Wednesday, January 9, 2008
Tuesday, January 8, 2008
Monday, January 7, 2008
Color Assingment # 6
Assignment #6 Color Theory Francisco Letelier
Create a complex and unified composition
incorporating rhythm, movement and a variety of visual contrasts.8"X11" size. Use a palette of 5 colors.
Media: Acrylic, or gouache on illustration board or Bristol.
Bristol must be mounted on a hard surface; board or foamcore.
Illustration board size must be 9"x12" with art work in rectangle measuring 8"x11"
Rhythm can be created using shape and/or color variation
Mix white into your acrylic paints in order to improve opacity of paint and make painting and rendering easier as well as to create intervals of value/tints. =(rhythm)
Use black to achieve shades of your palette. Use white to create tints.
Please tape a sheet of paper over your finished board.
Rhythm is one of the principles of art. Visual rhythm makes you think of the rhythms you hear in music or dance. Artists create visual rhythm by repeating art elements and creating patterns.
Pattern is one of the principles of art. Artists create pattern by repeating a line, shape or color over and over again.
Create a complex and unified composition
incorporating rhythm, movement and a variety of visual contrasts.8"X11" size. Use a palette of 5 colors.
Media: Acrylic, or gouache on illustration board or Bristol.
Bristol must be mounted on a hard surface; board or foamcore.
Illustration board size must be 9"x12" with art work in rectangle measuring 8"x11"
Rhythm can be created using shape and/or color variation
Mix white into your acrylic paints in order to improve opacity of paint and make painting and rendering easier as well as to create intervals of value/tints. =(rhythm)
Use black to achieve shades of your palette. Use white to create tints.
Please tape a sheet of paper over your finished board.
Rhythm is one of the principles of art. Visual rhythm makes you think of the rhythms you hear in music or dance. Artists create visual rhythm by repeating art elements and creating patterns.
Pattern is one of the principles of art. Artists create pattern by repeating a line, shape or color over and over again.
Color Assingment # 4
Color Theory Symbolic Color Assignment 4 Francisco Letelier
There are two parts to this assignment.
A) bring in an example of symbolic color used by an artist in the past. It can be from any historical era predating @ 1900. ( The modernist or contemporary era begins at @ this time.) The Renaissance is a good area for exploration. Broadly considered, the period covers the 200 years between 1400 and 1600, although 'specialists' disagree on exact dates
Be prepared to explain the symbolism contained in the work.
B) Create a composition measuring 8.5x 11 inches on ( hot press) (smooth finish) illustration board, which employs symbolic color
Media: acrylic paint or gouache
waterproof black Technical pen aOK as secondary media but primary media is gouache or acrylic!
Your design may use symbols in order to reinforce the colors you have chosen.
This project requires that you engage in research. Exploring the symbolic use of color in other cultures or times is a good place to start. You may also use contemporary, and localized cultural references, however
avoid using "cliche" symbols ( overused, commonplace) ie: hearts, doves, skulls, peace symbols etc.
A Symbol is a word or image that references meaning beyond the obvious.
A symbol is a sign which has further layers of meaning. In other words, a symbol means more than it literally says. (Signs are literal; symbols are not).
For example, an image using reds and oranges to convey energy, might convey energy through shape and other design principles or through the depiction of images which symbolize energy such as the sun, a volcano erupting or a body in motion, Employ the techniques and ideas we have discussed in class concerning color, transparency, contrast and harmony.
Whatever you choose please be prepared to explain your color choices and the meaning and systems associated to your work.
If you buy a sheet of board, plan on making several cuts with a utility blade or exacto knife for each cut as you work towards your format size of 8.5 x 11". Each cut will take several passes of your blade along the cut line, you will be cutting through several layers of paper and board. Don’t try to achieve your cut in one stroke, as this will dull your blade and most probably create a warped cut.
Culture & Communications:
Similarities of Color Meanings Among Diverse Cultures
Marie Byrne NYSCID, ASID
Assistant Professor, New York University of Technology
Colors are all around and yet most people take the impact of their significance for granted. Color can alert people to danger, express emotion and is a way of identifying and organizing the environment. Therefore, people attach particular meanings to colors (Holtzchue 11). People respond to color not only as a visual event but also on interpreted intellectual, conscious, unconscious and subconscious levels. Psychologists have learned that particular colors can arouse the senses, cause emotional responses, alter behaviors, and induce particular moods (Holtzchue 2-3). In 1992, psychologist Ulrich Beer wrote in his book, What Color Tells Us, “Seldom, surely, is the psychological part of an appearance in nature so great as it is in the case of color. No one can encounter it and stay neutral. We are immediately, instinctively, and emotionally moved. We have sympathy and apathy, pleasure or disapproval within us as soon as we perceive color” (Mahnke 6). Dating back to the time of early civilizations, humans have attached meaning to their perception of various colors. Therefore, learned associations are important contributing factors in the way people perceive and attach meanings to colors. If color perception is subject to these learned associations, does it suggest that different cultures view meaning of various colors differently, or is it possible that there are basic links among diverse cultures? Historical information and contemporary research on the meanings associated with basic colors indicate that there are more similarities than differences cross-culturally.
Within every culture, there are various meanings associated with each basic color. However, within this context there are many similar core associations in both historic and contemporary times (Fine 445-7). Historically, evidence suggests that humans have attached particular meanings to colors and that many of those associations have withstood the test of time. Color assignments in the religious and cultural rituals in many parts of the world throughout history and in contemporary times; offer ways to gain insight into those cultures. Evidence of color associations have been also found in political and social representations of various countries such as in the colors of their flags or modes of dress. The written languages of cultures also show many color references and symbols. Many contemporary studies provide further proof that there are many similarities with regard to color preferences and meanings. Finally, globalization in the 21st Century further solidifies the concept that there are far more similarities than differences in the color associations of people cross-culturally.
