Week Thirteen
Color Exploration
Tizano Vecellio (Titian)(1490-1576)
Paul Gauguin(1848-1903)
Odilon Redon(1840-1916)
Euan Uglow(1932-2000)
Peter Chan(contemporary)
Color Exploration
Tizano Vecellio (Titian)
(1490-1576)
Paul Gauguin
(1848-1903)
(1840-1916)
Euan Uglow
(1932-2000)
Peter Chan
(contemporary)
Week Twelve
Johannes Itten and Seven Color Contrasts
Contrast of ValueThis contrast is created by the juxtaposition of dark and light values. It is the basis of form and space reading.
Beardsley
Tansey
Contrast of HueIt is thought that the greater the distance the hues are from each other on the color wheel the greater the contrast. Contrast of hue is seen as very alive, active, filled with energy, and easy to assimilate.
Gauguin
Kitaji
Contrast of SaturationThe contrast of saturation is the contrast between pure, intense, highly chromatic colors and dull, diluted colors. Areas of higher saturation will attract attention and deemphasize areas of lesser saturation.
Innes
Monet
Complementary ContrastThis is the contrast of opposite hues. Complementary colors are diametrically opposite each other on the color wheel. Theoretically, if two complementary colors are mixed together, they will produce a neutral gray. Complementary harmony often mixes hues to create neutrals for a unifying effect.
Matisse
Monet
Contrast of TemperatureThis is the contrast of colors that are perceived as warmer versus colors perceived as cooler.
Inness
Monet
Simultaneous ContrastThis contrast results from the eye simultaneously generating the complementary color. We can see how the surrounding color affects our perception of the two neutral squares in the middle of the images below. Again, it cannot be stressed enough how important color context is for perception.
Matisse
Monet
Contrast of ProportionsThe contrast of proportion refers to the proportion of one color against another. A comfortable balance of proportion is based largely on the values of saturation levels of particular colors.
Matisse
Monet
Itten lists the following combinations of color as balanced:Red (45%) to Green (55%)Orange (33% to Blue (67%)Yellow (25%) to Violet (75%)
Pictorial Composition
Formal Composition is the ability to artfully compose (order0 the elements of a picture into a visual unity or total (whole).
Poetic Composition is subjective composition. It uses phenomenology and appeals to an individual's unique life experiences
Composition and Formulas or Rules
I. The Frame
II. A Well Composed Image Must Possess Visual UnityA singular visual event
III. Tension or Contrast is generally necessary to provide Visual Interest to the viewer"Images without tension are wallpaper." Henri Matisse
IV. Order and ComplexityGood visual art satisfies our intuitive need for experiences that contain elements both of variety and of repetition and order.
Order and complexity are antagonistic, in that order tends to reduce complexity while complexity tens to reduce order. To create order requires, not only rearrangement but in most cases, also the elimination of what does not fit the principles determining the order. On the other hand, when one increases the complexity of an object, order will be harder to achieve. Order and complexity, however, cannot exist without each other. Complexity without order produces confusion---order without complexity produces boredom. Rudolf Arnheim, Psychology of Art, 1972
Innes
Monet
Complementary Contrast
This is the contrast of opposite hues. Complementary colors are diametrically opposite each other on the color wheel. Theoretically, if two complementary colors are mixed together, they will produce a neutral gray. Complementary harmony often mixes hues to create neutrals for a unifying effect.
Matisse
Monet
Contrast of Temperature
This is the contrast of colors that are perceived as warmer versus colors perceived as cooler.
Monet
Simultaneous Contrast
This contrast results from the eye simultaneously generating the complementary color. We can see how the surrounding color affects our perception of the two neutral squares in the middle of the images below. Again, it cannot be stressed enough how important color context is for perception.
Matisse
Monet
Contrast of Proportions
The contrast of proportion refers to the proportion of one color against another. A comfortable balance of proportion is based largely on the values of saturation levels of particular colors.
Week Eleven
The Oil Sketch
Demonstration: The Oil Sketch26:13
Week Ten
The Model: Full Palette
Saturation on the Color Chart
Saturation on the Color Chart
Week Nine
Group Still Life Painting
Week Eight
International Color Block Day
Warm Colored Block Reference
Cool Colored Block Reference
Basic Color Theory: Harmony
Monochromatic HarmonyMonochromatic Harmony utilizes only one hue. The contrast will come from, primarily, value and proportion, in addition to saturation.
