Friday, February 24, 2012

Flavor Paper Trip

We will be meeting Tuesday Feb 28 at Flavor Paper, located at 216 Pacific Street Brooklyn, NY 11201.  (Check your email before departing in case of any last minute changes.)

Section W will meet at 10 am sharp.
Section U will meet at 4 pm sharp.

Visit the website for directions and to preview the design company.

Color Variations in Collections

Design color choices are both conceptual and formal.  Check out the patterns below, same design with different color choices.  Notice that on a conceptual level the color creates a mood.  On a formal level all the patterns use WARM/COOL, INTENSE/NEUTRAL, & LIGHT/DARK relationships.

Dominic Crimson Design
Joy Collection Design
Lotta Kuhlhorn Design

Fire/Water/Air/Earth Pattern Project: Collection Book Due March 9 Due 3/9

1.  One mounted print of your favorite pattern. 11 in x 17 in.  Also save a jpeg version or pdf version of this one pattern and bring it to load to the drop box.

2.  Now the real challenge:  A presentation style swatch book for your collection!
  • You will make a small flip book.  Each page will be 4 in vertical and 11 in horizontal.  
  • It is suggested that each page will be printed and then mounted on thin illustration board, or heavy bristol board.  Each page will have a hole punched in the top left corner.  All pages will be joined with a binding ring.
  • If you would like to be creative with binding, printing on alternative materials like card stock or acetate feel free.  Just make it wow.
  • The first page will be a title page.  Name your collection, thoughtfully.  Give it a great font.  Put it over a pattern or one of your inspirational images.  (Remember to cite any sources that are not original.)
  • The second page will be a statement of your collection.  Write in a professional tone.  Talk up your design concept as if you are marketing it to a design group.  What is the inspiration of your pattern design, your color group?  To what setting would this pattern be applied?
  • The third page is your color group of 6 swatches.  Maybe include a part of one of your inspirational photos.  
  • The next pages will showcase your patterns.  You will have 2 color variations of each of your 15 planer patterns.  This equals 30 pattern pages!
  • The last 8 pages will show a  mock-photo of each pattern in a place or on a design object.  For example photograph a building or room where you think your pattern belongs and super-impose your pattern in photo shop.  Or sketch an item or garment made out of your pattern.  For example draw a dress design in one of your patterns and scan.

Tuesday, February 21, 2012

Fire/Water/Earth/Air Pattern Project: Plane Groups Due 2/24

1.  Create a series of patterns.  Select three of your point groups or line group sections to be the three main units.
2.  For each unit you will create a p1, pg, c2mm, p31mm, and p4mm pattern.  This means you are making 15 patterns. Work at the scale of 11 in x 17 in.
3.  Bring the patterns %30 complete as digital files.
4.  Print one pattern or pattern swatch on the pro color printer to test your palette.

Materials to Bring:
1.  All digital files.

Plane Groups

The moment we have been waiting for.... full on planer pattern!

There are 17 plane groups that multiply motifs across a plane.  We will focus on a small selection of the 17 plane groups:  p1, pg, c2mm, p31mm and p4mm.  Below are the the letter b examples, based on the letter b point group and line group examples.  Followed by examples of the Persian Comma Motif and other historical works taken from Peter Steven's Handbook of Regular Patterns.

p1

pg

c2mm

p31m

p4mm


Thursday, February 16, 2012

Fire/Water/Air/Earth Pattern Project- Point &Line Groups: Due 2/21

1.  Complete the digital point group worksheet.
2.  Complete the digital point group color worksheet.
3.  Complete the digital line group worksheet.
4.  Create a presentation sheet of your work to date.
  • Open an illustrator document, 20 in x 30 in.
  • Arrange your palette swatches, black and white point groups and line groups, color point groups and line groups.
  • Decide on a working title for your collection.
  • Print on the plotter.  Do not mount.
Materials to Bring
1.  Digital drive and files
2.  Sketchbook

Student Examples




Line Groups

The following pattern forms take a motif and translate, reflect, rotate and glide reflect the motif along a long line.  Think ducks in a row, then in a double row, or upside-down row.

Below are examples of the t2mg line group from Peter Steven's Handbook of Regular Patterns.  Examine the patterns.  What are the rules of the t2mg line group?

t2mg




There are 7 different formulas for the symmetry line groups.  Check out the letter b examples for each line group.







Point Groups

Point Groups are patterns created by preforming the symmetry operations around a circle rotation point.  Think of stars and sun rays. Below are examples of point groups.  The examples based on the Persian Comma Motif are from Peter Stevens' Handbook of Regular Patterns.

