McArthur GlennMcArthur ColourThisisthethirdeditionofthehighlysuccessfulColourandTwo–Dimensional Designtextbook.Ithasbeenexpandedwithupdatedinformationandnow includesanewuniton Colour,FormandSpace alongwithanumberofone- pagesidebarissues. Theobjectiveofthispublicationistobeacomprehensivesourcefor basiccolouranddesigninteractions,elementsandprinciplesthatunderlie alltwo-dimensionalimage-making,includingdrawing,painting,photography, illustration,textilesandgraphicdesign.Theinteractions,elementsand principlesthatareillustratedinthispublicationcanbedirectlyappliedto alltwo-dimensionalmediaandwillprovideasolidfoundationforsubsequent learningandaestheticdevelopment. Colour&Two–DimensionalDesign JessikaWelch, PawPaw ,2017 CherylMartin, ScoopDreams ,2014 CorneliaLi, Winter ,2014 WilliamJohnson, MorningGlory ,2014 C o l o u r &Two–DimensionalDesign ThirdEdition Placebarcodehere ThirdEdition Final-Cover-3Ed:Layout 1 6/15/17 9:17 AM Page 1Colour GlennMcArthur ThirdEdition CherylMartin, ScoopDreams ,2014 Final-3E-1:Layout 1 5/31/17 10:42 AM Page 1Copyright©GlennMcArthur2017 Allrightsreserved.Nopartofthispublication maybereproduced,storedinaretrievalsystem, ortransmittedinanyformorbyanymeans, electronic,mechanical,photocopying,recording, withouttheconsentoftheauthor.Allartistand studentimagerightsbelongtotheindividual(s) thatcreatedtheworkandmaynotbeusedwith- outwrittenconsentfromtheartist/designer. PrintedandboundinCanada CanadianCataloguinginPublicationData McArthur,Glenn, ColourandTwo-DimensionalDesign Includesbibliographicalreferences. ISBN978-0-9921153-5-7 1.ColourandTwo-DimensionalDesign.2.Art andDesignElementsandPrinciples.3.Colour Perception.4CourseSyllabi Publishedby:OCADUniversity Editor:AnnieSzamosiand RobinKingsborough Design:GlennMcArthur ProductionGlennMcArthur Computergraphics,illustrationsandphoto- graphsbyJoeGaultorGlennMcArthur,unless notedinimagecredit. Frontcoverimage:RachelBento,Jayme,2013 ThefrontandbackcoverpaintingsbyRachel Bentowerebasedonhertext-basedsynesthesia interpretationofhersubject’sfirstnames, Jayme and Sierra .Synesthesia,aneurologicalphenome- non,allowsRacheltoassociatecolourswithlet- ters.Sheusesthisexperiencetoinfluenceher paintings’choiceofcolourandplacementinthe composition. Backcoverimages: CherylMartin, ScoopDreams ,2014 CorneliaLi, Winter ,2014 RachelBento, Sierra ,2014 WilliamJohnson, MorningGlory ,2014 Someofthefilesusedtoillustratethetextare fromOCADUniversity’sVisualResourcesimage archive.Previouseditionusedsomephotography anddocumentationfromLinoRagnowithcata- logingbyEricSchwab.Thebulkoftheimagesis studentworkfromallyearswiththeintentionto showcasethetalentandcreativityofpresentand paststudents.Everyattempthasbeenmadeto properlyidentifytheimagesusedinthispublica- tion.Ifanythinghasbeenmislabeled,everyat- temptwillbemadetocorrectitinsubsequent editions. Contentandcontributions(bothvisualsandtext) werecreatedanddevelopedbyOCADUniversity’s variouscolourcoursesfromboththefacultyofArt andDesignalongwithFirstYearChairsandAssoci- ateandActingDeans,includingDoreenBalabanoff, JoeGault,DavidGriffin,JuneLawrason,JJLee, DorieMillerson,GayleNicoll,DougPanton,Joseph SalinaandSylviaWhitton. Final-3E-1:Layout 1 5/31/17 10:42 AM Page 2withandanunderstandingofvisuallan- guageterminologyaswellasknowinghow touseandmanipulatekeyconceptsinthe creationoftwo–dimensionalformsisanes- sentialcomponentofstudents’growthand development.Acomprehensionofdesign