Miami Arts Charter School
Visual Art Department
Teacher: Mr. Perdomo
Course Title: M/J Art/2-D1
PROJECT LESSON PLAN
PROJECT TITLE: COLOR
DATE: March 7,8,
2015
DESCRIPTION: Color is the most exciting of all the elements of art. Human beings are so sensitive to color
that somehow our emotions are directly affected by it. Besides being the most expressive of element of
artwork all have a favorite color, it is also the most difficult element of art to talk about. Try to imagine
explaining the difference between red and orange to a blind person. In art, it’s impossible to describe a color
without talking about other colors.
Colors also stand for ideas and emotions. You use color symbolically when you say, “I feel blue”, or
“she’s green with envy”.
You may remember a time when you mixed beautiful bright colors into a muddy, dull grey mess.
Understand that color can be very frustrating so please be patient. In this chapter you will learn to speak with
color in the language of art.
OBJECTIVES:
1.
2.
3.
4.
5.
6.
Students will:
Explain how we perceive color.
Apply their understanding of the three main properties of color: hue ,value and intensity. By
creating scales for each
Identify five different color schemes.
Mix your own paints using different pigments.
Use color as the expressive element in creating two and three-dimensional works of art.
Recognize the expressive qualities of color that artists use to create meaning.
PROCEDURES AND PRODUCTION:
Color
Color is an element of art that is derived from reflected light. You see color because light waves are
reflected from objects to your eyes. White light from the sun is actually a combination of all colors.
When light passes through a wedge-shaped glass, called a prism, the beam of white light is separated
into bands of color, called the color spectrum. The colors of the spectrum always appear in the same order; red
orange, yellow, green, blue and violet.
Rainbows are natural examples of a spectrum. Rainbows occur when sunlight (white light) is bent by
water, oil, or a glass prism. You can find rainbows in the sky, of course, in the spray from a garden hose, or in a
puddle of oil in the parking lot.
Objects absorb some waves of light and reflect others. A red apple looks red because its skin reflects
red wavelengths and absorbs most of the other colors. Special color receptors in your eyes detect these red
light waves, and your mind reads the light as being a certain color. Light enters your eye and travels to a
membrane of nerve tissue, called the retina, at the back of the eyeball. There, two types of cells react to the
light. One type, receives impressions of lightness and darkness; the rods. The other type is sensitive to color; the
cones.
Colors really do not change, but your ability to distinguish between them does. This is the reason why
your eyes have trouble distinguishing color in dim light.
Colors have three properties and these will help you work with color. The properties are hue, value,
and intensity.
HUE
Hue is the name of the spectrum or spectral color, such as red, blue or yellow. Red, yellow, and blue
are primary hues and you cannot make primary hues by mixing other hues together. By combining the
primary hues or colors and black and white you can make almost every other color.
The secondary hues are made by mixing two primary colors. Red and yellow make orange. Red and
blue make violet or purple. Blue and yellow make green. Therefore, orange, violet and green are the secondary
colors.
The six intermediate colors are made by mixing a primary color with its secondary color. For example,
mixing red and orange make red orange, red and violet makes red violet, yellow and green makes yellow
green.
You can, of course make many variations by combining the newly created colors.
A color wheel is the color spectrum bent into a circle. It is a useful tool for organizing colors. You will be
making a twelve color wheel in your first studio activity. A twelve color wheel is a wheel showing three primary
hues or colors, three intermediate hues and six intermediate hues.
STUDIO ACTIVITIES:
Studio Activity 1:
Make a color-wheel. Draw a circle and divide it into twelve equal parts. Starting
with the primary colors. Where should you place the primary colors? This is where a little math will come in
handy. Divide twelve into three and you will get four. Therefore, you can place each primary hue at every
fourth spoke of the color wheel. Next are the secondary hues. The secondary hues are placed in between each
primary hue or every second spoke of the color wheel. The remaining spokes are the six intermediate hues.
VALUE
As you have already learned. Value is an element that refers to darkness and lightness. Color value is
related to the amount of light color reflects. Not all hues of the spectrum have the same value. Yellow is the
lightest hue, and violet is the darkest.
Black, white and gray are neutral colors. When white light shines on a white object, the white object
reflects all of the color waves and does not absorb any. As a result, you see the color of all the light, which is
white.
