepts.
• Present your Color Interaction Studies: 2 Value Pairs (in full color)

LAB

Color Interaction Studies – Continued

NEXT INTERACTION STUDIES:

• 2 color study pairs will explore interactions by shifting hue, but not value.
• 2 color study pairs will explore interactions by shifting hue and value.

Process:

• Using your center square color from the last study, attempt to make this one color appear as two by varying the surrounding color.
• For the first pair, choose background hues that cause the center square to appear as if it’s a different hue. This may be subtle, but observable.
  • For example: the center square on the right appears reddish-violet when surrounded by green (complement of red) and the one on the left appears more bluish-violet when surrounded by orange (complement of blue). Notice the value doesn’t change.
    

    adjustments in hue

    

    adjustments in hue

• For the second pair, choose background colors that cause the center squares to appear as if they’re both different in hue and value.
  • For Example:the center square on the left appears both bluer and darker when surrounded by yellow-orange, than the one on the right,which appears lighter and more reddish, when surrounded by blue-green.
    

    Hue & Value Interactions

    

    Hue & Value Interactions

Homework

• Complete 4 pairs of color interactions : 2 hue interactions, 2 hue and value interactions. (you may have to make several attempts)
• Update: Complete just the first pair of color interactions: shifting hue, but not value.
• Come prepared with painted color scraps and paints, brushes, etc. and anything you’d like to use to work on a color interaction free study. See Assignment #5 for details.

Materials

• all gouache paints from Supply List
• brushes, water containers, palette
• ruler, t-square, exacto knife
• pencils
• 9×12″ bristol
• glue

Critique:

• REVIEW Color Interaction concepts from the last class.
• Present your Color Interaction Studies: Achromatic Value pairs

Lab

Color Interaction Studies – Continued

NEXT INTERACTION STUDY: Value in Color
This color study will explore color interactions by shifting value in color.

Process:

• Choose one hue as your small, center square color, preferably one that is in middle key. Try to work with this color for the remainder of your studies.
• Attempt to make this one color appear as two by varying the surrounding color.
• For each pair choose one background hue and adjust the value by adding white and/or complement.
• For example:
  • In the first pair (blue) the value is altered by adding white to the left square and the complement to the right square. The center square appears darker on the left and lighter on the right.
  • In the second pair (yellow), the slightly muted yellow on the left and the chromatic gray on the right alter the perceived value of the center square.
  • Work with different surrounding hues, altering the perceived value at all levels of saturation (chromatic grays, muted and prismatic) until you achieve a perceptual difference between center squares. It’s interesting to notice how these two studies look in grayscale.
    

    

    Blues

    

    Blues (GrayScale)

    

    Yellows

    
    

    

    Yellows (GrayScale)

    
    

HOMEWORK

• Complete your 2 pairs of color interactions making value adjustments in color (you may have to make several attempts)
• Come prepared with painted color scraps and paints, brushes, etc for the next experiment.

Materials

• all gouache paints from Supply List or Reeves Color Set
• brushes, water containers, palette
• ruler, t-square, exacto knife
• pencils
• 9×12″ bristol
• glue

Critique:

Today you will be using the rubric to assess your neighbor’s project. Put all Assignment #4 work on your desk (check to make sure you have all parts of the project). Using the rubric provided compare the Assignment #4 guidelines against the work your neighbor has presented.

• Free-Study #1 (Combined Saturation with the Illusion of Space)
• Free-Study #2 (Based on Ben Snead’s work)
• Creative Process Book

Discussion/Lecture

Color Interaction

• Simultaneous Contrast: When two colors come into contact, the contrast intensifies the difference between them.
  • Example #1: When a middle gray is surrounded by dark gray it appears lighter than when surrounded by a lighter gray.
  • Example #2: Yellow-green surrounded by green appears more yellow, but if surrounded by yellow appears more green.
  • Example #3: Complementary hues have the most striking effect– blue is most intense when seen next to orange.
  • Example #4: Gray or white next to a pure hue, like red, will cause the gray to take on its complement, green.

