![\"Transparent](\"http:\/\/wonderfuldarkness.com\/wp-content\/uploads\/2014\/03\/20140227_184842-Copy.jpg\" "\\"Transparent")
<\/a><\/p>\nAssignment<\/h2>\n
Create your own pattern displaying the Bezold effect.<\/p>\n
Pattern<\/h3>\n
I chose to use a shade of violet and green along with a tint of orange. To visualize these colors as I intended to include them in my pattern, I filled in the template with the sample hues. I planned on utilizing green as my consistent figure, while the purple and orange shapes would exchange placement halfway across the composition.<\/p>\n I started coloring the exchanged shapes, first with purple and second with orange. I then filled in the left half of the composition with the alternated orange and the consistent green. Next, I completed the consistent green forms and finished the right side of the composition by coloring the alternated purple shapes.<\/p>\n The last modification I made was to fill in the white square negative spaces with the \u201cbackground green\u201d to ensure the design was composed of only three colors.<\/p>\n I wasn\u2019t entirely happy with the final result of this experiment; so, I wanted to explore some other possibilities for displaying the Bezold Effect.<\/p>\n My first alternative design was based on a bicycle composition I had created in 1989. This time I altered the design by simplifying the multi-toned gray-scale hatching into two new compositions: one dominated by a light yellow tint and the other by a darker violet hue.<\/p>\n My second experiment started from a graphic sketch I utilized as an icon for tee-shirt designs on a popular website. The sketch was a simple, black and white outline of a woman with her hand on her hip. This time I only changed the background color and left the image hues identical in both graphics.<\/p>\n I wanted to experiment with another old design, circa 1989 \u2013 1990, to demonstrate how differing adjacent colors can affect a pattern\u2019s visual impact. Instead of altering the background, I only changed the frame of this image.<\/p>\n Utilizing this basic design, I carefully chose a tetrad color scheme that would accurately display the visual The last step was to add four different backgrounds, one of each complimentary color used in the duplicated design; thus, a different effect was produced from each of the four individual images and to the overall composition as a whole.<\/p>\n Since none of my previous experiments created the correct result the Bezold Effect describes, I chose to utilize only three colors and change the backgrounds of two images. I decided on removing green from my previous palate and kept red and purple as my primary (and background) hues with yellow as my third color.<\/p>\n For this project I used Bristol board and permanent markers. I tested some shades and tints of the specific hues chosen. Next, I traced a small sample of my cube pattern to reproduce the effect desired. I also had to calculate the dimensions of my background media to include both images and a one inch border. Then I trimmed a piece of Bristol board to 4 \u00bd\u201dx9\u201d, allowing for two 2\u201d patterns, separated by an inch partition of white space.<\/p>\n After transferring my cube design to both halves of the Bristol board, I began coloring in the parts of the images that would contain the yellow hue. I the proceeded to fill each designated red portion and eventually completed the pattern with the dark purple. By starting from light to dark, I was able to correct a small mistake while working on the red hue, where I lengthened a line beyond its shape due to a guideline that transferred too lightly.<\/p>\n View\/Download PDF<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<\/a>I began this project by producing a personal pattern based on my transparent cube design. First, I traced my cube four times, back to back, to connect each cube into a single repeatable form. I then copied the pattern across a piece of Bristol board until the design covered the entire background.<\/p>\n<\/a>Colorization<\/h3>\n<\/a>
\n<\/a><\/a><\/a><\/p>\n<\/a>
\n4 <\/b>C<\/b>u<\/b>b<\/b>e<\/b>s<\/b><\/h1>\nCritique<\/h3>\n
Alternatives<\/h2>\n
<\/a> <\/a>\u00a0<\/a><\/p>\n<\/a> <\/a> <\/a><\/p>\n<\/a><\/a>\u00a0\u00a0<\/a><\/p>\nBezold Cubes<\/h3>\n
<\/a>One last experiment was needed to complete my vision of the Bezold Effect. Returning to my quad-cube, I digitized my previous sketch of a transparent block, duplicated it and adjusted the pieces into position to complete the four-cube pattern.<\/p>\n<\/a>results I intended. I began with Violet and added its compliment of yellow along with red and its compliment of green.<\/p>\n<\/a><\/p>\n<\/h2>\n
<\/a><\/h2>\nRevamp<\/h2>\n
<\/a><\/a><\/p>\nConstruction<\/h3>\n
<\/a>
\n<\/a><\/a>
\n<\/a><\/a><\/p>\n<\/a><\/a>
\n<\/a>\u00a0\u00a0<\/a><\/p>\n<\/a>The last step was to add the actual background colors. I started by outlining each image in its respective hue and then adding an extra layer of thickness to the outside border. Then I simply outlined each individual shape and filled in the corners to complete the effect. Finally, I erased the outside guidelines and cleaned the image for presentation.<\/p>\n<\/a>
\nBezold Sample<\/b><\/h1>\n