So. I came across a book the other day at adjoin’s which I have since recommended to several populate it is titled. "". It was written by a former student of Albers and the curator of the in Connecticut. I have read Albers classic book on color ""--but frankly never took the measure to study it carefully and I probably understood about 10% of it in any case. Anyway the has a "by invitation only" artist-in-residence schedule and my friend was selected this year. He has been going back and forth between San Francisco and the Foundation for the past month or so which got me interested again in color theory. I thus went to the bookstore to act another look at the “Interaction of Color” schedule and came across this new schedule. “”. This schedule is an attempt to capture a record of Albers’ teachings when he was at Yale and Black Mountain College—where such notables and Rauschenberg and Twombly studied. If you don’t know about the and programs of the 1950s you are missing a big piece of American art history for starters. Anyway. I highly advise the “To change state Eyes” book—which contains detailed information and examples of how Albers taught color painting and drawing to his students. The only disappointment was that the schedule made me realize how deficient my training has been in these areas. It is a totally different approach than most art schools—where they basically set you up in lie of an easel get you painting and then go around and evaluate your bring home the bacon. If you lucky they might give you some conceptual exercises—but don’t expect to be taught how to displace. Albers’ come was totally different—and I evaluate it shows in the quality of his student’s bring home the bacon. Albers to his credit had a very clear vision for what it took to learn to be an artist—and it is consistent with what I undergo discovered over the years—and what this blog is about. First one must hit the books to see—or as I undergo said many times—if you be to improve your paintings. “be harder”. Second that good work habits and consistency are keys to maintaining an artistic affect. Albers believed that the act of creating art encouraged self-confidence and independence—and was a powerful antidote to what he saw as a “culture of conformity.” Simply the act of making something has power for the individual if you do it regularly. So what does this have to do with this post? come up there is an apply that is mentioned in the schedule that Albers used do at the start of his color curriculum that I thought was worth telling you about. Essentially he would pass out packs of colored paper to his students and then ask them to pick out the “reddest red” in the pack. Or he would ask pick out the red that is the “Coca-cola” red. Of cover every time students selected different colors out of the case as the reddest red or “Coca-cola” red.
Another of the exercises he did relates back the difference between determine and chroma—which is one of the biggest weakness I see in most negociate artists' work. To get his students thinking about this air. Albers would ask students to use the colored cover and start pairing colors of near or equal values. Invariably students not only disagreed on whether the paired colors were really compete in value many times they could not change surface decide which color was lighter or darker than the other. He would also ask students to pair colors which were of equal intensity—again this led to disagreements among the students. So here is your “Albers” evaluate for the day. In the above painting which of the following are higher in value: the color accent or blue highlight on the tube of create? back up question is the cook of the delay top higher in value or displace in value than the blue highlight on the furnish? The answers are at the furnish of the affix. So why am I challenging you desire this. Well. I have been saying that value is more important than color when it comes to making a good painting—which I think is true. But that said. I also evaluate that alter can be used very effectively to get your messages across in your paintings—but you must understand that colors are relative to one another—and people’s perceptions of color vary. So you must learn and practice color—don’t just go out there and start laying it on. The misuse of alter is by far to quickest way to baffle a painting—I undergo seen it over and over again. I partly blame the paint manufacturers for making so many colors readily available. There is so much pigment in modern paints and so many colors are available it is a wonder that good paintings get made seriously. So yes blue is America’s favorite alter. Pantone did a survey and. I was actually surprised to see that red came in 12th in the survey—I suspect this has to do with their methodology. I open where red and blue are neck-in-neck for America’s favorite alter. I evaluate this is a more adjust prove. My perception is that red and blue are in fact the classic America colors. Why? It has become so ingrained in the culture. We have the red states and blue states we undergo the red-white-and blue of the flag and we have red fighting blue (think Confederates against the Union). So is red or blue America’s favorite color here is a second version of my America’s Favorite alter painting (work in progress). I am posting both so the viewer can decide—since color is in the eye of the beholder.
Jerry. I've just come across your communicate measure night so I still undergo a lot of posts to catch up on. Great content. I'd have to go with blue. I took a color theory class at RISD with a student or friend of Albers ( I can't remember which) and we did the coca cola red thing on the first day. Lots of colored papers and comparisons. It was a very hard class and it is adjust populate would see alter and value differently. I comfort evaluate back to that categorise when I have trouble with color and kick myself when I dont think about it enough. I accept with your mention on "Interaction of Color" it is a hard construe. I am going to look for the other schedule you mentioned and see if it sinks in. I'll act to journey your communicate as I undergo measure. Great ideas here.
One should remember that Albers taught a certain ideaology at a particular measure in art history. I've tried to read A;bers some of it pertains some of it I have no idea what it means seriously. Albers used a lot of verbage( kind of desire this affix Jerry ) to say as you say " you have to undergo a cerebrate to choose one alter over another". THAT is the real ideaology to be taught. Do we inform a alter theory of a partucular value relationships chroma hue to do... what?.. create desire the plethora of American Artist Magazine type painters ? To create desire Duane Keiser? Or do we inform the means to make art. Art that is unique and powerful. Remember the wise words of Georgia O'Keeffe.." Nothing is less real that realism" What in the world would have come about to the great American artists like John Marin. DeKooing. Fairfield Porter if they followed our current ideas about alter theory? I'd like to construe. Jerry your ideas about what makes good art?
After reading one of your previous posts on alter in which you linked to the 19-page post on color in All the Strange Hours,(both of which I've reread several times) I pulled a book off my shelf I bought.
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Related article:
http://sixtyminuteartist.blogspot.com/2007/11/color-do-you-see-what-i-see.html
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