It is important here to note that there are a great deal of variations and subtleties of various colors. Therefore, the focus will be to concentrate on purely saturated hues of black, white, red, yellow, blue and green. Hue refers to the name of the color. Value relates to the lightness and darkness of a particular color, and saturation or chroma is a term meaning the intensity or brilliance of a color. The extreme polarity of black and white has been universally symbolic throughout history in most cultures. Black symbolizes evil, emptiness, death, and dirtiness, but also power, dignity and strength. Since black symbolizes death, it is the color worn by many cultures in times of mourning. “Its use in mourning is very old, it probably comes from the ancient Semitic custom of blackening the face with dirt or ashes to make it unrecognizable to the malignant dead, as well as a mark of grief and submission” (Genov 4). At the extreme opposite is white. This color symbolizes purity, sterility, innocence, and goodness, but also sterility in most cultures (Sharpe 47). Most religions use white to indicate spirituality, hope, and innocence. Jewish, Christian and Hindu religions use the color white in rituals to indicate purity, chastity, virginity and inner peace. The symbol of the white dove signifies a state of perfection, peace, and blessedness. In marriage ceremonies of many cultures, women wear white. Since white is symbolizes cleanliness and sterility in most cultures, it is not surprising that it is the flag color used in hospital and health care facilities throughout the world. While most countries designate black as the color of mourning, in China and most of Asia, the color of mourning is white (Mahnke 64-5). This is not a complete contradiction, however. In many religions, there is the belief that death is not an end but a beginning. The use of white in this context means that a person brings purity into the next life. Today as in the past, black has mostly negative connotations due to the fear of the unknown associated with darkness, night and the absence of light. White is representative of a positive color. This distinction between black and white as extreme opposites is symbolic in most cultures.
Red is the color of blood and therefore relates to life itself. It is associated with fire, energy, passion and love, but it is also associated with rage and war. It is a color used as a sign of provocation and revolution. In Greek mythology, it was the color designated for the planet Mars and god of war (Mahnke 61-2). Red is a dominant color in China and is the color of good luck and happiness, since it is a belief that this color promotes long life. Red permeates Chinese New Year’s celebrations and is the traditional color the bride wears. When a Chinese baby is between one month to one year old, red colored eggs and ginger are what they use to mark the celebration (“Chinese”11). As is the case in many Asian cultures there is a strong association of the color red with the sun, the fiery ball giving life to the universe. In Japan’s Shinto religion, red is the symbol of life. For Hebrews this color represents sacrifice and sin. Christian art depicts Christ wearing red robes symbolizing not only the blood he shed as a sacrifice, but also his passion and love. It is also interesting to note that the term “red light district” to designate places of prostitution is neither culture specific nor a contemporary concept. While cultures and religions may vary, the use of red as a powerful symbol of life, passion, love, and war still appears in many places throughout the world.
Yellow is reflective and luminous. In most cultures, it has an association to the sun, the dominant force in the solar system. It is associated with wisdom, glory, light, joy, enthusiasm and optimism in many parts of the world. In Greek mythology, it is the color of Mercury, the messenger of the gods, and the communicator of mental and spiritual enlightenment (Mahnke 62). It is also the Chinese color for royalty, and during the Ch’ing Dynasty, only the Emperor could wear yellow. It is still in use in ceremonies that “pay homage to the earth”. Christians consider yellow the color of the “gates of heaven” (Theroux 3). Yellow also has negative meanings in most cultures. It is associated with aging, and illness, since it is the color of jaundiced skin, decayed teeth, infection and pus. Contemporary author T.S. Eliot described the fog in London as yellow in his poetry to depict psychological illness (Theroux 68-78). Author Alexander Theroux states, “We go into yellow, I suppose, each in our own way, with values attuned, no doubt, to whatever mode of empathy our particular vision aspires” (78). Yellow has spiritual significance throughout many cultures dating back to Ancient civilizations who believed that their lives were ruled by an “omnipotent power within the sky” symbolic of yellow (Birren 24).
Blue is symbolic for calmness, peace, loyalty, truth, dignity, royalty and contemplation, but also sadness. It is associated with the sky and the sea, and looked upon in many cultures as infinite and mysterious (Hibi 26). The ancient priests and physicians of Britain known as the Druids considered blue to be the color of harmony, truth, and wisdom (Birren 28-9). In Christianity, it is Christ’s hue, and the color of heaven where he resides. Blue symbolizes the color of “The Divine Light” and the Virgin Mary. In early Christian mosaic art, blue was a dominant color used as the background of many artists’ works (Gage, “Color and Culture” 58). During the Middle Ages, blue was never a color used to designate social position. It was also was not a choice of liturgical vestments. For these reasons, blue enjoys the designation of a non-threatening color, which everyone can use (Pastoureau 92-3). After the 12th Century, blue became extremely popular. “…The fact that blue is the favorite color of more than half the population is at the very least a sign that it is neither violent nor transgressive, and probably an expression of its relatively weak symbolic potential” (Pastoureau 180). Today many studies and polls rank blue as a color least disliked by all cultures. Perhaps it is because blue in most cultures is a calm, peaceful, and neutral color.
