The highest degree of light, such as that of the sun, of a white-hot substance, is dazzling and colourless, even as pure water is colourless. By opposition, darkness was considered as that which is opposed to light; the material element in which light is absorbed and extinguished. Colour lies between light and darkness. If we imagine an eye in a state of complete activity, it sees colour everywhere; if it is perfectly at rest it sees none. Colour is the pain of light. Yellow is a light which has been dampened by darkness; blue is a darkness weakened by light. Red arises at the extreme boundaries of both. Green is the result of their perfect equilibrium. All colours in their full saturation carry with them something violent, something that demands something from the eye. Yellow is the colour nearest to light; in its highest purity it always carries with it the nature of brightness, and has a serene, gay, softly exciting character. As yellow is always accompanied by light, so it may be said that blue still brings a principle of darkness with it. Red, in its highest degree of purity and beauty, as we see it in carmine, is beautiful, grand, dignified, gracious and attractive. The highest degree of light, such as that of the sun, of a white-hot substance, is dazzling and colourless. Colour lies between light and darkness. If we imagine an eye in a state of complete activity, it sees colour everywhere; if it is perfectly at rest it sees none. Colour is the pain of light. Yellow is a light which has been dampened by darkness; blue is a darkness weakened by light. Red arises at the extreme boundaries of both. Green is the result of their perfect equilibrium. All colours in their full saturation carry with them something violent, something that demands something from the eye. Yellow is the colour nearest to light. As yellow is always accompanied by light, so it may be said that blue still brings a principle of darkness with it. Red, in its highest degree of purity and beauty, is beautiful, grand, dignified, gracious and attractive. The highest degree of light, such as that of the sun, of a white-hot substance, is dazzling and colourless, even as pure water is colourless. By opposition, darkness was considered as that which is opposed to light; the material element in which light is absorbed. Colour lies between light and darkness. If we imagine an eye in a state of complete activity, it sees colour everywhere; if it is perfectly at rest it sees none. Colour is the pain of light. Yellow is a light which has been dampened by darkness; blue is a darkness weakened by light. Red arises at the extreme boundaries of both. Green is the result of their perfect equilibrium. All colours in their full saturation carry with them something violent. Yellow is the colour nearest to light; in its highest purity it always carries with it the nature of brightness. Red, in its highest degree of purity and beauty, is beautiful, grand, dignified, gracious and attractive. Red by mixture with yellow becomes orange, which by further addition of yellow passes to gold. Mixed with blue, red becomes violet, and by the predominance of blue, passes into indigo and then to pure blue. The highest degree of light is dazzling and colourless. Colour lies between light and darkness. If we imagine an eye in complete activity, it sees colour everywhere; at rest it sees none. Colour is the pain of light. Yellow is dampened darkness; blue is darkness weakened by light. Red arises at the extreme boundaries of both. Green is the result of their perfect equilibrium. All colours in full saturation carry something violent. Yellow is the colour nearest to light. As yellow is always accompanied by light, so blue still brings a principle of darkness with it. Red, in its highest degree of purity, is beautiful, grand, dignified, gracious and attractive. The highest degree of light, such as that of the sun, is dazzling and colourless, even as pure water is colourless. Colour lies between light and darkness. If we imagine an eye in a state of complete activity, it sees colour everywhere. If it is perfectly at rest it sees none. Colour is the pain of light. Yellow is a light which has been dampened by darkness; blue is a darkness weakened by light. Red arises at the extreme boundaries of both. Green is the result of their perfect equilibrium. All colours in their full saturation carry with them something violent, something that demands something from the eye. Yellow is the colour nearest to light. Red, in its highest degree of purity and beauty, as we see it in carmine, is beautiful, grand, dignified, gracious and attractive.
