Sentences with phrase «studied color theory»

Seurat studied color theory publications produced by Charles Blanc, Michel Eugène Chevreul and Ogden Rood.

While a student at Yale University, Victor Moscoso studied color theory under the Bauhaus - trained artist Josef Albers.

If you didn't go to school for design or studied color theory, then odds are you select colors for your learning content based on the presets of your development tool.

Focusing on the landscape of eastern Oregon, specifically the plateau region, workshop participants will study color theory, hone skills in ink modification and mixing, learn control over ink films, paper properties and proper handling techniques, printing techniques and various registration methods.

Not exact matches

«We wanted to create a space where people were happy coming in to work,» says Longin, who previously studied psychology and color theory at the Art Institute of Chicago.

That's what has been happening in the UK, as food industry giants such as Kraft Foods Inc. and Mars Inc. have reacted to increasing consumer worries over artificial colors, particularly after a British study bolstered the hyperactivity theory.

The results of the Yale study provide an detailed history of color terms across a large language sample, say the researchers, and show that there is broad support for the color terms defined by the Berlin and Kay theory, which maintains that the world's languages share all or part of a common group of color names, and that terms for these concepts evolve in a specific order.

D. Color Theory + Usage Study your primary and complimentary colors.

Her research is on race and ethnic studies in education with a theoretical focus on critical race theory, critical whiteness studies, critical pedagogy and feminism of color.

Shanti Curto is a wife, mother of two beautiful boys, and an artist who has studied photo - realism and color theory.

There Noland also studied Bauhaus theory and color under Josef Albers and he became interested in Paul Klee, specifically his sensitivity to color.

He studied at The Cooper Union and with Josef Albers at Yale; he would later put Albers» color theories to unintended use in his optically vibrant counterculture posters produced in San Francisco.

There she befriended the choreographer Merce Cunningham and studied painting with Albers, whose theories on color were immensely influential.

He progressed to graduate study at Yale University, at a time when the place was turning out art stars by the boatload — Richard Serra, Sol LeWitt, Robert Mangold, Judy Pfaff and many others came out of the Josef Albers class on color theory.

Both Anuszkiewicz (who studied with Josef Albers) and Wurmfeld, whose exhibition I reviewed on April 14th, make optically dazzling, hard - edge paintings that owe something to the scientific, research - driven engagement with color that goes back to Georges Seurat, the study of optics and the rise of color theories.

A native of Massachusetts, he attended Phillips Academy in Andover and earned a BA from Princeton, where he studied art and color theory with Josef Albers and Hans Hofmann.

While reading Goethe's Theory of Colors (Zür Farbenlehre), he began to construct color diagrams based on his studies.

Pastine became interested in color theory through the work of chemist Michel Eugène Chevreul and his systematic study of color perception.

Motherwell speaks of his relationship with his parents; attending prep school; studying philosophy at Stanford University and Harvard University; his theory of automatism; European and American painters in post-war New York; teaching at Black Mountain College; teaching at Hunter College; his retrospective at the Museum of Modern Art and other exhibitions; his collages with Gauloise cigarette packages; the photograph The Irascibles; his membership in American Abstract Artists; his marriage to Helen Frankenthaler; his use of color and light in his paintings; spending summers in Provincetown, MA; beginning printmaking; playing poker; working with the art dealers Kootz, Janis, and Frank Lloyd of Marlborough; his series Elegy for the Spanish Civil War, Je t «aime, Beside the Sea, Open, and Lyric Suite.

Sze: I studied both painting and architecture at Yale from 1987 to» 91, but focused on painting, which then was very formal and divided between Joseph Albers's color theory and traditional figuration.

Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers's contribution to color theory and brings the artist's iconic study to an eager new generation of readers.

Additionally, anyone who has gone through a post-secondary fine arts program probably has a tale or two of Op - ish projects created during color theory studies.

Coming out of undergrad at Connecticut College, where I got a dual degree in art history and French, and then finishing grad school in 1998 at NYU, where I concentrated on critical theory and American studies, I never imagined having the opportunity to work with the mentors I was fortunate enough to have in the years that immediately followed — namely, Lowery Stokes Sims, Thelma Golden, Karin Higa, and Li - lan, all profoundly brilliant and creative women of color.

