Color Wheel

COLOR WHEEL: A color wheel (also referred to as a color circle) is a visual representation of colors arranged according to their chromatic relationship.

Color Combinations

Monochromatic Colors are shades (add black) or tints (add white) variations of the same hue. There is a risk of monotony but using it with pure colors, white or black can break that dullness.









Analog Colors lie on either side of any given color. Often these are color schemes found in nature so they usually feel harmonious.








Complimentary Color are directly opposite from one another on the color wheel. They are contrasting and stand out against each other; it is a good idea to use a complementary color as the highlight color.






Split Complementary Colors is a color and the analogous colors to its complement color. This combination give you a greater harmony than the use of the direct complementary and can give your design a higher degree of contrast.






Double-Complementary Colors are two complementary color sets; the distance between selected complementary pairs will effect the overall contrast of the final composition.








Triad Colors are three hues halfway on the color wheel. When you want a design that is colorful and yet balanced, a triad color scheme might be the way to go.

PROJECT 08 - COLOR RELATIONSHIP COMPOSITIONS USING COLOR WHEEL (COLOR THEORY)

Select a close up image from nature that has detailed areas of interest where you can see different design elements in the shapes of the image. With cropping L's (given in class), search for select areas in the image to create a balanced and interesting composition. Look beyond the actual literal image and visualize and interpret the shapes from the original image. Use your creativity to execute your original composition. Crop into it and create an abstraction creating your own version. You will be creating three of the same compositions using scale and color relationships.

Color Combination Studies Derived from the Color Wheel

Create three repetitive compositions on 9”x9” paper using three distinct color relationships from the color wheel. Repeat your composition on each one. Using paints, execute your compositions using the following color relationships, use saturated colors and their tones and tints. Do not use white or black. Select one hue as starting point and develop its relationships. Refer to the color wheel and the examples from the different combinations from the color wheel posted from the blog.

CHOOSE THREE COMBINATIONS OF RELATIONSHIPS:

     - Complimentary colors (Split or Double complimentary)

     - Analogous colors

     - Monochromatic colors

     - Triad

 Process
•  Sketch out 3-4 thumbnails for your desired composition. Experiment with pencil and play with color
    in your sketchbook so you can explore different relationships and color combinations.
•  Select the strongest one to execute your final 9”x9” painting.

•  Consult with teacher for final selection of strongest concepts.

Materials

• White Bristol 9”x9” format (3 final paintings)

• Paint (acrylic or gouache) with a wide range of saturated colors.

Check Georgia O’Keefe's work

Students Samples

PROJECT 4: Gouache Value Step Scales

Description

Using black and white gouache, paint a full page of distinct values going from black to white. 

From these, create a value scale representing eleven EVEN steps from black  to white. 

Mount your swatches on presentation board for critique. 

Due Dates/Critique

Lambert's class: Thur, October 10th
Samimy's class: Mon, September 14th


Materials
-Black and White gouache
-9x12 inch vellum bristol board 
-Pallet knife
-Water color brush (flat)
-Cup (for water)
-Paint palette
-Paper Towels

Process/Schedule

First Class Period

1. Lay out grid (to create your swatches) on bristol board. 
2. Lay paints out on palette, and mix paints starting from black (or white) and adding incremental amounts of the opposite color. Mix paint throughly and brush-in swatches to fill the entire page. Each swatch should have consistent color, and be a unique value. The goal is to create as many distinct values as you can. Fill in each rectangle of your grid with a solid value. Be sure you have values represented from from black (straight from the tube) progressing to middle gray, and continuing through light grays toward bright white (also straight from the tube). 
3. Clean your workspace and all your painting materials (brushes, palettes, etc)
4. If you finish with your swatches, begin laying out your presentation board. SEE SIZE REQUIREMENTS BELOW.

Homework

1. Finish laying out your black presentation board, using the guidelines provided. 
2. Bring your presentation board to class, along with your x-acto knife. 

Second Class Period

1. Select the best swatches from your entire page that represent 11 consistent steps in value. 
2. With a metal ruler, and cutting board, carefully cut-out these swatches so they are exactly the same size. Make sure cuts are clean, by using a new x-acto blade. NO CUTTING DIRECTLY ON TABLES. 
3. Show your presentation board (with layout lines/grid) to instructor. Once it has been given the ok, proceed with mounting of swatches. DO NOT PROCEED UNTIL YOUR LAYOUT HAS BEEN APPROVED.
4. Using rubber cement, carefully glue swatches to presentation board. There should be no gaps between swatches, and all swatches should be perfectly aligned. 
5. Let rubber cement dry slightly, and remove any excess glue with the appropriate eraser. 
6. Neatly Label (name and date) your work with hard pencil in lower right-hand corner. 
7. Cut and tape tissue paper sheet to act as protector. 

Rubric

You will be evaluated on the following:

1. Laying out your bristol board into an even grid (even measurements, straight lines).
2. Your ability to mix the paints evenly. 
3.  Painting swatches that are free of brush strokes, or excessive paint build up.
4.  Filling up your entire page with different/distinct values.
5. Choosing the best 11 swatches that represent even steps from black to white. 
6. Laying out your presentation board neatly (consistent measurements, and centered)
7. Cutting out your swatches, and mounting them to the presentation board. 
8. Removing excess glue and having all your swatches line up evenly. 

