Class 21 | Critique & Color Interaction

Materials

  • black and white gouache paints from Supply List
  • 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 the guidelines 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.

  • Saturation Studies
  • 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:

Lab

Assignment #5 : Color Interaction Pairings

  • Goal: Over the next three classes we will 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 interactions per page. The small square should be the same for each pair.
    • Each PAIR consists of 2 interactions.
      • Group 1: 2 pairs of achromatic gray studies will explore interactions by shifting value.
      • Group 2: 2 pairs of color studies will explore interactions by shifting value (with color)
      • Group 3: 2 pairs of color studies will explore interactions by shifting hue, but not value.
      • Group 4: 2 pairs of color studies will explore interactions by shifting hue and value.
      • Extra Credit: 1 pair of color studies will attempt to make two different colors look as a like as possible.
  • Limits:
    • Use 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:
    • Group 1: 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.
    • Each group of 2 pairs should be properly mounted on clean 9×12″ bristol.

HOMEWORK

  • Research / Inspiration: 
    • Read about Josef Albers. 
    • Use this tool to experiment with color interactions: http://www.jellocube.com/screendesign/simulcon.swf
    • Find two examples in any medium (web, print, film, billboard, etc.) that demonstrates Simultaneous Contrast. Write at least one paragraph in your CBP explaining your observations. Be sure to printout and paste an image of your examples in your CPB.
  • Experimentation / Iteration:
    • Complete 2 pairs of achromatic gray interactions (you may have to make several attempts)

Class 20 | Balance, Symmetry & Field Trip

Materials Needed

  • Creative Process Book, pencils
  • Camera or camera-phone

Discussion :

Review:

  • Assignment #4 Milestones
  • Freestudy check-in and Class 19 Review: 
    • Chromatic gray
    • Muted color
    • Prismatic color
    • Narrow Value (High-Key or Low-Key) or Broad Value
    • Temperature (warm and cool)
    • Spacial Depth
    • Cross-Sensory Metaphors

New Vocabulary:

The Principles: basic assumptions that guide the design practice.

  • Balance is the concept of visual equilibrium or equalized tension, used to create harmony, order, and cohesion. While visual elements don’t have a physical weight. They do have visual weight. Some things that affect visual weight:
    • Size
    • Color
    • Density
    • Value
    • Whitespace

    Most compositions accomplish the balance of these visual weights 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, but at the same time symmetrical balance can lack variety. Used primarily for stability: backgrounds, patterns or any layout that requires a strong organizational structure or a trusting, safe feel to the design. Symmetry = PASSIVE, FORMAL SPACE
  •  Asymmetrical balance means balance without symmetry. It is possible to achieve balance without symmetry so that the placement of elements of varying “visual weight” will balance one another around a fulcrum point. Imagine a scale with several small objects balanced by a large object. Use asymmetry to draw attention and create visual interest. Asymmetry can make designs more interesting overall and also serves to create visual hierarchy in order to direct the viewer’s eyes to a certain area. Asymmetry = ACTIVE, DYNAMIC SPACE
  • Other types of Symmetry:
    • Radial / Rotational Symmetry is when an object is rotated in a certain direction around a point. It is often used to communicate direction or motion.
    • Bilateral / Reflection Symmetry is the “mirror” effect, or when one object is reflected across a plane to create another instance of itself.
    • Translational Symmetry: when an object is relocated to another position while maintaining its general or exact orientation. Used for repeated patterns, to create movement, or to reinforce stability.
  • References:
  • QUESTIONS:
    • When do we use SYMMETRICAL BALANCE?
    • When do we use ASYMMETRICAL BALANCE?

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:

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

You will be creating a Free-Study based on our field trip to see Ben Snead’s pubic subway mosaic work called Departures and Arrivals.

Research / Inspiration

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

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

After your visit READ these references to learn more:

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. Your composition should reference metaphor, balance, and the range of saturation (prismatic, muted and chromatic gray) demonstrated in the glass mosaic and ceramic tile artwork at the A Station at Jay Street-Borough Hall.

Create at least 10 quick sketches to “think” out some ideas. Remember to always consider the figure-ground relationship, economy, and unity.

For example, here is an example of a preparatory sketch for a painting:

Tate.org: Preparatory Sketch for Le Café, Pierre Bonnard

And the final painting.

Tate.org: Le Café, Pierre Bonnard

Here’s an example of preparatory sketches for a logo:

WDE logo sketches by David Airey

And the final logo:

WDE final logo design by David Airey

Execution:

  • Your final work should be a minimum of 11×17″ in any medium you like, but it should reference metaphor, balance, and the range of saturation (prismatic, muted and chromatic gray) observed in Ben’s glass mosaic and ceramic tile artwork at the A Station at Jay Street-Borough Hall.

Homework

  • All parts of Assignment #4, including Free-Study  #2 are DUE!
  • CPB’s will be reviewed for Assignment #4. (See Assignment #4 page for details.)

 

Class 19 | Saturation Free Study

Materials Needed

  • 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.

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.

