Modular Analysis
Foundations: Color and Design in Two and Three Dimensions
Spring 2011
Chroma Bridge Scale
Objectives
The designer’s objective for this part of the assignment wasto choose a pair of perceptual opposites from her perceptual opposites chart inthe previous portion of this assignment in order to create a scale. The designer had to make sure thatthere were enough steps in the scale so that one of thesteps was a chromatic gray.
Limitations
The designer’s requirement for this part of the fifthassignment was to use a new method for de-saturating a hue. This time, the designer added acomplimentary color to de-saturate each hue, versus adding black and/or white. The scale was to be created in AdobeIllustrator using the blend tool and had to have more than seven steps. The final piece was to be in the 7” x9” layout and matted on 651 Crescent board to maintain unity throughout thefinal portfolio.
Visual Analysis
The designer created a scale of 12 steps between the pair ofperceptual opposites that she chose, which were 5R and 5BG 8/4 (this Munsellnotation is discussed in the Munsell color set portion of this portfolio). The designer chose just enough steps inorder to create a successful chromatic gray. If the first step were the purest form of 5BG 8/4, the chromaticgray can be seen in step three. This gray is known as the chromatic gray, because it is created throughthe mixture of color, rather than black and white. This mixture of color appears to be gray when viewed out ofcontext or isolated from other hues. Furthermore, the designer chose a simple, yet effective way ofpresenting the 12-step scale. Theclear, simple, and professional presentation of this scale makes it moresuccessful.
The designer’s objective for this part of the assignment wasto choose a pair of perceptual opposites from her perceptual opposites chart inthe previous portion of this assignment in order to create a scale. The designer had to make sure thatthere were enough steps in the scale so that one of thesteps was a chromatic gray.
Limitations
The designer’s requirement for this part of the fifthassignment was to use a new method for de-saturating a hue. This time, the designer added acomplimentary color to de-saturate each hue, versus adding black and/or white. The scale was to be created in AdobeIllustrator using the blend tool and had to have more than seven steps. The final piece was to be in the 7” x9” layout and matted on 651 Crescent board to maintain unity throughout thefinal portfolio.
Visual Analysis
The designer created a scale of 12 steps between the pair ofperceptual opposites that she chose, which were 5R and 5BG 8/4 (this Munsellnotation is discussed in the Munsell color set portion of this portfolio). The designer chose just enough steps inorder to create a successful chromatic gray. If the first step were the purest form of 5BG 8/4, the chromaticgray can be seen in step three. This gray is known as the chromatic gray, because it is created throughthe mixture of color, rather than black and white. This mixture of color appears to be gray when viewed out ofcontext or isolated from other hues. Furthermore, the designer chose a simple, yet effective way ofpresenting the 12-step scale. Theclear, simple, and professional presentation of this scale makes it moresuccessful.
Chroma Bridge Design
Objectives
The objective of the designerwas to observe hue and chroma changes that occur as one bridges two perceptualopposites. The designer’s goal wasto create water with middle valued chromas and to create fire between the puresthues, 5R and 5BG 8/4. Furthermore,the designer had to make sure the final design had dynamic movement,figure-ground ambiguity, and was unified as a whole.
Limitations
The designer was required touse Adobe Illustrator in order to create her design. The designer used the huesfrom the scale between the chosen pair of perceptual opposites that she createdusing the blend tool in Adobe Illustrator. All 12 steps of the designer’s scale had to be utilized inthe design. The designer was alsorequired to place the two pure hues next to each other at least once in thedesign. The designer had to usethe same one-inch module that she had used throughout the semester. The chroma bridge design had to be executedin the same 7” x 9” format.
Visual Analysis
The designer used strategiessuch as interpenetration and visual pathways gradating within in order todevelop dynamic movement throughout the design. There are both double and single-visual pathways in thepiece. The more blue-greendouble-visual pathways can be see in the upper left quadrant, the middle of thetop edge of the design, the lower left quadrant, and the lower right quadrantof the design. A long reddouble-visual pathway comes up diagonally from the lower right quadrant of thepiece and the tip of a short red double visual pathway can be seen peaking outof the lower left quadrant of the design. Double-visual pathways made up of more of the middle steps of the scalecan be see poking into the upper left edge of the design, the mid-bottom edge,and the lower right edge of the piece. Single-visual pathways gradating within can be seen in the upper leftquadrant of the design in the more red hues and a warm single-pathway comes upfrom the bottom of the design and becomes cooler as it winds through,eventually running off the mid-right edge of the design. Another single-visual pathway of thecooler middle steps of the scale moves down from the upper left corner of thedesign and melts into another single and double-visual pathway in the left sideof the piece. The warmer hues ofthe more red single-visually pathways descending from the top left melt intocooler hues in the upper right quadrant of the design.
