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Explaining colours in art

Colours in Photography

Primary Colours

Primary colours are used in this piece of photography. The three primary colours have been use define the different areas of the image with the red being held in the left the blue on the right and the yellow in the centre. The yellow is used to draw the eye to the centre of the image as that is the brightest colour while the two darker colours flank the focus either side his helps the flow of the image and creates greater contrast within the clouds.

Secondary Colours

In this image the photographer has captured three elements that are set against a neutral black background. The three prominent items are examples of the three secondary colours orange, green and violet.

Tertiary Colours

This artwork exhibits a great use of tertiary colours to create a warm scene.  Using a reddish orange for the brick colour and a yellow orange for the plaster or paint on the wall above the arch establishes the temperature in the image moreover it allows the cooler colours to stand out out against the red-orange base.

Analogous Colours

In this image analogous colours are used to make all of the items seem as though they belong together or are related in some way. The colours used are blue, dark blue, marine and green.

Complimentary Colours

complimentary are on opposite sides of the colour wheel as seen in the image with how a red subject is featured against a green background.

Colour work

Gestalt's Laws

Proximity

Figure and ground

Continuation

Closure

Similarity

Reification

Gestalt's law and Esher’s drawings

Esher’s drawings analysed using Gestalt’s laws.

Waterfall

Waterfall adheres to aspects of Gestalt's laws such as the elements of continuation and similarity. When viewing this my eye was drawn to the top of the waterfall and then I followed the flowing water down to the waterwheel where I would continue back up the channel. The water creates a trail that loops the eye around the image continuously. Upon a more detailed inspection of the piece, I noticed that the monuments on top of the towers are very similar however not the same. This makes use of the similarity element of Gestalt's laws, this helps define the towers as related in a form, to me they inspire thoughts of siblings.

Bond of union

Bond of union demonstrates aspects of Gestalt's law, these include similarity, continuation, reification, proximity and closure. Similarity is observed in the characters and orbs in this piece, the characters are believed to be human, (although turned into a conjoined ribbon) the features that they both exhibit are similar in size and shape moreover both heads are of similar size as well. The orbs appear in different shades depending on the position in the image. continuation can be seen in the way that the viewer is invited to follow the endless ribbon that makes up the faces. Esher has incorporated reification in this piece by only allowing the bear minimum detail and common facial features, this creates just enough suggestion that we are looking at two people. Proximity is used to suggest that the two characters are a couple or two person group due to their close spacing. Finally closure is demonstrated in that much of the facial features and skin have been left undrawn, this gives the image intrigue and makes the piece fell unsettling.

Metamorphosis

In this piece extensive use of proximity and similarity are evident. Esher has used similarity to at progressively to change one element into a completely different end product moreover he has made use of proximity to make each progressively different interval related to one another, this was done by placing each element so it borders another.

Font Assessment.

For my font I decided that I would pursue a style that was casual but had uniform elements that could be found in the anatomy of the characters. To give myself a strong starting

point for casual elements I used a sans serif font as I felt that serif fonts were often associated with formal events and documents such as contracts and office documents. I wanted a

recognizable difference between the starting font and my own, so I decide that to demonstrate this I would I would thin out some areas of the stroke, many of these were stems,

looked as though they were 3D and slightly angled, however I believe that through trial and error I managed to reach a balance in style and function which allows the letters to look

horizontals and top halves of bowls. I also decide to end and start character strokes diagonally with certain letters like X and V creating some confliction as at certain times they

would apptly serve as my fonts name. In conclusion I have completed my goal to create a uniform yet casual font I achieved this through making letters asymmetrical and manipulating

comfortable within the font. When I had completed my font I began to think of a name, the first word I thought of when trying describe my font was “quirky” thusly I thought that it

areas of the characters so that regular shapes that are usually present in the font are morphed into more unusual shapes however, I have stayed reserved in the manipulation

and have ensured that the changes I have made in the font are constant in my font.

6 fonts homework week 1

Good fonts

Enter Sansman






Enter Sansman is a font appeals to me as the name and style of the font to fit and be reminiscent of an already established piece of musical art which I enjoy. I also enjoy the clear uniform block style that doesn't distract from the text itself.

ParmaPetit







 I like the font ParmaPetit as I enjoy the stoke of some of the characters such as the P, e and a. The added serif accents and how the flow of the stokes tapers off completes the letter to me.

Rodondo








I like rodondo as the ends of the stroke remind me of knives and I enjoy the drama the text creates. I like the way that the tail of the R is not restyled as i think that would have made the character look off balance.


Bad Fonts

With these fonts it is worth mentioning that all of these fonts are valid and good in their own right due to them technically being fine I don't particularly like overly square and blocky style if these fonts. I find that the K in Kinetic Extreme Solid is to distracting due to its arm sprouting from the bottom of it's stem. Moreover, the serif styling on the Rockster Serif over-complicates an otherwise simple font. I think it would benefit from becoming a Sans Serif font and smoothing the tail of the R to become more clear and readable.

Consistency in fonts.

Medhurst

The font of Medhurst displays plenty of consistency threw out all of the elements of the typeface. A form of this consistency is the Serif  elements on each of the characters this applies to aesthetic consistency as the “feet” are found stylized in a specific way that is consistent  in all of the characters. Moreover consistency can be found again in the way that the stroke in the characters thins out during bowls, shoulders, diagonals and cross bars. The counter in all the lowercase characters (the the exception of the e) are all of similar size, however this aesthetic consistency is absent in the uppercase characters whose counters by comparison are far more larger and have larger differences in their shape. Considering that all characters possible on an Australian keyboard have been translated into this font we can see that there is a large amount of functional consistency. Another example of the functional consistency of this font would be that layout of the characters in general, each character sits on the baseline and obeys the conventions of the common layout like capital height and x height this makes the font easier to understand in large chunks of text and allows writing in this font to convey a sentence's meaning when written in it. I would say that in the area of the numbers Medhurst fails to display consistency as the smooth curved strokes and long diagonals do not thin out at any point, this does not adhere to the conventions set and displayed by the uppercase characters and the lowercase letters however I can understand why this is as of the many strokes that lead from curves and diagonals go on to form curves and diagonals this would culminate into numbers that simple have thinner strokes then their letter counterparts.

The font of Brioche au Potiron

Brioche au Potiron has some minor problems with consistency such as the way that some capitals do not sit uniformly on the baseline with the lowercase this makes the font look uneven where these characters mingle. Moreover the letter S in both uppercase and lowercase has been utterly redesigned and brakes the functional consistency by having a smaller aperture at the bottom as opposed to the accepted convention of it have the smaller aperture at the top. Also the S look out of place and overtly compact when compared with the other characters in the font.

Arual

Arual is a very simplistic font with a constant and aesthetic consistent stoke size through all it’s characters. A consistent theme of the fonts uppercase characters is to have the incomplete bowls which create new apertures where there would otherwise be counter fully surrounded by bowls however, this is not included in the lowercase letters and is thus inconsistent.