Color The Elements of Art The Elements of Art TheVirtualInstructor.com.
Design Elements: Understanding Color€¦ · Design Elements: Understanding Color Chris A. Paschke,...
Transcript of Design Elements: Understanding Color€¦ · Design Elements: Understanding Color Chris A. Paschke,...
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Design Elements:
Understanding Color
Chris A. Paschke, CPF, GCF, CMG
West Coast Art & Frame Expo, Las Vegas 2019
Sponsored by Peterboro Matboard
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is the most emotional and
expressive element in design.
Color
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Principles of Design
Line
Texture Color
Space Intensity Shape
Balance
Proportion
Emphasis
UNITY
Rhythm
Elements
are the easily identifiable
building blocks
Fundamentals
are mortar that
hold the blocks
together
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Definition of Color
“Color is the character of a surface
which is the result of vision sensitivity
to reflected wavelengths of light.”
In other words…in order to see green all
other wavelengths are absorbed and green
is reflected back to the eye
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Color Theories
Additive Subtractive Subtractive
Light Digital Pigment Artist Pigment
Lighting Printers Framing
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Additive Color Theory (LIGHT)
Primaries of red, green, blue
(RGB) create secondaries of
yellow, cyan, magenta.
All six combined create white, as
all the colors in light are present
and absorbed.
In order to see a red apple all
other wavelengths of light are
absorbed into the apple, reflecting
only the red waves, allowing us to
see it as red.
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Subtractive Color Theory (DIGITAL/PRINT)
Primaries are cyan,
magenta, yellow (CMY)
which create secondaries of
red, green, blue.
All six combined do not
add color, but subtract or
absorb all light wavelengths
creating black - the absence
of color.
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Subtractive Color Theory (ARTIST PIGMENT)
Pure pigmented primary colors
red, yellow, blue are mixed to
create secondaries of
orange, green, purple.
When three primaries and three
secondaries (all six) are
blended…the result is muddy
grey, brown or black.
Unlike light waves, no amount
of color mixing will ever
produce white.
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Glossary of Color Terms
Primary Colors - Pure colors that cannot be mixed
Red, Yellow and Blue on wheel
Secondary Colors - Orange, Yellow, Purple
Mixed from Primaries
Complimentary Colors - Opposites
Shade – Color plus black, darker than normal value
Tint – Color plus white, lighter than normal value
Tone – Color plus Grey
Monochromatic – Shades and Tints of same color
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Color Properties
Every color has three basic color properties: hue, value, chroma
Hue - Position of a pure color in the spectrum that has not
been dulled or diluted, no white, black or color added
Value - lightness or darkness of a color in relation to a scale
ranging from white to black
Chroma - (saturation, intensity) Brightness or purity
Cannot change value without changing chroma
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Value Scale
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Liner warm white
expands image
Bevel wrap brings
eye into tree
Top picks up
neutral tan
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Warm white
expands image
Spacer adds
depth and
shadows
Top warm gray
Draws the eye
into the leaves
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Color Wheel
Red
Yellow Blue
Orange Violet
Green
Red
Orange
Red
Violet
Blue
Green
Yellow Orange
Yellow
Green
Blue Violet
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Primary Colors
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Secondary Colors
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Complementary Colors
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Complementary Colors
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Complementary Colors
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Shade color plus black
Tint color plus white
Tone color plus gray
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Primary
as Shade Primary
As Tint
Primary
Colors
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Metallics
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Metallic Bases
Yellow Base Red Base Blue Base
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Metallic Bases
Must match frame,
mat, fillet and gold
used within art
or document
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Faded Gold
Moulding
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Gold matches
tones and warmth
in painting
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Common plein air profile
Good color match to cooler tones in art
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Soft brushed gold
tones harmonize
with the encaustic
medium
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Soft brushed
antique silver
works with melted
opaque waxes
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Crème rag top mat
Wrapped textured
bevel for rhythm
Liner white to
match background
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Torn paper
accents
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Mat color vs. Wide frame color
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Mat Color Selection – Rules of Thumb
1. Dominant art color = top mat color selection
There are exceptions to every rule
Consider textures and contrasts
2. Secondary art color = middle mat or first accent
Second mat width does not have to be middle
3. Third art color = third mat or second accent
Can be a simple as red line on frame edge
Or under tiered mat
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Visual emphasis through color
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Color and Visual Focus
Grey Ansley stem frame pulls into the ink washes
Soft gold Cintra draws into the warmer yellows
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White background
Green frame & deckle
Grey edge highlight
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Under tiered top mat
Liner mat varied to
match aged ad
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1970s original framing
Reframed to protect
original watercolor
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Dominant blue is too dark for top mat.
