I. Color Composition
I made a twelve step hue circle by only adjusting the values on Illustrator. This palette worked as a basis of my later pattern, because I selected three of these colors whose variations I was to worked with. My initial approach to the relations between the hues was mathematical, but I had to keep looking at it and rely on my vision in order to make a plausible palette.
II. Pattern from Fabric
I found an image of fabric with a Korean traditional pattern on it. It was a very complicated pattern so I cropped a bush-shaped part to work with.
III. Initial Patterns
At first, I built my pattern to be simple and pop-artsy. I made a panel with one big bush shape and rotated the duplicated panels only by 180 degrees.
The first pattern that I made is a visually intense, neon-colored, high-contrast pattern:
Then, with the same frame, I made a more toned-down, milder pattern with mostly analogous colors and low saturation, except for the middle panel:
I also made a pattern with only blue hue, and with all the shapes to be of very similar levels of value. I focused on creating panels different only in how big the gap between the shape and the background is:
I made a new pattern with the shapes colliding onto the edges of the panel, and rotated them in a greater variety. I used the triad colors of red orange, green, and blue. I used various color relations, such as high contrast, analogous colors, dark background and bright shapes, bright background and dark shapes, etc. I liked how the new structure captures transparency of colors in some parts, but I wanted to make it more coherent and pattern-like:
IV. Edited Color Patterns
I made a new, more complex and coherent pattern, by duplicating the bush shape and changing their sizes. I used three hues—red orange, red, and magenta—all of which are analogous to each another. I used one hue for the backgrounds of each horizontal column, and gradually increased its saturation and decrease its value towards the right side. After I’d done so, I used the remaining two hues to color the shapes in a zigzag. I also increased the saturation of the shapes to the right direction. But the saturation of the shapes stops increasing past the second perpendicular column, and it starts to decrease in their values in the last column. Therefore, the three panels in the first perpendicular column have a dim, warm feeling, and the second column has an intensified, clearer feeling, whereas the last column has a darker, heavier feeling.
For my final pattern, I increased the saturation of the backgrounds in the third perpendicular column. The intensified backgrounds, which are as saturated as the shapes in the second column, let the dark shapes stand out. The bright, highly saturated background, ironically, emphasize the darker shapes due to the construction of the patterns and the relations between contrasting colors. When one focuses on the edges of the shapes and panels, the colors allow for interesting visual experiences.