Interaction Of Color - Dick Nelson Color

INTERACTION  OF  VALUE%XERCISE 0ULL ALL OF THE GRAYS OUT OF YOURCOLOR PACK AND CREATE A VALUE SCALE FROMBLACK TO WHITE 5SE THE FORMAT SHOWN HERE ETC .EXT CREATE A NINE CARD VALUE SCALE WHICH INCLUDESBLACK AND WHITE (EREgS WHERE VALUE DISCRIMINATIONBECOMES CRUCIAL FOR THE INTERVALS AMONG THE EIGHT HAVETO BE EQUAL .OTE IN THE EXAMPLE HOW THE INTERVALSARE NOT EQUAL )N THE VISUAL ARTS THE WORD VALUE REFERS TO THELIGHTNESS OR DARKNESS OF COLOR &OR EXAMPLETHIS YELLOW SWATCH IS LIGHTER IN VALUE THAN THEBLUE SWATCH 6IEWING BOTH COLORS IN BLACK ANDWHITE THE YELLOW APPEARS AS A LIGHT GRAY WHILE THE BLUE APPEARS AS A DARK GRAY 9ELLOW AND "LUETRANSLATE TO THESE GRAYS 4OO DISSIMILAR!N EXAMPLE OF UNEVEN INTERVALS 4OO SIMILAR#OMPARE RESULTS WITH OTHER MEMBERS OF THE CLASS ANDMAKE ANY CHANGES AGREED UPON BEFORE THE FINAL JUDGMENTIS MADE BY THE '2!. #2)4)# %XERCISE 7HAT VISUAL PHENOMENON OCCURS ALONG THEBOARDERS OF THE DIFFERENT VALUES ?!N EXAMPLE OF EVEN INTERVALS#UT%XERCISE 2EMOVE THE MIDDLE VALUE FROM YOUR VALUE SCALE #UT TWO NARROW STRIPS FROM THIS GRAY 0LACE ONE ON THE BLACKCHIP THE OTHER ON THE WHITE CHIP 7HAT IS OBSERVED?%XERCISE #OVER ABOUT A THIRD OF THE BLACK CHIP WITH THEMIDDLE GRAY YOU HAVE JUST CUT #OVER THIS GRAY WITH THE WHITECHIP .OW SLOWLY SLIDE THE WHITE CHIP AWAY FROM THE BLACK TOREVEAL THE GRAY BELOW /BSERVE THE VISUAL PHENOMENON THATOCCURS ON THE BORDERS OF THE GRAY AND WHITE AND THE GRAY ANDBLACK 7HAT CAUSES THIS TO OCCUR 7HAT IS THE RELATIONSHIPOF THE THREE CHIPS 7HICH IS THE CHILD?%XERCISE 0LACE THESE FIVE HUES IN A NUMERICAL ORDEROF THEIR VALUES GIVING THE LIGHTEST VALUE NUMBER THEDARKEST NUMBER ? ? ? ?CBAED ?%XERCISE 7HO ARE THE PARENTS IN THIS COLOR ARRAY ? ?%XERCISE 7HICH CHILD FAVORS WHICH PARENT#HILD?FAVORS PARENT? #HILD?FAVORS PARENT? ABCD 2ICHARD , .ELSON

