abbeybarlowresearch

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[abbeybarlowresearch]

[abbeybarlowresearch]

Monsef IV, Darius A.. 2011. Color Inspirations : More than 3,000 Innovative Palettes from the Colourlovers.Com Community. Cincinnati: F+W Media. Accessed October 3, 2021. ProQuest Ebook Central.

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Memphis design could read as madcap, illogical, even offensive. The Chicago Tribune called it “… Vibrant, bold, funny, provocative, anti-modernist, fantastic, crazy, vital, insulting, surreal, pop, punk, funk, New Wave, eccentric and bizarre … but never boring.” Other critics were more thoughtful: “Memphis startles one into asking ‘what should an object really look like? And ‘why should we want it to look the way it has always looked?’” wrote the Financial Times’ Lucia van der Post.

The palette combined pastel and acid-bright hues: pink, lavender, mint, gray, cobalt blue, bottle green, canary yellow, chartreuse, purple, orange. - these are the colours I used in my final poster

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-  Bold colours and outrageous patterns

- Transforms the ordinary and everyday

- Form doesn’t follow function

- Mixes popular culture and high culture

- Humour, irony, whimsy, wit, pastiche and parody

- Celebrates surface

Postmodern design is often characterised by saturated colours, loud patterns and strong contrasts. Designers never intended their objects to be part of an everlasting fashion; rather they were flashy, faddish and ephemeral. Like these stairs, postmodernism catches your attention rather than blends into the background.

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Kandinsky, Wassily. 2009. Concerning the Spiritual in Art. MobileReference.com. Accessed October 3, 2021. ProQuest Ebook Central.

IT IS EVIDENT THEREFORE THAT COLOUR HARMONY MUST REST ONLY ON A CORRESPONDING VIBRATION IN THE HUMAN SOUL; AND THIS IS ONE OF THE GUIDING PRINCIPLES OF THE INNER NEED. [Footnote: The phrase "inner need" (innere Notwendigkeit) means primarily the impulse felt by the artist for spiritual expression. Kandinsky is apt, however, to use the phrase sometimes to mean not only the hunger for spiritual expression, but also the actual expression itself.--M.T.H.S.]

The mutual influence of form and colour now becomes clear. A yellow triangle, a blue circle, a green square, or a green triangle, a yellow circle, a blue square--all these are different and have different spiritual values. It is evident that many colours are hampered and even nullified in effect by many forms. On the whole, keen colours are well suited by sharp forms (e.g., a yellow triangle), and soft, deep colours by round forms (e.g., a blue circle). But it must be remembered that an unsuitable combination of form and colour is not necessarily discordant, but may, with manipulation, show the way to fresh possibilities of harmony. Kandinsky, Wassily. 

The inner need is built up of three mystical elements: (1) Every artist, as a creator, has something in him which calls for expression (this is the element of personality). (2) Every artist, as child of his age, is impelled to express the spirit of his age (this is the element of style)--dictated by the period and particular country to which the artist belongs (it is doubtful how long the latter distinction will continue to exist). (3) Every artist, as a servant of art, has to help the cause of art (this is the element of pure artistry, which is constant in all ages and among all nationalities).

Yellow and blue have another movement which affects the first antithesis--an ex-and concentric movement. If two circles are drawn and painted respectively yellow and blue, brief concentration will reveal in the yellow a spreading movement out from the centre, and a noticeable approach to the spectator. The blue, on the other hand, moves in upon itself, like a snail retreating into its shell, and draws away

An attempt to make yellow colder produces a green tint and checks both the horizontal and excentric movement. The colour becomes sickly and unreal. The blue by its contrary movement acts as a brake on the yellow, and is hindered in its own movement, till the two together become stationary, and the result is green. Similarly a mixture of black and white produces gray, which is motionless and spiritually very similar to green. But while green, yellow, and blue are potentially active, though temporarily paralysed, in gray there is no possibility of movement, because gray consists of two colours that have no active force, for they stand the, one in motionless discord, the other in a motionless negation, even of discord, like an endless wall or a bottomless pit.

Kandinsky, Wassily. Concerning the Spiritual in Art, MobileReference.com, 2009. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/aut/detail.action?docID=543144. Created from aut on 2021-10-03 04:39:03.

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