• Complementary Colors and After Images: Afterimage is an optical effect that is induced from color combinations. If a color and a neutral gray placed side by side the gray will appear tinted with the complement. Due to the influence of afterimage, our brains try to balance the color with its complement.
  • Example: When we see a blue-violet circle on a green square, there is a small ring of red-violet at the intersection of the background and the circle. The reddish afterimage of the green is blended with the blue of the circle to create a red-violet illusion. If the same color is placed on a gray background, the circle appears bluer.

• Optical Mixing: When a field of color is composed of small, disparate points of color, the mind fuses the colors into a comprehensible whole.
  • Example #1: Four-color printing process uses overlapping dot screens of Cyan, Magenta, Yellow and Black to produce a wide range of hues.
  • Example #2 : Digital imaging on the computer screen uses tiny pixels of color to produce gradations of hue.
  • Example #3: A mosaic or drawing uses tiny pieces of stone or drawn marks to create a field of color.

Josef Albers: The Interaction of Color

• Josef Albers was a student of the Bauhaus in Germany and color educator at the Black Mountain College and Yale. His experiments in color relationships are used throughout the world in the study of design and color.
• Classic experiments involved making one color appear as two by placing it next to different background colors.

References:

• Use this tool to experiment with color interactions: http://www.jellocube.com/screendesign/simulcon.swf
• Here’s another: http://rotorbrain.com/foote/interactive/hacks/colorinteraction1.html

Lab

Assignment #5 : Color Interaction Pairings

• Goal: Create a total of 8 paired interaction color studies, making 1 color appear as 2 different colors by changing its surrounding color. Each PAIR consists of 2 interactions for a total of 4 squares. The small square should be the same for each pair.
  • 2 pairs – achromatic gray studies will explore interactions by shifting value.
  • 2 pairs – color studies will explore interactions by shifting value (with color)
  • 2 pairs – color studies will explore interactions by shifting hue, but not value.
  • 2 pairs – color studies will explore interactions by shifting hue and value.
  • Extra Credit: 2 pairs – color studies will attempt to make two different colors look as a like as possible.
• Limits: Using leftover and new color scraps from your previous saturation studies, make large squares 2×2″ and small squares 1/2 x 1/2″. The small squares will sit in the middle of the large squares and should be the same for each pair.
• Process:
  • START with Value: Using achromatic grays (black and white gouache), vary the value of the large square to alter the perceived value of the small square. The small square should be the same value for each pair.
• Refer to the Assignment #5 Guidelines for more info.

HOMEWORK

• Complete 2 pairs of achromatic gray interactions (you may have to make several attempts)
• Come prepared with painted color scraps and paints, brushes, etc.
• REwork Saturation Free Studies #1 & #2, based on a critique.

Materials Needed

• Sketchbook, pencils
• Camera or camera-phone

Discussion :

Review:

• Understanding Your Grade

The Principles: basic assumptions that guide the design practice.

• Balance: The concept of visual equilibrium. Most compositions achieve balance in one of two ways: symmetrically or asymmetrically.
• Symmetrical balance: can occur in any orientation as long as the image is the same (weight, form) on either side of the central axis. The result is formal, organized and orderly, but it is easy to over emphasize the center axis. Symmetrical images have a strong sense of unity, because at least half of the image is repeated. At the same time sometimes symmetrical balance can lack variety.
•  Asymmetrical balance: Asymmetry means without symmetry. It is possible to achieve balance without symmetry. It requires placement of objects in a way that will allow objects of varying “visual weight” to balance one another around a fulcrum point. Imagine several small objects balanced by a large object on a scale.
• EXAMPLES:
  

Field Trip

We are going to the A Station at Jay Street-Borough Hall where artist Ben Snead has a permanent glass mosaic and ceramic tile artwork called Departures and Arrivals.

From the MTA website:

The intricate play of nature is the theme of Ben Snead’s mosaic and tile artwork, which fills the south mezzanine with bold color and intricate patterns along a specially designed 103 foot-long curved wall. The work exhibits the artist’s interest in natural species and ways of arranging them in systems and patterns that highlight the connections and relationships between dissimilar species.

