Thursday, October 14, 2010
Thursday, October 7, 2010
Sunday, March 28, 2010
Sunday, March 21, 2010
COLOR INTERACTION
PRINCIPLES OF COLOR INTERACTION
1. Value Contrast - Light / Dark
2. Complementary Color Reaction or Effect
3. Subtraction
Sunday, March 7, 2010
Monday, March 1, 2010
Art History Images
1. What colors have been used?
2. What are the values of the colors?
3. What are the color temperatures?
4. What mood or emotions do the colors evoke?
Sunday, February 21, 2010
Monday, February 15, 2010
Sunday, February 14, 2010
Sunday, February 7, 2010
Tuesday, February 2, 2010
Saturday, January 30, 2010
Tuesday, January 26, 2010
DIGITAL PHOTOSHOP WORK PRESENTED ON BLOG PORTFOLIO
Color Theory – Art 107 Professor Hall Groat Fall 2010
DIGITAL PHOTOSHOP WORK
PRESENTED ON BLOG PORTFOLIO
By December 2nd you must have at least six (5) digital pieces posted on your blog, in addition to the final color theory “research blog project”. The digital-blog portfolio will be averaged in with the “Color Studies and Projects,” and is weighed as two (2) project grades. If you complete more than ten (5) digital pieces extra credit will be granted.
Assessment of the 5 pieces presented on blog
40 points Following Criteria
25 points Difficulty Level, Creativity, Inventiveness
25 points Completion of written descriptions for each post
10 points Completed by December 2nd
Written Descriptions for Each Piece
Describe the various color theory concepts that are being explored for each piece, along with a brief summary that defines the theory. Be specific!
DIGITAL COLOR THEORY PROJECT OPTIONS FOR BLOG
1. Inventive Linear Grayscale
The inventive linear grayscale chart must include numbers: 0,1,2,3,4,5,6,7,8,9,10 labeling, and sequential divisions of gray that conform to the Albert Munsell scale. (“0” being black and “10” being white) The scale may be presented either as a two or three-dimensional diagram. Be imaginative and explore!
2. Inventive Grayscale Design
The inventive grayscale design must include the numbers: 0,1,2,3,4,5,6,7,8,9,10 within the actual design to designate where the respective values have been used, however the numbers and shapes of gray do not need to be arranged in a linear sequence. (“0” being black and “10” being white) The design must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
3. Inventive Subtractive Color Wheel
The inventive color wheel must include all 12 colors on the traditional color wheel, along with the names of each color in the design itself, and labels for primary, secondary and tertiary (also called intermediate). For those who are already adept with Photoshop, their color wheel must also include tones, tints and shades for each color.
4. Inventive Additive Color Wheel
This color wheel must show the relationship of all six colors, and how the Red, Green, Blue overlap to create Cyan, Magenta and Yellow, with white in the middle. The chart must include labels that reference primary, secondary, and additive color.
5. Grayscale sphere
You are to create a sphere using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the sphere and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
6. Grayscale Cone
You are to create a cone using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the cone and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
7. Grayscale Cube
You are to create a cube using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the cube and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
8. Grayscale Form Invention
You are to create a three-dimensional abstract configuration involving at least five different forms. All ten values on the Munsell linear scale must be used. Both the cube and space that surrounds the sphere must contain value. The only areas that may be #10 value (white) are the highlights on the forms. The chart must include the numbers 0 through 10 to designate where the actual values have been used. (“0” being black and “10” being white)
9. Inventive Color Value Chart
You are to create a two or three-dimensional “color-value” chart involving both the primary and secondary subtractive colors. The values of each of the six colors will be altered through adding varying degrees of white or black. The chart must include the numbers 1 through 9 to designate to what degree the value of each spot of color has been altered. (chart does not need to include black and white)
10.Inventive Tonal Chart
You are to create a two or three-dimensional “tonal” chart involving both the primary and secondary subtractive colors. The values of each of the six colors will be altered through adding varying degrees of gray (white plus black). The chart must include the numbers 1 through 9 to designate to what degree the value and chroma of each spot of color has been altered. The chart must also include the labels: high chroma, medium chroma and low chroma. (chart does not need to include black and white)
11. Inventive Complementary Banner Design for you Blog
You are two create a complementary color banner design for your blog involving both typography and images. The two chosen colors must exist within the design in at least five (5) different values.
