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Journal #28

What is the difference between a color’s luminosity and inherent light?

The difference between color’s luminosity and inherent light is that color has a natural glow from the value which appears when surrounded by other colors and inherent light is the light from CYMK spectrum.

How does this relate to hue, value and saturation?

This relates to hue, value and saturation because it is the principles  which makes color.

Learned during semester :D

I learned a great deal of new concepts on design such as figure ground, movement, the value and hue of color and the power of color within a design composition. I am noticing more design principles in ads and billboards around New York City. For example, (online wholesale discount shop) has an ad that design principles such as monochromatic, saturation, design hierarchy and color interaction inspired by Joseph Albers.

Also, I learned I can’t bullshit through design projects because it will show in my craftsmanship. Therefore, procrastination will show up as a result which will result in my grades and lack of time and knowledge because I am rushing through the work to just complete it but there’s a form of education there. In addition, I am not just completing homework or projects to finished them but to actually learn and grow in art and design. I have to apply the information into my career and daily practice or I won’t be able to truly succeed in design industry. In conclusion, I learned design isn’t as easy as it appeared to me, since I changed from a Marketing Major to Communication Design with a focus in Graphic Design, it is real work and energy and very time consuming. I can spend 4-5 hours just one projects, hopefully with time, I will learn to work quickly.

 Design Journal #26 and #27

Journal #26

Proportionate color inventory (source)

proportioned; being in due proportion; proportional.

informal: a list of items of colors which are balance



non-proportionate color inventory (source)

having due proportion; corresponding.

being in or characterized by proportion.

of, relating to, or based on proportion; relative.

informal: non-balance list of colors

Journal #27

Process color

Process colors are represented as percentages of cyan, magenta, yellow and black. Varying the percentages offers thousands of color possibilities. When four-color process printing is used to reproduce photographs, decorative elements such as borders and graphics can be created out of process colors. This helps to avoid the added expense of an extra plate needed to print each spot color.

Informal: Many colors options because its the CYMB spectrum.

photo: source

Spot color 

Spot colors are standardized colors that can be purchased from a color-matching company or that can be mixed by a commercial printer according to formulations provided by the color-matching company. Informal: Colors avaliable through color matching company and specialized mixing.

Hex triplet

Hex Triplet Colors are web colors used for font families and userbox designing.




informal: collection of colors with number scale on HTML formats


Journal #25

Monochromatic (or mono) is a color scheme based on only one, single color tint. It uses only variations (shades) of a single hue, made by altering the saturation and brightness of the base color. Black and white colors are always added, as they in fact are the brightest, resp. the darkest shade of the color.

The result is smooth, elegant, comfortable for eyes, even for very aggressive base color. As there is only a single hue used, the is no clash of colors at all. However, it may be harder to find accents and highlights.



Analogous complementary

photo source

Analogous color schemes use colors that are next to each other on the color wheel. They usually match well and create serene and comfortable designs.

Analogous color schemes are often found in nature and are harmonious and pleasing to the eye.

Make sure you have enough contrast when choosing an analogous color scheme.

Choose one color to dominate, a second to support. The third color is used (along with black, white or gray) as an accent.



Analogous harmonies are based on three or more colors that sit side-by-side on the color wheel.

Color Relationships: Creating Color Harmony - Analogous



Color Relationships: Creating Color Harmony - Split Complimentary


Tetrad combinations are made up of four hues equal distance from one another, forming a square or rectangle on the color wheel.

Triad colors are three colors equally spaced from one another, creating an equilateral triangle on the color wheel.

Triadic color harmonies tend to be quite vibrant, even if you use pale or unsaturated versions of your hues.

To use a triadic harmony successfully, the colors should be carefully balanced – let one color dominate and use the two others for accent.

Color Relationships: Creating Color Harmony - Triad


Lucas + Isis Project in AI

Journal #23

Prismatic color

Prismatic color study 2B

The colors of the visible spectrum produced by passing white light through a prism; red, orange, yellow, green, blue, indigo, and violet


Muted color

For purposes of this conversation it is any highly saturated hue (such as those from Flat UI Colors) and adding a tint, tone or shade to make it less bright and more subdued. The result is often a softer, calmer color that can be easier to work with and match to the overall design.

informal: similar to Matt or semi matt color hue in painting and usually used to create a constrast with other design elements


Achromatic gray

Achromatic colors (white, grey and black) have lightness but no hue or saturation. They can be created by mixing complementary colors together. Chromatic colors, on the other hand, have characterizing hues such as red, blue and yellow, as well as saturation, which is an attribute of intensity, in addition to lightness. The elements of hue, lightness and saturation found in chromatic colors are referred to as the three attributes of color, and specific colors can be represented by stipulating the values for each of these attributes.




