– Students will demonstrate variation in value, shape and texture. – Students will demonstrate creative problem solving to connect imagery through abstraction. – Students will demonstrate understanding of Gestalt theory to create a unified composition.
Materials
– Black and white photographs – 18″x24″ paper – Scissors – Graphite, charcoal, eraser, brushes, ink
Project
Mount two small fragments of black and white photographs at opposite ends of a large sheet of paper and find a way to imaginatively connect them, making a complete drawing in the process.
The first stage of the process is to gather a number of interesting photos that will subsequently be torn or cut. Some of these will have evidence of objective images, and the others will be completely non-objective. You will then collage the two fragments to a large sheet of drawing paper. Place the two photos fairly far apart on the picture plane. These fragments represent two different kinds of reality. It will be up to you to connect the fragments with imagery of your own making.
Camouflage the two fragments using the value range, shapes, and textures suggested by the photo-collage elements. In essence, you will be extending the information in the fragments through your own imagination. Objective imagery can be continued from one fragment, and the use of abstraction should also be an important consideration.
Begin by working lightly in pencil, planning a strong general composition. Then work in more detail with graphite, charcoal, and erasers, or use brushes with pen and ink. Plan your piece so that it reflects a full range of value. Use the entire picture plane, letting the composition go off on all four sides of the paper. Think about light sources and methods of showing depth, texture, and detail.
When your drawing is finished, the original photographic fragments should completely disappear into a composition of your own making. The goals of the problem are to camouflage the original elements through drawing techniques and value matching, as well as extend them into an overall drawing which richly reflects your own personal imagery. The final image should have a rich and detailed composition that invites the viewer to explore at length.
1. Demonstrate an understanding of the visual element texture and the visual principle pattern / movement. 2. Demonstrate an exploration of various materials and appropriate use of those materials. 3. Demonstrate an investigation of non-traditional art materials.
Mini-Assignment
1. In your sketchbook, write down as many different materials and ideas as you can think of. You should have at least 10 before coming to class. 2. Experiment with the materials you’ve chosen. 3. Look at the artists, videos and images linked below. 4. Read over the section on pattern and texture to the right under Elements and Principles.
Major-Assignment
The work of art you create must be repetitive in nature and no more then 3 inches deep and at least 3 feet in one direction. Since this is a 2 dimensional course, the work should primarily be physically flat.
Materials
Any materials. Explore paint, marker, pen, cut paper, graphite, foam…Take a walk through Home Depot, the Dollar Store, fabric producers, fabric aisle…
Time
3 classes
Info
Pattern and texture are often overlooked as simply supportive parts of a work of art, however they can be used as the work of art itself. Pattern can be afocal (no focal point) or can be combined with other areas of pattern to create multiple focal points. With graffiti moving more and more into mainstream art, pattern has been used to create impressive works of art. This will be your biggest work yet. You will have to think about the physical aspects of the work. If you make a piece that is 6 feet tall, how will it support itself? If you use wood instead of paper, will the end result still look the same, better or worse? I am looking for risk taking, creativity and an understanding of how pattern and texture can create visually engaging works of art.
Tips
Don’t try to force the materials to do something they are not meant to do. Do not try to force a concept onto your project. Do not try to plan everything out. DO allow time for mistakes. DO allow time for play. DO allow yourself to explore. DO be open to suggestions.
Process
The process will depend entirely on the materials you choose to work with. There are 1,000’s of ways to produce a work of art. I encourage you to explore materials and ideas before deciding on anything. Experimentation is a must. Play. See what works and what doesn’t. What are you drawn too? You figure out the material and I’ll help you figure out how to make it work. You could draw a shape or pattern, photo copy it 100 times, cut them out and glue them together to create a “sheet” of pattern. You could also play with enlarging or reducing the pattern on the photo copier. You could pour paint onto sheets of glass, let it dry then peel it off and use the dried paint as your work. You could create a 4 foot square of fertilizer and moss and let the moss pattern be your work. Essentially anything that can be repeated has potential. It’s how you take your given material and elevate it to another status is what separates the everyday from art.
To understand and apply the principles of “patterning” as applied to two-dimensional art. To introduce the concepts of “design process,” “module,” and “pattern.” To explore the range of part-to-whole relationships that can result from the considered design of modules and their application to different patterning schemes. To indicate the universal aspects of patterning as found in cultures throughout the world.
Mini-Assignments
Create 10 different original patterns. There are several smartphone apps that can help you do this.
Find and print 20 patterns that you like or want to use. These should be large, high resolution images. Double check copyright.
Major-Assignment
This assignment can be completed in multiple different ways. Choose one. The primary goal of this assignment is to understand how pattern can be used to create or collapse depth, create texture and create interest and / or multiple focal points.
The first part of this assignment is to research and create a series of patterns (see mini-assignments). These patterns can be done on 8 by 10 cardstock or Bristol board and be in either black and white or color. You can use graphite, colored pencil, marker, or computer printer but no paint, pen or charcoal.
