Assignment 9: Mounting Color Charts. DUE MONDAY APRIL 3rd.

This image shows how you will subdivide the 4 pages printed out in class. Each of these smaller units will be individually mounted to mat board. These 7 charts will be mounted to edge (no border). 

The following details must be followed:

1. Value scale goes from light to dark with the lightest value at the top of the chart. 

2. All primary charts will have yellow at the top. 

3. Color wheel will have red at the top. 

4. Corresponding achromatic grays for color wheel should be cut to 1" x 1/2" and mounted on edge of corresponding hues. 

5. Chromatic scales stay together as two sets (3 scales per set). The chromatic scales are arranged from light to dark in value (lightest value at the top of page, ex. yellow). One page will contain the three warm colors, the other page will contain the three cool colors. All are arranged like this:

Top (color with lightest value) bottom (color darkest value)

Left (Prismatic color) Right (Achromatic color)

THE 7 CHARTS WILL NOT BE MOUNTED TO ANYTHING ELSE. THEY STAY AS 7 SEPARATE CHARTS.  

CRITIQUE IS MONDAY, APRIL 3RD. All things must be mounted and presented for critique by 10:40am. 

Assignment 8: Hue, Value and Chroma Charts

Schedule

Due Monday, March 20th- 
1" swatches for the following:
- Color wheel and corresponding achromatic grays
- Colors for psychological, historical, and subtractive primaries
-achromatic greys for new value scale (11 steps)

Due Wednesday, March 22nd- 
1" swatches rough-cut for the following:

• 10-step chromatic scale in yellow (only chroma shifts, no shift in value or hue)
• 10- step chromatic scale in violet (only chroma shifts, no shift in value or hue)
• 11- step achromatic scale (no chroma, even steps in value based on chart)

Note: cut your swatches to 1" height, but leave the other sides longer. 

Due Monday, March 27th-
All of the following must be completed for start of class. Please bring rubber cement, xacto, blades, and ruler to class. You will be mounting in class. Must have the following 1" swatches COMPLETELY CUT AND READY TO MOUNT at the beginning of class:

• 10-step chromatic scale in yellow
• 10-step chromatic scale in violet
• 10-step chromatic scale in blue
• 10-step chromatic scale in orange
• 10-step chromatic scale in green
• 10-step chromatic scale in Red
• 11-step Achromatic Gray Scale
• 12 colors for color wheel
• 12 achromatic grays that correspond to color wheel
• 4 colors for psychological primaries (Red, Green, Yellow, Blue)
• 3 colors for historical primaries (Red, Yellow, Blue)
• 3 colors for subtractive primaries (Magenta, Yellow, Cyan)

Due Wednesday, March 29th- 

FINAL CRITIQUE- Everything Mounted and ready for presentation.

From David Briggs website: 

"Mixing with grey is commonly also accompanied by a shift in hue (Fig. 6.3.3B), generally in the same direction as that seen in mixing with white paint. These shifts are accentuated if the grey is somewhat bluish, as results from mixing most black paints with white. A perfectly neutral grey (made for example using raw umber plus a black as the darkener) will eliminate this latter component of the shifts, but not the hue shifts that are due to the undertones of the coloured paints. Using a grey to reduce chroma is an important tool that keeps the painter in control of the value of the mixture, whereas the traditional recipe of mixing with the complementary tends to surrender control of the value to the paint.

Adding black paint alone to a paint mixture typically reduces saturation as well as chroma and value, and thus yields shadow colours that are too low in chroma to be correctly related to the lights. Strongly coloured objects remain at high saturation even at their lowest values, which may need to be painted using a very high proportion of colourant; pure black paint, being a very low value neutral (grey), is unsuited to represent the lowest values of such objects.

Darkening with black may also cause a hue shift that needs correction, but this problem occurs with any darkener. The main shifts are red > purple, and orange > yellow> green, both of which can be corrected by dragging the hue back with a trace of a strong orange or scarlet colorant."

From David Briggs website:

"Ideal yellow, magenta and cyan colorants would be the optimal primaries for paint mixing, if such pigments existed. However, even today our best magenta and cyan pigments are well towards red and blue respectively, compared to the ideal magenta and cyan subtractive primaries. No high-chroma pigments are very close to an ideal magenta hue.

The closest high-chroma oil painting pigment is quinacridone magenta (PV 19), which is distinctly redder than ideal magenta. 

The closest popular oil painting pigment to an ideal cyan is the green shade variant of phthalocyanine blue (PB 15.3), which similarly is distinctly bluer than an ideal cyan. 

Note: Cobalt green is closer to ideal cyan in hue, and does mix some blue-green colors not obtained using phthalocyanine blue alone as the primary, but yields fewer colors in the bluish range. It is also more expensive, and being opaque is less suited to mixing dark colors. 

Yellow pigments are available in an essentially continuous range of hues, and a pale or lemon yellow seems to provide the optimal gamut of colors."

Research: Introduction to Color Theory. Please read before Wed, March 15th

You have three readings to do for class on Wed., March 15th. They are all available on this website. 

Reading 1- Intro to Color Theory

Please start by reading the prologue. It's a great resource for understanding color theory and it's development. Don't worry if you don't understand it all- there is a lot of information here. Also, you can listen to the writer reading it in the video below

Reading 2- The Dimensions of Color

Read the section titled, The Dimensions of Color. We will use the terminology presented in the reading to discuss the three attributes of color. These attributes are applied to both additive and subtractive color. The author uses the terms Colors of Objects (ex. paint or ink), and Colors of Lights (ex. a computer screen). The three Dimensions of color are: 

1. Hue
2. Chroma/Saturation
3. Value/Brightness

Reading 3- Paint Mixing Principles

The last reading for Wednesday will be the part on mixing paint. Please read the sections on white, grey, black and hues. Again, don't worry about not understanding everything. Just be sure to understand the basic ideas. 

For Class on Wed, March 15th

Please bring your bristol board pads to class along with your gauche and painting supplies. We will be painting in class. 

Here is the gouache you should have purchased. I know it's expensive, so talk to me if you have issues. Maybe you can go in with another student to buy it. This should be the last material you will have to purchase. I will  continue to try and supply donated matte board and other materials for you. 

Other resources on Color Theory

http://www.powershow.com/view/3659a-ZGJjY/Color_Vision_powerpoint_ppt_presentation

http://www.handprint.com/LS/CVS/color.html