Green is the color of nature in most cultures. It combines gay yellow and dignified blue. It is tranquil, refreshing, quiet, and natural. Early rituals centered on the hope of a good harvest with fresh green vegetables, the food sustaining life itself. It is the color of hope, healing, immortality, and fertility. Where there are seasonal cycles, green signifies spring, rebirth, youth and freshness (Mahnke 63). Islam attaches significant importance to green and is still a sacred color to Muslims since it is symbolic of virtue. Those who have gone to Mecca wear green turbines and only those of perfect faith can wear green. In the holy book, the Koran, Mohammed promises glory to the virtuous on the day of final judgment. “There will be gardens of dark green, fountains, fruit trees, and pomegranates. Therein shall they delight themselves, lying on green cushions and beautiful carpets” (Birren 32). In Japan, there are no negative associations to the color green since it is the symbol of life. A different green plant is associated with each of the four seasons in all aspects of the Japanese culture especially representative in their artwork. For example, pine evergreens adorn New Year’s decorations. The meticulous care taken in shaping miniature trees known as “bonsai” is a way of keeping “the green in nature close at hand”(Hibi 46). Even moss, which has somewhat negative associations in some cultures, only has a positive association for the Japanese. “The green of moss signifies the pleasing patina of age. On rocks or trees, it is considered a valuable adjunct, a touch of fresh, moist green, to the long established beauty of a traditional garden” (Hibi 46). The strong universal association of green and nature accounts for its popularity in most cultures.
Rituals are not the only place that we find various symbols for colors. During historical and contemporary times, societies have assigned meaning to colors politically and as a means of social identity. It is important politically to assign significant colors to local and national flags. The flags provide powerful non-verbal images identifying a particular society. It is interesting to note that many flags come about in the early stages of a country’s history during or after a time of turmoil either religiously or philosophically. While generally flags only contain a few colors, each country or locale has a unique way of displaying those colors as a means of identity. In 1969, Martin Lindauer analyzed the colors of 107 flags from Asia, Africa, Europe, Latin America, the Middle East and the United States. Ninety-seven percent of flags in those locations contained red, blue, green and yellow. Of the counties using these four colors, 38% used red as the dominant color. In Africa, however countries use a disproportionate amount of green and black in their flags (Sharpe 33-6). In addition to this study, it is common knowledge that certain color combinations in flags are not unique. For example, France, the United Kingdom, and the United States use red, white, and blue in their national flags. Red to signify the blood shed for liberty, white for purity, and blue to signify the domination over sky and sea (Fine 448). Studies conducted on flag colors indicate that while the philosophy and government might be different, the meaning of colors used in flags has more of a universal acceptance.
Political assignment of color is not only prevalent with national flags, but also as a means of social identity. We see the association of color politically in the mandatory or voluntary dress in both the historical and contemporary world. Throughout history, social divisions have been color-coded in both political and religious contexts. This division is still relevant today (Gage, “Color and Meaning” 34). Traditionally in India for example, specific colors designated the four castes or classes. Brahmans, the sacred caste, wore white. They studied and taught. The Kshatriyas or the militant caste wore red. Vaisyas, the mercantile caste wore yellow while the Sudras, the servile class, wore black. These color assignments follow many symbolic similarities such as the color white with spirituality and red with passion and war. In China, during the Sung, Ming, and Ch’ing Dynasties, officials of the Emperor wore designated colors according to their rank. Respectable Chinese wore somber hues of blues, grays, and browns. These are still popular dress colors in China today (Birren 29-31). During the Middle Ages, black for clothing became popular and in the Renaissance it was worn by the wealthy and nobility in all parts of Europe (Gage, “Color and Meaning” 31). During the Protestant Reformation, proper dignified attire was required according to rank and sex (Pastoureau 86-91). Puritans believed in somber dress and ornament. They imposed fines on people who wore bright colored clothing. Radical Protestants wore blue-greens as a sign of achievement (Sharpe 34). They viewed black as the most virtuous and dignified color to wear (Pastoureau 99). Traditionally, wearing the color red had its link to sexuality, as we see in the literary reference to Hester Prynne, the main character in the book, The Scarlet Letter (Fine 450-1). Today, street gangs use colors as a means of identification. “…color per se does not have any particular set of meanings. But when interpreted within a cultural domain, based on previous contexts, (Fine 1992) and grounded in expectation and socialization, such collective representation seem self-evident and inarguable” (Fine 452). Over the years, the use of color as a means of social identity has taken on many interpretations. Today, even within the diversity of cultures there are striking similarities. Wearing flashy or inappropriate colors of attire can still place a person outside social boundaries. The use of somber dark colors such as black still signifies dignified and respectable dress in many societies today.
Linguistics provides further evidence on how cultures express color meaning. There are many examples of the use of color as metaphors, which have cultural significance, in most languages throughout the world. Greenhorns, bluebloods, blackmail, green with envy, green of youth, red carpet, true blue and the blues, are some examples. However, some color metaphors lose their power as the reason for their reference fades. For example, the term “blue collar” worker originally referred to the blue shirts worn by people working in manual labor positions as opposed to the white shirts of a skilled “white collar” worker. Today people wear a wide variety of colored clothing in all areas of the work force which will eventually make these terms seem less significant. It is safe to speculate that while the reason for the reference of a color metaphor might no longer be relevant, the metaphor itself will still remain and be adapted cross-culturally. “As these and other measures indicate, color serves as part of our cultural “tool kit” (Swidler 1986)- or put more directly, part of the crayon box by which we shade social reality” (Fine 444).
There are two parts to this assignment.
A) bring in an example of symbolic color used by an artist in the past. It can be from any historical era predating @ 1900. ( The modernist or contemporary era begins at @ this time.) The Renaissance is a good area for exploration. Broadly considered, the period covers the 200 years between 1400 and 1600, although 'specialists' disagree on exact dates
Be prepared to explain the symbolism contained in the work.
B) Create a composition measuring 8.5x 11 inches on ( hot press) (smooth finish) illustration board, which employs symbolic color
Media: acrylic paint or gouache
waterproof black Technical pen aOK as secondary media but primary media is gouache or acrylic!
Your design may use symbols in order to reinforce the colors you have chosen.
This project requires that you engage in research. Exploring the symbolic use of color in other cultures or times is a good place to start. You may also use contemporary, and localized cultural references, however
avoid using "cliche" symbols ( overused, commonplace) ie: hearts, doves, skulls, peace symbols etc.
