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MAVIS TUTORIAL

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Garrett Power

on 21 March 2013

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Transcript of MAVIS TUTORIAL

Colour theory as starting point, two definitions: Additive & Subtractive colour mixing.

Additive, physiological, or light primaries red, green, and blue. Lights of red, green, and blue wavelengths may be mixed to produce all colours.

Subtractive or colorant primaries magenta, yellow, and cyan. Substances that reflect light of one of these wavelengths and absorb other wavelengths may be mixed to produce all colours. Colour Theory / History / Timeline:
Pythagoras, Aristotle, Plato

Isaac Newton

Tobias Mayer

Johann Wolfgang von Goethe

Philipp Otto Runge

Albert Henry Munsell

Max Becke

Pantone System



Colours and cultures
The signification of colours in various cultural systems: Astrological connections, Ars Magna, I Ching, Chinese Tradition, The System of the Chakras, Hebrew Tradition, Islamic Tradition, Liturgical Tradition, Symbolism, Heraldry, Anthroposophical System, L’Archéomètre. Random colour choice sequence. 10 images created from random "pantone" swatch numbers, chosen blind (57-60 batch sequence) and aligned randomly to polygon/hexagonal grid(s). Subtractive: painting/oils, mixing of inks /CMYK and RYB models. Found objects Additive: Newtons Prism: refracts white light with a prism, resolving it into its component colors: red, orange, yellow, green, blue and violet. Spectrum of light: RGB Models
Sculpture- Installation Geometry as a repetitive grid, structural component. Google Sketch up model
Johanne Itten
Josef Albers
Bauhaus School
Gerhard Richter
Yves Klein
Sol Lewitt
Blinky Palermo
Jennifer Bartlett
Ellsworth Kelly
James Turrell Buckminister Fuller
Damian Ortega
Ernesto Neto
Jeppe Hein
Katja Stunz
Loris Greaud
Mika Tajima
Mindy Shapero Newtons Prism Sir Isaac Newton’s crucial experiment, 1666-72. A ray of light is divided into its constituent colors by the first prism (left), and the resulting bundle of colored rays is reconstituted into white light by the second. Goethe Colour Diagram Otto Runge -Colour Sphere Using hexagonal shapes or "polygons" as a vehicle(s) for colour grids and preparatory drawing. Referencing platonic shapes for structural properties (sum of parts) used in sculptural forms and for structures for paintings. Technical drawing done in isometric/oblique projections and as a grid for re-occurring motif (divisions of hexagonal shape). Playing with scale, prism-structures -transparent & solid, to use light in a sculptural sense as well as 2d. Habitable spaces / structures. MAvis 2013
Tutorial/Presentation
Garrett Power Monika Sosnowska
Ranjani Shettar
Tobias Putrih
Tomas Saraceno
Vincent Fecteau
Berard Frize
Daniel Buren
Joanne Greenbaum
Kazimer Malevich
Tomma abts
Toba Khedoori
Paul Noble
Bridget Riley Source: Colour & Meaning- Art, Science and Symbolism. John Cage.
Colour Chart: Reinventing Colour, 1950 to Today, Ann Temkin, MOMA
Vitamin 3-D: New Perspectives in Sculpture and Installation, Phaidon Press
Vitamin P, New Perspective in Painting, Phaidon Press
www.colorsystem.com Untitled: 1/10,
Digital Illustration (Pantone Swatches)
305mm x 305mm,
Garrett Power,
2011 *Previous Short Statement used in Application Proposal 2011/12 Sol LeWitt (American 1926-2007)

LeWitt was no puritan when it came to colour, as the opulence of his later work attests. Removing personal expression from color did not mean rejecting its dramatic range and unpredictable perceptual nature. Color was in fact the perfect vehicle for an artist method was only ever quasi - mechanical and left plenty of room for paradox and intuition.
Near the end of his life LeWitt commented, "I never tried to arrange the color of the other forms to please the eye. In fact, I tried to use the system or randomness to avoid preconceived notions of aesthetic 'beauty' or color statements."
He also said, "If it turns out to be beautiful I don't mind." Research/Resources Untitled, oil on board, 560mm x 415mm, Garrett Power, 2012. STG002,
Oil on board,
305mm x 305mm,
Garrett Power,
2011. Ellsworth Kelly (American, born 1923) Spectrum Colours Arranged by Chance (1951)

They were composed of hundreds of small squares of coloured paper distributed across a supporting sheet in predetermined patterns, with the placement of individual colors assigned randomly. The bold means used in all these works- chance operation, ready-made color - were instrumental to Kelly's invention of himself as an artist during those years in Paris. He was well versed in color theory; it was only six years earlier, at Pratt Institute in Brooklyn, that he had been trained in Albert Munsell's color system. His allergy to dogma also distanced him from the geometric abstraction of the Salon des Realites Nouvelles, the dominant artistic force in postwar Paris. Kelly needed new masters and found them in artists who advocated the use of chance rather than relational rules and deliberated composition. In Paris he struck up friendships with John Cage and Jean Arp, both of whom provided liberating inspiration in their unorthodox methodologies for finding and making art. Color Chart: Reiventing Color, 1950 to Today, MOMA. Ann Temkin Color Chart: Reiventing Color, 1950 to Today, MOMA. Ann Temkin Ellsworth Kelly, Spectrum Colors Arranged by Chance II. 1951
Cut-and-pasted color-coated paper and pencil on four sheets of paper (97.2 x 97.2cm) Ellsworth Kelly, Spectrum Colors Arranged by Chance III. 1951
Cut-and-pasted color-coated paper and pencil on four sheets of paper (99 x 99cm) Gerhard Richter (German, born 1932) He recalls simply noticing a a color chart one day (1966) and realizing that "it looks like a painting. It's wonderful." The charts provided an answer to a question that Richter already had in mind: not only how to dissociate color from its traditional descriptive, symbolic, or expressive ends, but also how to avoid the dogma that surrounded geometric abstraction. He found that "the beautiful effect of these color patterns was that they were so opposed to the efforts of the Neo-Contructivists, such as Albers, etc." The color charts provided a point of departure that he could accept as conceptually legitimate for his first sustained exploration of color. Colors are arranged as autonomous units, much as a house-paint chart might offer a diverse menu of nongradated hues. Three are made using only gray-scale colors, a fact that Richter has credited to the impact of minimalism, but which also has roots in his all-gray work of 1963-65. The derivation of the colors was wholly mathematical; Richter mixed each of the three primary colors twice in order to obtain twelve basic tones and then gradated those twelve tones seven times in a lighter direction and seven times in a darker direction. The resulting 180 colors, were numbered and then assigned to gridded units on the canvas by drawing numbers from a box.
"I found it interesting", he said, "to tie chance to a totally rigid order."
Gerhard Richter. 180 colors. 1971. Oil on canvas. (200cm x 200cm)
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