Color Analysis(please use the author that I write below, and there are some example of other students' work:))

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For your Final Project, you will create a Color Analysis of a subject of your choice. The subject must be a design that appears as a series or has multiple images. Examples of possible subjects include an ad campaign, an editorial spread in a magazine, a series of store windows, or a fashion collection.

For your Color Analysis, you will simply examine your chosen subject and describe what you see. Your analysis must focus on dissecting and analyzing the images through the color concepts you have learned. You must use the terminology that you have acquired throughout this course. The focus should be strictly on Color Analysis.

Your analysis should include discussion of the following concepts:(my theme is woman and flower please chose 10 of pictures like last two picture from author: Paul Antoine de la Boulaye,emile vernonplease write as you can as possible to following those below for each picture.:)

Color Proportions: Create a Color Bar Graph to go with your analysis.

Color Schemes Used: What schemes are used (primary, secondary, tertiary, full spectrum, complementary, split-complementary, monochromatic, analogous, a combination)? What are the actual colors in this scheme(s)? Are these colors saturated, desaturated, tinted, or muted, and how is this achieved? Talk about VST and how it is used. Are there dominant and accent colors present?

Color Harmonies: Optical mixing, simultaneous contrast

Color Principles: Discuss how and what kind of color balance is achieved (symmetrical, asymmetrical, anti-symmetrical, formal). Discuss emphasis, focal point, movement, and rhythm. How are these achieved through the use of color?

Light and Shadow, Local Color, Lighting Effects: Describe what is used and its effects in your series.

Message of Color: What is communicated through the use of color? What response is looking to be achieved?

To start, find examples of designs that excite you and that you will be able to discuss in your analysis. Your subject must include at least a series of three and cannot be black and white.

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Color Proportion & Figure/Ground PRIMARY COLORS Red SECONDARY COLORS Violet TERTIARY COLORS VALUE Low Key, Middle Key, High Key SATURATION & DESATURATION Highly saturated TEMPERATURE Warm color dominant, Cool color accent In this scene, the hotel staffs are all dressed in highly saturated purple(violet) uniform, which makes a strong visual impact with the red elevator, and the hotel an embodiment of the world of the main character. In color science, violet is considered a character of refined elegance, and it plays an important role in how the film portrays deep loyalty, friendship and companionship. While the red color of elevator brings about excitement and passion, it also makes a sharp contrast with the violet figures. This contrast enables us to differentiate figure from ground easily. In a glance, the first man on the left becomes the first reading, mostly because of the height of figure. The lady in the middle, however, loses our focus because she is dressed in the same (red) color as the ground, which makes her really "blend in", hence, results in a figure ground ambiguity. The way how Wes Anderson introduces second reading does not compete with the focal point, and it also allows viewers to continue exploring the composition. Overall, red is the dominant color in this composition, followed by violet as a subdominant. Neutral colors such as black, white, brown and tinted red also take part as accent color. Color Harmony, Visual Weight & Light Influence PRIMARY COLORS Red, Blue SECONDARY COLORS Orange TERTIARY COLORS VALUE Middle Key, Low Key SATURATION & DESATURATION Tints, shades, tones TEMPERATURE Warm color dominant, Cool color accent Anderson constantly positions himself around the concept of youth and romance. In this scene, the Mendl's cakes which all packaged in tinted blue and tined red (pink) color makes up the whole background. The two colors are both desaturated (tinted) so well to achieve the same visual weight that are neither light nor heavy, therefore, creates a pleasing color harmony with commonality in the interaction of two pastel colors. Thus, a message of soft, youthful, tranquility and soothing is well addressed by tinting in this color scheme. It is also worthwhile to note that exaggerated light also has large influences in creating the mood. It sets a warm undertone in overall that makes the tinted red background more saturated. A good example is shown on the top two images: the blue color on character's clothes looks more desaturated with a red undertone, comparing to the local color under natural light in the other picture. contrasts contrast is shown by the complementary color, which is blue-green and red-orange; the color seems much brighter next to each other the contrast of the complementary color placed next to each other and cancel each other's saturation, emerged the state of equilibrium contrast is also achieved by asymmetry that has punctuated large areas bright colors on the left and dull colors on the right this juxtaposition shows the focal point on the left and is counter-balanced by the darker color on the right gerda Wegener, karnevallet, 1925 CERDA harmony harmony is achieved by analogous color that shows yellow-orange, yellow, yellow-green, green, blue green, and blue, create a serene and comfortable feeling it can also come across as monotone since all color have similar temperature harmony is also achieved by the small touch of red-orange on model's lips and mini objects shows a small area of high contrast that can balance a large area of low contrast (analogous color) gerda Wegener, lili elbee
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Running head: COLOR CONCEPTS


Color concepts
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Color concepts
The Color Wheel

A shading circle, given red, yellow and blue, is standard in the field of inventiveness. Sir
Isaac Newton built up the first-round graph of shades in 1666. Beginning now and into the not so
distant, experts and skilled workers have reviewed and portrayed out various varieties of this
idea. Complexities of choice about the realness of one course of action over another keep
impelling adjusted talk. If all else fails, any shading circle or shading wheel which demonstrates
a sincerely dealt with movement of unadulterated tints has upheld.
Red, yellow and blue - In standard shading hypothesis (utilized as a bit of paint and
shades), fundamental tones are the three shade tints that can't be blended or shaped by any mix of
different tones. Every last other shading gotten from these three tones. Green, orange and purple
is enclosed by blending fundamental tints which result in helper tones. Tertiary Colors: Yelloworange, red-orange, red-purple, blue-purple, blue-green and yellow-green. These are the tones
shaped by blending a central and an op...

Just the thing I needed, saved me a lot of time.


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