12. Monochromatic Color Design
The monochromatic color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
13. Complementary Color Design
The complementary color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
14. Analogous Color Design
The analogous color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
15. Triadic Color Design
The triadic color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
16. Tetrad Color Design
The tetrad color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
17. Cool/Warm Color Harmony Design
The cool/warm color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
DIGITAL PHOTOSHOP WORK
PRESENTED ON BLOG PORTFOLIO
By December 2nd you must have at least six (5) digital pieces posted on your blog, in addition to the final color theory “research blog project”. The digital-blog portfolio will be averaged in with the “Color Studies and Projects,” and is weighed as two (2) project grades. If you complete more than ten (5) digital pieces extra credit will be granted.
Assessment of the 5 pieces presented on blog
40 points Following Criteria
25 points Difficulty Level, Creativity, Inventiveness
25 points Completion of written descriptions for each post
10 points Completed by December 2nd
Written Descriptions for Each Piece
Describe the various color theory concepts that are being explored for each piece, along with a brief summary that defines the theory. Be specific!
DIGITAL COLOR THEORY PROJECT OPTIONS FOR BLOG
1. Inventive Linear Grayscale
The inventive linear grayscale chart must include numbers: 0,1,2,3,4,5,6,7,8,9,10 labeling, and sequential divisions of gray that conform to the Albert Munsell scale. (“0” being black and “10” being white) The scale may be presented either as a two or three-dimensional diagram. Be imaginative and explore!
2. Inventive Grayscale Design
The inventive grayscale design must include the numbers: 0,1,2,3,4,5,6,7,8,9,10 within the actual design to designate where the respective values have been used, however the numbers and shapes of gray do not need to be arranged in a linear sequence. (“0” being black and “10” being white) The design must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
3. Inventive Subtractive Color Wheel
The inventive color wheel must include all 12 colors on the traditional color wheel, along with the names of each color in the design itself, and labels for primary, secondary and tertiary (also called intermediate). For those who are already adept with Photoshop, their color wheel must also include tones, tints and shades for each color.
4. Inventive Additive Color Wheel
This color wheel must show the relationship of all six colors, and how the Red, Green, Blue overlap to create Cyan, Magenta and Yellow, with white in the middle. The chart must include labels that reference primary, secondary, and additive color.
5. Grayscale sphere
You are to create a sphere using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the sphere and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
6. Grayscale Cone
You are to create a cone using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the cone and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
7. Grayscale Cube
You are to create a cube using 0,1,2,3,4,5,6,7,8,9,10 values. (“0” being black and “10” being white) Both the cube and space that surrounds the sphere must contain value. The only area that may be #10 value (white) is the highlight on the form. The chart must include the numbers 0 through 10 to designate where the actual values have been used.
8. Grayscale Form Invention
You are to create a three-dimensional abstract configuration involving at least five different forms. All ten values on the Munsell linear scale must be used. Both the cube and space that surrounds the sphere must contain value. The only areas that may be #10 value (white) are the highlights on the forms. The chart must include the numbers 0 through 10 to designate where the actual values have been used. (“0” being black and “10” being white)
9. Inventive Color Value Chart
You are to create a two or three-dimensional “color-value” chart involving both the primary and secondary subtractive colors. The values of each of the six colors will be altered through adding varying degrees of white or black. The chart must include the numbers 1 through 9 to designate to what degree the value of each spot of color has been altered. (chart does not need to include black and white)
10.Inventive Tonal Chart
You are to create a two or three-dimensional “tonal” chart involving both the primary and secondary subtractive colors. The values of each of the six colors will be altered through adding varying degrees of gray (white plus black). The chart must include the numbers 1 through 9 to designate to what degree the value and chroma of each spot of color has been altered. The chart must also include the labels: high chroma, medium chroma and low chroma. (chart does not need to include black and white)
11. Inventive Complementary Banner Design for you Blog
You are two create a complementary color banner design for your blog involving both typography and images. The two chosen colors must exist within the design in at least five (5) different values.
