04. Subjective attitude to color

  04. Subjective attitude to color

In 1928, in one art school, I taught classes on the harmony of color combinations. To do this, students had to use any size circles and sectors. At the same time, I have not yet given them any definition of color harmony. After about twenty minutes, the students began to get very worried. I asked them what the matter was, and the answer was: “In our opinion, the combinations you give are not harmonious. We find them contradictory and unpleasant. ”

“Well,” I said, “let each of you give those combinations of colors he finds pleasant and harmonious.”

The class immediately calmed down, and everyone began to strive for me to prove that my color combinations were wrong.

An hour later, the completed sheets lay on the floor for general viewing. Each of the students made several emotional combinations on their sheet that were close to each other. But at the same time all the works were very different from each other.

The pupils were surprised to recognize that each of them has its own idea of ​​the harmony of color combinations.

Following a sudden guess, I took one of the sheets and asked one of the students: “Is this your job?” “Yes,” she said. I guessed the authors of all the remaining sheets and distributed them. I note that during the execution of this task I was not in the class, and therefore I could not know what each of the students was doing. Then the students had to hold the sheets in front of them so that I could simultaneously see their faces and the color combinations they wrote. Behind the initial perplexity, fun arose because all the students noticed a surprising similarity between the expression of their faces and the color combinations they created. I finished the lesson with the words: “The combinations of colors created as harmonious by each of you represent your subjective color perception. These are subjective colors. ”

This first experience in the following years was followed by many others. In order for this practice to succeed, especially in students, it is necessary to develop a general sensitivity to color. Without a prior intensive study of the possibilities of color and practical exercises with brush and paints, no reliable results can be obtained.

Experiments with the identification of subjective color preferences should be approached with great caution. At the beginning of classes, it is necessary to avoid any hint that the “subjective color” can reveal the character or mood, way of thinking and feelings of the students. Many people do not want to show anyone what they really are. People who professionally work with color often find their “subjective variant” with great torment. Sometimes, practicing in this work, they realize only their wishes - they write with additional colors or colors that are interesting from the point of view of fashion, instead of reflecting themselves in them.

Color combinations can be extremely minimal and consist of two or three colors: light blue, medium gray, white and black, or dark brown, light brown, red and black, or yellow green, yellow and black and brown.

They could also have a very extensive color coverage, including yellow, red, blue in their various variations and degrees of saturation, or two or more pure colors in their various tonal manifestations.

Between people with limited or, on the contrary, with the greatest possibilities of color perception are all intermediate color gradations that can be imagined.

There are subjective combinations in which one color - red, yellow, blue or purple - dominates quantitatively, with the result that we are tempted to declare that an artist sees the world in red, yellow or blue. This gives the impression that one or another artist sees everything through colored glasses, and it is quite possible that his thoughts and feelings are also colored accordingly.

In my research on the study of subjective color perception, I found that not only the choice and combination of colors, but also the size of the color spots and the orientation of the strokes can be very characteristic of one or another artist. Some of them prefer vertical strokes, others emphasize horizontals and diagonals. In accordance with this, for example, the shapes of the heads become pointedly narrow and vertical, or, conversely, wide and horizontal. The choice of smear orientation reveals the nature of thinking and expression of feelings. As, for example, the nature of hair can say a lot. Just as hair can fit snugly to the head, lie in rhythmic waves, or be disheveled and fall in disorderly strands, so color spots can be sharply contoured or “diffuse”, merging, or unclear and disordered. Artists working in the latest manner are not created for simple and clear thinking. They are very cordial and dreamy.

If we want to find explanations for the subjective color combinations, then we should be attentive to the smallest features, and not just to the most enlarged and general characteristics of color and color spots. If you want to understand the subjective orientation of the artist is important, it goes without saying, not only the color of his hair, eyes and skin - the “aura” of a given person is the most essential here.

Now a few small examples to illustrate differences in color preferences.

Blond, blue-eyed female students with pink skin tend to work in very pure colors and often with a large number of clearly visible colors. The main contrast for them is the contrast in color. Depending on the vitality of people of this type, the color gamut of their works may be more faded or more saturated.

People with black hair, dark skin and dark brown eyes represent a different type. The main role in all combinations is given to them by black color, and pure colors are given accompanied by black. In dark colors, color power makes noise.

A pupil with red hair and pink skin preferred to work in very intense colors. Her subjective colors were yellow, red and blue in their contrasting sound. In accordance with this, I gave her the task to write a bouquet of flowers. It was obvious that it made her very happy. I advised her to limit herself to the topics that coincide in their mood with her subjective color preferences, because these colors could be felt and experienced by her in full measure. This intense experience is a decisive prerequisite for creative work.

The formation of the artist should proceed from his subjective predisposition to a certain color range and forms.

For education in general and art education in particular, knowledge of subjective color preferences is of great importance.

The natural method of education should give every child the opportunity to organically develop their individuality.

A prerequisite for this is the ability of the educator to recognize the abilities and capabilities of their students.