A Symbol is a word or image that references meaning beyond the obvious.
A symbol is a sign which has further layers of meaning. In other words, a symbol means more than it literally says. (Signs are literal; symbols are not).
For example, an image using reds and oranges to convey energy, might convey energy through shape and other design principles or through the depiction of images which symbolize energy such as the sun, a volcano erupting or a body in motion, Employ the techniques and ideas we have discussed in class concerning color, transparency, contrast and harmony.
Whatever you choose please be prepared to explain your color choices and the meaning and systems associated to your work.
If you buy a sheet of board, plan on making several cuts with a utility blade or exacto knife for each cut as you work towards your format size of 8.5 x 11". Each cut will take several passes of your blade along the cut line, you will be cutting through several layers of paper and board. Don’t try to achieve your cut in one stroke, as this will dull your blade and most probably create a warped cut.
Culture & Communications:
Similarities of Color Meanings Among Diverse Cultures
Marie Byrne NYSCID, ASID
Assistant Professor, New York University of Technology
Colors are all around and yet most people take the impact of their significance for granted. Color can alert people to danger, express emotion and is a way of identifying and organizing the environment. Therefore, people attach particular meanings to colors (Holtzchue 11). People respond to color not only as a visual event but also on interpreted intellectual, conscious, unconscious and subconscious levels. Psychologists have learned that particular colors can arouse the senses, cause emotional responses, alter behaviors, and induce particular moods (Holtzchue 2-3). In 1992, psychologist Ulrich Beer wrote in his book, What Color Tells Us, “Seldom, surely, is the psychological part of an appearance in nature so great as it is in the case of color. No one can encounter it and stay neutral. We are immediately, instinctively, and emotionally moved. We have sympathy and apathy, pleasure or disapproval within us as soon as we perceive color” (Mahnke 6). Dating back to the time of early civilizations, humans have attached meaning to their perception of various colors. Therefore, learned associations are important contributing factors in the way people perceive and attach meanings to colors. If color perception is subject to these learned associations, does it suggest that different cultures view meaning of various colors differently, or is it possible that there are basic links among diverse cultures? Historical information and contemporary research on the meanings associated with basic colors indicate that there are more similarities than differences cross-culturally.
Within every culture, there are various meanings associated with each basic color. However, within this context there are many similar core associations in both historic and contemporary times (Fine 445-7). Historically, evidence suggests that humans have attached particular meanings to colors and that many of those associations have withstood the test of time. Color assignments in the religious and cultural rituals in many parts of the world throughout history and in contemporary times; offer ways to gain insight into those cultures. Evidence of color associations have been also found in political and social representations of various countries such as in the colors of their flags or modes of dress. The written languages of cultures also show many color references and symbols. Many contemporary studies provide further proof that there are many similarities with regard to color preferences and meanings. Finally, globalization in the 21st Century further solidifies the concept that there are far more similarities than differences in the color associations of people cross-culturally.
It is important here to note that there are a great deal of variations and subtleties of various colors. Therefore, the focus will be to concentrate on purely saturated hues of black, white, red, yellow, blue and green. Hue refers to the name of the color. Value relates to the lightness and darkness of a particular color, and saturation or chroma is a term meaning the intensity or brilliance of a color. The extreme polarity of black and white has been universally symbolic throughout history in most cultures. Black symbolizes evil, emptiness, death, and dirtiness, but also power, dignity and strength. Since black symbolizes death, it is the color worn by many cultures in times of mourning. “Its use in mourning is very old, it probably comes from the ancient Semitic custom of blackening the face with dirt or ashes to make it unrecognizable to the malignant dead, as well as a mark of grief and submission” (Genov 4). At the extreme opposite is white. This color symbolizes purity, sterility, innocence, and goodness, but also sterility in most cultures (Sharpe 47). Most religions use white to indicate spirituality, hope, and innocence. Jewish, Christian and Hindu religions use the color white in rituals to indicate purity, chastity, virginity and inner peace. The symbol of the white dove signifies a state of perfection, peace, and blessedness. In marriage ceremonies of many cultures, women wear white. Since white is symbolizes cleanliness and sterility in most cultures, it is not surprising that it is the flag color used in hospital and health care facilities throughout the world. While most countries designate black as the color of mourning, in China and most of Asia, the color of mourning is white (Mahnke 64-5). This is not a complete contradiction, however. In many religions, there is the belief that death is not an end but a beginning. The use of white in this context means that a person brings purity into the next life. Today as in the past, black has mostly negative connotations due to the fear of the unknown associated with darkness, night and the absence of light. White is representative of a positive color. This distinction between black and white as extreme opposites is symbolic in most cultures.
Red is the color of blood and therefore relates to life itself. It is associated with fire, energy, passion and love, but it is also associated with rage and war. It is a color used as a sign of provocation and revolution. In Greek mythology, it was the color designated for the planet Mars and god of war (Mahnke 61-2). Red is a dominant color in China and is the color of good luck and happiness, since it is a belief that this color promotes long life. Red permeates Chinese New Year’s celebrations and is the traditional color the bride wears. When a Chinese baby is between one month to one year old, red colored eggs and ginger are what they use to mark the celebration (“Chinese”11). As is the case in many Asian cultures there is a strong association of the color red with the sun, the fiery ball giving life to the universe. In Japan’s Shinto religion, red is the symbol of life. For Hebrews this color represents sacrifice and sin. Christian art depicts Christ wearing red robes symbolizing not only the blood he shed as a sacrifice, but also his passion and love. It is also interesting to note that the term “red light district” to designate places of prostitution is neither culture specific nor a contemporary concept. While cultures and religions may vary, the use of red as a powerful symbol of life, passion, love, and war still appears in many places throughout the world.
