Classic painters did more than splash colors on canvases. They had a deeper perceptions that enabled them to produce more realistic work of very high quality. The idea that was guiding their work and that should guide painters and users of colors even today is the advanced color theory. It helps you to appreciate and thus take advantage of elements of coloring that are beyond the primary and secondary categorization.
Green and magenta enable a painter or mixer to experience a new dimension in all colors. The idea is that colors have inner feelings that lighten them up and make them to appear lovelier. By appreciating this dimension, one is able to fully interact with images and objects and in a way figure them out.
Colors were originally defined by the perceptions people obtained using naked eyes. This meant that there was little or no appreciation of the individual qualities that differentiates colors. Human perceptions were subjective and would therefore lead to glaring errors when the colors were applied on different surfaces. The perception is blind to saturation, hue, lightness and other elements that are distinct to light.
Hue is considered as the distinct characteristic that enables you to differentiate red from blue and yellow, among other colors. It is largely dependent on dormant wavelengths that are reflected from the object or emitted by its surface. The use of black and white on these colors yields tonal families that are basically different in lightness, saturation and hues.
Saturation can be described as value or lightness of colors which define its brightness. These elements or characteristics are in light of closeness to gray. Saturated colors are distant from gray while less saturated colors are those that are nearer to gray. The explanation is that gray dilutes the essence of individual colors.
There are elements of this advanced theory on colors that guide their use. Jumping colors and holes are cautions that should be observed by painters. A hole is a section that appears distant on a painting because of the colors used. A section that is jumping out emanates from a distant object that is painted using similar intensity or saturation as one on the foreground. Such use of colors affects the aesthetic appeal of your work.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
Optical illusions are part of this theory. They are used to create a feeling of correctness on objects and surfaces that appear to play tricks on eyes. It is important for an artist to capture the illusions and master their use so that your work appears as realistic as possible. A perfect example is where strips running bottom up make an object or person to appear taller than those running horizontally. Such illusions should be appreciated to avoid imbalance.
Green and magenta enable a painter or mixer to experience a new dimension in all colors. The idea is that colors have inner feelings that lighten them up and make them to appear lovelier. By appreciating this dimension, one is able to fully interact with images and objects and in a way figure them out.
Colors were originally defined by the perceptions people obtained using naked eyes. This meant that there was little or no appreciation of the individual qualities that differentiates colors. Human perceptions were subjective and would therefore lead to glaring errors when the colors were applied on different surfaces. The perception is blind to saturation, hue, lightness and other elements that are distinct to light.
Hue is considered as the distinct characteristic that enables you to differentiate red from blue and yellow, among other colors. It is largely dependent on dormant wavelengths that are reflected from the object or emitted by its surface. The use of black and white on these colors yields tonal families that are basically different in lightness, saturation and hues.
Saturation can be described as value or lightness of colors which define its brightness. These elements or characteristics are in light of closeness to gray. Saturated colors are distant from gray while less saturated colors are those that are nearer to gray. The explanation is that gray dilutes the essence of individual colors.
There are elements of this advanced theory on colors that guide their use. Jumping colors and holes are cautions that should be observed by painters. A hole is a section that appears distant on a painting because of the colors used. A section that is jumping out emanates from a distant object that is painted using similar intensity or saturation as one on the foreground. Such use of colors affects the aesthetic appeal of your work.
The theory lays a lot of emphasis on shadows. There is an element of directional light on every painting. This has been witnessed on every classic painting. Your work should depict consistency in shadowing which is conscious of the shape of the object and the surface on which the shadow has fallen. While painters depend on memory their recollection must produce a realistic image.
Optical illusions are part of this theory. They are used to create a feeling of correctness on objects and surfaces that appear to play tricks on eyes. It is important for an artist to capture the illusions and master their use so that your work appears as realistic as possible. A perfect example is where strips running bottom up make an object or person to appear taller than those running horizontally. Such illusions should be appreciated to avoid imbalance.
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