Syllabus

FD160 Color Foundations •Thomas Green • Fall 2014

Office hours: Monday-Wednesday, 11:35-12:05 (or by appointment)

Email: Thomas.Green@mca.edu

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:

• 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.

• USE OF CELL PHONES IS STRICTLY PROHIBITED IN MY CLASS FOR ANY REASONS NOT CLASSROOM RELATED

Sketchbooks:

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

Portfolio:

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.

Critiques:

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

-Pencils


-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

semester.


-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.