please read for by thursday

http://www.sluganimation.com/articles/ITGPCB/ITGPCB.html

Project 10: Redesign, Repurpose of Iconic Imagery

Richard Prince, Untitled (cowboy), 1989

George Lois, Esquire Cover

Variation on Milton Glaser's original I Heart NY

Milton Glaser's update on his own design after September 11, 2001

Piet Mondrian

Jaspar Johns, White Flag, encaustic on canvas, 1955

This project involves the way imagery functions in the public domain, and what becomes the public imagination. When an image becomes well-known enough to reach the status of an icon, or the iconic, it can be utilized to make a new image or work with a differing, sometimes contrasting meaning.

Some of the above imagery are examples of playing with icons using various strategies. Examples include appropriation (Richard Prince), detournement ("Iraq" and Archie, for example), and "subvertising" ("Marlboro Country"). Others borrow for the purpose of alignment or connection to the original. Some I'm not really sure if there is a reason that someone co-opts a graphic, as in the L'oreal Studio line of hair products borrowing Mondrian.

See:
http://en.wikipedia.org/wiki/Detournement
In détournement, an artist reuses elements of well-known media to create a new work with a different message, often one opposed to the original. The term "détournement", borrowed from the French, originated with the Situationist International; a similar term more familiar to English speakers would be "turnabout" or "derailment", although these terms are not used in academia and the arts world as they are inherently 'anti-art,' often involving the blatant theft and sabotage of existing elements. Détournement is similar to satirical parody, but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media.

In the United States, Frank Discussion is widely known for his use of detournement in his works dating from the late 70s through the present, particularly with the Feederz. Détournement's use by Barbara Kruger familiarised many with the technique, and it was extensively and effectively used as part of the early HIV/AIDS activism of the late 1980s and early 1990s.^[1] Examples of contemporary detournement include Adbusters' "subvertisements" and other instances of culture jamming, as well as poems composed collaboratively by Marlene Mountain, Paul Conneally, and others, in which quotations from such famous sources as the Ten Commandments and quotations by United States President George W. Bush are combined with haiku-like phrases to produce a larger work intended to subvert the original source.

The Neue Slowenische Kunst has a long history of aggressive détournement of extreme political ideologies, as do several industrial music groups, such as Die Krupps, Nitzer Ebb, KMFDM, and Front 242.

Also see:

http://en.wikipedia.org/wiki/Recuperation_(sociology)
Recuperation, in the sociological sense (first proposed by Guy Debord and the Situationists), is the process by which "radical" ideas and images are commodified and incorporated within mainstream society, such as the movement for civil rights in the United States or the push for women's rights. It is the opposite of detournement.

A similar dynamic often occurs in the sphere of punk rock culture: many musical styles developed from punk rock (such as Grunge, Thrash metal, Metalcore, Post-punk, Indie rock, New Wave, Emo, and Pop punk) have garnered mainstream popularity; artists of these genres have signed to major labels, and have become household names in the mainstream culture. Kurt Cobain, in his journals, often expressed resentment at how his own band played into this situation. The formerly punk-rock group Chumbawumba, has attempted to subvert the recuperation concept by intentionally "selling out" but then using their earned money to donate to the radical causes that they still support.

In gouache or digital means (or in another media with permission), appropriate four different iconic images to create new images with new meanings. The original 'hijacked' image must still be evidence, otherwise the play will not work.

Color should be a major consideration and element.

Due Tuesday, November 17

your project 8: color and type (more coming soon)

optional field trip

Melissa Oresky, 2009

this Thursday, October 29 to visit two separate young artists working with color as an integral theme in their works.

Maria Gaspar, 12' x 12', MCA
http://www.mcachicago.org/exhibitions/exh_detail.php?id=234

Melissa Oresky, Western Exhibitions
http://www.westernexhibitions.com/

Coincidentally, both are UIC graduates.

We will meet at the MCA, where we will also see Liam Gillick's colored ceiling, and Olafur Eliason's Spectrum piece. The museum costs 7 dollars with student ID.

I'll announce this again in class on Tuesday. If you prefer to keep the day as the scheduled work day, that's fine.

Project 9: Color, Ephemera, Depiction in Animation

Animation can be a great vehicle to study use of color for depiction based on general analytic principles of color. Animation generally uses broad flat areas of color, and expoits principles of the three attricutes of color that we have learned. In this project, we will examine how color phenomena is handled loosely but analytically in this art form. We will be focusing on the deft and efficient handling of ephemeral phenomena such as direct and indirect light/illumination, shadows, reflections, fire, smoke and transparencies (all that are not solid objects). The Tex Avery example above (wolf and burlesque dancer) is a great example of wonderfully simple depiction of light and shadow in a spot lit stage scene. Glowing light and dramatic shadows are the hallmark of several earlier Disney films such as Fantasia, Lady and the Tramp and Peter Pan (all pictured here). Dumbo, a mostly day-lit story, has less dramatic shadowing, but still quite affective.
Download separate cells or still images, print them, and do detailed studies of the mechanics of how the depiction of these phenomena are handled. These will be on 9" x 12" Bristol if painting or 8 1/2" x 11 if digital print. Gouache painters will do three studies and make precise replicas. Those working digitally will make six studies, and will alter the design by morphing scenes with different lighting together. Character(s) from one scene with one sort of light will be placed in another scene and the shadows, etc must be altered to make a cohesive image. You may also invent scenes, but they must be based on a cartoon cell, or a photograph (do 6). for students inventing scenes from scratch (not using found images), you do not have to be concerned with the morphing of two images or sets of imagery.
We will screen parts of a couple of animations to analyze the depiction of these phenomena.
Project due Tuesday, November 3.

