Art / 101.S1 Color and Design Spring 2016 Class Schedule and Assignments

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1 Art / 101.S1 Color and Design Class Schedule and Assignments Introduction, get to know class, go over syllabus, show materials, talk about Design Principles and Elements including: Design Process, Unity, Emphasis and Focal Point, Line, Shape, and Space, Value, Pattern / Texture, and Illusion of Motion. Homework: Get materials (Kit from Artist and Craftsman including Drawing paper 18" x 24", tracing paper 14 x 17, fine point permanent black pen like a Micron or Pitt 3.0 or 5.0 or 8.0, cork backed metal ruler 24", graphite pencils, and eraser) for the Design Continuum project Finish Design Principles and Elements if necessary. Go over Design Continuum Assignment. Start ruling up 18 x 24 paper to accommodate thirty 3 x 3 panels. Use ½ inch in between 6 columns and 5 rows. Homework Journal Assignment: research Keith Haring and Adolph Gottlieb Critique Inked in Design Continuum Due at 5 pm. Go over value. Present studio design project #2 - Value Scale (chart). Painting eight bars including white, black, 2 light grays, 2 medium grays, and 2 dark grays. Studio time for studio design project #2 Value Chart. Journal Assignment: Reductive Cow fourth panel Studio time to finish studio design project #2 Value Chart. Charts must be flapped and are due on Go over Pattern and Texture. Present studio design project #3 Simulated and invented textures and pattern assignment. Homework - Journal Assignment: 10 textural rubbings (5 man made and 5 natural using black Conte crayon / crayon or charcoal and neatly mount them in your journal Critique studio design project #2 Value Chart at 5 pm. Best chart must be flapped. Studio time for studio design project #3 - Simulated and invented textures and pattern assignment. Journal Assignment: Research Roger Brown and how he interprets the observed universe as pattern Critique for studio design project #3 - Simulated and invented textures and pattern assignment at 6 pm. Present studio design project #4 Value Pattern Paintings. Journal Assignment Emphasis and focal point - Pick out one of the design continuum panels. Pick a panel with no less than six shapes and no more than twelve shapes. Pick one you really like because it will be used for seven future projects. Copy it six times into your sketchbook. Using your palette of eight values (white, grays to black), paint your design continuum panel six different ways changing the emphasis of your composition with each painting. Use the greatest degree of change between paintings by shifting the values around. Consider low key tones that are close in value tend to unify shapes and high key and tones that sharply contrast each other create depth Look at emphasis and focal point journal entries. Studio time for studio design project #4 Value Pattern Paintings. Introduce FlipBook assignment with Billy Plympton animation. Homework - Bring materials for color! Liquitex Basics MATT Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint. Journal Assignment: Research Virginia Lee Burton and Folly Cove.

2 Critique for studio design project #4 - Value Pattern Paintings at 5 pm. Go over color basics introduction to the properties of color including hue, value, and saturation. Give an introduction to primary, secondary and tertiary colors. Present studio design project #5 Color Chart. Studio time for studio design project #5 Color Chart. Journal Assignment: Research Chuck Close Present studio design projects #6 (Color Properties) and #7 (Color Interactions). Studio time for studio design project #5 Color Chart. Journal Assignment: Research either Donia Deluanay, Josef Albers or Georges Seurat Critique for studio design project #5 - Color Chart at 5 pm. Studio time for studio design projects #6 & #7 Color Properties and Color Interactions. Introduce Wallpaper assignment - Journal Assignment: wallpaper concepts 1-3 (Theme, Happy and Sad) several design elements or visuals that are linked thematically with a secondary design element that is connective drawn as a sketch Studio time for projects #6 & #7 Color Properties and Color Interactions. Present studio design project #8 Kaleidoscope Critique for studio design projects #6 & #7 Color Properties and Color Interactions at 6 pm. Studio time for studio design project #8 Kaleidoscope. Journal Assignment Sol LeWitt Studio time for studio design project #8 Kaleidoscope Critique for studio design project #8 Kaleidoscope at 5 pm. Studio time for studio design projects #9 and #10 Wallpaper and Flip book Final Portfolios are due by the end of class. List of due dates Studio Design Project #1 Inked design continuum critique on Studio Design Project #2 - Value Scale (chart) critique on Studio Design Project #3 - Simulated and invented textures and pattern critique on Studio Design Project #4 - Value Pattern Paintings critique on Studio Design Project #5 - Color Chart critique on Studio Design Project #6 - Color Properties critique on Studio Design Project #7 - Color Interactions critique on Studio Design Project #8 - Color Kaleidoscope critique on Studio Design Projects #9 & #10 Wallpaper and Flipbook due with final portfolio on Final Portfolio due on Final Collection of Journal Assignments due with final portfolio on