Subjective color preferences open the way to the knowledge of the individual characteristics of a student's thinking, feelings, and behavior. To help find the inherent only to him or her to a particular color or shape is to help him discover himself. At first, the difficulties may seem insurmountable. But we should trust in the spiritual principle peculiar to each person!

The teacher should help only as if slightly, very naturally, but constantly and with love. Just as the gardener creates the best conditions for his plants, so the teacher must create favorable conditions for the child for his spiritual and physical development. And he will grow according to his own ideas and strengths.

In art education there are two tasks: to develop and strengthen the students' individual creative abilities and at the same time give knowledge of the general objective laws of work on form and color, complementing all this with the study of nature. Individual abilities will be developed and strengthened if the tasks take into account the students' subjective-individual preferences for color and shape.

The type of blonde blonde will be close to topics such as Spring, Kindergarten, Baptism, Flower Festival, Morning in the garden and the like. Her full-scale studies should be variegated in color and without contrasts of light and dark.

For female students of the dark type, it would be appropriate to suggest such topics as Night, Light in a dark space, Autumn Storm, Negro Chapel, Funeral, or Mountain. She should have done her work from life with soft charcoal and white paint, without geometric outlines.

So, it is impossible to put the same flowers and figures as a model for different types of students. Different tasks are needed, which provide for the manifestation of the subjective skills of the students in order for them to be able to find the right solution for them. If a student is offered a topic “alien to him”, he will try to solve it by thinking, but for this he still lacks knowledge and therefore the results will mostly be dubious.

After the students are able to realize their own preferences, they can conduct classes with elementary exercises in mastering seven color contrasts, and then classes in studying the contrast of forms. And here, too, it will become clear that for some of them, mastering some of the contrasts will be easy and effortless, while others will be difficult and difficult. It is necessary that each student get an idea of ​​the basic, fundamental laws in mastering color. He can accept or reject them, but at the same time he will receive a natural incentive for new creative searches.

When studying contrasts, it is advisable to analyze good works of old and new masters. Students will be extremely useful if they analyze the works that they like and are interested in directly by themselves.

The pictures chosen by them individually will become for them peculiar teachers, and it will become clear to the students what they are for, what “family” they belong to, what and how their “relatives” worked. Some students will be attracted by artists working on the contrasts of light and shadow, others by the masters of color, shapes and architectonic compositions. And some of them will be intrigued by the bright color of expressionists or the irrelevance of the tashists.

The essence of a person can rarely be fully understood on the basis of their preferred color combinations; sometimes the most important thing here is the physical side, sometimes the intellect, sometimes the spiritual life, and sometimes a combination of everything at once. The emphasis will vary here depending on the individual temperament and character of the person. Teachers, doctors and lawyers could extract much of their valuables from observations of the subjective color preferences of their wards.

The subjective colors of one of the students were light purple, light blue, bluish-gray, yellow, white, and a mixture of black. His energetic basis, his “tone” was determined precisely by these harsh, cold and somewhat brittle colors. When he discussed with me the choice of profession, I told him that he has a natural inclination for metal, mainly for silver and glass. "It is possible that you are right, but I decided to become a carpenter," he replied. Later he really started designing modern furniture and, by the way, created the first modern, but steel chair. In the end, he became a very famous architect working with concrete and glass.

The subjective color combinations and compositions of another student consisted of orange-brown tones, various ocher, red-brown and black colors. Green, blue, purple and gray were completely absent from his work. When I asked him about his future profession, he said with confidence: "I will be a joiner." He instinctively felt his natural vocation.

The third pupil's subjective color preferences consisted of full-sound light-violet, yellowish, and golden-brown colors. In his works, these colors sounded like a luminous aura, revealing in this student the ability for great concentration. Warm glowing yellow color, turning into a light purple, suggestive of his penchant for religious outlook. And he really became sacrist in one big church and besides that one of the best engravers in gold and silver.

A person can express himself to the maximum only by doing an organically close work and having the necessary abilities for that.

It should be noted that despite the fact that I diligently collected opinions on the color interpretation of the seasons that I proposed, I have never once found a person who incorrectly identified each of these times. This convinced me that, in addition to individual judgment, a person is capable of a more objective approach to the phenomenon, which forces him to acknowledge the existence of something of general significance and takes precedence over individual predilections. This objective judgment is undoubtedly the highest manifestation of the mind. That is why we need a well-disciplined coloristic thinking and knowledge of color possibilities. Since it helped to avoid one-sidedness and errors in the assessment of color, dictated only by our taste, and if the study allows us to find objectively valid patterns in the world of colors, then our duty is to study them.

Among artists, one can observe three different types of attitudes towards color problems.

The first type is typical for artists of "epigones" who do not look for their own color solutions, but rather repeat the coloring of their teachers or other artists.

The second is the "originals", which are written as it prompts them to personal taste. They decide the composition according to their ideas of shape and color. And whatever the theme of their paintings, their color expression will always be the same.

Leonardo da Vinci wrote about this group of artists in his Treatise on Painting: “How ridiculous and absurd are those artists who give small heads to figures just because their own little ones”. What Leonardo said about proportioning also applies to the area of ​​color.