Yellow is reflective and luminous. In most cultures, it has an association to the sun, the dominant force in the solar system. It is associated with wisdom, glory, light, joy, enthusiasm and optimism in many parts of the world. In Greek mythology, it is the color of Mercury, the messenger of the gods, and the communicator of mental and spiritual enlightenment (Mahnke 62). It is also the Chinese color for royalty, and during the Ch’ing Dynasty, only the Emperor could wear yellow. It is still in use in ceremonies that “pay homage to the earth”. Christians consider yellow the color of the “gates of heaven” (Theroux 3). Yellow also has negative meanings in most cultures. It is associated with aging, and illness, since it is the color of jaundiced skin, decayed teeth, infection and pus. Contemporary author T.S. Eliot described the fog in London as yellow in his poetry to depict psychological illness (Theroux 68-78). Author Alexander Theroux states, “We go into yellow, I suppose, each in our own way, with values attuned, no doubt, to whatever mode of empathy our particular vision aspires” (78). Yellow has spiritual significance throughout many cultures dating back to Ancient civilizations who believed that their lives were ruled by an “omnipotent power within the sky” symbolic of yellow (Birren 24).
Blue is symbolic for calmness, peace, loyalty, truth, dignity, royalty and contemplation, but also sadness. It is associated with the sky and the sea, and looked upon in many cultures as infinite and mysterious (Hibi 26). The ancient priests and physicians of Britain known as the Druids considered blue to be the color of harmony, truth, and wisdom (Birren 28-9). In Christianity, it is Christ’s hue, and the color of heaven where he resides. Blue symbolizes the color of “The Divine Light” and the Virgin Mary. In early Christian mosaic art, blue was a dominant color used as the background of many artists’ works (Gage, “Color and Culture” 58). During the Middle Ages, blue was never a color used to designate social position. It was also was not a choice of liturgical vestments. For these reasons, blue enjoys the designation of a non-threatening color, which everyone can use (Pastoureau 92-3). After the 12th Century, blue became extremely popular. “…The fact that blue is the favorite color of more than half the population is at the very least a sign that it is neither violent nor transgressive, and probably an expression of its relatively weak symbolic potential” (Pastoureau 180). Today many studies and polls rank blue as a color least disliked by all cultures. Perhaps it is because blue in most cultures is a calm, peaceful, and neutral color.
Green is the color of nature in most cultures. It combines gay yellow and dignified blue. It is tranquil, refreshing, quiet, and natural. Early rituals centered on the hope of a good harvest with fresh green vegetables, the food sustaining life itself. It is the color of hope, healing, immortality, and fertility. Where there are seasonal cycles, green signifies spring, rebirth, youth and freshness (Mahnke 63). Islam attaches significant importance to green and is still a sacred color to Muslims since it is symbolic of virtue. Those who have gone to Mecca wear green turbines and only those of perfect faith can wear green. In the holy book, the Koran, Mohammed promises glory to the virtuous on the day of final judgment. “There will be gardens of dark green, fountains, fruit trees, and pomegranates. Therein shall they delight themselves, lying on green cushions and beautiful carpets” (Birren 32). In Japan, there are no negative associations to the color green since it is the symbol of life. A different green plant is associated with each of the four seasons in all aspects of the Japanese culture especially representative in their artwork. For example, pine evergreens adorn New Year’s decorations. The meticulous care taken in shaping miniature trees known as “bonsai” is a way of keeping “the green in nature close at hand”(Hibi 46). Even moss, which has somewhat negative associations in some cultures, only has a positive association for the Japanese. “The green of moss signifies the pleasing patina of age. On rocks or trees, it is considered a valuable adjunct, a touch of fresh, moist green, to the long established beauty of a traditional garden” (Hibi 46). The strong universal association of green and nature accounts for its popularity in most cultures.
Rituals are not the only place that we find various symbols for colors. During historical and contemporary times, societies have assigned meaning to colors politically and as a means of social identity. It is important politically to assign significant colors to local and national flags. The flags provide powerful non-verbal images identifying a particular society. It is interesting to note that many flags come about in the early stages of a country’s history during or after a time of turmoil either religiously or philosophically. While generally flags only contain a few colors, each country or locale has a unique way of displaying those colors as a means of identity. In 1969, Martin Lindauer analyzed the colors of 107 flags from Asia, Africa, Europe, Latin America, the Middle East and the United States. Ninety-seven percent of flags in those locations contained red, blue, green and yellow. Of the counties using these four colors, 38% used red as the dominant color. In Africa, however countries use a disproportionate amount of green and black in their flags (Sharpe 33-6). In addition to this study, it is common knowledge that certain color combinations in flags are not unique. For example, France, the United Kingdom, and the United States use red, white, and blue in their national flags. Red to signify the blood shed for liberty, white for purity, and blue to signify the domination over sky and sea (Fine 448). Studies conducted on flag colors indicate that while the philosophy and government might be different, the meaning of colors used in flags has more of a universal acceptance.