This is where you have multiple options:
Cover objects with your chosen pattern and photograph them with the highest resolution possible. Pay special attention to how pattern changes the object or the background. What happens if you have two competing patterns (one on the object and one in the background)?Get creative with this part. It should not look like you have just wallpapered a bunch of objects and photographed them. Once you have photographed your covered objects, use the app PosterRazor to print the final image/s. The final image must be at least 4 feet.
Create a quilt with multiple patterns. Research quilt designs and use the patterns you created to help design your quilt. The craftsmanship should be perfect. You may sew, glue, fold, or weave to create your quilt. The quilt must be at least 4 feet.
Create a collage using patterns as the primary medium. The collage must be at least 4 feet.
Come up with something completely different – discuss with professor.
Materials
To be determined by the artist
Info
Pattern is an orderly arrangement of things forming a consistent or characteristic arrangement or sequence. While in two dimensional art we can produce patterns comprised of repeated shapes or modules, a pattern can also be any regular rhythm in time or space. Patterns can also be used to create identical shapes or parts. Pattern-makers – from dress-design to boat manufacture – are highly valued for their conceptual and design abilities.
Patterns pervade nature. People and plants grow in patterns, and so do spirals and money in the bank. Pendulums move in patterns, as do waves and spinning tops and springs. Sailors are on the lookout for patterns of sea and sky and wind that tell of bad weather. Parents look for behavior patterns in children that spell different kinds of turbulence ahead. Economists look for patterns of spending and saving.
Patterns are essential to perception because if we could not pick out patterns among the sound vibrations we heard or the light vibrations we saw, all the world would be a buzzing white confusion. All animals – and probably plants – have built-in pattern perceivers as part of their innate biological structure. Indeed, pattern perception or pattern recognition is important to the survival of every organism. Our ability to perceive the most subtle of patterns helps us to navigate and understand the world in which we live.
Consider the patterns of clouds; the ways in which water moves; the tracks animals leave; the irregular beating of a heart or the “sticky valve” of a car engine. Each “orderly arrangement of things” allows us to perceive something different about our world. Sometimes the patterns we employ to perceive the world filter out other less familiar patterns, and make us literally blind to new ways of seeing and thinking.
Texture can be understood as simply pattern that is better appreciated with fingers rather than the eyes; textures are really just very small repeated patterns. Very fine patterns or textures feel smooth to the touch. Subtle differences between textures may only be discernable through the sense of touch. Coarser textures may be readily perceived by the eyes–for example, corduroy fabric or the surface of a rasp. When creating a composition that requires intermediary tones, visual texture–such as cross-hatched lines or rubbings (frottage)–can be used to provide interest and richness to a visual field.
Briggs, John and David Peat, Turbulent Mirror, Harper and Row, 1989. Mandelbrot, Benoit B., The Fractal Geometry of Nature, 1977. Miller, Mary, “The Practical Fractal,” Exploring Magazine, Vol. 16, No.2, Summer 1992. Morrison, Phylis and Philip, “Crystalligraphy,” Exploring Magazine, Vol. 16, No.2, Summer 1992. Stevens, Peter S., Handbook of Regular Patterns, The MIT Press, 1980. Zaslavsky, Claudia, “Symmetry along with other Mathematical Concepts and Applications in African Life,” Applications in School Mathematics (Yearbook, National Council of Teachers of Mathematics, Sidney Sharron and Robert Reys, eds.), 1979. Harris, Mary, “Symmetry and Dissymmetry in Mathematics Education: a View from England,” Leonardo, Vol. 23, 1990. (A challenging feminist look at symmetries, using ‘women’s works’ as examples.)
1. Do a drawing that is made up of nothing but 200 lines. 2. Research and take notes on artists and references linked below.
Materials
Various materials, 12″ x 18″ paper
Time
6 hours
Vocabulary
Mark, gesture, point, line, plane, volume, space, dynamic, calligraphy, representational, non-objective, actual lines, implied lines, psychic lines, shape, form, LED
Info
If one distills the graphic arts (e.g., painting, drawing, printmaking, computer graphics, etc.) down to their most fundamental element, one finds the “mark.” Marks are like building blocks in that they are individual and discrete, but can be used in a repetitive manner to render almost any visual effect. Marks can be highly gestural and expressive, or highly controlled and mechanical. The degree to which artists can achieve certain desired effects is in large measure determined by their choice of tool, the nature of the medium used, and the quality of the gesture employed. In 2-D Design, initial discussion centers around the expressiveness of the individual “mark” – its descriptive, expressive, and conceptual potentials.
