REFERENCE: The Color Wheel / Color Relationships

 

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

IMPORTANT LINKS TO COLOR THEORY

AND TERMINOLOGY

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.






Analogous 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.

Grayscale Portrait or abstract composition w/ B/W Acrylic Paints (refer back to your gray value scales)

 

Project Description

Project Due on October 19 / October 20

Create a 9" x 12" self-portrait or portrait or abstract composition in B/W (grayscale) Acrylic applying the practice of value scales you just finished doing. Use at least 5-7 gray values from black, dark grays, medium grays light grays, white to create a well executed portrait or abstract design using a good range of gray scale value system.

Have fun with expressions, angles, framing to create a unique image to draw out for your  sketch studies and then you will select the best direction to work on as your final composition. please be be creative. 

avoid blending/shading of paint with this assignment, instead break the image down into shapes that represent the changes in value. You will be creating solid shapes (blocking out fields) each value in the gray value scales. there will be 5-7 value distinctions in the final compositions. 

Be very aware of your placement, layout, figure ground relations, cropping, good framing, interesting angles and vantage points. Be creative in how you create your compositions. Use lighting to create more dramatic shadows, mid tones and highlights. be aware of your light source and how it plays with the details on your face when mapping out the value fields. Create the most dynamic and interesting composition possible. If you need to do more sketches to resolve your piece, you will have to do more studies. 

Have your final composition drawn out on 9" x 12" bristol board, and map and block out all the fields values ranging from black (#5) to white (#1). 

Just in case you need reference. Value Scale Technique - Training Videos to practice learning technique and how to judge values.

https://www.youtube.com/watch?v=WowABJEpm1c

https://www.youtube.com/watch?v=B-jkKJmSW_8

Note: You will receive a full project grade on your homework meaning your sketches and studies. This will be reviewed and graded in class.

Rubric
You will be assessed on the overall composition (dynamic and interesting), craftsmanship (even  surface with good tonal value fields using value as highlights, mid tones and shadows, clean edges on paper, no marks/dirt on paper), and range of value (full range of values from black to white- with at least 5 steps). Use continuous even lights mediums darks shades on each field that you black out. 

Student Examples

   

      

REFERENCE - Figure/Ground Relationships

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. 

Three Main 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.

Compositional element within F/G relationships

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

Neutral- centered compositions are stable, not dynamic. Do not center! 

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 with 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

                   

 

PROJECT 03: 10 GRAY VALUE SCALES / 2 VALUE COMPOSITIONS Apply gray value scales

Due Dates 

Section 1/Samimy: Final Due Date: MONDAY, Sept. 23
Section 2/Samimy: Final Due Date: TUESDAY Sept. 24

Please work on Value scale studies in using full page sketchbook.

Demonstration links for developing 10 value graysale black-white:

https://www.youtube.com/watch?v=IzzRZE0LTPk

 

Value Scales

learn about the concept of value, shading techniques, and overview of compositional strategies. 

Practice your value scales in your sketchbooks. Each value scale should consist of ten levels ranging from black to white. Start by making a grid, 1/4" - 1/2" square, then shade each square individually. Be sure to keep the value consistent within each square, and keep the change in value consistent from square to square. Each square must show distinctive values. Fill at least one sketchbook page of scales studies.

10 Step Value Scale

WORK ON VALUE SCALES AND 3-5 THUMBNAIL STUDIES OF AN ORIGINAL DESIGN.

PROJECT DESCRIPTION

End goal of Project:  You will 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. BLOCK OUT YOUR SHAPES WITH SOLID GRAY VALUES. You may also apply textural patterns and stippling that will also show value and contrast. (See reference below). You can inspire your designs from different elements of nature, or any other inspirational imagery. Must be interpretive or original designs.

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 Needed

• Graphite pencils - Range from hard leads - soft leads  (2H, HB, 2B, 4B,6B,)

• Divide page in 2 equal sections measuring

Compositional  Sketches 

Once you adapt to using your pencil and it's various pressures, start doing approximately 3" x 5" thumbnails in your sketchbook- at least 3-5 thumbnail sketches developing ideas for the 2 compositions (total 4-6 thumbnails in sketchbook). You will be graded on this. AREAS SHOULD WORK IN SOME WHITE SPACE AND TEXTURAL MARKINGS. Sketches and design ideas will be due at the beginning of the next class.

Finish a full page of value scales STUDIES AND  compositional sketches to be reviewed at the beginning of class. Along with the full page of value scales, your DETAILED thumbnails will be graded as a part of your total grade. DUE AT BEGINNING OF CLASS

Final Compositions (DUE AT BEGINNING OF NEXT CLASS) Consult with your teacher via text or "remind" and also speak with your fellow students, to select the best two compositions for your final designs. These will be completed on the measured about 6"x9" bristol board or sketchbook divided in half on page. Remember to try and communicate two distinct ideas (this can be an emotion, nature, imagined design or anything else you can think of)You must use at least 5-7 shades of grays incorporated in your compositions.

Rubric

Assessment is based on your creativity, composition, craftsmanship, time-management, and the completion of all steps of the process (4-6 preliminary sketches, 5 value scales, 2 finished compositions). Your final pieces must contain 10 steps in value from black to white. 

Students Samples
 

Project 02: Elements of LINE - Organic / Geometric Compositions

 Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) dynamic line compositions that suggest texture, movement, using a variety of line weights. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Due Dates (Critiques)

Mon/Wed, beginning of class:      Wednesday, September, 16th 

Tues/Thurs, beginning of  class:   Thursday, September 17th

Materials

• Black mechanical pen - Various weights (Ultra Fine Point/Fine Point)

• White Bristol 9x12” paper (2) or (2) pages in your sketchbook

Process

• Start doing thumbnails with pencil in your sketchbook, at least 4 sketches for each
   composition.

• review ideas with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

The two compositions should be well thought out. Think about the way your eye moves across the drawing. Think of heirarchy, Emphasis, focal areas, unity, cohesive design, flow. What direction does your eye move? What speed? Where are the focal points/points of interest. Be aware of framing, cropping, layout, aesthetics. 

Be sure that each of your compositions are unified, and  look visually cohesive.

Lastly, be sure to use good craftsmanship. lines should be clean, varied line weights (think thin, medium, thicker, density, etc…) with no smudges, no sketched lines. Fluid lines, nothing unintentionally choppy. This is clean, graphic, work. See work below as reference. RESEARCH nature around you, patterns textures, use your imagination to create a cohesive design.

   

Students samples

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing