Visual Complement Mixtures in Color aid paper and Painted Mixtures
Friday, October 1, 2010
Violet Idea Boards
Thursday, September 30, 2010
Violet is strong, bold, impacting, and after doing a bunch of research seemingly very current – concerning the world of Fashion. For my idea boards I poured through the latest fashion magazines and put together some ideas. As of now I am leaning towards the luxury aspect of violet when it concerns high-end fashion. For my next step I am going to bravely attempt to photograph inside some of the boutiques and high-end merchants that are showing violet in all of its glory for the fall.
Here are my idea boards so far:
First a simple swatch board using violet art supplies
Then I began pouring through fashion magazines. After that are swatches from the Garment District.
Albert Henry Munsell
Albert Henry Munsell was a painter, a teacher
and the founder of the Munsell Color System.
It is also important to note that his writings and teachings were
the foundation for other color systems that are still in use today.
His work also resulted in three books on the subject:
- A Color Notation (1905)
- Atlas of the Munsell Color System (1915)
- A Grammar of Color: Arrangements of Strathmore Papers in a Variety of Printed Color Combinations According to The Munsell Color System (1921) (published posthumously).
The first color wheel Munsell created was the above circle with ten segments.
Using the circle with ten segments as a base he built up and out rather than simply staying on the wheel.
The notion of the color tree seems to be a real innovation because it seems to be closer to how our eyes actually perceive color.
One of the innovative things about Munsell is that
he separated hue value and chroma in a new and
sophisticated manner that has a 3-d element to it that
had not been seen before.
Another aspect of the system is the integration of Gray into the
Munsell System. In a way Munsell used gray (in its variations) as a vertical axis
with the different colors shooting off said axis.
Desire to fit a chosen contour, such as the pyramid, cone, cylinder or cube, coupled with a lack of proper tests, has led to many distorted statements of color relations, and it becomes evident, when physical measurement of pigment values and chromas is studied, that no regular contour will serve.—Albert H. Munsell, “A Pigment Color System and Notation”[3]