Chromatic gray

Chromatic grays [or tinted grays, as they are sometimes called] are used extensively for walls and furnishings in buildings of various types–and not always with great sensitivity to the way color, light, texture, and pattern are able to affect the feeling-tone of an environment.

Chromatic grays were used with great skill by French artists of the middle of the nineteenth century–by Corot in his landscapes, which derive much of their quality and originality from his sensitive adjustment of earth colors to warm and cool trays, and by Courbet in his bold paintings of the woodlands, chalk cliffs, and damp caves of his native Franche-Comté. [19] The Jongkind, used tinted grays to simulate moist atmosphere and veiled sunlight over sand and water. The American painter James McNeill Whistler used gray tones in his mood pictures, or Nocturnes, as he called them. The master of warm and cool grays in the 1860s and later was, of course, Manet, who based his new technique, peinture claire [light painting], on a most advanced handling of paint and of values–values more and more in the middle to light registers. He softened most light and shadow contrasts., illuminated his subjects broadly and evenly, and virtually eliminated traditional modeling or shading.


Additive color

If we are working on a computer, the colors we see on the screen are created with light using the additive color method. Additive color mixing begins with black and ends with white; as more color is added, the result is lighter and tends to white.




Subtractive color

When we mix colors using paint, or through the printing process, we are using the subtractive color method. Subtractive color mixing means that one begins with white and ends with black; as one adds color, the result gets darker and tends to black.




Design Journal entry #22

source: ja
Josef Albers

To Albers’s mind, such studies had little practical value for the artist. As he noted at the outset of Interaction of Color: In visual perception a color is almost never seen as it really is—as it physically is. This fact makes color the most relative medium in art. In order to use color effectively it is necessary to recognize that color deceives continually. To this end, the beginning is not a study of color systems.

In Albers’s universe, color seduced, beguiled, schwindled, and these characteristics made color the most fascinating of art’s formal elements. Albers’s passion for color prompted his decision to launch what was possibly the first full-blown course in color ever given anywhere, and certainly the first based exclusively on direct observation of color’s behavior. . . . Color behaved. Color was magic.


Johannes Itten

Source: JI

Johannes Itten taught at the Bauhaus from 1919 until 1922, and he taught one of the fundamental preliminary courses that – among other things – grappled with color theory.  Itten gave us a color sphere comprised of twelve colors (three primary, three secondary, and six tertiary) that shows the relationship among colors, as well as gradations of saturation.  The influence of psychoanalysis is apparent in Itten’s color theory, as he was one of the first to associate different colors with specific emotions and study the impact of color on our moods.  He also studied how individuals perceive color.

Itten taught that there were seven different methods of contrast:  contrast of saturation, of light and dark, of extension, complementary contrast, simultaneous contrast, contrast of hue, and contrast between warm and cool colors.  One of his particularly interesting practices in the classroom was to work students through an examination of color and in particular his theory about contrast by first examining abstract works, reflecting the Bauhaus’ move away from exclusively representational works.  After students studied the abstract pieces, they would move on to look at more realistic works, and finally would apply what they had learned of color theory to their understanding of classical works.

Itten’s most enduring contribution to modern day color theory, though, is his characterization of colors in terms of temperature, and his designations of certain colors as warm and others as cool persists to this day.


Source: AM

Albert Munsell

Munsell Color continues the legacy of Albert H. Munsell and his dedication to helping people communicate color easily and accurately. Our aim is to provide you with effective color tools, tips, and techniques based on Munsell color theory. We’re your resource for transforming Munsell color theory into action – whether you’re designing palettes, producing products or conducting color-based analysis.

The fundamentals of color are based on Albert H. Munsell’s theory of color

The way you visually match color today is the result of Albert H. Munsell’s work nearly a century ago. In fact, modern day color theory and mathematical color system is based on Munsell’s theory of color. For years, scientists had studied the mechanics of color going as far back as Newton’s early color wheel. But not until A.H. Munsell had anyone combined the art and science of color into a single color theory. His groundbreaking work laid the foundation for today’s computerized color matching systems and enabled a greater understanding of color principles for generations to come. An artist and an educator, Munsell developed his color theory to bring clarity to color communication by establishing an orderly system for accurately identifying every color that exists. Munsell based his system on what he defined as “perceived equidistance” — the human visual system’s perception of color.

