Kyo Bin Jeon

Color-Final notebook

“Spill” (Dark transparency)

This assignment was about expressing the colors of spilled liquid on the colored
background. We used five stripes of colors to be out background and one color to be a
spilled liquid. For the one color to be a spilled liquid, I chose light blue color. To express
the spill-illusion well, I looked for darker and cooler colors. For the dark-colored stripes, I
also had to look for darker-colored spill colors than the lighter-colored stripes’ spills. What
I observed about color is that color changes a lot with only little mixture of another color. In
the future, I would be able to portray the exact color mixtures without actually mixing them
with paint.

“Colored light” (light transparency)

This assignment was about expressing the colors on the color lights. Like the spill
assignment, we chose 5 stripes of colors, then we chose a color for the light that is shining
on the stripes. I solved this assignment by imagining how the color or the value would
change according to the yellow light. What I observed about color is that physical color
mixture and color mixture with lights are different. When the light is shined toward the
colors, there would be hue changes with the values changing lighter. In the future, I would
also be able to portray the color light mixture, and confidently know that color light
mixtures are different with the physical (like paint) color mixtures.

FS-2 progressions in one design

In this assignment, we expressed two progressions with at least five steps, 2 parents and 3
children, in each. How I solved it is by first choosing all the parent colors and their children
colors. Then, I laid them on a competitive pattern to emphasize the progressions. The
starting points of each progression is also different, as I started one from left-top, and one
from right-bottom of the paper. What I learned from this project is that to express the
progression, we have to start with a parent color, then mixtures (the children colors), which
later turn into another parent color. In the future, these progressions would be useful when
we create textures with colors, when we want to express the smoothness and gradient
feeling through colors.

FS- Natural inventory (one low intensity, one high intensity)

In this assignment, we made two free studies (1 with high intensity, 1 with low intensity)
using gouache paint inspired by an object in nature. Then, we made bar graph of colors to
show how much of each colors we used overall in the abstract painting. To solve this, I
chose shell as my low intensity object, and a rock as my high intensity object. I looked for
patterns in my objects and tried to express the color patterns through the abstract paintings.
To express the low intensity, I there should not be big differences in values. And to express
the high intensity, it is better to have value differences to make the color differences more
intense. In the future, I would be able to express the color intensity according to the
strong/soft textures.
FS-Bezold effect (optical mixing)
In this assignment, we made a free study that shows optical mixing. By using the Bezold
effect, expressed the color blending with the surface colors, by using the thin colored-lines
on top of two different background. According to the background color (black or white), the
colors look lighter (for the white) or look darker (for the black). To solve this, I had to find
the right thickness of colored lines. If the lines are too wide, it will be expressed as
simultaneous contrast. If the lines are too thin, the effect would be not shown well. What I
learned from this assignment is the Bezold effect. Bezold effect proves that color would be
shown differently depending on the adjacent colors. In the future, I would consider
carefully about the background colors more importantly because Bezold effect can change
the atmosphere or the feelings according to the adjacent colors.

FS-Digital Project (3 fashion design w/ previous works)

In this assignment, we made three fashion designs with the fabric patterns with our past
works. When choosing the fabric patterns, I chose few past works that has similar values or
color feelings. What I observed about colors is that repetitive colors create patterns, and
those patterns create mood according to which colors are used. When we need to use
patterns in the future, choosing the colors first would be a good idea to express a set
emotion/feelings.

FS-Vibrating edges
In this assignment, we made perceptual conflict by creating vibrating edges between the
two colors. What I observed about color is that two complementary colors with same values
would create vibrating edges. The brain is confused finding the edges because the two
colors have the same value, but they are complementary colors. I solved this assignment by
finding two complementary colors with same value, and laying them out alternatively for
more illusions. In the future, these vibrating edges would be used well for the expressions
of joyfulness, emphasizes, highlights, and confusing feelings.

FS-4 colors you don’t like

In this assignment, we made an abstract work by using four colors that we don’t like. To
solve this, I started with random placements of colors, and gradually found the calmness
and intense feelings by putting same value colors or light/dark colors next to each other.
What I found about color is that colors give different feelings depending on which color
they are next to each other.

What are the primaries of pigment, and of light? What are the secondary of each?
The primaries of pigment are Yellow, Magenta, and Cyan. The secondaries of pigment are
Orange, violet, and green. The primaries of light are red-orange, blue-violet, and green. The
secondaries of light are Magenta, cyan, and yellow.

Why is light called “additive” and pigment called “subtractive” color?

Pigment is called subtractive color because it subtracts the wavelengths from the light to
show the color. On the other hand, light is called additive because lights are added to create
colors from the darkness.

What does wavelength of light have to do with color?

The visible light spectrum is part of the electromagnetic waves. All colors have different
wavelengths, and our cones react differently according to the different wavelengths of light.
For example, red has the longest wavelength and blue has the shortest wavelength.

