Johannes Itten developed an influential color theory as a teacher at the Bauhaus school in the early 20th century. His color wheel included the primary, secondary, and tertiary colors. Itten associated specific emotions with different colors and developed seven methods for creating color contrasts, such as complementary and warm/cool contrasts. Itten's theories changed how artists and scientists viewed color and are still used today.
This document discusses how different artists throughout history have used color symbolism and psychology in their paintings. It provides examples from six paintings, analyzing how each artist used color to convey symbolic meanings and psychological impacts. The paintings discussed span from the 15th century to the 20th century and include works by Jan van Eyck, Jean-Michel Basquiat, Wassily Kandinsky, Peter Paul Rubens, Francis Bacon, and Pablo Picasso. For each work, the document examines the symbolic meanings or psychological associations that the artist intended to evoke through their use of specific colors.
This document discusses the key elements of painting, including subject, medium, tools, and the evolution and history of painting. It covers painting from prehistoric cave paintings up to modern abstract styles. Important artists mentioned include Leonardo da Vinci, Michelangelo, Raphael, Van Gogh, as well as Philippine painters Fernando Amorsolo, Felix Resurreccion Hidalgo, and Juan Luna.
This document provides a history of color theory from ancient Greek philosophers to modern theorists. Some key points covered include Newton splitting white light into a spectrum using a prism in the 16th century, Goethe rejecting Newton's light-based theory of color in the 18th century, Munsell developing his 3-dimensional color model in the 19th century, and Bauhaus artists like Itten and Albers bringing color theory studies to the forefront and emphasizing practical exercises over rigid systems in the early 20th century. Theorists debated the nature and perception of color over centuries and numerous systems were developed to describe and order colors.
The document provides an overview of the history and types of painting. It discusses how painting has a long history spanning pre-historic times through the 21st century. The main types of paintings covered are portraits, landscapes, still lifes, and religious works. It also describes different painting mediums like acrylics, pastels, fresco, gouache, oil, tempera, and water colors. Specific styles like mural painting are also mentioned. Key points covered include cave painting being among the earliest forms, the focus on representation historically, and more conceptual approaches gaining popularity in the 20th century.
- Johannes Itten was a Swiss painter, educator, and color theorist associated with the Bauhaus art school in Germany. He developed a color wheel and emphasized color theory and fundamentals in art education.
- Itten identified 7 methods for combining colors based on their contrasting properties: contrast of hue, light-dark, cool-warm, complements, simultaneous contrast, saturation, and extension. These color contrasts create visual interest and emphasis in art.
- Itten's work in defining color combinations and contrasts was influential for artists and designers in understanding how to use color effectively.
Vincent Van Gogh (1853-1890) was a post-impressionist painter known for his emotional and expressive use of color and brushwork. He felt isolated from society and expressed existential anguish through his paintings. Key aspects of his style included using wide, expressive brushstrokes and complementary colors. Over his career he experimented with different techniques, from realistic depictions to expressive distortions of form and perspective. His most famous works include The Potato Eaters, The Bedroom, and The Starry Night.
This document discusses how different artists throughout history have used color symbolism and psychology in their paintings. It provides examples from six paintings, analyzing how each artist used color to convey symbolic meanings and psychological impacts. The paintings discussed span from the 15th century to the 20th century and include works by Jan van Eyck, Jean-Michel Basquiat, Wassily Kandinsky, Peter Paul Rubens, Francis Bacon, and Pablo Picasso. For each work, the document examines the symbolic meanings or psychological associations that the artist intended to evoke through their use of specific colors.
This document discusses the key elements of painting, including subject, medium, tools, and the evolution and history of painting. It covers painting from prehistoric cave paintings up to modern abstract styles. Important artists mentioned include Leonardo da Vinci, Michelangelo, Raphael, Van Gogh, as well as Philippine painters Fernando Amorsolo, Felix Resurreccion Hidalgo, and Juan Luna.
This document provides a history of color theory from ancient Greek philosophers to modern theorists. Some key points covered include Newton splitting white light into a spectrum using a prism in the 16th century, Goethe rejecting Newton's light-based theory of color in the 18th century, Munsell developing his 3-dimensional color model in the 19th century, and Bauhaus artists like Itten and Albers bringing color theory studies to the forefront and emphasizing practical exercises over rigid systems in the early 20th century. Theorists debated the nature and perception of color over centuries and numerous systems were developed to describe and order colors.
The document provides an overview of the history and types of painting. It discusses how painting has a long history spanning pre-historic times through the 21st century. The main types of paintings covered are portraits, landscapes, still lifes, and religious works. It also describes different painting mediums like acrylics, pastels, fresco, gouache, oil, tempera, and water colors. Specific styles like mural painting are also mentioned. Key points covered include cave painting being among the earliest forms, the focus on representation historically, and more conceptual approaches gaining popularity in the 20th century.
