1‐ART251–StudyGuideforFinalExamDecember15,2015

ART 251 – Study guide for Final Exam December 15, 2015 

Elements of Art: The building blocks used by artists to create a work of art. 

Lineisamarkwithgreaterlengththanwidth.Linescanbehorizontal,vertical,ordiagonal;straightorcurved;thickorthin.

Shapeisaclosedline.Shapescanbegeometric,likesquaresandcircles;ororganic,likefree‐formornaturalshapes.Shapesareflatandcanexpresslengthandwidth.

Formsarethree‐dimensionalshapesexpressinglength,width,anddepth.Balls,cylinders,boxes,andpyramidsareforms.

Spaceistheareabetweenandaroundobjects.Thespacearoundobjectsisoftencallednegativespace;negativespacehasshape.Spacecanalsorefertothefeelingofdepth.Realspaceisthree‐dimensional;invisualart,whenwecreatethefeelingorillusionofdepth,wecallitspace.

Colorislightreflectedoffofobjects.Colorhasthreemaincharacteristics:hue(thenameofthecolor,suchasred,green,blue,etc.),value(howlightordarkitis),andintensity(howbrightordullitis).

Textureisthesurfacequalitythatcanbeseenandfelt.Texturescanberoughorsmooth,softorhard.Texturesdonotalwaysfeelthewaytheylook;forexample,adrawingofaporcupinemaylookprickly,butifyoutouchthedrawing,thepaperisstillsmooth.

Principles of Design: Describes the ways that artists use the elements of art in a work of art. 

Balanceisthedistributionofthevisualweightofobjects,colors,texture,andspace.Ifthedesignwasascale,theseelementsshouldbebalancedtomakeadesignfeelstable.Insymmetricalbalance,theelementsusedononesideofthedesignaresimilartothoseontheotherside;inasymmetricalbalance,thesidesaredifferentbutstilllookbalanced.Inradialbalance,theelementsarearrangedaroundacentralpointandmaybesimilar.

Emphasisisthepartofthedesignthatcatchestheviewer’sattention.Usuallytheartistwillmakeoneareastandoutbycontrastingitwithotherareas.Theareacouldbedifferentinsize,color,texture,shape,etc.

Movementisthepaththeviewer’seyetakesthroughtheworkofart,oftentofocalareas.Suchmovementcanbedirectedalonglines,edges,shape,andcolorwithintheworkofart.

Patternistherepeatingofanobjectorsymbolallovertheworkofart. Repetitionworkswithpatterntomaketheworkofartseemactive.Therepetitionofelementsofdesign

createsunitywithintheworkofart. Proportionisthefeelingofunitycreatedwhenallparts(sizes,amounts,ornumber)relatewellwitheach

other.Whendrawingthehumanfigure,proportioncanrefertothesizeoftheheadcomparedtotherestofthebody.

Rhythmiscreatedwhenoneormoreelementsofdesignareusedrepeatedlytocreateafeelingoforganizedmovement.Rhythmcreatesamoodlikemusicordancing.Tokeeprhythmexcitingandactive,varietyisessential.

Varietyistheuseofseveralelementsofdesigntoholdtheviewer’sattentionandtoguidetheviewer’seyethroughandaroundtheworkofart.

Unityisthefeelingofharmonybetweenallpartsoftheworkofart,whichcreatesasenseofcompleteness.

 

2‐ART251–StudyGuideforFinalExamDecember15,2015

Color Theory: 

IsaacNewton(16421726).Thefirstscientisttorevealthetruenatureofcolor.Hestudiedhowsunraysgoingthroughaglassprismbrokeintoavisiblespectrumofthecolorsred,orange,yellow,green,blue,indigo,andviolet.Thesecolorsarephysicallydescribedasfrequenciesofwavelengths,lowestbeingpurple,highestbeingred.Hediscoveredthatthelightraysreflectcolorfromobject.Aredsurfaceabsorbsgreenandblue,butnotred.Agreensurfaceabsorbsallraysexceptforthosereflectedbackasgreen.Abluesurfaceabsorbsallraysexceptforthosereflectedbackasblue.

