Date post: | 13-Feb-2017 |
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ART 251: Lecture 3, part 2
Color Theory:Traditional Color Circle, Color Attributes,
and Color Schemes
Early color circlesIsac Newton, physicist and mathematician (1642‐1727). Discovered color was in light: Additive color system
This is the basis for the TRADITIONAL COLOR WHEEL,which organizes subtractive colors (paint and pigment)
Newton also organized color in a systematic color wheelfollowing the rainbow spectrum in the additive color system.
Early color circles
BTW
Early color circles
Early color circles
Philip Otto Runge(1770‐1810)
German painter.Introduces
hue, value and saturation.Created a spheric
Color model
Early color circles & systems
Early color circles & systemsAlbert Munsell
Color theorist. (1858‐1955) Variation on Runge’s sphere.Munsell wanted a color standard.
(1940s)
Johannes Itten (1888‐1967)
The star was a 2‐D version of Runge’s sphere but also relating to Munsell’s model.
The star is essentially an exterior view of the color sphere, cut apart and spread out 2‐dimensionally. On the “equator” of sphere are pure hues, its inner circles has tints gradating towards a white center, and the outer points have incremental shades
toward black
Color star (1930s):Johannes Itten’s color model
for value and intensity
Itten's color wheel model:Center triangle 3 primary, surrounded by 3 secondary hues.
Tertiary placed with other 6 in outer circle= Traditional 12 color wheel
Itten's color wheel model was slightly flawed
Some “adjustments” necessary..
Bias color wheel
COOL COLORS
WARM COLORS
Complimentary colors
Johannes Itten (1888‐1967)• Swiss expressionist painter,
designer, teacher, writer and theorist associated with the Bauhaus school of design, crafts and fine arts (1930s Germany).
• Continued work with Traditional Color Circle in the steps of Rungeand Munsell.
• His color study addressed aspects, attributes of color. Organized The 7 Contrasts of Color.
Itten’s “7 color contrasts”:
• Contrast of hue – primary and secondary colors in same composition
• Contrast of light‐dark (value)• Contrast of Saturation (intensity)• Contrast of Warm‐Cool• Complementary Contrast• Simultaneous Contrast• Contrast of Extension
Contrast of ValueMONOCROMATIC (as in our mosaic designs)
Contrast in Value:Monochromatic areas of shades and tints
Adding white, black & grays affects VALUE as well as INTENSITY
INTENSITY (also Chroma, or saturation)
Adding a complimentary color also changes intensity
Low intensity (grays added)…
..made into high intensity in Photoshop. Which area has brightest/dullest intensity?
Contrast of Saturation (Intensity)
Contrast of Saturation (Intensity)
To change intensity you canAdd neutral (B, W or grey)to pure color (creates a tint, shade or, tone)
Mix hue with its compliment (chromatic neutral)
[Transparent layer of achromatic hues or compliments]
Contrast of Saturation (Intensity)If the surrounding colors are duller,
the intensity of the pure hue increases
Warm
Warm‐Cool Color
Cool
Warm color scheme• Warm colors protrude
• Represents warmth, sun, light, fire
Contrast of warm‐cool color
• The warm colors protrude
• The cool color contrast makes the fork stand out
• By using the contrast one adds interest or drama in picture
3 of Itten’s 7 Contrasts:
•Contrast of light‐dark (value)•Contrast of Saturation (intensity)•Contrast of Warm‐Cool
Assignment # 5Masque Design
Show either one from the 2 of Itten’s 7 contrasts presented today
• Thumbnails of design. In your thumbnail:
Divide masque design in 2 sides, by either a horizontal or vertical center line. Each side must represent one of the 2 contrast principles you have chosen – Contrast of Intensity or Contrast of Warm/Cool.Make several thumbnails before you decide on a final design.
• Create a simple template on Bristol board, using the one provided or a freely designed template (encouraged, but not required). Masque size must stay within a surface area no larger than 9”W x 9”‐10”H. (Using tracing paper, laid over Bristol board reversely, with pencil marks facing it and then are traced, helps)
• Basic elements are center line, eyes, nose, mouth, in a division of horizontal thirds
Bristol board: 9” X 12”
Final template should look like this.Cut out holes for eyes and nose if you like, but better to do it when you have placed
your design on top of the template.
Following your best thumbnail, sketch out design as a whole, crossing the dividing line on your template.
Contrast of Intensity(mix with black or a complimentary hue)
Contrast of IntensityMix with white (or lay over transparent white)
Contrast of Cool ‐Warm
Contrast of Cool ‐Warm