Monday, August 25, 2014

Muted Color_Project_003

Color foundations: Muted Color

In Class Exercise-Sketchbook Assignment
Practice mixing muted colors with the three pairs of complementary colors.  De-saturate each of the prismatic complementary colors with it’s complement, white and black. Use 1x2 squares for a total of three squares for each color. Clearly label which color you have muted beside your splotches in your sketchbook for reference. You should have a total of 18 squares.
Muted color
Colors that have lost saturation in mixing, but whose parent colors are still easily identifiable (blue-green or red-orange.) Muted colors live between prismatic colors and chromatic grays in the saturation continuum. They are dull, less saturated colors in comparison to the prismatic colors, but are far more saturated and vibrant in relationship to the chromatic grays. Muted colors are mixed in the same way as the chromatic grays, but retain a higher level of saturation.
Complementary Pairs


Outside Assignment

Create three different compositions based on nature and a complementary color scheme.  The compositions should relate to each other and carry a resemblance to each other.  Research and find an image to draw inspiration from.  You want to have good value interaction in your design, push your design, but don’t overcrowd it- about 15-20 shapes max.

Create 6-10 sketches.  Then choose your best three and paint them on 3x5” Bristol board and neatly mount them to a 9x12” piece of Bristol Board.  Keep your edges clean.

The first composition will only use white to mute your complements.  The second should only use black to mute colors and the third will only use the complements.

Color Wheel_Prismatic_Project_002

Color Studies, week 2: Prismatic Color
In Class Exercise
Required Materials: gouache, brushes, palette, sketchbook, graphite pencils, water container, metal ruler, exacto knife and paper towels.
Make a series of abstract thumbnails in your sketchbook based on your outside assignment of achromatic gray studies and experiment with gouache to create high key (light valued), low key (dark valued) and full value range (light, medium and dark) prismatic color studies. A ball park estimate of approximately ten shapes will be needed to insure good color interaction. Do not settle for the first sketches that appear on the page. They may, or more probably, may not be the best designs. Push your designs beyond the first initial sketches for best results. A good design will require a variety of shapes in a variety of sizes that includes an interesting arrangement of shapes to articulate the interaction color.
Prismatic color – Pure hues that represent the spectrum colors at highest saturation.
Saturation – Intensity or chroma. Saturation refers to purity of hue and the measure of inherent light.
Value – the relative luminousity (lightness or darkness) of a color.
High key – refers to colors that are light in value.
Low key – Colors that are predominantly dark.
High Key Colors: Yellows
Spectrum Yellow followed by Greenish Yellows and Orange Yellows that deepen progressively toward Yellow Green and Yellow Orange.
High key colors progressively lose their high key distinction the closer they move towards the middle
key colors.
Middle Key Colors: Blue Green and Red Orange
Low Key Colors: Blues and Violets, Blue Violet is the darkest low key hue.
Low key colors progressively lose their low key distinction the closer they move towards the middle
key colors.
A Co-Primary Triad Palette
Lemon Yellow and Brilliant Yellow.
Lemon Yellow is a cool yellow that is biased towards green. Mix this yellow with Sky Blue to achieve the most prismatic greens. Brilliant Yellow is a slightly red leaning yellow. Mix this yellow with Cadmium Red to get good prismatic oranges.
Note: Mixing Lemon Yellow with Alizarin Crimson to make an orange will produce a comparatively muted orange as opposed to the desired prismatic hue. This is because both pigments are biased towards the orange complement of blue and will result in a duller mixture. The same is true for greens mixed from Ultramarine Blue and Brilliant Yellow. Both colors are biased towards the red which is the complement of green.
Cadmium Red and Alizarin Crimson*.
Cadmium Red is a brilliant warm red that mixes with well with Brilliant Yellow to produce prismatic oranges. Mixing Cadmium Red with Sky Blue will produce a grayed violet that is unsuitable for a study of prismatic color. Alizarin Crimson is a blue biased red that mixes well with Ultramarine Blue to create beautiful prismatic violets.
Sky Blue and Ultramarine Blue*.
Sky Blue is a brilliant cool, green tinged blue that mixes with well with Lemon Yellow to produce the most prismatic greens. Ultramarine Blue is a violet tinged blue that mixes well with Alizarin Crimson to create prismatic violets.
*Alizarin Crimson and Ultramarine Blue are dark transparent pigments that require a small addition of white to achieve prismatic intensity. This a characteristic shared by many transparent pigments. Transparent pigments are ideal for glazing in oil, acrylic and even watercolor, but glazing as a rule, is an unsuitable technique for gouache and the matte, opaque color requirements of this class.
Note: In this class white is a necessity, not a virtue. White mutes, cools and grays mixtures. To maintain maximum hue saturation, avoid adding white to the yellows, cadmium red or sky blue for this project.
Outside Assignment: Prismatic Color – Color studies/Variation on a visual theme/Family resemblance
• Create three abstract studies in gouache that are related in shape, composition, and handling of materials. Base the designs on the previous achromatic gray studies.
• The colors used should all be highly saturated or prismatic.
• The first should have a broad range of values. The second two should use a narrow value range with one in high key colors and one in low-key colors.
• Make sure your colors are opaque. The color of the paper may not be used.
• Do not repeat colors.
• Mount your 6” x 9” studies on 8” x 11” Bristol. Use a 1” border. Craft is important. Keep border clean.
• Materials: Gouache and Bristol board
Research Assignment
• Research artwork in books or online that utilizes an extensive prismatic color palette and include two labeled color prints in the sketchbook. Almost any kind of visual art (historic or contemporary) that uses an extensive prismatic color palette is acceptable. Grafitti, cartoons, anime and manga are not acceptable for the research assignment.

