Again with the Unity and Balance!

To review the design principles Unity and Balance, and design elements like line, color, shape, space, examine the work by artists that are real masters of composition.

Photographer William Eggleston

Painter Philip Guston

Sculptor Tara Donovan

First up, Eggleston.

Philip Guston politically charged paintings have inspired generations of painters.  His use of color and line to create complex compositions is unique.

To see Tara Donovan's work, which recently garnered her a Macarthur Genius Award ($500,000.00)
let's visit Ace gallery in LA.

Assignment #4 Color & Emotion

Nature is great teacher.  

Observing nature we can recognize analogous color schemes.

Analogous color schemes tend to feel relaxed, serene and calm.

Different kinds of color schemes evoke a range of responses 

from energizing to depressing.

Claude Monet (split complimentary)

There are innumerable color schemes.  

We  can organize them into 4 categories.

triadic (Warhol)

Complimentary (Mucha)

monochromatic (Dumas)

complimentary (Van Gogh)

Complimentary/monochromatic (Dumas)

Monochromatic (Van gogh)

monochromatic (Dumas)

Complimentary (Eggleston)

Complimentary (Eggleston)

Monochromatic (Eggleston)

Below are a series of paintings from Picasso's blue period.  The mood is set by the

blue color scheme.  Compare these paintings to Dumas's red portrait and Eggleston's

red room.  

Purple and yellow, complimentary colors, lend the image energy and 

intrigue.  Of the paintings in the "blue period", this portrait by Picasso stands

apart because of its more vibrant color scheme.





Project #4
2 Color Schemes

Explore the types of color schemes and their effect on emotions.
Choose 2 types of color schemes from the list below and 2 emotions.
Create 2 designs/compositions with collage or paint to represent your chosen emotions and color schemes types.

For example choose Analogous and Anger, or choose Split compliment and Joy.
Develop compositions that adhere to that color scheme and express the emotion.

Each color scheme must contain at least 3 colors, tints, tones or shades.

In addition to your chosen emotions, choose one or two themes from the

list below on which to base your compostion. They may be abstract or representational.

For example, create a compostion that represents in some way a peaceful room or a powerful person.


Mount collages/compositions on 8 x 8 mat board, label and include a statement identifying the color scheme and emotion you’ve illustrated.

Themes:
the portrait
a landscape
a dream
a room

Color schemes:
Monochromatic
Analogous
Complimentary
Split Complementary
Triadic

Emotions: (or come up w/your own)
Angry
Happy
Depressed
Excited
Calm
Powerful
Loved
Peaceful
Tired




100 points
Due 2/10.

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.