Final Project!

As you know, your final project is due on our last day of class, December 13.  It is also a design-your-own project where you simply combine two or more of our previous projects from the semester.  It may be of  any media and size as long as you can defend your choices as appropriate ones.  Be creative.  Go to town.  However, there is one thing that will matter most: whatever your project is it should be beautifully crafted!
Good luck!

Quiz next Tuesday!

Remember, we have class on Tuesday next week instead of the usual Thursday.  Below is the Study Guide.

Art 105: Two-Dimensional Design

Professor: Kyle Stevenson

Project 5 vocabulary: Color

Reading: Pipes- Intro to Design, Chapter 7, pages 143-171

The Vocabulary of Color:

color: The perceptual response to the wave lengths of visible light named red, green, blue and so on; having the attributes of hue, saturation, and brightness.

color wheel:  An arrangement of colors based on the sequence of hues in the visible spectrum, arranged as the spokes of a wheel.  The most common is Itten’s 12-step wheel.

spectrum:  The bands of identifiable hues that result when a beam of white light is divided into its component wavelengths by a glass prism.

complementary colors:  Two colors directly opposite each other on the color wheel.  A primary color is complementary to a secondary color, which is a mixture of the two remaining primaries.  Complementary colors accentuate each other in juxtaposition and neutralize each other in mixture.

primary colors:  The brain accepts four colors- red, yellow, green, and blue- as primaries, and this fact is reflected in the composition of modern color wheels.  The basic hues in any color system may in theory be used to mix all other colors.  In light, the three primaries are red, green and blue; in pigments, the three primary colors are red, yellow, and blue.

secondary colors:  A color produced by a mixture of two primary colors.  In pigment colors secondaries are orange, green, and purple (violet).

afterimage:  The complementary color seen after staring at an area of intense color for a certain amount of time and then quickly glancing away toward a white surface.

transmitted color:  Light direct from an energy source,  or shining through colored filters in a theater or displayed on a computer screen via a cathode-ray tube.  The primary colors of light are red, green, and blue (RGB). Light color is inherently additive color.

pigment colors (or subtractive colors):  The materials in pigments and dyes absorb different wavelengths of light, and reflect or retransmit others.  They are inherently subtractive: a mixture of all pigment primaries- red, yellow, and blue- will in theory produce black.

constancy effect:  The proximity of other colors affects our perception of colors; because we know grass to be green, we see it as green even when it really appears blue-gray, as at twighlight.

additive color:  Color created by superimposing light. Adding together (or superimposing) the three primaries- red, blue, and green- will produce white.  The secondaries are cyan, yellow, and magenta.

intermediate color:  A color produced by a mixture of a primary color and a secondary color- yellow-green, for example.

primary triad:  On a 12 step color wheel, an equilateral triangle with vertices (sharp corners) at the primaries.  Similar triads join up the secondaries and tertiaries.

saturation: The strength or purity of a color, also known as intensity or chroma.  A saturated color is bright and intense, a pure hue, whereas a desaturated color has no hue and is called achromatic- neutral gray, black, or white.

tone: A low-saturation color produced by mixing a hue with a shade of gray or its complement.

brightness:  The relative lightness or darkness of a color.  Zero brightness is black and 100 percent is white; intermediate values are light or dark colors, also called luminance or value.

value: a measure of lightness or darkness of a color, also known as brightness.

shade:  A hue mixed with black.

tint: A hue mixed with white.

high-key colors: A color that has a value of middle gray or lighter.

low-key colors:  Any color that has a value level of middle gray or darker.

flat color:  An even area of color with no shading or variation in value.  In graphic design, also known as match or spot color.  The Pantone Matching System (PMS) is an industry-standard collection of flat colors used by printers.

visual mixing:  Instead of mixing colors on the palette, dabs of pure hues are juxtaposed on the canvas.  Any color mixing occurs in the eye and brain of the viewer.

pointillism: A system of visual color mixing based on the juxtaposition of small dabs of pure color on a white ground.   

chromatic gray:  Cull “almost neutral” colors, sometimes with a hint of brightness.

monochromatic color:  Colors of one hue; the complete range of value from white to black.

analogous colors:  Colors that are closely related in hue, usually near or adjacent to each other on the color wheel.

local color:  Color as perceived in the real world under ordinary daylight, the color we know objects to be- such as the green of grass; also called objective color.

optical color:  Color that has changed under different lighting conditions according to the time of day.

arbitrary color: Unnatural colors that are the product of the artist’s imagination, or the result of an emotional response or visual defect.

heightened colors: The bright unnatural colors of, for example, van Gogh and Gauguin.

warm colors:  Colors have subjective temperatures: red and yellow we associate with fire and sunlight.  On the Itten color wheel, they are the yellow to red-violet segment.

cool colors:  Colors have subjective temperatures: blue and green we associate with ice,  water, or, say crisp salads.  On the Itten color wheel, they are the yellow-green to violet segment.

So Sandy got in the way this week . . .

