Painting course Color Theory

PAINTING COURSE
Painting Workshop
color theory
Oil
The color is simply the white light of the sun or disintegrated. This can be see
n through a hole letting a ray of sunshine in a dark room, making passing throug
h a triangular glass prism and projected onto a white screen. Be noted that deco
mposes into a strip with the colors red, orange, yellow, green, blue and violet
distinguibles.AsÍ perfectly, it is said that an object is of one color, green f
or example, because all radiation absobe less color the green, which is reflecte
d. Every artist who claims to be colorful should pay close attention and study w
idely chromatic laws, and dominate the behavior of color when you use it to deve
lop their expressive abilities and be able to present a varied repertoire of col
or harmonies. These laws apply to all techniques involving painting in color.
PRIMARY COLORS primary colors are those that can not be obtained by mixing other
: yellow, red and blue. Mixing them in pairs side are obtained.
Secondary colors are obtained by mixing two primaries and are: orange (red + yel
low), green (yellow + blue) and violet (red + blue). Mixing a primary and one se
condary intermediate are obtained, the description of which are involved includi
ng colors: yellow-orange, red-orange, red-violet, blue-violet, blue-green, and y
ellow-green.
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Painting Workshop
obtaining a color
Oil
How do you solve a particular color? In order to properly define and represent a
color, should be taken into account the following concepts: tint, trend, satura
tion and tone. A color can be matched if we ask and answer the following questio
ns appropriately: 1 - What color is it? The answer will be red, yellow, blue, gr
een, orange, violet, gray, etc 2 - Is it pure or derivative? If it is not pure,
toward which other color shows the trend? Can lead to red or orange to purple, t
o yellow to green or orange, to blue to green or violet, can be neutral gray or
color drift into a warm or cold, a cold color can tend toward a warm and vice ve
rsa. 3 - Is it bright or off? Check if the color has the highest intensity of co
lor is gray trend and to what degree. A red can express the maximum saturation o
r brightness, or contain a certain amount of gray (half saturation) or simply a
gray with a small amount of red (low saturation). 4 - Is it light or dark? Analy
ze the degree of lightness or darkness of color, high, medium or low, in relatio
n to the scale values.
To reproduce a color, for example, the violet of the left wing of the table, pro
ceed as follows:
We take the purple that we have in the palette and apply it to the canvas, looki
ng at that difference is most striking about the original color. Is that trend,
saturation or tone? Note that I pitch and into the clearing.
We added a little white and observe What is now the biggest difference? The tren
d, as it tends to color our red and blue is more original. We added a little blu
e.
What is the most prominent difference now? It's intensity, our color is brighter
and the original is more greyish
To reduce the intensity and graying color, add a touch of complementary, in this
case yellow-orange color and we will be perfectly matched.
Then we proceed to obtain the ocher of the left wing of the table starting from
the primary yellow.
We take a cadmium yellow and applied it to canvas, noting that the most striking
difference about the original color and tone to the dark.
Darken adding a little black (we use carmine + green) and observe. It is still t
oo yellow. We must reduce the intensity of the yellow.
To reduce the intensity of yellow employ some of the complementary purple (crims
on & blue) and observe. The difference now is the tendency towards red.
To reduce the tendency to red, add a touch of complementary, green, and you have
the color matched perfectly.