your project 7: unconventional harmonies (more coming soon)

your project 6: traditional harmonies

Project 8: Color and Type

Ed Ruscha, He Didn't Care and Neither Did She, Cherry Juice on Moire, 1974

Ed Ruscha, Actress, Rhubarb on Moire, 1974

Ed Ruscha

This project involves conveying meaning, tone, and/or associative value to designs through the use of color and form (type) that work in a unified fashion. Create designs where color reiterates what the type style and words convey. Keep in mind that the background color or colors are an equal part of the design and the associations and references. Like some of the above designs, the type and the background elements may have extensive design elements and imagery, though this is not necessary.
Ten digital designs or five painted-ones. Seven if hybrid between painting and digital.
Due Tuesday, October 27

Project 7: Pattern and Unconventional Harmonies

Andy Warhol

Gianni Versace

Takashi Murakami New LV pattern

Takashi Murakami Original LV pattern

Nathalie Lete

Nathalie Lete

Lucienne Day

Marimekko

Ikea

Marimekko

Marimekko

Analyze these and other textile patterns that you research, for use or non-use of the traditional color harmonies we used last week. This project is about the creation of invented or observed harmonies applied to pattern design. The color schemes that you use must be non-conventional, alternatives to the traditional ones that we used last week.

Consider the possibility of the colors in a puddle, or pile of garbage being harmonic or in some way beautiful. Or consider that a harmonic combination is not the only possible desired effect. In Nathalie Lete's work, especially the bags above, colors are in such complex combination that they cancel out the notion of a scheme. In Warhol and Versace's works above, the primary function of color is as reference: in Warhol the reference is to popular commercial color, and in Versace the reference is to Warhol.

In gouache create five patterns/designs full-bleed (to the edge of the paper) that explore alternative color schemes to those we have studies. If working digitally, create ten.

You will be asked to explain your working rationale/inspiration for each in the critique.

I have credited images above when the artist was verifiable. Those left blank are unknown.

Project 6 Reference: Traditional Harmonies

Monochromatic and Achromatic or Low-chromatic

Analogous

Complementary

Cool/Warm

Double-Complement

Split-Complementary

Triads

Tetrads

Keys

The above color schemes or harmonies are borrowed from Becky Koenigs book Color Workshop. She outlines these harmonies that are all based on the symmetry of the color circle: Monochromatic, Achromatic or Low-Chromatic, Analogous, Complementary, Double-Complement, Split-Complement, Triadic, Secondary Triadic, Tetrads, Keyed.
Please use these and only these for your ipod/itunes designs (not these specific colors only, but these schemes).

Project 6: Conventional Harmonies

This project will involve a study of the ipod/itunes ad series. Note the original ads use of black only for the silouette, then gradients between two colors, then a little less of a silhouette allowing some detail to come through on figure. Also note how first ads used a one color background, always creating emphasis for the product through one-color ground, black silhouette, and white ipod. Later, ground has varying colors, shapes, and textures.
If you search for this subject on the internet, you will find quite a few spoofs. I've included a few of these here, one a pretty strong political statement..
In gouache or digitally, use this graphic as a template for color combinations, or schemes.
Using only the traditional color schemes discussed-those based on the symmetry of the color wheel-create five different designs if using gouache, and fifteen if using digital means. Finally, an opportunity for some inventiveness.
Project due Tuesday, October 13.

An Overview of Basic Color Understanding: Part 4

Part IV: Color, Culture and Communication

If the above sections related to what we see in universal physical and biological terms, this section deals with how we see in culturally-specific terms. This section also will deal with the use of color across media.

Topics to consider:

a) Logic and expectations: Wittgenstein wrote about logic extensively, and in his book Remarks on Colour, he approached the logic of color. The book is written as a series of observations, following the structure of Goethe’s Die Farbenlehre. Each observation discovers a disparity between an empirical observation and what we believe about the mechanics of color. Recent optic and neural advances have explained some of the conundrums that he proposes. It seems, for example that his questions on the impossibility of envisioning a “reddish-green”, can be explained by the extent of opponent-processes in the eye and brain. Adaptation and Constancy account for his question about a boy with blond hair in a black and white photo, and why we will see him as blond even as we stare at a light gray representation in a photo.

b) Cultural, Associative and Relational Aspects: John Gage has written on what he calls the “cultural and historical contingency of color”. What this means is that no color has any symbolic value outside of a specific social framework. The meaning of color is always relational, that is in relation to a specific social history.

c) Naming: Sensation affects all subjects, but language plays a large role in perception, how the sensation is interpreted.

d) Signification: Semiotics of color, sign-value, subtext

Project 5: Additive Scales: Part 2

Drag or otherwise download this image, and open in Adobe Photoshop. Methodically check the RGB constitution of every tint, shade and pure hue. type it on top of the color square in the program, or jot it down on scratch paper to hand write it on top of the color after.
Print the image in color.

You should be paying attention to patterns in creating hues, and darker and lighter versions of them.

Project 5: Additive Scales

Remembering that when you mix colors additively, the resulting colors are quite different than when material color is mixed. The above charts show how the three primary colors R, G, and B mix the create the three secondary colors C, M, and Y, and all three colors together mix to make white (light). One chart is a diagram, the other actual light mixing.

Part 1: ADDITIVE COLOR CONSTITUTION: Copy the 8-circle chart above and write in the numerical values, or ratios of R, G and B used to create each of the eight colors. Use the Color Picker and the Color Slider to create the colors.

Please use a decent quality printer. You can use the printer at the A+A graphic lab, it's fairly inexpensive.
If you don't know Photoshop at all, we will be having workshops in classes and one-on-one in the MI first-year lab during class time.
If you know Photoshop, these will be fairly quick exercises, but good refreshers.
Parts 1 and 2 of the assignment is due on Tuesday, October 6.
Post will follow with Part 2.