Additive Color System ‐ LIGHT 

Ifyoumixred,green,andbluelight,yougetwhitelight.Red,green,andblue(RGB)arereferredtoastheprimarycolorsoflight.

Mixingthecolorsgeneratesnewcolors.Thisisadditivecolor.Asmorecolorsareadded,theresultbecomeslighter,headingtowardswhite.

Theprimarycolorsoflightarered,green,andblue.Ifyousubtractthesefromwhiteyougetcyan,magenta,andyellow.

RGBisusedtogeneratecoloronacomputerscreen,aTVoranydigitalmonitor

Subtractive Color System – PIGMENT 

Whatweperceivedascolorisemittedlightfromobjects Whenyoumixcolorsusingpaint,orthroughtheprintingprocess,youareusingthesubtractivecolor

method Mixingthesethreeprimarycolorsgeneratesblack.Asyoumixcolors,theytendtogetdarker,endingupas

black. Subtractivecolorsareopaquesurfacesthatreflectlight,ratherthanbeingsourcecolors,suchaslightitself. Subtraction–coloredsurfacesubtracts(absorbs)allcolors.Aredsurfaceabsorbsallothercolorsexcept

what’sreflectedred(R)andseenbyeeye–andhitstheRoftheRGBconecells. 2Subtractivecolormodels:CMYK>createsRBGinprint.RYBcreatesallcolorsinpainting.

Color Perception: Colorisahumanexperienceandhowwedescribewhatwesee.Colorisanillusion,butbecauseofourreferencesystemtocolor,anormhasbeendeveloped.Thisevolutionhasledtoidentificationoffood,objects,andthreats.Physicallyexplained,theeye,equippedwithso‐calledcolorcones,“read”thereflectedred,blue,andgreen.Thecolorofanobjectdependsonboththephysicsoftheobjectinitsenvironmentandthecharacteristicsoftheperceivingeyeandbrain.Colordifferencesbetweenobjectscanbediscernedmostlyindependentofthelightingspectrum,viewingangle,etc.Thecolorofanyobjectappearsdarkerintheeveninglight.Thiseffectisknownascolorconstancy.Colorisanindividualexperience,butthebrainistrainedtoseee.g.thecolorred.Butyoucanalsosaythatoneperson’sconceptisdistinctandvariesfromonepersontoanother.

Whatmeetstheeyehastheseaspects:

Scattering–interactionoflightwithgasmoleculesthatmakeupair.Explainscolorofsky,sunset. Incandescence–colorderivedfromaheatsource Luminous–colorderivedfromchemical(e.g.phosphor) Subtraction–coloredsurfacesubtracts(absorbs)allcolors‐exceptwhat’sreflected(R)andseenbyeeye–

andhitstheRGBconecells Colorappearsdifferentlynexttoanother.Ifinart,film,oranydesignfield,onemustunderstandthis.

3‐ART251–StudyGuideforFinalExamDecember15,2015

OURBRAINUNDERSTANDSCOLORINTHESEWAYS: LocalColor:Thenaturalcolorofathinginordinarydaylight,uninfluencedbytheproximityofothercolors.Arealisticpaintinge.g.woulduselocalcolor,asdoesacolorphotograph

OpticalColor:Howthebrainunderstandscolorwhenuseplacethemsidebyside.PointillismartistSeuratismostnotable.Pointillismcouldbedescribedasa“branch”ofImpressionism,amajorartmovementattheendofthe19thcentury.ContemporaryartistwhoexperimentedwithopticalcolorisChuckClose,whosepaintings,whenviewedthroughmagnifyingglass,consistsoftinypiecesthat,wheninadistanceareperceivedasahueofdifferentvalueandintensity.Theresultisphotographiclikeness.

SubjectiveColor:Acolorchangesinyourheaddependentonhowyoureyesandbrainperceivesit.Asubjectivecoloristhecolorthewayyouseeit.Colorisperceptionandneedsareference.Blindpeoplecannotuseseeingpeople’sacceptedreferencesystem.

