Project 6: Traditional and Unconventional Color Harmonies

Froebel gifts

Froebel gifts

Gerrit Reitveld

Le Corbusier

Mondrian , Broadway Boogie Woogie

Kara Walker

Kara Walker

Kara Walker, Testimony, 2004

Kara Walker

http://www.designformankind.com/2009/03/custom-leaf-silhouette-portraits/

Monochromatic and Achromatic or Low-chromatic

Analogous

Complementary

Cool/Warm

Double-Complement

Split-Complementary

Triads

Tetrads

Keys

Gary Panter

Hiroshi Iguchi

Perks and Mini

Perks and Mini

Will Sweeney

Andy Warhol

Gianni Versace

Takashi Murakami New LV pattern

Takashi Murakami Original LV pattern

Nathalie Lete

Nathalie Lete

Lucienne Day

Marimekko

Ikea

Marimekko

Marimekko

The Western idea of color harmony is based on the symmetry of the color wheel and goes back centuries. Mid-twentieth century European groups such as the De Stijl movement, and the Bauhaus based some of their programs on ideas around creating balance and harmony in art and design that would improve the psyche of all immersed in such aesthetics. Much of this was based on these artists, designers, and architects interest in perceptual psychology and the creation of harmonic conditions.

Wikedepia's entry on "Color Theory" mentions a bit about older color theories of harmony in relation to current understandings of the impact of culture and other variables on color taste.
...color harmony is a somewhat misleading notion in that responses to color can be influenced by a range of different factors including individual differences (age, gender, etc); cultural and social differences; as well as contextual, temporal and perceptual factors.^[2] In addition, given that humans can perceive over 2.8 million different hues^[3], it has been suggested that the number of possible color combinations is virtually infinite thereby implying that predictive color harmony formulae are fundamentally unsound.^[4] Despite this, many color theorists have devised formulae, principles or guidelines for color combination with the aim being to predict or specify positive aesthetic response or 'color harmony'. Color wheel models have often been used as a basis for color combination principles or guidelines and for defining relationships between colors. Some theorists and artists believe juxtapositions of complementary color will produce strong contrast, a sense of visual tension as well as 'color harmony'; while others believe juxtapositions of analogous colors will elicit positive aesthetic response. Color combination guidelines suggest that colors next to each other on the color wheel model (analogous colors) tend to produce a single-hued or monochromatic color experience and some theorists also refer to these as 'simple harmonies'. In addition, split complementary color schemes usually depict a range of analogous hues plus a key complementary color. A triadic color scheme adopts any three colors approximately equidistant around a color wheel model. Feisner and Mahnke are among a number of authors who provide color combination guidelines in greater detail.^[5][6]

Color combination formulae and principles may provide some guidance but have limited practical application. This is because of the influence of contextual, perceptual and temporal factors which will influence how color/s are perceived in any given situation, setting or context. Such formulae and principles may be useful in fashion, interior and graphic design, but much depends on the tastes, lifestyle and cultural norms of the viewer or consumer.

As early as the ancient Greek philosophers, many theorists have devised color associations and linked particular connotative meanings to specific colors. However, connotative color associations and color symbolism tends to be culture-bound and may also vary across different contexts and circumstances. For example, red has many different connotative and symbolic meanings from exciting, arousing, sensual, romantic and feminine; to a symbol of good luck; and also acts as a signal of danger. Such color associations tend to be learned and do not necessarily hold irrespective of individual and cultural differences or contextual, temporal or perceptual factors.^[7] It is important to note that while color symbolism and color associations exist, their existence does not provide evidential support for colour psychology or claims that color has therapeutic properties.^[8]

Our project involves playing with colors in combination-and exploring notions of colors may combine to create harmony stemming from 19th and 20th century color science and aesthetics-which we will create or combine with other elements, in pattern or image.

Analyze these and other textile patterns that you research, for use or non-use of the traditional color harmonies discussed here. This project is about the creation of traditions of, as well as invented or observed harmonies applied to pattern design.

Consider the possibility of not using the structure of the color wheels and the relationships created within it to create color combinations. Or consider that a harmonic combination is not the only possible desired effect. You might want to make a non-harmonic image. Or you may find that, like in Nathalie Lete's work, especially the bags above, colors are in such complex combination that they cancel out the notion of a scheme, yet they are beautiful. In Warhol and Versace's works above, the primary function of color is as reference toward the creation of meaning: in Warhol the reference is to popular commercial color, and in Versace the reference is to Warhol. For many of the younger designers' works pictured above, symmetrically-based color harmony is simply not the focus of the work, even though it is sometimes present.

1) For some designs, use only the traditional color schemes described and pictured here-those based on the symmetry of the color wheel, create different designs, patterns, or images if using painted or digital means. These can be digitally manipulated/photo-based, or not; image , pattern, or any kind of design. If you have an idea (such as the leaf or the "Paris" image that has colors within the silhouette) that does not exactly conform to the project description, please feel free to discuss with me. The color schemes or harmonies pictured above are borrowed from Color Workshop, Becky Koenig. Koenig outlines the traditional harmonies that are based on the symmetry of the color circle: Monochromatic, Achromatic or Low-Chromatic, Analogous, Complementary, Double-Complement, Split-Complement, Triadic, Secondary Triadic, Tetrads, Keyed.

A harmony involves a minimum of 2 colors, but is usually 3-5.

2) For others whether digitally or in gouache, create patterns/designs full-bleed (to the edge of the paper) that explore alternative color schemes to these classic schemes. Whether painted or digital, these should be complicated and careful. You are also free to explore these things in photography, video, film, sculpture, or other media. Please ask me if you have such an idea.

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

You will be graded on the quality of thought and execution of your work.

Use the assignment as an opportunity to be visual and conceptually (or both) inventive.

You will be graded on your level of craft, engagement, and invention.

This is now a two-week assignment: time to research, develop, and edit. Due Monday, March 14. Install in classroom at beginning of class, or send to me via email by 6:00 a.m that morning.

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