- Johannes Itten was a Swiss painter, educator, and color theorist associated with the Bauhaus art school in Germany. He developed a color wheel and emphasized color theory and fundamentals in art education.
- Itten identified 7 methods for combining colors based on their contrasting properties: contrast of hue, light-dark, cool-warm, complements, simultaneous contrast, saturation, and extension. These color contrasts create visual interest and emphasis in art.
- Itten's work in defining color combinations and contrasts was influential for artists and designers in understanding how to use color effectively.
Vincent Van Gogh (1853-1890) was a post-impressionist painter known for his emotional and expressive use of color and brushwork. He felt isolated from society and expressed existential anguish through his paintings. Key aspects of his style included using wide, expressive brushstrokes and complementary colors. Over his career he experimented with different techniques, from realistic depictions to expressive distortions of form and perspective. His most famous works include The Potato Eaters, The Bedroom, and The Starry Night.
The document discusses three artists - James Turrell, Katharina Grosse, and Pierre Huyghe. For Turrell, it summarizes that he captures natural sunlight and contrast between dark and bright colors. For Grosse, it notes she uses acrylic paints to create colorful, fluid paintings incorporating everyday objects. For Huyghe, it states he typically uses fantasy characters to address complex social topics through installation art.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
Verner Panton was a Danish architect and designer known for his experimental interior designs that fused all design elements into unified whole environments. Some of his most famous works included installations for trade fairs in the 1960s onboard ships that featured brightly colored geometric patterns and textures. Panton collaborated with Vitra beginning in the 1960s, developing his best known design, the Panton Chair. He sought to stimulate the human senses through experimental uses of color, light, materials and spatial arrangements in his immersive interior landscapes.
This document discusses color schemes and how color is used to create depth in artwork. It explains that warm colors like red, orange and yellow are used to represent fire and sunlight, imply happy energy, and make objects appear closer. Cool colors like blue, green and purple are used to represent sky, water and plants, imply sadness and make objects appear farther away. It also describes how an artist can create a sense of space and atmosphere by making colors darker and more detailed closer to the viewer and lighter with less detail in the distance.
The oldest known paintings date back 32,000 years and were found in France, depicting animals and hunting scenes. Humans have been painting for much longer than using written language. Painting involves applying pigments suspended in a carrier or medium to a surface, and can be used to express feelings, respond to social status, contribute to society, or for decoration. The components and principles of painting include elements like symbols, perspective, composition, shapes, line, light, color, and distance.
Romanesque paintings had generalized characteristics including unrealistic, inexpressive figures depicted without perspective or backgrounds. Figures were outlined in black with bright, flat colors but no shading. Paintings had educational and religious purposes, and included mural frescoes on walls, panel paintings for altars, and illuminated miniatures in manuscripts. Common scenes represented Christ Pantocrator and other biblical figures and events from the life of Christ.
The evolution of colour theory and the still lifeLibby Bourne
The document discusses the history and symbolism of color in art. It begins by explaining how color theory concepts like primary/secondary colors and color wheels are applied in visual arts. It then describes how artists invented early pigments and how the availability and use of color evolved alongside different art movements from Renaissance to Impressionism. Specific colors like red, blue, and yellow are highlighted for their symbolic associations and how notable artists like Van Gogh, Monet, and Turner employed them in innovative ways that advanced art techniques.
This document discusses colour appearances and the challenges of faithfully reproducing colours. It explores colour as a psycho-physiological phenomenon influenced by factors like juxtaposition, contrast, viewing distance and texture. Examples from artists like Van Gogh, Seurat and Monet are provided to show how they scientifically studied colour effects. The document also discusses how substrate colour impacts the contrast and appearance of colours in an image. Overall, the document examines colour from artistic, scientific and technological perspectives to better understand colour phenomena and the difficulties of colour management.
1. The document discusses color theory, beginning with Chevreul's theory of color opposites and how it influenced artists like Delacroix. It then covers Seurat's pointillism technique and application of color harmonies, as well as Cezanne's use of the three dimensions of color - value, hue, and saturation. Finally, it discusses Van Gogh's philosophical view of color meanings and some open questions in color science.
This document provides an overview of color theory and color schemes. It discusses Johannes Itten's color wheel and the three properties of color: hue, value, and intensity. It explains various color schemes including monochromatic, warm, cool, complementary, analogous, split-complementary, double split-complementary, triadic, rectangular, and square. It also covers chromatic grays, earth colors, planning color schemes, unexpected color combinations, colors in conflict, and different uses of color in painting like local color, optical color, subjective color, and heightened color.
This document provides an introduction to color theory, covering key concepts like hue, value, chroma, warm and cool colors, primary/secondary/tertiary colors, color schemes, and how color is used in works of art to create mood, illusion of space, and other effects. It defines aspects of color, explains the color wheel and how different colors are made, and analyzes color relationships in various paintings using terminology like local color, subjective color, analogous colors, complementary colors, and more.
