Practical Analysis of Deconstructed Color Design--Case 1

Deconstruction of color is an effective way to explore the use of color in the teaching of color reform. It deconstructs the natural color of the first nature and the humanistic color of the second sexuality. It examines and reflects the existing colors, and boldly integrates the new color form with the reconstruction method. The purpose is to return to the original intention of color composition teaching—creatively and flexibly using color, accumulating color matching experience, and serving design practice; deconstructing color is not only doing “subtraction”, but also doing “addition” appropriately, through disperse, Reorganize and integrate to realize a new color pattern and cultivate aesthetic and innovative awareness and capabilities.

1 Background

Deconstruction of color is a practical teaching link in the theme of color composition teaching. It is an effective way to explore the creative use of color, and it is a bridge to color design creation. Introducing the deconstruction concept into the subject color composition teaching can enable students to improve the ability to analyze and anatomize color while integrating color, and deepen the cultivation of color aesthetic consciousness.

The term deconstruction comes from deconstructionism. Deconstructionism refers to the use of modernist vocabulary, but it logically negates the new art school formed by the basic principles of historical design (such as aesthetic principles, functional principles, and mechanical principles). Some people call it deconstructionism, and others call it deconstruction. It is a new constructivism. Deconstruction attaches importance to individuals, components themselves, and against the collection and generalization of instincts. It believes that the component itself is the key, so the study of individual individuals is more important than the study of the overall structure. The theoretical basis of the deconstruction technique is the Gestalt Gestalt Theory. The Gestalt German original meaning is shape and gestalt. It refers to a highly organized level of things formed in the minds of observers. The concept of “wholeness” is the core of Gestalt psychology. It has one important feature: the whole can still exist if the nature (size, orientation) of its components changes. To a certain extent, Gestalt Psychology solves the contradiction between the whole and the part of the deconstructive works, and theoretically explains the problem of the heterogeneity and homogenous relationship between the original works and the deconstructed works.

What we are talking about deconstructing colors is to disperse and reorganize the primary color pattern of the selected color objects, increase and decrease the integration, and then create new ones. The tone, area, and shape of the original image are re-adjusted and assigned to capture the original. The characteristics of individuals or parts of typical colors are extracted and extracted, and the aesthetics of the form are summed up, summarized, and reconstructed on the new screen according to the designer's intentions. The original visual styles are incorporated into the expected design tracks and the bands are reassembled. There is a new form of obvious design tendency. Deconstructing color consists of two processes: one is color deconstruction and the other is color reconstruction. The deconstruction in the initial stage is a process of collection, filtering and selection. The reconstruction in the subsequent stage is to inject the color elements in the original object into the new organizational structure, reorganize to produce a new color image, but still lose the original picture. artistic conception. There are many options for color deconstruction. Here, we mainly focus on the following cases to try to explore the deconstruction of color teaching rules from the experimental teaching process.

2 Case 1: Deconstructing natural colors

Heraclitus, an ancient Greek philosopher, said: "Art imitates nature." Shifu Nature itself is a spontaneous and effective way for humans to improve their aesthetic cultivation. In the natural world, there are various combinations of colors. In these combinations, a large number of colors show a sense of harmony, unity, and order, and some of the objects reflect the various contrasting and harmonizing relationships in color composition theory. It is formed through continuous material evolution. On the one hand, these color combinations can reflect differences in species and gender. On the other hand, they are the need for survival for defense or warning. We must pay more attention to the exploration and discovery of their unique color rules through observation and analysis. Through deconstruction and reconstruction, this color and beauty of nature will be revealed, and nourishment will be drawn from it, and color experience will be accumulated.

In the process of color deconstruction, we extract the most essential feature of the original color combination unit, and reconstruct a new color picture according to a certain intrinsic connection and logic. The author calls this color homogeneity and heterogeneity. We will use the bamboo green snake in Figure 1 as an example. The snakeskin of bamboo leaves is distributed in a scaly pattern, and its pattern has a certain pattern of color and shape. This is a typical individual characteristic that makes it a distinct species from other snakes. According to the original Zhu Yeqing color relationship and snakeskin pattern, to make the corresponding light green, dark green and white strip color. As shown in the figure, the bamboo green scales, 80% of which are light green, and another 20% are composed of dark green and white, we can grasp the irregular diamond shape features and recombine with the snake skin pattern texture to form A picture of jealousy and fear. The heterogeneous homogeneity characteristic is that people see the deconstructed and patterned new integrated picture, and still subconsciously associate with the abominable bamboo leaf snake, and force the eyeball to discriminate the similarities and differences between the two, giving the sense of ominousness and unhappiness.

Figure 2 shows the color deconstruction of a caterpillar, but it is more emphasis on reconstructing the color veins of insects. Its worm body feature is a combination of earth yellow, dark blue, black and white, covered by a large area of ​​green foliage. The author uses the curved worm body arc as the new color combination unit, fills the yellow and white colors with dark blue and black outlines, changes the color layout from horizontal to vertical, and then uses green as the background to repeat the cross-body. The arc forms a fresh color picture. This is also a heterogeneous image reconstructed according to the color veins of caterpillars. By comparing the original and new works, you can also feel the intrinsic color logic between them. The feature of this assignment is to capture the essential characteristics of the original image and produce another color experience with its own fresh life.

Figure 2 Caterpillars

(to be continued)