Painting is an exercise that involves more than the application of colors on a surface. It is an exercise where your inner perceptions and views are actualized in a picture or a surface. Advanced color theory enables you to appreciate and take advantage of qualities of the outer light that objectifies and gives form to matter. This is a different approach as opposed to the basic understanding when colors were defined in relation to either primary or secondary elements.
The game of colors changed with the discovery or advanced use of magenta and green. The new dimension enabled people to appreciate the essence of colors beyond what is perceived with naked eyes. It is this intrinsic essence that makes different colors unique and lovely. By appreciating this aspect, you will produce a fantastic image from ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Colors are distinguished from each other by hue. This is the element that makes blue distinct from red or yellow. There are dormant wavelengths emitted by these colors either naturally or when light falls on them. Lightness and saturation, among other elements change with the addition of white or black to form tonal families.
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.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
Shadows are an intricate part of the theory. Every painting should depict the direction of light. Classic painters would draw their images and persons with shadows. This should be consistent throughout your work. While painters work from memory and perception, there must be semblance to the truth. Further, the highlights of shadows and light depend on the shape of the object. The shadows will further be shaped by the surface on which they fall.
Optic illusions will affect the realistic appreciation of your work. These tricks to the eyes change your intention and will end up eliciting a different interpretation of your painting. For instance, a lit window on a night painting appears bigger than it actually is. As such, you should draw a smaller window since the illusion will enlarge it. Failure to appreciate illusions will create imbalances in your coloring.
The game of colors changed with the discovery or advanced use of magenta and green. The new dimension enabled people to appreciate the essence of colors beyond what is perceived with naked eyes. It is this intrinsic essence that makes different colors unique and lovely. By appreciating this aspect, you will produce a fantastic image from ordinary colors.
The original understanding of colors was limited to the perceptions of ones eyes. This denied painters and other color users the advantage of appreciating the essence of individual colors as opposed to human perceptions. These perceptions have changed to accommodate lightness, hue, saturation and the characteristics of light that make it possible to perceive these colors.
Colors are distinguished from each other by hue. This is the element that makes blue distinct from red or yellow. There are dormant wavelengths emitted by these colors either naturally or when light falls on them. Lightness and saturation, among other elements change with the addition of white or black to form tonal families.
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.
When mixing colors, for instance during painting, this advanced theory advises you to avoid holes or jumping colors. A hole is a dark section on a painting or surface that appears distant yet is on the same level as the other objects. If distant objects are painted with similar saturation or intensity colors, they will appear as though they are jumping out. This will affect the aesthetics of your painting, image or surface.
Shadows are an intricate part of the theory. Every painting should depict the direction of light. Classic painters would draw their images and persons with shadows. This should be consistent throughout your work. While painters work from memory and perception, there must be semblance to the truth. Further, the highlights of shadows and light depend on the shape of the object. The shadows will further be shaped by the surface on which they fall.
Optic illusions will affect the realistic appreciation of your work. These tricks to the eyes change your intention and will end up eliciting a different interpretation of your painting. For instance, a lit window on a night painting appears bigger than it actually is. As such, you should draw a smaller window since the illusion will enlarge it. Failure to appreciate illusions will create imbalances in your coloring.
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