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Color
Students can reduce their composition to half-size and do
a color investigation on tracing paper with color markers
or pencils. Color shapes cannot have a black line defining
edges. It is necessary to see color edge against the black
or white.
Substitute
color for one white or black shape. Particular attention is
given to value as this is the most important consideration
and students should investigate value relationships. The choice
of color is almost immaterial. The important thing is whether
the color boundary is soft or hard.
Typical
Criticisms
•)
I
don’t think it makes any difference what hue is selected
as it is value that makes the difference. Using the same composition
and shape, do one color as a light value, middle value and
another with a dark value. See what happens and then decide
what you want to happen.
•)
The
amount of color to the amount of black is about equal.
One
cancels out the other. Remember in the color class the problem
dealing with how much to how much?
•)
Even
though these are sketches, you are really sloppy. Take more
pride in your work and do them carefully.
•)
I
don’t think you have explored enough options yet. Do
some more.
Presentation
On
a 16-inch board, students visually center a 10-inch square
drawn in pencil. They put in the lines 1 to 4, evenly spaced.
Tracing paper flap when completed. The lines can be done in
pencil or with a fine pen. I usually required them done in
pen. This is another tool and medium for the students to master.
The 10-inch square is always done in pencil.
On
a 16-inch board, students visually center a 10-inch square
drawn in pencil. Using plaka, they paint the black, white
and color composition. I am as demanding of line quality with
a brush as with pencil. The plaka color shape must be well
done without streaks, build-up or unevenness in the color.
Tracing paper flap when completed. The 10-inch square is always
done in pencil.
Color
Interpretation of Composition
As
students have been doing the four exercises from Alber’s
color course: color boundary, visual mixture, color interaction
and how much to how much, a color interpretation of the composition
has been added to the repertory of exercises. Using one of
the Alber’s color principles, students work out a scheme
where color is used in all five areas. There are no lines,
only edges. Exploration is done on tracing paper at half scale
using colored pencils or pastels. When one or two compositions
are selected, they are translated as vertical stripes representative
of areas or amounts using color-aid papers (about 3 x 3 inches.)When
the final selection is made, it is put onto a 15 x 15 inch
board and painted with gouache.
After
doing this exercise once, it was found that the boundary principle
had the greatest significance. The boundary could be used
to accentuate either a shape or a line, or it could be used
to diminish a weak shape or line. It could also be used to
establish spatial relationships. The more successful projects
used a vivid color for the minor shape and then some variation
of the analogous colors on either side of the key color. For
example, an intense red might have purples into blues on one
side and oranges into browns or yellows on the other side.
Students experienced great difficulty laying paint into even,
flat surfaces.
By
the end of the semester, each student should have four 15-inch
boards. One is the lines in sequence with ink or pencil, one
is the line composition in ink, one is the shape composition
is black and white with plaka, or color substituted for one
black or white shape, and a five color composition done in
gouche/plaka/acrylic.
Students
prepare a progress book with a sheet of white bond between
sheets of tracing paper. The book will have a cover with student’s
name, class number and date. Students can design the cover
and the book is spiral bound.
Second
Semester
A
few students will still be completing the color board from
the first semester but the majority of students will begin
working with shapes. The supplementary course for the second
semester is based on visual principles. Students will still
be working with cut paper as it is most conducive to the exploration
that leads to learning. Also, it prepares students for a compositional
project near the end of the semester.
Shapes
and Compositions
This past year I changed the presentation of the first exercises
by lumping them as one rather than assigning them individually.
The innovation was particularly well received by students.
Students were directed to design a non-biased abstract shape
that appeared as a flat plane with an elegant contour. They
were to do another non-biased shape where the contour described
dimensional form. They were to design a leaf that represented
an application of the flat theoretical shape. They were to
design a folded paper construction that when filled in, it
retained an illusion of dimension, and/or they could design
a fruit or vegetable where the contour suggested form. All
of these options were presented at one time and students could
select the subject and sequence. Some students did all five
exercises, some did three or four but everyone had to do two;
one flat and one dimensional. I would recommend that the exercises
be assigned as just described, but the following has been
retained as a record of what went before.
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