Joseph Albers- In-Class Assignments

Interaction of Color

Link to Josef Albers, Interaction of Color, Chapter VII Gestalt

The Relativity of Color

Project 6: Color Relationships- Chromatic vs Achromatic Grey. Due In-class

Color wheel showing inward progression of
desaturation from Prismatic Hue, Muted Hue,
Chromatic Grey to Achromatic Grey (center).

Same color wheel converted to
Grey Scale.

Project Description

This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition. 

When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). 

Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition. 

Remember, contrast should be used to establish areas of interest. Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year. 

Note: You must choose a color scheme, and write it on the back. (ex. triad, analogous, complimentary, etc.) Name the scheme, and the colors. 

Important

The two compositions must maintain the same relative values. 

The Hues will be the same (hue is the name of the color on the color wheel)

The compositions will be identical (the two will be drawn the same)

The only difference between the two paintings: 

First painting will be CHROMATIC GREYS. 

Second painting will be ACHROMATIC GREY (aka greyscale).

The only difference is the INTENSITY of the Hue. The Chromatic grey will contain "color", and the Achromatic grey will be completely greyscale (no "color").

When you mix your paints, think of a broad VALUE range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black).

When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients). 

Paper size: 9 x 9 inches

Rubric 

Quality of composition (Is it balanced? Do your eyes keep moving around the page?)

Shifts in Value (Are the values the same between the two paintings?

Shifts in Hue (Are the Hues the same between the two paintings?)

Craftsmanship (Is the paint even? No smudges? straight lines are straight?)  

Process

1:10pm- Review project details. 

1:30pm- Begin painting.

3:00pm- Turn in projects for full credit, and clean up.

3:30pm- Visual presentation of projects. Short review/critique.

• Note: You may opt to take up to two 15 min. extensions. Each 15 min extension will cost a 1/2 letter  grade deduction. All work must be turned in by 3:30pm. For example, the highest possible grade for work turned in AT 3:30 will be a B. 

Things to consider

This study should help you learn to see how light works in nature, and how light is reflected off objects. 

The following generalizations are often observed throughout the day:

Early Morning- nice muted colors and pastels

Mid Day- Nice bright prismatic colors

Dusk- darker muted colors and chromatic grays

Examples of Paintings using Muted Hues, and Chromatic Grays, then compared to a version done in Achromatic Grey (Grey Scale).

Project 5: Color Relationships- Muted and Chromatic Grey. Due In-class

Project Description

This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition. 

When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). 

Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition. 

Remember, contrast should be used to establish areas of interest. Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year. 

Note: You must choose a color scheme, and write it on the back. (ex. triad, analogous, complimentary, etc.) Name the scheme, and the colors. 

Important

The two compositions must maintain the same relative values. 
The Hues will be the same (hue is the name of the color on the color wheel)
The compositions will be identical (the two will be drawn the same)

The only difference between the two paintings: 
First painting will be MUTED HUES. 
Second painting will be CHROMATIC GREYS. 

The only difference is the INTENSITY of the Hue. 

When you mix your paints, think of a broad VALUE range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black).

When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients). 

Paper size: 9 x 9 inches

Rubric 

Quality of composition (Is it balanced? Does you eyes keep moving around the page?)
Shifts in Value (Are the values the same between the two paintings?
Shifts in Hue (Are the Hues the same between the two paintings?)
Craftsmanship (Is the paint even? No smudges?)  

Process

1:10pm- Review project details. 

1:30pm- Begin painting.

3:00pm- Turn in projects for full credit, and clean up.

3:30pm- Visual presentation of projects. Short review/critique.

• Note: You may opt to take up to two 15 min. extensions. Each 15 min extension will cost a 1/2 letter  grade deduction. All work must be turned in by 3:30pm. For example, the highest possible grade for work turned in AT 3:30 will be a B. 

Things to consider

This study should help you learn to see how light works in nature, and how light is reflected off objects. 

The following generalizations are often observed throughout the day:

Early Morning- nice muted colors and pastels

Mid Day- Nice bright prismatic colors

Dusk- darker muted colors and chromatic grays

Examples of Paintings using Muted Hues, Chromatic Grays, and combinations.

 

Fifty Shades of Grey Collection

Project 4: Color Relationships- Prismatic and Muted. Due In-class

Project Description

This is an in-class project. You will create a composition based on a small still-life in class. The composition will be drawn out twice, using two sheets of bristol board (9 x 9in). Be as precise as possible, to make both compositions the same- use a grid to help layout the composition. 

When deciding on a composition, use cropping as a tool to develop an asymmetrical balance that considers both the foreground and background (figure/ground relationship). 

Your compositions will be painted in acrylic, using four or five different hues (colors). Different values of each hue should be used to develop contrast within your composition. 

Remember, contrast should be used to establish areas of interest. Also, be aware of light, darks, and mid tones. You can reference the value scale projects from the beginning of the year. 

Important

Each of the two compositions must maintain the same relative values, and shapes. They are to be the same in terms of color, shape, and value. The only difference: one will be Prismatic, and the other Muted.

When you mix your paints, think of a broad value range that extends from lights to darks. Mix different greys to your pure colors (hues) to get the proper tints, tones, shades. For this assignment, always mix your colors with grey (as opposed to white OR black).

When painting, be sure to block out your colors, and keep the colors flat (no brush strokes, shading, gradients). 

Paper size: 9 x 9 inches

Process

10 mins- Present project details. 
5 mins- Prepare 5 thumbnails of composition ideas in your sketchbook (5 minimum).

20 mins- Draw out your compositions on the bristol board.

40 mins- Paint prismatic composition. 
40 mins- Paint muted composition. 
15 mins- Clean up and turn-in projects. 

Things to consider

This study should help you learn to see how light works in nature, and how light is reflected off objects. 

The following generalizations are often observed throughout the day:

Early Morning- nice muted colors and pastels

Mid Day- Nice bright prismatic colors

Dusk- darker muted colors and chromatic grays

Student Samples

Project 3: TYPE - SELF PORTRAITS

In this assignment you will create a self-portrait using free hand rendering type. You will be using your name or if you prefer your nick name or first name, what ever option you prefer, but only one of them. You will be using primarily black ultra-fine sharpie, pilot fine point marker, good ink pen, medium and thick points using them together to distinguish line weight when creating your composition. this is mainly to build out your highlights, mid-tones, shadows, shading, gradients. be aware of contrast in your composition, positioning of your portrait density in areas necessary. Pay attention to mark making and  craftsmenship. The more refined features that may be delicate require finer points etc... Pay attention to details, shape and/or style to create different values and shapes in your composition. Remember your values... broad range of dark to gradual lighter pallette when appropriate.

Materials
• Bristol 9x12” format

Process
Start with at least 3 thumbnail sketches in your sketchbook, once you have an interesting composition move to the big paper. Outline your composition with a light pencil sketch to use as a guide and start developing from light pencil and then apply the inks.

Samples