Project 2

Mixing and Matching Color:

Using 15 examples of found color, create perfect matches to the color using your paint. Create 15 neat matching swatches and place and adhere adjacent (must touch) 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.

Desaturating the colors with their compliments (as in Project 1/Part 1) plays a very big role in color matching.

Be wary of very thin magazine stock, the colors will be very hard to match as colors bleed through from the back side. Also be wary of using certain hues, such as fluorescent or iridescent colors are not matchable with the palette that we have.

Due beginning of class on Monday, February 7. Please hang these on walls when you arrive.

fyi: the palette we use

Holbein Acryla acrylic gouache:

titanium white
jet black
ultramarine blue
pure red
light yellow
light green
orange
violet

also recommended:
primary magenta
primary cyan
turquoise

Project 1 / Part 2

Project One: Scales of Attributes in the Subtractive System / Part 2

This Project is due Monday, January 31, beginning of class.

Hue, Value and Inherent Value: Using 1" square increments, complete a value scale of the primaries and secondary colors, as well as black and white, in the subtractive system. These are G. O, V, R, B, Y, K (black), and W (white). Copy the chart above exactly with squares 1x1"; 10 across and 8 down. The hues will line up from top to bottom, and 8 increments of value with run across, with lightest on left and darkest on right. The left side will be pure white, and the right side will be pure black. 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 clear and uniform. These should be as close to perfect in terms of their perceptual uniformity of value as you can get.

Project 1 / Part 1

Project One: Scales of Attributes in the Subtractive System / Part 1
We will start this project in class on Wednesday, and it is due on Monday, January 24 at the beginning of class (we will then commence part two of the assignment). This project is meant to help internalize the three basic attributes of subtractive color; the differences between them and how they interact with each other. This project is meant to begin the internalizing of the three basic attributes of subtractive color - hue, value, and saturation - the differences between them and how they interact with each other. It is also meant to begin or continue familiarization with clean and even paint handling. Use one full sheet of paper for each chart, and sets of charts. a) Hue / Basic 2-D Geometric Structure of Color: Re-create the traditional subtractive color wheel with primaries, secondaries, and tertiaries. Draw chart in pencil, and then fill in with color. Please use the paint straight out of the tube for primaries and secondary colors. Mix commercial primary and secondaries to make your own tertiaries (material mixtures do not always follow theoretical principles). b) Saturation: Using square increments, create a saturation chart using the 3 traditional subtractive primaries and their complements. In three separate 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 paint and will be on a separate sheet of Bristol; that is you will hand in two 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. Some people can do this freehand, others find that using artist's tape helps them, while others paint messily, and cut our squares with X-acto knife later. Each square increment of color should be no smaller than 3/4" and no bigger that 1". You will be graded on both accuracy as well as neat presentation. Work carefully and take your time. Please be sure to have your own pushpins to hang them up at the start of class.

Welcome to AD209

Marc Jacobs, Spring 2007 Fashion Show, New York

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

AD 209/Color Theory
5110 Art & Design Hall
MW 9:00-11:40
Spring 2011
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, and communication. The course is intended to provide students with a conceptual framework for approaching color and a working knowledge of its attributes. Color is examined as it functions perceptually, and as a tool that plays a part in constructing meaning in art and design. The course is inter-media and interdisciplinary 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 / freeware) and materially with gouache on paper.

Upon successful completion of the course students will have a basic understanding of both the history and principles of various theories of color vision; have developed a sensitivity to seeing color in all its attributes; and demonstrate the capacity to create legible and meaningful color projects. The course will combine scale and chart exercises designed to teach the basic logical structure of color with experimentation in students’ choices of designs (typography, textile design, cartoon, poster design, etc.) as a vehicle for color lessons.

Course Requirements:
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 paint and paper for the class to use communally. Students will purchase small hard-plastic storage cups to keep and transport paint (see below). The communal paint may or may not last the term. If it runs out, students will have to purchase more. You will need to purchase the following:

• 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 (recyled)
• plastic storage cups for holding paints. Loews-Cornell makes a good 12-pk of
1 oz. cups
• artists/designers toolbox supplies: ruler, compass, scissors, X-Acto knife, pencils, mechanical pencils, erasers, artist's tape, pushpins, paper towels/rags, soap

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, imagination 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 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.

Please keep the following School of Art and Design grade guidelines in mind, noting that average participation and basic completion of work merits a "C".

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 two 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.Work not handed in on Mondays will not be accepted (therefore attendance on these critique days in mandatory). 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.
• Students who will miss class due to religious holiday, should inform me as soon as possible of any potential conflict.
• Maintain clean work area and respect the facilities
• No phone calls or texts during class. Turn cell phones OFF.
• Computer use only with my permission.
• Schedule is subject to change

Projects:
The project schedule is roughly 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.