CATENA
The design thinking studio for students who want to solve problems the way professionals do
A studio program taught by an industry professional — small cohorts, limited availability
The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one. The whole technical power of painting depends on our recovery of what may be called the innocence of the eye. That is to say, of a sort of childish perception of these flat stains of colour, merely as such, without consciousness of what they signify. The first great mistake that people make in the matter of art is the supposition that they must begin with a great subject. There is no such thing as a great subject. A great artist can make a great picture out of a handful of dust; a feeble artist will make a feeble picture out of the most magnificent material. Nothing is a work of art which is not useful. Taste is not only a part and an index of morality — it is the only morality. The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one. The whole technical power of painting depends on our recovery of the innocence of the eye; that is to say, of a sort of childish perception of flat stains of colour, without consciousness of what they signify. The first great mistake is the supposition that one must begin with a great subject. There is no such thing as a great subject. A great artist can make a great picture out of a handful of dust. A feeble artist will make a feeble picture out of the most magnificent material. Nothing is a work of art which is not useful. Taste is not only a part and an index of morality. It is the only morality. The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think. But thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one. The whole technical power of painting depends on our recovery of the innocence of the eye. Nothing is a work of art which is not useful; that is to say, which does not minister to bodily need, or utter noble thought, whether that thought be moral or intellectual. The true secret of happiness is to take a genuine interest in all the details of daily life, and to elevate them by art. A man who has the habit of accurate observation is capable of seeing beauty in things which to others are invisible. The most beautiful things in the world are the most useless — peacocks and lilies, for instance. You will never love art well till you love what she mirrors better. Taste is not only a part and an index of morality — it is the only morality. The art of any period is the art of some nation. There is no neutral art, no art of nowhere and no one. Every mark made by a human hand carries within it the society that shaped the hand. The greatest thing a human soul ever does is to see something and tell what it saw in a plain way. Hundreds can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one. There is no such thing as a great subject. A great artist can make a great picture out of a handful of dust. Nothing is a work of art which is not useful. Taste is not only a part and an index of morality — it is the only morality. The art of any period is the art of some nation. Every mark made by a human hand carries within it the society that shaped the hand. The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one. Nothing is a work of art which is not useful. Taste is not only a part and an index of morality — it is the only morality.
About the program
Design thinking, pioneered by IDEO
EmpathizePrimary research with the people you're designing for
DefineFrame the problem so every decision after it is defensible
IdeateGenerate range before committing to a direction
PrototypeRapid builds, visual hierarchy
TestCritique, iteration, pitch
Catena is a design thinking studio for high school students in the GTA — built on the same methodology IDEO's David Kelley and the Stanford d.school made famous, and that Roger Martin brought into Rotman's MBA curriculum.
The tools IDEO uses with Fortune 500 clients, and the same ones Jake Knapp codified at Google Ventures — applied to your actual DECA brief or IB project.
The UX research methods behind professional product design — user interviews, journey mapping, competitive analysis — turn out to be exactly what separates a strong DECA presentation from a forgettable one, and an IB Design portfolio that earns a seven from one that doesn't.
Developed in consultation with professionals across tech, marketing, and education — and with parents of high school students.
Small cohort. Real practitioner. Something to show at the end.
Every work of art is the child of its time; often it is the mother of our emotions. It follows that each period of culture produces an art of its own, which can never be repeated. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence — absolute. Red glows within itself — mature power which cannot be easily conquered by any other colour. Every work of art is the child of its time; often it is the mother of our emotions. It follows that each period of culture produces an art of its own, which can never be repeated. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence — absolute. Red glows within itself — mature power. Every work of art is the child of its time. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence. Red glows within itself — mature power which cannot be easily conquered. Every work of art is the child of its time; often it is the mother of our emotions. Each period of culture produces an art of its own, which can never be repeated. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence — absolute. Red glows within itself — mature power which cannot be easily conquered by any other colour. Every work of art is the child of its time. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence. Red glows within itself — mature power. Every work of art is the child of its time; often it is the mother of our emotions. Colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul. Yellow is a typically earthly colour. Blue is the typical heavenly colour. It opens up profound depths and invites a man to look into the infinite. White strikes our psyche as a great silence — absolute. Red glows within itself — mature power which cannot be easily conquered by any other colour.