Political assignment of color is not only prevalent with national flags, but also as a means of social identity. We see the association of color politically in the mandatory or voluntary dress in both the historical and contemporary world. Throughout history, social divisions have been color-coded in both political and religious contexts. This division is still relevant today (Gage, “Color and Meaning” 34). Traditionally in India for example, specific colors designated the four castes or classes. Brahmans, the sacred caste, wore white. They studied and taught. The Kshatriyas or the militant caste wore red. Vaisyas, the mercantile caste wore yellow while the Sudras, the servile class, wore black. These color assignments follow many symbolic similarities such as the color white with spirituality and red with passion and war. In China, during the Sung, Ming, and Ch’ing Dynasties, officials of the Emperor wore designated colors according to their rank. Respectable Chinese wore somber hues of blues, grays, and browns. These are still popular dress colors in China today (Birren 29-31). During the Middle Ages, black for clothing became popular and in the Renaissance it was worn by the wealthy and nobility in all parts of Europe (Gage, “Color and Meaning” 31). During the Protestant Reformation, proper dignified attire was required according to rank and sex (Pastoureau 86-91). Puritans believed in somber dress and ornament. They imposed fines on people who wore bright colored clothing. Radical Protestants wore blue-greens as a sign of achievement (Sharpe 34). They viewed black as the most virtuous and dignified color to wear (Pastoureau 99). Traditionally, wearing the color red had its link to sexuality, as we see in the literary reference to Hester Prynne, the main character in the book, The Scarlet Letter (Fine 450-1). Today, street gangs use colors as a means of identification. “…color per se does not have any particular set of meanings. But when interpreted within a cultural domain, based on previous contexts, (Fine 1992) and grounded in expectation and socialization, such collective representation seem self-evident and inarguable” (Fine 452). Over the years, the use of color as a means of social identity has taken on many interpretations. Today, even within the diversity of cultures there are striking similarities. Wearing flashy or inappropriate colors of attire can still place a person outside social boundaries. The use of somber dark colors such as black still signifies dignified and respectable dress in many societies today.
Linguistics provides further evidence on how cultures express color meaning. There are many examples of the use of color as metaphors, which have cultural significance, in most languages throughout the world. Greenhorns, bluebloods, blackmail, green with envy, green of youth, red carpet, true blue and the blues, are some examples. However, some color metaphors lose their power as the reason for their reference fades. For example, the term “blue collar” worker originally referred to the blue shirts worn by people working in manual labor positions as opposed to the white shirts of a skilled “white collar” worker. Today people wear a wide variety of colored clothing in all areas of the work force which will eventually make these terms seem less significant. It is safe to speculate that while the reason for the reference of a color metaphor might no longer be relevant, the metaphor itself will still remain and be adapted cross-culturally. “As these and other measures indicate, color serves as part of our cultural “tool kit” (Swidler 1986)- or put more directly, part of the crayon box by which we shade social reality” (Fine 444).
Color Theory Assignment #3
Assignment # 3 – Layout and Transparency Francisco Letelier
This assignment is an exercise in layout and color. The objectives are to come up with an interesting and dynamic layout, and color it in a way that shows transparency.
Choose a subject or a theme, (like sports, food, cars, nature, the ocean, technology, etc.) Gather up at least four and up to ten photo references on that subject from whatever sources you have. Your objects should be different in size and shape as much as possible.You will use these as reference and subject for your work.
Using tracing paper arrange your objects in different ways, making sure they overlap. Overlaps will be areas where transparency occurs. You may want to enlarge some of your images so that you are designing for an 8.5 x 11 format.
Come up with three interesting compositions and use one or all as a guide for your final composition.
Copy and resize (if necessary) your chosen layout onto a sheet of Bristol board with an 8 X 11 rectangle ruled out inside it. Using your paints, color these objects, using different colors. All overlapping areas should look transparent, so you should mix the colors to paint in the overlapping areas. Apply color theory ideas when choosing your palette. Remeber you are drawing the outline or contour of each object. ( ouside edges) Interior details omitted. Dont worry if objects become abstract or unrecognizable! You are searching for intersting shapes which will overlap to create opportunities for transparency.
This assignment is an exercise in layout and color. The objectives are to come up with an interesting and dynamic layout, and color it in a way that shows transparency.
Choose a subject or a theme, (like sports, food, cars, nature, the ocean, technology, etc.) Gather up at least four and up to ten photo references on that subject from whatever sources you have. Your objects should be different in size and shape as much as possible.You will use these as reference and subject for your work.
Using tracing paper arrange your objects in different ways, making sure they overlap. Overlaps will be areas where transparency occurs. You may want to enlarge some of your images so that you are designing for an 8.5 x 11 format.
Come up with three interesting compositions and use one or all as a guide for your final composition.
Copy and resize (if necessary) your chosen layout onto a sheet of Bristol board with an 8 X 11 rectangle ruled out inside it. Using your paints, color these objects, using different colors. All overlapping areas should look transparent, so you should mix the colors to paint in the overlapping areas. Apply color theory ideas when choosing your palette. Remeber you are drawing the outline or contour of each object. ( ouside edges) Interior details omitted. Dont worry if objects become abstract or unrecognizable! You are searching for intersting shapes which will overlap to create opportunities for transparency.
Color Theory Assignment 2
Color Theory Francisco Letelier Winter 2008 Assignment 2
goauche or acrylic paint on Bristol board
Employ one of Johannes Itten's color contrasts to create a composition on a sheet of 9 x 12 Bristol board.
Begin by studying Itten's contrasts and reviewing your notes from class. You may want to visit a library or purchase a book on color theory that covers color systems. Itten's book "The Art of Color" is a good thing to have on the shelf but it is expensive.
The subject matter and composition are entirely up to you. You may choose to create an abstract composition using organic or geometric shapes. Choose something you can execute well so that you can concentrate on color.
Make a series of thumbnails which show a visual exploration, choose the best and create your final.
If you are working on 9 x12 paper or board your image size should be 8x11, leaving a 1/2 inch border all around on your finished work.
Notes on Itten
by Sarah Van Arsdale with The Sheffield School of Interior Design
Every generation has its share of those who want to impose order on the natural world, to arrange and clarify things. For example, the 1700s saw Linneaus and his taxonomic order for living creatures; today, we say a giraffe is a mammal and a snake is a reptile because over 200 years ago Linneaus drew up his elaborate scheme for classifying everything from mice to eagles. These kind of systems - at least the successful ones - quickly become invisible because they make sense, and they soon become an accepted part of our world view.