Brushed aluminum accents the airplane.
Deep bevel wrap and gray help integrate.
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The traditional
pastel concept of
using white mats
to allow the art to
showcase itself
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Softened transition
of antique whites,
brightest on top,
using a copper
frame to unify
with color
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Color and Line
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Color, Line & Texture
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Color and Rhythm
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Warm white and Gray repeated as top mat and deep bevel.
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Surface tiered (T)
Matte laminated (B)
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Color and Shape
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Color & Style (Era)
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European Asian
Black = Immortality, knowledge, power
Grey = Dullness, indefinite
White = Death, mourning, spirits, ghosts
Yellow = Clarity, reliability, royalty
Orange = Change, spontaneity
Pink = Love
Red = Wedding, luck, happiness, joy, life
Purple = Spiritual healing, strength,
Blue = Healing, calmness, immortality
Blue/Green = Vigor, vitality, longevity,
Green = Calm, healing, health, harmony
Brown = Industriousness, grounded
Black = Grief, death, void, nothingness
White = Purity, innocence
Yellow/Orange = Warmth, newness
Pink = Tenderness, poetry
Red = Love, passion, desire, fire
Violet = Meditation, mystery, occult, exotic
Purple = Aristocratic, royal, worldly
Blue = Loyalty, isolation, honesty, sadness
Green/Blue-green = Earth, naturalism, Zen
Brown = Earthiness, solidity, firmness
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Optical Brightening Agents - OBAs
http://www.peterboromatboards.com/videos.php
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Physicists tell us about the make-up of color
composition and explain how the human eye
perceives a given color.
Science of Color
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Science of Color
Physicists tell us about the make-up of color
composition and explain how the human eye
perceives a given color.
Psychologists tell us how color affects us
physically and emotionally.
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Physicists tell us about the make-up of color
composition and explain how the human eye
perceives a given color.
Psychologists tell us how color affects us physically
and emotionally.
It is up to the frame designer to assimilate all
of this information and sell it to the client as
the most dynamic solution possible.
Science of Color
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Color...consider the
possibilities!
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Additional Resources
Bevlin, Marjorie Elliott. DESIGN THROUGH DISCOVERY.
New York: Holt Rinehart Winston, 1984.
Graves, Maitland. ART OF COLOR DESIGN. 1951.
Itten, Johannes. THE ELEMENTS OF COLOR. New York: Reinhold, 1970.
Leland, Nita. THE CREATIVE ARTIST. Cincinnati: North Light Books, 1990.
Mayer, Ralph. A DICTIONARY OF TERMS AND TECHNIQUES.
New York: Thomas Y. Crowell Co., 1969.
Perkins, Greg. GREAT FRAME DESIGNS. New Jersey: PFM Books, 2009.
Wong, Wucius. PRINCIPLES OF COLOR DESIGN.
New York: Van Nostrand Reinhold, 1987.
Paschke, Chris A., Designs Ink, http://www.designsinkart.com/library.htm
"The Design Process", PFM, 12 part series, 1994.
"Design And Critique", PFM series, 1997.
"The Essence of Design", PFM, 12 part series, 2000-2001.
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Other Paschke classes WCAF 2019
Mastering Mounting: Sensitive Items Monday, 9:00-11:30am
Design Elements: Shades of Gray Monday, 4:00-6:00pm
Design Elements: Pop of Color Tuesday, 10:00am-12:00pm
Mastering Mounting: Creative Mounting Lecture = Tuesday, 12:30-3:00pm
Workshop = Tuesday, 3:30-6:00pm
Mastering Mounting: Challenging Items Wednesday, 10:00am-12:00pm
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Paschke Online
Article Archive and Reference Library
http://designsinkart.com/library.htm
Articles by Subject: West Coast Art & Frame PowerPoint and PDF
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Chris A Paschke, CPF GCF CMG
Designs Ink
Tehachapi, CA
www.DesignsInkArt.com/Library.htm