As one builds mark upon mark, a dynamic space for the interaction of marks and other elements of design such as lines and shapes emerges. A dynamic conception of this world would see the mark or point as having the potential for generating a line. Paul Klee explained the creation of expressive line as a matter of “taking a point for a walk ” By extension, a plane can be seen as a moving line, and a three-dimensional volume can be understood as a moving plane (or line). This conceptualization of pictorial space is at least as old as Leonardo who discussed it in his notebooks. It finds a powerful set of exponents in the Bauhaus and, more recently, provides a clear basis for understanding the virtual 3-D space produced on the LED screen of a computer. Regardless of particular historical or technical biases, this conception of spatial description is a conceptually rich method of introducing the dynamic character of the picture plane. Consider how a point light source (e.g., a car head-light) will appear as a line in a time exposure photograph. Or how a dancer’s arm describes a plane in space.
You are encouraged to work through a lot of tools and media. Interact with one another, trade tools and compare notes. A conceptual basis for the discussion will help you connect technical exercises with your own experience. Historical and cultural examples can provide a range of options that may go well beyond what you initially experiment with in class.
Process
Each of these assignments is designed to get you out of your shell and opened up to the possibilities of art. I want to see your creativity. Embrace your failures. Embrace risk. It’s okay to not know what you are doing. Drawings should be done on 12″ by 18″ paper (one sheet of 18″ by 24″ cut in half)
1) Make a “dot” sampler, using the widest variety of tools and materials available; on a second sheet create a “line sampler,” and a “shape sampler” on a third sheet. Refer to this personal collection when studying the illustrations in books, observing the work of fellow students, or going to museums and galleries.
2) Explore the expressive range of a tool, such as a finely pointed bamboo brush (the kind used for Asian calligraphy), a block of charcoal, graphite powder, shoelace, rust, dirt, etc. See how many differing kinds of simple marks and brush strokes you can make, exerting almost no pressure at first, then slowly adding weight to your mark, causing larger areas of the brush to come in contact with the paper.
3) Do a non-objective drawing to music. What changes in the quality of the marks or lines as the music changes? Compare your own sketches, then compare with other students’ work. Discuss about the ease or difficulty of moving across different media or modes of expression.
4) Create 5 drawings that create the visual equivalent of an “edge.” Each drawing should be different and use a different approach to creating an edge.
Students will be able to identify basic visual and verbal vocabulary.
Students will be able to demonstrate the unique power of different types of line.
Students will be able to illustrate how line affects composition.
Mini Assignment
Take notes in your sketchbook on Line and Shape from the Elements and Principles research link to the right. Make sure to watch the two videos.
Take a look at the template for an understanding of what we will be making in class.
Materials
Card stock or Bristol board (at least 9 x 12)
Ruler (metal preferred)
Fine tip Sharpie marker
Pencil (any kind will do)
Project
Line is one of the simplest and most versatile elements of design. Line may be defined as a point in motion, a series of adjacent points, a connection between points, or as an implied connection between points. Lines can connect, dissect or define shapes and spaces within design.
It is a good idea to explore a bit first. When you have generated a page of studies, consider:
what are the advantages of each different type of line?
how does a change in format affect line dynamics?
what happens when lines are repeated?
what happens when lines intersect?
Read through Richard Serra’s verb list below. Choose 4 of the verbs to illustrate in the template. Click the image to view it full scale.
Richard Serra’s Verb List
Using the template provided above (in materials), place four different kinds of lines in the first row of squares. Then, invent a series of variations on each line in the remaining columns.
Try working with very different kinds of line. As you work your way down each column, try to increase the power of the original line.
Students will be able to identify basic visual and verbal vocabulary.
Students will be able to demonstrate the unique power of different types of line.
Students will be able to demonstrate an understanding of positive and negative space and gestalt theory.
Materials
Card stock or Bristol board (9″ by 12″)
Ruler (metal preferred)
Fine tip Sharpie marker
Pencil (any kind will do)
Sketchbook
Take notes in your sketchbook on positive and negative space from the Elements and Principles research link to the right.
Watch the video below on the Gestalt Principle and take notes in your sketchbook. It is a little long (17 minutes) so you might want to break it up.
If you want a little more, this page has a lot of good information.
Project
The goal of this assignment is to create small compositions consisting of positive and negative space. You will be using letters to create abstract (non-representational) compositions that play with our understanding of positive and negative space.
Using the 9″ x 12″ piece of Bristol board and a pencil, construct a grid of 16 squares. The grid of squares should be centered in your piece of Bristol board. Each square should be 1 1/2″ by 1 1/2″ and have a gap of 1/4″ between them. Make sure to take the time to get this right – I can’t tell you how many times I’ve miss measured something only to have to start over or worse, buy the materials again.
Choose one letter or symbol for each column and gradually explore that one letter across each box from top to bottom. For example you might choose the letter A for the first column. Explore the different compositional possibilities of that one letter in the next 3 boxes. In the next column, explore another letter and so on.
Hint: The goal of this assignment is to explore positive and negative space and how they impact or play off of each other. If we cannot tell what letter you’ve used but the space is engaging, that is ok. The letters are meant to help you get started. Isolate just enough of each letter to hint at its identity. Strike a balance between positive and negative space.
