Simultaneous Contrast, Principle 2 Subtraction

1. Now for our second Simultaneous Contrast Exercise…Principle 2:SUBTRACTION:A strong or dominant color will subtract itself from a smaller or less dominant color For Example: in the next slide, the small Blue square sitting on the large Dark Blue ground appears lighter, because the Blue hue subtracts itself, in other words, becomes absorbed by the dominant Dark Blue ground. This makes the small Blue square appear lighter.

3. Simultaneous Contrast, Principle 2Subtraction • Choose one hue from your Color-aid papers • Cut the pure hue into two 1 inch squares, using a ruler. • Mount (glue these squares) on two larger squares, 3” x3”, one the darkest shade and one the lightest tint. • Then paste the joined squares paper inserts in your portfolio. Be neat. • Type labels for this and our and Simultaneous Contrast, Principle 1 (Value). Labels should read: Simultaneous Contrast, Principle 1 (Value Shift) and Simultaneous Contrasts, Principle 2 (Subtraction). Following the title, you should write a brief explanation of the phenomena observed. Print these labels (with title and explanation)from your thumbdrive and place in your portfolio next to the appropriate exercise.

4. Now we will move on to…Principle 3:Assimilation:The Bezold Effect ADesign in Which the Total Effect of the Perceived Hues are Altered by the Change of  ONE Dominant Hue. The subordinate hues take on (assimilates) the characteristics of the dominant hue. Named after Wilhem von Bezold, a meterologist who discovered that colors could appear to change based on their relation to a dominant color.

5. Simple Bezold Effect

8. Third Portfolio AssignmentBezold EffectUsing Color-Aid Papers or Photoshop.Let’s do it now! Plan your design and draw it out on a 3”x6” piece of Bristol. Then paste in appropriate colors.Proper labeling:Title: Simultaneous Contrast Principle 3: Assimilation (Bezold Effect). Explanation: In your own words explain the phenomena.

9. Monochromatic Compositions

10. Guy Goodwin’s Tracers—Side Order 1999Resin, polyurthane, ink on polycarbonate, 51 x 54 x 4”

11. Materials: dimensions variable, 100 fluorescent lights, filters, clothespins. This work re-creates the effect of a passing cloud in Emily Dickinson’s back yard in Amherst, Massachusetts, based on an August afternoon. The bank of three types of fluorescents generates a simulation of the daylight, and the hanging filters of the “cloud” shift the color and intensity of the sunlight to replicate the shadow cast by a cloud.

12. Monochromatic Scale Adding Tintsand Shades to an individual HUE mono = one chroma = color

13. Study For A Groovy Unnamable Color, (Yellowish-Orange), 1997 22”x30” Spencer Finch

14. Preparing for Your Monochromatic Collage. (Talk to me if you REALLY want to do this as a painting). • 1. You have your masterwork chosen. • 2. Now, choose a hue from your Color-Aid papers. Choose one which will create an evocative mood when it is used to reproduce your masterwork as a monochromatic collage. Separate the chosen hue and all its tints and shades from the other papers. • Decide on the scale of your reproduction and print it in black and white (Photoshop) at appropriate scale. Choose a scale that will keep you from running out of paper. If you run out of a tint, shade, hue, see me or trade with a fellow student. Decide what shapes will make up the collage. All squares? Circles? (hole punch), triangles? Different shapes?

15. Homework!!! • First, finish achromatic painting • Second, make monochromatic collage. • Third, one more “free choice” assignment in sketchbook. I recommend either a painted monochromatic value scale or exploring color saturation by painting objects in different light, different times of the day, but if there’s something else that you would like to do… go ahead!