PBSC Color Design: August 2011

Tuesday, August 30, 2011

the Psychedelic Fruits of your electronic labours....

Strangely, some of your links didn't work, so please send again as attachments or just give me a link to you picasa album if you don't see your work in the power point.

Nice work dudes!

PBSC Color Schemers Fall 2011

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Monday, August 29, 2011

FOR TUESDAY

PLEASE BRING ANY PAINTS THAT YOU HAVE PURCHASED AND A 16"x20" (minimum) CANVAS TO CLASS. If you do not have either of these yet it is not something to worry tooo much about, but if you have them then bring them!

I AM AWARE OF THE COMMENT BOX ISSUE

Apparently if you are using Windows, the comment box function seems to go into some weird infinite loop.

Using forensic methods (looking at the permission list e-mails), I have determined that the following people have logged into the blog and will accordingly award them 15 points extra credit. If you are not on this list but have indeed logged in, please see me.

Dhaiti, Oveny Johnsky
Doncel, Juan Felipe
Duffer,Brandon
Fadraga, Pedro A
Fortnash, Jennifer Lynn
Giangarra, Katrina
Gilmore, Andrew John
Hojas Jr, Jorge Luis
Maurer Jr, Phillip Charlse
McGowan, Samuel
Prichard, Lashonda Rose
Rochefort, Sean William
Theodoris, Paul S.

Sunday, August 28, 2011

Project 2: Color Mixing and Matching

Colormixing and Matching

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Color Mixing and Matching

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MY OFFICE HOURS FALL 2011

Monday: 11:00-2:00

Tuesday: 9:00-11:00, 3:30-5:00

Thursday: 9:00-11:00, 3:30-5:00

My office is AA-107

Appointments preferred.
Please stop by for any Academic Issue. No concerns are too small, I'm happy to help out any way I can.

Wednesday, August 24, 2011

Project 1: Basic Color Manipulation on Photoshop

As always please refer to the Color Scheme Designer found here.

Color Schemes and Photoshop

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original

monochromatic

analogous (analogic)

complementary

triad/tetrad

open palette (anything goes)

Color Schemes

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Odilin Redon

The mystery and the evocation of the drawings are described by Huysmans in the following passage:

"Those were the pictures bearing the signature: Odilon Redon. They held, between their gold-edged frames of unpolished pearwood, undreamed-of images: a Merovingian-type head, resting upon a cup; a bearded man, reminiscent both of a Buddhist priest and a public orator, touching an enormous cannon-ball with his finger; a spider with a human face lodged in the centre of its body. Then there were charcoal sketches which delved even deeper into the terrors of fever-ridden dreams. Here, on an enormous die, a melancholy eyelid winked; over there stretched dry and arid landscapes, calcinated plains, heaving and quaking ground, where volcanos erupted into rebellious clouds, under foul and murky skies; sometimes the subjects seemed to have been taken from the nightmarish dreams of science, and hark back to prehistoric times; monstrous flora bloomed on the rocks; everywhere, in among the erratic blocks and glacial mud, were figures whose simian appearance--heavy jawbone, protruding brows, receding forehead, and flattened skull top--recalled the ancestral head, the head of the first Quaternary Period, the head of man when he was still fructivorous and without speech, the contemporary of the mammoth, of the rhinoceros with septate nostrils, and of the giant bear. These drawings defied classification; unheeding, for the most part, of the limitations of painting, they ushered in a very special type of the fantastic, one born of sickness and delirium."

Redon also describes his work as ambiguous and undefinable:
"My drawings inspire, and are not to be defined. They place us, as does music, in the ambiguous realm of the undetermined."

Redon's work represent an exploration of his internal feelings and psyche. He himself wanted to "place the visible at the service of the invisible"; thus, although his work seems filled with strange beings and grotesque dichotomies, his aim was to represent pictorially the ghosts of his own mind. A telling source of Redon's inspiration and the forces behind his works can be found in his journal A Soi-même (To Myself). His process was explained best by himself when he said:
"I have often, as an exercise and as a sustenance, painted before an object down to the smallest accidents of its visual appearance; but the day left me sad and with an unsatiated thirst. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased."

PLEASE SELECT ONE AND ONLY ONE OF THE BELOW IMAGES FOR OUR NEW ASSIGNMENT BY COMMENTING IN THE COMMENT BOX

see more Redon here