Color standards

Forpracticalreasons,colorshavebeengivennamesmorethanthebasicones.Pink(lightred)CadmiumRed,HansaYellow,PhthaloBlueareallvariousnamesofcolorsderivingfromthehuesred,yellow,andblue.Internationalcolorstandardshavebeendevelopedforpracticalpurposes.Themostwell‐knownexampleisthePantoneMatchingSystem(PMS),acolormatchingsystemthatidentifieseachcolorinthissystembyauniquecodename.

Color mixing aspects  

DifferentresultsinmixingcolorsinRGBversusRYB(orCMYKinprint)

 

4‐ART251–StudyGuideforFinalExamDecember15,2015

Color Wheel 

Awaytoorganizeallcolors,inventedbyNewton,butpursuedanddevelopedbyphysicists/psychologists/artists/designersoverthecenturiesafterNewton.Theartistsdidn’tcontradictNewton,buthadtodevelopaparallelcolorwheelforpigment/paintingpurposes.Goethe,Munsell,Runge,andIttenwereimportantforthedevelopmentofvariationsofthecolorwheel.Theyallservetheirindividualpurposes,buthavemorethingsincommonthannot.Goethe,firsttoexplorepaintcolor,saidaboutNewton,thephysicist:“Newton’serrorwastrustingmathoverthesensationsofhiseye.”Inpaintingwithpigment,theprimarycolorsarered,yellow,andblue(RYB).Inlightreflection(physics)theyarered,green,andblue(RGB).

Color groups and schemes ‐ RYB

Primarycolors:inpaintingareRed,Yellow,BlueSecondarycolors:Mixesfromprimaries‐OrangeGreenPurpleTertiarycolors:Addedprimarycolortothesecondarymix.Red‐Orange,YellowOrange,Yellow‐green,BlueGreen(closetocyan),RedPurple(closetomagenta),Blue‐Purple.Allthese16aretypicallyorganizedinRYBpigment/paintingcolorwheel.Thecolorwheelisdividedintotwowarmcolorandcoolcolorhalves.Asappliedinpictures,Warmcolorsappearnear,coolcolorsappearfar

COLOR SCHEMES 

Harmony–whencolorsinpictureappearpleasantandorganized,relatetoeachother(as“schemes”,listedbelow):ColorDiscord‐whencolorsinpictureappeardisorganizedandshownoparticularcolorschemeaslistedbelow:

Monochromatic(onlyonecolor,butofdifferentvalueandintensity) Warm‐cool(Warmcolorsappearnear,coolcolorsappearfar) Complimentary(contrast) Analogous(harmony) SplitComplimentary(contrast) Doublesplitcomplimentary(contrast) TriadicColorscheme Rectangle(tetradic) Square(tetradic) Chromaticgrays(harmony)

Complimentary

Colors that are opposite each other on the color wheel are considered to be complementary colors (example: red and green).

Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs.

5‐ART251–StudyGuideforFinalExamDecember15,2015

Triadic color scheme A triadic color scheme uses colors that are evenly spaced around the color wheel.

Split-Complementary color scheme The split-complementary color scheme is a variation of the complementary color scheme. In addition to the base color, it uses the two colors adjacent to its complement.

Rectangle (tetradic) color scheme The rectangle or tetradic color scheme uses four colors arranged into two complementary pairs.

Square color scheme The square color scheme is similar to the rectangle, but with all four colors spaced evenly around the color circle.Square color schemes works best if you let one color be dominant.You should also pay attention to the balance between warm and cool colors in your design.

Properties of color

VALUE–lightnessordarkness(notnecessarilyincludedmixedinwhiteorblack.Yellowlightcolor,purpleisdarkcolor)TINT–addedwhite SHADE–addedblack(orcompliment)CHROMAorINTENSITY.Moreorlessofcolor.Oftendefinedbysurroundingcolorsvalueorintensity. ChromaticandachromaticgraysChromatic–mixedwithsmallcertainamountofcolor.Recersly,thiscolorgetsdulleranddullerthemoregrayismixedwithit.

