Michelle Forsyth, Associate Professor
Painting and Drawing
Fine Arts Department
Washington State University
5072 Fine Arts Center
Pullman WA 99164

Office Hours: by appointment
Office Room #: FA 7015
Office Tel: (509) 335 - 3278

FA 401 Special Topics: Color Theory
Summer 2004, July 6 - 30
Daily 1:30 - 4:15

Course Description (From WSU Catalogue):
Exploration of the basic principles of color in theory and practice; projects will focus on color as it pertains to painting, electronic imaging and sculpture.

Objectives:
Color Awareness is realized through experimentation with optical illusions, color harmony, and psychological associations. Color exercises and creative assignments are supplemented by lecture, group discussions, critiques and individual instruction. We will work with the Macromedia Freehand MX, Color Aid Paper, and Gouache to complete assignments.

Attendance:
Handouts, critiques, and demonstrations will contribute to each student's formal studio technique and critical facility. Interaction and collaboration with your peers will be an important aspect of the learning process. There is no homework in this class, therefore attendance is manditory.

Grading Policy:
You must show work during class to receive a grade. You can miss no more than 5 classes to pass.

Final Grades will be based on the following factors:
70% Portfolio
30% Participation

Materials:
1 Package of Color Aid Paper (Full Set, 314 colors, 6 x 9 inches) I will supply some color aid paper as well

Gouache or Acrylic: (if you get a set it is much cheaper)
Black Ivory Black or Iron Oxide Black (Brownish undertone)
White Titanium White (Most opaque)
Blue Cobalt Blue or Ultramarine Blue (More on the red side)
Prussian Blue (More on the green side)
Green Chromium Oxide Green
Cobalt Green (Bluish in tone)
Yellow Cadmium Yellow Medium
Orange Cadmium Orange Medium
Red Permanent Red or Cadmium Red
Violet Quinacridone Violet (Reddish)
Cobalt Violet or Ultramarine Violet (Bluish)

Jar for mixed paint, can for water
Paper palette
brushes - at least 2 (approx. 1/4" flat, and 1/8" bright or 1/8" round)
2 pads of 11 x 14" pad of Bristol paper (or at least 30 sheets).
2 - H Pencils
White Eraser
Metal Ruler
X-acto Knife
Compass
1 zip disk
Glue Stick
Photo Mount
Matte Paper

Mandatory Text:
Zelanski, Paul, and Mary Pat Fisher. Color. (Englewwod Cliffs, NJ: Prentice Hall, 1989)
- A good starting point. A basic introduction working with both additive and subtractive color.

Color Bibliography:
Color Basics:
Zelanski, Paul, and Mary Pat Fisher. Color . (Englewwod Cliffs, NJ: Prentice Hall, 1989)
- A good starting point. A basic introduction working with both additive and subtractive color.

Wong, Wucius. Principles of Color Design: Designing with Electronic Color . (New York, NY: John Wiley and Sons, 1997)
- A good introduction to the vocabulary and use of color.

Color in Theory:
Gage, John . Color and Culture: Practice and Meaning from Antiquity to abstraction . (London: Thames and Hudson, 1993)
- A very thorough publication that focuses on the cultural impacts of color from a historical perspective.

Batchelor, David. Chromophobia . ( London: Reaktion Books, 2000)
- This author examines the fear of color that exists in our culture and the relegation of color to the position of other or artificial. He looks at works of art, literature, and philosophical writings.

Wittgenstein, Ludwig. Remarks on Color . ed. G.E.M. Anscombe. trans. Linda L. McAlister and Margarete Schattle. (Berkely and Los Angeles: University of California Press, n.d.)
- Wittgenstein focuses on various different types of color and color behaviors which defy logical definitions.

Riley, Charles A II. Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Music and Psychology. (Hanover: University Press of New England, 1995)
- Riley examines color from a variety of perspectives and stresses that color eludes codification.

Color in Practice:
Goethe, Johann Wolfgang Von. Theory of Colours . (Cambridge: MIT Press, 1970)
- An important text. Goethe examines color with particular emphasis on light and shadow. His ideas were influential to the Impressionists, and Post-Impressionists.

Cheveruel, Michel Eugene. The Principles of Harmony and Contrast of Colors and Their Applications to the Arts . (Paris: Pitois-Levrault. 1839; reprint, Atglen: Schiffer, 1987)
- Was the director of the dye house for Goblins tapestries in Paris. His research on optical color mixing influenced the Impressionists and Post-Impressionists such as Camille Pissaro and Georges Seurat and later OP artists.