You can change
When artists want to show a bright, sunny day, they use tints. Paintings having many tints are referred to as
high-key paintings. Claude Monet’s Ice floes 1883 is an example of a high key painting. Low-key paintings
have shades, or dark values, which are used when the artist wants to represent, dark, gloomy days, nighttime
and dusk. Edward Hopper’s, Nighthawks of 1942, exemplifies the use of dark values adding a feeling of
mystery to the work. They can also be used to create a feeling a sense of foreboding and danger.
The tintsofblue used inthis painting gives theimpressionof acold, icyday.
The darkcolorvalues inthispaintingadd thethreatening mood ofthework.
If the change in values is gradual, the design produces a calm feeling. If the values take large leaps up
and down the scale, for example from almost white to almost black, the artwork will describe an active and
nervous feeling.
Studio Activity 2a:Using pencil and ruler draw a rectangle measuring approximately seven by one inches long.
Divide this rectangle into seven equal squares measuring one by one inch. This represents a seven-step neutral
value scale. Carefully paint the first square black and the seventh square white. Next, paint the fourth square a
neutral gray falling half way between black and white. For the remainder of the squares, gradually add black to
the left side of neutral gray square and white to the right side until you are able to achieve a gradual transition.
Studio Activity 2b:
Now, you are going to make a seven-step value scale for all six primary and
secondary hues. Using pencil and ruler, draw six rectangles measuring seven by one inches. Divide each
rectangle into seven equal squares measuring one by one inch, one for each step. Make the first square almost
white, make the fourth square a primary or secondary hue and make the seventh square almost black. The
second square should be a very light tint of the chosen hue, and the third square should be a little darker. The
sixth square will need a small amount of black, the sixth a little more. Again, the objective of this exercise is to
train you to achieve smooth and gradual transitions within a value scale.
INTENSITY
Intensity is the brightness or dullness of a hue. If a surface reflects only yellow light waves, for example,
you see an intensely bright yellow. A pure hue is called a high-intensity color. Dull hues are called low-intensity
colors.
Complementary colors are the colors opposite each other on the color wheel. The complement or opposite, of
a hue absorbs all the light waves that the hue reflects. Red and green are complements. Red absorbs blue and
yellow waves and reflects red waves. Green absorbs red waves and reflects blue and yellow waves.
Mixing a hue with its complement dulls the hue, or in other words, lowers the intensity. The more of a
complement you add to hue, the duller the hue looks. Eventually, the hue will lose its own color and appear a
neutral gray.
The hue used in the greatest amount in a mixture becomes dominant. For this reason, a mixture
might look dull orange or dull blue in varying degrees, depending on the amount of color used. More or less
equal mixtures of orange and blue usually yield a brownish color.
Hue, value, and intensity do not operate independently. Instead, they rely on one another to create
the variety of colors you see around you. When you observe colors, you will see dull tints and bright tints, dull
shades and bright shades. When you can classify types of colors, you will understand color.
Studio Activity 3a:
Create seven-step intensity scales for each primary color and each secondary
color. Paint the first step with with a pure color. Then, you will dull the paint in the second step by adding a
small amount of that color’s complement. Add more of the complement to the paint for the third step and
continue to the seventh step, which should be a neutral gray color.
Studio Activity 3b:
Cut six squares with dimensions measuring 2.5 by 2.5 inches. Cut six more squares
with dimensions measuring 1 by 1 inch. Paint the 2.5 x 2.5 inch squares with any primary or secondary color of
your choosing. Using your color wheel as a reference, paint each 1 x 1 inch square with the complement color
of the 2.5 x 2.5 inch square. Make sure the value and intensity of both squares are a perfect match. Lastly,
center and glue the 1 x 1 inch square onto the 2.5 x 2.5 inch square.
Studio Activity 3c:
Contrary to popular belief a tree trunk is not really brown. It reflects a variety of light
and dark low-intensity grays. Draw seven or more bare trees on a 12 x 18 sheet of paper. Combine varying
amounts of one primary color and its complement as well as black and white to create a variety of different,
low-intensity light- and dark-valued colors. Then use these colors to paint each tree a different color from the
others.
Color Schemes:
Single colors are like musical instruments. Each instrument has its own special sound. When you hear
an instrument in an orchestra, the sound you hear is affected by the other sounds of the instruments. When
musicians are tuning before a performance, you hear confusing noises. When they play together in an
organized way, you hear a beautiful sound. For similar reasons, unplanned and confused colors can be as
confusing to your eyes as unplanned music is to your ears. Color without organization can look like a bad visual
argument.
Every time two colors come into direct contact their differences become amplified. For example, a
yellow-green surrounded by a green look yellower. A yellow-green surrounded by a yellow looks greener.
