Day 2 — Tuesday, June 12 — BReakout Sessions
Archive Your Own Artwork Photographically (90 Minute Tutorial)
Many of today’s digital cameras have sufficient quality for use in artwork documentation. This tutorial will first review quality criteria including resolution, color accuracy, color encoding, bit depth, image noise, and sharpness. We will next consider how to photograph artwork that is repeatable and scientific. This includes adding reference targets into the frame. We will conclude with a demonstration of an easy-to-use color management system. Participants should have general knowledge about using a single lens reflex camera.
Roy Berns is the Richard S. Hunter Professor in Color Science, Appearance, and Technology within the Program of Color Science at Rochester Institute of Technology, USA. He directs the Andrew W. Mellon Studio for Scientific Imaging and Archiving of Cultural Heritage. He received B.S. and M.S. degrees in Textiles from the University of California at Davis and a Ph.D. degree in Chemistry from Rensselaer Polytechnic Institute. He has received lifetime achievement awards from the International Association of Colour, the Inter-Society Color Council, the Colour Group of Great Britain, and the Society of Imaging Science and Technology. The subject of Berns’ doctoral dissertation was designing a Munsell Book of Color where its appearance was invariant to changes in lighting. He is excited to return to the Munsell system.
Color Appearance, Color Order, & Other Color Systems (90 Minute Tutorial)
How do color systems work? How do they vary? Are Munsell and Pantone doing the same thing? This tutorial will examine the mathematical description of color appearance and then explore how appearance is encoded in color order systems such as the Munsell Book of Color, the Natural Color System, and the OSA-UCS. It will also explore the differences between color appearance systems such as these and other useful systems that are used to name, specify, and communicate colors. We will end with a short update on recent progress in the understanding of human color vision for color appearance specification.
Mark D. Fairchild is Professor and Founding Head of the Integrated Sciences Academy in RIT’s College of Science and Director of the Program of Color Science and Munsell Color Science Laboratory. He received his B.S. and M.S. degrees in Imaging Science from R.I.T. and Ph.D. in Vision Science from the University of Rochester. Mark was presented with the 1995 Bartleson Award by the Colour Group (Great Britain) and the 2002 Macbeth Award by the Inter-Society Color Council for his works in color appearance and color science. He is a Fellow of the Society for Imaging Science and Technology (IS&T) and the Optical Society of America. Mark was presented with the Davies Medal by the Royal Photographic Society for contributions to photography. He received the 2008 IS&T Raymond C. Bowman award for excellence in education.
Color is Magic (Three Hour Workshop)
A workshop session exploring the appearance of color in contexts and by juxtaposition using the material of ColorAid papers.
Lois Swirnoff, MFA was a student of Albers at Yale, and taught color courses at a number of universities including Harvard, Wellesley, University of California and Cooper Union. A Fulbright fellow in Italy, she designed large scale installations of color as light. She is the author of Dimensional Color, a book on color and form and The Color of Cities: An International Perspective."
MassArt Munsell Treasures (90 Minute Tutorial)
A show-and-tell demo. Experience firsthand antique Munsell devices, instructional toys, and memorabilia kept at the MassArt Library. You'll see a vintage color sphere that spins, an early version of the "color tree," a 1920s edition of Munsell's Atlas with still vibrant color chips, assorted whirligigs and Maxwell disks, as well as unpublished Munsell photos and documents.
Greg Wallace is the reference and instruction librarian at MassArt. He also holds a Ph.D. in history of art from Brown University. He has an ongoing fascination with color theory and has the pleasure of showing the MassArt Library's collection of antique Munsell objects to students and faculty every year.
Unwildering the Bewildering Panoply of Color Measurement Devices (90 Minute Tutorial)
You wouldn't think it would be all that hard. You go into McSpectros, and ask the guy behind the counter to show you a color measurement device. For some reason, he starts out talking about geometry, diffraction gratings, and polarization filters, and then asks if you have OBAs. This tutorial fills in the gap, starting with a simple explanation of how light interacts with objects, and what that light can tell us about the object. This provides a foundation for an explanation of the options for how the light is captured and measured, and when and where the different options are appropriate.
John Seymour is an applied mathematician and color scientist, working as a consultant since 2012 under the name “John the Math Guy”. John currently holds twenty-five US patents, has authored over forty technical papers, and is a much sought-after speaker. He is an expert on the Committee for Graphic Arts Technologies Standards and ISO TC 130, and currently serves as Vice President of Papers for Technical Association of the Graphic Arts. He writes a blog which is described as “applied math and color science with a liberal sprinkling of goofy humor.”
Creating a Color Forecast (90 Minute Tutorial)
Put yourself in the shoes of a color consultant and explore the process of creating a color forecast. Color forecasting is sometimes referred to as a self-fulfilling prophecy but analyzing trends is critical for businesses who must decide - sometimes years in advance - on the color of their products. The risks of getting it wrong are great, the returns on getting it right are even greater.