Diagram of the six keys KEYS basic tonality values
Examples based schemes
in
the
Added clear
High dark
Media clear
Media dark
Although a subject manifests a wide tonal range, should always be reduced by gro
uping most resemble each other in three categories: light, medium and dark. Shou
ld not be used more than four or five tones if they are to Alta clear that the e
ffect is simple and impactful.€With a light shade, two or three intermediate an
d one is dark enough to resolve most issues. A good help is to squint to get ton
es out of focus and become somewhat blurred, helping the artist to streamline an
d Alta dark hues similar grouping and not fall into the trap of wanting to repre
sent them all. In determining the tonal limits, seek the shade lighter and darke
r establecedlo the case and on the canvas to not pass them. The rest of the tona
l range is developed between these two extremes. Media clear pictures or paintin
gs can be solved in a key tonal high, with domains clear, or in a low key with d
omains of dark. Using four values: one white, one intermediate course, a dark an
d a black middle are six keys are the basic tonal Media dark, with an appropriat
e structure, we ofracerán the best results and greatest impact tone of simplici
ty, strength and clarity of expression. In each key must act in extension domina
ting tone. In a high key issue, for example, a snowy landscape, the target may b
e the main tone, harmonizing with this intermediate and black. Key issues in hal
f light or dark, for example, landscapes and street scenes, the dominant tone is
the
Baja clear
Baja clear
Low dark
Low dark
The colors can be reconciled by the unity of color, that is, when all the colors
of a work are located on the same side of the circle, or the contrast, using co
ld or warm and complementary. Many works of art have been based on an outline of
one or two main colors, their similar and complementary. Analogous colors are t
hose colors adjacent similar within a quarter of the circle. For example, four a
nalogous color scheme: yellow, yellow-orange, orange and red-orange, or blue, bl
ue-violet, blue-green and violet, or three colors: red, red-orange and orange. I
n these schemes there is a dominant color or parent who is involved in all and r
elates doing that harmonize with each other: in the first example of the above s
chemes is yellow, blue in the second and third red. FAMILIES OF COLOR If there i
s one common denominator that unites them, the colors are a family. Thus we have
the red, made up of all colors and gray more or less partake of it. Looking at
the color wheel, we see that the family of each of the primary comprises almost
more than half of the circle. The red, for example, ranging from the yellow-oran
ge to blue-violet through all the intermediate colors. This does not mean that b
ecause they are family, everyone can participate in a work, since in that case w
e might incur in profusion and jeers. The schedules should be limited to three o
r four adjacent if Sanders get a harmony. For an air of family with all the colo
rs used on a building we can get them a bit mixing with parent or dominant color
or a little gray or black. We can also bring all the colors of a work, when com
pletely dry, apply a thin layer of fog as a dominant color, as being related and
combine harmoniously.
Two colors are harmonious when part of one another. A grisaille is a harmony of
gray colored. In it, all the colors involved are more or less neutralized by the
addition of gray, getting sweet harmonies and pleasant effect. In similar schem
es, as in the monotone, can demonstrate the effect of regularity and monotony. T
o avoid this, they can be encouraged by adding some accents
complementary color to the domain. These stresses, however small, intense, excit
ing and create a feeling active, energizing the scheme. In some landscapes built
by large masses of green and blue-green variety, which may give an impression s
omewhat passive, are encouraged using a small red note that available in the gar
b of a figure, the roofs of some houses or anything this color
THE START OF THE AREAS An array of single color line may indicate a good color i
f you have a domain contrasting color schemes or a value in the monochromatic. W
hen all colors have the same length and the same power, there is a clash between
them by brutal competition to achieve supremacy.
1
2
3
In a settlement based on areas of blue and orange with the same intensity and si
ze, color becomes unbearable struggle (1), can be avoided by having one of the t
wo has more extension than the other, for example, four fifths for the orange an
d fifth for the Blue (2), or else€if we have equal areas, neutralizing, clarify
ing or obscuring one of the two and leaving the other equals (3). It also can be
harmonized by mixing a little of each other or adding to the two a little touch
of gray. Monochrome is the simplest scheme, as it takes place in one color with
 different intensities and colors, for example, a red-violet shades in light, me
dium and dark, and that the addition of white, black or gray only act to raise o
r lower the pitch and do not alter their distinction. A good example of this is
the series of Picasso's blue and pink. As these schemes are always a bit monoton
ous, they are encouraged with the introduction of complementary color accents, a
nd also by variations of warm or cold color: a chord
red values can manifest tendency to vermilion and crimson other trend. But in th
ese cases the scheme loses its quality to become contrasted monochrome. COMPLEME
NTARY AND SUPPLEMENTARY ADJACENT
Complementary an additional two Double s complementary adjacent adjacent adjacen
t TRIO AND SOME OF ITS VARIATIONS
complementary
FOUR COLOR SCHEMES (Quartet)
FIVE COLOR SCHEME (Quintet)