elementsandprinciplesunderliesalltwo–di- mensionalimage–making,includingdrawing, painting,photography,illustration,textiles andgraphicdesign.Theelementsandprinci- plesillustratedinthispublicationcanbe directlyappliedtoalltwo–dimensional mediaandprovideasolidfoundationfor subsequentcourses. Theideascontainedinthispublication arenotmeanttobethefinalwordorgospel butratheracompilationofinformationthat willfacilitatestudentsintheirunderstanding, andinformtheirwork,byprovidingabasic setofdefinitionsandprinciplesfordiscus- sionandanalysisofvisuallanguage. Thecontentforthispublicationhasbeen generatedinternallyfrombothpastandcur- rentinstructors,whilealsodrawingonthe DeanandAssistantDean’sextensiveknowl- edgeandexperience.Ithasbeentargeted specificallyfortheOCADUniversityaca- demicenvironmentandthecourse’sspecific learningoutcomes.Thistextbookismeant tobeusedinconjunctionwiththeonline quizzesinCanvas,whichwillcomplement thismaterial,inordertodeepenthelearning experienceandreinforcekeyconcepts. Introduction Welcometothethirdeditionof Colourand Two–DimensionalDesign ,whichincludes someexpandedandupdatedinformation, includinganewuniton Colour,Formand Space alongwithanumberofsidebararti- cles.Thenewunitdealswithissuesthatwill helpstudentsunderstandhowcolourand forminteractandhowcolourcanbeusedto createdepthandspatialhierarchieswithin twoandthreedimensionalspaces.Theside- barmaterialfeaturesinterestingandlesser- knownissuessuchaslocal(geographic colour),colourforecasting,trademarking acolour,colourlanguageandpaintnames. Theprofessionalartistanddesigner profileshavebeenmaintainedinorderto showcasetheworkofnationallyandinterna- tionallyrenownedindividualsandactasan inspirationforstudents.Theseartistsand designersalsocommentontherelation- ships,processesandmaterialconsiderations thataffectthecolourpalettesintheirwork. Theartists’anddesigners’profilesinclude theindustrialandinteriordesignerKarim Rashid;theillustratorGaryTaxali;theSouth AfricanartistMarySibande;thepainter RachelMacFarlane;thelightpainter StephenKnappandthetextileartist SusanWarnerKeene. Theobjectiveofthispublicationisto introducestudentstothebasicelements, principles,conceptsandtheoriesofvisual languagewhichisfundamentaltothecre- ationoftwo–dimensionalforms.Familiarity ColourandTwo–DimensionalDesign Final-3E-1:Layout 1 5/31/17 10:42 AM Page 3Final-3E-1:Layout 1 5/31/17 10:42 AM Page 4StephenMcCarley, Untitled ,2010 norms.Overthecenturies,paintersandprac- titionerswrotenumeroustreatisesthatde- scribedtheprocessofproducingcoloursas wellaswhichhueswentwelltogether.These werebasedontheirandtheirfellowartists’ subjectivestudioexperiences.Someofthe bestofknownofthesewouldincludetheItal- ianpaintersCenninoCennini, TheCraftsman’s Handbook ,c.1390;LeonBattistaAlberti, OnPainting ,1435;andLeonardodaVinci’s, TreatiseonPainting ,c.1500 In1672,SirIsaacNewtonpublished hisfindingsonthenatureoflight,whichdis- playedascientificunderstandingofthecom- ponenthuesofwhitelightconsistingofred, orange,yellow,green,blueandviolet.From thatpointonNewton’sworkbecamethedom- inantschoolofthoughtonadditivecolour. WhatNewtondidforourunderstandingof light,otherauthorsattemptedtodowith subtractivecoloursystems. Theconceptofathreecoloursystem (yellow,red,blue)hadbeenspeculatedonas earlyasthe12thcentury,butwasneverput intopractice.In1717,aGermanprintmaker, JacobChristophLeBlon,developedathree colourprintingsystemforintaglioplatesand fabricweavingasaneconomicalmethodfor