12. Monochromatic Color Design
The monochromatic color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
13. Complementary Color Design
The complementary color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
14. Analogous Color Design
The analogous color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
15. Triadic Color Design
The triadic color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
16. Tetrad Color Design
The tetrad color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
17. Cool/Warm Color Harmony Design
The cool/warm color design must include the numbers: 1,2,3,4,5,6,7,8,9 within the actual design to designate where the respective values have been used for each color, however the numbers and shapes of color do not need to be arranged in a linear sequence. The design must include a variety of tints, tones, and shades of each color. The design also must consist of only hardedge, graphic shapes, and may be either representational or non-representational.
Friday, January 22, 2010
Wednesday, January 6, 2010
Color Theory – Art/Com 107
Professor Hall Groat Fall 2010
Course Blog: www.bcccolor.blogspot.com
Meeting Times: Thursday 12-2:50 Location: AT 217
Office Hours: Monday and Wednesday 12-1PM Thursday 11-12PM
Office Location: Art Annex, Rm.#101 Phone: 778-5612
E-mail: Groat_H@sunybroome.edu
Course Description
Color is an element of art and design that profoundly influences our perception of the environment that surrounds us, making it a powerful aspect of design. Understanding color is a challenge for even the most experienced artists and designers. Today we must understand the complexity of professional applications: working with the painter and digital artist’s palette, making the transition from pigment to electronic light, and back again to pigment.
We can learn the basic language of the subtractive and additive systems in the traditional applications. Practical knowledge and visual sensitivity exercises will train the eye enabling one to creatively apply color to two and three-dimensional artwork with confidence. To make creative and logical color choices one must recognize the dimensions of color, which include hue, chroma and temperature. Various color theorists and models will be studied. Concepts relating to color will be learned through the process of making art.
In addition, emotional, symbolic, and cultural significance of color will be explored through visual examples in historical and contemporary contexts.
Students will have the opportunity to work with traditional art and digital media.
Learning Outcomes
Art/Com 107 –Introduction to Color Theory
Students will be able to:
Develop a physical sensitivity and analytical eye for color, enabling one to transform theory into practical application.
Employ acquired knowledge to further enhancing the basic skills required for drawing, painting, graphic design (visual communication), animation, interior design, illustration, and other applied art fields.
Solve design problems involving color enabling them to develop self-confidence with in regard to making independent decisions.
Apply theories connected with emotional, symbolic, and cultural significance of color, to contexts, such as fine, applied art and art history.
Course Format
The course will be comprised of selected readings, class discussions, demonstrations, research, traditional studio work, field trips and critiques. Main course projects, color exercises, and homework assignments will be completed that reflect the readings and topics of discussion.