Note: The use of the of the art or artists brought in as examples by the instructor is mimicry, not research and is prohibited. The purpose of this exercise is for the student to look and make connections between their own efforts and the work of others.


Color Studies Week 1: Achromatic Grays
Achromatic grays – Grays mixed from black and white only. Achromatic grays appear to have no coloration.
Value – the relative luminousity (lightness or darkness) of a color.
In Class Exercise
Required Materials: ivory black and permanent white gouache, brushes, palette, sketchbook, graphite pencils, water container, metal ruler, exacto knife and paper towels.

1. Using Gouache, make thumbnails to create a value scale consisting of 11 different values.  Shapes should be no less than 1’ at any dimension.  You will glue your thumbnails into your sketchbook.

Outside Assignment
Create three abstract studies based on observations from Architecture. Abstraction usually involves a simplifying of shapes so source imagery is not immediately apparent or obvious. Think in terms of design. Abstraction allows the student to focus on the on the assigned color problem and the interaction of color (in this case, value) without the interference of representation. First, create 6-10 shapes in your sketchbook, then select the best 3. A good design will require a variety of shapes in a variety of sizes that includes an interesting arrangement of shapes to animate and articulate the artwork.

• One study will feature a full value range (light, middle and dark values), a second one light in value and a third with dark values only. You must use a minimum of 4 values in each study.  Approximately ten shapes will be needed to insure good value interaction. Refer to the value continuum and the gray scale above.

• Each study is to be 3” x 5” and executed with gouache in achromatic grays (mixed from Ivory Black and Permanent White) on Bristol board. You must include a minimum of 4 values in each composition.

• Center and mount all three studies a half of an inch apart on to a 9” x 12” sheet of Bristol board. This will leave about a one inch margin on the outside edges longwise, and a two inch margin the other two parallel sides. Craft is important. Keep borders clean.