Rood, Ogden M. Modern Chromatics: Students' Text-Book of Color with Applications to Art and Industry, (London: Kegan Paul & Co, 1879; facsimile edition, New York: Van Nostrand Reinhold Company inc. 1973)
- Rood's work also had an enormous impact on the Impressionists and Post-Impressionists. He was the successor to Chevereul's ideas.

Albers, Joseph. Interaction of Color . (New Haven: Yale University Press, 1963; reprint, New Haven: Yale University press, 1975)
- Albers was an extremely influential teacher and practicing artist. His book was very influential and was intended to serve as a guide to color and an aid in teaching.

Itten, Johannes. The Art of Color: the subjective experience and objective rational of color . (revised, New York: John Wiley and Sons, 1997)

The Elements of Color: a trestie on the color system of Johannes Itten based on his book the art of color . ed Faber Birren. (revised, New York: John Wiley and Sons, 1970)
- One of the most influential teachers of color. These two publications focus a great deal on the 7 color contrasts of hue, light/dark, cold/warm, complimentary, saturation, simultaneous, and extension.

Course Projects:

Project 1: Introducing Harmony
Step 1) On a piece of 8 1/2 x 11 inch Bristol, draw a 10 x 8 inch grid made up of 1 inch squares.
Step 2) Cut a variety of 1” squares from your color aid paper to visually describe music played in class you can pick from 5 different compositions.
Step 3) Glue them into place to best characterize mood through hue, value rhythm, repetition, key, contrast, and temperature.

Project 2: Value Scale
Part 1: Using nine 1” squares taken from the achromatic colors of your color aid paper, create a 9-step value scale going from approximately 10% to 90% gray. Try to create the smoothest transition possible. Your middle square should be middle gray
Part 2: Using Freehand create four 6 x 6 inch layouts. Approximate the values of your color aid paper to create interesting compositions that achieve each the following:
1. Contrasting edge condition between values
2. A situation where one value appears to be assimilated or absorbed by another
3. The illusion of depth through the use of value
4. Flatness through the use of value

Project 3: Introducing Saturation
Using 1 inch squares of your color aid paper, you will create a value/saturation scale for a single hue.
Step1) choose a color from your color aid paper. Be sure to pick a fully saturated one.
Step 2) on your Bristol paper draw a grid that is 9” high by 6” wide.
Step 3) using 1” squares of the achromatic colors used in assignment #1 create a value scale in the left hand column of your grid, low key colors at the bottom of your composition.
Step 4) Cut a 1” square from your chosen hue and try to match its value against your achromatic scale. When you think you have found a match glue it down on the right hand column on the opposite side of the value.
Step 5) try to find other variations of your chosen hue that form a transition from the fully saturated color to the under saturated version. Glue those down.
Step 6) moving up the scale, find variations of your hues that are one-step higher in value. Continue this for all values. Your end result should step up towards the saturated color to the right, up in value towards the top and down in value towards the bottom.
Step 7) finish by finding all colors in between so that there are even gradations in every direction.

Project 4: Monochromatic Studies
Find a black and white image and do your best to translate it into chromatic value.
Step 1) outline the value shifts between values with a fine felt tipped pen and mount it to a piece of Bristol paper.
Step 2) using another piece of Bristol, transcribe this image using an H pencil.
Step 3) using your acrylic paint or gouache, translate the colors into chromatic values taken from your Saturation portion of this assignment. Your finished image should be made up of 9 different values that correspond to your value scale. Pay close attention to edge condition. You can use your hue at full saturation or an under saturated version of it.

Project 5: Introducing Color Contrast and Assimilation in Complementary Colors
Part 1:
Step 1) Using your color aid paper, pick a single set of complementary colors at full saturation. Try to find 25 steps from one to the other from your color aid paper. This is not as easy as it seems. Take your time.
Step 2) When you are satisfied with your choice cut a 1” square from each one. Do not put the scraps away; you will need them for part 2 of this assignment.
Step 3) On a piece of Bristol, draw a 5 x 5 inch grid.
Step 4) Glue the squares onto the grid in your chosen sequence starting at the perimeter spiraling inward.
Part 2:
Step 1) Cut a 5 x 5 inch square of one of your left over colors from project 8
Step 2) Using at least 3 colors from your color transition, create a module that you can easily repeat in color aid paper.
Step 3) Create 3 versions of it changing at least one of the colors.
Step 4) Using at least one of each of the modules so far (or as many as you like), create a composition that suggests gradation
Step 5) Glue each of the final compositions to a piece of Bristol paper