Check out the examples below, all generated from the simple letter b! Note the code, or naming convention for each pattern.









To which groups to the below historical patterns belong?





Tuesday, February 14, 2012

Fire/Water/Air/Earth Pattern Project- Color Palette: Due 2/17

1.  Select a focus hue related to your element (Fire/Water/Air/Earth)
2.  In illustrator "mix" a palette of 10 hues based on a Munsell ellipse of your hue.
3.  Scan a photo or object from your sketchbook collection.  In illustrator, live trace the image and make a color group from this image.
4.  Create a final palette of six hue swatches, based on your element.  The palette must include warm/cool, intense/neutral and light/dark relationships.  Print the swatches 8.5 x 11 in. (Do not mount)
5. Draw your asymmetrical motif with the pen tool in illustrator.  Save as an outline.

Materials to Bring: 
1. Digital drive and files
2.  Sketchbook

Color Forecasting & Palette Formulation


Color relationships are subtle and profound and reach beyond rules of color theory into human emotions, culture and even commerce.  Below is Pantone's Color of the Year 2009. What emotional or cultural qualities does this color evoke?  Compare to the dress worn by Michelle Obama at the Inauguration.  What statement is she making with this color?

Inauguration Dress
Pantone Color of the Year 2009

There is an entire field of design termed Color Forecasting that develops color swatch collections.  These collections are used by fashion and industrial designers.   Click on the image below to link to Pantone's Fall 2010 Color Forecast.

Color relationships are found in works of fine art.  This is what makes a painting have a cohesive sense of mood and light.  Check out the painting below by Monet.  Then examine the swatches that represent this work in a palette of 6 key hues.  

Monet

Inspiration for color groups can come from anywhere... color theory, a trip to the beach or a subway ride.  The questions to ask when designing a color group include:  
  • How does one color effect the formal qualities of another color (value, temp, intensity)?
  • Do the colors contrast or blend?
  • What are the real-world associations/ meanings of the colors?

Harmony and Munsell's Elliptical Path

The eye is always seeking balance.  When one color is perceived, such as yellow, the eye then conjures the complimentary color purple.  A square of black results in the afterimage of a white square.  Visual balance is called harmony and is caused when all forces of hue, value and chroma are equalized.  In terms of color this means that if optically blended together, the total color of the image would make neutral gray.
"Harmony implies balance, symmetry of forces." - Itten
"When the eye beholds a color it is roused into activity, and its nature, no less inevitably than unconsciously, to produce another color forthwith, which in conjunction with the given one encompasses the totality of the color circle.  A particular color incites the eye, by a specific sensation, to strive for generality.  In order then to realize this totality, in order to satisfy itself, the eye seeks, beside any color space, a colorless space wherein to produce the missing color.  Here we have the fundamental rule of all color harmony." - Goethe
Color has different visual weight based on the hue, value and chroma.  Munsell's example below illustrates the concept of balance.  Note that red is winning the visual tug of war, as it is more intense.  This means that in a painting or design, more blue-green would be needed to balance the red.
Munsell Example of Visual Balance
How can an artist or designer create harmony?  By "weighing" color.  Munsell suggests the following rules.
Use as few hues as possible.  Use a high value with a low value.  Use a strong chroma with a weak chroma.  - Munsell
The below diagrams illustrate color relationships that result in harmony.
Itten's Constructions for Color Cords
Munsell's Elliptical Path

The Munsell Tree

The key qualities of color Munsell defines are Hue, Value and Chroma.

Hue = Color
Value = Light and Dark
Chroma = Pure Pigment/ Intensity

Munsell Tree

Munsell Color Theory creates a three dimensional model for understanding color relationships.  This model is known as a tree.  

  • The height of the branch relates to the value, higher branches are higher value, or lighter hues.  Low branches are dark hues.  
  • The placement of the branch on the circumference of the tree relates to the hue.  It is as if each hue is a different spoke that radiates from the tree.  The order of these spokes is as follows: Red/ Red-Purple/ Purple/ Purple-Blue/ Blue/ Blue-Green/ Green/ Green-Yellow/ Yellow-Red/ Red.
  • The length of a branch is based on chroma.  The most intense chroma is at the end of each branch.  Neutral gray is at the base of each branch.  More intense colors have longer branches.
The below diagrams are adapted from T.M. Cleland's A Practical Description of the Munsell Color System and Suggestions for its Use 1937. Color has been added to the diagrams to assist in visualization.
3-D Model of Hue, Value and Chroma
Red is Twice as Strong in Chroma as Blue-Green.
Purple-Blue reaches maximum chroma at the third step of Value.
Yellow reaches its maximum Chroma at the eighth step of Value