reproducingartworks,underthemisguided beliefthatthesethreecolourscouldcreateall knowncolours.Thiswasthefirstattemptbya practitionertousearestrictivethree-colour palette.ThefewprintsthatLeBlonproduced wereanaestheticandcommercialfailurewith alimitedrangeofcoloursbeingachievedand extensiveretouchingbeingrequiredonthe prints.Hisventurewentbankruptandwas quicklyabandoned. Traditionalcolourtheorycameintobeing asaformalschoolofthoughtinthelate18th andearly19thcentury.In1810,theGerman writerandpoet,JohannWolfgangvonGoethe, expandedthislineofcolourspeculation basedonthethreeprimariesandcirculated hisideasinhis TheoryofColours .Thistreatise wasnotinitiallyhighlyregardedbyartists butbytheendofthecenturyitbecamein- Theshortanswerisno,butanexplana- tionmaybeinordertojustifythatstate- mentanditrequiresalittlebackground history. Whenlookingatcolourtheory,it isnecessarytofirstofalldefinewhat modeofcolourisunderdiscussion. AccordingtoauthorBruceMacEvoy, therearefourcategoriesofcolour:ma- terial(pigmentordyes)alsoknownas subtractive;radiant(lightwaves)orad- ditive;visual(individualperception)and conceptual(abstractconceptofwhat individualsremember).Thefocusofthe followingdiscussionisonmaterialor subtractivecolourandtheauthorsand practitionersthatworkedwiththe physicalmediaofpaints,pigments anddyes,etc. Theinquiryintothenatureofcolour startswithearlyGreekphilosopherswho doveintothesubjectinanattemptto understandthepropertiesoflightand colour.ItwasAristotlethatcameup withthemostenduringcoloursystem. Thiswasbasedonaseven-huescheme includingwhite,yellow,red,violet, green,blue,andblack.Asphilosophers speculatedaboutthenatureofvisual lightandcolours,theGreekartists themselveswereengagedwiththe materialaspectofpigmentandpaints, andusedrichpolychromaticschemes ontheirarchitecture,muralsand sculptures. AllofgreatWesternartfromthe GreekandRomanerasthroughthe Pre–RenaissanceandRenaissanceand upuntilthe19thcenturywaseither createdwithouttheuseofauniversal schoolofcolourtheoryorwasloosely basedonAristotle’sprinciples.The numberofhuesusedbypaintersin theirpaletteswasgenerallybasedon theavailabilityandaffordabilityofpig- ments,oncoloursymbolismaswell asonculturallyorsociallyprescribed ColourTheory:Istheresuchathing? ‘Wedonotwanttoestablishatheoryofcolour(neithera physiologicalonenorapsychologicalone)butratherthelogic ofcolourconcepts.Andthisaccomplisheswhatpeoplehave oftenunjustlyexpectedofatheory.’ LudwigWittgenstein,RemarksonColour Final-3E-1:Layout 1 5/31/17 10:42 AM Page 5creasinglyinfluentialwithleadingbothart critics,aswellasscientistsandpost-Impres- sionistpainters.Otherscientistsandwriters whocontinuedtobuildontheseideasin- cludedMichel-EugèneChevreul,Charles Blanc,OgdenRood,JamesClerkMaxwell andWilhelmOstwald. Whilenineteenthcenturypainterswere awareoftheconceptsbeingwrittenanddis- cussed,theycontinuedtobeguidedbytheir studiopractice,findingmethods,techniques andcolourpalettesthatachievedtheiraes- theticandartisticneeds.Forexample,the famousmid–centuryFrenchpainterEugène Delacroix’spaletteconsistedof22colours including2whites,3yellows,ochres,rawand burntumbers,2reds,2greens,3bluesanda black.TheDutchpost-Impressionistpainter VincentVanGogh,usedacolourpalettethat evolvedovertimeaccordingtohisneeds,with hislaterworksconsistingof2whites,2yel- lowsandachromeorange,Vandyckbrown, 4reds,4bluesand2greens. Goethe’sschoolofcolourtheorycontinued wellintothe20thcenturyandwasperpetu- atedthroughtheteachingsofthehighlyinflu- entialBauhausschoolinGermanyandlater