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.
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.
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 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.
The use of any color on a surface is guided by the basic elements of this theory. A significant element is the holes and jumping out of colors on a surface. Jumping out is where a distant object appears closer to the foreground because similar color intensity was used as that of objects on the foreground. A hole is where an object is painted using saturated colors yet it is in the background. Such errors will affect the aesthetics of your work.
Shadows are an important element of any coloring work. Your painting must show appreciation of the direction of light and remain consistent to this aspect. Consciousness of the shadow effect and the nature of surface such a shadow falls on enable color users to produce more realistic work. Even in instances where you rely on memory, the appreciation of this effect must be evident.
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.
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 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.
The use of any color on a surface is guided by the basic elements of this theory. A significant element is the holes and jumping out of colors on a surface. Jumping out is where a distant object appears closer to the foreground because similar color intensity was used as that of objects on the foreground. A hole is where an object is painted using saturated colors yet it is in the background. Such errors will affect the aesthetics of your work.
Shadows are an important element of any coloring work. Your painting must show appreciation of the direction of light and remain consistent to this aspect. Consciousness of the shadow effect and the nature of surface such a shadow falls on enable color users to produce more realistic work. Even in instances where you rely on memory, the appreciation of this effect must be evident.
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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