Classic paintings involve more than mere application of colors on the canvas or surface. The painter must tap into a deeper perception in order to produce a picture that looks more realistic. Advanced color theory helps you to recognize and take advantage of outer qualities of light which lend form or objectify your images or matter. This is a departure from the basic understanding of colors which emanated from primary and secondary groupings.
Green and magenta enable a painter or mixer to experience a new dimension in all colors. The idea is that colors have inner feelings that lighten them up and make them to appear lovelier. By appreciating this dimension, one is able to fully interact with images and objects and in a way figure them out.
Colors were originally defined by the perceptions people obtained using naked eyes. This meant that there was little or no appreciation of the individual qualities that differentiates colors. Human perceptions were subjective and would therefore lead to glaring errors when the colors were applied on different surfaces. The perception is blind to saturation, hue, lightness and other elements that are distinct to light.
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 is defined as the brightness individual colors based on their lightness or value. It can be viewed in light of middle gray such that less saturated colors are nearer to gray while more saturated colors are further away from gray. A simple explanation is the extent to which gray dilutes a color.
There are elements of this advanced theory on colors that guide their use. Jumping colors and holes are cautions that should be observed by painters. A hole is a section that appears distant on a painting because of the colors used. A section that is jumping out emanates from a distant object that is painted using similar intensity or saturation as one on the foreground. Such use of colors affects the aesthetic appeal of your work.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
Optical illusions are part of this theory. They are used to create a feeling of correctness on objects and surfaces that appear to play tricks on eyes. It is important for an artist to capture the illusions and master their use so that your work appears as realistic as possible. A perfect example is where strips running bottom up make an object or person to appear taller than those running horizontally. Such illusions should be appreciated to avoid imbalance.
Green and magenta enable a painter or mixer to experience a new dimension in all colors. The idea is that colors have inner feelings that lighten them up and make them to appear lovelier. By appreciating this dimension, one is able to fully interact with images and objects and in a way figure them out.
Colors were originally defined by the perceptions people obtained using naked eyes. This meant that there was little or no appreciation of the individual qualities that differentiates colors. Human perceptions were subjective and would therefore lead to glaring errors when the colors were applied on different surfaces. The perception is blind to saturation, hue, lightness and other elements that are distinct to light.
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 is defined as the brightness individual colors based on their lightness or value. It can be viewed in light of middle gray such that less saturated colors are nearer to gray while more saturated colors are further away from gray. A simple explanation is the extent to which gray dilutes a color.
There are elements of this advanced theory on colors that guide their use. Jumping colors and holes are cautions that should be observed by painters. A hole is a section that appears distant on a painting because of the colors used. A section that is jumping out emanates from a distant object that is painted using similar intensity or saturation as one on the foreground. Such use of colors affects the aesthetic appeal of your work.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
Optical illusions are part of this theory. They are used to create a feeling of correctness on objects and surfaces that appear to play tricks on eyes. It is important for an artist to capture the illusions and master their use so that your work appears as realistic as possible. A perfect example is where strips running bottom up make an object or person to appear taller than those running horizontally. Such illusions should be appreciated to avoid imbalance.
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