An Overview of Basic Color Understanding: Part 3

Part III: Color Reproduction

This will be a brief history of color technology, reproduction and specification across media in the built environment, and a look at some of the pertinent information relating to media used in the course. Topics will include: -Color Interaction/ discussion of Variables and Color Constancy: Lighting, Texture, Health, Condition and Age of Perceiver, Effect of the Surround, Taking perceptual phenomena into account. -Additive System, the color of transmitted light: -The additive primaries: RGB As in all surface color work, the significance of lighting and the substrate cannot be overlooked. There also exist many different kinds of special inks to deal with varying substrates, durability needs, and special effects. -Gamut Mapping: A gamut is the range of colors within any given system. -Color Management: Dealing with device variability, controlling color among differing devices in imaging systems. -Indexed Color: 24-bit color is slow, 256 fast but dim…. -Web-safe Color Palette, or Web colors: 216 colors used in designing webpages. -Color Casts: Can adjust in Color Balance in Photoshop Adjustment menu. -Tone Adjustment: Can do basic adjustment in Levels in Photoshop Adjustment menu, or for more nuanced adjusting, go to Curves in the same menu. The bottom left of the graph is the black point, and the upper right is the white point. -The Subtractive System, the color of reflected light, or of material: -The subtractive primaries and the process primaries: RYB and CMYK -Surface Color-Colorants, Binders, Dyes, Inks, Pigments, Paints: Organic and inorganic colored materials have been used as colorants from the earliest times. After William Perkins’ synthesis of coal tar into a beautiful mauve- the invention of aniline dye in 1856-thousands of new colors have been and continue to be created. Before the industrialization of coloring materials, pigments and dyes we most often named according to their point of origin, whether plant, animal, discoverer, or country. A variety of color standardization systems have developed since that time in the interest of providing a system of uniformity for reproduction in both science and manufacturing. These are proprietary systems. Examples includes Pantone, Trutone, TOYO, and the Swedish Natural Color System (NSA).

Project 4: Camouflage

Working in pairs, create a camouflage pattern on a sheet of Bristol that hides in an environment either inside the AD building or in the immediate environs (no further than one block away). Each pair will take class to your site where the class will judge the effectiveness of the camouflage.

Roger Hanlon, a marine biologist at Woods Hole, Massachusetts who studies the camouflage skills of the cuttlefish and octopus, has found natural camouflage systems correspond to three disguise templates: uniform color, random patterns within a single color variation, and disruptive patterning that disguises the body outlines. These correspond to color, texture and outline as the three most important perceptual mechanisms for object perception. The first two mechanisms degrade the color and texture cues for outline, and the last degrades the cues for object recognition from perceptible outline.

• You will choose work-partner on Tuesday, September 22.
• You must use a full sheet of paper (9"x12"), no cutting it down.
• Your chosen site and subsequent sheet must utilize at least three color/texture areas.
• You may not use the bathrooms, stairways or otherwise block a fire exit.

cammo project examples

Some examples of the Cammo assignment from last year's class.

Project 3: Simultaneous Contrast

Josef Albers, one color as two

Josef Albers, two color as one

1. value contrast

2. complementary reaction

3. subtraction

4. Bezold Effect

Your assignment is to create a total of five-page series of simultaneous contrast exercises designed to help you internalize your understanding of the principles.

One panel should illustrate value contrast and should be comprised of two very different value surrounds each with the same color center.

The next panel should illustrate complementary reaction and should utilize a color and a neutral gray surround with the center squares being the complement of the color surround.

Next, illustrate the principle of subtraction by using a neutral gray and a color surround, and a center chip that is related to the colored surround (secondary to primary, secondary to tertiary).

Lastly, create a page with two surrounds that makes one color appear as two, and then a fifth page that makes two colors appear as one, also using two surrounds.

For all five, you should replicate the Albers format: please use a 1" square in a 4" surround. Please utilize the information above (1-4) and the aforementioned reading. These visual principles will guide you in 'pushing' colors to alter appearance. You may not use any of the color combinations in these examples.

An Overview of Basic Color Understanding in Four Parts: Part 2

William Benson, c. late 19th century

Part II: Ordering and Quantifying Color

The chemical makeup of colorants, dyes, and paints can be measured. Physically. the color of light can also be quantified by measuring the level of transmission. The color of an object can be quantified by measuring the level of reflectance. Colorimetry is the science of measuring color and uses mathematical ratios between phenomena to predict color accurately and uniformly. The eye cannot see the constituents of color, not intuit the operation of color. Colorimetric measurement can distinguish where perception cannot, for example, distinguishing between metamers (qualitatively differing lights that appear the same).

The Dimensions (or Attributes) of Color: Surface color is traditionally separated into three attributes, or dimensions: hue, value, and saturation. The attribute luminance is factored in (in place of value) when working with color in light. Hue refers to the quality commonly referred to simply as ‘color’. Value is the relative lightness of that hue, and saturation refers to its’ level of purity. A hue is the most saturated when it is closest to its’ purest state. A color becomes desaturated as it mixes with other colors or black or white. Two complementary colors will create a neutral, or gray when mixed in equal proportion. White, Black, and any mixture thereof is called achromatic, considered to be colorless because they are not a part of the visible spectrum. This seems curious since brown and chromatic gray cannot be seen in the spectrum but are considered chromatic because we know them to be composed of spectral colors. If the spectrum is made up of colors that combine to create all possible visible color, then must not black and white be a part of it?

Primary, Spectral, and Unique Colors: Spectral Colors are colors that can be seen on the visible spectrum at pure saturation. Unique colors are those that are strictly a single hue, and cannot be seen as part adjacent color on the spectrum. For instance, A unique red, is a red that is not bluish-red or yellowish-red. The definition of primary color is a difficult one, and one that may be confusing because there are different sets of accepted primary colors. One definition of primary color means that the color is irreducible: these colors cannot be created through an admixture. As Rainer Mausfeld points out in the Introduction to his book Colour Perception (Oxford University Press, 2003, p. 13), the “choice of the fiducial beams called the primaries is essentially arbitrary, except for the condition that no equation can be established”. Furthermore, The Blackwell Handbook of Perception (p. 96) reports “typically, three widely separated wavelengths are chosen as primaries and mixed to match the appearance of all other wavelengths. Because each investigator is free to choose the primaries, the empirical functions need not resemble each other but each data set presumably reflects the operation of the same three spectral filters in the visual system. Despite a century’s collection of precise three-primary color matches, it has been difficult to deduce a unique trio of spectral functions to describe the visual system’s fundamental filters. Indeed, if these fundamental filters are linear operators, there are an infinite number of filter trios that satisfy the data”.