In the mid 1900's, Johannes Itten developed a new kind of color wheel that changed the way color was seen, influencing artists and designers right up to the present moment. The Bauhaus in Weimar, Germany was home to many artists whose influence is still felt today in the worlds of art and design. It was there that Itten developed his book, "The Art of Color," which was the definitive compilation of what was taught in the Basic Course which Itten oversaw, at the Bauhaus.
Itten's color wheel took into consideration the subjective feeling that's associated with objective color, and the psychic and emotional values of colors. Today, we're used to saying that "blue is cold" for example; each time we do, we should perhaps credit Itten and his color theory. "Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to form," he wrote.
Itten was born in Switzlerland, and his first training was not as a painter but rather as a school teacher in Berne, where he learned about psychoanalytic theory. Like that of many artists, his path to becoming a painter was not a straight shot. He enrolled at Ecole des Beaux-Arts in Geneva, but became frustrated with his education there, and returned to Berne. There, he developed an interest in religion and mysticism, and later returned to Geneva to study with Eugene Gilliard, a Swiss painter who was teaching about the geometric elements of art. Itten's early education in geometric elements can be seen throughout his later work, in his interest in the geometry of the color wheel. It was when Itten joined up with other avant-garde artists of the early 1900's in Weimar, Germany, that his diverse interests were able to come together and allow him to create his color theory.
Founded by the architect Henry van de Velde in 1906, the School of Applied Arts in Weimar later drew in Walter Gropius, and from then on the school was known as "Bauhaus." These were the halcyon days of art in Germany, with Kandinsky, Klee, and Itten among the eminent Expressionist painters teaching there. The Bauhaus marked a new moment in art history, cutting through the elaborate, ornate style of the previous era. The designs, in buildings, paintings and sculpture, were simple and functional.
It was under this influence that Itten expanded upon the color wheel developed by Adolf Hozel. Itten took this color wheel another leap forward, inventing a color circle and seven contrasts, and looking at color from every angle philosophic, religious, psychic, psychological and physical.
We know that he's credited with changing the way people see color, but why? First of all, Itten's approach to color theory was revolutionary because he looked at color not only in terms of the physics of how light is absorbed or reflected by matter, and not only in terms of how one color looks when situated beside another.
Itten looked also at how color affects a person psychology and spiritually; he believed that there were certain characteristics inherent in particular colors that would have a direct influence on how the viewer felt.
At the Bauhaus, Germany's unequalled artists' mecca in the early part of the Twentieth Century, Itten taught his students about color harmony, which to him meant more than simply appreciating colors shown together with similar chromas, or different colors in the same shades. "Harmony implies balance, symmetry of forces," he writes, and goes on to say that such a balance would be expressed when the colors used together would produce not another color (such as when mixing yellow and blue to produce green) but when the colors mixed together produced gray. This was because "medium gray matches the required equilibrium condition of our sense of sight," he writes.
But Itten also discovered that color harmony is quite individual, and that an individual will, if given free reign and a little knowledge, find his or her own "subjective colors." To prove his theory, Itten first taught his students about color in general, and then asked his students to develop their own palette of subjective colors. He found that there was great variety not only in the colors chosen, but also in the ranges of colors. "There are subjective combinations in which one hue dominates quantitatively, all tones having accents of red, or yellow, or blue, or green or violet, so that one is tempted to say that such-and-such person sees the world in a red, yellow or blue light. It is as if he saw everything through tinted spectacles, perhaps with thoughts and feelings correspondingly colored."
In his groundbreaking book, "The Art of Color," Itten essentially gives the color course he gave at the Bauhaus. If you somehow weren't able to make it there, for example, because you weren't even born then, this is the next best thing, as the book begins with Itten's 12-hue color circle, and moves through exercises for the putative student to complete in color combining.
The book also includes 28 color plate reproductions of paintings; in these, Itten points out the use of colors, sometimes in quite surprising ways. For example, in the plate of a section from Apocalypse de Saint Sever by L'Eglise d'Ephese, Itten points out that the red dress of the angel "signifies fiery activity," and the blue and green of St. John, recipient of the angel's message, is "passive."
Itten doesn't limit himself to paintings of the 11th century; in this same section of the book, he looks at Piet Mondrian's Composition from 1928, and finds that the colors used, yellow, red, blue, white and black, each "has its unique character and special weight."
"Mondrian can create a stable equilibrium with a small blue area and a large white area, or intensify the whole with a slender horizontal yellow area at the bottom," he writes. "Great stability and clarity are achieved by dividing the field with broad black lines."
In his color sphere and color star, Itten attempted "to provide a clear and complete map of the world of color." Finding that the 12-hue color circle was insufficient, he went on to develop the color star, a more complicated way of looking at hues and their interactions with one another. But for all his work trying to explain color, the essential mystery of color and its influence on its human cohabitants of the world eluded Itten, and he admitted this.
"If it be imagined that this systematic classification of colors and contrasts banishes all difficulties, I should add that the kingdom of colors has within it multidimensional possibilities only partly to be reduced to simple order. Each individual color is a universe in itself. We must therefore content ourselves with an exposition of fundamentals." Is it any surprise that many of us feel deeply influenced by the colors around us, and have more than one favorite?
–Sarah Van Arsdale
goauche or acrylic paint on Bristol board
Employ one of Johannes Itten's color contrasts to create a composition on a sheet of 9 x 12 Bristol board.
Begin by studying Itten's contrasts and reviewing your notes from class. You may want to visit a library or purchase a book on color theory that covers color systems. Itten's book "The Art of Color" is a good thing to have on the shelf but it is expensive.
The subject matter and composition are entirely up to you. You may choose to create an abstract composition using organic or geometric shapes. Choose something you can execute well so that you can concentrate on color.
Make a series of thumbnails which show a visual exploration, choose the best and create your final.
If you are working on 9 x12 paper or board your image size should be 8x11, leaving a 1/2 inch border all around on your finished work.