Catena isn't an IB course. It's the professional practice underneath what the IB asks for: how you frame a problem, make decisions you can defend, and build something real under feedback. That's the muscle the IB rewards in every programme, and the part that's hardest to build inside a classroom.
For MYP students (around grade 10), it maps straight onto the Design project — you leave with a portfolio piece and the visible, decision-driven process moderators are looking for.
For Diploma students, it's a studio that fits the DP's CAS Creativity strand and doubles as a university-application portfolio: a real artifact, a clear story about how you think, and the research-and-reflection habits that carry the Extended Essay and the applications that come after it.
The difference is felt either way. Where coursework asks you to document a process for a rubric, Catena has you do the actual work — and that's what separates a strong candidate from one who just has good grades.
When the process is real, the portfolio takes care of itself.
I have nothing to say to you about art but what I know, and what I have got by heart through living with it and by it all my life. I mean by art the expression by man of his pleasure in labour. I do not believe he can be happy in his labour without expressing that happiness. Have nothing in your houses that you do not know to be useful, or believe to be beautiful. The true secret of happiness lies in taking a genuine interest in all the details of daily life and in elevating them by art. I want all people to appreciate beauty. I want the simplest worker to be able to look at the things he uses in his daily work and know that they are good, that they are beautiful. I do not want art for a few, any more than education for a few, or freedom for a few. I have nothing to say to you about art but what I know, and what I have got by heart through living with it all my life. I mean by art the expression by man of his pleasure in labour. I do not believe he can be happy in his labour without expressing that happiness. Have nothing in your houses that you do not know to be useful, or believe to be beautiful. The true secret of happiness lies in taking a genuine interest in all the details of daily life and in elevating them by art. I want all people to appreciate beauty. I want the simplest worker to be able to look at the things he uses in his daily work and know that they are good, that they are beautiful. I do not want art for a few. Any more than education for a few, or freedom for a few. I have nothing to say to you about art but what I know, and what I have got by heart through living with it all my life. I mean by art the expression by man of his pleasure in labour. I do not believe he can be happy in his labour without expressing that happiness. Have nothing in your houses that you do not know to be useful. The true secret of happiness lies in taking a genuine interest in all the details of daily life and in elevating them by art. I want all people to appreciate beauty. I want the simplest worker to be able to look at the things he uses in his daily work and know that they are good, that they are beautiful. I do not want art for a few, any more than education for a few, or freedom for a few. Every man who creates anything, however small, is performing a creative act. The pleasure of making is not separate from the thing made. We must be allowed to take pleasure in our work; otherwise we are slaves, no matter how fine the commodity we produce. The art of any period must be the expression of that period. Have nothing in your houses that you do not know to be useful, or believe to be beautiful. The true secret of happiness lies in taking a genuine interest in all the details of daily life. I want the simplest worker to know that the things he uses are good, that they are beautiful. I do not want art for a few. I believe art would be of inestimable value to the worker, even if he never saw a picture or a statue. If the streets he walked in were fine. If his house was decent. If the tools he worked with were well-made. No man ought to be dependent upon the rich man's whim for beauty in his life. The art of any period must be the expression of that period. When it ceases to express the life of the people, it becomes a dead thing — a museum curiosity — however magnificent its outward form. I mean by art the expression by man of his pleasure in labour. I do not believe he can be happy in his labour without expressing that happiness. Have nothing in your houses that you do not know to be useful, or believe to be beautiful. The true secret of happiness lies in taking a genuine interest in all the details of daily life and in elevating them by art.
For DECA Students
A field 20× its size: Ontario wins anyway
Ontario already wins at ICDC — against a field nearly twenty times its size. And in 2025–26, DECA replaced the written paper with a 20-slide pitch deck: the deck is now the argument, judged on how clearly it communicates. Most chapter prep hasn't caught up. That's the gap.