Journal #21

Primary triad

photo source

Triadic colors are three colors equally spaced around the color wheel. They are not as contrasting as complementary colors but look more balanced. Primary colors and secondary colors are both examples of triadic color schemes.

Colors start out with the basis of all colors, called the Primary Colors. These are red, yellow, and blue. If we are talking about screen colors, such as for web devices and monitors, red green, and blue (RGB) are the basic colors which make up all colors found on screen devices.



Three hues which create standard colorways. 

Secondary triad

The Secondary Triad + = = + = +

Photo Source

If you evenly mix red and yellow, yellow and blue, and blue and red, you create the secondary colors, which are green, orange and violet. Combining these colors in projects can make for a lot of contrast.



Tertiary hues

Photo Source

Tertiary colors are intermediate colors that are made by mixing equal concentrations of a primary color with a secondary color adjacent to it on the color wheel.

There are three primary colors – red, yellow, and blue;  three secondary colors (made from mixing two primaries together in equal concentrations) – green, orange, and purple; and six tertiary colors – red-orange, yellow-orange, red-purple, blue-purple, yellow-green, and blue-green.




Photo Source

Color displays very differently printed on a piece of paper versus viewed on screen, because it involves different color spaces: CMYK for print and RGB for web. If using both methods for a single project — say, helping a business develop a logo for its website as well as a coordinating business card — a designer will need make sure colors appear consistent between the different deliverables.




RGB refers to the colors you see when you’re looking a digital screen or monitor — dots of red, green, and blue light combine to create visible colors on your TV or computer screen.

Achieving consistent color for the web can get tricky, since display capabilities vary from monitor to monitor and colors will look different depending on settings for brightness, contrast, etc.

Ideally, users will calibrate their displays ensure accurate color representation. RGB colors are represented by three sets of numbers (ranging between a minimum and a maximum, usually 0 to 255) that refer to the amount of red, green, and blue light it takes to render a certain color. To continue the Twitter example, the RGB value for “Twitter Blue” is 85/172/238 — with 238, the value for blue light, being predominant. Six-digit codes known as hexadecimal values, commonly called hex codes, are another way to label RGB colors. These are used specifically to identify and render color when building a design with HTML and CSS.

Because the RGB color space uses a bigger color spectrum than CMYK, it’s worth noting that some designers like to initially create a print project in RGB for more color options, then convert the finished design to CMYK before printing.



Extra Credit – Daido Moriyama – ‘Tokyo Color’,

Isis Samuels Swaby

CDMG 1111 Digital Media Foundations

Professor Tanya Goetz

October 16 2017

Extra Credit
Extra Credit

The photographer, Daido Moriyama created a photo series ‘Tokyo Color’, exhibited at Luhring Augustine Bushwick, 25 Knickerbocker Avenue, Brooklyn, NY 11237. I visited ‘Tokyo Color’ Exhibition on the last day of the exhibition. Excerpt from Luhring Augustine Gallery, “Tokyo Color, an exhibition of works by Daido Moriyama, is on view in our Bushwick gallery through Sunday, October 22. The exhibition highlights the artist’s long engagement with color photography, featuring a slideshow of his early explorations with color film, alongside a series of his recent color prints. Tokyo Color also presents a selection of Moriyama’s iconic black and white “tights” portraits, a subject that the artist has continually revisited since his first series in the 1980s.” The colorways of the film photography were under the iridescent lights. Bright colors tones within photo project. Moriyama documented the streets of Tokyo in a sexual mystic and seductive images. I have visited Tokyo, Japan a few years ago and these photographs reminded of that experience, the grim and grit of Tokyo’s street culture and imagery. The gallery lights adds to the visual perception of the photographs.


#20 Journal

Color (Source)

Color occurs when light in different wavelengths strikes our eyes. Objects have no color of their own, only the ability to reflect a certain wavelength of light back to our eyes.


Informal: Color adds life to a design composition but varies on how it is viewed based on the viewer’s perception 

Hue (Source)

Hue is somewhat synonymous to what we usually refer to as “colors”. Red, green, blue, yellow, and orange are a few examples of different hues. The different hues have different wavelengths in the spectrum.


Saturation  (Source)

Saturation is an expression for the relative bandwidth of the visible output from a light source. In the diagram, the saturation is represented by the steepness of the slopes of the curves. Here, the red curve represents a color having low saturation, the green curve represents a color having greater saturation, and the blue curve represents a color with fairly high saturation. As saturation increases, colors appear more “pure.” As saturation decreases, colors appear more “washed-out.”



