Lesson Notes By Weeks and Term v3 - Senior Secondary 1
Colour Theory and Formulation of moths
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Colour Theory and Formulation of moths
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Subject: Tie And Dye Craft
Class: Senior Secondary 1
Term: 2nd Term
Week: 13
Theme: Colour Interaction And Manipulation Of Fabric
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Define colour Identify the classes of colours Create African motif designs on fabric Create, arrange, and cut African motifs to form pattern
2.1.
1. Definition of Colour Colour is the property of light that depends on the wavelength of light reflected by an object. It is perceived by the eye and interpreted by the brain. In art and design, colour is a powerful element used to evoke emotions, create contrast, and establish visual hierarchy. Objects themselves do not have colour; they merely reflect certain wavelengths of light and absorb others. For instance, a red fabric reflects red light and absorbs other colours of the spectrum. 2.1.
2. The Colour Wheel The colour wheel is a circular arrangement of colours used to illustrate colour relationships. It is a fundamental tool for understanding how colours relate to each other and for creating harmonious colour schemes. 2.1.
3. Classes of Colours Primary Colours: These are the foundational colours from which all other colours can be mixed. They cannot be created by mixing other colours. In pigment (subtractive colour theory, relevant for dyes), the primary colours are: Red Yellow Blue Example in Nigeria:* The vibrant red of a kola nut, the yellow of ripe plantains, the deep blue of indigo dyes used in Adire textiles.
Secondary Colours: These colours are created by mixing two primary colours in equal proportions. Orange (Red + Yellow) Green (Yellow + Blue) Violet/Purple (Blue + Red)
Example in Nigeria:* The green of lush vegetation, the orange of some traditional tie and dye patterns, the purple found in royal attire.
Tertiary Colours (Intermediate Colours): These colours are created by mixing a primary colour with an adjacent secondary colour. They are typically named by combining the names of the primary and secondary colours, with the primary colour listed first. Red-Orange Yellow-Orange Yellow-Green Blue-Green (Cyan) Blue-Violet (Indigo)
Red-Violet (Magenta)
Example in Nigeria:* The blue-green of the Atlantic Ocean along the Nigerian coast, the yellow-orange of some traditional calabash designs. 2.1.
4. Colour Properties/Dimensions: Hue: Refers to the pure spectral colour name (e.g., red, blue, green).
Saturation (Chroma): Refers to the intensity or purity of a colour. A highly saturated colour is vivid and bright, while a desaturated colour is dull or muted.
Value (Brightness/Lightness): Refers to how light or dark a colour is. Adding white creates tints (lighter values), and adding black creates shades (darker values). 2.1.
5. Colour Harmonies/Schemes (Relevant for "Harmonious Colours" in Evaluation Guide): These are combinations of colours that are considered aesthetically pleasing.
Monochromatic: Uses different tints, tones, and shades of a single hue. This creates a subtle and cohesive look.
Process of Monochromatic Colour:* Select a base colour (hue), then mix it with white to create lighter variations (tints) and with black to create darker variations (shades). For example, a monochromatic scheme for blue would include sky blue, royal blue, navy blue, and indigo.
Example:* An Adire fabric primarily using varying shades of indigo blue, from light to very dark.
Complementary: Uses two colours directly opposite each other on the colour wheel (e.g., Red and Green, Blue and Orange, Yellow and Violet). These pairs offer strong contrast and can be very vibrant.
Example:* A Yoruba fabric combining rich blue with a bright orange pattern.
Analogous: Uses three or more colours that are next to each other on the colour wheel (e.g., Yellow, Yellow-Green, Green). These schemes are often found in nature and are generally harmonious and pleasing to the eye.
Example:* A textile design featuring colours like yellow, lime green, and emerald green, reminiscent of Nigerian farmlands.
Triadic: Uses three colours equally spaced around the colour wheel (e.g., Primary colours: Red, Yellow, Blue). These schemes are vibrant and bold. 2.2.
1. Definition of Motifs A motif (pronounced moh-TEEF) is a distinctive and recurring design element, shape, or idea. It is the basic unit from which patterns are created. In tie and dye, motifs are the individual designs applied to the fabric. 2.2.
2. Sources of Creating Motifs (Relevant for Evaluation Guide): Motifs can be inspired by a wide range of sources, especially within the rich Nigerian context: Nature: Plants (leaves, flowers, trees like kola tree, iroko tree), animals (lizards, birds, fish, elephants), insects, human figures, natural phenomena (sun, moon, stars, waves, rain).
Example:* The tortoise motif symbolizing wisdom in many Nigerian cultures, or patterns derived from the shape of a palm leaf.
Geometric Shapes: Circles, squares, triangles, rectangles, ovals, zigzags, spirals. These are fundamental and often abstracted from other sources.
Example:* Repetitive triangular patterns found in Nsibidi script or Uli art.
Cultural Symbols & Objects: Traditional masks, tools (hoe, cutlass), musical instruments (talking drum, shekere), cultural symbols (Adinkra symbols, Nsibidi symbols, cowrie shells, kola nuts), architectural elements, traditional garments.