Complementary Colors: These are perceptual opposites. These pairs of color will create a neutral gray when mixed additively.

Brown and Gray: What is brown, and what about gray? As mentioned above, though these colors don’t figure in many early and many simple color models, and they are not seen in the fully saturated spectrum, they are indeed variants of color. In the case of brown, it can be a variation of any color, a mixture of many different possible combinations. Gray can be separated into two types of gray: chromatic and achromatic. The former refers to grays that are the exact neutral point between complements, and the latter refers to a gray created by a mixture of black and white.

Tints and Shades: Though these terms are used colloquially to be a variation of a color, they have more precise meanings. A tint is a hue with white added, and a shade is a hue with black added.

Tone: This term is also often used to mean a variation, or modification of a color. Sometimes it more specifically refers to a hue modified with gray.

Contrast: The difference in visual properties that makes one color distinguishable from another. Color contrast can occur because of hue, value, or saturation difference, or a combination thereof.

Geometric and Symmetrical Color Models: Invented in 17th century Europe, color wheels, circles, and other models are organizational structures used to understand the potential “laws” of color operation. These are often used as a basis of reference and as a standard for color principles.

Mathematical/ Computational Color Space: The possible combinations of colors are infinite, and color models are inadequate at mapping color because of their finite nature and because the human eye does not see all colors equally. The first type of mathematical mapping of color perception was the 1931 CIE model, which took human perception (“normal observers”) into account. This method utilized what is called tristimulus values (roughly R, G, and B) to create a full color spectrum with these three primaries. Mapping color using tristimulus values creates what is known as a color space. There are 4 major models of color space (each has its own variations): CIE, RGB, CMYK, and HSL/HSV. They are outlined in the section below.
Some of the most influential historical color models and spaces and their descriptions are outlined here.

Isaac Newton: Principles of color have been understood within symmetrical circular-or other geometric shaped- diagrams since Issac Newton first placed what he believed were the seven colors of the spectrum into a circular shape. Though the spectral colors are now commonly divided into six-and most of us would be hard-pressed to see the color indigo in it-Newton believed in a correlation between music and art, sound and vision, and so developed a theory based on seven colors. Though this aspect of his discovery has been discredited, the notion lives on today in the popular memory-scheme ROYGBIV.

Johann Wolfgang von Goethe: Goethe wrote a treatise on color in 1810 called Zur Farbenlehre (The Theory of Colors). The book was basically an attack on Newton’s earlier Optiks. Goethe’s book was based on his own direct observation, and does not present a precise theory. His color circle was symmetrical and was the first to propose oppositional colors, anticipating Opponent-Process theory by more than 60 years.

Michel Eugene Chevereul: Chevereul was a French Chemist whose work as director of dye works in the tapestry industry led him to determine that perceived colors are altered by their adjacent color. His color circle-created for the dye industry-was created in the interest of maintaining uniformity in the field, had 72 increments. His book The Principles of Harmony and Contrast of Colors and their Application to the Arts had a great influence on French painters of the day.

Albert Munsell: 1905, three-dimensional color order system taking three features of color into account, designated as hue, chroma (saturation), and value (lightness).

Johannes Itten: Itten’s books and his 12-point star diagram are popular. If one reads his book carefully, there are instances of unusual and disturbing ideas on character as determined by complexion.

Josef Albers: Albers never developed a color model, but was and continues to be extremely influential. His experiments focused on the perceptual experience of color discovered through the simple act of looking. His work in painting and with his students centered around the relativity of color and simultaneous contrast.
CIE (CIE XYZ, CIE L*A*B*, CIE L*U*V*): (The International Commission on Illumination) As mentioned above the 1931 CIE XYZ model was the first mathematical color space, and is the basis for all other color spaces since. CIE L*U*V* modified the original to display color differences better. CIE L*A*B* was designed to be a more perceptually uniform (equal increments of change) space. CIEL*U*V* is used for additive mixtures, and CIEL*A*B* is commonly used for subtractive mixtures (surface colors).

RGB: Stands for red, green, blue. It has been known for over two hundred years, that these three colored lights can produce a full spectrum of colors. RGB is an additive color space the maps the gamut possible with these three colors. Projected color media like computer screens operate using RGB.

HSV/HSL: These acronyms stand for Hue, Saturation, and Value; and Hue, Saturation, Luminance respectively. These models are both based on the RGB model and are quite similar to each other. The difference between the two is that in HSL, Luminance replaces value.

CMYK: Stands for cyan, magenta, yellow, and black; the four colors of process printing inks. It is also a color space that maps the gamut possible with these four colors.

College Advice, From People Who Have Been There Awhile

okay, so this post is not about color and you all are not freshman.
but this-from the new york times- is an excellent compilation of short readings about the college experience.....

http://www.nytimes.com/2009/09/06/opinion/06collegeadvice.html?_r=1

Project 2

Mixing and Matching Color:

Using 10 examples of found color, create perfect maches to the color using your gouache. Create 10 neat matching swatches and place/glue adjacent to the found swatches for comparison. Each sample of found color and it's matching swatch should each be approximately 2" square, though need not be a square this time. You may fit several pairs on a page, depending on how many will fit.

Be wary of very thin magazine stock, the colors will be very hard to match as colors bleed through from the back side.

