Design 1

The End

A comprehensive guide to Design One, influenced by Modern Art of the 20th century.

Design One By: Andrew Walter Instructor: Bruce Claypool Spring 2013 Term 1

Table of Contents 1. Colour wheels / Colour wheel studies 2. Colour Balance (Asymmetrical) 3. HSV / Munsell T-Charts + Neutral Mixing Chart 4. Golden Section / Root 2 / Tatami (Fun with grids) 5. Grouping (Bonus!)

6. Mechanical Vs. Perceptual (Greyscales) 7. Geometric Compositions 8. GS Grids (Fun with Unified Diversity) 9. Collages (Using Unified Diversity grid) 10. Photo Composition (Using Geometic Composition + Tatami) 11. Book layout 12. References 13. Information (explanation of page content) + Vocabulary

Colour wheels

1

Colour Balance

2

Extension

Simultaneous Contrast

HSV/T Chart + Neutral Mix

3 H

S

V

Golden Section Root 2 + Tatami

4

Root 2

Grouping

5

Perceptual & Mechanical Gray scales

6

Geometric Compositions

7

GS Grids

8

Fun with Unified Diversity

Collages

9

Photo Composition + Tatami Layout

10

Book layout

2� unprintable space for spine

11

Sample Page The difference between mechanical and perceptual gradients are due to the sensitivity to our eyes.

Mechanical is how the gray gradient is supposed to look, but our eyes percieve this gradient differently (the jump towards the bottom four colours looks off) but the perceptual gradient moves the 50% one notch lower to compensate for our eyes sensitivity so that the gradient looks correct to our eyes.

References

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1. Brice Marden “Untitled” 2. Mark Rothko “Untitled” 3. Jackson Pollock “Untitled” 4. Mark Rothko Chapel 5. Damien Hirst “Dots” 6. Barnett Newman “Who’s Afraid?”

7. Kazamir Malevich “Black Square” 8. Roy Lichtenstein “Hopeless”

Can you find each refence in this book?

Vocabulary

Information

COLOUR QUALITIES Asymmetrical Colour Balance: The use of asymmetically placed colours in a composition that balances with each other even if they are not equal in size. For example, colouring a sheet of paper completely blue, but then adding a red stripe would most likely create some form of colour balance.

Geometric Composition Project: My first project in Design 1 was to create compositions using twelve shapes that reflected the following layouts: 1. Figure Ground Ambiguity 2. Figure on Ground 3. Random 4. Order (or pattern) 5. Asymmetrical Balance 6. Symmetrical Balance 7. Diagonal 8. Horizontal 9. Vertical 10. Emphasis 11. Movement 12. My Own (My house) Golden Section: The golden section rectangle is a ratio of the Divine Proportion, with the ratio of approximately 1.618 to 1. The diagonal drawn from the midpoint of the square’s middle divider becomes the radius of an arc that extends beyond the square.The smaller rectangle and the square become a golden section rectangle. This rectangle can be subdivided endlessly, producing smaller proportional golden section rectangles.

Greyscales: The difference between mechanical and perceptual gradients is due to the sensitivity to our eyes. Mechanical is how the gray gradient is supposed to look, but our eyes percieve this gradient differently (the jump towards the bottom four colours looks off) but the perceptual gradient moves the 50% one notch lower to compensate for our eyes sensitivity so that the gradient appears correct.

Grouping: The grouping page shows different ways to group objects while still retaining a sense of balance. Size, shape, colour, and location all combine to create a compositional harmony.

HSV Chart: Standing for Hue, Saturation, and Value, this chart was an activity to test my colour knowledge. The point of the exercise was to pick colours that matched the certain criteria from each HSV column. D stands for Different, while S stands for same. For example, the top row called for two colours that had different hues, saturation levels, and values. The second row called for different hues and saturations, but the same values.

Munsell T-Chart: A color system using color space that specifies colors based on three color dimensions: hue, value (lightness), and chroma (color purity).

Root 2: The A sizes of international paper measurements. Each size doubles the previous one. For example, an A2 paper is double the size of an A1 paper.

Hue: The identity of each colour, i.e. red, green, blue, yellow, purple, etc. In pure light, this quality corresponds to the frequency of the lightwaves.

Value (Brightness): The lightness and darkness of a colour, i.e. grey scale.

Saturation or Chroma... Or Intensity (Or Purity): The degree of purity of a hue, i.e. pure pigment is typically the purest form of the colour.

COLOUR WHEEL HIERARCHIES Primary: Pure hues. They cannot be mixed from any other colours.

Additive: Red, Green, Blue.

Subtractive: Cyan, Magenta, Yellow Secondary: Hues mixed from two primaries.

Additive: Subtractive primaries

Subtractive: Additive primaries Tertiary: Hues mixed from a secondary and an adjacent primary.

Tatami: Originating from Japan, Tatami patterns consist of at least two connected squares. In this arrangement, the junctions of the tatami form a “T” shape. One thing to be aware of however: Avoid having four corners meet, because it is considered bad fortune in Japanese culture.

COLOUR SCHEMES

Tatami Photo Assignment: A mixture of using tatami layouts and the compositions I created from the first class assignment. My theme was the order (or disorder) I found in things in my room which led to creating my compositions. See if you can figure out which was which!

Achromatic: No hue, no saturation. Only value is represented, i.e. the grey scale.

Unified Diversity Grid/Collage Project: A symmetrical grid that I based my collage projects off of. The point of the exercise was to use the grid to create interesting compositions that didn’t show the grid specifically, but were balanced because of it.

Chromatic: All colours and their components.

Polychromatic: More than one colour, i.e. the colour wheel.

Triadic: Three different hues equally spaced around the colour wheel.

Complementary: Two hues directly opposite on the colour wheel.

Split complemetary: One hue and the two hues adjacant to its complement. Example: Yellowgreen, blue-violet, and red-violet.

Cool colours: Concentric colours on the cyan side of the colour wheel.

Warm colours: Eccentric colours on the red side of the colour wheel.

Tint: Colour with white added, i.e. pastels.

Shade: Colour with black added, i.e. dark neutrals.

Tone: Colour with greys added.

TYPES OF CONTRAST Hue: Relative comparison of visibility different light frequencies interpreted in the brain as colours.

Value: Relative comparison of dark and light colours, i.e. brightness.

Saturation: Relative comparison of pure and neutral colours.

Temperature: Shifts from warm to cool.

Monochromatic: One hue, range in all saturations and values.

Complementary: Two hues opposite to each other on the colour wheel.

Neutrals: Broken colours, i.e. mixtures of various complements creating varied possibilities of value, saturation, and hue; i.e. low saturadtion of a particular hue.

Simultaneous: Perceptual vibration; perceptual opposites; perceptually intensified luminance or purity due to juxtaposition of a colour to others.

Analogous (Contiguous): Variations of adjacent hue, small hue shifts.

Extension: Hue quantity ratio variations produce different effects with the same colour schemes.

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The end

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About the author

And finally,

When not spending his time at Art Center working on projects, Andrew is happy drawing and thinking of things that are interesting.

A thank you to everyone who helped me throughout this term. Without you guys this term probably would have sucked.