Franz West

West began making drawings around 1970 before moving on to painted collages incorporating magazine images that showed the influence of Pop Art. His art practice started as a reaction to the Viennese Actionism movement has been exhibited in museums and galleries for more than three decades.Over the last 20 years he had a regular presence in big expositions like Documenta and the Venice Biennale.
West's artwork is typically made out of plaster, papier-mâché, wire, polyester, aluminium and other, ordinary materials. He started to produce paintings, but then turned to collages, sculptures, portable sculptures called "Adaptives" or "Fitting Pieces", environments and furniture – "welded metal chairs and divans, some minimally padded and upholstered in raw linen."For his early sculptures, West often covered ordinary objects—bottles, machine parts, pieces of furniture and other, unidentifiable things—with gauze and plaster, producing "lumpy, grungy, dirty-white objects".
In the late 1990s, West turned to large-scale lacquered aluminum pieces, the first (and several after) inspired by the forms of Viennese sausages, as well as the shapes of the Adaptives. With their monochrome colors and irregular patchwork surfaces, these works were also meant for sitting and lying.

“

It doesn't matter what the art looks like but how it's used.Franz West

”

"Three dimentional wall sculptures"

An alternative way of mixing the three dimentional with the two dimentional.
Textured wall pieces. Being displayed on a wall suggests that they are "canvas" but with the three dimentions suggests that they are more sculptural.
Couldn't find much information about the artist...

OLIVIA BIDZINSKI

Sculpted Canvas

 

Exposed, Acrylic on Canvas Sculpture, 2011 1/2'”

Havana, 2011 Acrylic on Canvas Sculpture, 2011 1⁄2”

Untitled 1, 2011 Oil on Canvas Sculpture

Started making finial pieces..

I found that after experimenting with pouring the paint over the wooden structures that idea dried up and I got bored with it and felt like I couldnt extend it anymore.
Then I started to pour paint over things like footballs and bottles; provoking the question "is it a painting or a sculpture?"
These were sucsessful so I'm carrying on this idea for my finial pieces. I know that I have reached this conclusion because I can't anser the question if there paintings or sculptures myself and thats what I wanted..
I have researched into the colour theory so that I know what colours work best together.
I have mixed the colours myself.
Here are a few photographs as the pieces are drying, they are textured casts on canvas with paint spilling over the sides; the canvas's were left to dry on plastic so that when they are dry they will just peel off and hold its own structure.
I need to keep experimenting over this next week.

Basic research into the colour theory

Colour abstractions

Additive color mixing		Subtractive color mixing

The foundations of pre-20th-century color theory were built around "pure" or ideal colors, characterized by sensory experiences rather than attributes of the physical world. This has led to a number of inaccuracies in traditional color theory principles that are not always remedied in modern formulations.
The most important problem has been a confusion between the behavior of light mixtures, called additive color, and the behavior of paint or ink or dye or pigment mixtures, called subtractive colour. This problem arises because the absorption of light by material substances follows different rules from the perception of light by the eye.
A second problem has been the failure to describe the very important effects of strong luminance (lightness) contrasts in the appearance of colors reflected from a surface (such as paints or inks) as opposed to colors of light; "colors" such as browns or ochres cannot appear in mixtures of light. Thus, a strong lightness contrast between a mid-valued yellow paint and a surrounding bright white makes the yellow appear to be green or brown, while a strong brightness contrast between a rainbow and the surrounding sky makes the yellow in a rainbow appear to be a fainter yellow, or white.
A third problem has been the tendency to describe color effects holistically or categorically, for example as a contrast between "yellow" and "blue" conceived as generic colors, when most color effects are due to contrasts on three relative attributes that define all colors:

1. lightness (light vs. dark, or white vs. black),
2. saturation (intense vs. dull), and
3. hue (e.g., red, orange, yellow, green, blue or purple).

Thus, the visual impact of "yellow" vs. "blue" hues in visual design depends on the relative lightness and intensity of the hues.
These confusions are partly historical, and arose in scientific uncertainty about color perception that was not resolved until the late 19th century, when the artistic notions were already entrenched. However, they also arise from the attempt to describe the highly contextual and flexible behavior of color perception in terms of abstract color sensations that can be generated equivalently by any visual media.
Many historical "color theorists" have assumed that three "pure" primary colors can mix all possible colors, and that any failure of specific paints or inks to match this ideal performance is due to the impurity or imperfection of the colorants. In reality, only imaginary "primary colors" used in colorimetry can "mix" or quantify all visible (perceptually possible) colors; but to do this, these imaginary primaries are defined as lying outside the range of visible colors; i.e., they cannot be seen. Any three real "primary" colors of light, paint or ink can mix only a limited range of colors, called a gamut, which is always smaller (contains fewer colors) than the full range of colors humans can perceive.

