Design color

Author: Luo Side
Publisher:
Publish Date: 2005-09-01
Features: It is undeniable that evaluating a candidate's color ability based on their representational skills is reasonable, but relying solely on the level of representational skills as the primary evaluation standard is incomplete. At least it overlooks the aesthetic value of color form, weakening the cultivation and respect for students' color aesthetic appreciation. In fact, both the "Overall Plan" and the "Art Teaching Syllabus" emphasize: starting from the chromatic perspective of a broader art view, minimizing the distinctions between different painting genres, focusing only on the fundamental principles of painting, and reducing the emphasis on specific techniques of each genre. The new curriculum also stresses improving students' aesthetic and cultural literacy and creativity; emphasizing the study and understanding of the basic language of painting. Learning skills is merely to enrich experience, better understand the language of painting, and grasp the aesthetic value of art works, as well as to master a way of graphic expression. The requirements for representational techniques are relatively low. Clearly, the fundamental principles of painting and aesthetic and cultural literacy mentioned here refer to the basic principles of color and the methods of expressing color aesthetics, including the aesthetic and practical functions of color. For design students, the purpose of color training, in addition to cultivating their methods and abilities for observing color, includes recognizing spatial color variations and developing logical thinking skills. More importantly, it should also cultivate color integration abilities beyond aesthetic skills, as well as abstract expressive abilities and their application in design. Therefore, from this perspective, evaluating a candidate's color ability should appropriately focus on aesthetic skills, integration abilities, and abstract abilities, in addition to representational skills. Such color training, teaching objectives, and evaluation standards are closer to the realm of art. This book attempts to explore a teaching model from the narrow gap between disciplines and design disciplines, allowing candidates (especially design students) to gradually introduce the concept of design color into natural color sketching training, making the learning content more logical, hierarchical, and operational. This is a new reflection on basic education by design practitioners and design basic education teachers in practice. It is hoped that this work will receive criticism and corrections from peers.