Intensity, also called chroma or saturation, refers to the brightness of a color. A color is at full intensity when not mixed with black or white – a pure hue. You can change the intensity of a color, making it duller or more neutral by adding gray to the color. You can also change the intensity of a color by adding its complement (this is the color found directly opposite on the traditional color wheel). When changing colors this way, the color produced is called a tone.

Informal: Adding a element of light that adds to a composition.

Cooper Hewitt Paper – Esperanza Spalding Selects | HEAR, SEE, PLAY: DESIGNING WITH SOUND

PDF Version

Cooper_Hewitt_Exhibition_Assignment (4)

 Isis Samuels Swaby

CDMG 1111 Digital Media Foundations

Professor Tanya Goetz

November 13 2017

Cooper Hewitt Exhibition

One of the exhibits which was a great interest for me was the exhibition called ‘Esperanza Spalding Selects’  whom is a famous Grammy winning Jazz composer and instrumentalist Esperanza Spalding curated an exhibition at Cooper Hewitt. I have seen Spalding perform at the Apple Store on 14th street and 9th avenue a few years. I can see the connection between her career in jazz and the exhibition connects to her life’s work in Jazz. ‘Through her curation of nearly 40 drawings, prints, textiles, jewelry, and furniture, as well as works from the Smithsonian Design Library, Spalding explores how design—like music—both evolves and devolves in the process of transforming.’ (Cooper Hewitt 1) This exhibition stood out to me because of the design and historical references of the fliers and posters from Harlem Jazz Era and Harlem Renaissance because it offers the viewer to see how Jazz influence design in all forms, not solely in sound. I am originally from Harlem, NYC, so it gave me more incite about that time period when Jazz was the focal point for New York City neighborhood.

The piece, Textile, Fan, 1985, which was my favorite piece from the exhibit because of the movement and rhythm in the fabric print which also has African Kente cloth references. It was designed by Theo Maas and manufactured by Vlisco. It is dated 1985 and we acquired it in 2015. Its medium is 100% cotton and its technique is wax-resist printed on plain weave. I enjoyed the music and sound based exhibition called ‘HEAR, SEE, PLAY: DESIGNING WITH SOUND’ because it was hands-on interactive and added to my understanding of sound that guides our lives daily. Therefore, if we didn’t have certain sounds we will not be able to function without sound to educate and alert us on danger or just surviving in general in different environments.

“This hands-on exhibition invites you to become a sound designer for Trash Bot, a street-cleaning machine. A sound designer uses melody, ambient sound, and special effects to communicate. Each sound you create will communicate Trash Bot’s actions and express the machine’s personality and emotions. As you design sounds for Trash Bot, think about how each sound will guide users through their interactions with Trash Bot and—just as importantly—transform an anonymous machine into an appealing, human-like presence.” (Cooper Hewitt 1)

The colorways and printing of the posters the Jazz Festival Willisau designed by Niklaus Troxler is an internationally renowned Swiss graphic designer who specializes in poster design, corporate design, illustration and architectural murals. Since 1975, Troxler has organized the Willisauand Jazz Festival, an international event that features the best in contemporary jazz. ( Art Factory 1)

It was designed by Annik Troxler and Paula Troxler and published by Jazz Festival Willisauand printed by Sérigraphie Uldry AG. This object is not part of the Cooper Hewitt’s permanent collection. It was able to spend time at the museum on loan from Annik Troxler as part of Hear, See, Play: Designing with Sound. It is dated 2011. Its medium is screenprint on paper. It is a part of the Drawings, Prints, and Graphic Design department. Swiss graphic designer Annik Troxler creates posters each year for the Jazz Festival Willisau, held in a small town in Switzerland. She uses fluid concoctions of line, texture, and color to express the improvised character of jazz. Rather than visualizing specific pieces of music, the posters anticipate the range of music presented in the festivals. The Willisau Jazz Festival was founded in 1975 by Niklaus Troxler, Annik’s father, who designed the posters for thirty-five years. Cooper Hewitt acquired a set of Niklaus Troxler’s Willisau posters in 2009, courtesy of the artist. (Collection.Cooper Hewitt 1)

The piano in the room where it shows sound and colors working together to create a piece. The colors working with the rhythm and sound of the piano guides the eye with colors. This exhibition, ‘DOT PIANO’,  an installation, it was designed by Alexander Chen and Yotam Mann. Its medium is software, keyboard, monitors. (Collection.Cooper Hewitt 1) In addition, I enjoyed visiting Cooper Hewitt and now that I know it’s so close to my neighborhood and I will visit more often to learn about art and design history since they have a beautiful collection of works which can assist me with my design education.