Layout Measurements

Demonstration video

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PROJECT 03: Grayscale

Description
Create 2 non-representational (abstract) compositions that show a wide rage of gray values using only pencil. You cannot use gradients within each shape. They must be continuous values of gray.
Apply more pressure to obtain darker grays and less pressure for lighter gray values. pay attention to detail and craft. Remember no smudging to get the gray.

Materials
• pencil (2H, HB, 2B, 4B,6B)
• 9x6in paper (2)

Process
• First practice your grayscale in your sketchbooks. there should be up to ten scales of gray from black
   gray to very light gray and all the values in-between.

• Once you adapt to using your pencil and it's various pressures, start doing thumbnails in your
   sketchbook, at least 3 for each composition (total 6 thumbnails on sketchbook.)

• Consult with your teacher; select the best pieces. Choose 2 final designs.

• Re-create them with pencil in your final format.

Due Dates
Samimy's class: Wed, September 25th
Lambert's class: Tue, October 1st

Students Samples
 

 

More Samples

PROJECT 02- Space is shape

Project Due Date

Samimy's Class: Wednesday, Sept 11th
Lambert's Class: Thursdsay, Sept 12th

Project Description

Create 3 abstract (non-representational) compositions using different shapes and value. Use the three types of figure/ground relationship to contrast forms against each other, as well as merge them together. Crop, combine, repeat, rotate, enlarge, and/or reduce the shapes. Think about the following concepts and relationships:

• Figure/ground relationship- stable/reversable/ambiguous
• Balance- symmetrical/asymmetrica/all-over, equalized tension
• Composition- dynamic/static
• Vertical/diagonal/horizontal
• Hierarchy (emphasis)
• Movement/directionality

The relationships between black and white must be as follow:

• Composition 1 with 25% black (whiter composition)
• Composition 2 with 50% black (balance between black and white)
• Composition 3 with 75% black (darker composition)

Materials

• black construction paper
• x-acto knife/scissors
• rubber cement
• 9inch x 9inch paper (3)

Process

1. Start doing thumbnails with pencil or black construction paper in your sketchbook, at least 3 for each composition (total 9 thumbnails on sketchbook.)
2. Consult with your teacher; select the best pieces. Choose 3 final designs that distribute positive and negative space into fluid, balanced compositions following the three required relationships. Explore enlarging the whole composition or some parts, cropping, adding or deleting shapes.
3. Re-create them with black and/or white construction paper. Use the same type of paper for your 3 compositions, so you do not have any change in white/black shades.

Students Samples

  
  

Working with Space: The Figure/Ground Relationship

Figure/Ground Relationship

The figure/Ground relationship is the most basic of all relationships in design. It refers to the relationship between positive and negative shapes, and is used as an aid in 2-D composition. 

In art/design, one way we define space is by placing objects in it. This creates a relationship (object-in-space). Something and nothing. Placing an object IN space, defines that space, and CREATES a Figure/Ground Relationship. The object becomes the figure, and the space becomes the ground. 

Here is another way to think about it: The part of a composition that we pay attention to is called figure.  Everything that is not figure is ground. As attention shifts an object can go from figure to ground and back. Positive/Negative shape are analogous terms for Figure/Ground. 

Types of Figure/Ground Relationships

The figure and ground are inseparable. The figure always defines the ground, and the ground defines the figure. If you draw the figure in a composition, you are drawing the ground at the same time.

Stable-  Unchanging. You know what the figure is, and what the ground is. The focus of our attention does not change. 

Reversible- The positive and negative space/elements attract our attention equally. Our attention is drawn back and forth between the two. 

Ambiguous: The positive and negative space/elements challenge the viewer to find a focal point. What is the figure? What is the ground? Figure is entangled with ground without dominance. Ambiguous f/g relationships are usually abstract. See example below.

Rubin vase—an ambiguous figure/ground illusion. When you see the faces as figure, the vase is the ground. When you see the vase as figure, the faces are the ground.
The viewer shifts from one figure to the other but do not to see both as figure at the same time.

Composition in F/G relationship

Active- group elements off-center (asymmetrical) to create visual movement. 

Neutral- centered compositions are stable, not dynamic. 

Bleeding - dynamic (it bleeds of the page, and can’t be contained)

Cropping- creates abstraction

Balance in F/G relationship 

In Stable relationship- balance (size/shape) = unified design.

In Reversible relationship-  balance (size/shape) = tension. which is which?

In Ambiguous relationship- balance (size/shape) = action. all space is active. 

Tips on working with figure/ground

• Balancing figure and ground make the composition more clear.
• Using unusual figure/ground relationships can add interest.
• Spaces whit convex (a), symmetric (b), smaller in area (c) or enclosed (d) shapes are “seen” as figure.
• An expressive use of white space requires an asymmetrical design. Centering kills the white space (dividing it into unusable emptiness). Asymmetrical design creates a NEED for interestingly shaped white space. 
• A deliberate use of white space creates + and - space that are equally important. 

Sample Figure/Ground Relationship Studies