FD160 Color Foundations •Thomas Green • Fall 2014
Office hours: Monday-Wednesday, 11:35-12:05 (or by appointment)
Color Studies is an introduction to the principles of design, color mixing, color interaction and relativity.  We will focus on the basic visual and aesthetic interactions of color. This is a studio class based on the actual experience of seeing and working with color. The course combines lecture, demonstration, and critique with an intensive hands-on color exploration involving a variety of 2-D assignments using gouache and color-aid paper. There will be intensive exercises in color mixing focused on exploring hue, value, intensity, transparency, contrast, and color interaction. Recognizing color as the most relative of art elements, the course is intended to provide knowledge and experience that removes color usage solely from the realm of intuition, and puts the student in the position of making informed decisions and color selections in their work.

Artistic Outcome
Ultimately, students will have a broad understanding of color principles and their relationship to other principles of visual art. Upon successful completion of the course, the student’s work will demonstrate the ability to:
• mix color pigments accurately
• understand differences between additive and subtractive color mixing
• be proficient with concepts of value, hue, saturation, harmony and color interaction
• make informed decisions regarding color selection
• thoroughly understand contrast exhibited through value, temperature, saturation, complementary/simultaneity
Professional Practices Outcome
Upon successful completion of the course, the student’s work will demonstrate:
• the ability to write an artist statement
• the ability to digitally document their classwork
• the ability to conduct effective research and stay current in their field
Attendance policy
There are no excused absences. Missed class time and assignments cannot be “made-up”. If you miss five classes you will immediately fail the course. There will be no exceptions. The reasons behind the absences are not important. Doctor’s excuses and notes from parents are not necessary. Five absences means too much information and work has been missed for anyone to legitimately pass the course.
• If you are having trouble with the course or have outside problems affecting your performance, please make arrangements to meet with me so we can discuss possible solutions. Do not wait until it is too late. I am glad to help.
• Tardiness is not acceptable. Excessive (in my judgment) tardiness will result in a lower final grade or dismissal from the class. (3 tardies=1Absence) If you know you are going to be late, let the instructor know ahead of time.
• All students will be present and working during the class period. Students will not leave the classroom early unless excused. Excessive talking, walking about, or leaving the room will be noted and counted against your final grade. Working on late assignments, outside projects, or reworking an earlier exercise in class is prohibited. CONCENTRATE ON THE WORK AT HAND.

• If you miss an assignment because of absence, get it from another student.  Falling behind or putting things off will not work in your favor.  If you have questions, see me or set up an appointment to meet.
• Grades are available for you to see at all times.  You should have a relative idea of your grade at all times. Do not go through the semester hoping for a “surprise” on your final report.  Knowing your grade is important for success.
• Late work will not be accepted, however, students will be able to turn in work that was missed or incomplete at a later date with a deduction of one letter grade.  
• The work will be graded and returned as soon as possible. At times it may be necessary for me to hold some of the work for exhibitions or photographing.
• Assignments handed in on time may be reworked for a better grade.
Final grades will be determined by:
- Completion of all assignments.
- Consistency of effort.
- Thoughtfulness and expressiveness in solutions to problems.
- General attitude and participation in critiques and discussions.
- Craftsmanship.
- Research Papers
- Sketchbooks
Final letter grade definitions (pluses and minuses are used to allow greater subtlety in comparative judgments):
A – Exemplary performance for the course is reflected.  The student has clearly gone beyond the simple grasp of concepts and execution of classroom assignments. It implies great effort and great success in all aspects of the class. It is rare that this grade is awarded.
B - The person earning this grade has worked very hard; has pushed him/herself to go beyond the fulfillment of each problem and has shown extraordinary advances in technical and conceptual skills.
C - The student earning a C completed all assignments, had a positive attitude, worked hard, showed growth in skills and thinking, participated in critiques and discussions, and successfully fulfilled the requirements of the course, in general. This is the average level of achievement for all studio courses.
D - This grade indicates that the student has obvious difficulties with basic skills and concepts and/or trouble in fulfilling the requirements of the class because of excess lateness, absence, or some other reason.
F - This grade indicates a severe problem in one or more of the following categories: lack of interest and/or seriousness of purpose, ineptitude in basic skills, lack of understanding of concepts, terrible craftsmanship, failure to complete assignments, bad attitude, excess lateness or absence.
Individual assignment grade definitions:
A – Excellent. Assignment is completely and creatively fulfilled. Seamless craftsmanship.
B - All aspects of assignment are completely fulfilled and well executed with regard to craftsmanship.
C - Work fulfills the requirements of the assignment to the letter and is generally successful. Work is completely finished. Craftsmanship is good.
D - Assignment is not yet completely finished or has obvious technical or conceptual flaws.
F - Unacceptable in technique, craft or concept, or a combination of these.
O - Assignment not handed in. This assignment may not be re-worked.
QEP ( Quality Enhancement Plan) Requirements-MCA’s QEP is designed to greatly expand the preparation of students for the working world. The college is moving from a single elective Professional practices course to a fully integrated curriculum that embeds essential skills and knowledge throughout the four years of study. Even the most introductory- level classes will begin to address important content in the various degree programs. MCA hopes to instill in students from the very start of its BFA programs a mind-set for success as well as the requisite skills and knowledge to pursue a career in a field of their choice.
General Requirements:
• All EPA/OSHA regulations that apply will be observed in this class. This is required of all students.
• All work must be kept in a portfolio. Respect and protect your work if you expect anyone else to do so.
• Computer and internet usage in class is without exception, strictly limited to color studies class work.

