http://www.jgroshek.com/342/color%20and%20emotion.pdf
very good study on emotional responses to color relationships
Sunday, 12 August 2012
Tuesday, 7 August 2012
http://www.colour-affects.co.uk/psychological-properties-of-colours
A Really good article of colors an their emotional response and effects they have .
Previously I was working with illustrating an event , In fact i was illustrating the emotionlessness of an explosion in comic book art .how the illustration was simply there for us to see it and let us decide our own emotional response through our imagination of the explosion . However now I want to work with the idea of the emotions of colors and the response and reaction that takes place through our feelings by associating colors with emotions
A Really good article of colors an their emotional response and effects they have .
Previously I was working with illustrating an event , In fact i was illustrating the emotionlessness of an explosion in comic book art .how the illustration was simply there for us to see it and let us decide our own emotional response through our imagination of the explosion . However now I want to work with the idea of the emotions of colors and the response and reaction that takes place through our feelings by associating colors with emotions
Thursday, 2 August 2012
Extract from Art news --Innes's new works represent a significant departure from his iconic "Exposed Paintings" and are an exciting development in his continuing investigation into the making and unmaking of abstract painting. Innes still methodically prepares the paintings' surfaces with size and gesso (as in the "Exposed Paintings"), yet in these new works, the picture plane is split vertically in half. Innes applies two separate colors across the entire surface and then rigorously removes the paint on one side. This process is repeated, leaving one half of the painting covered in layered, complex color whilst the other half of the painting is cleansed as much as possible back to the original gesso. Inevitably, the cleaned half retains a palimpsest of the colors that were absorbed into the gesso; as a result, the artist's palette exists outside of the realm of traditional painting and instead suggests a far more unique chromatic vocabulary.
In each painting, a thin, vertical line where the cleansed and painted sections of the composition meet visually vibrates with the remnants of the surface's original layers of paint and separates the two halves of the canvas. This line is not created after the fact, but instead is an integral part of the development of the painting. In Innes's own words, "It wasn't sufficient for me to cover a painting in a single color and then inscribe the field with a line. The development of the line had to be organic, and the best way to achieve that is through erosion."
http://artnews.org/seankelly/?exi=19041&Sean_Kelly&Callum_Innes
In each painting, a thin, vertical line where the cleansed and painted sections of the composition meet visually vibrates with the remnants of the surface's original layers of paint and separates the two halves of the canvas. This line is not created after the fact, but instead is an integral part of the development of the painting. In Innes's own words, "It wasn't sufficient for me to cover a painting in a single color and then inscribe the field with a line. The development of the line had to be organic, and the best way to achieve that is through erosion."
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