An Overview of Basic Color Understanding in Four Parts: Part 1

Edwin Land, "The Mondrian" Constancy Experiment, 1971

PART I: Color Vision

Physical Causes of Color:
It makes sense to begin studying color by starting with physics in two ways: it moves us from the reality of physical stimuli to the nature of human response following a chronological order of discovery. This allows us to see a trajectory of understanding color first objectively-as in the world, and then subjectively-in terms of human reaction. It mimics the recent shift in studying color as an objective phenomenon toward a new emphasis on role of the brain and the particulars of its operation. In the past forty years, there has been much research that emphasizes the significance of the subject perceiving. This follows not only in discoveries about how the brain constructs color, but also in anthropological and linguistic studies of color perception and discrimination across cultures and the role of language. Our course will explore these disciplinary approaches and the understanding that they shed, but we will begin with the physical world of light and color. Kurt Nassau (“The Causes of Color,” Byrne/Hilbert, p. 4) describes perceived color as “merely the eyes’ measure and the brain’s interpretation of the dominant wavelength or frequency or energy of a wavelength.” The study of the physics of color is a study of the stimuli prior to or without regard to response. Since a component of color is light traveling at varying speeds, it makes sense to begin by defining light. Visible light is a small part of the spectrum of electromagnetic radiation. The receptors in our eyes are responsive to only a portion of this spectrum measured in wavelengths incrementally called nanometers (nm). The human eye can see between 370 and 730 nm. Some animals have a larger range of vision and can see into the infrared and/or ultraviolet ranges. Isaac Newton played a large role in initial discoveries about the nature of light and color. He discovered that pure light or white light is made up of all the colors of the visible spectrum and he was able to separate the wavelengths into different colors. The subdivisions of the spectrum are essentially arbitrary. Even though the color gradates without abrupt change throughout its length, it is customary to discuss six colors: violet, blue, green, yellow, orange, and red. Pure light (white light) is emitted or transmitted onto objects or material that absorbs some wavelengths and reflects others. The texture and other properties of the material will affect appearance in terms of level of reflection, refraction, diffraction or interference. Reflection is the return of light waves from a surface. Refraction is caused by changes in direction of a wave due to a change in speed. Diffraction is caused by the bending of the wave around small obstacles. Interference is addition of two or more waves that results in a new wave pattern.

Physical Response:
Color vision is the ability to discriminate among wavelengths of light, but color sensation derives from processing by the nervous system. Color processing in the human brain begins in the retina. The retina contains two different classes of photoreceptors known as rods and cones. Rods are of one type; they are less sensitive and play a role in achromatic night-vision. Cones are more sensitive and play a role in chromatic experience. They absorb light at different wavelengths and recombine to transmit to the brain. The cones are subdivided into three types based on their differing sensitivities to wavelength. The three types are morphologically identical, but have different spectral sensitivities. The three cone types are each maximally responsive to short, medium, and long wavelengths and are therefore referred to as L-cones, M-cones, and S-cones., These cones are sometimes also referred to as R, G, and B receptors because of the colors of the wavelengths they approximate. This nomenclature can be confusing as it is not precise and the named colors do not exactly represent where the peak-sensitivities of each cone. In 1801 Thomas Young proposed that human color vision is based on the peak sensitivities of the cone photoreceptors in the eye and Hermann von Helmholtz shortly thereafter expanded upon Young’s ideas by proving that human subjects needed the three wavelengths of red, green, and blue to create a full range of colors. Both Young and von Helmholtz inferred that the existence of three cone types affirmed the trichromacy of human vision. In other words, human color experience is referred to as trichromatic because it depends on three distinct color receptors. Animals or abnormal human subjects with one or two receptors are referred to as monochromatic, and dichromatic respectively. Shortly thereafter, Johann Wolfgang von Goethe observed and wrote extensively about the phenomenon of afterimage in his Theory of Colors of 1810. Afterimage is an optical illusion where a semblance of one color is seen after the eye is heavily stimulated by another color. Goethe was the first to write about these as oppositional pairs of colors. In 1875, German Physiologist Ewald Hering first proposed Opponent-Process Theory. Hering noted in his research that the colors red, green, yellow, and blue appeared to be distinct because all other colors can be made from them and that they appeared to exist in opposing pairs: red and green or yellow and blue. The facts that we see strong afterimages of certain hues after being overexposed to or retinally fatigued by certain hues; that we cannot imagine reddish-green or yellowish-blue were fodder for his ideas. These two main theories Trichromatic and Opponent-Process theories were seen as competitive until relatively recently. They are now seen as representing separate processes that occur at different stages in human physiology. Augmenting our knowledge of trichromacy, opponency is based on the idea that three independent neural processes generate color appearances that operate in a bipolar fashion: red-green; yellow-blue, and white-black. In other words, each cone type outputs to the brain along three axes. Color information is transmitted to the brain via the optic nerve. Optic tracts enter the thalamus and synapse at the lateral geniculate nucleus (LGN). Within the LGN, there are six separate cell layers. Within what are termed P-Cell layers, there are two chromatic opponent types: red/green and blue/red-green. After this synapse, the visual tract continues into the primary visual cortex.

The Weber–Fechner Law attempts to describe the relationship between the physical magnitudes of stimuli and the perceived intensity of the stimuli. Ernst Heinrich Weber (1795–1878) was one of the first people to approach the study of the human response to a physical stimulus quantitatively. Gustav Theodor Fechner (1801–1887) later expanded Weber's findings, and the law’s name became a hyphenate. In 1957,

Leo Hurvich and Dorethea Jameson provided quantitative data for Hering’s theory by recognizing that the hue cancellation could be used as the foundation of a measurement method. Hue cancellation refers to the fact that certain colors cancel each other when mixed together. Red plus green equals yellow, canceling both red and green. Yellow plus blue equals white, canceling both yellow and blue. Hurvich and Jameson reasoned that it should be theoretically possible to cancel any color out. Hurvich and Jameson’s work was instrumental in the computational study of color.

