* JOSEF ALBERS’ “INTERACTION OF COLOR” ("IOC")
* JOSEF ALBERS’ “INTERACTION OF COLOR” ("IOC")
COLOR THEORY COURSE
NOTE: The Interaction of Color course offered in the web site is the complete course. Because of time constraints, the most outstanding and important studies have been selected for IHA's Studio Art Course. Consult the "IOC IHA STUDIES CHECKLIST" link for IHA-offered studies and their due dates. For the course's complete CHECKLIST, the link is "COMPLETE INTERACTION OF COLOR COURSE INDEX & CHECKLIST".
ADVANCED MIDDLE COLOR AND TRANSPARENCY STUDIES
GO TO: COLOR THEORY BACKGROUND REVIEW
INTERACTION OF COLOR COURSE INTRODUCTION & BACKGROUND
THE COLOR STUDIES
"COLOR IS RELATIVE TO THAT WHICH SURROUNDS IT" STUDIES
ACRYLIC PAINT AND COLOR MIXING STUDIES
MIDDLE COLOR & SIMPLE TRANSPARENCY STUDIES
INTENSITY, VALUE, & OPTICAL MIXTURE STUDIES
ADVANCED MIDDLE COLOR STUDY
THE MASTERS STUDY
17. STEP-UP/STEP-DOWN
(IOC Reference: XVII 1.1, 1.2, & 2.1 FILM COLOR)
This study and the next, Step-Up/Step-Down, Add a Hue, when made more complex and sophisticated, is exemplified in the paintings of John Day, a former William Paterson University Art Department professor and one-time student of Josef Albers at Yale. Notice that the hue and value steps between the colors of the drawing, below, are mathematically calculated based on middle colors. To get the fine transition between the colors the first painting, Day has used 32 equal stages from gray to red!
JOHN DAY
The drawing study below for another painting, demonstrate how mathematics and proportion of colors are involved in the preparation for the painting, The premise of color use in these examples is based upon visual calculating of what is middle color. The application of all these paints is by pallet knife! There is no blending by brush. The strange textured shapes on each of the paintings are from scans of a book.
IMAGE SOURCES from left to right:
Photo: Jane Garnes
Paintings: "John Day", Ten Avenue Editions, Inc., NY, NY., 1984 (3x)
17.1. Begin with 4 hues. Fine 4 more colors that step up or down either in big or little steps. It can be imagined as sunlight and shade or when a spot gets when, a window is tinted, when wearing sun glasses, and in plaid materials. A sense of space is alluded to in the step up and step down that lies in front of the picture plane.
17.2. Step up advanced or goes toward the light because it is lighter in hue and value. It looks like a highlight as it moved toward the light.
17.3. Step down moves toward the dark because it is darker in hue and value. It looks like a shadow as it moves toward the dark.
17.4. Use 8 colors as in the sample layouts below:
|
A |
B |
C |
D |
|
A1 |
B1 |
C1 |
D1 |
|
A |
B |
C |
D |
17.5. A is to A1 as B is to B1 as C is to C1 as D is to D1. See above diagrams.
17.6. A is to B as A1 is to B1. B is to C as B1 is to C1. C is to C1 as D is to D1. D is to A as D1 is to A1.
17.7. For the adventurous, try a double study using 12 colors.
17.8. Use a tube of white paper cone with hands held at top and bottom (cuts out color and hue and shows value as though squinting) or squint hard to see if the edges are equally hard in relationship to one another.
17.9. The conclusion of this study will demonstrate”
17.9.1. One study
17.10. CHECKLIST - 1 STUDY
18. STEP/UP/ STEP-DOWN, ADD A HUE
(IOC Reference: XVII 2.2 & 3 FILM COLOR)
18.1. This is a color film that steps up or down and changes hue.
18.2. Hint: Use very monochromatic colors to make it work best in the step up and step down.
18.3. Add the same amount of the same hue to each original hue. For example,
Color A + pink
Color B + pink
Color C + pink
Color D + pink
See
example at left. What is the hue to which the right hand study steps up
toward?
18.4. Check your ideas in the white paper tube to verify whether or not the step ups or step down to the color are equal.
18.5. All edges must have the same degree of hardness.
18.6. The conclusion of the study will demonstrate:
18.6.1. One study
18.7. CHECKLIST - 1 STUDY
19. STEP-UP/STEP-DOWN, UNRELATED HUE AND INTENSITY
19.1. The same relationships are established as in step up/step down studies in 17 and 18 but there is no hue or intensity relationship, only value.
19.2. All edges must have the same degree of hardness.
19.3. Check your ideas in the white paper tube to verify whether or not they work.
19.4. The sample layout below will give you a rough idea about how different the hues are when unrelated value is the goal.
19.5. The conclusion of the study will demonstrate:
19.5.1. One study
19.6. CHECKLIST - 1 STUDY
IOC GO TO: COLOR THEORY BACKGROUND REVIEW
"COLOR IS RELATIVE TO THAT WHICH SURROUNDS IT" STUDIES
ACRYLIC PAINT AND COLOR MIXING STUDIES
MIDDLE COLOR & SIMPLE TRANSPARENCY STUDIES
INTENSITY, VALUE, & OPTICAL MIXTURE STUDIES
COMPLETE COLOR STUDIES CHECKLIST
* SOURCE OF ALBERS LOGO THROUGHOUT WEBSITE IS: http://www.laurentianum.waf-online.de/ldalbe03.gif
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