Classic paintings involve more than mere application of colors on the canvas or surface. The painter must tap into a deeper perception in order to produce a picture that looks more realistic. Advanced color theory helps you to recognize and take advantage of outer qualities of light which lend form or objectify your images or matter. This is a departure from the basic understanding of colors which emanated from primary and secondary groupings.
There is a new dimension of coloring that emerges with the appreciation of magenta and green. This dimension can be described as the inner feeling that makes them to appear more appealing or lovelier. A painter or color dealer who appreciates these aspects can produce magnificent images from simple or ordinary colors.
Mere observation was used to define colors over the years. People did not appreciate the defining and unique qualities of different colors which meant that a lot was lost during production of colored works. The subjective nature of human perceptions led to obvious errors that could not be explained. The application of similar colors produced different results depending on the surface on which it was applied. The disaster arose from failure to appreciate elements like lightness, hue and saturation.
Individual colors have distinct characteristics that differentiate them from others. Hue is this element or characteristic that makes blue different from yellow or red. The difference arises from dormant wavelengths that are emitted by the surface or reflected as light falls from another source. Addition of white or black on any color will result in a tonal family that is a product of more or less hue, saturation and lightness.
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.
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.
There are optic illusions that affect the realistic perception of your image. These illusions trick the eyes into perceiving an object in the form which it does not appear. Pay close attention to these illusions if you intend to produce realistic work. The use of vertical running strips on a shorter person will make him to appear taller. This will either produce balance or make your work to appear unrealistic.
There is a new dimension of coloring that emerges with the appreciation of magenta and green. This dimension can be described as the inner feeling that makes them to appear more appealing or lovelier. A painter or color dealer who appreciates these aspects can produce magnificent images from simple or ordinary colors.
Mere observation was used to define colors over the years. People did not appreciate the defining and unique qualities of different colors which meant that a lot was lost during production of colored works. The subjective nature of human perceptions led to obvious errors that could not be explained. The application of similar colors produced different results depending on the surface on which it was applied. The disaster arose from failure to appreciate elements like lightness, hue and saturation.
Individual colors have distinct characteristics that differentiate them from others. Hue is this element or characteristic that makes blue different from yellow or red. The difference arises from dormant wavelengths that are emitted by the surface or reflected as light falls from another source. Addition of white or black on any color will result in a tonal family that is a product of more or less hue, saturation and lightness.
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.
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.
There are optic illusions that affect the realistic perception of your image. These illusions trick the eyes into perceiving an object in the form which it does not appear. Pay close attention to these illusions if you intend to produce realistic work. The use of vertical running strips on a shorter person will make him to appear taller. This will either produce balance or make your work to appear unrealistic.
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