Psychology and Perceptual Phenomena:
Color appearance is not only determined by the spectral power distribution (SPD) and a uniform human response, but variance occurs from the following factors: the color of the surround or environment, and the condition of the perceiver. There also are many incongruities in the perceptual system. Here follows a list of phenomena and effects that pertain to human response.

Retinal Balance and Retinal Fatigue: With sustained exposure, retinal receptors become fatigued. An illusion of an opponent color will appear until the tired receptors have regenerated and retinal balance is restored. This happens not only with colors that correspond to the receptor-types. Theoretically, This should happen with any color and it’s perceptual opposite (see Byrne/Hilbert Philosophy of Color).

Color Constancy: This adaptive feature of human vision is important to our functioning and stability and ability to identify objects. Color constancy allows the perceived colors of objects to remain relatively constant under varying illumination conditions. Color constancy is believed to involve specialized neurons called double-opponent cells and takes place in the primary visual cortex. There, information from cone activity is computed and illumination information is discounted, to maintain a “normal” color perception for the object. Edwin Land’s Retinex Theory was formulated to explain the operation of color constancy. The term Retinex is a combination of ‘retina’ and cortex’, indicating Land’s interest in these locations as instrumental in color processing. Retinex theory may also imply that Trichromatic and Opponent-Process Theories are only partial explanations of color processing. In a 1959 article in Scientific American (“Experiments in Color Vision,”) Land reported that when two beams of yellow light, one representing the longest wavelength, and one the shortest, were projected and superimposed they can stimulate full-color perception (under specific conditions) (Riley)

Simultaneous Contrast: Refers to the manner in which two different areas of color affect each others’ appearance. First discovered by Michel Eugene Chevereul, and explored extensively by Josef Albers.

Positive Afterimage: If eyes are exposed to brightness immediately after dark-adaption, humans will continue to see delayed positive repetitions of the dark space for a brief period.

Negative Afterimage or Successive Contrast: The induced illusion proceeding retinal fatigue. If we look at a red shape on a white surround, we will see a blue-green replica of the shape if we immediately stare at a white space. If we immediately look at another red shape instead, we will the the shape replicated, but in black. This indicates that no receptors are active momentarily following such overexposure.

Bezold-Brucke Shift: A change in hue perception as intensity shifts. Spectral colors appear more blue at higher intensities, and more toward the red and green axis at lower intensities.

Cornsweet Illusion: (Tom Cornsweet) An optical Illusion If in the image of a single uniform color, a small slightly darker gradient is placed in the center, one entire half of the image-from the center over-will appear to be a darker color.

Spreading Effect: A field of color will appear to be darker in black lines intersect it, and lighter if white lines intersect.

Chubb Effect: (Chubb, 1989) The apparent contrast of an object depending on context. Low-contrast texture appears to be higher contrast when surrounded by another high contrast texture.

Mach Bands: An optical illusion consisting of an image of dark and light bands. The human eye will perceive narrow bands of brightness on both sides of the gradients that are not actually present.

Purkinje Effect: (Czech Anatomist Jan Evangelista Purkyne) The tendency for the peak sensitivity of the human eye to shift toward the blue end of the spectrum at low illumination levels.

Project 1

Traditional Subtractive Color Wheel with primaries, secondaries, and tertiaries

b)
c)

Project One: Scales of Attributes in the Subtractive System

a) Value: Using square increments, complete a nine-step even gradation from black to white, with 7 shades of gray in between. Note: the value distinction on the lighter side will be more pronounced than on the dark side. (This one is not pictured here).

b) Hue: Using square increments, complete a value scale of the primaries and secondary colors in the subtractive system. These would be G. O, V, R, B, and V. The hues will line up from top to bottom, and 6 increments of value with run across, with lightest on left and darkest on right. place each hue at its purest, unadulterated state at the appropriate value. This will illustrate the inherent value of each hue. Use black and white only to lighten and darken hues. When one squints, the values of each up/down row, should appear very uniform.

c) Saturation: Using square increments, create a saturation chart using the 3 primaries and their complements. In three seperate gamuts, use 7 increments between colors and make the middle square the midpoint, and therefore neutral hue between the two complements used.

Each exercise will be executed in gouache and will be on a separate sheet of Bristol, that is you will hand in three sheets of paper. You must use two coats of paint to get an opaque and uniform paint surface. Be as neat, slow, and careful as you can be. Each square increment of color should be no smaller than 3/4" and no bigger that 1".

An Overview of Basic Color Understanding in Four Parts: Introduction

Original mauve dress (mauve created by William Perkin in 1856)

This series of posts is made up of notes I have taken for myself in figuring the sequencing of information in the course. While not yet complete, it contains a fairly solid overview of pertinent information. Parts 1-4 will follow this Introduction.

Introduction: What is Color?

Color is inherently intangible. It has no physical properties. It is not a substance. Color is light traveling. Color is energy. Color is temperature. Color is a phenomenon and an experience but it also operates as a language and is learned as such. Color cannot be described without prior knowledge of color, it is impossible to describe the attributes of red, for example, to a person who had never seen it and could not relate it to an object. Color is an extremely complicated topic, one where objective and subjective accounts of experience are intertwined, and sometimes confused. Color is commonly understood as a property of physical objects.

In his book Inner Vision Neurobiologist Samir Zeki states that color “is the result of a comparison, undertaken by the brain, of the wavelength composition of the light reflected from one surface with the wavelength composition of the light reflected from surrounding surfaces. That comparison is a property of the brain, not of the world outside because nothing except the logic of the brain dictates that such a comparison should be undertaken” (p. 76). Color, then is the result of the integration of information. The study of color is one that is undertaken by a wide array of disciplines. The list below briefly summarizes investigations of color perception by some of the relevant fields of study.