Assessment and Grading
25 % Critiques & Class Participation (contributing thoughts during group discussions)
75 % Color Studies, Traditional and Digital Color Projects, Research
(Completed during class time, oftentimes worked on as homework)
Attendance Policy
If you miss more than two classes your grade will be dropped an entire letter grade—unless you have a legitimate medical excuse. Attendance will be taken each time class meets
Time Frame
August 26 Introduction / Course Overview / Requirements / Biographies / Course Supplies
Color Study #1: Value Linear Grayscale with Natural Found Objects
__________________________________________________________________________
September 2 Project #2: Linear Grayscale with Paint
Key Concepts: value, middle value, low key, high key, achromatic, reflecting light, absorbing light
_________________________________________________________________
September 9 Project #3: Grayscale Forms
Key Concepts: value gradations, value keys, form, merging values, squinting
_________________________________________________________________
September 16 Project #3: Grayscale Forms
Photoshop Introduction
________________________________________________________
September 23 Project #4: Color Wheels
Photoshop Introduction
____________________ _____________________________________________
September 30 Project #5: Color Value Scales
________________________________________________________________
October 7 Project #6: Complimentary Color
_________________________________________________________________
October 14 Project #7: Research Project
Color Theory Research Project Introduction
_________________________________________________________________
October 21 Introduction: Color Theory Research Project
______________________________________________________________
October 28 Project #8: Expressive and Symbolic Color
_________________________________________________________________
November 4 Project #9: Color Schemes and Harmonies”
Final Course Project Introduction
_________________________________________________________________
November 11 Research Project Due
Review Research Projects
Color Schemes and Harmonies
_________________________________________________________________
November 18 Color Schemes and Harmonies
________________________________________________________
December 2 Color Schemes and Harmonies
_______________________________________________________
December 9 Final Critiques
View all color studies and projects
Materials
A.C. Moore, Town Square Mall, Vestal 797-1144
Michaels, Vestal Pkwy 658-9101
http://www.michaels.com
Commercial Art Supply,
935 Erie Blvd. E., Syracuse 315-772-9323
Acrylic Paint Hues (Must purchase the particular names listed below)
(AC Moore Discount Brand is the Windsor & Newton Galleria)
Acrylic Paint Required
Red: Cadmium Red Medium Hue or Permanent Red
Blue: Cobalt Blue Hue or Brilliant Blue
Yellow: Cadmium Yellow Hue Medium or Hansa Yellow
Violet: Dioxizine Purple, Permanent Violet, or Winsor Violet
Green: Viridian Green or Permanent Green Light
Orange: Cadmium Orange Hue, or Orange Lake
White: Titanium White or Zinc White
Black: Ivory Black or Mars Black
Brown: Burnt Umber or Bunt Sienna
Slow-Dri Fluid Retarder (to prevent acrylic paint from drying too quickly)
Liquitex is a good brand of fluid retarder.
Paint Brushes & Sizes§ Rounds: #2, #7 or #8§ Flats: ¼” and ½” widths § Circular Paint Palette with plastic lid § Color Wheel§ Bristol Board Paper 12” x 18”§ Ruler with metal edge§ Exacto knife or box cutter (to cut the foam core for mounting projects)§ Black foam board § Two containers with lids to store and transport dirty and clean water. § Mounting Tape § Eraser§ Fine Black Sharpie Marker§ Pencil§ Flash Disk/Jump Drive For Computer work
Professor Hall Groat Fall 2010
Course Blog: www.bcccolor.blogspot.com
Meeting Times: Thursday 12-2:50 Location: AT 217
Office Hours: Monday and Wednesday 12-1PM Thursday 11-12PM
Office Location: Art Annex, Rm.#101 Phone: 778-5612
E-mail: Groat_H@sunybroome.edu
Course Description
Color is an element of art and design that profoundly influences our perception of the environment that surrounds us, making it a powerful aspect of design. Understanding color is a challenge for even the most experienced artists and designers. Today we must understand the complexity of professional applications: working with the painter and digital artist’s palette, making the transition from pigment to electronic light, and back again to pigment.
We can learn the basic language of the subtractive and additive systems in the traditional applications. Practical knowledge and visual sensitivity exercises will train the eye enabling one to creatively apply color to two and three-dimensional artwork with confidence. To make creative and logical color choices one must recognize the dimensions of color, which include hue, chroma and temperature. Various color theorists and models will be studied. Concepts relating to color will be learned through the process of making art.
In addition, emotional, symbolic, and cultural significance of color will be explored through visual examples in historical and contemporary contexts.
Students will have the opportunity to work with traditional art and digital media.
Learning Outcomes
Art/Com 107 –Introduction to Color Theory
Students will be able to:
Develop a physical sensitivity and analytical eye for color, enabling one to transform theory into practical application.