15,000Ontario members
292,000+DECA field (U.S.-dominated)
~20×Bigger than Ontario
Share of the field
~5%
Share of ranked placements
15%
Events with a top-10 finish
83%
Ontario at ICDC 2025: 63 of 420 ranked top-10 placements, and a top-10 finisher in 35 of 42 events. Counted from DECA's official Consolidated Finals results.
Four sessions to close it: frame a business problem like a designer, build a deck that communicates the argument, and present with the kind of confidence that makes a judge lean in. You leave with a DECA-ready deck built under real practitioner feedback — alongside a cohort of peers who are just as serious about competing, which turns out to matter long after the competition is over.
Ontario is already winning. This is what winning by more looks like.
We are seeking to understand what architecture is, not what it has been. In every age the mind has had its architecture, the expression of its beliefs, manners, and customs. All the great periods of architecture have been periods in which the architect knew what he was doing and why. Method is everything; for it is the result of observation and experience combined with reason. In all work whatever, there is a natural logic; the form ought to express the function. To build is to employ the means furnished by nature to make the products of nature serve the needs of man. Nothing is durable that is not logical; nothing is lasting that does not obey the laws of nature. Form and structure are one and the same thing; to separate them is to introduce a contradiction into art. We are seeking to understand what architecture is, not what it has been. In every age the mind has had its architecture, the expression of its beliefs, manners, and customs. All the great periods of architecture have been periods in which the architect knew what he was doing and why. Method is everything; for it is the result of observation and experience combined with reason. In all work whatever, there is a natural logic; the form ought to express the function. To build is to employ the means furnished by nature to make the products of nature serve the needs of man. Nothing is durable that is not logical; nothing is lasting that does not obey the laws of nature. Form and structure are one and the same thing; to separate them is to introduce a contradiction into art. Method is everything. In all work whatever, there is a natural logic. The form ought to express the function. To build is to employ the means furnished by nature. Nothing is durable that is not logical. Nothing is lasting that does not obey the laws of nature. Form and structure are one and the same thing. Ornament must not be an addition to structure; it must be structure itself rendered visible and beautiful. There is but one architecture, as there is but one truth. There is only one way of building well; and that way has always to be rediscovered, never invented. Good design begins with understanding what is to be built and why. We are seeking to understand what architecture is, not what it has been. In every age the mind has had its architecture, the expression of its beliefs and customs. All great periods of architecture are periods in which the architect knew what he was doing and why. Method is everything. In all work whatever, there is a natural logic; the form ought to express the function. To build is to employ the means furnished by nature. Nothing is durable that is not logical; nothing is lasting that does not obey the laws of nature. Form and structure are one and the same thing. Ornament must not be an addition to structure. It must be structure itself rendered visible and beautiful. The greatest ornament is the ornament which arises inevitably from the nature of the building process. Not the ornament applied afterwards to disguise an ugly wall. There is but one architecture, as there is but one truth. There is only one way of building well; and that way has always to be rediscovered. Good design begins with understanding what is to be built and why. Method is everything. The form ought to express the function. Nothing is durable that is not logical. Form and structure are one and the same thing; to separate them is to introduce a contradiction into art. We are seeking to understand what architecture is, not what it has been. All the great periods of architecture have been periods in which the architect knew what he was doing and why. Method is everything; for it is the result of observation and experience combined with reason. In all work whatever, there is a natural logic; the form ought to express the function. Nothing is durable that is not logical; nothing is lasting that does not obey the laws of nature. Form and structure are one and the same thing. To separate them is to introduce a contradiction into art.
The Format
How it works
Sessions4 teaching + 1 critique
FormatEvening sessions, weekdays
Cohort4–6 students
StartingFall 2026
You show up with a brief, work the problem, and leave with something further along than when you walked in. Everything taught is oriented toward the work in front of you — the practitioner is in the room to give feedback, push back on weak ideas, and help you find what's actually interesting about your concept.
01
FrameYou come in with assumptions and leave with a brief grounded in what's actually true about the people you're designing for — the work that makes everything after it harder to get wrong.