Historical background

Color theory was originally formulated in terms of three "primary" or "primitive" colors—red, yellow and blue —because these colors were believed capable of mixing all other colors. This color mixing behavior had long been known to printers, dyers and painters, but these trades preferred pure pigments to primary color mixtures, because the mixtures were too dull (unsaturated).

Goethe's color wheel from his 1810 Theory of Colours

The RYB primary colors became the foundation of 18th century theories of color vision, as the fundamental sensory qualities that are blended in the perception of all physical colors and equally in the physical mixture of pigments or dyes. These theories were enhanced by 18th-century investigations of a variety of purely psychological color effects, in particular the contrast between "complementary" or opposing hues that are produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the Theory of Colours (1810) by the German poet and government minister Johann Wolfgang von Goethe, and The Law of Simultaneous Color Contrast (1839) by the French industrial chemist Michel Eugène Chevreul.
Subsequently, German and English scientists established in the late 19th century that color perception is best described in terms of a different set of primary colors—red, green and blue violet —modeled through the additive mixture of three monochromatic lights. Subsequent research anchored these primary colors in the differing responses to light by three types of color receptors or cones in the retin (trichromacy). On this basis the quantitative description of color mixture or colorimetry developed in the early 20th century, along with a series of increasingly sophisticated models of color space and color perception, such as the opponent process theory.
Across the same period, industrial chemistry radically expanded the color range of lightfast synthetic pigments, allowing for substantially improved saturation in color mixtures of dyes, paints and inks. It also created the dyes and chemical processes necessary for color photography. As a result three-color printing became aesthetically and economically feasible in mass printed media, and the artists' color theory was adapted to primary colors most effective in inks or photographic dyes: cyan, magenta, and yellow (CMY). (In printing, dark colors are supplemented by a black ink, known as the CMYK system; in both printing and photography, white is provided by the color of the paper.) These CMY primary colors were reconciled with the RGB primaries, and subtractive color mixing with additive color mixing, by defining the CMY primaries as substances that absorbed only one of the retinal primary colors: cyan absorbs only red (−R+G+B), magenta only green (+R−G+B), and yellow only blue violet (+R+G−B). It is important to add that the CMYK, or process, color printing is meant as an economical way of producing a wide range of colors for printing, but is deficient in reproducing certain colors, notably orange and slightly deficient in reproducing purples. A wider range of color can be obtained with the addition of other colors to the printing process, such as in Pantone's Hexachrome printing ink system (six colors), among others.

Munsell's colour system represented as a three-dimensional solid showing all three color making attributes: lightness, saturation and hue.

For much of the 19th century artistic color theory either lagged behind scientific understanding or was augmented by science books written for the lay public, in particular Modern Chromatics (1879) by the American physicist Ogden Rood, and early color atlases developed by Albert Munsell (Munsell Book of Color, 1915, see Munsell color system) and Wilhelm Ostwald (Color Atlas, 1919). Major advances were made in the early 20th century by artists teaching or associated with the German Bauhaus, in particular Wassily Kandinsky, Johannes Itten, Faber Birren and Josef Albers, whose writings mix speculation with an empirical or demonstration-based study of color design principles.
Contemporary color theory must address the expanded range of media created by digital media and print management systems, which substantially expand the range of imaging systems and viewing contexts in which color can be used. These applications are areas of intensive research, much of it proprietary; artistic color theory has little to say about these complex new opportunities.

Traditional color theory

Complementary colors

Chevreul's 1855 "chromatic diagram" based on the RYB color model, showing complementary colors and other relationships

Main article: Complementary color

For the mixing of colored light, Newton's color wheel is often used to describe complementary colors, which are colors which cancel each other's hue to produce an achromatic (white, gray or black) light mixture. Newton offered as a conjecture that colors exactly opposite one another on the hue circle cancel out each other's hue; this concept was demonstrated more thoroughly in the 19th century.^{[citation needed]}
A key assumption in Newton's hue circle was that the "fiery" or maximum saturated hues are located on the outer circumference of the circle, while achromatic white is at the center. Then the saturation of the mixture of two spectral hues was predicted by the straight line between them; the mixture of three colors was predicted by the "center of gravity" or centroid of three triangle points, and so on.

