Painting is an exercise that involves more than the application of colors on a surface. It is an exercise where your inner perceptions and views are actualized in a picture or a surface. Advanced color theory enables you to appreciate and take advantage of qualities of the outer light that objectifies and gives form to matter. This is a different approach as opposed to the basic understanding when colors were defined in relation to either primary or secondary elements.
The game of colors changed with the discovery or advanced use of magenta and green. The new dimension enabled people to appreciate the essence of colors beyond what is perceived with naked eyes. It is this intrinsic essence that makes different colors unique and lovely. By appreciating this aspect, you will produce a fantastic image from ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Individual colors have distinct characteristics that differentiate them from others. Hue is this element or characteristic that makes blue different from yellow or red. The difference arises from dormant wavelengths that are emitted by the surface or reflected as light falls from another source. Addition of white or black on any color will result in a tonal family that is a product of more or less hue, saturation and lightness.
Saturation can be described as value or lightness of colors which define its brightness. These elements or characteristics are in light of closeness to gray. Saturated colors are distant from gray while less saturated colors are those that are nearer to gray. The explanation is that gray dilutes the essence of individual colors.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
Shadows are an intricate part of the theory. Every painting should depict the direction of light. Classic painters would draw their images and persons with shadows. This should be consistent throughout your work. While painters work from memory and perception, there must be semblance to the truth. Further, the highlights of shadows and light depend on the shape of the object. The shadows will further be shaped by the surface on which they fall.
Optic illusions will affect the realistic appreciation of your work. These tricks to the eyes change your intention and will end up eliciting a different interpretation of your painting. For instance, a lit window on a night painting appears bigger than it actually is. As such, you should draw a smaller window since the illusion will enlarge it. Failure to appreciate illusions will create imbalances in your coloring.
The game of colors changed with the discovery or advanced use of magenta and green. The new dimension enabled people to appreciate the essence of colors beyond what is perceived with naked eyes. It is this intrinsic essence that makes different colors unique and lovely. By appreciating this aspect, you will produce a fantastic image from ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Individual colors have distinct characteristics that differentiate them from others. Hue is this element or characteristic that makes blue different from yellow or red. The difference arises from dormant wavelengths that are emitted by the surface or reflected as light falls from another source. Addition of white or black on any color will result in a tonal family that is a product of more or less hue, saturation and lightness.
Saturation can be described as value or lightness of colors which define its brightness. These elements or characteristics are in light of closeness to gray. Saturated colors are distant from gray while less saturated colors are those that are nearer to gray. The explanation is that gray dilutes the essence of individual colors.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
Shadows are an intricate part of the theory. Every painting should depict the direction of light. Classic painters would draw their images and persons with shadows. This should be consistent throughout your work. While painters work from memory and perception, there must be semblance to the truth. Further, the highlights of shadows and light depend on the shape of the object. The shadows will further be shaped by the surface on which they fall.
Optic illusions will affect the realistic appreciation of your work. These tricks to the eyes change your intention and will end up eliciting a different interpretation of your painting. For instance, a lit window on a night painting appears bigger than it actually is. As such, you should draw a smaller window since the illusion will enlarge it. Failure to appreciate illusions will create imbalances in your coloring.
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