02
IdeateThe same structured approaches IDEO uses to move from nothing to something defensible. You generate a lot, then make a real decision about what to pursue.
03
BuildThe idea becomes something you can put in front of someone — rough enough to change, real enough to react to. Structure, visual hierarchy, and the logic of how information moves through a deck.
04
RefineEvery slide earns its place, every word is there for a reason. This is where the work gets tight — narrative, flow, and the kind of visual clarity that holds up under pressure.
05
CritYou present to the cohort and defend every decision in front of a practitioner. Not a showcase — a working critique designed to make the work better, and to make you better at talking about it.
Show up. Work the problem. Leave with something real.
The development of art is determined not by the technical means and materials available to the craftsman, but by the dominant artistic will of the epoch. Technical mastery alone does not suffice; the craftsman must be guided by a purposive artistic will before the material can be formed into a work of art. Every ornamental motif, no matter how abstract, has developed out of a natural model by a process of stylisation. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form. The arabesque is in reality derived from the acanthus leaf, which was itself derived from earlier plant forms. The purpose of decoration is not merely to adorn but to articulate structure, to make visible the inner logic of form. The development of art is determined not by the technical means and materials available to the craftsman, but by the dominant artistic will of the epoch. Technical mastery alone does not suffice. The craftsman must be guided by a purposive artistic will before the material can be formed into a work of art. Every ornamental motif, no matter how abstract, has developed out of a natural model by a process of stylisation. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form. The arabesque is derived from the acanthus leaf, which was itself derived from earlier plant forms. The purpose of decoration is not merely to adorn but to articulate structure, to make visible the inner logic of form. The development of art is determined by the dominant artistic will of the epoch. Technical mastery alone does not suffice; the craftsman must be guided by a purposive artistic will. Every ornamental motif has developed out of a natural model by a process of stylisation. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form. The arabesque is derived from the acanthus leaf. The purpose of decoration is not merely to adorn but to articulate structure, to make visible the inner logic of form. Just as language enables man to communicate thought, so ornament expresses man's awareness of the external world. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form. We must learn to read ornament as we read a text — not letter by letter but as a whole. The ornament of a people is the index of their civilisation. It cannot lie; it cannot be counterfeited for long. It is the most honest thing a culture makes. The development of art is determined not by the technical means and materials available to the craftsman, but by the dominant artistic will of the epoch. Every ornamental motif has developed out of a natural model by a process of stylisation. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form. The purpose of decoration is not merely to adorn but to articulate structure. When ornament truly serves this purpose, decoration and construction are inseparable. The decoration is the construction. We must learn to read ornament as we read a text — not letter by letter but as a whole that yields meaning only in its entirety. The ornament of a people is the index of their civilisation. It cannot lie; it cannot be counterfeited for long. It is the most honest thing a culture makes. Nothing arises out of nothing in the history of art. Every new form is a transformation of an earlier form. The arabesque is derived from the acanthus leaf. The development of art is determined not by the technical means and materials available to the craftsman, but by the dominant artistic will of the epoch. Technical mastery alone does not suffice. The craftsman must be guided by a purposive artistic will before the material can be formed into a work of art. Every ornamental motif has developed out of a natural model by a process of stylisation. Nothing arises out of nothing in the history of art; every new form is a transformation of an earlier form.
Who's Teaching
Vladimir Lukic
Vladimir Lukic has spent over twenty years making ideas land, from advertising to editorial to consumer product. He got in early at Simply Audiobooks, the startup that became Audiobooks.com; spent the eight years in between leading editorial and digital direction at George Media; then returned to Audiobooks.com as Senior Product Designer. There he led and mentored the design team and ran a cross-functional initiative that turned what looked like a navigation problem into a redesign of how a 500,000-title catalogue was discovered across web, iOS, and Android, with measurable gains in a controlled test. The through-line is what Catena teaches: the way you structure a product, a pitch deck, or a portfolio is an argument about how people think, and getting that argument right matters more than almost anything else.