This document provides an overview of color theory and its history. It discusses what color is, the importance of studying color theory, and how color is communicated and applied in art. The historical background section outlines the development of color theory from early primary color models to modern understanding based on light wavelengths and color perception. It also discusses important figures who contributed to advances in color theory. The document then covers color basics, systems, wheels, relationships, and psychological and therapeutic aspects of color before concluding with a brief summary.
This document discusses color theory and the color wheel. It explains that there are three primary colors - red, yellow, and blue. The secondary colors are orange, green, and violet, which are created by mixing two primary colors. Tertiary colors are mixtures of a primary and a secondary color. The color wheel is used to understand color relationships like analogous colors that are adjacent hues, and complementary colors that are opposite each other. Color schemes utilize different color combinations and the document provides examples of monochromatic, warm, cool, split-complementary, and analogous color schemes. It explores how color conveys meaning and how artists manipulate hue, value, and intensity in their work.
This document discusses color theory and principles of color. It covers topics such as color properties including hue, value, and intensity. It describes color mixing systems and color schemes. It discusses how color is perceived and how it can be used to create visual effects like emphasis, balance, and depth. It also covers concepts like emotional color, color symbolism, and the cultural meanings that can be associated with different colors.
The document discusses the seven elements of art: color, line, shape, form, value, texture, and space. It defines each element and provides examples from famous artworks to illustrate techniques related to that element, such as complementary colors in Hiroshige's print or atmospheric perspective in Bruegel's painting. The examples demonstrate how artists use the elements of art in their compositions.
Analyzing Art Work Made Easy! Designed For Young Art StudentsSusan Alleyne Forde
The document provides guidance for young art students on how to analyze and describe art works using key elements and principles of design. It encourages looking at line, color, shape, space, and texture to describe what is visually seen. It also advises considering principles such as balance, repetition, contrast, emphasis and unity to understand how the entire composition is arranged. The document uses Van Gogh's Starry Night as an example, describing how the elements and principles are demonstrated in the painting through the swirling sky, rolling hills, and placement of the large tree shape. Students are reminded to also discuss how the work makes them feel and to research the artist when analyzing a piece.
This document provides an overview of colour theory, including definitions of primary, secondary, and tertiary colours; complementary colours; saturation and value; warm and cool colours; colour harmonies like monochromatic, analogous, and split complementary; and concepts like simultaneous contrast, tonality, and emotional responses to colour. It also lists several artists and artworks as examples.
This document discusses various aspects of colour theory including primary colours, secondary colours, tertiary colours, complementary colours, saturation, value, warm and cool colours, colour harmonies like monochromatic, analogous, complementary, split complementary, and triadic. It also discusses concepts like shade, tint, simultaneous contrast, tonality, colour discord, and the emotional responses colours can elicit. Examples of artworks that demonstrate various colour theory concepts are provided.
The document discusses color theory and the color wheel. It provides the following key information:
1) The traditional color wheel is based on the primary colors of red, yellow, and blue. Secondary colors are created by mixing two primary colors, and tertiary colors are between the primary and secondary colors on the wheel.
2) Different artists throughout history have ascribed different symbolic meanings to colors. For example, Franz Marc believed blue represented masculinity and red represented violence.
3) Color field painting emerged in the 1960s as a style focused on using color as a non-objective form of expression. Artists like Mark Rothko and Helen Frankenthaler created large abstract works using color and novel techniques like staining
The document discusses three artists - James Turrell, Katharina Grosse, and Pierre Huyghe. For Turrell, it summarizes that he captures natural sunlight and contrast between dark and bright colors. For Grosse, it notes she uses acrylic paints to create colorful, fluid paintings incorporating everyday objects. For Huyghe, it states he typically uses fantasy characters to address complex social topics through installation art.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
Verner Panton was a Danish architect and designer known for his experimental interior designs that fused all design elements into unified whole environments. Some of his most famous works included installations for trade fairs in the 1960s onboard ships that featured brightly colored geometric patterns and textures. Panton collaborated with Vitra beginning in the 1960s, developing his best known design, the Panton Chair. He sought to stimulate the human senses through experimental uses of color, light, materials and spatial arrangements in his immersive interior landscapes.
This document discusses color schemes and how color is used to create depth in artwork. It explains that warm colors like red, orange and yellow are used to represent fire and sunlight, imply happy energy, and make objects appear closer. Cool colors like blue, green and purple are used to represent sky, water and plants, imply sadness and make objects appear farther away. It also describes how an artist can create a sense of space and atmosphere by making colors darker and more detailed closer to the viewer and lighter with less detail in the distance.
The oldest known paintings date back 32,000 years and were found in France, depicting animals and hunting scenes. Humans have been painting for much longer than using written language. Painting involves applying pigments suspended in a carrier or medium to a surface, and can be used to express feelings, respond to social status, contribute to society, or for decoration. The components and principles of painting include elements like symbols, perspective, composition, shapes, line, light, color, and distance.