withpopulistpublicationsbyformerBauhaus instructors. Thefoundationforthistraditionalcolour theoryisbasedanumberofmistakenas- sumptions.Firstisthenotionthatasetof threecolours,yellow,redandblueareprimar- iesthatcanmixallothercolours.Isthiscor- rect?Thesethreecolourscanonlymixavery smallrangeofhues(knownasgamutrange) withgreens,orangesandvioletsbeingparticu- larlylimited.Andwithouttheuseofwhiteor black,novaluelighterthantheyellow(approx- imately20%onagreyscale)canbeachieved andwithoutblack,nocolourdarkerthenthe blueorred(approximately60%ona greyscale)canbemixed.So,theanswerisno. Anotheraspectofthistraditionalcolour theoryisthatyellow,redandblueprimaries arecoloursthatcannotbemixedbyusingany othercolours.Isthiscorrect?Thereareno universalstandardstoidentifyexactlywhat arethepigmentedyellows,reds,andblues, andthepaintsusedforthesehuescanvary frombothfrompersontopersonaswellas overtime.Forexample,theredthatwas claimedtobeaprimaryby18thcentury theoristswasoriginallyeithervermilionor cochinealormadder.Bythelate19thcentury ithadshiftedtoalizariancrimsonwhile currentlyvioletredquinacridoneisused.Fur- thermore,anyofthesecolourscanbecreated bymixingtwoormorepaintstogether.This conceptisincorrectaswell. Traditionalcolourtheorybelievesthat whenallthreeprimariesaremixedtogether theymakeblack.Isthiscorrect?Asanyone whohasmixedpaintwilltellyou,thesethree colourswhencombinedwillcreateabrown thatisabout50%to60%dependingonthe tintingstrengthandproportionofpaintused. So,hereagaintheanswerisno. Atheoryisnotafact.Itisaconceptthat hasn’tbeenfullyproven(anditcanbeproven tobewrong),whilealaworprincipleisacon- ceptthathasbeenproven.Lookingatthe abovelistofincorrectassumptionsmadeby traditionalcolourtheoryitisclearthatitis besttothinkofitasahistoricmodel,and onethatcertainindividualsandartistsmay havefoundusefulintheirwork.AsMacEvoy hasnoted,‘mostofthehallmarkconceptsof traditionalcolourtheoryhavebeenantiquated bytheprogressincolourscience,colourant manufacture,mediatechnologiesandpainting styles.’ Whatisthepurposeofcolourtheory?In mostcases,itisanattemptbyvariousau- thorstofindaqualitativesubtractivesystem akintoNewton’sadditivelawsasabasisfor colourharmonyandamethodofcombining coloursinacompositionthatwouldachievea cohesiveunity.Butthereisnosingleorsim- pleformulafortheuseofcolourinartand design.Howeveranunderstandingofhowour visualperceptionsystemsworksaswellasthe goals,needsandintentofthecomposition thatisbeingcreated,alongwithanopenness toexploreandquestionresultswillleadtoa processofcolourapplicationandeventual mastery. CaveatEmptor:Becauseoflimitationsoftimeand spacethisarticleisjustabriefdiscussiononthetopic ofsubtractivematerialcolourtheory(asopposedto perceptualorphysiologicalcolourprinciples).Amore detailedargumenthasbeenmadebyBruceMacEvoy@ http://www.handprint.com/HP/WCL/color18a.html Final-3E-1:Layout 1 5/31/17 10:42 AM Page 69Unit1 ElementsandPrinciplesofTwo–DimensionalForm Elements:Dot,Line,Plane,Volume,Shape,Space,Texture, Value,Colour,Principles:Unity,Variety,Contrasts,Balance, RhythmandMovement,EmphasisorFocalPoint 27Unit2 CompositionConsiderationsandTechniques Viewpoint,Format,Round,SquareandOval,Croppingofthe Image,VisualEnergyandTension,RuleofOdds,Repetition CompositionTechniques GoldenSection,FibonacciSequence,RuleofThirds, CircularObservation,Pyramids,Cross,‘S’or‘Z’Curve, FramingandLeadingLines,Isolation,Grids,Mathematical Forms,Tessellation