VALUE SCALE ÊV ÀÊ ÞÊLi } Ì]Ê À Ê ÀÊà i Ü iÀiÊ ÊLiÌÜii No ChromaHUE SCALEÊ ÀÃÊ ÞÊÛ ÀÞÊÊ Ê Õi Ê ÀÊiÝ « i]Ê ÌÃÊÀi iÃÃÊÛÃ Ê ÌÃÊÊ À }i iÃà Full ChromaTINTING ÀÊV À Ê ÃÊÀi ÕVi Ê Ê } Ìi i LÞÊ }ÊÜ Ìi Full Chroma To No ChromaSHADING ÀÊV À Ê ÃÊÊÀi ÕVi Ê Ê À i i ÊLÞÊ }ÊL V No Chroma to Full ChromaTONINGFull Chroma To No Chroma To Full ChromaNo White Edges!No White Edges!No White Edges!No White Edges!No White Edges!No White Edges!(5% 6!,5% Ü }Ê ÊÕà }ÊÌ iÊV ÀÌiÀ ÃÊ i Ì v i Ê iÀi]Ê ÞÊ i « i À }ÊLÞÊ Û }ÊiÛiÀÞ iëi }ÊÌ iÊà iÊ }Õ }i ÊÊÊ Ã Ê Þ i]Êv ÀÊiÝ « i]ÊÌ iÊ i }Ê vÊÌ iÊÜ À Ê Ì i Ê LiÊÌÀi Ìi ÊÌ Ê Ê âi Ê ÀÊ ÀiÊ vviÀi ÌÊ iv Ì Ã Ê Ê ÃÌ ÀiÊ V ÀÀiVÌ À ÊÀiviÀÃÊÌ ÊÌ iÊ Ìi à ÌÞÊ À Õ ÌÊ vÊV ÀÊà ÌÕÀ Ì Ê ÀÊiÝ « i]Ê Ê vÊÌ iÊV ÀÃÊ ÊÌ iÊ ÕiÊ-V i Ê ÀiÊ ÌÊvÕ Ê Ìi à ÌÞ]Ê ÀÊ ÌÊvÕ Êà ÌÕÀ Ì ÊÊ/ iÊÀi À }iÜ V Ê ÃÊLii ÊÌ Ìi ]Ê ÃÊ ÃÌÊ ÌÃV À Ê ÀÊ Ìi à ÌÞ]ÊLiV }Ê iÃÃà ÌÕÀ Ìi Ê ÃÊ ÀiÊÜ ÌiÊ ÃÊ i ÀÊ ÞÊLiÊ } ÌÊ ÀÊ À Ê Ê6 Õi]Ê ÀÊ ÞÌ }Ê ÊLiÌÜii ÊÊ9i Ü]Êv ÀÊiÝ « i]Ê ÃÊ } ÌiÀÊ ÊÛ ÕiÊÌ ÊÌ iÊà iÊà ÌÕÀ Ì Ê vÊ }i Ì rrr ÀÊV À Ê ÃÊÀi ÕVi Ê Ê}À Þi ÊLÞÊÊ Ý }ÊV « i i Ì / Ìi ÊV ÀÃÊ ÀiÊ } ÌiÀÊ ÊÛ Õi]Ê ÀÞÊV Àà IÜ iÊà i ÊV ÀÃÊ ÀiÊ À iÀÊÛ ÕiÃÊ vÊÌ iÊà iÊ Õi ÊÊ7 i ÊÜiÊà iÊ ÀÌ ÌÊ ÊV À]Ê ÌÃÊ ÕiÊÀi ÃÊÌ iÊà i]*A complementaryLÕÌÊ ÌÃÊÛ ÕiÊ ÊV À ÊV }i color is any colorwhich lies oppositeanother on the colorwheel. Magenta is,for example, thecomplement of green;blue the complementor orange, etc.Shades   ÀiÊ ÕiÃÊÀi ÕVi Ê ÊV À LÞÊ }ÊL V - ÌÕÀ Ìi Ê ÕiÃÊV Ê Ã ÊLiÊToned   À}À Þi ÊLÞÊi Ì iÀÊ }Ê}À ÞÊ ÀÊ ÌÃV « i i Ì ÊÊ ÀÌ ÊV ÀÃ]Êv ÀÊiÝ « i ÀiÊTones./"3%26!4)/. 15%34)/.3 !GAINST WHICH BACKGROUND DID YOU OBSERVETHE GREATEST VALUE CHANGE WITH THE GRAY WAND 7HICH WAND PRODUCED THE GREATEST HUE CHANGE ASIT MOVED OVER THE VARIOUS BACKGROUNDS 7HY 7HICH WAND PRODUCED A VALUE CHANGE BUT NOVARIATION IN HUE 7HY Óää Ê, V À Ê Ê i Ã

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One Answer: Halation or a halo effectis an optical illusion which produces aglow or airbrushed effect along theborder of a neighboring color. Note howthe middle gray in illus. #1A appears todarken as it approaches the light gray andlighten as it approaches the dark gray. Nosuch halation occurs in illustration "B".Why? Because the middle gray is not theoffspring of the other two. A child should bea mixture of its parents. Similar halation areevident in illus.#2B and #3B.432Which color?1

