COLOR BASICS

Below is an example of the Color wheel (Itten). Color is arranged by hue in a connected circular fashion. A great deal or our terminology about color derives from this arrangement. (analogous, complimentary, triad, etc...) What is important to remember is that the three Primary colors (colors can't be mixed- ONE=Primary) are Yellow, Red and Blue. The Secondary colors are the combination of two Primaries (Secondary= TWO)- Orange, Purple and Green. Remembering the color wheel will be helpful when thinking of a color to modify another in some way.

Below is an example from Itten regarding the strength of each color in relationship to its compliment. It is not a 50/ 50 relationship, they are not equal or balanced in half. This demonstration show how much of each color is needed to balance out its compliment in terms of optical area, but it also relates to mixing pigments.

Hue

Hue is the color quality of a pigment or object. Hue and color are interchangeable terms, but in color theory the term hue implies a specific discussion of only hue. For example a “light red” color has the hue of red and a high value.

Value

Value is the amount of light in a pigment or object. Color hues a have intrinsic value qualities.For example, yellow is the “lightest” or highest value hue.Blue-violet is the “darkest” or lowest value hue. Red has a more middle value. The value of a dark hue is made lighter by adding a higher value hue (or white). The value of a light hue is made darker by adding a lower value hue. Imagine the values of the hues below in a black and white picture.

Tints and Shades

Adding white to a color creates a tint. Adding black creates a shade. For example pink is a tint of red; maroon is a shade of red. See the tints and shades of blue below.

Intensity

Intensity is the amount of brightness in a pigment or object. This is a quality of pure hue that creates a visual vibration. Which green is more pure, or intense?

Tone

Tone is a hue mixed with gray.The gray will neutralize or tone down the color. This also decreases the hue intensity. Depending on the value if the initial hue, the addition of gray may also change the value appearance, making the hue lighter or darker.

Warm and Cool Colors

Temperature is an associate quality of color. In general warmer colors are orange, red and yellow. These colors “feel” warm and also emerge or move forward in space. Cool colors are blue, green, and purple. These colors “feel” cool and also recede or move back into space.

Now forget these categories and think more precisely in terms of relationships. A bit of color ying and yang, as warm color is defined by cool and vise versa! This means that in a comparison of red and blue, red is warmer. But in a comparison of red and red, one red will be warmer then the other.

Complimentary Colors

Complementary hues are defined as two hues, which create after-images of each other. Yellow has a blue-violet after-image and blue-violet has a yellow after-image. On most color wheels complimentary colors are across from each other. Placed next to each other compliment hues have the greatest possible contrast. When mixed together the result is a neutral hue.

The After image

The phenomena of after image causes the eye to see the complimentary hue after an extended period focusing on said hue. For example, stare at the yellow dot below for 30 seconds then look immediate at the black dot below.

Contrast of value.

Contrast of color value

Contrast of of hue.

Below are several examples of color delibirately used in still life. These are just some of the many possibilities.

In the example of Morandi, his color palette is derived from neutrals ( mostly greys and browns.) This does provide a unifying effect and in this case provides a tranquil slow experience.) His work is often mentioned in the context of without time...

This example by Chardin we can see a delibirate reliance on warms colors. This projects a sense of comfort and familiarity.

In the Murch example we see a strong contrast of color- the green apple and the rest of the gray/ white objects.

LIGHT

Throughout the history of drawing and painting, the evolving usage of illumination can be traced. It has, at varying moments, been seen as divine, omnipresent, atmospheric, emotional, psychological, and descriptive. In the works of Pre- Renaissance artists we can see a overall light, one clearly making visible all elements and characters equally. A concept in which, a solid rigidity of space is determined by objects. Nothing disappears and clarity rules. Examples of Baroque artists reveal a deliberate focus on the drama of light and darkness, and the creation of atmosphere. A space in which, all objects are subject to a supercedeing law of the environment and the volume between objects is charged, a space where objects are lost in shadow and born in light. Within in this context we see manipulation of narratives, compositional focus, and emotional development. With the rebellion of the Impressionists (emboldened by the introduction of tube paint) we see in there plein- air work, the investigation into optics and the essence of light and color. We see a concern with the fleeting moments of light and its physical effects on the color we see and translate to canvas. In turn we see the Surrealists and a dream light, and unreal light unbound by physics, that may only exist in memory or subconscious. Gradually light became an agent of psychology. A method of touching on emotions by creating environments that imply the internal world of the subject or amplify situations. Following are just a few examples showcasing some of these qualities.

Byzantine Example

Giotto "The Legend of St. Francis"

Botticelli" The Birth of Venus"

Juespe de Ribera "St. Sebastian Healed by St. Irene"

Georges De La Tour "St. Joesph the Carpenter"

Rembrandt "Self Portrait"

Claude Monet "La Pomenade"

George Seurat "Sunday Afternoon on the Island of La Grande Jatte"

Di Chirico

Slavador Dali "The Persistence of Memory"

Robert Longo " Perfect Gods"

Robert Longo "Untitled (Freud's Desk and Chair)"

PERCEPTION

"The perception of size, shape, position, orientation, distance and color, are the universal characteristics of the processes underlying all perception. Somehow, these complex processes acting in concert and beyond our awareness together create our perceptual experiences so that we have perceptual learning, which may be the prototype for all learning. Understanding what these processes are is no easy assignment. It is the end to which those of us working in perception strive. Perceiving is perhaps the single activity, which serves as the basis for all psychological life. Without it there would be no psychic life. Perception is the basis for all our learning. It is the starting point of all our knowledge or the world as well as for the pleasure and the pain we find in it" .

Cognitive Psychologist Dr. Arien Mack in her course manual' Visual Perception and Cognition'