3 Assignment #1 Design Continuum Cork backed metal ruler 24", graphite pencils, eraser, Drawing paper (18" x 24"), tracing paper (14 x 17 ), fine point permanent black pen like a Micron or Pitt 3.0, 5.0 or 8.0. To develop a series of two-dimensional visual ideas, to be used as a basis for the exploration of various design concepts. To explore the concept of the development and refinement of a visual idea, as a process. To explore the concept of transition, from one design solution to the next. Explores line, space, line quality, shape, abstraction / non objective, rectilinear, curvilinear, positive and negative shapes, continuation. With a rule and a HB pencil, using light, thin lines, draw rows of 3 squares separated by a ½ space, covering a 18 x 24 piece of paper. You can use 6 columns by 5 rows of squares equaling 30 squares. Starting in the upper left hand corner first square, divide the square into three sections (shapes) of differing proportions and shape complexity. The lines defining the edges of the shapes should be uniform in thickness and value. In the next square to the right, create a new division of shapes based on the first. Consider changes in proportion, size, direction, complexity, position, and emphasis. Repeat the process through the rest of the remaining squares. Think about creating shapes and not about drawing lines. Use variety rectilinear and curvilinear shapes, geometric versus organic, proportion (small, medium, and large shapes). Utilize Principles of Design (rhythm, repetition, movement, balance, emphasis, contrast, variety, economy, and unity. Think about shape and meaning or lack thereof, manmade shapes versus organic / natural. Consider non-objective versus abstraction and utilize economy (reducing representation to an essence). Draw sharp consistent value, consistent thickness to the lines to keep the focus on the shapes. If the design becomes too complex, simplify it over the next series of squares; conversely, if the design is too simple, create complexity in the next squares. Upon reaching the last square of the first (top) row of squares, proceed down to the right line to the bottom right square, then across the bottom to the left square, then up the left line to the second row. Repeat this spiraling direction until you finish the last squares in the middle.

4 Assignment #2 Value Scale (Chart) Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Mars MATT black and Titanium white acrylic paint, flat brushes (2), paper palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, and rubber cement. To develop a scale from white to black using Liquitex Basics MATT Mars black and MATT Titanium White. This is a demonstration in creating 6 values between white and black without the use of any other color or chroma (also called an Achromatic Scale) Use high key, intermediate key and low key color. Use opacity. With a rule and a HB pencil, using light, thin lines, draw a single row (grid) of eight 2 x 5 rectangles on a 14 x 17 piece of Bristol board paper. Center the grid (half inch on each side and 4 ½ inches on top and bottom. Use the left hand rectangle and paint white. In the right rectangle, paint black. Create 2 light grays, two middle grays, two dark grays in between from left to right. Create two separate charts. The first one will allow you to get used to the materials and the application of the paints. Try to create smooth incremental shifts from on value to the next. Avoid revealing too much brushstrokes. Create the scale and cut it out and adhere it to another piece of Bristol board with rubber cement.

5 Assignment #3 Simulated, Invented, and Patterned Surfaces Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Mars MATT black and Titanium white acrylic paint, flat brushes (2), round brushes (2), paper palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, tracing paper, Xacto Knife and blades, black Conte crayon, rubber cement, gesso, and anything to make textures and patterns (sandpapers, hole punchers, raw sugar, bubble wrap, newspaper, wooden skewers, etc.). Use two rubbings, one from man made and one from natural journal assignments and create simulation, invented and patterned surfaces for both. Explores pattern, repetition, actual vs. visual texture, collage, and relief. Create six 4 x 4 squares mounted on Bristol board (two rows of 4 x 4 ). Use 2 margins on top and bottom and in between the two rows, and 1 inch in between the squares. In the left squares, create a painted simulation of one of the man made and one of the natural surfaces from your journal assignment. Explore dry brush and wash techniques. Remember that a simulation is a faithful imitation of something. In the middle squares, create invented surfaces. This should include a textured composition inspired by additive or subtractive methods (stencil or collage) of mark making. In the right squares, create flat decorative repeating patterns inspired by the rubbings. Juggle or rearrange the design elements within the rubbings to create the patterns. Simulation use dry brush technique or create opacity / transparency fluctuations. Invented use materials to guide the surfaces. Collage elements into the frame to create 3D texture. Use build up of materials to create tactile texture. Pattern focus in on a design element or combine elements to create singular motif to repeat.

