Paul Green-Armytage  University Associate Curtin University, Perth, Australia  

Paul Green-Armytage
University Associate
Curtin University, Perth, Australia
 

Paul Green-Armytage

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.
 

Wednesday, June 13 - AM General Session
Relating Munsell to Other Systems in An Elastic Color Solid

For a student of architecture in the early 1960s the Munsell system was a revelation. Munsell’s hue, value, and chroma were perfectly clear, but then they were challenged by the Ostwald system with its white content and black content. Revelation was followed by confusion. It became evident that there is no such thing as a single ‘correct’ colour solid or, indeed, a single ‘correct’ colour circle. Colour circles can be structured with equally spaced ‘primaries’ or organised so that ‘complementary’ colours are opposite to each other, but different systems have different sets of primaries, and different ways of establishing complementary relationships yield different pairings. These different relationships can be reconciled if the circle is treated as elastic with intervals between colours stretched or compressed to show the relationships relevant for a given situation. In the third dimension of a colour solid the principle of elasticity can also be applied show relationships of value or of whiteness/blackness; the structure of Munsell can be ‘morphed’ into that of Ostwald. During this talk I will show that, if the colour solid is regarded as elastic, it is easier to understand the information embodied in the structures of different colour order systems and also to see how they relate. 

Tuesday, June 12 - PM Breakout Session Workshop
Seeing Color 

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’.