Analogous Hue HarmonyThis is a harmony of closely related hues (hues with high proximity) around a primary hue (for example violet-blue with blue and violet, above). It is thought that these colors tend to harmonize naturally.
Complementary HarmonyComplementary Harmony is harmony from two hues opposite each other on the color wheel. Complementary Harmony differs from Complementary Contrast in that this harmony tends to stress a unity through intermediary hues produced by mixing the two complements. Complementary Contrast tends to emphasize or stress the difference between the two complements
Split Complementary HarmonyThis harmony softens the contrast between complements by utilizing hues that are analogous to one of the complementary hues.
Triadic HarmonyThis harmony is the result of utilizing three hues, equally spaced, around the color wheel. It is thought that this harmony tends to look very 'colorful' and most people find it simple and appealing.
Tetradic Harmony or Double Complementary HarmonyThis is a harmony for using two pairs of complements together. We can see in the example below that the two pairs of complements do not need to be equally spaced from each other. In this harmony, it is beneficial to make one pair of complements dominant.
Reference
George Inness
Claude Monet
Paul Gauguin
George Inness
Henri Matisse
Titian
A Critique of Traditional Color Theory
What is harmony?
Modern Color Theory is too simplified
Color is Relative
Value is more important than Hue
The three circles above are all the same hue, would they all react equally in a composition?
Color Temperature is Relative
A Universal Color Psychology Does Not Exist
How Useful are Rules?
Basic Color Theory: Harmony
Monochromatic Harmony
Monochromatic Harmony utilizes only one hue. The contrast will come from, primarily, value and proportion, in addition to saturation.
Analogous Hue Harmony
This is a harmony of closely related hues (hues with high proximity) around a primary hue (for example violet-blue with blue and violet, above). It is thought that these colors tend to harmonize naturally.
Complementary Harmony
Complementary Harmony is harmony from two hues opposite each other on the color wheel. Complementary Harmony differs from Complementary Contrast in that this harmony tends to stress a unity through intermediary hues produced by mixing the two complements. Complementary Contrast tends to emphasize or stress the difference between the two complements
Split Complementary Harmony
This harmony softens the contrast between complements by utilizing hues that are analogous to one of the complementary hues.
Triadic Harmony
This harmony is the result of utilizing three hues, equally spaced, around the color wheel. It is thought that this harmony tends to look very 'colorful' and most people find it simple and appealing.
Tetradic Harmony or Double Complementary Harmony
This is a harmony for using two pairs of complements together. We can see in the example below that the two pairs of complements do not need to be equally spaced from each other. In this harmony, it is beneficial to make one pair of complements dominant.
Reference
George Inness
Claude Monet
Paul Gauguin
A Critique of Traditional Color Theory
What is harmony?
Modern Color Theory is too simplified
Color is Relative
Value is more important than Hue
Color Temperature is Relative
A Universal Color Psychology Does Not Exist
How Useful are Rules?
Color Keys
Demonstration: Color Key Study28:52
Color Key Studies from Sleeping Beauty (Eyvind Earle)
Screenshot Reference
Two-Dimensional Feature Film Animation Recommendations
Song of the SeaFantasia (1940)Long Way NorthAladdinTarzanIron GiantRoad to EldoradoPrince of Egypt101 DalmatiansTreasure PlanetSeeping BeautyThe Hunchback of Norte DameMulanPocahontasBambiSpirited AwayHowl's Moving Castle
3-D animation is difficult and should be avoidedChoose scenes with good compositionAvoid character close-up shotsThere are many other good films to choose from, but, be thoughtful and critical
Two-Dimensional Feature Film Animation Recommendations
Song of the Sea
Fantasia (1940)
Long Way North
Aladdin
Tarzan
Iron Giant
Road to Eldorado
Prince of Egypt
101 Dalmatians
Treasure Planet
Seeping Beauty
The Hunchback of Norte Dame
Mulan
Pocahontas
Bambi
Spirited Away
Howl's Moving Castle
3-D animation is difficult and should be avoided
Choose scenes with good composition
Avoid character close-up shots
There are many other good films to choose from, but, be thoughtful and critical
Week Seven
National Color Chart Day
Organizing our Palette
Our full-color palette is referred to as a split-primary palette where we will have a cooler and warmer version of our primaries.
Oil Pigments
Top Row (from right to left)Titanium WhiteCadmium Yellow LemonCadmium Yellow Medium (or Deep)Cadmium Red LightAlizarin CrimsonQuinacridone MagentaUltramarine BluePhthalo Turquoise
Right Column (from top to bottom)Yellow OchreRaw SiennaRaw UmberTransparent Red Oxide (or Burnt Sienna)Ivory BlackOur palette will consist of (moving right to left):
Please note: you will not need the colors in the right-hand column today.