Gray-green will seem brighter if its surrounded by a gray background of equal value but much duller if
surrounded by a bright green.
Yourperceptionofanycoloris affectedbythee colorsthatsurround it.This effect iscalled simultaneous contrast.
A color scheme is a plan for organizing colors. Someone may tell you that certain colors go together or
that certain colors clash. These statements merely reflect personal likes and dislikes. The following are some of
the most frequently used color schemes.
Monochromatic Colors
Monochrome means one color. A monochromatic color scheme is a color scheme that uses only one
hue and the values, tints and shades of that hue. It has a strong unifying effect on a design for the same reason
it is such a limited scheme. The mayor problem with monochromatic schemes is that overused, they can be
quite boring.
Analogous Colors
Analogous colors are colors that side by side on the color wheel and have one common hue. What
hue do the colors violet, red-violet, red, red-orange and orange have in common? The answer is red of course.
This type of scheme can be used to tie one shape with another through a common color. Because of their
common hue, these colors are usually easy to organize.
Analogous colorsarerelated.
Complementary colors
The strongest contrast of a hue is produced by complementary colors. When a pair of high-intensity
complements are placed side by side, they seem to vibrate.
It is difficult to focus on the edge where the complements touch. Some artists use this visual vibration to create
special effects. They make designs that sparkle as if charged with electricity.
Inthis paintingtitled ‘Iridescence’, Richard Anuszkiewiczis
experimentingwiththeeffects ofhigh intensity,complementary
colors.
Complementary colors color schemes are exciting. They are loud, and they demand to be noticed. They are
frequently used to grab the viewer’s attention. How many ways do people use the red-green color scheme?
Color Triads
A color triad is composed of three colors spaced an equal distance apart on the color wheel. The
contrast between triad colors is not as strong as that between complements. The primary triad is composed of
red, yellow and blue. The secondary triad is composed of orange, green and violet.
A high-intensity color triad is very difficult o work with. The contrast between the three hues is so
strong that they tend to make most people uncomfortable. A triad is more comfortable to the eye by changing
the intensity and/or value. A triad of secondary colors is far less disturbing.
Split Complements
A split complement is the combination of one hue plus the hues on each side of its complement. This
is easier to work with than a straight complementary color scheme because it offers more variety. For
example, refer to your color wheel and start with the color red-orange. Its complement is blue-green. The two
hues next to blue-green are blue and green. Therefore, red-orange blue and green form a split
complementary color scheme. Can you name a few other split complementary color schemes?
Warm and Cool Colors
Sometimes the colors are divided into two groups, called warm and cool. Warm colors are red ,
orange and yellow. They can be used in association with warm things such as sunshine, fire or charged
emotions. Cool colors are blue, green and violet. They are used in association with cool things such as ice, snow,
water, grass and emotions such s melancholy or sadness. Also, warm colors tend to move toward the viewer
in the picture plane whereas cool colors tend to recede.
The amount of warmness is always relative. Violet on a red background appears much cooler than
violet by itself. However, the same violet on a blue background will appear much warmer.
Studio Activity 4
1. In your sketchbook, write your initials or the letters of your name.
2. Draw several squares measuring approximately 4 by 6 inches in dimension and arrange the letters in
a design in one of the squares. It is very important that the letters touch the edges of the squares. Do
several different designs using the remaining squares.
3. Play with the letters-try turning them upside down, twist them out of shape, make them fat or
overlap them. Consider these letters as shapes as readability is not important here.
4. When you find a design you like, reproduce it on four squares of white watercolor paper measuring 9
x 12 inches.
5. Now, paint each design using the following color schemes: monochromatic, analogous,
complementary, triad, split-complementary, warm and cool.
Materials:
 Sketchbook
 Pencil
 Acrylic paint
 Brushes
 Watercolor paper
KEY WORDS TO KNOW:
Analogous colors
Colors that sit side by side in the color wheel and have a hue in common. Violetred, red and re-orange are analogous.
Color
An element of art that is derived from reflected light. The sensation of color is
aroused in the brain by response of the eyes to different wavelengths. Color has
three properties; hue, value and intensity.
Color spectrum
The effect that occurs as light travels through a prism; the beam of light is bent and
separated into bands of color, which always appear in the same order: red, orange,
yellow, green, blue and violet.
Color wheel
The color spectrum bent into a circle.
Complementary colors The colors opposite each other on the color wheel.
Split complements
Is the combination of one hue plus the hues on each side of its complement.
Color Triad
Is composed of three colors spaced an equal distance apart on the color wheel.