The third type of relationship to color is a group of "universals", artists working with color based on knowledge of its objective laws. In addition, each of their composition is different in its own color scheme, correlated with the chosen theme. It is clear that this group of artists is not numerous, because each of them must own the entire spectrum of the color wheel in its subjective color perception, this happens infrequently. In addition, artists, "universals" should have great knowledge and have a broad worldview.

If the subjective predisposition to color speaks about the inner world of a person, then at the same time it also speaks about his way of thinking, feelings and actions. The internal warehouse of the person, his internal structure are reflected in his personal color perception. I believe that this is due to the fact that the refraction and filtering of white light passes through the electromagnetic oscillations of the psychophysical sphere of a given person.

When a person dies, he pales. His face and body lose color as the light of his life fades. The non-spiritual matter of a dead body has no color emission.

Anyone who wants to interpret subjective color manifestations should not stop at evaluating only the different color characteristics and their independent expressiveness. The most important here is the overall color in general, then the location of each color in relation to another, their movement, lightness, saturation, or, conversely, muffled, proportionality, structure and rhythms of color construction.

People who work professionally with color are often inclined to be guided by their own preferences in relation to color. This can lead to misunderstandings and disputes, especially in cases where one subjective opinion is faced with another. To solve many problems, there must be an objective given, which is more important than subjective preferences. So, the butcher’s shop can be solved in light green and blue-green tones, so that the different sorts of meat appear fresher and redder. Confectionery shops will seem more elegant in an environment painted in light orange, pink and white colors with black splashes that arouse the desire to buy delicacies. But if a commercial designer planned to create a package for coffee, decorated with yellow and white stripes, or a package for spaghetti with blue peas, his project would be rejected, because these shapes and colors do not match the theme.

Gardeners also have to face everyday problems of shape and color. They observe the growth of plants, their forms, proportions, colors of flowers, foliage and fruits. Если они хотят добиться надлежащего эффекта, то им следует учитывать состояние почвы, вид окружающих растений и камней и, наконец, условия света и тени. Садовник не может выбирать те или иные растения, отдавая предпочтение определенным и нравящимся ему цветам. Поскольку было бы ошибкой сажать темно-синий шпорник на фоне коричневой изгороди или желтые цветы на фоне белой каменной стены, потому что фон не позволит окраске цветов прозвучать в полную силу.

Составители букетов целиком зависят от времени года и от тех цветов, которые дарит природа. Несмотря на эти ограничения, составители букетов постоянно должны находить объективно правильные решения и не надеяться в этом деле только на свой личный вкус. Оформление свадьбы цветами должно быть жизнерадостным; кроме эмоциональных красных и розовых в букеты могут быть включены любые яркие цветы. Для крещения никому не придет в голову выбрать фиолетовые, темно-синие или темно-зеленые цвета, предпочтение отдается светлому, нежному, — мелким цветочкам — белым, голубым, розовым, светло-желтым со светло-зелеными декоративными веточками. Флорист, занимающийся оформлением юбилея какого-нибудь общества, будет использовать яркие, крупные цветы в их пестрой, торжественной и почти безличностной аранжировке, включая в свои букеты зеленые гирлянды, листья, чтобы все вместе производило впечатление значительности организованного праздника.

Владельцы цветочных магазинов, которым приходится обслуживать определенную клиентуру, достигнут успеха, если попытаются приспособиться к вкусам своих клиентов, вместо того чтобы навязывать им свои. Когда покупательница ищет цветы определенного цвета, то продавщица должна знать, какие другие цвета могут усилить или ослабить, или же сразу изменить нужное для клиентки впечатление. Поэтому яркие товары никогда не должны находиться в поле зрения покупательниц, ибо каждый цвет может оказать свое воздействие на то, что они ищут. Следует заметить, что по этой же причине помещения для товаров, где, прежде всего, оценивается их цвет, всегда должны быть окрашенными в нейтральные серые тона.

Дизайнеры, работающие в текстильной промышленности, должны хорошо знать общие объективные законы формы и цвета. Им приходится несколько раз в год составлять новые коллекции модных цветовых гамм. Если новые модные цвета будут близки их собственным субъективным цветовым предпочтениям, то найти нужные тона и оттенки дизайнерам будет очень легко, а их коллекции окажутся убедительными и будут иметь успех. Но если модные цвета не совпадают с субъективными предпочтениями того или иного дизайнера, то потребуются колоссальные усилия, чтобы создать то, что требует мода.

If gray-blue colors dominate the personal color sympathies of this or that architect, they will prefer to withstand residential and commercial premises in this range. Customers who are also impressed by these colors will be very pleased, but others who are in orange or green will find the gray-blue rooms unpleasant, and these people will feel bad here. Recently, it has been accepted that architects should design large residential units in a rather monotonous manner. But you should know that only people with the appropriate perception of color will live here willingly, and for everyone else these houses can even cause disgust. In people who are sensitive to color, unsympathetic colors can provoke even mental disorders.

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Coloristics