Romanesque paintings had generalized characteristics including unrealistic, inexpressive figures depicted without perspective or backgrounds. Figures were outlined in black with bright, flat colors but no shading. Paintings had educational and religious purposes, and included mural frescoes on walls, panel paintings for altars, and illuminated miniatures in manuscripts. Common scenes represented Christ Pantocrator and other biblical figures and events from the life of Christ.
The evolution of colour theory and the still lifeLibby Bourne
The document discusses the history and symbolism of color in art. It begins by explaining how color theory concepts like primary/secondary colors and color wheels are applied in visual arts. It then describes how artists invented early pigments and how the availability and use of color evolved alongside different art movements from Renaissance to Impressionism. Specific colors like red, blue, and yellow are highlighted for their symbolic associations and how notable artists like Van Gogh, Monet, and Turner employed them in innovative ways that advanced art techniques.
This document discusses colour appearances and the challenges of faithfully reproducing colours. It explores colour as a psycho-physiological phenomenon influenced by factors like juxtaposition, contrast, viewing distance and texture. Examples from artists like Van Gogh, Seurat and Monet are provided to show how they scientifically studied colour effects. The document also discusses how substrate colour impacts the contrast and appearance of colours in an image. Overall, the document examines colour from artistic, scientific and technological perspectives to better understand colour phenomena and the difficulties of colour management.
1. The document discusses color theory, beginning with Chevreul's theory of color opposites and how it influenced artists like Delacroix. It then covers Seurat's pointillism technique and application of color harmonies, as well as Cezanne's use of the three dimensions of color - value, hue, and saturation. Finally, it discusses Van Gogh's philosophical view of color meanings and some open questions in color science.
This document provides an overview of color theory and color schemes. It discusses Johannes Itten's color wheel and the three properties of color: hue, value, and intensity. It explains various color schemes including monochromatic, warm, cool, complementary, analogous, split-complementary, double split-complementary, triadic, rectangular, and square. It also covers chromatic grays, earth colors, planning color schemes, unexpected color combinations, colors in conflict, and different uses of color in painting like local color, optical color, subjective color, and heightened color.
This document provides an introduction to color theory, covering key concepts like hue, value, chroma, warm and cool colors, primary/secondary/tertiary colors, color schemes, and how color is used in works of art to create mood, illusion of space, and other effects. It defines aspects of color, explains the color wheel and how different colors are made, and analyzes color relationships in various paintings using terminology like local color, subjective color, analogous colors, complementary colors, and more.
This document provides an overview of color theory and its history. It discusses what color is, the importance of studying color theory, and how color is communicated and applied in art. The historical background section outlines the development of color theory from early primary color models to modern understanding based on light wavelengths and color perception. It also discusses important figures who contributed to advances in color theory. The document then covers color basics, systems, wheels, relationships, and psychological and therapeutic aspects of color before concluding with a brief summary.
This document discusses color theory and the color wheel. It explains that there are three primary colors - red, yellow, and blue. The secondary colors are orange, green, and violet, which are created by mixing two primary colors. Tertiary colors are mixtures of a primary and a secondary color. The color wheel is used to understand color relationships like analogous colors that are adjacent hues, and complementary colors that are opposite each other. Color schemes utilize different color combinations and the document provides examples of monochromatic, warm, cool, split-complementary, and analogous color schemes. It explores how color conveys meaning and how artists manipulate hue, value, and intensity in their work.
This document discusses color theory and principles of color. It covers topics such as color properties including hue, value, and intensity. It describes color mixing systems and color schemes. It discusses how color is perceived and how it can be used to create visual effects like emphasis, balance, and depth. It also covers concepts like emotional color, color symbolism, and the cultural meanings that can be associated with different colors.
The document discusses the seven elements of art: color, line, shape, form, value, texture, and space. It defines each element and provides examples from famous artworks to illustrate techniques related to that element, such as complementary colors in Hiroshige's print or atmospheric perspective in Bruegel's painting. The examples demonstrate how artists use the elements of art in their compositions.
Analyzing Art Work Made Easy! Designed For Young Art StudentsSusan Alleyne Forde
The document provides guidance for young art students on how to analyze and describe art works using key elements and principles of design. It encourages looking at line, color, shape, space, and texture to describe what is visually seen. It also advises considering principles such as balance, repetition, contrast, emphasis and unity to understand how the entire composition is arranged. The document uses Van Gogh's Starry Night as an example, describing how the elements and principles are demonstrated in the painting through the swirling sky, rolling hills, and placement of the large tree shape. Students are reminded to also discuss how the work makes them feel and to research the artist when analyzing a piece.
This document provides an overview of colour theory, including definitions of primary, secondary, and tertiary colours; complementary colours; saturation and value; warm and cool colours; colour harmonies like monochromatic, analogous, and split complementary; and concepts like simultaneous contrast, tonality, and emotional responses to colour. It also lists several artists and artworks as examples.
