Chuck Close

color UNIT IV: Subtractive Color

Project IA Chuck Close

Objectives
Studio Fundamentals: To introduce the principles of subtractive color mixing and color matching.

Thematic Concept: To explore how color choice can effectively provide a key to one's identity.

Project Overview Using the principles of "subtractive" color theory and color matching, you will paint a gridded "Chuck Close" self-portrait based upon a close-up photograph of your face.

References for further study

Zelanski and Fisher, Color, Chapters 7
artCore, Unit IV, Subtractive Color
Chuck Close (ArtCyclopedia)

Vocabulary subtractive color, color matching, hue, saturation, value, grid, identity, personal theme, self-portrait, cropping, layout

Materials Acrylic paints, brushes, mixing tray, matte medium, etc.
Straight edge
Drafting tape
15" X 20" illustration board

Process
Preliminary:

Before coming to class, review the thematic concept of Identity as found on the website. Also, read the discussion on Subtractive Color for Unit IV. Review the Project References and Vocabulary above.

Activity:

Step One: Make a color copy of an original color photograph of yourself. Crop this image to a 3x4 inch rectangle. You should enlarge/crop the photocopy so that the image of the person takes up more of the 3x4 inch rectangle. Cropping and general layout of the photocopy is up to you. Just don't make it too complicated. If the subject is too far away then it becomes too much like a bad computerized stick figure. The closer the subject, the more resolved your project will look.

Step Two: Grid the photocopy off into 1/8 inch x 1/8 inch squares using a fine tipped marker or pencil. Then, using a pencil, lightly divide a piece of 11x14 inch Illustration board into a 3/8 inch x 3/8 inch grid (with a 1 inch boarder on all sides). The two grids should have 768 squares total (24 squares x 32 squares).

Step Three: Look at each square on the photocopy. Determine what you believe is the average color (in hue, value, and saturation) for that square, and mix that color using your acrylic paints. Up to two different colors can exist within a square if absolutely necessary; however, the colors must be blended together where they touch within the square. Paint the entire corresponding square on the illustration board. Repeat this for each of the squares of the image. Each square should contain a solid color, and no two adjacent squares should have the same exact color.

Further tips: Obviously, masking the edges of each of the 768 squares would be a horrific task, so you don't need to mask each edge if you don't want to. Do mask the outside 1 inch border to keep it clean. Nevertheless, craftsmanship will be part of your grade, so try to keep the edges of your squares as sharp as possible. It will also be important to get a good opaque layer of paint in each square.

Discussion and Critique Ideas
When you have completed your composition, divide into small groups and exchange artworks with another group from the class. Within your group, work together to respond to each painting in turn. Consider the following:

Describe the color palettes your fellow artists used and discuss how various color effects were achieved.
In the context of the composition, point out any specific colors or shapes that the artist used to indicate a particular meaning or mood.
Discuss the personality of the artist who created the work. Try to guess the "theme" or "identity" the artist was trying to communicate.
After some sharing of interpretations, attempt to state the overall mood or feeling of the portrait in one sentence. (This portrait conveys a sense of. . .)
Explain how the shapes, symbols, or other elements of the composition support its message.

The final critique consists of a series of preliminary written judgments by fellow classmates, followed by an oral statement by the artist, and concluding with a comparison of the audience's interpretations and the artist's intention related to color and identity.

Return to UNIT IV Overview

Project IA	*Chuck Close*
Objectives	Studio Fundamentals: To introduce the principles of subtractive color mixing and color matching. Thematic Concept: To explore how color choice can effectively provide a key to one's identity.
Project Overview	Using the principles of "subtractive" color theory and color matching, you will paint a gridded "Chuck Close" self-portrait based upon a close-up photograph of your face.
References for further study	Zelanski and Fisher, Color, Chapters 7 artCore, Unit IV, Subtractive Color Chuck Close (ArtCyclopedia)
Vocabulary	subtractive color, color matching, hue, saturation, value, grid, identity, personal theme, self-portrait, cropping, layout
Materials	Acrylic paints, brushes, mixing tray, matte medium, etc. Straight edge Drafting tape 15" X 20" illustration board
Process	Preliminary: Before coming to class, review the thematic concept of Identity as found on the website. Also, read the discussion on Subtractive Color for Unit IV. Review the Project References and Vocabulary above. Activity: Step One: Make a color copy of an original color photograph of yourself. Crop this image to a 3x4 inch rectangle. You should enlarge/crop the photocopy so that the image of the person takes up more of the 3x4 inch rectangle. Cropping and general layout of the photocopy is up to you. Just don't make it too complicated. If the subject is too far away then it becomes too much like a bad computerized stick figure. The closer the subject, the more resolved your project will look. Step Two: Grid the photocopy off into 1/8 inch x 1/8 inch squares using a fine tipped marker or pencil. Then, using a pencil, lightly divide a piece of 11x14 inch Illustration board into a 3/8 inch x 3/8 inch grid (with a 1 inch boarder on all sides). The two grids should have 768 squares total (24 squares x 32 squares). Step Three: Look at each square on the photocopy. Determine what you believe is the average color (in hue, value, and saturation) for that square, and mix that color using your acrylic paints. Up to two different colors can exist within a square if absolutely necessary; however, the colors must be blended together where they touch within the square. Paint the entire corresponding square on the illustration board. Repeat this for each of the squares of the image. Each square should contain a solid color, and no two adjacent squares should have the same exact color. Further tips: Obviously, masking the edges of each of the 768 squares would be a horrific task, so you don't need to mask each edge if you don't want to. Do mask the outside 1 inch border to keep it clean. Nevertheless, craftsmanship will be part of your grade, so try to keep the edges of your squares as sharp as possible. It will also be important to get a good opaque layer of paint in each square.
Discussion and Critique Ideas	When you have completed your composition, divide into small groups and exchange artworks with another group from the class. Within your group, work together to respond to each painting in turn. Consider the following: Describe the color palettes your fellow artists used and discuss how various color effects were achieved. In the context of the composition, point out any specific colors or shapes that the artist used to indicate a particular meaning or mood. Discuss the personality of the artist who created the work. Try to guess the "theme" or "identity" the artist was trying to communicate. After some sharing of interpretations, attempt to state the overall mood or feeling of the portrait in one sentence. (This portrait conveys a sense of. . .) Explain how the shapes, symbols, or other elements of the composition support its message. The final critique consists of a series of preliminary written judgments by fellow classmates, followed by an oral statement by the artist, and concluding with a comparison of the audience's interpretations and the artist's intention related to color and identity.