1. Students will be able to utilize a grid to aid with drawing at scale. 2. Students will be able to demonstrate an understanding of size, scale and proportion.
Mini-Assignments
1. Watch videos that are linked below 2. Define vocabulary words listed below in your sketchbook
Materials
Paper, ruler, drawing materials, found objects
Time
9 hours
Process
1. Bring in several different objects that demonstrate a variety of texture, size and complexity. Choose the object that you are going to draw carefully. Scale can have a tremendous impact on how a viewer relates to the object. A drawing of an object at a very small scale can canote a feeling of empathy in the viewer while a very large drawing can make the viewer feel that they are being confronted.
2. Using your phone or a digital camera, photograph your chosen object (just one) from multiple angles. Carefully choose the best composition from your photographs. Crop your image to a ratio of 6″ by 8″ and print it in black and white. You can use the printer in the library for higher quality. If the image is too dark you may need to change the exposure.
3. Using 4 sheets of 18″ by 24″ newsprint, create a 36″ by 48″ drawing surface. Because we do not have 3′ by 4′ drawing boards, you may have to work in sections and pin your drawings to the wall as you work. I will go over how to scale an image in class.
This exercise should not just be a demonstration of your ability to scale an object. You should also be thinking about composition. Does your drawing create an interesting work of art in addition to following the guidelines listed above?
A “system” is simply an orderly way of doing something. Art that seems to result from the application of a specific procedure, from repeated use of a pattern or set of patterns, or from adherence to a body of rules is sometimes referred to as “systemic art” or “systems” art.
A “grid” is understood, in most instances, as a system of fixed horizontal and vertical divisions. Grids are among the most adaptable and universally applicable of all systems. Any flat shape, no matter how irregular, can be conceived of in terms of what mathematicians would call X (horizontal) and Y (vertical) axes. The regularity of a grid can be used as an aid in copying, in scale or proportional changes, or to reveal complicated relationships within a work of art.
“Proportion” is a relationship or ratio between parts of a given whole. “Size” is a quantitative description of an object that only makes sense in relationship to either another object or an agreed upon standard of measurement. (e.g., something is “big” only in relationship to something already agreed to be “small.”) “Scale” is a proportional relationship between two sets of dimensions. In general, “scale” refers to the mathematical relationship between an object and a measurable quantity. We say that an object is “full-scale” when it corresponds 1:1 with real life. If the same object is rendered such that any part of it is one-half the length of the original object, we understand this to be at “half scale” or 1:2. One quarter the length would be “quarter scale”, 1:4, or 1/4th scale.
Demonstrate an understanding of “positive and negative space,” “figure/ground” relationships such as “alternation,” “figure/ground ambiguity,” and “interpenetration”.
Mini-Assignments
1. Use a lamp at home to play with creating interesting shadows. What happens if you place the lamp close to an object vs further away. How do we understand that the shadow is related the object? Use your sketchbook to capture any interesting shapes.
At the threshold of perception we see objects against backgrounds. The whole visual world may be thought of as a continuous series of figure / ground relationships with objects overlapping their backgrounds. The perception that objects seem to stand out against a background is defined as a “figure / ground relationship.”
Several kinds of relationships can be identified: the “vignette” in which the object “floats” away from the edges of the sheet or ground; “interacting” or “integrated” figure / ground relationship in which both the figure and the ground have equal importance; “ambiguous” or “alternating” figure / ground relationships in which it is unclear just what is the “figure” and what is the “ground” (e.g., a checkerboard, or the classic vase and profile reversal). “Interpenetration” involves a reversal of the figure / ground relationship at selected points where contour lines would otherwise be lost against a predominately dark or light background. (e.g., Graphic designers will often do a figure / ground reversal where text is run over alternating dark and light areas. Though the value of the text is shifting dramatically, the relative contrast of the figure / ground relationship remains the same.)
Process
1. Make a composition from a series of “found” silhouettes. Emphasize the use of the whole paper. Avoid “vignettes”.
2. Working with a partner and a portable lamp, trace a series of shadows from interesting parts of the body. These can be full figures or fragments – but the final composition must be no larger than 18 x 24 inches (this requires severe cropping in most cases). Encourage the use of integration and interpenetration. Try to achieve a total “nonobjective” result or, conversely, try to focus on a clear story or narrative. (avoid the gray area between these two ideas…)
There are 7 Elements and 8 Principles of design. These elements and principles, when used correctly, are what contribute to good design. Be it a great looking webpage, a painting or sculpture or simply getting dressed in the morning, the look of all of these are determined by your understanding of the arrangement of the elements and principles. This arrangement is called composition.
For this assignment I want you to create 2 posters – one for the 7 elements of art and one for the 8 principles of design. This is your chance to get creative and show the class what you can do. You can use any materials you would like but the end result should be legible (easy to read) and well designed. These posters will hang in the class for the remainder of the semester so make sure you do your best.
