Sample tonal scale (orange+blue)

Above is an example of the color-wheel collage.

Below is an example of what the tint/shade/tonal scale should look like. 

 

Alert:

You should make a scale with 3 horizontal rows consisting of 9 squares, 

not 11 pictured here.

1.   The center square in each row is pure color.  For instance, the bottom row center square is pure blue. Then to the left of pure color add increasing amounts of white for a tint scale and to the right, increasing amounts of black for shade.

2.  The center square in the second row is approximately 50% orange and 50% blue, to result in a color that is neither orange or blue, a Neutral tone.  To the left, add increasing amounts of orange and to the right increasing amounts of blue for a complimentary color tonal scale.

3.  Top row is the same as the bottom row, but with orange as the central square of pure color.

As you are painting your tints, shades and tones, be sure to number or otherwise label the color swatches.  As you can see the orange-y neutrals look very similar to the orange-y blacks.  This is due to the fact that the orange in both cases are very similar, only changed slightly by the addition of either blue or black, and black may infact contain a little blue and vice versa.

You may choose any set of compliments:  Red and Green, Purple and Yellow or Blue and Orange.

Home work # 3 Guidelines

Color Theory & Design

Project #3

Color Wheel collage and Complimentary Color Value Scale

Objective:  Gain understanding of color relationships and tint and tone through color matching  and mixing.

Guidelines:  On a 8 inch by 8 inch piece of mat board recreate a 12 step Itten color wheel using cut-outs from magazines.  At least 3 different sources per color. Color matching is the highest priority.

On a 5 inch by 13 inch piece of mat board create a 3 tier, 9 step complimentary color value scale.  Color mix and paint on strathmore paper to desired value then cut out 1 inch squares of color and attach to board.  Steps should be of equal value.

Points: 100 (One color wheel, one value scale)

Due: 2/3  

Project 2 Guidelines

Color Theory & Design

Project 2: Value Scale & Two Compositions Illustrating Unity

Objective:  Using only black and white paint, create a well defined and ordered gradation scale in 12 equal steps (black, white and 10 steps between).  Once this has been completed, design 2 compositions illustrating 2 distinct ways to achieve Unity in a composition using only black, white and grays (such as Proximity, Repetition, Continuation, Continuity on the Grid, Unity with Variety or Varied Repetition).

Guidelines:  Using only black and white, mix and paint 18 to 20 different grays.  Make enough of each value to paint a 3” by 3” swatch.

After completing 18 to 20 swatches plus one for white and one for black, evaluate the gradations and choose 10 values to place between white and black on a value scale.

Cut 1” by 1” squares our of each swatch and glue to a piece of matboard measuring 2” by 13”.  Transitions in shades must be equal.

With the remaining swatches and scraps design 2 compositions, each illustrating a different way to achieve Unity. Swatches must touch or overlap. Arrange and glue compositions to  two 6” by 6 “ pieces of matboard.

Check blog for project sample:  http://1230color-n-design.blogspot.com/

Remember to label your project appropriately.

Points: 100 (One Gradation Scale plus two compositions)

Due date: 10/24

(Unity with Variation)

Design: Unity and Variety

Our eyes are trained to look for Unity as we try to make sense of the world around us.

Artists and Designers must create a unified image. Otherwise the viewer is likely to pay little attention to a composition.  Proximity       Repetition     Continuation     

are some ways to achieve UNITY.

   

Most artists use a combination of these factors to achieve Unity.   Alicia MacCarthy's above and Piet Mondrian's paintings below exhibit Unity with Repetition and Continuation.

Mondrian's paintings also illustrate very clearly the concept of Continuation and Repetition by employing a grid design.

Andy Warhol often used Repetition and Proximity to create a sense of unity in his paintings and silk screens.

      




William Wegman's triptych illustrates Repetion, showing how the slightest shift in perception can have a surprisingly strong impact.

   

Griorgio Morandi's quiet studies of vessels express Unity through Proximity and Repetition with variety. The way the vessels are arranged close together make for a cohesive composition.The restrained value of the paintings, how the shades of the colors are all very close on a gradation scale also lends a sense of subdued Unity.

Tara Donavan uses Repetition to achieve Unity when she makes sculpture with everyday materials.  By using thousands of these cups she creates a form that is perceived as a whole, a sort of landscape...not a lot of separate cups.

     



  

Tauba Auerbach uses Continuation and Repetition with variety to achieve Unity in her paintings.

There is overlap among the noted ways to achieve unity.  Sometimes it is hard to distinguish between them.  This is not an exact science.  It is Art.  Everyone can have a different view.  Just be sure to look carefully before you make up your mind and try to figure out what makes the composition work.