FD160 D Color Foundations •Thomas
Green • Spring 2015
Friday 9:00-3:35-Studio 3
Office
hours: Friday, during lunch, after this class (or by appointment)
Email:
Thomas.Green@mca.edu or tgreen@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 artists and color copies of their
work (at least two different images). You will need to research each artist and
provide a brief 2 page (1 page of writing, 1 page of images), 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 and how
the artist is using color. You will be assessed on your ability to research artists
as well as critically write about and discuss their work. You will put artist research into your
sketchbook and also turn in a digital “Word .doc” for grading. These are worth 50 points each, so they can
greatly affect your grade in both a positive and negative manner
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.
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