6 Assignment #4 Value Pattern Paintings Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Mars MATT black and Titanium white acrylic paint, flat brushes (2), paper palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, black Conte crayon, rubber cement, gesso, and anything to make textures and patterns. Use design continuum panel from journal emphasis and focal point entry and create two very different 12 x 12 paintings exploring tone, value, and pattern. Explores how pattern unifies form and how it animates a picture plane. Take design continuum panel from journal emphasis and focal point assignment and blow it up to 12 x 12 and trace it twice onto 2 pieces of 14 x 17 Bristol board paper. To blow up the 3 x 3 design, first photocopy it. Draw a ½ grid directly over your design lightly in pencil. On tracing paper (14 x 17 ) draw a 2 grid within a 12 x 12 centered square. Copy the design square by square, from one grid to the other on the tracing paper. Lightly in pencil trace the original design using the light table onto the center of 2 sheets of 14 x 17 Bristol board. One of the paintings will be done as 20% pattern / texture. Painting application should be opaque except in areas of texture / pattern. In those areas, you may consider alternative painting approaches or collage. One of the paintings will be done as 80% pattern / texture. Flat values may be explored using opaque or transparent approaches / collage. Use directional marks to create movement. Create a range of values from flat to gradated (modulated). Use value, pattern and texture to suggest volume and the illusion of form. Use value, pattern and texture for contrast, unity, emphasis, rhythm, repetition, balance, movement, and variety.

7 Assignment #5 Color Chart Secondary and Tertiary Colors Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint acrylic paint, flat brushes (2), round brushes (2), plastic palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, and tracing paper. Secondary Colors Create grids to demonstrate how warm and cool primaries look when mixed together. The primary (reds, yellows, and blues) will result in secondary colors (oranges, greens, and purples). Each mixture needs to be a true middle mixture. The secondary should be visually equidistant in value and hue from each parent. It doesn t mean equal amounts of pigment. For example, a green should appear neither green nor yellow. Create secondary hues. Emulate the diagrams below to mix all possible combinations of primary colors. Each grid will have two colors on the right. Those two colors will be two different temperatures of the same color. The colors on the left are painted in a 1 x 2 rectangle. The other colors appear in squares that are 1 x 1. Paint on several different pieces of Bristol board and cut out and mount all the work on one 14 x 17 piece of Bristol board. Notice that on each grid, there will be one secondary that will look better than all the rest. The other three will be muddier, more brown or gray. Note which combination produced the strongest result so that you will know for other projects how to mix the most efficient result. Tertiary Colors Create 3 nine-step scales of 1 squares between each of the two primaries. You will have one for red and blue, red and yellow, and blue and yellow. Create secondary and tertiary hues. Emulate the diagrams below to create the grids of tertiary combinations from primary and secondary colors. First, create three rows of nine 1 x 1 step scales by penciling in the rows.

8 Paint in the two primaries (parents) on opposite sides of the nine-inch band. Create the secondary middle mixture first. The mixture should be a true secondary that is equidistant from each parent. Next, paint two colors that are midway between your secondary and your primary. This color is called a tertiary. Finally, paint the remaining squares reconciling the mid-way tertiary color to the secondary and to its primary.

9 When you re done, you mount your color exercises on 14 x 17 Bristol board like the diagram below and flap your work with labeled vellum paper.

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11 Assignment #6 Color Properties: Hue, Value, and Saturation Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint acrylic paint, flat brushes (2), round brushes (2), plastic palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, and tracing paper. Create opaque paint mixtures for the abstract design continuum panel to represent hue, value and saturation. For value, we will use a monochromatic color scheme. For saturation, we will use a complementary color scheme. Finally, for hue, we will use secondary and tertiary colors. Process and Take design continuum panel and blow it up to 6 x 6 and trace it three times onto a piece of 14 x 17 Bristol board paper. To blow up the 3 x 3 design, first photocopy it. Draw a ½ grid directly over your design lightly in pencil. On tracing paper (14 x 17 ) draw a 1 grid within a 6 x 6 centered square. Copy the design square by square, from one grid to the other on the tracing paper. Lightly in pencil trace the original design using the light table onto sheets of 14 x 17 Bristol board. For the value painting, you will use a monochromatic color scheme. This will explore the lightness or darkness of the hue. Pick one warm and cool hue (for example cobalt blue and ultramarine blue). In one area, both colors will need to be used pure and unadulterated. The other areas should be painted in a blue that has been tinted or shaded. Tint is the addition of white to a color and shade is the addition of black to a color. Integrate low and high key relationships. Color combinations that are close together in value are low-key and color combinations that are far apart in value are high-key. For the saturation painting, you will use a complementary color scheme. This will explore the intensity or brightness of the hue. Pick one warm and cool version of two complementary (for example a cold yellow cadmium yellow light and a warm purple mixed from Primary Red and Cobalt Blue). To increase the color s intensity, put it next to its complement. To dull a color s intensity, mix its complement into it. That is called de-saturating a color. Use these facts to paint a composition exploring saturation. In one part of the composition, provide a chromatic gray ; that's when two complements that have been mixed together and have completely neutralized one another. For the hue painting, you will use secondary and tertiary colors. This will represent the purity of a color. Pick one warm and cool version of a secondary color (for example mix a warm orange from Primary Red and Cadmium Yellow Deep and your other color needs to come from cool colors; Ultramarine Blue and Cadmium Yellow Light to make a cool green. Using only your two secondary colors, paint a composition to achieve variety, limit yourself to adding only parent colors to your secondary colors in order to create tertiaries. For example, the color scheme of bluegreen and red-orange would have a lot of vibrancy, because they are close to being complements of each other. Yellow-orange and yellow green would be more subtle and harmonious being that they are analogous.