A graduate of George Brown Polytechnic's Design Management program at Canada's consistently top-ranked design school, where design is taught as a business discipline rather than a service function, he subsequently served as a juror for the program's final thesis projects two years in a row. The standard isn't new: he left high school with two Governor General's medals the same year, the Academic Medal for the top graduating average and the Millennium Medal for Canadian history. He built Catena on the premise that program runs on: professional-practice methods, applied early, with a practitioner in the room. The conviction under it is that academic excellence and practical craft are the same discipline, not rival ones. The rigor that earns the top mark is the rigor that wins the pitch, ships the better product, and builds the portfolio that gets a student noticed.
Products for people, not people as products.
The basis of all composition is that there is a fitness of purpose — that form follows function — that every ornament must in itself be fitted to the particular purpose for which it has been designed. True beauty is that perfect harmony which exists between the expression of the artistic idea and the form through which it is expressed. Colour is to decoration what grammar is to speech. The laws of colour harmony are as definite and absolute as those of musical harmony, and like music, their secret is in ratio and proportion, not in fixed quantities. Every combination of colour must tend to an equilibrium or neutral grey. Colour is light; and light is life; and life has beauty of its own which seeks expression through colour. The basis of all composition is that there is a fitness of purpose — that form follows function. True beauty is that perfect harmony which exists between the expression of the artistic idea and the form through which it is expressed. Colour is to decoration what grammar is to speech. The laws of colour harmony are as definite and absolute as those of musical harmony, and their secret is in ratio and proportion, not in fixed quantities. Every combination of colour must tend to an equilibrium or neutral grey. Colour is light; and light is life; and life has beauty of its own which seeks expression through colour. The basis of all composition is fitness of purpose. True beauty is that perfect harmony which exists between the expression of the artistic idea and the form through which it is expressed. Colour is to decoration what grammar is to speech. Without it, decoration may be understood by the learned, but only with colour does it speak to all. The laws of colour harmony are as definite and absolute as those of musical harmony. Their secret is in ratio and proportion, not in fixed quantities. Every combination of colour must tend to an equilibrium or neutral grey. Colour is light; and light is life; and life has beauty of its own which seeks expression through colour. The flower, the fruit, the shell, the feather, the crystal, the snowflake are all schools of design. No great work was ever produced hastily; the greatest designers have always been the most careful. The instinct of ornamentation is natural to man; it manifests itself in the earliest stages of civilization. Its development runs parallel to the development of the human mind. When ornament is properly employed it heightens our enjoyment of form; when misapplied it destroys it. The ornament which is added to conceal a defect of construction is a confession of failure. True ornament never conceals — it reveals. It makes the logic of structure visible and beautiful. The basis of all composition is that there is a fitness of purpose. True beauty is that perfect harmony between the expression of the artistic idea and the form through which it is expressed. Colour is to decoration what grammar is to speech. The laws of colour harmony are as definite and absolute as those of musical harmony. Their secret is in ratio and proportion. Every combination of colour must tend to an equilibrium or neutral grey. Colour is light; and light is life; and life has beauty of its own which seeks expression through colour. No great work was ever produced hastily; the greatest designers have always been the most careful. The instinct of ornamentation is natural to man. When ornament is properly employed it heightens our enjoyment of form; when misapplied it destroys it. True ornament never conceals — it reveals. It makes the logic of structure visible and beautiful. The basis of all composition is fitness of purpose. True beauty is perfect harmony between the expression of the artistic idea and the form through which it is expressed. Colour is to decoration what grammar is to speech. The laws of colour harmony are as definite and absolute as those of musical harmony. Their secret is in ratio and proportion, not in fixed quantities. Every combination of colour must tend to an equilibrium. Colour is light; and light is life; and life has beauty of its own which seeks expression through colour.
Get on the list
Cohorts are small. We'll reach out to schedule a brief call before confirming your spot. Questions welcome.