You are required to keep a sketchbook for this course (minimum size 9x12”). Your sketchbook should be a visual representation of what you learn in class. Make your sketchbook your own. Think of composition and overall placement of the required contents. You should be sketching everyday.  Things to include in your sketchbook:

-Class Syllabus

-Class notes and other pertinent information

-Sketches (you should be sketching everyday, practice what we learn in class)
 -Artist references/reproductions

-Your own point of view, make it your own

The sketchbook as previously mentioned, constitutes 20% of the final grade. A “C” is the best grade a student could possibly receive without a sketchbook. Color Foundations sketchbooks are to be exclusively used for Color Foundations class only. The content of the sketchbook to be graded are as follows: painted and unpainted thumbnails of the designs for the assigned projects, experimental color mixing swatches, research assignments, pre-critique writing assignments for each project, helpful comments regarding the individual student’s work made by the instructor and/or student peers during critique, and all instructor handouts.
Documentation Guidelines
You are required to keep a visual log of your work for this class. As mentioned before, you will be assessed on how well you document your work as well as follow directions. You will need to use a camera and not your phone to take your images if you choose to photograph your work.   You will have the option of scanning your work.
-Photograph your work when you finish each project -Take clear visible images
-Crop and center images/adjust if needed
-Label each image with assignment name
-Make sure each image is the same size. 8x10 300dpi for print and 8x10 72dpi for emails, submissions and website
-You will need to save your images in a folder labeled with your name on the server
Digital portfolios of all assigned project work are to be placed in the drop box of the class folder on the server at the end of the semester. The portfolio will count as one project grade. Artwork is to be chronologically arranged in the assigned order. Reworked assignments must be accompanied by the work they replaced. The purpose of the portfolio assignment is for the collective examination of each student’s progress over the course of the semester.

Class begins promptly after role call. Students will carefully pin work up and examine the efforts of their peers. I will give a brief recap of the assignment to be critiqued. Students are to examine the merits of the works at hand and provide helpful, constructive feedback. Does the work solve the color problem as assigned? What is working and why? What could be improved, and how? Is the design successful and is the design enhanced by the color interaction? And finally, craftsmanship, what is successful and what improvements can be made?  Craftsmanship is of the utmost importance.  Throughout the course each student will grow in the comfort level of handling the gouache and color aid paper.
The purpose of the critique is to enhance student understanding of color interaction and extend the opportunity to effectively articulate comments about their own work and the work of others. Peer commentary will address the merits and/or shortcomings of the work, followed by remarks from the student, and will finally culminate in observations from the instructor. All students are expected to freely participate in the critiques. There is to be no conversation while a student or the instructor is addressing the class.  Project work, texting, reading, needlepoint, computer use and any other activity not directly connected to the critique process is strictly prohibited.  Furthermore, critique is not personal; keep comments directed about the work and not the individual responsible for creating it.
Research Paper Guidelines
-Include 8 artist’s and color copies of their work (at least two different images). You will need to research each artist and provide a 2 page, double-spaced, 12pt Times New Roman font paper for each artist. Use four artists from the past and four contemporary living artists. In each paper talk about what attracts you to this particular artist. I want to hear your opinions about their work. You will be assessed on your ability to research artists as well as critically write about and discuss their work.
Materials List