This melting effect is alsoknown as water and it is created through the use of an array of middlescale-steps, gradating from warm to cool. This allows the design to take on a special quality that almost makesthe viewer feel as though the piece is out of focus in some areas. This happens because of the chroma andhue changes in the modules. Thehard boundaries between the first and last step of the scale create a sense offire in the design. This fire canbe seen in the lower left and right quadrants of the design and the upper leftcorner of the design as well.
The common triangle motifthat can bee seen throughout the piece in the different hues allows the pieceto take on a special unifying quality. The designer used the triangles poking out of most of the visualpathways to develop a stronger figure-ground ambiguity. The triangle motif is also used as aform of interpenetration in four parts of the design: the warm triangle in thecool double-visual pathway of the upper left quadrant, the cooler triangle inthe warmer “water” of the upper right quadrant, the warmer hue in the cooler“water” of the lower left quadrant, and the warmer triangle interpenetrating thecooler double-visual pathway in the lower right quadrant.
The objective of the designerwas to observe hue and chroma changes that occur as one bridges two perceptualopposites. The designer’s goal wasto create water with middle valued chromas and to create fire between the puresthues, 5R and 5BG 8/4. Furthermore,the designer had to make sure the final design had dynamic movement,figure-ground ambiguity, and was unified as a whole.
Limitations
The designer was required touse Adobe Illustrator in order to create her design. The designer used the huesfrom the scale between the chosen pair of perceptual opposites that she createdusing the blend tool in Adobe Illustrator. All 12 steps of the designer’s scale had to be utilized inthe design. The designer was alsorequired to place the two pure hues next to each other at least once in thedesign. The designer had to usethe same one-inch module that she had used throughout the semester. The chroma bridge design had to be executedin the same 7” x 9” format.
Visual Analysis
The designer used strategiessuch as interpenetration and visual pathways gradating within in order todevelop dynamic movement throughout the design. There are both double and single-visual pathways in thepiece. The more blue-greendouble-visual pathways can be see in the upper left quadrant, the middle of thetop edge of the design, the lower left quadrant, and the lower right quadrantof the design. A long reddouble-visual pathway comes up diagonally from the lower right quadrant of thepiece and the tip of a short red double visual pathway can be seen peaking outof the lower left quadrant of the design. Double-visual pathways made up of more of the middle steps of the scalecan be see poking into the upper left edge of the design, the mid-bottom edge,and the lower right edge of the piece. Single-visual pathways gradating within can be seen in the upper leftquadrant of the design in the more red hues and a warm single-pathway comes upfrom the bottom of the design and becomes cooler as it winds through,eventually running off the mid-right edge of the design. Another single-visual pathway of thecooler middle steps of the scale moves down from the upper left corner of thedesign and melts into another single and double-visual pathway in the left sideof the piece. The warmer hues ofthe more red single-visually pathways descending from the top left melt intocooler hues in the upper right quadrant of the design.
This melting effect is alsoknown as water and it is created through the use of an array of middlescale-steps, gradating from warm to cool. This allows the design to take on a special quality that almost makesthe viewer feel as though the piece is out of focus in some areas. This happens because of the chroma andhue changes in the modules. Thehard boundaries between the first and last step of the scale create a sense offire in the design. This fire canbe seen in the lower left and right quadrants of the design and the upper leftcorner of the design as well.
The common triangle motifthat can bee seen throughout the piece in the different hues allows the pieceto take on a special unifying quality. The designer used the triangles poking out of most of the visualpathways to develop a stronger figure-ground ambiguity. The triangle motif is also used as aform of interpenetration in four parts of the design: the warm triangle in thecool double-visual pathway of the upper left quadrant, the cooler triangle inthe warmer “water” of the upper right quadrant, the warmer hue in the cooler“water” of the lower left quadrant, and the warmer triangle interpenetrating thecooler double-visual pathway in the lower right quadrant.