This document discusses various aspects of colour theory including primary colours, secondary colours, tertiary colours, complementary colours, saturation, value, warm and cool colours, colour harmonies like monochromatic, analogous, complementary, split complementary, and triadic. It also discusses concepts like shade, tint, simultaneous contrast, tonality, colour discord, and the emotional responses colours can elicit. Examples of artworks that demonstrate various colour theory concepts are provided.
The document discusses color theory and the color wheel. It provides the following key information:
1) The traditional color wheel is based on the primary colors of red, yellow, and blue. Secondary colors are created by mixing two primary colors, and tertiary colors are between the primary and secondary colors on the wheel.
2) Different artists throughout history have ascribed different symbolic meanings to colors. For example, Franz Marc believed blue represented masculinity and red represented violence.
3) Color field painting emerged in the 1960s as a style focused on using color as a non-objective form of expression. Artists like Mark Rothko and Helen Frankenthaler created large abstract works using color and novel techniques like staining
This document provides an overview of color theory, including the electromagnetic spectrum, how the eye perceives color, color mixing, properties of color like hue, value and intensity, color schemes, and how color is used in composition for emphasis, balance and creating the illusion of space. Some key points covered include that color is a property of light, objects do not have their own color, and the three primary colors are red, yellow and blue in the subtractive color system of pigments.
Color theory document discusses:
1) The basics of color including that color is a property of light, objects reflect wavelengths, and light is made of all colors.
2) Color mixing including the additive and subtractive systems, primary/secondary/tertiary colors, and complimentary colors.
3) Properties of color including hue, value, and intensity.
4) Additional color concepts like warm/cool colors, visual mixing, color schemes, color discord, and Johannes Itten's 7 color contrasts.
FA 103-01 Line Color & Design Color Theory Overview and Hialisondakintxt
FA 103-01 Line Color & Design
Color Theory Overview and History
Color theory refers to the visual impact of color, the way colors mix and how we
perceive color through organizing color space.
The earliest reference to color theory is thought to be written by
Leone Battista Alberti in 1435. Leonardo da Vinci also refers to color theory in his
journals in the late 1400s. Color theory during this time revolves around the idea that
there are three primaries colors - red, blue, and yellow - and that these three colors,
when mixed together in specific ways create all other colors. This early Renaissance
idea of color was how artist viewed and thought about color up until the mid to late
1600’s and early 1700’s when the age of Enlightenment brought in new scientific
discoveries and experiments with optics. During the Enlightenment in Europe there was
an explosion of color theory ideas. Philosophers of the late 17th and 18th centuries
were obsessed with light and sight. Descartes wrote a treatise on optics, as did Newton.
Newton’s Color Theory, ca. 1665
Newton’s rainbow forms the familiar ROYGBIV because he thought the range of visible
colors should be analogous to the seven-note scale.
Sir Isaac Newton developed the first color wheel when he expanded the theory in his
1704 work, Opticks. Around 1665, when Isaac Newton first passed white light through a
prism and watched it fan out into a rainbow, he identified seven constituent colors—red,
orange, yellow, green, blue, indigo, and violet—not necessarily because that’s how
many hues he saw, but because he thought that the colors of the rainbow were
analogous to the notes of the musical scale. Naming seven colors to correspond to
seven notes is “a kind of very strange and interesting thing for him to have done,”
says Peter Pesic, physicist, pianist, and author of the 2014 book Music and the Making
of Modern Science. “It has no justification in experiment exactly; it just represents
something that he’s imposing upon the color spectrum by analogy with music.”
http://www.themontrealreview.com/2009/On-Descartes-Optics.php
http://www.gutenberg.org/ebooks/33504
http://www.peterpesic.com/
Of his rainbow experiment Newton wrote that he had projected white light through a
prism onto a wall and had a friend mark the boundaries between the colors, which
Newton then named. In his diagrams, which showed how colors corresponded to notes,
Newton introduced two colors—orange and indigo—corresponding to half steps in the
octatonic scale. Whether Newton’s friend delineated indigo and orange on the wall or
whether Newton added those colors to his diagrams in order to better fit his analogy is
unclear, Pesic says. In any case, Newton’s inclusion of those two colors had lasting
consequences, Pesic wrote in his book: “For those who came after, Newton’s musical
analogy is the source of the widely held opinion that orange and indigo are actually
int ...
Color is light of different wavelengths that is perceived by the human visual system. Objects appear colored because they selectively absorb and reflect wavelengths of light. A color can be described by its name, saturation (purity), and value (lightness). Chroma, saturation, intensity, and value are interrelated terms used to describe the qualities of a color. Color combinations can create visual harmony through relationships like complementary, analogous, split-complementary, and triadic. Color discord occurs when colors clash rather than relate harmoniously. Local color refers to the actual color of an object, while optical and arbitrary colors are used subjectively by artists. Color and value both play important roles in design, though some argue that value is more fundamental.