GestaltPrinciples Proximity,Similarity,Symmetry,Continuation,Closure, CommonFate,PastExperience,Anomaly 42DesignerProfile:KarimRashid 45Unit3 WhatisColour? ColourPhysicsandPerception,ColourofLightvs.Objects, AdditiveandSubtractiveColour,ReproducingSpectral Colours,ColourConstancy,ColourBlindnessorAlternative ColourVision ColourHistory Aristotle,IsaacNewton,JacobChristophLeBlon,Johann WolfgangGoethe,MichelEugèneChevreul,EwaldHering, WilhelmOstwald,JohannesIttenandJosefAlbersof theBauhausSchool,FaberBirren ColourSystems CIE,Munsell,Pantone,NCS(NaturalColourSystem) 56 SidebarIssue: ColourandLanguage:NamethatColour 59Unit4 ElementsofColour Hue,Saturation,Value,Tints,TonesandShades,ColourSys- tems,Hues,PrimaryHues,SecondaryHues,TertiaryHues, AdditiveSystems,SubtractiveSystems,ColourCircleorWheel, ComplementaryHues,Achromatic,AnalogousHuesorColour Families,ColourDimensionsorAttributes,Coolvs.Warm Colour,NaturalValueOrder,GamutRange 68 SidebarIssue: CanYouLegallyOwnaColour? 71Unit5 Chevreul’sColourInteraction PrinciplesofColourInteraction,ComplementaryEffect, SuccessiveContrast,BezoldEffectorAssimilation,Optical Mixture,ColourVibrationorFlutteringHeart,Transparency andTranslucency 82ArtistProfile:GaryTaxali 85Unit6 ColourHarmonies AchromaticHarmony,MonochromaticHarmony,AnalogousHar- mony,PolychromaticHarmony,Complementaryor DyadHarmony,SplitComplementaryHarmony,Double ComplementaryHarmony,Triadic,Tetradic,Discordance 93 SidebarIssue: PredictingaColourfulFuture: ColourForecasting 95Unit7 ComposingwithColour ColourUnityandVariety,ColourRepetition,ColourConsistence, Continuity,ColourEmphasis,ColourandSpace,HueContrast, ValueContrast,Coolvs.WarmContrast,ComplementaryCon- trast,SaturationContrast,ContrastofExtensionorProportion, ColourSchemeProcess,AccentColours 108 SidebarIssue: GeographyofColour: WhatColourisyourCity? 111Unit8 WhatColoursMean IndividualColourPreference,ColourandEmotions,Peo- ple’sFavoriteColours,ColourPreferenceBetweenSexes, ColourPsychologyasTherapy,LüscherColourTest, ColourSymbolism,ColourMeaningIndex 122ArtistProfile:MarySibande 125Unit9 AttributesofDigitalColour DigitalImages,ResolutionandImageQuality,ColourConver- sionfromRGBtoCMYK,VectorandBitmap,DigitalColour, Gamut,TypesofCompression,Hardware,FlatbedScanners, Cameras,Monitors,ColourPrinting,ColourManagement, ColourCalibration 134 SidebarIssue:WhatColourisBirthdayCake? 137Unit10 AttributesofPaintMedia MaterialsofColour,Colourant:Pigmentand Dyes,Vehicles,Binders,Fillers,GlossMatte,PigmentsShape andSize,PigmentConcentration,PigmentLoad,Mass toneandUndertone,TintingStrength,Opacity,DryingShift, SaturationCosts,Glazing,LayeringandWashes,Perma- nence,LightfastnessandFugitiveColours,Palettesand PaletteLayout 146ArtistProfile:RachelMacFarlane 149Unit11 LightandLighting Sunlight,DaylightandAmbientLighting,SpectralPowerDistri- bution,ContinuousSpectrumLightSources,CorrelatedColour Temperature,ColourRenderingIndex,LightingTerms,Colour Constancy,Metamerism,ArtificialLightSources 160ArtistProfile:StephenKnapp 163Unit12 Material Surface,Paper,Watercolour,Drawing,Printmaking,Offset, Canvas,TextilesandFiber,Wood,Glass,Plastics,Metals, OtherMaterials 174ArtistProfile:SusanWarnerKeene 177Unit13 Colour,FormandSpace ColourandForm,EmphasizingFormwithColour,Colourand Two-DimensionalSpace,ColourandThree-Dimensional Space,Three-DimensionalObjects,Three-Dimensional Space,EnvirnomentalColour Contents Final-3E-1:Layout 1 5/31/17 10:42 AM Page 7Next >