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C o l o r Related Exhibitions:

C o l o r Related Exhibitions:. Baltimore Museum of Art – Cone Collection, including: Matisse, Picasso, Degas, Monet, Bonnard. COLOR INTERACTION. Illusions & Color Relationships cont’d.

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C o l o r Related Exhibitions:

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  1. ColorRelated Exhibitions: Baltimore Museum of Art – Cone Collection, including: Matisse, Picasso, Degas, Monet, Bonnard

  2. COLOR INTERACTION Illusions & Color Relationships cont’d

  3. Michel Eugene Chevereul (1786-1889)French Chemist, Colorist, supervisor of dye production carpet plant.Book: The Principles of Harmony and Contrast of Colors 1839

  4. Josef Albers(1888-1976)AbstractPainter, Educator, Colorist

  5. Josef Albers timeline • 1920’s – 1930 Lead Bauhaus school, Weimar, Germany • 1933 Headed Black Mt. College, North Carolina • 1950 Chairman of Yale University • 1963 Published “Interaction of Color”

  6. Josef Albers’ 3 Principles of Color Interaction 1. Light & DarkContrast 2. Subtraction 3. Complementary Reaction / Effect

  7. Josef Albers’ 3 Principles of Color Interaction 2. Subtraction

  8. Simultaneous Contrast

  9. Simultaneous Contrast: the way in which two different colors affect each other, how one color can change how we perceive the tone and hue of another when placed side by side. The colors themselves don't change, but we see them as altered.

  10. Principle 1: LIGHT/DARK VALUE CONTRAST

  11. Principle 2:SUBTRACTION:A strong or dominant color will subtract itself from a smaller or less dominant color For Example: in the previous slide, the small Blue square sitting on the large Dark Blue ground appears lighter, because the Blue hue subtracts itself, in other words, becomes absorbed by the dominant Dark Blue ground. This makes the small Blue square appear lighter.

  12. MONOCHROMATIC Schemes

  13. Monochromatic Scale Adding Tintsand Shades to an individual HUE mono= one chroma= color

  14. 3 Properties of Color • VALUE • HUE • SATURATION / INTENSITY

  15. 3 Properties of Color 2) HUE

  16. 3 Properties of Color HUE:the categorical name of a color. The fact that each “color” contains its’ own pigment. Each hue category (i.e. orange, green, etc.) contains infinite variations

  17. Where does the pure HUE lie on these Monochromatic Value Scales?

  18. Louise Nevelson Royal Tide 1, 1960 & White Vertical Water, 1972

  19. Josef Albers’ Homage to Square

  20. Josef Albers’ Homage to Square

  21. Josef Albers Interview 1968

  22. "There is always a paradox inherent in vision, an impossible desire to see yourself seeing. A lot of my work probes this tension; to want to see, but not being able to” - Spencer Finch STUDY FOR A GROOVY UNNAMABLE COLOR (PURPLISH-BLUE, REDDISH-VIOLET, YELLOWISH-ORANGE) 1997, 22" x 30", watercolor on paper

  23. What Time Is It On the Sun? SUNLIGHT IN AN EMPTY ROOM (PASSING CLOUD FOR EMILY DICKINSON) AMHERST, MA, AUGUST 28, 2004 Spencer Finch

  24. Materials: dimensions variable, 100 fluorescent lights, filters, clothespins. This work re-creates the effect of a passing cloud in Emily Dickinson’s back yard in Amherst, Massachusetts, based on an August afternoon. The bank of three types of fluorescents generates a simulation of the daylight, and the hanging filters of the “cloud” shift the color and intensity of the sunlight to replicate the shadow cast by a cloud.

  25. Scientific & poetic, Elusive subject matter, Unexpected materials 102 Colors from My Dreams Spencer Finch

  26. Video Clips: Pleasantville http://www.youtube.com/watch?v=4fCMTQXzoXo http://www.youtube.com/watch?v=YMAqmYE53wE Sin Citysave for color symbolism https://www.youtube.com/watch?v=YKFLrTYKIXk Stan Brakhage’s Cat’s Cradle

  27. Rorschach Test A. Recall a dream you had recently. Select one color that resonates with the dream. Mix this color on your palette with more water than usual. (make it more inky) B. Fold an 11 x 14” bristol paper in half. Drawing on one half of the page, create a simplistic design that encapsulates the essence or mood of the dream. C. Ink & paint inside your design on the one half of your page. Explore a WIDE RANGE of values within this particular hue. Find it’s darkest most intense version to the lightest, barely visible version of itself. Keep Paint WET D. Carefully re-fold dry page onto wet page to transfer image. Open slowly . . . We’ll do a psychological interpretation once designs dry!

  28. Demo & Review: 1. Monochromatic Scale & Mixed Media Collect Mixed Media for next week! 2. Simultaneous Contrast---Light/Dark & Subtraction: Monochromatic 3. Apocalypstick---Written Response: Review Expectations

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