Objectives
The designer’s objective for this assignment was to create aseven-step value scale for all six of the printer’s hues (three primary hues andthree secondary hues). The hueshad to have equal contrasting boundaries vertically and vanishing boundariesacross each of the hues horizontally. The lightest values were placed at the top of thescale and the darkest values were placed at the bottom. Also, the hues had to be placed inspectral order, beginning with magenta on the left and so forth.
Limitations
The designer was limited with seven value steps to unifywith the rest of his/her color portfolio. The finished piece was required to be 7” x 9” and neatly mounted on 651Crescent board.
Visual Analysis
The objectives were met by creating a seven-step value scalefor each of the six hues. Thedesigner was careful to order the six hues in spectral order from magenta topurple, from left to right. In thispiece, the designer also achieved vanishing boundaries between hueshorizontally across the value scales by juxtaposing each hue with another hueof similar value. The designermade sure to create an equal-value contrast between each value step of each ofthe separate hue scales.
The designer’s objective for this assignment was to create aseven-step value scale for all six of the printer’s hues (three primary hues andthree secondary hues). The hueshad to have equal contrasting boundaries vertically and vanishing boundariesacross each of the hues horizontally. The lightest values were placed at the top of thescale and the darkest values were placed at the bottom. Also, the hues had to be placed inspectral order, beginning with magenta on the left and so forth.
Limitations
The designer was limited with seven value steps to unifywith the rest of his/her color portfolio. The finished piece was required to be 7” x 9” and neatly mounted on 651Crescent board.
Visual Analysis
The objectives were met by creating a seven-step value scalefor each of the six hues. Thedesigner was careful to order the six hues in spectral order from magenta topurple, from left to right. In thispiece, the designer also achieved vanishing boundaries between hueshorizontally across the value scales by juxtaposing each hue with another hueof similar value. The designermade sure to create an equal-value contrast between each value step of each ofthe separate hue scales.
Hue, Tint, Shade Design
Objectives
The designer’s main objective for this assignment was tosuccessfully execute a design using gradations of primary hues and secondaryhues taken from her hue-tint-shade scale based on the hue triangle. Also, the designer had to be ableto understand color design strategies, such as proportion strategy, valuegrouping, and ordering of hues. The designer further explored simultaneous contrast as the surroundingsinfluence the perception of hue.
Limitations
A limitation that the designer had to work around was thatthe viewer of her design should feel that visually they used all the steps ofyour scale. The design should bebalanced and unified with dynamic movement. Furthermore, there should be no figure-ground problem.
Visual Analysis
The designer ordered the hues spectrally in acounter-clockwise direction around the piece, from magenta to purple. Transparencies were created through theuse of vanishing boundaries. Vanishing boundaries are formed between two different hues of similarvalue. She also chose to use an additivecolor arrangement in the piece, creating a mix of the lightest value of eachhue in the middle and the darkest value of each hue along the edges withgradations in between. Inorder to eliminate static movement, the designer incorporated interpenetrationsthrough pathways gradating within. This allowed her to bring the darker values from the outer perimeter tothe center and bring the light values from the center to the outer perimeter. In order to solve the figure-groundproblem, the designer found a resolution through the use of a milder contrastbetween the interpenetrations and their surroundings. Darker values were also added to the outer perimeter.
The designer’s main objective for this assignment was tosuccessfully execute a design using gradations of primary hues and secondaryhues taken from her hue-tint-shade scale based on the hue triangle. Also, the designer had to be ableto understand color design strategies, such as proportion strategy, valuegrouping, and ordering of hues. The designer further explored simultaneous contrast as the surroundingsinfluence the perception of hue.
Limitations
A limitation that the designer had to work around was thatthe viewer of her design should feel that visually they used all the steps ofyour scale. The design should bebalanced and unified with dynamic movement. Furthermore, there should be no figure-ground problem.
Visual Analysis
The designer ordered the hues spectrally in acounter-clockwise direction around the piece, from magenta to purple. Transparencies were created through theuse of vanishing boundaries. Vanishing boundaries are formed between two different hues of similarvalue. She also chose to use an additivecolor arrangement in the piece, creating a mix of the lightest value of eachhue in the middle and the darkest value of each hue along the edges withgradations in between. Inorder to eliminate static movement, the designer incorporated interpenetrationsthrough pathways gradating within. This allowed her to bring the darker values from the outer perimeter tothe center and bring the light values from the center to the outer perimeter. In order to solve the figure-groundproblem, the designer found a resolution through the use of a milder contrastbetween the interpenetrations and their surroundings. Darker values were also added to the outer perimeter.
Final Project