Working on the Color Wheel and a Minor Critique
The Munsell Color System
The Munsell Color System is a color space that identifies colors based on the three properties of color: hue, value, and saturation or chroma and organizes them into a three-dimensional space. It was developed by Albert Munsell in the early 20th century based on the careful observation of human subjects' visual responses to color.
A color space is a specific organization of color that supports reproducible representations of color. It is a useful conceptual tool for understanding or mapping the color capabilities of a particular group of pigments or a digital file.
Colorimetry is the science and technology used to quantify and describe color perception.
Working on the Color Matrix
Discussion: How to mix colors on the matrix for maximum saturation11:55
Oil Pigments
Top Row (from right to left)
Titanium White
Cadmium Yellow Lemon
Cadmium Yellow Medium (or Deep)
Cadmium Red Light
Alizarin Crimson
Quinacridone Magenta
Ultramarine Blue
Phthalo Turquoise
Right Column (from top to bottom)
Yellow Ochre
Raw Sienna
Raw Umber
Transparent Red Oxide (or Burnt Sienna)
Ivory Black
Working on the Color Wheel and a Minor Critique
The Munsell Color System
The Munsell Color System is a color space that identifies colors based on the three properties of color: hue, value, and saturation or chroma and organizes them into a three-dimensional space.
It was developed by Albert Munsell in the early 20th century based on the careful observation of human subjects' visual responses to color.
A color space is a specific organization of color that supports reproducible representations of color. It is a useful conceptual tool for understanding or mapping the color capabilities of a particular group of pigments or a digital file.
Colorimetry is the science and technology used to quantify and describe color perception.
Working on the Color Matrix
Discussion: How to mix colors on the matrix for maximum saturation
11:55
Week Six
Working with a Limited or Restricted Palette
The purpose of a limited palette is to help facilitate and expand one's color mixing capabilities.- By limiting the colors available on a palette, the painter will explore the extent to which colors may be mixed and have a better understanding of the color space associated with a particular palette.
- With a limited palette, in contrast to a more complicated palette, there is generally only one solution for every color mixture.
- Working with limited palettes can help students break away from old color mixing habits.
- It is thought that painting with a limited palette will tend to create better color harmonies in one's work.
- Limited palettes are simple and compact, and therefore easier to work with.
The two limited palettes that we will investigate will be the Zorn Palette and a Three-Color Primary Palette. A recommended exercise is to create your own limited palette. One approach is to take one saturated pigment and use it with two less saturated colors. The Zorn Palette is a good example of this.
When beginning to work with a limited palette it is useful to explore its color space by making a simple color wheel.
- By limiting the colors available on a palette, the painter will explore the extent to which colors may be mixed and have a better understanding of the color space associated with a particular palette.
- With a limited palette, in contrast to a more complicated palette, there is generally only one solution for every color mixture.
- Working with limited palettes can help students break away from old color mixing habits.
- It is thought that painting with a limited palette will tend to create better color harmonies in one's work.
- Limited palettes are simple and compact, and therefore easier to work with.
The Zorn Palette
The Zorn Palette consists of the following pigments:Titanium WhiteYellow OchreVermillion or Cadmium Red LightIvory Black (a slightly cool black that may be used with white to make optical blues)
An effective variation on this palette is to substitute the Ivory Black for a cool and warm black. For the warm black add Burnt Sienna to the Ivory Black and for the cool black add Ultramarine Blue to the Ivory Black.
Paintings with, what might be considered, a Zorn Palette
Class DemonstrationJohn Singer Sargent: James Whitcomb Riley (detail)
The image above is where we left off in the class demo week six. I had another 20-25 minutes to work on it after class to complete the image (below). Please note the camera seems to have increased the saturation in some images.
Anders Zorn
John Singer Sargent
A Three-Color Primary Palette
Today we will be working with a three-color primary palette consisting of a blue (Ultramarine Blue or Phthalo Blue), Alizarin Crimson, and a saturated Cadmium Yellow. We will also add Raw Umber as a means of darkening our yellows.