Leslie Harrington Ph.D is the Executive Director of CAUS, The Color Association of the United States and a member of the Executive Committee of the International Color Association. Leslie is a professional member of American Society of Interior Designers and has held positions in several other organizations. She has an undergraduate degree in interior design; an MBA from New York Univ., Stern School of Business; and a Ph.D. in color strategy. She has held various senior management positions in the area of color strategy and color marketing over a 25-year tenure within the industry, including 16 years serving as the Color and Design Director for Benjamin Moore Paints.
An Approach to Teaching Color (90 Minute Tutorial)
Roy Osborne’s presentation, illustrated with examples of students’ work, will examine his own various approaches to teaching color theory and practice in art, developed since he was first invited to teach BA modules in Color Theory at the University of Akron, Ohio (1986-87), and later developed at various college throughout England and elsewhere. The structure and content of the courses developed from the first draft of ‘Color Influencing Form’, written in 1984 but not published until 2004 (in an abridged edition). An underlying aim was not only to have students create ‘works of art’ for their portfolios, rather than mere color exercises, but to start to explore methodical relationships between color and form.
Roy Osborne began lecturing on the theory and practice of color after publication of his ‘Lights and Pigments: Colour Principles for Artists’ in 1980, one of the first books to link traditional with new art media. A well-know editor and writer on the subject of color in art, he has exhibited extensively as a painter and taught and lectured at some 200 institutions worldwide. He is the author of ‘Color Influencing Form: A Color Coursebook’ (2004) and recently published a definitive color bibliography, ‘Books on Colour 1495-2015’ which includes a concise history and over 3,000 annotated titles cross-referenced by author and date of publication.
Seeing Color (Three Hour Workshop)
This workshop might be called ‘Art for non-artists’ except that we hope some artists will also take part. The workshop has two main aims. The first aim is the same as that professed by Josef Albers when he arrived to teach at Black Mountain College in 1933: it is “to make open the eyes”. Albers wanted his students to learn, first, how to see. Participants in this workshop will be looking closely to see subtle colour relationships and will try to capture the colour character of a flower or a painting. The second aim is to open up new ways of generating colour combinations for possible application in such fields as textiles and interior design.
We will explore the possibilities of chance that emerge while playing a new version of The Colour Card Game and will follow the kind of advice once given to students by an eminent graphic designer: “When in doubt, rip off Matisse”. Participants will work with coloured paper to produce simple designs in a standard format. The standard format will make it easier to focus on colour relationships and on how the dimensions of hue, value, and chroma contribute to the overall effect of a design. Very little skill will be required and all materials will be provided. Participants will leave with their own examples of ‘Instant Art’.
Paul Green-Armytage was born and educated in England, graduating as an architect in 1964. After ten years’ experience working as an architect, exhibition designer and set designer for television in England, Canada and Australia, he took up a position, in 1976, as senior lecturer in charge of the first year program in design at what is now Curtin University, in Perth Australia. His interest in color research led to a PhD in 2005; the title of his thesis was “Colour, Language and Design”. He has contributed papers at many national and international conferences, served as a member of the executive committee of the International Colour Association and as president of the Colour Society of Australia. He retired from teaching in 2006 but remains active as a researcher and writer.
Dimensions of Color for Artists (Three Hour Workshop)
The conceptual framework for object colors of hue, lightness and absolute or relative chroma remains the predominant color model among artists. This preference is in part due to the central role assigned to the representationally and compositionally important attribute of lightness. Nevertheless, other attributes of perceived color including brightness, colorfulness, saturation and brilliance are also relevant to the color problems faced by artists.
Through a combination of lecture content, Illustrations, demonstrations, interactive activities and open discussion we will explore in this workshop how these attributes of perceived color can be communicated so that they can be better understood by art students and artists.
Dr David Briggs is a painter and teacher of painting, life drawing, anatomy and colour at the Julian Ashton Art School and the National Art School, Sydney. His classes specifically on color have included “Theories of Colour”, a Bachelor of Fine Arts lecture course on the theory and historical practice of color in the Art History and Theory Department at the National Art School, “Traditional and Modern Colour Theory”, a Public Programs course primarily for secondary school teachers also at the National Art School, and a long running workshop “Colour, Light and Vision” at the Julian Ashton Art School. David is the author of a website on modern colour theory for painters, “The Dimensions of Colour” (2007- ; http://www.huevaluechroma.com/) and has contributed to publications including the chapter “Colour Spaces” in the forthcoming “Routledge Handbook of Philosophy of Colour”. David is currently serving a term as Chairperson of the New South Wales Division of the Colour Society of Australia (2015 - ).