Contemporary art reflects current issues and events in present times. It can break rules of traditional art and combine different art forms. Contemporary artists use their work to comment on political and social issues. Some characteristics of contemporary art include the use of new materials like newspapers, the emphasis on color and emotion, and new techniques like abstract expressionism, surrealism, cubism, and fauvism that were developed in the 20th century.
This document discusses color theory and relationships. It begins by defining primary, secondary, and tertiary colors. Primary colors cannot be made from any other colors and include red, yellow, and blue. Secondary colors are made by mixing two primary colors, and tertiary colors mix a primary and secondary. Complementary colors are directly across from each other on the color wheel and have high contrast. The document then discusses color relationships using a color wheel or triangle model and defines hue, tint, shade and tone. It provides examples of complementary colors used by artists like Van Gogh and Monet. Finally, it discusses the Fauves artistic movement in the early 20th century that embraced vibrant color expression over realistic representation.
The document discusses the visual elements used in art, including line, shape, mass, light/value, color, texture, pattern, and space. It provides definitions and examples of each element. Key points covered include the different types of lines and how they imply movement, shapes being either two-dimensional or three-dimensional, the use of light and dark values to create depth, the properties of color like hue and saturation, and how texture can be either actual or implied visually. Spatial concepts like linear perspective and implied depth in two-dimensional works are also addressed.
O documento discute a colorpuntura, uma técnica que usa estímulos de cores para ativar pontos de acupuntura. Ele explica que cada cor corresponde a frequências eletromagnéticas específicas e tem propriedades Yin ou Yang. Também descreve esquemas de aplicação de cores nos meridianos e pontos para harmonizar funções cerebrais e tratar diferentes condições.
O documento discute o tratamento da obesidade através da acupuntura e auriculoterapia. Ele explica que esses métodos naturais podem ajudar a controlar o apetite e equilibrar o metabolismo, mas não suprimem totalmente a fome. Outras medidas de apoio como dieta, exercícios e terapia também são importantes para tratar a causa subjacente e criar novos hábitos saudáveis.
Dr d. gala acupressure be your own doctorEmilia Lima
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
[How to-draw] andrew loomis - drawing the head and handsEmilia Lima
The document discusses the history and development of artificial intelligence over the past 70 years. It outlines some of the key milestones in AI research from the early work in the 1950s to modern advances in deep learning. While progress has been made, fully general artificial intelligence that can match or exceed human levels of intelligence remains an ongoing challenge that researchers continue working to achieve.
The document describes the watercolor painting techniques of artist Guy Corriero, including his use of close observation to capture the movement and forms of water, treatment of waves as having volume like mountains, and layering of colors and values to depict the textures, lights and shadows of water in motion.
A empresa de tecnologia XYZ anunciou hoje uma nova linha de laptops leves e potentes projetados para estudantes e profissionais modernos. Os novos laptops oferecem processadores rápidos, telas nítidas, baterias de longa duração e preços acessíveis para ajudar os usuários a navegar, criar e se conectar.
O documento discute a teoria de que o universo é na verdade um holograma gigante. Desenvolvida por David Bohm e Karl Pribram, a teoria sugere que toda matéria, incluindo o cérebro e o cosmos, é na verdade uma projeção holográfica criada pela mente em um campo único. A teoria pode explicar fenômenos como telepatia e experiências fora do corpo, e vem ganhando apoio entre alguns cientistas.
The document discusses the benefits of exercise for both physical and mental health. Regular exercise can improve cardiovascular health, reduce stress and anxiety, boost mood, and reduce the risk of diseases. It recommends that adults get at least 150 minutes of moderate exercise or 75 minutes of vigorous exercise per week to gain these benefits.
The document discusses the benefits of meditation for reducing stress and anxiety. Regular meditation practice can calm the mind and body by lowering heart rate and blood pressure. Meditation may also have psychological benefits like improved focus, emotional regulation, and reduced reactivity to stress.
The document provides guidance on drawing dynamic heads and faces with attitude. It discusses depicting features as well as capturing attitude by giving the head a direction of gaze and tilt. The neck angle should complement the body's gesture. Subtle asymmetry in features gives faces life. The ratio of head size and shape to the body is crucial for likeness, more so than individual features. Distilling the head into a simple geometric shape provides guidance.
This document provides guidance on sketching techniques for drawing the human figure with expression and power. It discusses establishing the line of action and overall gesture through quick strokes. Maintaining a sense of rhythm within the figure is important to create a compelling drawing. The document also covers techniques like using the line of gravity and contrapposto to inform the figure's pose and movement. Speed when drawing is recommended to capture the essence of the pose through observation rather than overthinking details.