Composition is defined as the arrangement of the elements and principles of design. How do we make paintings, sculptures, websites, clothing, posters, movies, photographs visually attractive? How do we immediately know that the pants we picked out don’t match the shirt we want to wear? How do we know that one car has a better design than the next car. Those ideas, what could be aesthetics, are all dealing with composition. As art students we need to understand what creates good, well organized compositions and the problems we can run into with bad or disorganized compositions. Although introductory courses such as 2D Design and Drawing 1 will stress that you understand and use good design, good composition, there are many artists that once they understand the rules of design choose to break them. Like with most things in life, we have to understand the rules before we can start to break them.
Well designed compositions can be achieved understanding how the Elements and Principles of Design work together. The Elements can be described as the parts in a car; the muffler, gas tank, brake pedal, windshield wipers, etc. The Principles are how those parts work together.
As you work, ask yourself –
How does the work of art create __________________ (insert principle) through the use of ___________________ (insert element) ?
For example: How does the work of art create repetition through line? How does the work of art create balance through color? How does the work of art create contrast through value? How does the work of art create movement through space? You could run through one principle with all 7 elements.
How does the work of art create contrast through line? How does the work of art create contrast through shape? How does the work of art create contrast through form? How does the work of art create contrast through value? How does the work of art create contrast through texture? How does the work of art create contrast through space? How does the work of art create contrast through color?
Asking these questions will help you have a better understanding of what is working in your composition and what needs to be adjusted. The principles of design help you to carefully plan and organize the elements of art so that you will hold interest and command attention. Interesting works of art hold the viewer’s attention, visually and/or conceptually.
In any work of art there is a thought process for the arrangement and use of the elements of design. The artist who has an understanding of the principles of good composition will typically create a more interesting work of art . The center of interest will be strong and the viewers will not look away, instead, they will be drawn into the work. A good knowledge of composition is essential to producing good artwork. Some artists today like to bend or ignore these rules and therefore are experimenting with different forms of expression. Composition is hugely important, but like any rule in art, they can be broken.
Elements of Design
Elements of Design include line, shape, form, value, texture, space and color. Time can also be considered an element of art when working with video, performance or film.
Line – can be considered in two ways. The linear marks made with a pen or brush or the edge created when two shapes meet. We can all draw a line, but defining it with words becomes more difficult. At its simplest, a line is a mark on a surface that describes a shape or outline. It can create texture and can be thick and thin. Types of line can include actual, implied, vertical, horizontal, diagonal and contour lines.
Shape – is a 2-dimensional line with no form or thickness. Shapes are flat and can be grouped into two categories, geometric and organic.
Form – is a 3-dimensional object having volume and thickness. Form can be real, as in a sculpture or implied, as in a drawing. To imply form you might use light and shading techniques to make a circle look like a sphere. Forms can be viewed from many different angles.
Value – is the degree of light and dark in a design. It is the contrast between black and white and all the tones in between. Value can be used with color as well as black and white. Contrast is the extreme changes between values. Color and value are sometimes confused when starting to study the Elements of Design. Color refers to hue (red, yellow, blue…) while value refers to lightness or darkness only.
Texture – describes surface quality either actual or implied. Actual texture is how something feels when you touch it. A rock feels rough, a feather smooth etc. Implied texture is how an object appears to feel. A drawing of a rock appears/implies that the texture is rough but if we touch the sheet of paper it feels smooth. Texture is the degree of roughness or smoothness in objects and relies heavily on value and lighting. Want to take a really youthful photo of yourself? Point as many lights at your face as possible. The light will “fill” in any wrinkles, washing out the shadows cause by these wrinkles. Lighting your face from a really harsh angle will enhance the texture of your face, creating a photo that is probably not very flattering.
Space – the area in, around, above or below an object. Two types of space exist; positive and negative. Positive space is usually the object being drawn or the darker object while negative space is everything but the object and usually lighter. An easy way to determine which is positive is to ask yourself which are or object do you look at first. That is typically the positive space. Negative or empty space is just as important as positive space.
Color – is the reflected light that we are able to see with our eyes. It also refers to specific hues and has 3 properties, Hue, Chroma and Value. The color wheel is a way of showing the chromatic scale in a circle using all the colors made with the primary triad. Complimentary pairs can produce dull and neutral color. Black and white can be added to produce tints (add white), shades (add black) and tones (add gray).
Color Terms
Color in design is very subjective. What evokes one reaction in one person may evoke a very different reaction in someone else. Sometimes this is due to personal preference, and other times due to cultural background. Color theory is a science in itself. Color is also the most difficult but also the most powerful of the 7 elements of design. It can make someone feel sad or happy. It can make you want to eat more or not at all. It can imply life or death. It can encourage learning and also do just the opposite. Color is complicated. One tiny shift from blue-green to a slightly greener blue-green can change how you interpret or how you feel about a work of art. There are entire books written on the psychology of color and color theory. This section will introduce you to some of those thoughts as well as illustrate various ways to use color in your work. What follows focuses predominately on color that can be mixed using paint or colored pencils. Colored lights work very different when mixed.