TransparencyFilms, Veils, Volume Color & Atmosphere

4RANSPARENCY )LLUSIONSVISUAL PHENOMENA: . The visual phenomenawhich bombard our senses are generally receivedwithout much thought as to why we see an imageas round, light, colored, back lighted, glossy, ortranslucent. On the other hand, artists, seeking torecreate this phenomena, must first see thephenomena, understand why we see it as we do,and then find the means to communicate thisinformation visually through any number ofmediums.The next series of exercises deal with the visualphenomenon of transparency. How do we perceivethe degree of transparency found in a given imageor space? What strategies must we develop inorder to recreate this phenomenon in our medium?False FilmTrue FilmFig. 11B. Create the illusion of a 4RUE &ILM.%XERCISE Creating the illusion of a 7HITE6EIL Using the same format and steps asExercise 1, create the illusion of a piece oftracing paper super-imposed over at least twoother colors. Refer to Fig. 2.Our answers will be initially based upon objectiveobservation of the phenomenon. This requiresseeing shape, value, and color before we recognizeFig. 2that these visual elements add up to a particularsubject matter such as glass, water, etc. Comparethe blue and yellow-green chips in the "True Film"%XERCISE 4HE )LLUSION /F ,IQUIDexample in Fig.1. Which appears to be a)MMERSION Imagine what four white indextrans-parent film? Why?cards would appear to be if immersed atSee answervarying depths in a colored liquid. Recreate%XERCISE ! 4HE )LLUSION /F ! &ALSEthis phenomenon in Color-aid paper or4RANSPARENT &ILM Using 3 related pieces ofwatercolors, using a format similar to that ofcolor-aid paper, create the illusion of a coloredFig. 3.transparent film, casually placed over both anopaque colored paper and a background.%XERCISE 4HE )LLUSION /F ! 7HITE Step 1. Select two colors. Find a third color which!TMOSPHERE Using the same format asis a mixture of the first two. Check with your fellowExercise 3, create the illusion of four shapes ofstudents and teacher.the same color, placed in varying depths of a Step 2. Create a format which presents an visualwhite atmosphere or haze. Refer to Fig. 4.illusion of transparency (See examples of false andreal transparent films) Step 3. Cut out shapes and glue with rubbercement to backing. Step 4. Critique with critique group. Step 5. Class Critique. Helpful Hint: Recognize that the illusion oftransparency requires consistency. If a colored filmFig. 3is transparent on one surface, it will be equally If a color is transparent, we'll see varyingtransparent on all surfaces. In the examples of amounts of any color over which it is placed.Therefore, we should see some whiteness“Real and False Films”, which rectangles arein the chip which is transparent. The yellowtransparent? How do you know?Fig. 4green chip is a tinted hue, hence the film.Whatʼ’s the difference between the two films?

Creating The Illusion:S teps to cons ider when making.An illus ion of a film.Step 1. Select three related colors from the color pack. (Father, mother and child)Step 2. Select a background which is either white or colored card stock large enoughto accommodate the design.Step 3. Design the format. Use a index card template or one of choice as your model.Place it on a piece of paper and trace around it. Place the card on the firstoutline at a casual angle and trace it. Identify each shape created with a letter.Step 4. Using the designed format, cut out each shape.Step 5. Place the cut out shape on its matching color,Step 6. Assemble all the pieces and glue to background.aaaaccbStep 1.All three of these colorsrelate. Orange must bethe child, for it is a mixtureof red and yellow.bStep 2.If you choose whitebe sure that at leastone parent has whitein it. For the sake ofthis example, whitehas been added tothe red parent.Step 3.Step 4Pattern "a" isplaced on pinkand traced ontopink with pencil.Step 5.Each shape is cut out.IMPORTANT !Don't overlook the background color and value whenchoosing your color chips! Why?Step 6Pieces are glued to whitebackground to completethe illusion of a red filmon yellow and white.Note that the red filmturns to pink when placedon the white ground. Why?it's transparent, that's why!And if it is transparent, weshould be able to seesome whiteness. Right?Well, if a film has transparency, then it will be transparent over any color it covers.Here are the same colorsplaced on a green background.Note that red is now a mixtureof red and green or brown.Yellow and orange are unaffectedby the green because they're tobe viewed as opaque. Red mustbe the film, since it has beenmodified by the green ground. Richard L. Nelson 2003

Creating The Illusion Of A Film: Some things to considerConvincing the viewer that he is viewing transparencywhen in fact he is looking at opaque paper, requires thefollowing:ABC1. The hue and value relationships must be correct.2. The format must avoid ambiguity.ABWhich background color would you chooseto make the blue chip appear as a transparentFilm, but the yellow as opaque? Which wouldmake the yellow appear transparent?All three of these show how an orange filmmodifies the color it covers. Why is format"C" the most effective illusion; "A" the worst?What tells us the orange chip is transparent?What tells us the blue is opaque?Could the gray background be transparent?How do we know?What's wrong with this format?1.?2.1.2.3.Find the film in each of these examples.3.Which color chip would complete theillusion of this green film on pink?Of the six color swatches, which could be a film?Why? Which film appears the most transparent?Which color is the child in this format?Where can you find halations here?In which pair is the halation most vivid? 2001 Richard L. Nelson1.2.Which is an example of a false film? Why?Which produces the greater halation? Why?

