ART 2250 section 5: First Year Studio 2-D (4 credits)
Semester: |
Spring 2008 | Instructor: |
Assoc. Instructor Tom Hoffman |
Class time: |
M W 6:00pm - 9:00pm | Office: |
ART Bldg 345 |
Class location: |
ART 352 | Office hours: |
By appointment |
Pre- or Co-requisite: |
ART 2200 | Telephone: |
585-5797 |
Fulfills: |
Email Address: |
chinesetakeoutC@hotmail.com |
Notice: It is the responsibility of the student to enrolled in the class by the add deadline (http://www.sa.utah.edu/regist/pages/Deadlines.html). Late slips will not be signed by the department. It is also the responsibility of the student to make sure that dropping or withdrawing from the class has been officially completed in the Registrar's office.
Course Description
The second semester of drawing continues the two-dimensional description with form and space using the visual element of value. The final two-thirds of the semester concentrates on color. Students begin with basic color mixing and work through a series of color-theory problems dealing with relativity of color, color illusions, psychological effects, and ideas pertinent to basic color harmony. Problems are both design-oriented and representational in nature. Pre-art major class.
Course Fee
Course Text and Other Readings
Course Content and Objectives
The focus of the class remains the translation of the three-dimensional world onto a two dimensional surface The extended focus will be color and color theory. Students will complete a number of formal exercises designed to create an understanding of color and its components. In the later part of the semester the approach changes away from these more theoretical exercises to the application of the information gleaned as it applies to direct observation.
Color is life; for the world without color appears to us as dead. Colors are primordial ideas, children of the aboriginal colorless light and its counterpart, colorless darkness.
As flames begets light, so light engenders colors. Colors are the children of light, and light is their mother. Light, the first phenomenon of the world reveals to us the spirit and the living soul of the world through colors. – Johannes Itten
Attendance Policy
Evaluation Methods and Grading Scale
The student’s grade will rest on the completion of all assigned work, attendance, grasp and utilization of the basic concepts as well as effort and improvement in relation to the class. Students are expected to keep a portfolio that will include assignments done in class and out. This work will be viewed at the final critique in which all students are expected to participate. It is hoped that each student will utilize this critique as an opportunity to recognize and evaluate his or her own and other’s work in reference to the principles they have learned throughout the semester.
Portfolio
Drawing board (24” X 36”)
One pad Bristol paper (plate finish) (14” X17”)
Sheet of glass 14” X 18”
One spray bottle
Roll of 1” masking tape
Nylon brushes " 1/4" flat, #'s 1, 6 (watercolor) rounds
Single edge razor blades
Sanding block or sheet of fine sand paper
Charcoal pencils (hard, soft, medium white, sanguine)
Erasers
Loew-Cornell 12 gray tone pastel set or New Pastel gray set
Canson Mi Teinte charcoal paper 19" X 25" (4 steel gray,2 dark blue)
Color wheel
Tube (one each) of the following acrylic colors:
Hansa yellow light or cadmium lemon yellow
Cadmium Yellow medium
Yellow Ochre
Cadmium Red medium or Napathol Red light
Quinicridone Red
Pthalo Green
Hookers Green (liquitex)
Phalo Blue
Dioxizine Purple
Ultramarine Blue
Black
White
Burnt Umber and Sienna
Raw Umber and Sienna
A container for water (at least a half gallon is recommended)
Roll of paper towels
Glossary
Hue Color name (red, yellow, blue)
Value Light or dark
Chroma/Saturation Refers to the intensity of a color
Temperature Refers to the quality of the color on a scale ranging from warm colors i.e.: red, orange to cooler colors i.e.; blue, green. The addition of white also cools a color.
Complementary the color opposite color on the color wheel. Orange/Blue, Yellow/Violet and Red/Green are complements (note: The complement of Red-Orange would be Blue-Green etc.) Compliments give the greatest degree of contrast to any color.
Shade The resulting color when black or a complement is added to any color
Tint Results from adding White (remember, will also cool a color)
Indirect and Direct painting Indirect is the mixing of paint on the image area and direct mixing is the more deliberate mixing of the color on the palette and placing it on the image.
There are seven kinds of color contrast, they are:
Local color the hue or color of an object arriving at value distinctions via the addition of white or thinning of the pigment.
Complements Experiment with your palette trying to construct colors with complementary pairs that are either warm or cool. (i.e. mix cad red with a warm and a cool green. Than mix alizarin crimson with your two greens.
You can always use a complement to shade (or darken) a color as well as reduce the saturation level. You can do this to create a contrast between fore and background. Forms in the foreground have a greater value range and are more saturated.
Black Blacks can be made by mixing the darker values of any pair of complements (i.e. Ultramarine Blue and Burnt Umber) Try to use colors that are within the spectrum of the color family you are using. In the case of Ultramarine and Burnt Umber it works well because it contains both warm and cool colors. It is preferable to a pure black because it does not reduce the saturation of the color it is mixed with and it does read as a color within a spectral range. Alizarin Crimson and Sap Green is another where you have both warm and cool complements as is Dioxizine Violet and Raw Umber
Spectral color is color that utilizes the darker values within a color family and therefore maintains a higher saturation. It also retains the temperature variant found within the color spectrum (color wheel). It is much more complex and richer. Try the following mixtures:
Yellow (cool) hansa yellow/white, cad yellow, yellow ochre pale ,raw sienna, raw umber, thalo blue (violet complement)
Yellow (warm) white/cad yellow, mars yellow,yellow ochre pale, raw sienna, burnt sienna, burnt umber (violet complement)
Red (cool) white/alizarin crimson Quinicradone red, cad red deep, cad red medium, Brown Madder Alizarin, burnt umber, Dioxizine violet Purple madder Alizarin (cool green complement)
Red (warm) cad yellow/cad red, Cad red deep, Alizarin Crimson, burnt sienna, burnt umber (warm green complement)
Green The Range for warm/cool depends upon the quantity of yellow or blue some additional colors are (warm) sap green, Prussian Green (cool) Pthalo Green, viridian (red complement)
Orange Here use the yellow range with cad red for warm and alizarin
crimson for cool using touches of both in each mixture
ADA statement
The University of Utah seeks to provide equal access to its programs, services and activities for people with disabilities. If you will need accommodations in the class, reasonable prior notice needs to be given to the Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS will work with you and the instructor to make arrangements for accommodations.
All written information in the course can be made available in alternative format with prior notification to the Center for Disability Services.