Above is our palette utilizing Ultramarine Blue and a Cadmium Yellow Medium
Above is our palette utilizing Phthalo Blue and a Cadmium Yellow Medium
Above is our palette utilizing Ultramarine Blue and a Cadmium Yellow Medium
Above is our palette utilizing Phthalo Blue and a Cadmium Yellow Medium
Another Limited Palette
For this week we will be working with a limited palette of a blue, red, and yellow. We will also be adding Raw Umber, when necessary, as a dark yellow.. For the demos (below) I used Ultramarine Blue, Alizarin Crimson (red) and Lemon Yellow. This palette enables me to make darker shadows and richer violets, however, not as saturated warm reds and oranges.
In the color wheel (below) I used Napathol Red, a warm red, instead of Alizarin. With this palette I could achieve saturated warm reds and oranges and lost saturation in the violet range.
For this week we will be working with a limited palette of a blue, red, and yellow. We will also be adding Raw Umber, when necessary, as a dark yellow.. For the demos (below) I used Ultramarine Blue, Alizarin Crimson (red) and Lemon Yellow. This palette enables me to make darker shadows and richer violets, however, not as saturated warm reds and oranges.
In the color wheel (below) I used Napathol Red, a warm red, instead of Alizarin. With this palette I could achieve saturated warm reds and oranges and lost saturation in the violet range.
Demonstration: Three-Hue Extravaganza
https://vimeo.com/475365271
26:45
Reference Image
Reference Image
Painting at Point Fermin Park, San Pedro, with our limited palette. This watercolor is a quarter sheet, 12 x 15" and the palette consists of Ultramarine Blue, Alizarin Crimson, Cadmium Yellow, and Raw Umber. The first image was photographed under fairly cool light and the following two images were photographed in a more raking, warm light as the sun moved through the morning (the original looks somewhere between these two).
At the outset my goal is to establish the general value relationships between the shapes.
Painting at Point Fermin Park, San Pedro, with our limited palette. This watercolor is a quarter sheet, 12 x 15" and the palette consists of Ultramarine Blue, Alizarin Crimson, Cadmium Yellow, and Raw Umber. The first image was photographed under fairly cool light and the following two images were photographed in a more raking, warm light as the sun moved through the morning (the original looks somewhere between these two).
At the outset my goal is to establish the general value relationships between the shapes.
Week Five
An Introduction to Color
Color Temperature
Color Temperature Demonstration in Gouache
https://vimeo.com/470617413
30:30
Week Four
Indirect Light and Notan
Value Grouping
Within a finished picture aim to have the values organized within groups. Below we have two groups, the lighter values group together in the sky and the darker values group together in the foreground and middle ground. The groups should have a value interval separating them.
A little baking excursion
Value Key and Contrast
One of the traditional ways to analyze an image is through its value-key. Here, we think of a picture where 'high-value' light dominates as being high-key. Likewise, if an image is dimly illuminated, it will be referred to as low-key.
Another consideration when looking at images and the use of value is to determine the amount of contrast in the image varying from high contrast to low contrast.
If we combine the two ideas (above), we can create a matrix where key is considered the major axis and the amount of contrast is considered the minor axis. If we give ourselves three steps for each axis (high, middle, and low), we create a matrix of nine possibilities. We can use this matrix for analyzing the value structure in images.
Work by Horunobu, Tadahiro Uesugi, Dean Cornwell, Eyvind Earle, Caravaggio, and Vermeer.
Exposure
In photography exposure is the amount of light per unit area. In the images below the first photograph is exposed for the shadow.
In the image below the photograph is exposed for the light.
The camera records a more narrow value range than can be seen by the eye. This narrow value range is also a limitation when working in analog mediums. It is important to organize the exposure in an image. Images without this organization will tend to lack visual focus.
Composition and Hierarchy
Above, a small thumbnail example in graphite, 2 x 3"
Above, a small thumbnail example in graphite, 2 x 3"
Week Three
Developing a Three-Value Study
Image from demonstration
The subject is first developed in three simple values
The three-value study is developed
And, completed
The Following Three-Value Developed study is in Gouache
This is the landscape study in three values
My procedure will be to work from the background and finalize the most distant planes.
Here, I have developed the midground (the building, etc.).
The picture is complete by developing the foreground.
The Following Three-Value Developed study is in Gouache
My procedure will be to work from the background and finalize the most distant planes.
Here, I have developed the midground (the building, etc.).
The picture is complete by developing the foreground.
Week Two
Working with Two Values
Demonstration: Torso in Two Flavors28:35
In this demonstration, I will be presenting a different method for drawing or 'blocking-in' our subject. Essentially I will be establishing a rectangular "envelope" on my canvas that delineates the overall proportions of my subject, the height to the width. This procedure is exemplified in the series of sketches below.