Physics-the focus is on color determined by the wavelength of light and the physical properties and mechanisms that affect it.

Chemistry-the focus is on the chemical composition of colored materials.

Optics-Study of the operation of the eye: eyes have two kinds of photoreceptor cells: rod and cones. The rods allow us to see differentiation between light and dark. The cones have three types of photosensitive pigments; red, green, and blue, which allow us to see in color.

Physiology and Psychology-The study of the body parts utilized in color vision and the science that measures human response.

Neurology and Neurobiology-In the past forty years, there has been much research that indicates the how large a role the brain plays in the appearance of color.

Anthropology-In 1969, Brent Berlin and Paul Kay put forward their hypothesis and supporting research that there is a single set of basic color terms that is shared across cultures, by all people. This view holds biology to be the strongest determinant in the perception of color, while allowing for cross-cultural differences in the organization of color, it suggests that the physical act of perception trumps all other variables which might affect seeing and conceptualizing colors.

Linguistics-Linguists interested in color perception study how the language that one speaks affects color perception. The Sapir-Whorf hypothesis proposes linguistic relativity; that language shapes our ability to conceive, that it constructs our reality. Universalists believe that color perception transcends culture, while those that believe in linguistic relativity believe that difference in language will alter thought and perception.

Despite an obvious material existence, color operates linguistically. The associative value of certain colors or color combination within a given culture operates as code and is akin to a language. Artists and designers must become students of a semiotics of color, fluent in the historical and cultural relations of color. In his book Walter Benjamin: The Color of Experience, author Howard Caygill creates a dichotomy between what he refers to as the linguistic and chromatic aspects of color, implying that the chromatic is a sort of natural experience. Just as a debate ensues about whether mathematics was invented or discovered, a parallel question exists about the logic of color.

Color 101: Considering Color

AD209 / Color Theory
Welcome to our course blog for UIC AD209 / Color Theory. This blog will be the place to look for all information on assignments, scheduling and other required information.

AD 209/Color Theory
5110 Art & Design Hall
Tu/ Th 1:00-3:40
Fall 2009
University of Illinois at Chicago
School of Art and Design
Professor Pamela Fraser
E-mail: pfraser@uic.edu
Office Hours: by appointment

Course Description: This course will present a wide range of historical and contemporary color theories and will investigate the subject in terms of color science, reproduction, aesthetics, and communication. The course is intended to provide students with a framework for approaching color, a working knowledge of its attributes, and a thoughtful way to consider and utilize it in art and design projects. The course is interdisciplinary and inter-media, and is designed for students in all programs within the College of Architecture and the Arts. Projects will be created both digitally in Adobe Illustrator or Photoshop (or similar software) and materially with gouache on paper.

Course Requirements: Upon completion of the course students should have a basic understanding of the history and principles of various theories of color vision and perception, have developed a sensitivity to seeing color in all its attributes, and be able to demonstrate the capacity to create legible, meaningful, and inventive color projects.

The course will combine scale and chart exercises designed to teach basic logical structure of color with experimentation in students’ choice of design (typography, textile design, cartoon, poster design, etc.) as a vehicle for color lessons.

Class time will be used for work time, discussion, demonstrations, and slide lectures. Students will be expected to work a minimum of four hours outside of class each week: reading, researching, planning and completing each weekly project. Some projects will be executed in gouache on paper, and some digitally. All digital projects must be printed and handed in class when they are due (no e-mailing).

Intelligent, considered work and good craftsmanship are important. All projects must be executed in a clear, clean, and concise way.

Readings will be assigned throughout the term and posted on the blog. These are mandatory, and students will be expected to display an understanding of the material.

Materials:
Students’ lab fees paid for gouache paint for the class to use communally. Students will purchase small hard-plastic storage cups to keep and transport gouache (see below). The paint may or may not last the term. If these paints run out, students will have to purchase more.

You will need to purchase the following:
• an academic notebook or artist's sketchbook. Bring this to every class session.
• 9” x 12” Bristol Paper Pad (Smooth). You will need at least 2 pads of 20.
• Watercolor brushes a variety-pack is good. Make sure you have a flat 1”, and at least one very small (size 0 or smaller).
• small paper or plastic cups (“Dixie” is good)
• Lg. Cup for water
• plastic storage cups for holding paints. Loews-Cornell makes a good 12-pk of 1 oz. cups
• artists/designers toolbox supplies: ruler, scissors, X-acto knife, pencils, mechanical pencils, erasers, artist's tape, pushpins, paper towels/rags, soap
• a portfolio of any kind to keep all course projects together in one place. Save all projects for midterm and final review.
Projects:
The project schedule is divided into three parts; one part spent working subtractively, one part spent working additively, and one part working in the students' choice of system and media.

I. Subtractive Color Projects
1. Attributes of Color
2. Properties in Subtractive System / Mixing and Matching
3. Simultaneous Contrast and other Perceptual Phenomena
4. Camouflage

II. Additive Color Projects (will all use Photoshop or Illustrator):
5. Properties in Additive System

III. Your Choice of Media (Gouache or Digital, including photography):
6. Traditional Color Schemes / Balance and Harmony
7. Unconventional Color Schemes: Find an exception to color schematic system based on codified symmetry: for example, create a 10-color scale of a sunset.
8. Type and Color
9. Cartoon, Color and Depiction
10. Re-design an Icon: Redesign a well-known print media image, conveying the same content as original but using your own colors ideas. Change the meaning of the design through color choice.
11. Color Denotation and/or Signification: Use color in design (an appliance, a machine, a chart, a map, etc.) to clarify a function or denote a set of complex information, or design a billboard with no text or specific image (geometric or loose form okay) for a film that fits into one of the following genres: Western, Romantic Comedy, and International Thriller.
12. Color-Naming: Create three 12-hue color wheels (primary, secondary, and tertiary colors in the Subtractive system). Choose three separate categories or genres of color u sage, such as interior coatings, toy colors, cosmetics, etc. Name each of the 12 colors on each page, sticking to an appropriate linguistic system for the category. You will be creating a total of 36 color names, and creating the charts with the color circles and names printed on them.
13. Self-Initiated Project: Taking your cue from, or continuing your progress on one of our other projects, use the week and a half project-length to create a single or series of work(s). Please get approval before beginning your project.

