Color Composition Project

Steps for this project included:

1) Illustrate overlapping shapes and lines that reach the edges of a 4×6 rectangle

2) Scan drawing, and use Illustrator to turn shapes into a layer on an artboard using the pen tool

3) Using Illustrator’s Pathfinder tool, overlapping areas are divided into individual shapes

4) Using the Hue Circle and Munsell Constant Hue chart, establish color harmonies and fill in individual shapes with different values of contrasting hues.

The hardest part about this assignment was creating the actual shapes using the Pen tool and Anchor point tool. It is easy to create symmetrical shapes but my drawing consisted entirely of oblong, asymmetrical ellipses and half circles, and my shapes required a lot of Anchor points to adjust different parts of each shape.

Using the Munsell Constant Hue chart, I was able to create the effect of transparency using contrasting hues or different values of the same hue.

 

The finished product of each of the four hue relationships reveal complimentary and contrasting hues that are aesthetically pleasing to the eye. The four relationships I chose for my project are compliments, tetrad, split compliment, and analogous. Without the Munsell Constant Hue charts, this project would’ve been impossible to complete.

 

Deep Space Project

The Deep Space project uses diminishing contrast between shapes and ground (background), scale, and value to create the illusion of transparency and depth in a 2-dimensional image.

The major steps in achieving depth were as follows:

1) Creating 3 sizes of shapes and multiplying them across a canvas with a ground of 50% value.

2) Rotating the identical shapes to create the illusion of “floating” in space

3) Adjusting the value of the constrasting/overlapping areas of shapes to create transparency.

Understanding the relationships between 2 figures overlapping one another was the most difficult part of the project, but practice from our previous assignment served as a good guide.

To keep consistent values across the canvas, I made sure to keep track of the value percentages of overlapping space as I worked.

Another challenge was making sure the values of the larger shapes in overlapping areas reinforced the idea of the larger shapes were closer in distance, not just large in size.

Deep Space Tammy Lee no bleeds-2n1w0dx

 

Color Theory: Tone Scale

The trickiest part of the tone scale was creating a color (gray) without saturation, with the equivalent tone of a color with  saturation. Creating the gray with paints was also a learning experience because I was surprised by how much black paint was required. Finding the medium between “too light” and “too dark” required over 8 mixing attempts. I wonder what the process would’ve been like if I started with the black paint first and then added white paint.

Creating the paints for the tone scale was interesting because as I was mixing them, the colors with more saturation at first glance seemed “brighter” and therefore, looked to have more value, but once I completed the scale, I can see that the values are the same.  Each color required the same number of layers of paint to look fully coated.

 

Color Theory: Hue Circle Project

This semester was my first time working with both paints and photoshop. The first assumption one would have about painting a color strip is that it would be very easy, but it was the opposite. Not only did it take several attempts at mixing colors to create one secondary or intermediate hue, but working with the paints and color balancing required its own learning curve. One thing I found interesting was how many shades of paint was required to saturate color onto the illustration board, such as yellow and magenta. But the blue violet or yellow-green required less strokes of paint. Overall I found that the project really tested my patience and helped me realize the importance of taking my time and really paying attention to detail.  I also have a new appreciation for how color is created physically and digitally and how difficult it can be to communicate the exact color the creator has in mind. 

Color Theory

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