Emely Perez, senior designer

J. Walter Thompson New York


I enjoyed watching the Meet the Pros Panel with different directors and designers from different departments of Agency share their experiences in the their journey from student to working professional. My experience at Art and design club, ‘Met the Pros’ creative directors and graphic designers from J. Walter Thompson New York, panel discussion was informational for me, I never really thought about working in Advertising. But It peeked my interest in a way like could I or would I want to apply for some advertising agencies after I graduate. Emely Perez is a City Tech CUNY alumni, she talked about her journey from City Tech Cuny to the workplace and becoming a Senior Graphic Designer. She attended a program called MAIP, The 4A’s Multicultural Advertising Intern Program (MAIP) connects aspiring, diverse, entry-level advertising professionals with leading advertising agencies which helps minorities African American and Hispanic decent break into Advertising via summer internships nationwide. The factor that you will be able to get a 10-week internship and will be placed in any company which selects you, which can be anywhere in USA. I am interested in moving and experiencing working outside of New York City, since I am originally from here, I would like to relocate for a year or two just for a break from ‘CITY LIFE’. everyone on the panel was interesting and how they got to the same agency through different routes, some of the directors went through applying directly through agency and developing their work and applying formal way. the panel discussion offered a lot of encouragement and incite on pursuing a creative side and working within the  business side of advertising. Mo Osunbor, a Creative Director at  J. Walter Thompson New York. He was personable and amusing. Osunbor reminded me of myself because he has work different types of jobs to make it to his advertising path. He won awards for advertising at Cannes Lions International Festival of Creativity. Cannes Lions is the world’s biggest festival and awards for the creative communications industries, including. In addition, he teaches at Miami Ad school.


Mo Osunbor, a Creative Director at  J. Walter Thompson New York

 Design Journal #19

Proportion | source

Proportion is the relationship between elements with respect to a comparative magnitude. It tells us whether or not our scale is in harmony, whether or not the different sizes of our elements are in agreement and balance. When one element of your design changes size, the others should also change size similarly if you want to keep them in the same proportion.

Informal: Proportion is a balance scale of work and everything inch has to be symmetric to have elements that create consistency. 

Rule of thirds | source

The Rule of Thirds is another way to look at the layout of a design (be it a web page, a painting or a photograph). The idea is straightforward; you place a simple grid overlay (divided equally into thirds, both horizontally and vertically) on the space to be used for the design.

informal: to be able to divide a design into thirds to mathematically organize and arrange the work to add balance to an composition to guide your viewers eye to makes it easier to position the type and design



Golden rule  (Source)

The Golden Ratio is a mathematical ratio. It is commonly found in nature, and when used in design, it fosters organic and natural looking compositions that are aesthetically pleasing to the eye.

Composition is important for any image, whether it’s to convey important information or to create an aesthetically pleasing photograph. The Golden Ratio can help create a composition that will draw the eyes to the important elements of the photo. Using the Golden Ratio, you split the picture into three unequal sections then use the lines and intersections to compose the picture.

informal: Golden rule creates a consistent format or blueprint to follow to shape a systematically design that will always create a consistency in design work



Journal #16 Tonal progression, shade, tint, tone and venn diagram


Tonal progression

Formal: A tonal progression is a succession of color mixtures proceeding from dark to light.


Colors that flow in and out of eachother and creative variations that fades


Shade – source: thoughtco

A shade is a hue or color with black (or any other dark color) mixed into it. This creates a darker version or a darker tone of it.

You can have more than one shade of a color, depending on how much has been mixed into it.

The opposite to a shade is a tint.

 Informal: shade is filling in a light tone into a composition, shade could changes variations of colors

tint- source : thoughtco

is created when you add white to a color and lighten it. It is also sometimes called a pastel color. Tints can range from nearly the full saturation of the hue to practically white. Sometimes artists add a small bit of white to a color to increase its opacity and covering strength.

Informal: Add variations to color creates range

Tone – source: thoughtco

A tone is created when you add both white and black (which is gray), to a color and tone it down, or desaturate it.


tone – dark colorways in paint

Venn Diagram source – conceptdraw

Venn Diagrams are the intuitive way to work with sets which allows to visualize all possible logical relations between several sets. They are widely used in mathematics, marketing, logic, statistics, sociology, etc.

informal – connecting to circles  and a connection between topics

Venn Diagram | future me j o b