Employ acquired knowledge to further enhancing the basic skills required for drawing, painting, graphic design (visual communication), animation, interior design, illustration, and other applied art fields.
Solve design problems involving color enabling them to develop self-confidence with in regard to making independent decisions.
Apply theories connected with emotional, symbolic, and cultural significance of color, to contexts, such as fine, applied art and art history.
Course Format
The course will be comprised of selected readings, class discussions, demonstrations, research, traditional studio work, field trips and critiques. Main course projects, color exercises, and homework assignments will be completed that reflect the readings and topics of discussion.
Assessment and Grading
25 % Critiques & Class Participation (contributing thoughts during group discussions)
75 % Color Studies, Traditional and Digital Color Projects, Research
(Completed during class time, oftentimes worked on as homework)
Attendance Policy
If you miss more than two classes your grade will be dropped an entire letter grade—unless you have a legitimate medical excuse. Attendance will be taken each time class meets
Time Frame
August 26 Introduction / Course Overview / Requirements / Biographies / Course Supplies
Color Study #1: Value Linear Grayscale with Natural Found Objects
__________________________________________________________________________
September 2 Project #2: Linear Grayscale with Paint
Key Concepts: value, middle value, low key, high key, achromatic, reflecting light, absorbing light
_________________________________________________________________
September 9 Project #3: Grayscale Forms
Key Concepts: value gradations, value keys, form, merging values, squinting
_________________________________________________________________
September 16 Project #3: Grayscale Forms
Photoshop Introduction
________________________________________________________
September 23 Project #4: Color Wheels
Photoshop Introduction
____________________ _____________________________________________
September 30 Project #5: Color Value Scales
________________________________________________________________
October 7 Project #6: Complimentary Color
_________________________________________________________________
October 14 Project #7: Research Project
Color Theory Research Project Introduction
_________________________________________________________________
October 21 Introduction: Color Theory Research Project
______________________________________________________________
October 28 Project #8: Expressive and Symbolic Color
_________________________________________________________________
November 4 Project #9: Color Schemes and Harmonies”
Final Course Project Introduction
_________________________________________________________________
November 11 Research Project Due
Review Research Projects
Color Schemes and Harmonies
_________________________________________________________________
November 18 Color Schemes and Harmonies
________________________________________________________
December 2 Color Schemes and Harmonies
_______________________________________________________
December 9 Final Critiques
View all color studies and projects
Materials
A.C. Moore, Town Square Mall, Vestal 797-1144
Michaels, Vestal Pkwy 658-9101
http://www.michaels.com
Commercial Art Supply,
935 Erie Blvd. E., Syracuse 315-772-9323
Acrylic Paint Hues (Must purchase the particular names listed below)
(AC Moore Discount Brand is the Windsor & Newton Galleria)
Acrylic Paint Required
Red: Cadmium Red Medium Hue or Permanent Red
Blue: Cobalt Blue Hue or Brilliant Blue
Yellow: Cadmium Yellow Hue Medium or Hansa Yellow
Violet: Dioxizine Purple, Permanent Violet, or Winsor Violet
Green: Viridian Green or Permanent Green Light
Orange: Cadmium Orange Hue, or Orange Lake
White: Titanium White or Zinc White
Black: Ivory Black or Mars Black
Brown: Burnt Umber or Bunt Sienna
Slow-Dri Fluid Retarder (to prevent acrylic paint from drying too quickly)
Liquitex is a good brand of fluid retarder.
Paint Brushes & Sizes§ Rounds: #2, #7 or #8§ Flats: ¼” and ½” widths § Circular Paint Palette with plastic lid § Color Wheel§ Bristol Board Paper 12” x 18”§ Ruler with metal edge§ Exacto knife or box cutter (to cut the foam core for mounting projects)§ Black foam board § Two containers with lids to store and transport dirty and clean water. § Mounting Tape § Eraser§ Fine Black Sharpie Marker§ Pencil§ Flash Disk/Jump Drive For Computer work
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