On Grading: Your final grade will be based on the following percentages for coursework, with participation a part of the project grade.

Projects 50%
Participation 50%

The success of each project is assessed by the student’s level of involvement and experimentation; the incorporation of knowledge gained from course material; and high level of craftsmanship. Successful participation is gauged by level of engagement, and conversation either individually or in group lectures/discussions.

Late work is not accepted; projects not received on time will receive an "F". If you are going to miss class on the due date of an assignment, you must e-mail me to make arrangements to get the assignment to me.
There will be a mid-term grade advisory during the 8th week. You will submit your portfolio to me at that time.

Please keep the following School of Art and Design grade guidelines in mind:
A=outstanding accomplishment, innovative thinking,
strong participation, full attendance, excellent progress
B-above-average accomplishment, solid participation,
full attendance, good progress
C=accomplished all assignments, average participation,
full attendance, little progress
D= lack of completion or accomplishment in assignments,
disinterested participation
F=failure to complete basic course requirements and/or attendance

Attendance:
Good attendance is presumed and not rewarded or reflected in the final grade calculation. After three unexcused absences, one’s grade will drop one letter grade. After five absences-excused or unexcused-one may fail the course. Three times late, leaving early or arriving unprepared will equal one absence. Absence from class is not an excuse for missing handouts or assignments, or not handing in work. In the event of absence, e-mail me to discuss what you may have missed and how to make it up.

Miscellaneous:
• If you have any special needs, please speak with me about it during the first week of class.
• Maintain clean work area and respect the facilities
• No phone calls, texts, or e-mailing during class. Turn cell phones OFF. If using computer, no personal activity or other class work.
• Schedule is subject to change


Schedule: Generally Projects will commence on Tuesdays and will be due the following Tuesday. Thursdays will usually be workdays.

Week One___________________________________________________________
August 25th
Introduction
Obtain materials by Sept. 1
Homework: Read "Color as Sensation in Visual Art and Science" by Jonathan C. Fish
August 27
Lecture: Overview
Discussion of reading and lecture
Homework: Read “An Overview…” on blog.

Week Two___________________________________________________________
September 1
Discuss reading
Begin Project 1
September 3
Continue Project 1

Week Three__________________________________________________________
September 8
Project 1 due / Critique
Begin Project 2
September 10
Work Day
Homework: Read Albers

Week Four___________________________________________________________
September 15
Project 2 due / Critique
Discuss Albers
Begin Project 3
September 17
Work Day

Week Five___________________________________________________________
September 22
Project 3 due / Critique
Begin Project 4
September 24
Work Day

Week Six___________________________________________________________
September 29
Project 4 due / Critique
Lecture: Additive color / Digital Media
Begin Project 5
October 1
Work Day (tentatively meet in MI Lab, Third floor ADH)

Week Seven__________________________________________________________
October 6
Project 5 due / Critique
Begin Project 6
October 8 (meet in MI Lab, Third floor ADH)
Work Day

Week Eight___________________________________________________________
October 13
Project 6 due / Critique
Begin Project 7
October 15
Midterm Review
Work Day

Week Nine___________________________________________________________
October 20
Project 7 due / Critique
Begin Project 8
October 22
Work Day

Week Ten__________________________________________________________
October 27
Project 8 Due / Critique
Begin Project 9
October 29
Work Day

Week Eleven_________________________________________________________
November 3
Project 9 Due / Critique
Begin Project 10
November 5
Work Day

Week Twelve_________________________________________________________
November 10
Project 10 due / Critique
Begin Project 11
November 12
Work Day

Week Thirteen________________________________________________________
November 17
Project 11 due / Critique
Begin Project 12
November 19
Work Day

Week Fourteen_______________________________________________________
November 24
Project 12 due / Critique
Begin Project 13
November 26
Thanksgiving

Week Fifteen_________________________________________________________
December 1
Work Day
December 3
Project 13 due / Critique

Color as Sensation in Science and Art

This is a wonderful essay by Jonathan C. Fish that addresses the separation between the fields of art and science when it comes to investigating and understanding color.

The abstract is quoted below. You can find the essay on JSTOR online through the UIC library website. Once you've logged onto the website, follow the link to the alphabetical list of electronic journals. Once you fine JSTOR under "J", Do a search for the author name. In case you need further search terms, the essay was published in a journal entitled Leonardo in 1981

"Colour as Sensation in Visual Art and in Science," by Jonathan C. Fish © 1981 Leonardo.

Abstract

Contemporary colour science and colour art are, for the most part, on separate paths in spite of strong reasons for unity and collaboration. It is argued that this schism is not based on any intrinsic incompatibility, but on causes that are symptomatic of a disorientated culture. These causes are recent in origin and may be classified into those that are common to art or to science, in general, and those that are peculiar to the subject of colour. Prominent in the latter class is the failure by artists to appreciate the importance of distinguishing colour sensations from the external causes of these sensations and the inevitable priority given in science to the objective, rather than to the subjective, aspects of colour. It is suggested that material for a common philosophy, deeper than that of medium or technique, can be found in the study of colour sensation as part of the wider problem of relating private experience to external reality. An important example is provided by a discussion of contemporary uncertainties about the number and nature of colour attributes and of the relevance that this problem has for the visual arts. Some of the author's kinetic artworks and colour demonstrations pertinent to the subject are discussed.

Read by Thursday, August 27th. There will be an active discussion where i will call on students to chat about the essay.