Notes on Itten
by Sarah Van Arsdale with The Sheffield School of Interior Design
Every generation has its share of those who want to impose order on the natural world, to arrange and clarify things. For example, the 1700s saw Linneaus and his taxonomic order for living creatures; today, we say a giraffe is a mammal and a snake is a reptile because over 200 years ago Linneaus drew up his elaborate scheme for classifying everything from mice to eagles. These kind of systems - at least the successful ones - quickly become invisible because they make sense, and they soon become an accepted part of our world view.
In the mid 1900's, Johannes Itten developed a new kind of color wheel that changed the way color was seen, influencing artists and designers right up to the present moment. The Bauhaus in Weimar, Germany was home to many artists whose influence is still felt today in the worlds of art and design. It was there that Itten developed his book, "The Art of Color," which was the definitive compilation of what was taught in the Basic Course which Itten oversaw, at the Bauhaus.
Itten's color wheel took into consideration the subjective feeling that's associated with objective color, and the psychic and emotional values of colors. Today, we're used to saying that "blue is cold" for example; each time we do, we should perhaps credit Itten and his color theory. "Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to form," he wrote.
Itten was born in Switzlerland, and his first training was not as a painter but rather as a school teacher in Berne, where he learned about psychoanalytic theory. Like that of many artists, his path to becoming a painter was not a straight shot. He enrolled at Ecole des Beaux-Arts in Geneva, but became frustrated with his education there, and returned to Berne. There, he developed an interest in religion and mysticism, and later returned to Geneva to study with Eugene Gilliard, a Swiss painter who was teaching about the geometric elements of art. Itten's early education in geometric elements can be seen throughout his later work, in his interest in the geometry of the color wheel. It was when Itten joined up with other avant-garde artists of the early 1900's in Weimar, Germany, that his diverse interests were able to come together and allow him to create his color theory.
Founded by the architect Henry van de Velde in 1906, the School of Applied Arts in Weimar later drew in Walter Gropius, and from then on the school was known as "Bauhaus." These were the halcyon days of art in Germany, with Kandinsky, Klee, and Itten among the eminent Expressionist painters teaching there. The Bauhaus marked a new moment in art history, cutting through the elaborate, ornate style of the previous era. The designs, in buildings, paintings and sculpture, were simple and functional.
It was under this influence that Itten expanded upon the color wheel developed by Adolf Hozel. Itten took this color wheel another leap forward, inventing a color circle and seven contrasts, and looking at color from every angle philosophic, religious, psychic, psychological and physical.
We know that he's credited with changing the way people see color, but why? First of all, Itten's approach to color theory was revolutionary because he looked at color not only in terms of the physics of how light is absorbed or reflected by matter, and not only in terms of how one color looks when situated beside another.
Itten looked also at how color affects a person psychology and spiritually; he believed that there were certain characteristics inherent in particular colors that would have a direct influence on how the viewer felt.
At the Bauhaus, Germany's unequalled artists' mecca in the early part of the Twentieth Century, Itten taught his students about color harmony, which to him meant more than simply appreciating colors shown together with similar chromas, or different colors in the same shades. "Harmony implies balance, symmetry of forces," he writes, and goes on to say that such a balance would be expressed when the colors used together would produce not another color (such as when mixing yellow and blue to produce green) but when the colors mixed together produced gray. This was because "medium gray matches the required equilibrium condition of our sense of sight," he writes.
But Itten also discovered that color harmony is quite individual, and that an individual will, if given free reign and a little knowledge, find his or her own "subjective colors." To prove his theory, Itten first taught his students about color in general, and then asked his students to develop their own palette of subjective colors. He found that there was great variety not only in the colors chosen, but also in the ranges of colors. "There are subjective combinations in which one hue dominates quantitatively, all tones having accents of red, or yellow, or blue, or green or violet, so that one is tempted to say that such-and-such person sees the world in a red, yellow or blue light. It is as if he saw everything through tinted spectacles, perhaps with thoughts and feelings correspondingly colored."
In his groundbreaking book, "The Art of Color," Itten essentially gives the color course he gave at the Bauhaus. If you somehow weren't able to make it there, for example, because you weren't even born then, this is the next best thing, as the book begins with Itten's 12-hue color circle, and moves through exercises for the putative student to complete in color combining.
The book also includes 28 color plate reproductions of paintings; in these, Itten points out the use of colors, sometimes in quite surprising ways. For example, in the plate of a section from Apocalypse de Saint Sever by L'Eglise d'Ephese, Itten points out that the red dress of the angel "signifies fiery activity," and the blue and green of St. John, recipient of the angel's message, is "passive."
Itten doesn't limit himself to paintings of the 11th century; in this same section of the book, he looks at Piet Mondrian's Composition from 1928, and finds that the colors used, yellow, red, blue, white and black, each "has its unique character and special weight."
"Mondrian can create a stable equilibrium with a small blue area and a large white area, or intensify the whole with a slender horizontal yellow area at the bottom," he writes. "Great stability and clarity are achieved by dividing the field with broad black lines."
In his color sphere and color star, Itten attempted "to provide a clear and complete map of the world of color." Finding that the 12-hue color circle was insufficient, he went on to develop the color star, a more complicated way of looking at hues and their interactions with one another. But for all his work trying to explain color, the essential mystery of color and its influence on its human cohabitants of the world eluded Itten, and he admitted this.
"If it be imagined that this systematic classification of colors and contrasts banishes all difficulties, I should add that the kingdom of colors has within it multidimensional possibilities only partly to be reduced to simple order. Each individual color is a universe in itself. We must therefore content ourselves with an exposition of fundamentals." Is it any surprise that many of us feel deeply influenced by the colors around us, and have more than one favorite?
–Sarah Van Arsdale
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