Above and Beyond designed by Stephanie Cooper 1
Color Workshop Spring 2011 Above and Beyond designed by Stephanie Cooper 2 3
Introduction to Cyan A clear, cyan-colored sky is symbolic. Cyan greets us first thing in the morning and subtly communicates the outlook for the day. If the sky is clear, the sun will be shining which brings hope for good weather, an optimistic attitude and a beautiful day ahead. We may not realize that this message has an impact on our mood and well-being. A clear skies is uplifting and brings people outdoors to enjoy the fresh air and sunshine. Therefore cyan represents optimism, productivity and joy. Although the sky is a backdrop to our daily lives, we rarely find ourselves looking up. As we travel through the day, we are preoccupied with thoughts, people and activities. As a result, we rarely take a moment to look up at the beauty of our surroundings. Therefore I chose to take this approach to my exploration of the city and present cyan as the bright background color in my photographs. New York is crowded, saturated and overstimulating, so subtle details that make up the character of city street often go unnoticed. This book highlights beauty and creative inspiration in unexpected places. I have renamed cyan: Sky. Sky blue... makes the unknown a little less frightening because the sky, which is a presence in our lives every day, is a constant and is always there. That s the dependability factor of blue. Leatrice Eiseman, The Pantone Color Institute 4 Research & Inspiration 15 Monochromatic 28 Analogous & Accent Table of Contents 42 Complementary 52 Neutral 4 5
Paint Chips RGB R=0 Cyan Sky Deconstructed CMYK C=100 M=0 Y=0 K=0 Color Wheel Pantone Swatches G=174 Blue-green B=239 Color-aid Swatches Color-aid Swatches C-LT 6 C-T1 C-T3 C-T4 C-HUE C-S1 C-S3 C-P3-1 C-P3-2 C-P3-3
Sky There are many textures as well as shades, tones and tints found in the sky. The sky is extremely active and clouds take on many different shapes and textures. By painting the skyscapes, I was able to better understand the subtleties and movement of the clouds. 8 9
Color Inspiration
Pattern Inspiration
Monochromatic Morning C 46 M 0 Y 15 K 0 R 130 G 208 B 217 PMS Afternoon C M Y K R G B PMS Evening C M Y K R G B PMS Night C M Y K R G B PMS Sky C 87 M 50 Y 10 K 0 R G B PMS Monochromatic color studies show cyan s vast range of tints, shades and tones. The colors vary in saturation according to the amount of black and white added to the pure hue. At any given time, the sky naturally demonstrates a range of vibrancy. Each day, the color of the sky indicates the forecast and even impacts our emotions. A clear skies are uplifting and energizing. While cloudy, grey skies are gloomy and depressing. When the sky indicates a rainy or snowy days, we mentally prepare ourselves for the obstacles and inconveniences ahead. Sunny C M Y K R G B PMS Cloudy C M Y K R G B PMS Showers C M Y K R G B PMS Rain C M Y K R G B PMS Snow C M Y K R G B PMS 14 15
Cityscape The city environment in New York is filled with character. There is so much history in the architecture and there seems to be a story behind every structure. While walking through each unique neighborhood, there is always an opportunity for new exploration and discovery. 16 17
Pattern Designs I was inspired by the structures and architecture throughout New York City. The cityscape can be viewed as a whole and from a distance in a macro perspective. However, looking through a camera lens it was easier to focus on isolated components from a micro point of view close up and in detail. I chose to use the urban environment as inspiration for pattern designs. My vision changed and became more attune to subtle details, shapes, rhythms, colors, configurations, and movement in the buildings and structures around me. Even streets I walked down daily began to look different as I searched for pattern inspiration. I wanted to find beauty in places and things that weren t typically considered to be beautiful. After studying my the environment and reviewing my photographs, I chose specific elements to translate into modules. Then, I configured each module into an interesting pattern. Pattern A1 Color 1 18 19
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When we look up, it widens our horizons. We see what a little speck we are in the universe, so insignificant, and we all take ourselves so seriously, but in the sky, there are no boundaries. Julia Gregson 24 25
Pattern A2 Color 2 Picture Inspiration B 26 27
Cyan Primary Hue Green Analogous Analogous Colors Tints Tints Tones Tones Shades Shades Yellow-Green Analogous Red-Orange Accent Tints Tints Tones Tones Shades Shades 28 29
The analogous color studies show cyan as the primary hue, with its analogous set: blue, green and yellow-green. By adding white, black and grey to each hue creates a range of tints, tones and shades. Some hues have a greater capacity to produce varied levels of saturation. Cyan Primary Hue Analogous Textures This study shows a tactile and visual textures as well as a range of photos of environmental and found objects, texture scans, digital effects and hand-made textures. There is a combination of natural, organic textures and artificial, structured patterns. Within these textures, there are many subtle shades, tints and tones of each color. Green Analogous Yellow-Green Analogous Red-Orange Accent 30 31
Analogous Palettes Vespa Vintage Bicycle Church Morning C 46 M 0 Y 15 K 0 R 130 G 208 B 217 PMS Deep Sea, Glass, Royal, Fir, Copper Marble Automobile Barricade, Scaffolding, Tree, School Yard 32 33
Picture Inspiration C Pattern C1 Color 1 34 35
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Complementary Mixing Scale Neutral Colors This study shows a complementary mixing scale. The outside columns are pure hues: blue-green and red-orange. Cyan is achieved by adding a small amount of white to the blue-green hue and is most accurate at the third square of the blue-green column. The center column shows an equal combination of both hues, a middle ground and a neutral combination. To the left of center is a blue-green based neutral and to the right of center of a red-orange based neutral. As the column progresses, each color s lightness increases by adding white to create a wide range of beautiful tints. 40 41
Texture Studies Triple Complementary Pairs This study explored triple complementary pairs. I isolated details from photographs I ve taken. By isolating parts of an image, it becomes easier to isolate and appreciate subtle textures and colors. Sometimes when observing an image in its entirety, the unique details can be lost. Beautiful details can be found in unexpected places that are often overlooked. The items shown can all be found in ones immediate environment, but perhaps this study offers the viewer a new perspective. blue-green yellow-green blue-violet The images chosen for these pairs show a range shades or tints of each color and not its pure hue. All of these textures seem to be bursting from their squares. They provide a hint or clue which suggests a larger picture. There is a strong contrast between the warm and cool colors in each pair. They not only demonstrate complementary colors but contrasting compositional elements as well, such as detail, movement and depth. red-orange red-violet yellow-orange 42 43
Pattern F2 Color 2 44 45
Pattern D1 Color 1 Pattern D2 Color 2 46 47
Contrast of Extension TK 48 49
Pattern C2 Color 2 Picture Inspiration D 50 51
Neutral Colors In an effort to further a previous study, these textures explore a neutral color palette. This palettes is based the hue (cyan) and its complement (red-orange). These textures show unique qualities and are somewhat obscured and abstracted. Many of them show how light and shadow affect a hue as well as the difference between a uniform pattern and organic shapes. Neutral colors can provide many beautiful colors and unexpected combinations. 52 53
Neutral Palettes Morning C 46 M 0 Y 15 K 0 R 130 G 208 B 217 Morning C 46 M 0 Y 15 K 0 R 130 G 208 B 217 54 55
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Picture Inspiration H 62 63
Pattern H1 Color 1 Pattern H2 Color 2 64 65
Conclusion This project has been an interesting exploration. TK 66