Be sure that you have all of your supplies for the new projects for next week!  You can't afford to lose another week of time by not having all your supplies.  Here's a reminder of what you'll need to bring:

Oil Paints: 

• ivory black
• titanium white
• cadmium red (hue) 
• cobalt blue (hue)
• cadmium yellow (hue)

Water Color Paper for swatches

Turpenoid (Turpentine substitute) small bottle
            Liquin (oil based medium/dryer) 4 oz. bottle

1- Illustration board (Hot Press)

Comes in a pack of 2 (15”x20”) or 1 (20”x 30”-can be cut into 2 pieces)

            Rubber Cement or Glue Stick

            Scissors and Exacto Knife

Disposable Palette pad

Palette knife: bent shank (plastic or metal)

Circle Template 

Single round hole punch                                                                                                                            

            Ruler

            Graphite Pencils

Color Portrait Variations

Art 105: 2-Dimensional Design  

Professor: Kyle Stevenson

Due: Thursday, November 29

Project 5 (Part B):  COLOR (Applying tints, shades, tones and values as color schemes to an existing image.)

MATERIALS:

Oil Paints (Black, White, Red, Blue, and Yellow)

Brushes: an assortment or variety pack

Turpenoid (or odorless mineral spirits)
            Liquin (alkyd based medium/dryer)
            Carbon Paper*

A (preferably) black and white photo of yourself

It should be reduced or enlarged to (about) 5x7  

1- Illustration board (Hot Press)

Comes in a pack of 2 (15”x20”) or 1 (20”x 30”-can be cut into 2 pieces)

Disposable Palette pad

Ruler
            Graphite Pencils

Instructions:

Start by taking your B+W photographic portrait and a sheet of carbon paper* and transfer the main linear structure of your image to 4 different rectangles.  They should be evenly balanced and laid out on a 15x20 sheet of illustration board.

*we will make our own “carbon paper by taking a sheet of drawing paper and filling the entire back of it evenly with your softest graphite pencil

Now make 4 different self-portrait paintings.  Each will be an exploration of one of 4 different Color Schemes: monochromatic, analogous, complimentary, and a final naturalistic (realistic) one.

1. MONOCHROMATIC
   First, choose one primary or secondary color as the basis for the first painting.  Paint your monochromatic portrait by starting at white and working your way to black (note: you will have to reduce the picture into distinctive shapes of value.  See example slides).  You will use tints (white added) and shades (black added) to make your monochromatic variations until you have a full value scale of one color.
   
   
2. ANALAGOUS
   Second, choose an analogous color scheme of 3 colors (colors next to each other on the color wheel) to paint your next portrait.  Choose a scheme that is either warm or cool in its feeling and association. With the three different colors, paint the back ground one color with varying tints and shades.  Paint the head and hair one color with varying tints and shades.  And paint the clothing one color with varying tints and shades.
   
   
3. COMPLEMENTARY
   Third, choose two different complementary color sets to paint the next painting (colors opposite each other on the color wheel).  Choose one complementary set for the Hair and the Clothing and choose a different complementary set for the face and background.
   
   
4. NATURAL OR REALISTIC COLOR
   Lastly, paint your portrait to have a natural or a realistic look (you will have a little more freedom to mix color on this one).  With what you have learned about mixing paint and color, do your best to mix colors that represent natural tones including skin and hair color.  Remember to not get too muddy or neutral with your tones and variations and try to keep a full range of values between white and black.  Use the background and clothing areas as possibilities for some more colorful and saturated gradations in the image.  

Good Luck.

Color Chart

Art 105: 2-Dimensional Design  

Professor: Kyle Stevenson

Due: Thursday, November 15

Project 5 (Part A):  COLOR (Mixing paint to understand the basics of color including value, hues, tints, and shades.)

MATERIALS :

Oil Paints: ivory black, titanium white, cadmium red (hue), cobalt blue (hue), cadmium yellow (hue)

Water Color Paper for swatches.

Turpenoid (Turpentine substitute)
            Liquin (oil based medium/dryer), 4 oz. bottle

1- Illustration board (Hot Press)

Comes in a pack of 2 (15”x20”) or 1 (20”x 30”-can be cut into 2 pieces)

            Rubber Cement or Glue Stick

            Scissors and Exacto Knife

Disposable Palette pad

Palette knife: bent shank (plastic or metal)

Circle Template

            Ruler
            Graphite Pencils

INSTRUCTIONS:
First, Measure and Split your illustration board vertically so you have 2 10”tall x 15”wide sections (divide with light graphite line):
Next, make 5 (1” tall x 9” wide) horizontal strips broken down into 1 “ square increments. (see diagram) 
The first row will be nine steps of grayscale value.
(white to black)

The next three rows will show steps of tints and shades with primary colors.
(white - primary - black)

 And the last row will show your choice of one complimentary mixture.
(blue-orange, red-green, or yellow-purple)

Using the supplied oil paints on water color paper go through the following steps:
1. Grayscale:
Starting with pure white, slowly add small equal increments of black to make steps of subtle gradation until you reach pure black. 

2. Primary tints and shades: (3 different sets Red, Yellow, and Blue)
Start by making a 4” swatch of the primary color you will be using first without any mixing, this will be your pure swatch of local color.

