Abstract Color Illusion

Color Theory, 2020

The colors you see aren't actually there

Liad Arussy

Shenkar College of Engineering, Design and Art

600.00 USD

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The Back Story

Color Theory

The colors you see aren't actually there

Every brain is unique and therefore the hues interpreted by the mind are individualized. Yet, scientist have been studying colors for centuries, as theorists attempt to categorize the colors we see. Primary colors combined create secondary colors and between each of those is an infinite number of color combinations. Through my research, I chose to explore the basics of color theory as it relates to subjective vision. The piece is woven by red, yellow, blue, and off-white strings. There are only four different colored strings present. As I programmed variations of patterns in the stripes of the weave, new seemingly solid colors began to appear. But, in reality, the colors we see in this project are fabricated in our minds.

The Creator

Liad Arussy

Specialization/Major

Textiles

Graduation Year

2022

Location

United States

About

Raised in the US, I moved to Israel at 18 years old. From a young age, I've placed human kindness and volunteerism as my focus. With everything I do, I seek how I can help others, and that only continues throughout my design work.

As a textile design student based in Tel Aviv, I take inspiration from the diverse people I meet, placing a focus on the changes faced by people with disabilities. From putting a smile on someone's face by unique color choice to developing a new type of fabric to add comfort, I believe that design should serve a purpose and contribute to the bettering of peoples' lives.

Go to Liad Arussy's page

Features

Imperial

Metric

Measurements (Width X Height X Depth)

150 X 113 X .2 cm

59.06 X 44.49 X 0.08 Inch

Weight

0.5 kg

1.1 Lbs

Materials

Cotton threads, Acrylic threads

The Process

Throughout my research, I tested variations of patterns and color combinations as well as hues of red, blue, and yellow. I worked with variations of line thickness, ultimately choosing to weave the colored lines slightly larger to enhance the visual play. The industrial loom I worked on had an off-white warp, adding the challenge of hiding the white in the colored stripes, ensuring a truly rich color. I began with programming gradients from solid off-white to solid blue. Once the pattern and frequency of string alternation was established, I introduced richer gradients from solid red to solid blue and eventually yellow as well.