This TCRE production process started simply as a way of experimenting freely with different dissonant experiences, to understand if unconventional colour-sound combinations could work as well. Throughout my 3 years at RMIT, and working on many different projects, with various media, tools etc... I have always been taught that certain design choices should be avoided, in order to deliver accessible, comprehensible and meaningful products. Things to be avoided, generally include:
problematic colours (high saturation, low contrast, transparencies, vibrant colours, hues that don't match any specific pre-set colour combinations, like monochromatic, split-complimentary, triadic etc...),
noise (high-pitched sounds, very high volume, intense reverb and gain, etc...)
low-resolution and low-contrast (colours that are very similar together become hard to identify, that generate low levels of legibility and readability)
Transparency (high levels of transparency should be avoided, as they can generate confusion and doubt or blend too much with the surroundings)
Because assignment and homework briefs are generally very strict when it comes to use of media, software, context and tools to be used to achieve certain desired outcomes, I feel like I have often been limited in terms of artistic choices. This TCRE studio, however, allowed me to think outside the box, and allow more creative freedom and experimentation. So I took this opportunity to feel free to play around with colour and sound, trying to push the boundaries those sets of design rules apply. "Traditional design" elements should be accessible, cohesive, relevant to the market, end-user and comply with industry standards. In order to meet my desire to experiment with creative freedom in this studio class, I decided to explore dissonant design elements, so aspects of audio-visual design that (as mentioned above) are considered to be wrong and problematic, because we are culturally and socially biased to see them as such. Therefore, my TCRE research and experimentation focuses on dissonant experiences, generated by problematic use of colour and sound properties. At this stage, this includes: optical illusions, unconventional colour palettes, noise (instead of sound design). The aim is to find out whether or not, these unconventional elements can actually create a final design outcome that can challenge our cultural perception of audio-visual design.
This studio class allowed me freedom to experiment with tools, colours, media, software and outcomes, without any particular restrictions (target audience, market suitability, client brief, software requirements etc...). Therefore, what better way to experiment and put into practice dissonant, unconventional, problematic artistic choices, to see where this leads me to.
My work is still in progress, however, at this of the production process, I can summarise my research findings below:
COLOUR
Colour is deceiving: whether it be influenced by surrounding colours, environment, context it is applied to, colour is not what it looks like. It is highly subjective, and everyone has different reactions and responses to it. We are traditionally influenced in our choices of colour, limited by several colour combinations dictated by scientific data (complimentary colours, opposite on the colour wheel) which generate cultural bias and common ways of thinking (complimentary colours "compliment" each other, because they are opposite to each other on the colour wheel, so they let each other stand out. This defines a strong colour combination, which communicates energy and ensures high visual contrast, and is also pleasing to the eye). When using online colour wheel tools, to select a colour palette, each colour is defined by a specific code. When picking a complimentary colour combination, we end up with 1 colour code for each colour. By slightly changing one of those codes, we get a different colour, which may not be suitable to fit the previous complimentary colour combination. Red and Green for example, are a popular complementary colour combination. But there are a huge amount of tints, shades and tones of both red and green, which may not all be suitable to stand next to each other as opposite colours.
If we take these 2 specific colours, Red (#FA010A) and Green (#00FA42) we notice how they are perfectly opposite to each other.
If we move the cursor slightly across the colour wheel (image below), while still keeping the colour harmony set to "Complimentary colour" mode, we find another set of opposite green and red.
Our new colour combination is Red (#FA0023) and Green (#00FA34). Although visually very close to each other, our first red (#FA010A) is not in harmony with the our new shade of green (#00FA34).
If we change the colour code of our red from #FA0023, back to our first red colour code (#FA010A) the Adobe wheel tool won't recognise these 2 colours as a valid combination, so it will appear as "Custom" colour (see image below).
Therefore, according to the elements and principles of design, this last colour combination (Red #FA010A and Green #00FA34) is to be discarded, in favour of the a more precise complimentary colour palette.
Standard design processes requires the designer to identify an appropriate colour palette, with specific colour harmony and colour codes as they appear on the colour wheel or colour picking tool (without applying any changes to colour value, saturation, contrast, luminance, or any other colour property). My aim during this TCRE experimentation process, is to use these unconventional colours in a more creative form, to understand how successfully they can stand together in a visual composition. This does not mean choosing colours arbitrarily or randomly. It means evaluating standard colour harmony and combinations, and changing certain colour properties to alter those traditional colour combinations and find out if/what creative potential they carry, compared to standard colour harmony.
The examples below are visual compositions I made using "problematic" and dissonant colours, which are not allowed to be used in standard design practice. (This could be due to a number of reason, including low-contrast, reduced legibility, eye strain, confusion etc...). All these works are made suing simple, flat shapes, so as not to influence the viewer's attention from colour, which in these experiments is mainly used as a form of itself.
Although these vibrant colour combinations would never be used in a proper design production, due to their visually "problematic" nature, I believe they still carry a huge creative, artistic, and expressive meaning, which is worth taking into consideration. The emotional resonance in response to these compositions may be subjective, and vary depending on the viewer. However, most would agree they feel uncomfortable, stressed or confused, after viewing these colours. Although I do agree these colour can be uncomfortable to stare at, I also believe they carry an intense emotional and artistic potential.
(TO BE CONTINUED)
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