COP Lecture 11- Modernity and Modernism

> John Ruskin 1819-1900
  To be modern is to be better then something old/ a better form of what came before. Prior to this to be modern meant to be of your time, not to be better.
Ruskin wrote about whether new painters at the time were better than traditional painters of the past.

>1900
Paris, the city of modernity
A society that moved away from farming and agriculture
Urbanisation saw a shift from rural life where everyone knows each other, to being in cramp spaces not knowing anyone.
Life was no longer dominated by sunrise and sunset, but instead factory life and having to pick up the pace of life to make more profit.
A work, sleep, work, sleep pattern emerged

> world time cam in and became standardised as did electrical lighting and the telephone. This resulted in people being able to work longer hours and through the night.

>Trottoir Roullant (electric moving walkway)
Helped people get around Paris without having to walk

> Secularisation
People turning away from religion and turning towards science

During this period, cities became the focal point of life

The eiffel tower was built and people hated its robust, industrial style amongst the beautiful architecture Paris had to offer.

>Paris 1850s on = new paris
old Parisian architecture of narrow streets and run down buildings were bulldozed to make way for new sweeping streets, designed to make modern life easier.
The centre of Paris becomes expensive and affluent for the rich classes whereas the working class are excluded to the outskirts
A lack of connection can be seen again, being surrounded by people but not knowing them
Modern has created new social behaviours which has resulted in people showing off how rich they are, walking around the streets in their most expensive outfits showcasing the most exotic pets to show their wealth.

>1890 The birth of psychological science and mental understanding

> Work begins to dominate life and always be there at the back of peoples minds therefore new ways to relax had to be invented such as the cinema and music halls.
Kaiser Panorama introduced a new way of seeing the world as did the films created by the Lumber Brothers. They channelled fear, wonderment and excitement into the viewers.

> 1905 cameras used to capture the modern world in a better way than painting, this became a threat to art. With new technology comes new information about the world and ourselves, people started to understand motion.

Modernism = the response of artist and designers to instil thing into visual

COP Lecture 10- Colour Theory (PART 2)

Subjective colours, the lecture is based on the theories of Johannes Itten and Josef Albers.

Chromatic Value = Hue + Tone + Saturation

A series of 7 contrasts of the problems we have when we begin to mix colours (Johannes Itten)

1. Contrast of tone
- monochromatic, allows us to differentiate between areas of light and dark

2. Contrast of hue
- we differentiate colour form it being juxtaposed against another colour

3. Contrast of saturation
- juxtaposition of light and dark in relation to saturation

4. Contrast of extension
- formed by assigning proportional field sizes in relation to the visual weight of colour. Also known as the contrast
- taking complimentary colours and creating a colour balance by using the same amount of each colour. When they are not displayed in equal amounts they become difficult to focus on and seem confusing.

5. Contrast of temperature
- we associate certain warm values and cool values to different colours.
- a gradient appears when a warm colour is places against a cool colour (or vice versa)
- creates an optical illusion

6. Complimentary contrast
- juxtaposing complimentary colours on a colour wheel
-red and green are painful to look at

'after image' our eyes have a memory and remember the bright light or colour we have seen.

COP Lecture 10- Colour Theory

> Questioning colour itself
> How do we know this apple is red?
> Colour is contextual and dependant on its surrounding
> However designers work with isolated colour and we need to consider its appearance in context/ when surrounded by colour.
> Spectral colour is a colour that is evoked by a single wavelength of light within a visible spectrum.
> A single wavelength, or narrow band of wavelength generates monochromatic light
> Every wavelength of light is perceived as a spectral colour in a continuous spectrum.
> The way we perceive colour is from reflection of light off of a surface or an object.
> White is a highly reflective colour
> The sky is not blue, it is pure white light. The short wave lengths reflect off of articles and blue is reflected
> The eye contains 2 kinds of receptors
- rods and cones
- rods = convey shades of black, white and grey
- cones = allow the brain to perceive colour

- 3 types of cones:
1, sensitive to red/ orange light
2, sensitive to green light
3, sensitive to blue light

> A combination of 2 cones = a different colour
> the only colours we actually see are red, green and blue. Different colours are made up of different proportions of these colours.

> Joseph Albers and Johannes Itten are both iconic influences of colour theory

>Primary colours: red, blue and yellow
> complimentary colours,
red and green
yellow and purple
blue and orange
when mixed together they cancel each other out, this is called a neutral.

> spectral colours, the eye cannot differentiate between spectral yellow and some combinations of red and green. The same effect accounts for our own perception of CMYK

> Colour modes:
> RGB, usually screen based
> CYMK, for printing
[2 different ways of perceiving colour]

> Subtractive colour systems, subtract colour values
> Additive colour systems, add more colour which creates white light
>Chromatic value =
Hue, Tone and Saturation

Hue is  the colour itself, our initial response to a colour, the way we recognise and describe it
Luminance is how bright the colour is
Shade is how dark the colour is
Tint refers to adding more white therefore how light the colour is
Sint is a combination of shade and tint