Color Naming Within and Across Languages (90 Minute Tutorial)
In this tutorial, we will explore how people who speak different languages name simulated Munsell chips in an ongoing color naming experiment (accessible at: www.colornaming.com). Participants will also learn about the linguistic, behavioral and geometric features of these lexical color categories. The tutorial will be concluded with the presentation of a color naming model that automates the assignment of color names across the full 3D color gamut to any degree of granularity.
Dimitris Mylonas obtained MSc in Digital Colour Imaging from the University of the Arts, London and completed MRes in Media and Arts Technology at the School of Electronic Engineering and Computer Science, Queen Mary University, London. He held a research position at School of Psychology, University of Liverpool, and in the Wellcome Laboratory of Neurobiology, University College London. Currently he is a PhD student at the Department of Computer Science, University College London, researching colour naming within and across different cultures. Since 2015, Dimitris Mylonas is Chairman of the Study Group 'Language of Colour' of the International Colour Association (AIC).
Color Image Scale (Three Hour Workshop)
Color Image Scale, developed by Nippon Color Design Research Institute (NCD) and its founder Shigenobu Kobayashi (1925-2010), is a revolutionary 3D modeling system for psychological color space with Warm-Cool, Soft-Hard, and Clear-Grayish axes. Based on decades of research, it depicts the psychological effect of color combinations using the least number of index colors possible. The research, based on Munsell Color System and started in the early 1970’s, was initially focused on individual colors, but gradually shifted its attention towards the psychological impact and pragmatic use of color. By incorporating the semantics and human perception to the traditional color anatomy, the final product offers a cultural and societal understanding of color that serves a wide variety of commercial and educational purposes.
Although based primarily on adjectives culled from the Japanese language, Color Image Scale is highly adaptable for cross-cultural comparative study of color design. In the workshop, we will offer a systematic view of the semantics of color, and outline the color-based structure of people’s relationship to their culture and environment. After creating 3-color combinations using 130 color samples (10 Hues x 12 Tones, plus 10 Neutrals) to match certain adjectival themes, the participants will work in groups to analyze the results according to Color Image Scale. Through this exercise exposing the audience to the vast possibility of color combinations, and through the following discussion, the workshop will offer new insights into the semantics of color.
Setsuko Horiguchi graduated from the department of psychology of Waseda University in Tokyo with degree of Bachelor of Arts in Literature in 1981 and joined Nippon Color & Design Research Institute Inc. in April of 1981. Since then she has worked as a planning manager, consultant, and seminar lecturer in the fields of fashion, product, food, retail, housing, environment. She is the editor of the biannual Japanese periodical of color trend forecast, "Season Image Color" and co-author of "Basic knowledge of Color Image", Tokyo: David publishing co., 1995. In addition to her work with NCD, she is a member of the Japan Sensory Engineering Association, Part-time lecturer at Kyoei University, Kyoei Gakuen Junior College, Part-time lecturer at the Tokyo Nutrition Foods College, Lecturer at the Nippon Barber Beauty Education Center, and a Landscape Advisor for Taito City of Tokyo.
Introduction to the Natural Colour System (Three Hour Workshop)
“Choosing colours should not be a gamble.
It should be a conscious decision.
Colours have meaning and function.”
— Verner Panton from his book Notes on Colour
Colour is what we see, a subjective visual sensation. To characterize a colour you therefore have to describe what you see. It is not enough to identify a colour with pigments and their mixtures or with wavelengths and physical stimuli. How the colour is mixed, as well as the measurement data, is necessary for production, but to communicate with the customer you need a system in the way people see colours. NCS, the Natural Colour System®© is a logical colour system which builds on how the human being sees colour. The NCS notation gives you an unambiguous definition of a colour and any surface colour can be described. It can facilitate your colour specification, documentation and colour design. It is simple to decide and combine choices of colour with the help of NCS system.
A colour system does not necessarily give pretty colour combinations, but it does provide a tool for experimenting with different colour harmonies. You can develop your colour concept by observing what the colours look like and how they relate visually to each other. We will work hands-on with various colour exercises which will develop your capability and sensibility of seeing colour.
Mrs Berit Bergström is a Senior Lecturer for NCS Colour AB in Stockholm, Sweden. As the Managing Director for the NCS Colour Academy between 1991 and 2012, Mrs Bergström has decades of experience giving colour courses and presentations worldwide in NCS on a very high level. She has carried out colour design courses for countless colour professionals and has conducted colour studies at university level worldwide. Mrs Bergström is the Past President of AIC between 2014 and 2015, and held the Presidency for 2010 to 2013. She was the chairperson of the AIC Study Group on Colour Education between 1998 and 2009. She is currently the secretary of the Swedish Colour Centre Foundation, a member of the TASCII advisory Board, Tsinghua University, Beijing, China and member of the Advisory Board for Color Centre and Informatics at the Chinese Culture University, Taipei, Taiwan.