DSDN 171 BLOG ASSIGNMENT 5

The understanding of colour and the development of the theory ‘colour vision’ was first experimented with in 1706 when Isaac Newton was studying optics.

Newton believed that colour could only be quantified. He proved this by creating a prism that demonstrated a composition of colours arranged in a sequence. When white light was shone through the prism it split into different colours.  This was how Newton derived the colour wheel.

Simultaneous contrast was discovered by Michel Eugene Chevreui. He quoted that “two adjacent colours when seen by the eye, will appear as dissimilar as possible” which means that when one colour for example orange is placed on two different background colours the orange will look different.(Rosotti H. 1985) 

Goethe Wolfgang was the first individual to oppose Newton’s theory.  Goethe was interested in colour vision and how colour could create an after image.­­ He argued with Newton in that colour was derived from light and shade. Goethe believed that colour was created internally. Goethe’s theory of colour vision allowed impressionists such as Claude Monet to paint how they felt and gave their viewers a direct experience.

I think that the experimentation and experience of artists have influenced our understanding of colour, by creating a more modern way of painting. Instead of painting exactly what you see, artists paint how they feel. Painters now use colour and the colour vision theory to abstract their feelings. From these abstractions viewers are also able to have their own experience. I think that a good example of the use of the development of the theory of ‘colour vision’ is Ogden Rood who created his pieces of art using optical colour mixing which allowed colour to mix with the viewers eye.

Therefore I think that this has developed our understanding of colour because we are now able to experience our own perceptions through paintings and have our own interpretation on what is trying to be communicated.

Petty, M, M.( 2011), Lecture 5 Colour and Abstraction, Victoria University ,Te aro Campas

DSDN 171 BLOG ASSIGNMENT 4

Adolf Loos argued that “The evolution of culture is synonymous with the removal of ornament from objects of daily use” He believed that for society to become civilized ornament needed to be forgotten/ replaced. In relation to Mies van de Rohe, Barcelona Pavilion, Spain, 1929 (slide 29 in the lecture) I both agree and disagree with Adolf’s argument. I think that without some ornament everything would be plain and boring. I also think that without ornament history, design would not be where it is today. Ornament also gives people a chance to express themselves differently. On the other hand I think that too much ornament can become bad design and as Adolf Loos argued ‘a waste of material and waste of labour’. Mies van de Rohe’s wall (first image below) is a good example of how some subtle ornament within form can create a nice modern design. Another example of how simple ornament/decoration can help materials ‘speak for themselves’ is David Tunbridge’s lamps. His designs are a modern sophisticated way that ornament and materials work together. The materials he uses show the properties they hold through the way he ornaments his designs (as shown in the second image below).  Therefore I think that most design does hold ornamental aspects but letting the material speak for itself can create good design. As we are evolving I think that ornament is evolving with us, in the way that as designers we are evolving the way we use ornament in our design. “Less is more” -Mies van de Rohe

The Barcelona Pavilion by Mies Van der Rohe, 1929

http://aleciastevens.blogspot.com/2009_12_01_archive.html

Floral light by David Trubridge

http://www.patternpeople.com/interiors-david-trubridge/