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13 Assignment #7 Color Interactions Cork backed metal ruler 24", graphite pencils, eraser, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, gesso, and colored pencils (Prismacolor or any red, blue and yellow pencils). Use design continuum panel and create color schemes that interact transparently. Take design continuum panel and blow it up to 6 x 6 onto Bristol board. To blow up the 3 x 3 design, first photocopy it. Draw a ½ grid directly over your design lightly in pencil. On tracing paper (14 x 17 ) draw a 1 grid within a 6 x 6 centered square. Copy the design square by square, from one grid to the other on the tracing paper. Lightly in pencil trace the original design using the light table onto sheets of 14 x 17 Bristol board. Divide the design continuum abstract panel into three areas (red, blue and yellow). Use horizontal lines of color and transparently migrate those areas of horizontal primary colored lines to secondary and tertiary colors using lines that are vertical and diagonal. Start off with horizontal lines of red, blue and yellow. Use vertical and diagonal lines to create secondary and tertiary colors.

14 Assignment #8 Kaleidoscope Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint acrylic paint, flat brushes (2), round brushes (2), plastic palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, colored pencils, and tracing paper. Create a sense of unity, symmetrical / asymmetrical balance (radial balance, formal balance, informal balance) and improvisation with your design continuum panel. Make four copies of your 6 x 6 design continuum panel on a photocopier. On the light box, rotate or flip your design to create several new forms. This will create a whole new design. Trace the new Kaleidoscope like composition to a piece of Bristol board in the center position. Paint an abstract composition where forms come forward and others recede. To make colors recede, use graying through the addition of a color s complement. You can also shade with black or tint the color with white. Warm colors project forward and cool colors recede.

15 Assignment #9 Wallpaper Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint acrylic paint, flat brushes (2), round brushes (2), plastic palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, colored pencils, and tracing paper. Create a wallpaper design that can affect an environmental space by creating major design elements and secondary or minor design elements working together. Create pattern of major and minor / secondary elements on tracing paper first. Use a piece of 14 x 17 Bristol board and copy the wallpaper design. Use an associated color scheme to fit your theme and or motif. You might use a connective design element (ribbon, vine, branch, bubbles, etc.) that unifies the various floating elements. Be aware of how repetition of your forms also creates brand new unintended shapes. Toile style wallpaper is where lovely pastoral scenes are repeated; this can be used ironically or satirically. Art 101 Color and Design Assignment #10 Flip Book Cork backed metal ruler 24", graphite pencils, eraser, Liquitex Basics Primary Red, Napthol Crimson, Cadmium Yellow Deep, Cadmium Yellow Light, Cobalt Blue, and Ultramarine Blue acrylic paint acrylic paint, flat brushes (2), round brushes (2), plastic palette / Plexiglas or plate, water cup, 14 x 17 2-ply Bristol board paper, Xacto Knife and blades, rubber cement, colored pencils, and tracing paper. Deals with size, proportion, overlapping, vertical location, illusion of space, and illusion of motion. Use at least 50 to 63 pages. Try to use a wider than tall orientation (4 x 6 ) The flipbook should utilize two thirds of the card for your image. Don t get too close to the binding. The work must use color. The flipbook imagery should move from BACK to the front. Reinforce the back cover; a strong back is very important to successful flipping. Check out little sketchbooks or notebooks at an art / office supply store to see why some flip better than others. Use hand colored photocopies, collage, paint, colored pencils, etc. Integrate a narrative or story. Use illusion of space and motion. Create a non-objective composition. Keep at least one element stable throughout the entire sequence (horizon line).

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