4
BET m ell ign)
(Ory eel monsJAMES GURNEY
COLOR AND LIGHT
A GUIDE FOR THE REALIST PAINTER
Andrews McMeel
Publishing, LLC
Kanses City + Sydney + LondonINTRODUCTION
This book examines the painter's two most fundamental
tools: color and light. Iti
intended for artists of all media
interested in a traditional realist approach, as well as for any-
one who is curious about the workings of the visual world.
When I was in art school I took a color
class that consisted of painting a lot
of flat swatches, cutting them out with
a sharp knife, and pasting them down
into color wheels and gray scales I spet
months leaning how to pa
smooth swatches and trying to g¢
steps betwe
Ac the end of each day I would leave
them exactly eve
the classroom and look up at the colors
of the sky, the trees, and the water
around me, The sky was not composed
of adjacent flat colors, but rather of an.
infinite variety of gradating hues. Why
did dark colors turn blue as they went
back toward the horizon—except in
such as in the paintin|
Few instanc
opposite, when a setting sun easts the far
vista in orange light? Why did the leaves
have a sharp yellow-green color when the
light shined through them, but
green color on top?
In school I was learning how to see
how
to apply this experience to real-world
painting problems. Color th
more like a branch of c!
mathematics, a separate science that
hhad little to do with making a realistic
painting. I felt like a piano student who
had played alot of scales, but had never
and mix color, but [ had no id
emistry or
gotten around to the melody,
If there were answers to my questions
about how light interacts with color,
atmosphere, water, and other material:
T would have to find them in fields like
ph
science. I started diggin
and materials
back into
jes, optics, physiol
art instruction books from more than
seventy-five years ago, when it was taken
for granted that artists were trying to
create an illusion of reality. Artists as
far back as Leonardo da Vinei were
to explain the beh:
the visual world around them. Each
old book had its vein of gold, but the
information needed to be translated
‘and updated for our times, and the old
theories needed to be tested against
recent scientific discoveries.
Tinvestigated recent findings in the
field of visual perception and found
that many of my assumptions were
mistaken, even about such basic things
mary colors. I learned that the
ye is not like a camera, but more like
an extension of the brain itself. [learned
that moonlight is not blue. [t only
appears blue because of a trick that our
eyes are playing on us
Durin
the release of Dinotopia: Journey to
the last few years since
Chandara, Uhave aught workshops at
4a lot of art schools and movie studios.
Thave also kept up a daily blog that
explores the methods of the academic
painters and the Golden Age illustrators
and have adapted some of the blog
content into my r
Realism: How to Paint What Doesn't
Exist. As 1 assembled that volume, I
realized that the information on color
and light was so extensive:
popular with blog readers
and so
that I
decided it required a second volume.
This book begins with a survey of his
toric masters who used color and lig
interesting ways. Althe
act to follow, for the rest
of the book I'll use my own paintings
in
zh those paint
ings are a toug
both observational and imaginative—as
examples. Since I painted them, I can
cent book, Imaginative
tell you what I was thinking when I made
them. Chapters 2 and 3 examine the vat
‘ous sources of light, and we look at how
light creates the illusion of three-dimen-
sional form. Chapters 4 and 5 cover the
well as an
basic properties of color
introduction to pigments and paints.
Chapters 6 and 7 present the method |
mut mapping, which helps
in choosing colors for a g
ven picture