Cross-Sensory Metaphors and Synesthesia

  • Cross-sensory metaphors (e.g., “loud shirt,” “bitter wind” or “prickly laugh”) are sometimes described as “synesthetic”. Synesthesia is the neurological mixing of the senses. Synesthes might associate a color with a number or  sound with a letter or form.
  • Grapheme → color synesthesia is a form of synesthesia in which an individual’s perception of numbers and letters is associated with the experience of colors.
  • Booba/ Kiki Effect: From Amber Jensen: Synesthesia. Lethbridge Undergraduate Research Journal. 2007. Volume 2 Number 1.
    • A popular experiment is the “Booba/ Kiki Effect”. In this experiment, originally designed by Gestalt psychologist Wolfgang Kohler, two shapes (shown below) are shown to subjects. They are asked which one is a ‘booba’ and which one is a ‘kiki’. An overwhelming 98% of subjects chose the curvy figure as a ‘booba’ and the pointed figure as a ‘kiki’.
    • By understanding how this effect works, we can think of this type of cross-activation (sound and shape) as similar to how synesthetes’ perceptual maps are cross-activated.
  • Many well known artists, poets, scientists have synesthesia, for example:
    • David Hockney: Artist (born July 9, 1937). Music → color. Hockney sees synesthetic colors to musical stimuli. In general, this does not show up in his painting or photography artwork too much. However, it is a common underlying principle in his construction of stage sets for various ballets and operas, where he bases the background colors and lighting upon his own seen colors while listening to the music of the theater piece he is working on.

    • Richard Feynman: Physicist (May 11, 1918 – February 15, 1988). Graphemes → color. Winner of the 1965 Nobel Prize in Physics. Feynman experienced colored letters and numbers . He developed a widely used pictorial representation scheme for the mathematical expressions governing the behavior of subatomic particles, which later became known as Feynman diagrams.
      • “When I see equations, I see the letters in colors – I don’t know why. As I’m talking, I see vague pictures of Bessel functions from Jahnke and Emde’s book, with light-tan j’s, slightly violet-bluish n’s, and dark brown x’s flying around. And I wonder what the hell it must look like to the students.” — From Richard Feynman, p. 59.

References:

Free Study: Combined Saturation

  • Break into groups of three and choose one word that is associated with either warm or cool color temperature.
  • Using your group’s box-o-scraps 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
    • Temperature (warm and cool)
  • Explore how Saturation and Value can be used to show spatial depth: the TEXT element (your chosen word) is the focal point and should be emphasized through the use of saturation and value contrasts.
  • Your composition should also demonstrate a well-considered figure-ground relationship, unity, and economy.
  • Do not rely on white or black and fill the entire page with color.
  • If your composition is not complete by the end of the class, decide as a group how you will complete it.

Homework:

  • Complete your Free Studies assignment.
  • We will take a field trip next class and may have a guest speaker. BE HERE ON TIME!

Class 18 | Prismatic Color Studies

Critique:

  • Chromatic Gray Studies #1 & #2
  • Muted Color Studies #1 & #2

Discussion

Review Color Concepts (Class 16)

Prismatic Color Studies:

  • These colors are as pure a hue as possible using paints. Essentially Prismatic colors are the colors that can be seen when white light goes through a prism. Please work with primary (red, yellow, blue) and secondary (orange, violet, and green) hues. Do not use browns, blacks, grays or white.
  • The value of your prismatic colors is determined by its place on the color wheel not by adding darks or whites. Squint your eyes and look at the color wheel. The lightest colors are yellows, the darkest colors are violets. A prismatic study in high key will be created with yellows. A prismatic study in low key will be created with violets.

Prismatic Color Studies – Exercise #1:

  • Make a 6×6″ gouache, painted-paper collage using at least six shapes. All colors should be PRISMATIC with a BROAD value range (light and dark) from a BROAD range of hues (colors). The entire surface of your composition should be covered with paint.
  • Use scrap pieces of bristol to create your painted paper shapes. Cut these out with scissors or exacto knife.
  • Arrange your shapes until you achieve a unified composition and then carefully glue down your pieces.

Prismatic Color Studies – Exercise #2:

  • Make second 6×6″ gouache, painted-paper collage using at least six shapes. All colors should be PRISMATIC with a NARROW value range (high or low key).  This means you will either create a composition with prismatic yellows (high) or prismatic violets (low). The entire surface of your composition should be covered with paint.
  • Use scrap pieces of bristol to create your painted paper shapes. Cut these out with scissors or exacto knife.
  • Arrange your shapes until you achieve a unified composition and then carefully glue down your pieces.

Homework

  1. Finish ALL Saturation Studies:
    Make sure each composition is neatly mounted and protected with tracing paper or clean drawing paper.
    • Chromatic Gray Studies #1 & #2
    • Muted Color Studies #1 & #2
    • Prismatic Color Studies #1 & #2
  2. Come PREPARED to work in class on the Freestudy #1  (see Assignment #4 – Section 3)
    Bring in a library of materials  (paper, photos, magazine images, fabric, candy wrappers, sandpaper, wrapping paper, etc. ) that have a broad range of value, saturation, and hue.  Bring enough “stuff” to fill a shoe box. Come prepared to explain the value, saturation, and hue of each scrap.
  3. Materials: same as this week, plus scrap box!