Color Applications Studies (Part 1)

Due March 27

Assignment 6: Progression Studies

• 6A (pg 84)
• Paint two separate progressions on vertical rectangles of Bristol board at least 4” wide and as tall as you like.
• Each progression should involve at least two parts of color (hue, value, and/or saturation).
• Split each progression in half from top to bottom, then cut apart the strips of color in one half of each.
• Mount the original progressions on a sheet of Bristol board.
• Use the cut strips of color to integrate the two progressions and mount this new progression onto a second sheet of Bristol.
• Assignments 6, 7 & 8 due March 27

• 6B (pg 84)
• Create a design that incorporates progression in hue, value, and saturation.  For added interest you might extend the concept of progression to other formal variables such as shape or interval.
• Look at examples in figures 5.25-5.27 on page 84.
• Assignments 6, 7 & 8 due March 27

Color Interaction Studies

Assignment #5

Guidelines

• In Assignment #5, you will be doing your own experiments done within the parameters of Josef Albers’s method.
• This will require that each page have a series of paired concentric squares.
• Each square will be 2”x2” with a ½” square in its center.
• Use the measurements provided here to organize each sheet of 9”x12” Bristol board into 8 pairs of concentric squares with a 2”x9” space at the bottom for writing notes.
• After you draw the grid onto each page, erase all lines that cross into the margins around and between each pair.  
• This is to ensure that the colors you place on the page will only be interacting with each other and the pure white of the paper without interference from your graphite lines.

5A (pg 70)

• Try to make alter only the value of a single color by changing its surroundings.
• 4 pairs in which you alter only the value of achromatic grays.
• Hue and saturation are not present, so this is a fairly simple task.
• 4 pairs in which you alter only the value (and not the hue) in full color at various saturation levels.
• The presence of hue this time complicates the experiment.  Try your best not to alter the hue of your central color.

5B (pg 70)

• Now try to achieve a shift in hue but not value.
• `8 pairs in which you alter only the hue (and not the value) in full color at various saturation levels.

5C (pg 71)

• Now.try to achieve a shift in both hue and value.
• 6 pairs in full color at various saturation levels.
• Try to invert the procedure and attempt to make two different colors look as much alike as possible.
• 2 pairs

5D (pg 71)

• Now create a composition using the principle of simultaneous contrast.
• Try to give specific colors within the composition at least two different identities throughout your design
• The book says to use cut paper collage, and you can, but you may also use gouache.
• For an example, see page 72.

Free Study

• Create at least one composition on 9”x12” Bristol board that either carries over ideas from the color interaction assignments you’ve just done or conduct color experiments of your own.
• This composition can be in a format of your own choosing.

Beginning Color Studies: Assignments

Due: Monday, February 13

Assignment 1: Chromatic Gray Studies

• 1A (page 47)
• Make a small gouache painting (6”x6”) using at least six shapes not including the negative space color. 
• Use only chromatic grays.
• Mix using two complimentary colors or my mixing a prismatic color with one of your chromatic darks and/or white.
• Make the value range (the range of lights & darks) broad.
• Try to include chromatic grays form a range of hues.
• No color should be used more than once.

• 1B (page 47)
• Make a second study (6”x6”) also using only chromatic gray.
• Make the value range narrow this time.
• All the values should congregate around the dark, middle, or light part of the value continuum.
• Maintain a broad hue range.

Assignment 2: Muted Color Studies

• 2A (page 50)
• Make a small gouache painting (6”x6”) using at least six shapes with no repeated color. 
• Use only muted colors.
• Keep hue and value ranges broad.

• 2B (page 50)
• Make a second painting (6”x6”) in muted colors.
• Make the value range narrow.
• This will somewhat limit your hue choices.

Assignment 3: Prismatic Studies

• 3A (page 51)
• Make a small gouache painting (6”x6”) using at least six shapes using only prismatic color. 
• Make hue and value ranges broad.

• 3B (page 51)
• Make a second painting (6”x6”) using only prismatic color. 
• Make the value range narrow
• This will greatly limit your hue choices.

Assignment 4 : Combination Saturation Studies

• 4A (page 53)
• Make a small gouache painting (6”x6”) using at least six shapes. 
• Make hue and value ranges broad.
• Include colors from all saturation levels:
• Prismatic
• Chromatic Gray
• Muted Color

• 4B (page 53)
• Make a second painting (6”x6”) using at least six shapes. 
• Keep hue and saturation ranges broad.
• Make value range narrow

Free Studies

• Page 57
• Design your own composition within the guidelines below.  All other choices are yours.
• Guidelines:
• Make a group of related compositions (no less than 2)
• Use gouache, but the paint application can e more irregular in surface quality and opacity if you would like.
• You may also use collage, if you like
• Cut or torn painted paper
• Magazine cutouts
• Cut photographs
• Etc.
• Do not exceed 8”x10” on any individual study.
• Explore any of the color concerns we have discussed so far (hue, value, & saturation) in any way that you see fit.
• Keep the visual language consistent within the group.