Achromaticgray–noothercolorthanamixofblackandwhiteinvariousproportionsTonescalesincolorcircle.AchromaticGrayincenter=absenceofallcolor.WhiteandBlackalsoAchromatic.Chromaticgraycontainsvariousamountofotherhuethanwhite,gray,orblack.Asshowninthiscolorcircle,thehuebecomeslessintensethemoregreyismixedintowardsthecenter,whichiscompletelyachromatic.

6‐ART251–StudyGuideforFinalExamDecember15,2015

History of Color Theory ‐ Color Wheel ‐ Philip Otto Runge (1770‐1810) 

 

Germanpainter.Introduceshue,valueandsaturationinacolormodel,orwheel,thatlookedmorelikeasphere.Puresthueincenter,lighteranddarkertowardspole

 

History of Color Theory ‐ Color Theory ‐ Color Wheel – Albert Henry Munsell (1858 – 1918) 

 

Americanpainter,teacherofart,andtheinventoroftheMunsellcolorsystem.Demonstrateddifferenceandrelationshiphue>valueandintensityinacarefullydesignedmodelwithvaluescaleinthecenter,horizontalchromascalewiththepurehueinthecenterofit.

 

History of Color Theory ‐ Color Theory ‐ Color Wheel  ‐ Johannes Itten (1888‐1967) 

 

Swissexpressionistpainter,designer,teacher,writerandtheoristassociatedwiththeBauhausschoolofdesign,craftsandfinearts(1930sGermany).

ContinuedworkwithTraditionalColorCircleinthestepsofRungeandMunsell.Itten’scolorwheelwaslikeastarandessentiallyanexteriorviewofthecolorsphere,cutapartandspreadout2‐dimensionally.Onthe“equator”ofspherearepurehues,itsinnercircleshastintsgradatingtowardsawhitecenter,andtheouterpointshaveincrementalshadestowardblack.

Hiscolorstudyaddressedaspects,attributesofcolor.OrganizedThe7ContrastsofColor.

Color interaction – Itten 7colorcontrasts:

ContrastofHue Illustratedbyundilutedcolorsintheirmostintensity.

ContrastofLight‐Dark Illustratedbytheexpressionofextremesinvalue.Darkestdarktolightestlight

ContrastofWarm‐Cool Requiresaknowledgeofwarm&coolcolors.‐ Warmcolorsadvance/demandattentioninadesign;Coolcolorsappeartorecede.

ComplementaryContrast Illustratedbythejuxtapositionofcomplementarycolors(oppositesonthecolorwheel),oracoupleofanalogouscomplementarypairs.

ContrastofSaturation Illustratedbythecontrastbetweenpure,intensecolors&dullcolors.

SimultaneousContrast Colorsareaffectedbysurroundingcolors/valuesofcolors

ContrastofExtension Involvestherelativeareasoftwoormorecolorpatches.

7‐ART251–StudyGuideforFinalExamDecember15,2015

Color interaction – Joseph Albers 

AlsofromSchoolofBauhaus,butlikemostofBauhausteachers,leftfortheUSinthelate30s.Artist,teacher,createdTheJosef&AnniAlbersFoundationinConnecticut.Experimentedandformedprinciplesofcolorinteractions:Light/DarkValueContrastComplementaryReactionEffect,Subtraction–the“leaning”towardscoolerorwarmer(subtractionofhue),dullerorbrighter(subtractionofvalue),dependingingroundcolor.Heismostfamousforhissquareandrectanglepaintings“HomagetotheSquare”orHomagetotheRectangle”.Hecarefullyrecordedeverycolorinthese.Whenacolorusednexttoacarefullyselectedothercolor,itwouldappeardifferentinvalue,temperature,intensity,yesevenhue.

Color interaction – Bezold 

WilhelmVonBezold,a19thcenturyrugdesigner.Discoveredanopticalinteractioneffect,whichnowcarrieshisname,theBezoldeffect.Hefoundthathecouldchangetheentireappearanceofhisdesignsbysubstitutingadifferentcolorforthecolorwhichoccupiedmostofthedesignarea,oftenjustthebackgroundcolor.TheBezoldeffectisbestshownandusedinpatterndesign.

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