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Under standing C O L O R Theory VI

Under standing C O L O R Theory VI. presentation by Pam Coulter. REVIEW: “When the light is cool, the shadows are warm; when the light is warm, the shadows are cool.”. This is easy to see in landscapes on a sunny day. Lets do a sunny landscape – either that shown here or one of your own.

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Under standing C O L O R Theory VI

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  1. UnderstandingCOLOR Theory VI presentation byPam Coulter

  2. REVIEW: “When the light is cool, the shadows are warm; when the light is warm, the shadows are cool.” This is easy to see in landscapes on a sunny day. Lets do a sunny landscape – either that shown here or one of your own.

  3. Pause for exercise EXAMPLE Students do painting of landscape, observing how, on a sunny day, the places where the sun hits are warm and the places in shadow are cool.

  4. REVIEW: “When the light is cool, the shadows are warm; when the light is warm, the shadows are cool.” Advanced exercise: if you have a picture of a face with light and dark sides, try this on the face. If the light hitting the face is cool, the shadow will be warm. If the light is warm, the shadows will be cool.

  5. Assignment Each student should have brought some pictures or photos of landscapes and/or faces. There are two aspects of color that we will be examining next: • Atmospheric (or aerial) perspective • Warm colors approach; cool colors recede

  6. Atmospheric perspective Aerial perspective or atmospheric perspective refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance. As the distance between an object and a viewer increases, the contrast between the object and its background decreases, and the contrast of any markings or details within the object also decreases. The colours of the object also become less saturated and shift towards the background color, which is usually blue, but under some conditions may be some other color (for example, at sunrise or sunset distant colors may shift towards red). — Wikipedia

  7. An example Carole Marine, High Country Shacks, 5” x 7”

  8. Exercise Using pictures of landscapes, put aerial perspective to use in adding depth to the flat plane of the canvas. Some pictures of mountains follow. A note about photography: Most of us are amateur photographers. As such, we use the default settings in taking photos. What happens is that the “depth of field” setting is the default setting and we see, in the picture that we get back. an infintely sharp focus. Hold your thumb up and look only at it. notice that, with your attention focused on your thumb, everything around it fades in significance. That thumb becomes your focal point. In creating a painting, we choose what the focal point (or points) will be. In effect, we manipulate the viewer by our use of the basics of art.

  9. Examples of aerial (or atmospheric) perspective.

  10. Pause for exercise Practice using atmospheric perspective using your photos or the photos in prior slide.

  11. Warm colors approach cool colors recede In depth perception, our human vision reads warm colors (red, orange, yellow, yellow-green) as closer to us and cool colors (blue, purple blue-green) as more distant. Notice that, if you stand looking out over distant fields, while you may still see a red roof in the distance, in general, farther objects will be "bluer" and nearer objects, brighter and warmer.

  12. Flattening the plane • You can “flatten” space in a composition by mis-using cues. Doing a still life, for instance, where all the objects are bright and primary brings them into the same plane. (Not saying this is wrong. You can use this if you know what you’re doing.

  13. What’s wrong with this portrait? Doing a portrait where the background is brighter and more warm than the face makes the face recede. Mary Ellison by Mary Cassatt

  14. Warm colors approachCool colors recede exercise: landscape or portrait – using background color properly and “improperly” (Discuss the result) Pause for exercise

  15. What’s next? Color proximity: colors affect colors they are near. (lemon exercise) Color proximity: using a colored ground. (Exercise: doing a primarily green landscape over a sienna ground) Color opacity and transparency, how it affects your painting in acrylics, oils. How to combat problems. Give examples. Have students demonstrate. Exercise: do a chart of opacity/transparency. color and composition: hard and soft edges (exercise with still life) broken color and why it is used (exercise with impressionist landscape example and mabe student’s own picture. why the “old masters” used dark backgrounds in their pictures (examples) Mood and color (“psychological” aspect of color.) Maybe use Picasso’s blue guitarist and changethe color. Have students mock up own examples. High and low key; high and low contrast

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