Next, beginning with pure white, slowly add small equal increments of a primary color to make steps of subtle gradation until you reach pure local color, at this point begin adding small equal increments of black until you reach pure black.
Finally, continue the same procedures for the other 2 primaries.

3. Complimentary Mixture:

Start by mixing equal* amounts of the three different possible pairings of primary colors (Red with Blue, Blue with Yellow, and Red with Yellow).  Make a 2 inch swatch of each of the results.  You should get a second set of colors, called secondary colors, which are Orange, Green, and Violet [Purple].

Next, choose one complimentary pair (Red/Green, Blue/Orange, Yellow/Violet) .  Begin with one of the secondary colors and slowly add small equal increments of the complimentary primary color to make steps of subtle gradation until you get back to pure local color.

4. Drying and Arranging:
We will let our paints dry overnight (you may stash them here) and will resume cutting out our color swatches in the next class period.  In the meantime you can start laying out your illustration board.  Follow the directions on the following diagram and lightly center and sketch in where you paste in your cut out swatches.  Remember to always start measuring from the center so your borders are of equal spacing.  Also, think about incorporating text to label the diagram.  Try your best to make it neat, legible and interesting.   Start lightly in graphite and finish by inking your final text in.

           

*Actually, because of the differences in the tinting strength of the different (imperfect) pigments, you’ll need to experiment a bit to find the right mixing percentages of each color to affect a new secondary color that appears to be exactly between the parent colors. 

Value Project Handouts! (all uploaded as jpegs)

Reading Assignment #4: quiz next week!

Art 105: Two-Dimensional Design

Professor: Kyle Stevenson

Project 4 vocabulary: Value

Reading: Pipes- Intro to Design, Chapter 6,

The Vocabulary of Value (and using grayscale):

value:  A measure of the relative lightness or darkness of a color, also known as brightness.

tint:  A hue mixed with white.

shade:  A hue mixed with black.

achromatic:  The absence of hue and saturation.  Black, white and the grays in between.

Achromatic grays:  Made from mixing just black and white together with no other color.

contrast:  The value relationship between adjacent areas of light and dark.  The highest contrast of all is black and white.

value pattern:  The shapes that an arrangement of various light and dark value areas in a composition make, independent of any colors used.

value emphasis:  Where a value contrast is used to create a focal point within a composition.

graduated tint:  A continuous change in value with no observable banding..

value contrast:  The relationship between adjacent areas of light and dark colors.  The highest contrast of all is black and white.

mid-tones:  The tints at the center of a chromatic scale, midway between black and white.

low-key values:  A value that has a level of middle gray or darker, tints from middle gray to black.

high-key values:  A value that has a level of middle gray or lighter, tints between the mid-tones and white.

local values:  The relative light and dark of a surface, seen in the real world,  independent of any effect created by the degree of light falling on it.  A smooth rounded object will disperse the light gradually and subtly, whereas light shining on an object with angular surfaces will result in distinct areas of contrasting light and shade..

core shadow:  The dark part of an object, away from and not directly illuminated by the light source.  It is attached to the object, or encompasses a space..

cast shadow:  The dark area projected from an illuminated form onto other objects or the backgroud.

highlight:  The part of an object that, from the viewer’s position, receives the greatest amount of direct light.  The highest value of a modeled form, or a bright distinct dot or area on the surface of a shiny form that accentuates its glossiness.

dynamic range:  The range of pigments from the lightest to the darkest, usually within the range from white to black.

underexposed:  If a photographer decides to adjust a camera to capture the light areas of a scene, then the dark areas will be uniformly black and lacking in detail in the shadows.

overexposed:  When photographers adjust their cameras to capture a dark object against a light background, then the light areas will be bleached out and lacking in detail.

chiaroscuro:  The distribution of light and dark in a picture.  From the Italian chiaro for clear or light and oscuro for obscure or dark.  It has come to refer to the dramatic theatrical compositions of Caravaggio and Rembrandt.

grisaaille:  A monochromatic version of chiaroscuro in shades of gray or a neutral color which imitates the appearance of low-relief sculptures.

sfumato:  Lenordo da Vinci’s shading technique, it is Italian for “smoke”.  A transition of value from light to dark so gradual that the eye cannot detect any distinct tones or boundaries between values.

tenebrism:  A technique of painting, from the Italian word (tenebroso) meaning “obscure,” used by Caravaggio and his followers and characterized by a little bright light and lots of almost black shade.

specular reflection:  A type of reflection that distinguishes shiny glossy surfaces or objects from dull matt ones.

ray tracing:  Computer graphics technique for lighting a scene developed by Turner Whitted.  Every time a ray of light encounters a surface, it divides into three parts: into diffusely reflected light; into specularly reflected light; and into transmitted or refracted light.  Rays are traced back from the viewer, bounced back from the viewer, bounced around the scene, and arrive eventually back at the light source.

radiosity:  Computer graphics technique for lighting a scene globally by calculating the light-energy equilibrium of all the surfaces in an environment, independent of the viewer’s position.