In this demonstration, we will be working with Burnt Umber and Titanium White oil paint. The figure will be treated in only two values: a general shadow value and a general light value. We will also use a third middle value for the background. With only two values we are trying to create a strong light effect illuminating three-dimensional volume. - value #3 - 4: general shadow
- value # 7: general light
- value #6-ish background
Demo: Torso in Two Additional Flavors7:04
This demonstration will elaborate on the procedure used in the last demonstration. We will again work with only one value for the shadow. For the illuminated area (the light), we will work with three values:- value #7: the half-tones (the darkest lights)
- value #8: the general lights
- value #9: light prime (the planes perpendicular to the light source
Demonstrations using Five ValuesOne dark accent valueOne general shadow valueThree values for light (half-tones, general light, and light prime)
Demonstration One
Rembrandt: Portrait of Johannes Wtenbogaert (detail)
Demonstration Two
Rembrandt: Self-Portrait with Two Circles (detail)
Demonstration Three
In the following demonstration I break the entire painting down into five values. Here, I am choosing whichever five values seem most appropriate for my subject.
Carel Fabritius: Mercury and Argus
- value #3 - 4: general shadow
- value # 7: general light
- value #6-ish background
- value #7: the half-tones (the darkest lights)
- value #8: the general lights
- value #9: light prime (the planes perpendicular to the light source
Demonstration Three
Carel Fabritius: Mercury and Argus
Week One
Class Introduction
Materials
Paint
Brushes
Canvas
Paper
Value
The following is a lecture and demo on value and light. I would like you to think about light analytically, in order to improve your understanding, as well as develop the ability to evaluate, predict, and invent lighting for your work.
The Mighty Light43:00
Demonstration: Making a Value Scale27:00
Preparing an Imprimatura
An imprimatura is a ground tone, which is applied to a white canvas. This can be then worked on either while wet or dry. For our class, we will only be working on a dry imprimatura. Students will need to prepare their canvases with an imprimatura at least two or three days ahead. Our canvases will be given an imprimatura utilizing Burnt Umber oil paint.
Essentially, an imprimatura acts as a middle-value ground tone, enabling the artist to more easily work with dark values (darker-valued oil paint is transparent) much like working on mid-toned paper with light and dark chalk. The value of the imprimatura should be about a #6 on our value scale (#0 = black and #10 = white). If the value is too dark or too light it is unusable.
Demonstration: Imprimatura6:53
Edge Control
In order to paint effectively, an artist must have the ability to control the softness or hardness of the edges in their work. The following video discusses how to make an edge chart, which is assigned in this week's homework. Please note that each square is 4 inches x 4 inches and the stripes within the squares are one inch wide.
Discussion: An Exercise on Edges5:37
Cleaning-Up
It is essential that oil painting brushes are carefully cleaned after working with them. If oil paint is allowed to dry in the brush it is, in most circumstances, unuseable. The following video will discuss the proper cleaning of the palette and brushes after a working session.
Demonstrations: How to Clean Your Brush9:04
Important Note: We will use Gamsol as our solvent for washing oil brushes (and sometimes thining the viscosity of the paint). This is the only solvent that should be used in the studio and it should be treated with respect. The solvent should always be used in a well-ventilated environment (outdoors is ideal) and it should never be left open.
The solvent should never be poured down a drain!
When we are able to meet in the studio I will show students where they can safely dispose of solvent; however, students should not have any need to dispose of solvent during the term.
Three-Value Analysis
Students will be analyzing screenshots from black and white films in three values, working in gouache. These studies should be approximately 4" x 6" and painted on inexpensive watercolor paper or scraps of matt board. It is important that the screen ratio of the analysis is reasonably accurate and that values are limited to a total of three only. These three values, however, should be chosen carefully to most effectively replicate the lighting and mood of the reference image.
Demonstration: Three-Value Film Analysis26:45
Demonstration Reference
Film Reference
Images from La Strada, Seventh Seal, and Citizen Kane
Three-Value Analysis
Students will be analyzing screenshots from black and white films in three values, working in gouache. These studies should be approximately 4" x 6" and painted on inexpensive watercolor paper or scraps of matt board. It is important that the screen ratio of the analysis is reasonably accurate and that values are limited to a total of three only. These three values, however, should be chosen carefully to most effectively replicate the lighting and mood of the reference image.
Demonstration: Three-Value Film Analysis
26:45
Demonstration Reference
Film Reference
Images from La Strada, Seventh Seal, and Citizen Kane
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