Color can be broken down into Hue, Chroma (Saturation) and Value.
Hue – the color itself; red, blue yellow. We don’t talk about dark or light when referring to Hue, just the color.
Chroma / Saturation – Is the red a really strong red or is it more washed out than a real red? Saturation is the intensity of the color. A red straight from a tube of paint is very saturated but when you mix it with white or thin it with water, the saturation lessens.
Value – the lightness or darkness. A light yellow may appear more lemon while a dark yellow may appear more mustard.
Primary – The three most basic colors are Red, Yellow and Blue. These are known as Primary colors. There is nothing you can use to mix these colors, however you can use these three colors (and sometimes white) to mix almost every color in the world. If you are short on money, you only need to buy red, yellow, blue and white.
Secondary – Mixing any two Primaries creates a Secondary color. Secondaries include Orange, Green and Violet (Purple).
Tertiary – Mixing a Primary and a Secondary creates a Tertiary (sometimes called Intermediate). Tertiaries are named with their primary color first and secondary color last. If I mix Red and Violet, I get a Red-Violet. Although Violet-Red is technically the same color, we always name them with the Primary name first. Blue and Green = Blue-Green. Yellow and Orange = Yellow-Orange.
Warm Colors
Warm colors include red, orange, and yellow, and variations of those three colors. These are the colors of fire, of fall leaves, and of sunsets and sunrises, and are generally energizing, passionate, and positive.
Red and yellow are both primary colors, with orange falling in the middle, which means warm colors are all truly warm and aren’t created by combining a warm color with a cool color. Use warm colors in your designs to reflect passion, happiness, enthusiasm, and energy.
Red (Primary Color)
Red is a very hot color. It’s associated with fire, violence, and warfare. It’s also associated with love and passion. In history, it’s been associated with both the Devil and Cupid. Red can actually have a physical effect on people, raising blood pressure and respiration rates. It’s been shown to enhance human metabolism, too.
Red can be associated with anger, but is also associated with importance (think of the red carpet at awards shows and celebrity events). Red also indicates danger (the reason stop lights and signs are red, and that most warning labels are red).
Outside the western world, red has different associations. For example, in China, red is the color of prosperity and happiness. It can also be used to attract good luck. In other eastern cultures, red is worn by brides on their wedding days. In South Africa, however, red is the color of mourning. Red is also associated with communism. Red has become the color associated with AIDS awareness in Africa due to the popularity of the [RED] campaign.
In design, red can be a powerful accent color. It can have an overwhelming effect if it’s used too much in designs, especially in its purest form. It’s a great color to use when power or passion want to be portrayed in the design. Red can be very versatile, though, with brighter versions being more energetic and darker shades being more powerful and elegant.
Orange (Secondary Color)
Orange is a very vibrant and energetic color. In its muted forms, it can be associated with the earth and with autumn. Because of its association with the changing seasons, orange can represent change and movement in general.
Because orange is associated with the fruit of the same name, it can be associated with health and vitality. In designs, orange commands attention without being as overpowering as red. It’s often considered more friendly and inviting, and less in-your-face.
Yellow (Primary Color)
Yellow is often considered the brightest and most energizing of the warm colors. It’s associated with happiness and sunshine. Yellow can also be associated with deceit and cowardice, though (calling someone yellow is calling them a coward).
Yellow is also associated with hope, as can be seen in some countries when yellow ribbons are displayed by families who have loved ones at war. Yellow is also associated with danger, though not as strongly as red.
In some countries, yellow has very different connotations. In Egypt, for example, yellow is for mourning. In Japan, it represents courage, and in India it’s a color for merchants.
In your designs, bright yellow can lend a sense of happiness and cheerfulness. Softer yellows are commonly used as a gender-neutral color for babies (rather than blue or pink) and young children. Light yellows also give a more calm feeling of happiness than bright yellows. Dark yellows and gold-hued yellows can sometimes look antique and be used in designs where a sense of permanence is desired.
Cool Colors
Cool colors include green, blue, and purple, are often more subdued than warm colors. They are the colors of night, of water, of nature, and are usually calming, relaxing, and somewhat reserved.
Blue is the only primary color within the cool spectrum, which means the other colors are created by combining blue with a warm color (yellow for green and red for purple). Greens take on some of the attributes of yellow, and purple takes on some of the attributes of red. Use cool colors in your designs to give a sense of calm or professionalism.
Green (Secondary Color)
Green is a very down-to-earth color. It can represent new beginnings and growth. It also signifies renewal and abundance. Alternatively, green can also represent envy or jealousy, and a lack of experience.
