Glendale Community College Color Theory Surface Colors to Film Colors Practice



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Color Theory / Final Assignment
Film Color on Paper Wall Sculpture
Objectives: 1) Gain sensitivity to shifts in perception relating to conversion from surface colors to
film colors as a consequence of reflected light. 2) Develop sensitivity to the possibilities presented
by changes in form, light incidence, color and intensity.
Stiff white paper (ex. Strathmore 32 x 40” or Elmer’s 2 pk 18 x 24”) 3/16” Foam Core or
White Museum board 3/16” x 32 x 40” , white wood workers glue, acrylic paints or colored paper,
painting tools, exacto knife, utility knife, metal straight edge (ruler)
Other materials may be needed based on solutions to individual student problems
A wall sculpture will be created from stiff white paper and white board and painted surfaces that will explore the possibilities of reflecting light from colored surfaces onto adjacent forms.
The sculpture is to be a minimum of 18 x 24” but may be larger. It is to be non-representational
and should employ a strategy of repeated design units. These units may be organic or geometric in
shape. Surface colors should not be central to the design. Their affect on surroundings as film color
should be the salient experience.
1) Using 18 x 24” drawing paper, pencils, erasers, rulers, french curves, triangles, templates
or other drafting tools; create a front view sketch (to scale) of the basic spacial organization and
shapes to be created as a dimensional wall sculpture.
2) Using utility and exacto knives as is appropriate, cut shapes from museum board that will
be assembled into a stable armature that imitates the overall shape and structure described in your
3) Cut paper and/or board shapes that continue to describe the details needed to complete
the sculpture as a three dimensional version of your drawing.
4) Formulate an assembly plan that will allow for the most secure fixing of the component
parts into the sculpture. Strategies for creating secure joints will be discussed in classroom demonstration.
5) Horizontal surfaces will be painted in acrylic colors that will reflect film color into adjacent unpainted areas. (Actual surface colors should not be planned as visible parts of the design.)
When planning your color composition think in terms of a visual rhythm that can be created through
the strategic repetition of colors that are responsive to the movements of form in the sculpture.
6) Picture hanging wire is to be fixed to the back of the work such that it is secure and allows
the piece to hang from a wall nail.
7) Craft counts. Be careful with white glue as you fix pieces in place. Brush or use a small
paint roller to apply color in smooth application. Painted paper may be cut and glued into their appropriate locations to avoid accidental slopping.
Due: For Final Critique
Final Examination on chapters 1 -11 of Color by Zelanski and Fisher
immediately following
Color Theory / Final Assignment
Film Color on Paper Wall Sculpture
(first steps)
1) Work with a partner to determine differences created by changes in hue, saturation and value
in reflecting light onto adjacent surfaces. Pin a large sheet of white paper to the wall. Have one
person hold sheets of colored paper for “viewing partner” above eye level so that surface color isn’t
seen and so that reflected film color affects can be analyzed. Make notes of differences and begin
formalizing the color scheme you will be investigating in your wall sculpture. Trade positions with
your partner regularly so that you both will have the opportunity to experience the different affects
possible. (Paint sheets of paper if Color Aid Papers arenot available in a wide enough assortment to
satisfy your needs.
45 minutes
2) On a sheet of drawing paper, work out a sketch of your wall sculpture using rulers and other
drafting tools as needed. Measurements describing overall dimensions and particulars of details
should be part of this drawing. It doesn’t need to be a finished mechanical drawing, but it should
represent your idea well enough that it can be used as a beginning for construction. Changes from
the original idea to the finished sculpture are acceptable, but shouldn’t be so radical that the finished
piece has no relationship to its sketched beginnings.
due for instructor approval at the end of class

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color theory

3D Film Color

surface colors

film colors

shifts in perception

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