Light

Answer: All four colors on theleft would appear as "a", forwithout light there would be nocolor.Match the colored strips on the left withthe strip on the right which is the samecolor seen in room without any light.123 4aLIGHT IS ADDITIVELight may be white or colored. Light isadditive.When two or more colored lights are mixed, alighter mixture results. White light results fromcombining all three primary colors of light at highintensity. Light primaries are the secondarycolors of pigment. A rainbow is white lightrefracted by rain drops.PIGMENT IS SUBTRACTIVEMixing the primary pigments in equal amountsproduces black. Pigment is consideredsubtractive,for as more pigments are mixed together (excludingwhite), darker hues result. Black is thepresence of all colors in pigment.CREATING THE ILLUSION OF LIGHT AND SHADEIn order to create the illusion of light falling acrossdifferent colors and values, artists must recognizehow light modifies color. When we say that anapple is red, we refer to its local color of redness.This local color red exists only in our minds, for thisred will change with every change in lighting. The redwe perceive in candlelight, varies considerably fromthe same red seen under florescent light, daylight, etc.The reason we perceive it as the same red is that all ofthe surrounding colors change as well. We refer to suchrecognition as color constancy.b cdCOLOR PERCEPTIONWe perceive color in objects because those objectshave a pigment which absorbes some light rays andreflects those we see. A yellow ball, for example, isperceived as yellow because its pigmentation reflectsthat color. Darker colors will absorb more light,because they have more pigmentation with which toabsorb light.LIGHT PRIMARIESRED ORANGEGREENBLUE/VIOLETPIGMENT PRIMARIESCYANMAGENTAYELLOWRefer to the illustration below which shows whathappens when a white light illuminates a portionof a color. Unlike a white veil which tints only thecolor it covers, a white light will produce a shadeor gray film over those portions of the color whichare not in the light. Generally, the lighted surfacewill move from a shade to more chroma whereillumination increases. If the white light is brightenough, it could even tint the color it illuminates.LOCAL COLOR ( These colors exist only in the mind. We only seethem as they are modified by light and shade.)WHITE LIGHTThe local color under a brilliant whitelight may produce a tinted hue.50% BLACK SHADING: The percentage is arbitrary.It depends on light intensity. 2002 Richard L. Nelson

COLORED LIGHTIn white light, shadows are transparent black orthe complement of white. In colored light,shadows work the same way, that is they will bethe complementary color of the light source.These shadows, as with black shadows are similarto transparent films placed over colors. Any colorwill be modified equally when this transparent filmis overlayed.LIGHTCOLORCOMPLEMENT The examples below continue the studies begun on theprevious page, but colored light has replaced white light.Where white light separates and emphasizes the differencesamong the hues, colored light unites dissimilar hues undercommon colors. In these examples, the separate colors alltake on an amber hue in the light. They are similarly unitedin the shadows by a common hue. The artist need not beconcerned about what color to paint the shadows, for they areall modified equally by a single transparent film of color. COMPLEMENT OF LIGHT SOURCE:This color plus varying percentages of blackwill produce the shadow color.50%20% COLORED LIGHT50% SHADOW COLOR40% COLORED LIGHTSHADOW COLORShadows are transparent films. Colored lightsproduce shadows which are generally a mixture oftheir complement plus black. The percentage ofblack is based on light intensity.AMBIENT LIGHT: Ambient light is anyillumination which is not a direct light. The mostcommon ambient light is that produced by the bluesky. We live in a dome of ambient light or sky.Realizing its influence on colors which are not indirect light, and adding a percentage of that hue tothe shadow color, will create an even richer andtechnically more accurate cast shadow. 50% SHADOW COMBINATIONSHADE AMBIENT LIGHTSHADOW COMBINATIONSHADOW PLUSAMBIENT LIGHTOBSERVE THE FOLLOWING:1. Compare how each color is modified by the color and intensityof the direct light. Note, for example, how the yellow green becomesduller in amber light. Orange, on the other hand, becomes more intense.2. What happens to neutral gray as it is placed in colored light?3. Did the dark, cool green brighten or dull under amber light?4. Note which shades are dulled and which are intensified. Why?5. Note that there is no white in the two examples in colored light. Why? 1997Richard L. Nelson

Light1.  Its  Functiona. It illuminates form and surfaces.b. It defines form and surfaces.c. It modifies form and surfaces.Concave  or  Convex?Since  most  forms  are  lit  fromabove,  we  are  conditioned  toperceive  them  accordingly.2.  Its  Properties: Light is additive. Themore light you mix, the brighter or whiter theillumination. In Light, the Primary colorsare the secondary colors of pigment. Theyare: Red-orange, green and blue-violet. Aswith pigments, secondary colors in lightare produced by mixing two primaries. Forexample, red-orange and green produceyellow. Blue-violet mixed with red producesmagenta. Blue is the mixture of blue-violetand green.Pigment, on the other hand is subtractive.The more colors you mix, the darker or blackerthe mixture.

INTERACTION OF COLOR: An Abridged Version of the Josef Albers Color Course Dick Nelson, Teacher Course Description: "The aim of such a study is to develop--through experience--by trial and error--an eye for color. This means, specifically, seeing color action as well as feeling color relatedness." Albers Assignment #1: One Color Appears as Two.File Size: 1MB