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.

ALERT: Projects moved!

Your projects have been moved to room 426.
Please to DO NOT retrieve your work during class time.
At lunch, before and after classes you will find your work in a box on top of the cabinet
behind the center column.

All of the grades have NOT been recorded so please
BRING YOUR ENVELOPES BACK TO CLASS WITH ALL OF YOUR
PROJECTS ON FRIDAY. OTHERWISE YOU MAY NOT GET FULL
CREDIT.

Also I will be asking some of you to leave your work with me
over the break so it can be scanned and sent to LA.

If you would like to know your grades for individual projects email
me a request!

If you do not find all of your work in your envelope it is currently being documented
because it was of exceptionally high quality. Congrats!

SP

Artist Essay and Photomontage guidelines

Assignments 5 & 6

Guidelines #5

Photomontage
Emphasis/Texture/Scale

After exploring the art of photomontage, create a unique composition that includes at least 5 separate photographic elements.

1. one element must be out of scale, and will act as the focal point of the compostion.
2. one to three elements will make up the background, ground, surroundings. to add visual interest to your project.
3. an additional element will be incorporated into your project as a surprise. Something unexpected and unusual and out of place.

Mount your collage on matboard, measuring at least 8" by 8".
Include a short statement addressing how you've created emphasis in your composition and what the 5 photo elements are.

Due 11/21

100 points

Guidelines Artist Essay

Assignment #6


Return to 49 Geary to find a work of art on which to write a 2 page response. The paper should describe and analyze the artwork in the context to color theory and design.

Questions to answer in your essay:

Who is the artist?

In what gallery is it being exhibited?

What does the work of art look like?

Identify and explain how the artwork is unified and balanced.

Identify the color scheme and textures and explain how these characteristics contribute to the effectiveness of the artwork as a whole.

How does the work of art make you feel? And what aspects of the art work contribute to that feeling?

What do you think the artist is trying to express in the work? Explain.

Remember to consult your vocabulary list and use language appropriate to art and design.

Due 12/5

Points 100

Thumbnails defined

Thumbnail sketches are very small and rough sketches outlining the elements in a proposed composition.

They can be done in pencil, with marker, paint, or collage.  Whatever you choose to use, it should be quick and

easy.  Below are some thumbnails for various projects by designers and illustrators.

thumbnails are the first opportunity a designer has to see the outline of the design.  These little sketches

are experiments, undeveloped ideas. Once you get the idea out of your head and onto the paper, you can start making changes and decisions.  

Think about the essential shapes of the design, the positive and negative shapes, and other principles and elements of design. Make quick notes around your sketches to remind you of details.