Primary, secondary, and tertiary colors of the RYB color model

According to traditional color theory based on subtractive primary colors and the RYB color model, which is derived from paint mixtures, yellow mixed with violet, orange mixed with blue, or red mixed with green produces an equivalent gray and are the painter's complementary colors. These contrasts form the basis of Chevreul's law of color contrast: colors that appear together will be altered as if mixed with the complementary color of the other color. Thus, a piece of yellow fabric placed on a blue background will appear tinted orange, because orange is the complementary color to blue.
However, when complementary colors are chosen based on definition by light mixture, they are not the same of the artists' primary colors. This discrepancy becomes important when color theory is applied across media. Digital color management uses a hue circle defined around the additive primary colors (the RGB color model), as the colors in a computer monitor are additive mixtures of light, not subtractive mixtures of paints.
One reason the artist's primary colors work at all is that the imperfect pigments being used have sloped absorption curves, and thus change color with concentration. A pigment that is pure red at high concentrations can behave more like magenta at low concentrations. This allows it to make purples that would otherwise be impossible. Likewise, a blue that is ultramarine at high concentrations appears cyan at low concentrations, allowing it to be used to mix green. Chromium red pigments can appear orange, and then yellow, as the concentration is reduced. It is even possible to mix very low concentrations of the blue mentioned and the chromium red to get a greenish color. This works much better with oil colors than it does with watercolors and dyes.
So the old primaries depend on sloped absorption curves and pigment leakages to work, while newer scientifically derived ones depend solely on controlling the amount of absorption in certain parts of the spectrum.
Another reason the correct primary colors were not used by early artists is that they were not available as durable pigments. Modern methods in chemistry were needed to produce them.

Warm vs. cool colors

The distinction between warm and cool colors has been important since at least the late 18th century.^[1] It is generally not remarked in modern color science or colorimetry in reference to painting, but is still used in design practices today.^{[citation needed]} The contrast, as traced by etymologies in the Oxford English Dictionary, seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset and the "cool" colors associated with a gray or overcast day. Warm colors are often said to be hues from red through yellow, browns and tans included; cool colors are often said to be the hues from blue green through blue violet, most grays included. There is historical disagreement about the colors that anchor the polarity, but 19th-century sources put the peak contrast between red orange and greenish blue.
Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede; used in interior design or fashion, warm colors are said to arouse or stimulate the viewer, while cool colors calm and relax. Most of these effects, to the extent they are real, can be attributed to the higher saturation and lighter value of warm pigments in contrast to cool pigments. Thus, brown is a dark, unsaturated warm color that few people think of as visually active or psychologically arousing.
Contrast the traditional warm–cool association of color with the color temperature of a theoretical radiating black body, where the association of color with temperature is reversed. For instance, the hottest stars radiate blue light (i.e., with shorter wavelength and higher frequency) and the coolest radiate red.

The hottest radiating bodies (e.g. stars) have a "cool" color while the less hot bodies radiate with a "warm" color. (Image in mired scale.)

Achromatic colors

Any color that lacks strong chromatic content is said to be unsaturated, achromatic, or near neutral. Pure achromatic colors include black, white and all grays; near neutrals include browns, tans, pastels and darker colors. Near neutrals can be of any hue or lightness.
Neutrals are obtained by mixing pure colors with white, black or grey, or by mixing two complementary colors. In color theory, neutral colors are colors easily modified by adjacent more saturated colors and they appear to take on the hue complementary to the saturated color. Next to a bright red couch, a gray wall will appear distinctly greenish.
Black and white have long been known to combine well with almost any other colors; black increases the apparent saturation or brightness of colors paired with it, and white shows off all hues to equal effect.

Ian Davenport

Ian Davenport

This work has influenced me because of the way that the paint moves.

Many of Davenport's works are made by pouring paint onto a tilted surface and letting gravity spread the paint over the surface. He has usually worked on medium density fibreboard rather than canvas, and most often employs household gloss paint, meaning the viewer can see their own reflection in the work. He has made a number of diptychs and triptychs as well as single works.

"His large-scale wall paintings are made using a syringe to pour paint, in vertical stripes, from the top edge to the floor. The painting process is formal and repetitive, like a scientific experiment, but the final image contains irregularities, where the paint is diverted by the wall surface, and surprises, where particular colour combinations create unexpected visual results."





I found that in my opinion the "paint puddle" that have collected on the floor are more interesting than the actual painting.
I like the swirls of paint on the floor against the straight lines of paint.