The document provides information on oil painting techniques for beginners, including how to prepare an oil painting canvas. It discusses stretching the canvas, applying gesso or primer, and determining the focal point of a painting through composition techniques. The key steps for canvas preparation involve stretching it tightly on a frame before priming, and applying gesso in multiple thin coats for an even surface. To establish a focal point, an artist can use techniques like the rule of thirds, lighting and contrast, leading lines, and de-emphasizing surrounding areas.
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Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
3. 3 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
Swiss painter and teacher Johannes
Itten was a pivotal member of the
Bauhaus, Germany’s most influential
art and design school. Founded in 1919
and closed in 1933 under the threat of
the Fascist party, the Bauhaus School
primarily focused on expressionist art,
design, and architecture. From 1919 to
1923, Itten was the main painter at the
institution and taught a required intro-
ductory course that focused on form
and color. The theories developed and
taught in this class are still practiced
by artists today and are very useful for
beginning artists as they learn to create
rich, realistic, and dynamic colors.
Itten’s color wheel was a departure
from the color wheels employed at his
time. Many contained too few or too
many colors, making it either difficult
to find the connections between hues,
or too complicated and rigid to facilitate
instruction. Itten’s wheel contained
twelve colors: the three primary colors,
the three secondary, and the six tertiary
colors.
Primary Colors are the building
blocks for all other hues, and cannot be
created by mixing any other pigments.
They are blue, yellow, and red.
Secondary Colors are each created
from two of the primaries. They are
orange, green, and violet. Like the pri-
mary colors, they are equidistant from
one another on the color wheel.
Tertiary Colors are formed by mix-
ing a primary and secondary color.
They are yellow-green, yellow-orange,
Newborn Child
by Georges de La Tour, ca. 1645, oil on canvas.
Collection Musée des Beaux-Arts, Rennes, France.
4. 4 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
red-orange, red-violet, blue-violet, and
blue-green.
The artist’s most notable impact on
present-day color theory was the asso-
ciation of certain colors with specific
emotions. His book The Art of Color
was a synopsis of his teachings at the
Bauhaus, and was groundbreaking
in its study of colors’ impact on the
viewer. Like other artists and theorists
before him, Itten studied colors scien-
tifically as well as artistically. What set
him apart from his contemporaries was
the use of psychoanalysis to inform his
theories. He looked at the way colors
impacted a person, as well as individu-
als’ perceptions of color.
To the artist-educator, there were
four “qualities” of a color: hue, inten-
sity, value, and temperature. Hue is
generally defined as a source color, one
of the twelve basic colors on the color
wheel. Knowing the root hue allows
one to mix the color that he or she sees
using a basic palette. Value is the light-
ness or darkness of the color relative to
white, black, and gray. Intensity is the
brightness or dullness of a color, often
determined by the amount of white or
complement has been mixed with it.
It is measured relative to the brightest
color wheel hue that is closest to the
color. Often the words chroma and
saturation are used interchangeably
with intensity. Temperature, to Itten,
was the idea of a color being “warm”
or “cool”—terminology still used by
artists.
Itten was also one of the first to
develop successful methods of creat-
ing striking color contrasts. His seven
methods were the contrast of satura-
tion, contrast of light and dark, contrast
of extension, complementary contrast,
simultaneous contrast, contrast of hue,
and the contrast of warm and cool.
Saturation relates to the degree
of purity of a color. The contrast of
saturation is the juxtaposition of pure,
intense colors and dull colors. This
Cafe Terrace at Night
by Vincent van Gogh, 1888, oil,
32 x 26. Collection Rijksmuseum
Kroller-Mueller, Otterlo.
5. 5 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
Virgin of the Chancellor Rolin
by Jan van Eyck, 1435, oil on wood, 26 x 24.
Collection the Musée du Louvre, Paris.
6. 6 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
can be seen in Georges de La Tour’s
Newborn Child as the women’s bright
clothes, illuminated by candlelight,
offer a sharp contrast to the dull back-
ground colors.
Contrast of light and dark is created
when, as the name suggests, light and
dark values of a color are juxtaposed.
The most obvious examples of this are
pen-and-ink and graphite drawings
as well as etchings and prints. You
can see this at work in James McNeill
Whistler’s Reading by Lamplight.
The contrast of extension, also
known as a contrast of proportion, is
based on the relative areas of two or
more areas of color, such as large and
small, or much and little. In Pieter
Brueghel’s Landscape With the Fall of
Icarus, this contrast is at work in the
juxtaposition of a large body of blue
water and a small patch of sky.
A complementary contrast exists
when two complementary colors (col-
ors that are opposite each other on the
color wheel) are placed side-by-side. Jan
van Eyck’s Virgin of the Chancellor Rolin,
the red and green motif (in the robe,
lectern, and angel’s wing) is Itten’s pri-
mary example of this contrast.