Hue
The name of a spectral color. Hue is related to the wavelength of reflected light.
The primary hues are red, yellow and blue; they are called primary because mixing
other hues together cannot make them.
Intensity
The brightness or dullness of a hue.
Monochromatic
One hue. The artist may choose to only one hue and its values, tints and shades for
a unifying effect.
Shade
A dark value of a hue made by adding black to it.
Tint
A light value of a hue made by adding white to it.
ASSESSMENT
Total Value: 1 grade
Studio Project: 40%
Homework: 25%
Class Work Assignment and Quiz: 25%
Critique participation: 10%
REMEDIATION: (below grade level)
ENRICHMENT: (above grade level)
Sunshine State Standards
-
Critical Thinking and Reflection:
EU-1
VA.68.C.1.2
VA.68.C.1.3
Usevisualevidenceandpriorknowledgetoreflectonmultipleinterpretationsofworksofart.
Identifyqualitiesofexemplaryartworksthatareevidentandtransferabletothejudgmentofpersonalwork.
EU-2
VA.68.C.2.1
VA.68.C.2.2
VA.68.C.2.4
VA.68.C.3.1
VA.68.C.3.2
VA.68.C.3.3
VA.68.C.3.4
-
Assess personal artwork during production to determine areas of success and needed change for
achieving self-directed or specified goals.
Evaluate artwork objectively during group assessment to determine areas for refinement.
Use constructive criticism as a purposeful tool for artistic growth.
Incorporate accurate art vocabulary during the analysis process to describe the structural elements of art and
organizational principles of design.
Examine and compare the qualities of artworks and utilitarian objects to determine their aesthetic
significance.
Use analytical skills to understand meaning and explain connections with other contexts.
Compare the uses for artwork and utilitarian objects to determine their significance in society.
Skills, Techniques and Processes:
EU-1
VA.68.S.1.1
VA.68.S.1.4
Manipulatecontent,media,techniques,andprocessestoachievecommunicationwithartisticintent.
Useaccurateartvocabularytoexplainthecreativeandart-makingprocesses.
VA.68.S.2.1
VA.68.S.2.2
VA.68.S.2.3
Organizethestructuralelementsofarttoachieveartisticgoalswhenproducingpersonalworksofart.
Createartworkrequiringsequentiallyorderedproceduresandspecifiedmediatoachieveintendedresults.
Usevisual-thinkingandproblem-solvingskillsinasketchbookorjournaltoidentify,practice,developideas,andresolve
challengesinthecreativeprocess.
VA.68.C.3.1
Incorporateaccurateartvocabularyduringtheanalysisprocesstodescribethestructuralelementsofartand
organizationalprinciplesofdesign.
EU-2
EU-3
-
Organization and Structure:
EU-1
VA.68.O.1.1
VA.68.O.1.2
Make connections between the structural elements of art and the organizational principles of design to
understand how artwork is unified.
Identify the function of structural elements of art and organizational principles of design to create and reflect on
artwork.
EU-2
VA.68.O.2.4
Select various media and techniques to communicate personal symbols and ideas through the
organization of the structural elements of art.
VA.68.O.3.2
Discuss the communicative differences between specific two- and three-dimensional works of art.
EU-3
-
Historical and Global connections: N/A
Innovation, technology and the future: N/A
ESOL STRATEGIES
___PICTURES/VISUAL CUES
___PEER GROUPING
___TEACHER READ ALOUD/CLOZE
___STORY STRUCTURE
___CUEING
___QUESTION & ANSWER
___COMPLETION DRILL
___BACKWARD BUILD-UP
___CHAIN DRILL
___VOCAB. IN CONTEXT
___SIMPLE REPETITION
___CLOSE TECHNIQUES
___SUBSTITUTION
___WHOLE GROUP IND. RESPONSE
___ROLE PLAYING
___CHUNKING
___DRAMATIZING
___SUMMARIZING
___SOLVING PROBLEMS
___REPHRASING AND SIMPLIFY
___VAKT
ESE STRATEGIES
___POINT TO/HIGHLIGHT
__MANIPULATIVES
___RESPONSE BOARDS
___GRAPHIC ORGANIZERS
___READING STRATEGIES
___SYLLABLE STRATEGIES
___CONCEPT CARDS
___COMPENSATORY MATERIALS (PENCIL GRIPS)
___LEARNING GAMES
___MATH STRATEGIES
___TACTILE/KINESTHETIC
___STUDY SKILLS
___Extended time
___ Small group instruction
___ACCOMODATIONS AS NOTED ON IEP