Green has many of the same calming attributes that blue has, but it also incorporates some of the energy of yellow. In design, green can have a balancing and harmonizing effect, and is very stable. It’s appropriate for designs related to wealth, stability, renewal, and nature. Brighter greens are more energizing and vibrant, while olive greens are more representative of the natural world. Dark greens are the most stable and representative of affluence.
Blue (Primary Color)
Blue is often associated with sadness in the English language. Blue is also used extensively to represent calmness and responsibility. Light blues can be refreshing and friendly. Dark blues are more strong and reliable. Blue is also associated with peace, and has spiritual and religious connotations in many cultures and traditions (for example, the Virgin Mary is generally depicted wearing blue robes).
The meaning of blue is widely affected depending on the exact shade and hue. In design, the exact shade of blue you select will have a huge impact on how your designs are perceived. Light blues are often relaxed and calming. Bright blues can be energizing and refreshing. Dark blues are excellent for corporate websites or designs where strength and reliability are important.
Violet – Purple (Secondary Color)
Purple was long associated with royalty. It’s a combination of red and blue, and takes on some attributes of both. It’s associated with creativity and imagination, too.
In Thailand, purple is the color of mourning for widows. Dark purples are traditionally associated with wealth and royalty, while lighter purples (like lavendar) are considered more romantic.
In design, dark purples can give a sense wealth and luxury. Light purples are softer and are associated with spring and romance.
Neutrals
Neutral colors often serve as the backdrop in design. They’re commonly combined with brighter accent colors. But they can also be used on their own in designs, and can create very sophisticated layouts. The meanings and impressions of neutral colors are much more affected by the colors that surround them than are warm and cool colors.
Black
Black is the strongest of the neutral colors. On the positive side, it’s commonly associated with power, elegance, and formality. On the negative side, it can be associated with evil, death, and mystery. Black is the traditional color of mourning in many Western countries. It’s also associated with rebellion in some cultures, and is associated with Halloween and the occult.
Black is commonly used in edgier designs, as well as in very elegant designs. It can be either conservative or modern, traditional or unconventional, depending on the colors it’s combined with. In design, black is commonly used for typography and other functional parts, because of it’s neutrality. Black can make it easier to convey a sense of sophistication and mystery in a design.
White
White is at the opposite end of the spectrum from black, but like black, it can work well with just about any other color. White is often associated with purity, cleanliness, and virtue. In the West, white is commonly worn by brides on their wedding day. It’s also associated with the health care industry, especially with doctors, nurses and dentists. White is associated with goodness, and angels are often depicted in white.
In design, white is generally considered a neutral backdrop that lets other colors in a design have a larger voice. It can help to convey cleanliness and simplicity, though, and is popular in minimalist designs. White in designs can also portray either winter or summer, depending on the other design motifs and colors that surround it.
Gray
Gray is a neutral color, generally considered on the cool end of the color spectrum. It can sometimes be considered moody or depressing. Light grays can be used in place of white in some designs, and dark grays can be used in place of black.
Gray is generally conservative and formal, but can also be modern. It is sometimes considered a color of mourning. It’s commonly used in corporate designs, where formality and professionalism are key. It can be a very sophisticated color. Pure grays are shades of black, though other grays may have blue or brown hues mixed in. In design, gray backgrounds are very common, as is gray typography.
Brown
Brown is associated with the earth, wood, and stone. It’s a completely natural color and a warm neutral. Brown can be associated with dependability and reliability, with steadfastness, and with earthiness. It can also be considered dull.
In design, brown is commonly used as a background color. It’s also seen in wood textures and sometimes in stone textures. It helps bring a feeling of warmth and wholesomeness to designs. It’s sometimes used in its darkest forms as a replacement for black, either in backgrounds or typography.
Beige and Tan
Beige is somewhat unique in the color spectrum, as it can take on cool or warm tones depending on the colors surrounding it. It has the warmth of brown and the coolness of white, and, like brown, is sometimes seen as dull. It’s a conservative color in most instances, and is usually reserved for backgrounds. It can also symbolize piety.
Beige in design is generally used in backgrounds, and is commonly seen in backgrounds with a paper texture. It will take on the characteristics of colors around it, meaning it has little effect in itself on the final impression a design gives when used with other colors.
Cream and Ivory
Ivory and cream are sophisticated colors, with some of the warmth of brown and a lot of the coolness of white. They’re generally quiet, and can often evoke a sense of history. Ivory is a calm color, with some of the pureness associated with white, though it’s a bit warmer.
In design, ivory can lend a sense of elegance and calm to a site. When combined with earthy colors like peach or brown, it can take on an earthy quality. It can also be used to lighten darker colors, without the stark contrast of using white.