What are the differences between optical color mixing and simultaneous contrast of
color?
Optical mixing is when thin colored lines or small dots are mixed (blended) with the
background. Simultaneous contrast is darker and more intense color changes showing the
existence of every color.

What are the two “systems” of color vision (Margaret Livingstone) and which one
helps us judge where things are?
The two systems are What system and the Where system. What system recognizes object,
face, and color. Where system recognizes motion, depth, space, and segregation of figure
and ground. In the parietal part of our brain helps us judge where things are.

Why is our brain so confused with “vibrating edges” of color (complementary colors
of the same value)?
Our brain is confused with vibrating edges because the two colors have same values, which
would lead to disappearing edges, but the two colors have opposite hues, so the brain is
continuously wanting to find the edges.

What did Michel Chevreul discover?

Chevreul discovered 72-part color wheel. In addition to the three primary colors, he added
three secondary mixtures with six more secondary mixtures. This color wheel shows how
the brain creates different colors.

What did Sir Isaac Newton discover, and what did he invent?
Sir Isaac Newton discovered that the all the colors that we can see is in the daylight. He
found that a color-light with its complementary color-light would mix to get white light. He
invented the light spectrum color wheel, which has primary colors of green, red, and blue.

How do other mammals, reptiles, birds, insects perceive color differently than we do?
On our retina, we have photoreceptors of colors: 3 cones each sensitive to red, green, and
blue. Humans and Old World primates, and some fish only have red-sensitive cones. For
other animals, some insects can see UV light, bats are sensitive to ultraviolet light because
of their special cones, birds see more colors and acuity than human, and some reptiles can
see colors.
What is Munsell color theory?
Munsell was thinking about how he could use color harmoniously, then developed a three
dimensional (hue, value, intensity) color wheel. The color wheel is like tree with branches
of all different hues, all numbered based on 10. He recognized that the ideal for using color
was a balance of the opposite color, which makes it harmonious.

How can you effectively compose with color, rather than with shape? What do you
consider?
Before I learned about colors, I thought that every art work should start with shape, and
color is used for filling in the shape. However, color could be more effective and powerful
than shapes. By choosing the colors first, we can express which atmosphere and feelings we
want to show. For example, same values and progressions expresses the calmness and
softness. Same values with different hue (vibrating edges), or high intensity colors could
express the joyfulness, dizziness, and highlights the essential parts with colors. Deciding
the proportion and quantity also is important because the amount the color covers could
differ greatly. (vampire effect) Shape is also important, but I think that color is the one that
sets the atmosphere and emotions in the art works and designs.
Master Study
Claude Monet, <Water Lilies> 1914-1917
The dominant color that
affects all the others would be
yellow-green and purplish-blue
color. The artwork is separated
mainly with two main colors, green
and blue, but is still harmonious
like one art piece because some
blue is in the green side and some
green is in the blue side. Also, the
tint of red ties the blue and green, as
the yellow-green has a warm
temperature like the red. Various
hues were used, from blue and
purple which expresses the
coolness, to yellow-green, red,
yellow, and orange which expresses
the warmth.
There are color
progressions in every part of this art
work. Because Monet repetitively
uses the same colors in most parts of his work, there are a lot of rough mixtures shown.
This makes children colors from the parent colors, which makes color progressions. For
example, in the green part of his work, the parent colors would be dark green and umber
color, which makes the children color. This made soft gradient of green in his background.
There is not much intensity in this work, but some of the intense parts would be the
dark blue part and the red parts. There is some value contrast in my part of the painting,
especially with lilies and the water. In that part, there is a definite edges shown by the
colors. However, the colors still go well along because they all have overall cool
temperature. Overall soft edges and sharp edges are both used. In the part where there is a
great value contrast (like the water and the lilies), there are sharp edges shown. There are
soft edges like in the greens (same value, progressions). The complementary colors are
used in this work, especially in the lilies. Inside the lilies, there are many different kinds of
colors, and mostly, he emphasized the complementary colors. Purple and yellow would be
an example, and red and green would be another examples. By using the complementary
colors, he handed the touch of warmth in the coolness of water lilies.
The hardest part of doing this project was finding the exact color and expressing
the rough paint brush textures with dry brush. The lilies, water, and the green ground have a
lot of colors inside. I had to put color on top of another color to make it darker because in
our eyes it seems dark enough, but if we actually paint it, it seems light. For example, the
dark green part started off by light green and ended up by adding three stages of green more
to make it darker. It was the same with the dark blue. Another example is when I had to use
gray or brown instead of using white. In my eyes, the rough brushstrokes on top of water
lilies, water, and greens looked white. But then I noticed that it was too bright and worked
as a highlighter with white. So instead, I used grey and brown to lessen the intensity and
make it harmonious with the other colors. Also, expressing with dry brush was difficult
because most of the colors that were used in the piece was made by mixtures of colors. In
the process of mixing the colors, I had to use water, which made it hard for me to maintain
the dry brush.