There, she studied design and color theory with Josef Albers, painting with Jean Varda, and photography with Beaumont Newhall.

«AIDS, A Community in Crisis,» Jamaica Arts Center, Jamaica, NY, 1991 «Language: Body and Dream,» PS 122, New York, NY, 1991 «1991 Biennial Exhibition,» Whitney Museum of American Art, New York, NY, 1991; catalogue «We Interrupt Your Regularly Scheduled Programming,» White Columns, New York, NY, 1991 «Interrogating Identity, Grey Art Gallery and Study Center,» New York, NY 1991; traveled to the Museum of Fine Arts, Boston, MA; Walker Art Center, Minneapolis, MN; Madison Art Center, WI; Center for the Fine Arts, Miami, FL; Allen Memorial Art Museum, Oberlin College, Oberlin, OH; catalogue «Positions of Authority,» Art in General, New York, NY, 1991 «Color Theory,» Amelie A Wallace Gallery, State University of New York at Old Westbury, Old Westbury, NY, 1991 «Text Out of Context,» SoHo Center, New York, NY, 1991 «New Work,» PS 122, New York, NY, 1991 «Spent: Currency, Security and Art on Deposit,» The New Museum of Contemporary Art at Marine Midland Bank, New York, NY, 1991 «Works on Paper,» Selena Art Gallery,» Long Island University, Brooklyn, NY, 1991 «Rutgers National «90: Works on Paper, Stedman Art Gallery,» Camden, NJ, 1991; brochure «Art of Resistance,» El Bohio, New York Public Mirror, Art against Racism, The Clocktower Gallery, New York, NY, 1991

He then studied for his master's at Yale with Conrad Marca - Relli and Josef Albers, who was well known for his color theories (and who was also the oldest artist in the «Responsive Eye» exhibition).

The artist's background in neuroscience and study of color theory both support and stimulate the nature of the work she creates.»

Drawing from her background in Neuroscience, interest in perception and cognition, and study in Color Theory, her brightly colored, scintillating paintings recall the psychedelic, while maintaining a strong conceptual rigor.

Having studied at Hunter College in New York, Pastine is well rooted in color theory and fully understands the interaction of adjacent colors that yields great illusory effects, giving her paintings a lot of push / pull and maximal vibration.

Color was the basis of her painting, undeniably reflecting her life - long study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene DColor was the basis of her painting, undeniably reflecting her life - long study of color theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene Dcolor theory as well as the influence of luminous, elegant abstract works by Washington - based Color Field painters such as Morris Louis, Kenneth Noland, and Gene DColor Field painters such as Morris Louis, Kenneth Noland, and Gene Davis.

There, Noland also studied Bauhaus theory and color under Josef Albers and became interested in Paul Klee, specifically Klee's sensitivity to color.

It is in this phase of work that the influence of her artistic heroes Henri Matisse, Josef Albers and Wassily Kandinsky, as well as her study of color theory, began to fully develop.

There he studied with the painter Josef Albers, whose color theories came in handy in 1966 when Mr. Moscoso started producing his chromatically electric posters for the Grateful Dead, the Doors and other bands.

I studied Joseph Albers with a student of Albers, and I believe you must study Albers color theory to understand his paintings.

There is a strain of painting that originated with Georges Seurat, which focuses on the study of optics and various theories of color in an attempt to understand how we see the world.

He was an optical engineer who repaired aircraft instruments in Alaska in WWII, a mountain man who could turn a canoe into a sailboat with a folding machete, bed sheets and a few sticks, who taught me diffraction, color theory and relativity on paper when other kids were learning multiplication tables, who designed a potentiometer that went to the Moon by pointing the world's fastest camera at the world's fastest oscilloscope, who designed those traffic lights which only appear bright when you are in the appropriate lane, who didn't have to help me at all when I built my own Heathkit dual - channel scope in grade school, nor had to help me program my Apple II in machine language, who quit Honeywell to work for 3M when the Space Program turned into the nuclear missile program, who studied mining geology in college after growing up in a mining town in Utah, it was he who taught me, early on: make sure your contraption works!

More importantly, color theory studies have shown that effectively leveraging the attention that is drawn by unique color can dramatically affect your conversion rates.