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

Assignment 7: Greyscale- Free Composition. Due Monday, March 6th

Project Description

Design and execute a composition in greyscale with the unused paint swatches left over from your black and white value scale. Refer back to your notes regarding the elements and principles of design, and apply these to create an arrangement of line and shapes that move the eye around the page. 

Specifications

Minimum 8 inches x 8 inches overall. You can make it larger if you want.
Mount the composition on matt board with a 2 inch border around all sides. 
Name on back. 

NO pieces may overlap. I originally said this in class but I am going to allow you to layer your swatches. You MAY overlap the painted paper swatches. You man also tear, rip, scratch, etc. Be creative, thoughtful and intentional. 

The composition may be representational or abstract. It just has to be good. 

Schedule

Wed, March 1st- 

In-class work day. Bring materials to work and a sketch of the composition. 

Mon, March 6th @ 10:30am. 

Project Due On-Line (NO CLASS)

All work must be posted to your blog by 10:30am on Mon, March 6th. Each student will review ALL other students in the class. Use the comments sections on the blog to post your comments to your classmates' work. This required feedback will replace our regularly scheduled in-person critique. It should take you about two hours to do. 

All work posted after 10:30am will be marked as late and reduce a full letter grade. 

Tips

Focal Points- 
Create at least three different focal points in the composition and arrange them on the page to help move your eye around the entire space. Positioning them in a triangular configuration is a common approach. 

Hierarchy- 
Establish an order of importance to all the elements (lines/shapes) in your design. 
What is most important? 
How will you establish this?
Answer: Contrast

What is least important? 
How do you establish these? 
Answer: Similarity with the ground and with the majority of elements on the page. 
What is the purpose of these elements?  
Answer: To support the most important things. 

Figure/Ground-
Remember that you SIMULTANEOUSLY create figure and ground as soon as you make a mark in space. The moment this happens, you define both the mark, and the space it resides in. If you keep this in mind, you will not make the mistake of drawing things on a "background". Instead, you will have interesting positive AND negative shapes. Interesting Figure AND Ground. Test your composition by studying the negative shapes in your composition. Are they as important and essential as your figure/subjects?

Framal Reference-
Have you considered the way your composition works with the frame of your page? When an element/shape is confined within the frame it feels small/contained. When an element/shape extends beyond the frame it feels large/expansive. Use this to your advantage. Also consider gravity and the fact that we read from left to right. 

Atmospheric Perspective-
As things move back in space there is less edge contrast and less overall contrast. In addition, the colors move toward achromatic gray. Your swatches are all achromatic treys (grays without color). Can you introduce more swatches of muted and prismatic colors to bring things to the front/closer to the viewer? Yes

Similarity and Contrast-
Use similarity to create unity and contrast to create interest. This is a balance. Too much similarity = boring. Too much contrast = discord. 

Texture-
You got it... use it. a bad paint swatch from the last project could be a great thing here. 

Create the unexpected. Have fun. Use those swatches!

Assignment List for Semester

Spring 2016- List of assignments and exercises

Assignt 1a-What's up/Mashup (magazine- first attempt)

Assign 1b- What's up/Mashup (magazine- second attempt)

   

Assign 2- Figure Ground Studies

     Square (Stable, Reversible, Ambiguous)

     Circle (Stable, Reversible, Ambiguous)

     Rectangle (Stable, Reversible, Ambiguous)

Assign 3- Symmetry (2 parts)

     6 emotion studies

     Animated gif (Final Project)

Project Series- Value Scale and Tessellations (3 Assignments)

     Assign 1- Painting Greyscale Tiles

     Assign 2- Greyscale Value Scale

     Assign 3- Greyscale Composition with extra swatches

Project Series- Hue, Value, Chroma (4 Assignments)

     Assign 1- Three Primary color charts

     Assign 2- Achromatic grey value scale 

     Assign 3-  Color Wheel

     Assign 4- Three Chromatic Scales

Interaction of Color- Joseph Albers Exercises (8 Exercises)

     Ex. 1. Hue as Value

     Ex. 2. Boundaries

     Ex. 3. Transparency

     Ex. 4. Color Manipulation

     Ex. 5. How Much to How Much

     Ex. 6. Color Climate

     Ex. 7. Visual Mixture

     Ex. 8 Three Colors Look Like Four

Final Projects (2 Assignments)

     Assign 1- 3 Color Compositions in mixed media (application of all theory and techniques covered in course)

     Assign 2- Emotion Animation (application of theory and techniques)

Slight adjustments may be made as necessary. Students will be amply notified if this occurs. 