The artwork – created in glass mosaic based on Snead’s original paintings – features species that have migrated to Brooklyn as well as one species that is departing. He arranges the species in layers that can be seen from left to right: European starling (originally from England), a house sparrow (Europe), Red Lion fish (Indian Ocean), Monk parrot (South America) and Koi (Japan). The Tiger Beetle is represented on a tile background; a local species that is in decline. The result is a bold and graphic set of images that intrigue and delight passersby during their own departures and arrivals.

Ben Snead References:

• http://www.bensnead.org/
• Arts for Transit – MTA Website
• Feature INC.

Free-Study #2 – Ben Snead, Departures and Arrivals

Using any materials you like, create a Free-Study based on our field trip to see Ben Snead’s pubic subway mosaic work called Departures and Arrivals. Your composition should reference the content, symmetry, saturation, and graphic, diagrammatic style demonstrated in the glass mosaic and ceramic tile artwork at the A Station at Jay Street-Borough Hall.

Research / Inspiration

After visiting Ben’s pubic subway mosaic work called Departures and Arrivals, answer the following in your CPB:

1. What inspires Ben’s work?
2. What role does Symmetry and Pattern play in his work?
3. Observe the hues, value, and saturation, what is the range of each?
4. How would you describe the style of the work? What does it remind you of?
5. Does the layering and position of the different birds, fish and insects have any significance?
6. Is their any connection between the different species?
7. Any other questions you have or observations you’ve made….

Experimentation / Iteration

In your CPB take some time to think about how you can use Departures and Arrivals as an inspiration for your own composition. Create at least 10 quick thumbnails to “think” out some ideas. Remember to always consider the figure-ground relationship, economy, and unity.

Final Composition

• Your final work should be a minimum of 9×12″ in any medium you like, but it should reference the content, symmetry, saturation, and graphic, diagrammatic style demonstrated in Ben’s glass mosaic and ceramic tile artwork.

Homework

• Assignment #4 Free-Study #2 / Ben Snead’s Departures and Arrivals.: Using any materials you like, create a Free-Study based on Ben’s work. Your composition should reference the content, symmetry, saturation, and graphic – diagrammatic style of Departures and Arrivals. (see instructions above)
• CPB’s will be reviewed for Assignment #4. (See Assignment #4 page for details.)
  

Materials Needed

• all gouache paints from Supply List
• brushes, water containers, palette
• ruler, t-square, exacto knife
• pencils
• 9×12″ bristol
• glue
• scraps (paper, photos, magazine images, fabric, candy wrappers, sandpaper, wrapping paper, etc. ) that have a broad range of value, saturation, and hue.
• Flash drive or CD

Critique:

All Color Studies.

Discussion / Lab :

Saturation and the Illusion of Space

Spacial depth can be created with contrasts in saturation (chromatic gray, muted, prismatic color), color temperature (cool/warm) and of course, value (light/dark).

• Temperature: Cool colors (blue/violet) recede, warm colors (orange/yellow) come forward
• Saturation: Chromatic grays and muted colors recede, prismatic colors come forward.
• Value: Dark colors recede, light colors come forward.

Free Studies: Combined Saturation

• Using your box-o-scraps and/or gouache paint create a 9×12 or larger composition of your choice that demonstrates the concepts we covered in our Saturation Studies
  • Chromatic gray
  • Muted color
  • Prismatic color
  • Narrow Value (High-Key or Low-Key) or Broad Value
• Explore how Saturation and Value can be used to show spatial depth: one element in your composition must be considered a focal point and should be emphasized through the use of saturation and value contrasts.
• Use your own concepts and forms of expression and experiment with process: collage, stippling, tearing, cutting, direct painting, taping, stenciling, blotting, etc.
• You composition should also demonstrate a well-considered figure-ground relationship, unity, and economy.

Homework:

• Complete your Free Studies assignment or create a second. Be prepared to turn in ALL Saturation Studies work (READ Assignment #4)
• We MAY take a field trip next class. BE HERE ON TIME!