Color Wheel and Theory
Above is the basic 12 spoke color wheel. 3 primaries, 3 secondaries and 6 tertiaries. There are millions of different colors but it is thought that our eye can distinguish about 2.4 million different colors and even more under different types of lighting. Listed below are some basic color theories that should help you create better looking works of art and to have a better understanding of why some colors work and why others do not.
The woman in the video below…is a little excited about color, but knowing that she was one of the lead graphic designers for Google and YouTube means she knows what she’s talking about. Just turn the volume down a little as you watch it. //www.youtube.com/embed/059-0wrJpAU?rel=0
Monochromatic
Monochromatic color schemes are made up of different tones, shades and tints within a specific hue. These are the simplest color schemes to create, as they’re all taken from the same hue, making it harder to create a jarring or ugly scheme (though both are still possible).
Analogous
Analogous color schemes are the next easiest to create. Analogous schemes are created by using three colors that are next to each other on the 12-spoke color wheel. Generally, analogous color schemes all have the same chroma/intensity level, but by using tones, shades and tints we can add interest to these schemes and adapt them to our needs for creating works of art.
Complementary
Complementary schemes are created by combining colors from opposite sides of the color wheel. In their most basic form, these schemes consist of only two colors, but can easily be expanded using tones, tints, and shades. A word of warning, though: using colors that are exact opposites with the same chroma and/or value right next to each other can be very jarring visually (they’ll appear to actually vibrate along their border in the most severe uses). This is best avoided (either by leaving white space between them or by adding another, transitional color between them).
Beige and brown are really tints and shades of orange
Split Complementary
Split complementary schemes are almost as easy as the complementary scheme. In this scheme, instead of using colors that are opposites, you use colors on either side of the hue opposite your base hue.
Triadic
Triadic schemes are made up of hues equally spaced around the 12-spoke color wheel. This is one of the more diverse color schemes.
Principles of Design
Principles of Compositional Design
The principles of design are the recipe for a good work of art. The principles combine the elements to create an aesthetic placement of things that will produce a good design.
Emphasis/Focal Point – is an area that first attracts attention in a composition. This area is more important when compared to the other objects or elements in a composition. This can be by contrast of values, contrasting colors, placement in the artwork (we are naturally drawn to the center), a change from no pattern to pattern.
Balance – is a feeling of visual equality in shape, form, value, color, etc. Balance can be symmetrical or evenly balanced or asymmetrical and un-evenly balanced. Objects, values, colors, textures, shapes, forms, etc., can be used in creating a balance in a composition. A third but seldom used form of balance is what is called radial balance. You can see this type of balance in hubcaps on a car and rose windows in churches.
Unity/Harmony – is the visually satisfying effect of combining similar, related elements. eg. adjacent colors on the color wheel, similar shapes etc. Unity is the relationship among the elements of a work of art that helps all of the elements function together. Unity gives a sense of oneness to a visual image.
Contrast – creates a visual discord in a composition. Contrast is the juxtaposition of opposing elements eg. opposite colors on the color wheel – red / green, blue / orange etc. Contrast in tone or value – light / dark. Contrast in direction – horizontal / vertical. The major contrast in a work of art should be located at the center of interest, your focal point. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos and confusion are what you are seeking, it is a good idea to carefully consider where to place your areas of maximum contrast.
Movement – is a visual flow through the composition. It can be the suggestion of motion in a design as you move from object to another object by they are placed or their position in relationship to another object. Directional movement can be created through implied lines (dotted lines), a change in value (moving from light to dark), a change in color (red to red orange to orange), a change in scale (small to large). There can be implied movement (a light source in a painting that helps guide our eyes through the composition) or actual/physical movement (a sculpture that actually moves).
Pattern/Rhythm – is the use of similar elements again and again. If you repeat a line or shape over and over, you are visually creating a beat, a sense of timing for the viewer. Think plaid shorts or striped shirt. Sometimes this can become monotonous. The monotony can be broken while still maintaining a sense of pattern by keeps one element through similar but adjusting another element. If you have 50 square that were all the same size but painted each one a different color, you still create a pattern but a much more engaging pattern. Pattern can be combined with movement.
Variety – provides contrast to harmony and unity. If you have a grid of 1,000 black and white squares you have unity through shape. If you paint one of those squares red, you’ve just introduced variety. Most viewers will look directly at the red square first simply because it’s different. Art needs a combination of unity and variety. Too much unity and it can become boring. Too much variety and it becomes chaotic.
Proportion/Scale – Proportion is the size relationship of parts to a whole and to one another. Babies are cute because their heads and eyes are so large when compared to the rest of their body. Their head and eyes are not in proportion to the rest of their body. Whenever you start a drawing, you can check proportions by comparing one object to another and asking if it’s too big, too small, too flat, too round… Scale refers to relating size to a constant, such as a human body. If you look on the box of a model car kit, you’ll see numbers such as 1:24th scale. This means that the car in the box with be 1/24 the size of a real car. Some artworks work better on a small scale (creates intimacy) while others on a much larger scale (commands attention).