-Gouache: You will need to purchase the kit in the art center here at the school. It has all of
the colors that you will need for the course. You will need to purchase more later in the

-Color-aid paper – (you will split with another student. It will cost $30.00 per student)

-Ox Gull- optional (can be used to smooth out gouache)

-Tape – Scotch brand removable Magic

-X-acto knife and extra blades

-18"ruler (metal)

-T-square (metal)

- Glue, glue stick, rubber cement or matte medium (recommended)
- Brushes (synthetic)– small to medium flats and rounds

-Palette or plastic mixing tray (large)

-Water container (screw on lid), non-breakable

-Two small airtight jars for chromatic grays

-Cutting board – “self-healing” – 11x17” or larger

-Paper towels

-Portfolio or photo box

-Camera (6.0 megapixels or higher, you do not have to buy one, but need to have one to use)
-Bristol pad (11x14”)

Recommended Texts (recommended means that the student would be well served in examining these books)

This class will be following the theories of color and color interaction outlined in

Color, 2nd edition: A Workshop for Artists and Designers , David Hornung, McGraw Hill



Other related texts the student may find helpful include:


The Interaction of Color (Revised and Expanded), Josef Albers, Yale University Press, 2006 (on reserve in the library)
Color, Paul Zelanski/Mary Pat Fisher, Prentice Hall
Color Studies, Edith Feisner, Fairchild
Color in Contemporary Painting, Charles Le Clair, Watson Guptil (on reserve in the library)
Color Codes, Charles A. Riley II, University Press of New England, 1995
Color, Betty Edwards, Penguin, 2004
Color Terms
Achromatic – Having no color.
Achromatic grays – Grays mixed from black and white only. Achromatic grays appear to have no coloration.
Additive color – Color as seen in light. Red, green and blue-violet are the additive color primaries. When mixed they produce white light.
Analogous colors – Closely related hues adjacent to each other on the color wheel.
Chromatic - Having color.
Chromatic grays – Grays mixed from colors rather than black and white.
Complementary colors – Colors that share no common hue and lie directly opposite each other on the color wheel.
High key – refers to colors that are light in value.
Hue – The name given to a color based on its position in the spectrum and its wavelength. The common name of a color.
Low key – Colors that are predominantly dark.
Monochromatic – One color or a color scheme based on one color.
Muted color – Colors that have lost saturation in mixing, but whose parent colors are still easily identifiable (blue-green or red-orange).
Primary triad – In subtractive color red, yellow, and blue from which (theoretically) all colors can be mixed.
Prismatic color – Pure hues that represent the spectrum colors at highest saturation.
Saturation – Intensity or chroma. Saturation refers to purity of hue.
Secondary triad – In subtractive color orange, green, and violet. The three colors equidistant from each other on the color wheel made by mixing pairs of primaries.
Shade – Mixing black with a color.
Simultaneous contrast – The tendency for complementary colors to intensify each other when juxtaposed.
Spectrum – Pure colored light as seen with a prism or in the form of a rainbow.
Subtractive color – Color seen in pigment as a result of reflected light.
Temperature – The relative warmth or coolness of a color as determined by its hue (blue is cool, orange is warm).
Tertiary colors – Intermediate colors created by combining a primary with a secondary color.
Tint – White mixed into a color.
Triad – Color scheme involving any three hues equidistant on the color wheel.

Value – The relative lightness or darkness of a color.