Purchase

Early Fee

Understanding and Applying Colour (Day)

$405.00 $385.00

ONLINE: 20 April – 8 June 2021, Tuesday 10am-1:00pm AEST. Early fee ends 22 Mar 2021.
Dr David Briggs

This course is a unique introduction to colour, tailored to meet the needs of art and design practitioners and teachers, but suitable for anyone interested in colour. Unlike other NAS short courses, this course consists primarily of copiously illustrated lecture content complemented with descriptions and demonstrations of practical exercises that progress from basic exercises illustrating the theory to painting studies. The lectures are delivered in real time using the Zoom program and include time for questions and interactions with David and other students. The exercises are completed out of course hours and reviewed together in class.

Full details below: course overview, course delivery, lecturer profile, home-studio requirements and art materials

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Full Details

Term: Term Two 2021 Online
Start Date: 20 April 2021
End Date: 8 June 2021
Day: Tuesday
Time: 10:00am-1:00pm AEST
Number of classes: 8

Lecturer: Dr David Briggs
Level: Beginner, Intermediate, Advanced
Full Fee: $405.00 AUD
Early Fee: $385.00 AUD
Concession: $355.00 AUD
Location: Online delivery via Zoom

Terms and Conditions of Enrolment

course overview

This course provides a unique introduction to our current understanding of colour, tailored to meet the needs of art and design practitioners and teachers, but suitable for anyone interested in colour. Researched and developed by Dr David Briggs over the last twenty years, the course includes eight major sections of illustrated lecture content, each with accompanying practical exercises. All participants receive a set of approximately 300 slides from the lecture course.

The lectures are conducted in real time in the virtual online studio with time for questions and interactions with David and other students. Each session will end with descriptions and demonstrations of optional practical exercises that progress from basic exercises illustrating the theory to painting studies.

Lecture Topics
1. The attributes of colour: Explore colour perception in terms of its various attributes, especially hue, lightness (tone) and chroma (colour strength), and see how these attributes can be used to visualize colour relationships and paint mixing in a three-dimensional framework. How does this perceptual framework relate to colorimetry and the colour spaces used by digital artists?
2. Artists paints: Compare old-favourite and more recently developed artists’ pigments and their physical properties such as opacity, tinting strength, toxicity, and permanence. Begin learning how to precisely and efficiently match a given colour in paint by applying the framework of hue, lightness and chroma.
3. Colour vision: Explore the widely misunderstood physical and biological basis of colour vision. What exactly are attributes like hue, lightness and chroma perceptions of? How does this knowledge help us to understand the colours of paints, paint mixtures and digital colour?
4. Mixing processes: How does our knowledge of colour vision help us to understand additive, subtractive, and partitive mixing theory, and the mixing of actual paints? Learn to fine tune the colour of a paint mixture by applying your knowledge of paint-mixing paths in colour space.
5. Colour and light I: Understand the zones of light and shadow on an illuminated object. Explore how two further attributes of perceived colour, saturation and brilliance, can be employed to evoke appearances of illumination and luminosity in a painting.
6. Colour and light II: What are the effects on the appearance of a scene of variations in the direction, size, distance, colour and number of the light source(s), and of the material properties of the objects and intervening atmosphere?
7. Colour constancy and inconstancy: Explore the many aspects of visual perception relevant to representational and abstract painters, including adaptation, colour constancy, and partial failures of colour constancy including contrast and assimilation.
8. Theories of colour: We review and consolidate our understanding of colour from a historical perspective with a survey of the development of theories of colour from the Renaissance to the present. How do the tenets of traditional “artistic” (red-yellow-blue) colour theory relate to current knowledge?

Course Delivery

David’s online studio course is taught with Zoom and takes advantage of the full range of tools that this program offers. He is present in the online studio for the whole session and he responds directly to student questions in live critiques and discussions. We are also using Padlet in this course, Padlet is a web application that allows users to post information and images on a digital wall. 

If you are unfamiliar with the Zoom program, some tutorial assistance is available prior to the commencement of the first session to ensure you can join in with ease and get to know the online learning environment. You will be guided in Padlet usage by your Lecturer and you can get additional tutorial help from NAS.

Class sizes are limited to a maximum of twelve students and the sessions are not recorded.

Student home-studio requirements

A computer, laptop or ipad with a good internet connection
Digital camera to photograph practical exercises for feedback

Lecturer Profile

Dr David Briggs is a painter and teacher of life drawing, anatomy and colour for painters at the National Art School, the Julian Ashton Art School and the University of Technology, Sydney. His publications include his website The Dimensions of Colour and a chapter in the forthcoming Routledge Handbook of Philosophy of Colour. David is Vice President, NSW Divisional Chair and Colour Education Officer of the Colour Society of Australia, and is a committee member of the International Colour Association (AIC) / Inter-Society Color Council (ISCC) Colour Literacy Project, an international educational initiative to provide age-appropriate colour curricula and state-of-the-art resources for teachers across science, art and industry. David has been teaching practical classes and workshops on colour for painters for 20 years and has also written and presented an elective at NAS on the history of colour theory and practice. He gave an account of his unique approach to colour education as an invited speaker and workshop presenter at the ISCC/AIC Munsell Centennial Symposium in Boston in 2018.

Art Materials

Oil paints including at least these colours: Raw Umber, Permanent Rose, and any black, white, red, yellow and blue (more if you already have them)
Acrylic paint: one tube of Matisse Carbon Grey
Small range of brushes from fine to large, in good condition
Painting supports, either artists’ canvas (preferably) or sealed heavyweight card or paper
Palette (wooden, or a small glass clip frame or plate of glass), metal palette knife, linseed oil and odourless solvent (small bottles okay), old rags and paper towels

Parkers Fine Art Supplies

Parkers Fine Art Supplies have a location of the NAS campus and offer a discount for NAS short courses students. To discuss and order art materials please contact Parkers on +61 2 9247 9979 or email parkersartsupplies@aapt.net.au
Website https://www.parkersartsupplies.com/

Covered footwear and protective clothes are recommended.

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