Project 6: Color Relativity and Spacial Effects
Part 1:
We will do a series of color relativity studies in class including:
Make 4 colors appear like 3
Make 3 colors look like 4
Transparency effect
Part 2:
Using Macromedia Freehand create 4 layouts which illustrate:
1. After image
2. Phantom colors
3. Bezold Effect (2 parts)

Project 7: 3D Value Shifts Using Light and Shadow
Part 1:
Step 1) Create a box measuring 9 x 6 x 6 like the one I have brought in as an example. You will need to create this using white Matt board.
Step 2) Create a 3D composition inside your box which alters our perception of depth though hue. Mount each piece to Bristol and adhere to the inside of your box. You can also use a color for the outside border. You could also experiment wit reflected color to amplify the effects.
Part 2:
Step 1) Create a three-dimensional model of some kind. The form is entirely up to you, although right angles will make this project easier.
Step 2) Light your model with a colored light from one side.
Step 3) Try to alter the appearance of space in your model by adhering color-aid paper onto the surfaces of your model.

Course Schedule:

Week 1:
Tuesday, July 6: Introduction to Color
Introduction to the course, We will start project 1.
For Next Class: Get materials and textbook.
Reading: Chapter 4 and handout: "Color in Music" in Color Codes (also on reserve in the library)
Wednesday, July 7: Using Harmony
I will give a brief history of color and why we see it. I will also discuss the source of color, light and the spectrum. We will begin to use the vocabulary of color. Finish and discuss Project 1.
We will start Part 1 of Project 2.
Reading: Chapter 1 and 2 from Color.
Thursday, July 8: Value
Discuss value scale completed last class.
We will continue experiments with value using Freehand or Illustrator.
Introduction to Freehand and Illustrator.
Finish Part 2 of Project 2.
Reading: (Handout also on reserve in the library) p. 31-2 from Principles of Color Design and p. 46-53 from The Art of Color.
Friday, July 9: Hue and Saturation
Finish and discuss Project 2.
Begin Project 3.
Reading: (handout also on reserve in the library) p. 33 - 38 from Principles of Color Design

Week 2:
Monday, July 12: Color Systems
We will look at Munsell's color system. We will begin introductory exercises with hue, saturation and the monochrome.
Continue Project 3.
Reading: Chapter 6 from Color and
Tuesday, July 13: Hue, Value and Saturation
More on Color Systems including Otswald and Itten
Finish Project 3.
Readings: (Handout also on reserve in the library) "The Color Sphere" in the Elements of Color
Wednesday, July 14: Color Mixing
Experimenting with key and chroma, and color mixing. We will look at value gradations with maximum and minimum saturation.
Discuss Project 3
Start Project 4.
Thursday, July 15:
Work day
Continue Project 4.
Friday, July 16: Complimentary Colors
We will look at Michel Eugene Chevruel and Ogden Rood in addition to optical color mixing and vibrating edge condition between complementary colors.
Finish Project 4, Start Part 1 of Project 5
Reading: (Handout also on reserve in the library) p. 70 - 83 in The Principles of Color Design.

Week 3:
Monday, July 19:
CLASS CANCELLED
Tuesday, July 20: Color Contrast
We will look at edge condition and contrast of colors.
Continue Project 5.
Reading: (Handout also on reserve in the library) The Seven Color Contrasts from The Art of Color
Wednesday, July 21: Color Harmony and Composition
Continue Project 5, Part 2.
We will look at color harmonies including warm and cool, complementary and split complimentary, triads and tetrads.
Reading: (Handout also on reserve in the library) p. 21 – 32, 117 - 119 from The Art of Color
Thursday, July 22: Color Relativity
Joseph Albers and Homage to the Square, color interactions, the relativity of color, Simultaneous Contrast, Successive contrast, and Transparency Effect, Color and repetition, and the Bezold Effect
Finish and Discuss Project 5.
Start Part 1 of Project 6.
Reading: Chapter 9 in Text and pg. 8 – 21 from Interaction of Color
Friday, July 23: Color Relativity
Work day, continue Project 6 part 2.

Week 4:
Monday, July 26: Advancing and Receding Color
We will finish and discuss Project 6.
Start Part 1 of Project 7.
Reading: (Handout also on reserve in the library) p. 35 – 58 from Three Dimensional Color
Tuesday, July 27: Advancing and Receding Color
Continue Project 7.
Wednesday, July 28: Three-Dimensional Color
Start part 2 of Project 7.
Reading: (Handout also on reserve in the library) p. 59 - 68 from Three Dimensional Color
Thursday, July 29: Three-Dimensional Color
Work day, continue Project 7.
Friday, July 30
Work day, complete all projects and hand in.