Example:* The "eye" motif representing watchfulness, or the "crossroads" motif indicating choices.
Everyday Objects: Household items, farm implements, market goods.
Example:* Basket weave patterns, fish net patterns.
Abstract Ideas/Imagination: Non-representational shapes and forms that convey emotion or concept.
Example:* Swirling patterns to represent wind or movement, or abstract forms depicting traditional proverbs. 2.2.
3. Types of Motifs: Representational/Figurative: Motifs that clearly depict recognizable objects (e.g., a bird, a person, a specific leaf).
Stylized: Motifs that are simplified or exaggerated versions of natural forms, retaining their essence but not exact realism. Most traditional African motifs fall into this category.
Geometric: Motifs made purely from geometric shapes and lines (e.g., chevrons, spirals, checkerboards).
Abstract: Motifs that do not represent any recognizable object but rely on shape, form, and colour for their effect. 2.2.
4. Process of Creating African Motif Designs: Observation/Inspiration: Look for interesting shapes, patterns, or symbols in the environment, culture, or nature (e.g., study a leaf, a traditional carving, or a market scene).
Sketching: Make rough sketches of the observed form from different angles. Focus on its key features.
Simplification/Stylization: Reduce the complexity of the observed form into its basic lines and shapes. Exaggerate certain features to make it more impactful or symbolic. Aim for a design that can be easily repeated.
Example:* If inspired by a lizard, simplify its body into an elongated oval, its legs into simple lines, and its head into a triangle.
Refinement: Clean up the lines, ensure symmetry if desired, and make the motif visually balanced. Consider how it will look when repeated.
Preparation for Transfer: Once the design is finalized, it can be drawn on paper to be cut out or transferred onto the fabric. 2.3.
1. Definition of Pattern A pattern is the repetition of a motif, line, shape, or colour in an orderly or artistic sequence. It creates visual rhythm and movement. 2.3.
2. Types of Patterns (Relevant for Evaluation Guide): Repeating Pattern: The same motif is repeated uniformly across the surface.
Example:* A sequence of identical 'talking drum' motifs arranged in rows.
Alternating Pattern: Two or more different motifs or variations of a single motif are repeated in an alternating sequence (e.g., A-B-A-B or A-A-B-A-A-B).
Example:* A motif of a stylized fish alternating with a motif of a canoe.
Mirror/Symmetrical Pattern: A motif is mirrored horizontally, vertically, or both, creating a symmetrical design.
Example:* A central motif with identical elements reflected on either side, like many traditional Nigerian wood carvings.
Radial Pattern: Motifs radiate outwards from a central point, often circular.
Example:* Designs found on some calabash gourds or central motifs in Aso-Oke weaving.
Random Pattern: Motifs are placed without a strict order, but still create a sense of balance.
Geometric Pattern: Patterns formed exclusively from geometric shapes arranged in a repeating sequence. 2.3.
3. Arranging and Cutting African Motifs to Form a Pattern: Design Selection: Choose a finalized African motif design.
Repetition Unit: Decide how many times the motif will be repeated and in what configuration (e.g., simple grid, brick repeat, half-drop repeat).
Drawing on Template: Draw the chosen motif onto thick paper, cardboard, or stencil plastic. Ensure the lines are clear.
Cutting the Motif: Carefully cut out the motif using a craft knife or sharp scissors. For stencil work, cut out the areas that will allow the dye to pass through. For appliqué or resist techniques, the cut-out shape itself might be used.
Layout Planning: On a larger sheet of paper representing the fabric, arrange the cut motifs (or trace them) to visualize the final pattern. Experiment with spacing and orientation to achieve the desired effect (e.g., creating a dense pattern, an open pattern, a border pattern).
Transfer to Fabric: Once the layout is satisfactory, the motifs are ready to be transferred to the fabric, either by tracing, stenciling, or direct application depending on the tie and dye technique. --- This section provides a detailed explanation of colour theory and the process of motif formulation.
Adire and Aso-Oke Revitalization: The knowledge of colour theory and motif creation directly applies to the traditional Nigerian textile industry. Students can use their understanding of harmonious colour schemes to experiment with modern interpretations of Adire (e.g., combining traditional indigo with contemporary complementary colours) or design new motifs for Aso-Oke that resonate with current aesthetics while retaining cultural significance. This can lead to entrepreneurship in textile design, creating unique garments and home decor items.
Cultural Storytelling through Design: Many Nigerian motifs tell stories or convey proverbs. By learning to formulate motifs from various sources (nature, culture, geometry), students can create designs that visually communicate aspects of their local history, proverbs, or societal values. For example, a motif derived from the Iroko tree could symbolize strength and longevity, while a kola nut motif might represent hospitality. This connects art to cultural preservation and education, potentially leading to craft products that serve as educational tools or cultural ambassadors.
Community and Environmental Awareness: Students can design motifs and choose colour palettes that reflect local environmental concerns or community initiatives. For example, motifs of endangered local flora/fauna combined with natural, earthy colour schemes could be used on bags or t-shirts to raise awareness about conservation. This fosters civic responsibility and provides a creative outlet for advocacy. ---