Assignment 6: Value Scale- Greyscale. Due Monday, Feb. 27th

Project Description

In gouache, create a value scale in 11 steps total starting with white (from the tube) and ending with black (from the tube). For the value scale, you will need 11 tiles total. Each tile will be painted a different value from black to white. The value must shift evenly between tiles. 100%, 90%, 80%, 70%, 60%, 50%, 40%, etc. Use the provided color wheel I gave you for reference. 

Part One- Painting Tiles for Tessellating Value Scale. Due February 22.

1. Draw your pattern/tiles

Lay out your pattern on bristol board, leaving a ½" gap between each tile. The gap will give you space to paint beyond the lines and will make it easier to cut your tiles in the next step. 

Take advantage of drawing triangles and a straight edge if you will be making tiles based in triangles, such as rhombus, equilateral triangle, hexagon. All of these are based in the equilateral triangle and can be drawn simply with a 30/60/90 drafting triangle. 

If you are able, you may draw your pattern in illustrator and have it printed on the bristol. You will have to check with the print lab to see they are wiling to do this. See example of layout below:

Lines drawn at 90 degree angles with ½" spacing

3. Paint your tiles

You will need more than 100 tiles to get the 11 for your value scale. This is because not all of them will be acceptable in terms of correct value, or painting technique. Remember, your goal is to make these tiles look like they were painted in a factory (no brush strokes, no streaking). 

When painting your tiles, be sure to watch some videos on how to mix gouache. When I gave the demo in class, I told you to watch out for a few things. I have listed them here:

• Don't waste paint- Start with white, add black. 
• Use a wash brush (¾" or 1") 
• Mix paints on a white surface (you may use a large ceramic dinner plate, plastic disposable plate, or disposable palette. 
• Have two cups of water for cleaning your brushes. Keep them clean. 
• Minimize Streaking- Clean brush thoroughly between painting different values.
• Minimize Streaking- Mix paints thoroughly on palette- adding small amounts of black to the white.
• Minimize dry brush or water color effect- Maintain proper consistency of paint (not too much water, or too dry)
• Minimize Streaks- Load brush evenly (both sides of bristles). 
• Minimize Brush strokes- Lay paint down evenly (not too thick or thin). Paint in only one direction. 
• Don't stack paint tiles while drying. 

Here's a person that documented a similar project and posted her process. Your's will be the same with the exception that you may choose a different shape for your tiles. This is the tessellation part of our project. She did her's with squares. 

The painted tiles are due Wed, Feb 22nd. You will need to bring all 100+ tiles to class, uncut. 

Part Two- Assemble Tessellating Value Scale. Due Monday, Feb 27th

Here is the layout for the value scale. Please use the black mat board provided in class. Your mat board will be cut to 5 inches x 15 inches. 

Process

1. Cut swatches in long 1" wide strips

2. Compare the swatches to the value scale I gave you.

3. Mark the closest value (ex. 30%, 40%) on the back of the swatch.

4. Cut the swatches from the 1" wide strips. Be sure to leave extra room beyond 1". 

5. Choose the best swatches to accurately represent the 11 steps in value.

6. Lay them out and double check (before gluing)

7. Draw two parallel lines 1" apart on a clean sheet of bristol board.

8. Glue the bristol board and the back of your swatches.

9. Carefully attach the swatches to your pre-glued bristol board.

10. Cut the newly glued 11" tall value scale down to 1" width. 

11. Using pencil, lightly mark your mat board where the value scale will go.

12. Glue the mat board.

13. Glue the back of the value scale.

14. Attach the value scale to the mat board using a ruler as a guide. 

15. Clean ALL excess rubber cement from mat board and value scale. 

16. Write name on back. 

Assignment 5: Mounting F/G studies. Due Feb 13th.

This weekend you will fix/re-do anything that needs to be corrected with the first Figure/Ground studies (square, circle, rectangle/thick line). Once you are happy with the outcome, please mount them on matt board provided in class.

Tip: use the skills you are learning with flash (vector drawing) to see if can improve your compositions and make them better. Drawing in illustrator is very similar to drawing in flash/animate.

For figure ground studies, leave a 1" margin between compositions and a 2" border around the edge.  Mount each group of studies on a separate matt board. Ex. squares on one matt board, etc. 

Put name on back and clearly label each assignment.

Next week we will begin painting with gouache. Please bring the following to class with you:

• black and white gouache
• 1" gouache paint brush
• wax paper, aluminum foil, or disposable pallet paper
• two plastic containers for cleaning brushes 
• pencil
• ruler