Friday Morning Breakout Sessions


Ninety Minute Tutorials

Color Naming Brings People Together
with Dimitris Mylonas

In this tutorial, we will demonstrate the miscommunication involved in the use of language to describe colors, and present a web application (accessible at: www.colornaming.com) designed to facilitate color communication within and across languages. Participants will play the Colors of Babel, a color naming/matching card game that explores recipient-design strategies in color conversations. Playing the game will allow for individuals’ color names to be compared with the responses of thousands of participants in an online multilingual color naming experiment. By the end of this tutorial, you will understand the importance of user-centered design thinking for successful color communication.

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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).

Note: Dimitris Mylonas's tutorial Color Naming Within and Across Cultures is offered on Tuesday afternoon.


Unwildering the Bewildering Panoply of Color Measurement Devices
with John Seymour  

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.

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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
with Leslie Harrington and Anat Lechner

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. 

Note: This tutorial is also offered on Tuesday afternoon.

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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.

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Anat Lechner’s research includes understanding the role of color effectiveness in designed environments and the link between color and emotions.  A former Research Fellow at McKinsey & Co. the founder of a boutique management-consulting firm, and a co-founder of Huegroup, Inc., a Color Intelligence company, Professor Lechner client list includes global Fortune 500 firms in the Financial Services, Pharmaceuticals, Chemicals, Energy, Food, High Tech, Design and Retail industries. Anat holds an MBA and a PhD in Organization Management from Rutgers University, NJ.


The History of Color in Cinema
Tutorial with Anthony Stanton

This 90-minute tutorial will examine the long and varied history of color cinema beginning with the earliest hand-colored mov- ies produced by Thomas Edison and continuing to the age of digital cinema. The Technicolor Corporation was first to bring

a true sense of color realism to cinema, with the Technicolor 4 system in the 1930s. Technicolor was unchallenged in cinema until the invention of the first 35mm color negative film in 1950. The 1950s saw the proliferation of super-wide format cinema systems to create a different experience than could be had with color television systems that were viewed in the home. The competition between cinema and color TV went to a new level in the age of digital media. A discussion of the many changes to color cinema precipitated by the digital age will conclude the tutorial.

Note: This tutorial is also offered on Friday morning.

Dr. Anthony Stanton is a Teaching Professor and Director of the Graphic Media Management concentration at the Tepper School of Business, Carnegie Mellon University, where he has worked for the past 22 years. Stanton teaches a variety of courses, including Graph- ic Media Management, Publishing on the WWW, Color Reproduction and Management, and Publishing in the Information Age. He also is responsible for determining the curriculum for the concentration and advising students.
Prior to 1996, Stanton spent 12 years as the Director of the Process Control Division at the Graphic Arts Technical Foundation. In this position, he designed test images and other process control devices, conducted research in print analysis, served on various industry committees, and taught workshops and seminars. In addition to being a member of ISCC since 1999, Stanton has been a member ofthe Technical Association of the Graphic Arts since 1978. He served on its board of directors for 10 years and held a number of officer posts, including president of TAGA from 2007--2009. Stanton has authored 61 publications, taught more than 100 seminars and tuto- rials, and served as a judge in 15 national and international print contests. Stanton’s educational background includes a BA degree in Art from Colorado College in 1972. After working for a photo studio in New York and a print shop in Toronto, Stanton attended the University of Maryland, where he received an undergraduate certification in Industrial Arts and an MEd degree in Industrial Education in 1978. He next attended Rochester Institute of Technology, where he earned an MS degree in Printing Technology in 1982. Stanton taught for three years in the California State University System before joining the Graphic Arts Technical Foundation and enrolling in the University of Pittsburgh, where he earned a PhD degree in Instructional Design and Technology in 1992


Three Hour Workshops

Introduction to the Natural Colour System
with Berit Bergström

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 “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.

Note: This tutorial is also offered on Tuesday afternoon.

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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.


Extending Color Interactions with Form & Space
with Lois Swirnoff

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This workshop session will explore how color as a dimension influences volumes, spaces, and visual constellations.

Note: Prof. Swirnoff's workshop Color is Magic: Albers' Exercises is offered on Tuesday morning.

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Known for her creativity, Prof. Lois Swirnoff's work on color is recognized internationally. Following graduation from The Cooper Union School of Art in NY, Josef Albers admitted her to his graduate program at Yale where she received her BFA and MFA Summa Cum Laude. She 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.


Psychological Analysis with the Color Image Scale
with Setsuko Horiguchi and Katsura Iwamatsu  

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The 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.

Note: This workshop is also offered on Tuesday morning.

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Setsuko Horiguchi graduated from the department of psychology of Waseda University in Tokyo in 1981 and joined Nippon Color & Design (NCD) 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.

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Katsura Iwamatsu joined the Nippon Color and Design (NCD) Research Institute Inc. in 1981 as the research assistant and secretary of president Shigenobu Kobayashi and later worked as lecturer of seminars, assistant manager of project planning and editorial works. From 1999 to 2008 she was a freelance editor with publisher Kodansha for several books of NCD such as "Color System", "Practical Color Design", "Color Image Scale." She is currently a research fellow in NCD. Ms Iwamatsu will be presenting with and translating for Ms Horiguchi.


Munsell Color Mixing Demo
with Graydon Parrish and Steve Linberg

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Graydon Parrish and Steve Linberg will introduce color mixing using the Munsell System and demonstrate the basics of mixing color in oil paints using the Hue, Value and Chroma of Munsell.
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NOTE: This demo is a pre-requisite to register for the Weekend Workshop with Graydon Parrish at the Academy of Realist Art on Saturday, June 16 and Sunday, June 17.

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Graydon Parrish attended New York Academy of Art before graduating summa cum laude from Amherst College, Amherst, Massachusetts. An internationally acclaimed artist, his paintings combine classical and contemporary realism.

 

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Steve Linberg is an engineer, educator and artist who designs and builds tools for teaching art. Along with Graydon Parrish, Steve is an artist working in the classical realist tradition that thrived from the Renaissance through the late 1800. 

Parrish and Linberg share a passion for the highest reaches of fine art, and a conviction that knowledge and rationality enhance and further the pursuit of artistic skills. Each has decades of driven experience in their respective fields. The Classical Lab is their collaborative effort to enhance the teaching of art by way of scientific tools and training materials deeply integrated with classical aesthetics.