Assignment

Create two compositions: one should be in low saturation and consist of a narrow value range; the other should be in high saturation and consist of a broad value range.

The composition can be any original idea of design, self-portrait, or copy of a photograph. The color medium utilized should be any paint medium or color-aid paper if constructed of solid shapes. Recommended size: no larger than 8”x8”.

Definition

Saturation defines a range from a pure hue (100%) to gray (0%) at a constant lightness level. A pure color is fully saturated.

From a perceptional point of view, saturation influences the grade of purity or vividness of a color or image. An unsaturated image is said to be dull, less colorful or washed out but can also give an impression of being softer or less harsh.

Preparation

To begin, two copies of an identical landscape were traced and transferred to Bristol board. The identical images were specifically chosen to compare the visual impacts and differences saturation can produce. Both images were painted with gouache.

High Saturation

I selected Cobalt for the sky background that occupied the upper portion of the composition. Next I painted the grass-covered hill in Permanent Green with patches of Light Green and brush of the same hue. To complement both the sky and the grass, the mountains were painted in Bright Orange and Carmine Red with Lemon Yellow highlights. To complete the work, the clouds were painted in a washed-out version of the same Cobalt and the tints were produced by utilizing a sponge-like application with the wash.

 

Low Saturation

I used all of the same hues in both images and the same brushes for the same colors and the same techniques for every section; however, in my second version I added a gray to each color that was a mixture of Ivory Black and Bright White.

 

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Introduction

Color alone can affect a viewer’s acceptance of an image and whether they find the image pleasant or distasteful. Take a cute and lovable Minion, for example. With their gentle yellow tint and unassuming whites and tans, they are very nonthreatening and are even considered lovable.

Cute to Ugly

By changing his mild yellow tints and shades to harsh, unpleasant green variations, I made him instantly less friendly. Additionally, I chose to color his iris’ a sickly, pastel yellow and his sclera, or the “whites of his eyes”, a dim red. Lastly, changing his teeth to dark grays and browns and throwing some magenta in his mouth and pupils, the change is complete. We now have a Noinim, or anti-Minion: a horrible, offensive, nasty variation of a once adorable character. Sorry, Illumination Entertainment.

Image Creation

First I traced the Minion, both as a positive image and then the negative image, so it could be transferred to Bristol board. After the transfer, and perhaps one step later than recommended, I painted the background in a light yellow hue. This color choice was based on its clash with the planned greens of my Noinim.

Image Painting

I started by painting the clothing and accessories that wouldn’t change color: namely, the goggles, overalls, gloves and boots. Then I chose several shades of green that would alter a viewer’s perception of the character. By modifying the eyes, hair and mouth of our new underling, we further change the observer’s initial appeal to that of aversion. A few final additions completed the composition: a shadow in a blue-green shade and a horizon line to add some limited depth to the abstract landscape.

Noinim

Chalk Boy

After a class critique, my Minion was deemed a zombie but still considered too cute to meet the requirements of color alone changing the emotion of an image. I disagreed but was willing to try a free-form sketch with chalk of a cute cartoon boy.

While this version of color emotion technically meet my professor’s expectations, I had to produce something a little more professional to meet my personal standards.

Evil Baby

I started by searching the internet for some of the cutest baby pictures I could find. Finally, I settled on three possibilities:

Modifications

After experimenting with all three, I picked one and started manipulating the brightness, contrast, mid-tones, hue and saturation.

Some of the adjustments I tested included negatives, highly saturated darkened images, green and blue monochromatic forms, sepia exposures and high-contrast violet vector masks.

 

Eventually, I made some specific hue selections, separated the background, highlights and shadows and applied a light, mustard yellow; several shades of dark and light greens; and a peach-orange hue.

Transfer

I traced the positive image but instead of tracing the negative and transferring the positive form, I decided to transfer the negative image to Bristol board.

Painting

I started by producing the background color which was a mix of Bright Orange and Yellow Ochre gouache. Next, the main bright hue utilized for most of the baby was created by mixing a tint of Cadmium Yellow and Titanium White acrylic. The green hues were applied from lightest to darkest, beginning with a Light Green gouache mixed with Titanium White acrylic followed by a, slightly darker, pure Light Green gouache. The shades and shadows were created by mixing Permanent Green gouache and Mars Black acrylic. Finally, the darkest hue was made with Emerald Green gouache and Mars Black acrylic.

Completion

A three-inch border was taped off with masking tape before applying the paint; however, the border was trimmed away from the image after it finished drying.

 

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Assignment

Create an original composition while representing and paying tribute to the great master: Salvador Dalí. (This particular artist was my choice. Any artist could have been selected as long as they were well-known for a unique style and significant color choices.)

Inspiration

In the early 1950’s, Dalí painted Galatea of the Spheres. He had been greatly interested in nuclear physics since the first atomic bomb explosions of August 1945, and described the atom as his “favorite food for thought”. Recognizing that matter was made up of atoms which did not touch each other, he sought to replicate this in his art at the time, with items suspended and not interacting with each other.

After marrying Gala in 1934, Dalí started to sign his paintings with his and her name and stated, “Tis mostly with your blood, Gala, that I paint my pictures”. Gala acted as his agent and aided in redirecting his focus.

Prototype

I wanted to pay homage to Dalí by mirroring some of his color choices, unique suspension theme and even his inspirational muse. Of course, my muse is my beautiful wife, Jennifer.

I began by selecting a photograph of my muse:

I then selected a background image consisting of a blue sky
and the sun concealed by some white, fluffy clouds.

Experimentation

I converted the original image to a pencil sketch to simplify the design and tested different styles such as a couple colorful cubism motifs, some chalk variations and even a Warhol-like design.

Finally, I settled on a photographic sphere-based theme to more closely resemble Galatea of the Spheres and positioned it on top of my sky background.

Creation

First, I trimmed a piece of Bristol board to 16 ½” square. This size allowed me to leave a 2” border and a 2 ¼” padding. The border was protected with drafting tape.

My first attempt at a free-hand, haphazard background was a disaster. I decided to clean it up by planning a two-tone, abstract landscape; unfortunately, I wasn’t pleased with the result for this design. I settled on a simple, sky-blue wash and was quite happy with the outcome.

I copied contours of my digital design onto tracing paper and then transferred them to my background, starting with the center four spheres. I chose to radiate my warm colors, golden-yellows and deep oranges, from the center of the design to the edges. By placing these hues on my cool, rich blues, I intended to mimic some of Dalí’s color choices and placements.

 

Details

I began with the center four sections of the image and utilized Cadmium Yellow Light Hue as my basic yellow hue. I then mixed Primary Yellow with Titanium White to create my highlight tint. Next, I chose to indicate shades with Yellow Oxide and finished by creating a wash from my basic yellow to cover each circle and produce a sphere effect. The last two steps were to produce a reflective light and shadow on each sphere which I did by generating a new shade wash from my basic yellow and adding Mars Black and then making a tint wash from my previous highlight hue.

The sections surrounding the center four spheres would eventually fade from the center of the design toward the edges but started with a basic Cadmium Orange Hue. Next, I mixed this basic orange with Titanium White to produce my highlight tint. I utilized Cadmium Red Light Hue to create a dark shade for each circle around the composition. To generate the sphere effect, I created a wash from my basic orange and coated each circle. Again, the last two steps were to make a reflective light wash from my highlight orange and a shadow wash by adding Mars Black to my previous dark shade.

 

After the design dried and the drafting tape was removed, some blemishes were reveled within the border; so, I used some pure Titanium White to abstractly add almost invisible lines randomly around the entire border.

Jennifer Dalíesque

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