Simultaneous contrast occurs
when opposing colors are placed next
to each other, creating the illusion of
vibrations or shadows. In Vincent van
Gogh’s Café Terrace at Night, the use of
dark blue for the figures on the terrace
makes them appear to be shadows, pri-
marily because of the contrast between
the light orange-yellow and dark blue.
A contrast of hue is the easiest to
identify, as is created by the juxtaposi-
tion of different hues. Itten reasons
that the intensity of the contrast dimin-
ishes as the hues move farther away
from the primary colors. The most
extreme example of this contrast is
red/yellow/blue, and can be seen in
Alessandro Boticelli’s Lamentation Over
the Dead Christ With the Saints Jerome,
Paul, and Peter.
Reading by Lamplight
by James McNeill Whistler, 1858,
etching and drypoint printed in black
ink on ivory laid paper, 6 13
⁄16 x
4 9
⁄16. Collection The New York
Public Library, New York, New York.
7. 7 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
The contrast of warm and cool is
created when colors that are considered
“warm” or “cool” (as defined by Itten)
are juxtaposed. Warm colors such as
red, orange, yellow, and browns evoke
a feeling of warmth and comfort, and
are attractive to the viewer. As a result,
objects painted this color appear to
move forward. Cool colors, such as
blue, green, and grays, recede into
the background. Psychologically, Itten
found that they were associated with
sadness and melancholy. Many of the
great Impressionist painters employed
this contrast in their landscapes. In
Camille Pissarro’s work, red/brown/
orange in architectural features like
houses and churches are often jux-
taposed with cool skies, establishing
depth and perspective for the viewer.
When viewing works of art, most
viewers see these contrasts at work, but
do not know how to identify them. For
an artist, knowledge of the basic tenets
of color theory can help him or her
evoke emotion and leave an impact on
the viewer. And just as Itten’s methods
can be adopted to yield certain effects,
they can also be subverted to shock the
viewer and show subject matter in star-
tling ways. n
LEFT
Landscape with the Fall of Icarus
copy of original by Pieter Brueghel, ca. 1558,
oil on wood, 29 x 44. Collection the Musees
Royaux des Beaux-Arts de Belgique, Brussels.
ABOVE
Lamentation Over the Dead
Christ With the Saints Jerome,
Paul, and Peter
by Alessandro Botticelli, ca. 1495,
tempera on panel, 42 x 28. Collection the
Museo Poldi Pezzoli, Milan.
9. 9 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
For many artists, choosing a palette
can be difficult. Each poses different
sets of benefits and challenges, and it
can take time to learn to maximize a
palette’s effectiveness. A palette can
be made with as few as three colors,
and traditional painting is taught with
the rule that the primary colors red,
yellow, and blue can be used to make
all other hues. However, there are
several options for creating harmoni-
ous, visually pleasing paintings using
a variety of palettes. For some, using
complementary colors (those opposite
one another on the color wheel) offers
a viable alternative to a traditional
palette. “Using only two families of
color (complementary colors) will
naturally give your paintings strength
and harmony,” says Joyce Washor in
her book Big Art, Small Canvas: Paint
Easier, Faster, and Better With Small Oils
(North Light Books, Cincinnati, Ohio).
“An infinite number of colors can be
mixed with the hues in complementary
palettes.” Washor first began working
with a complementary palette more
than 10 years ago as a student at the
Woodstock School of Art, in New York,
when she took a class with painter
HongNian Zhang. “I was getting a lot
of muddy color mixtures, and I found
using a complementary palette allevi-
ated this problem--although it took me
about two years to really get the hang
of it.” The three different palettes she
uses are red/green, yellow/purple, and
blue/orange, which she employs when
working in both oil and watercolor. She
determines her palette based on the
overall mood of the scene or still life.
Washor now teaches several work-
shops a year on this technique, and
asserts that while it may seem simple,
the palette is actually quite complex.
“It’s the theory of the complementary
palette that makes it so effective. It’s
based on the idea of yin and yang,” she
says. “All aspects of painting can be
interpreted this way: value (dark versus
light); composition (up and down or
left to right); color temperature (warm
versus cool); color intensity (soft versus
strong); and color hue (green versus
red, orange versus blue, and yellow
versus purple).” The artist paints por-
traits, landscapes, and still lifes, and
now primarily paints miniature works.
“Small paintings have taught me the
art of careful color observation,” she
notes in her book. “An object may not
be immediately recognizable just by its
size, so the color has to be represen-
tational in order to identify it.” When
preparing a setup, she considers which
objects would fit in the color scheme
she wishes to work in—her favorite is
red/green.
10. 10 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
“In my workshops, the first thing
I do is have the students make a color
chart,” Washor says. “For example,
I lay out all the reds and greens if
that’s the palette we’re working with,
and have them mix them so that they
have an idea of the full range of colors
available.” Washor’s red/green palette
consists of chrome green, perma-
nent green light, Winsor green, sap
green, raw umber, bright red, chrome
orange, permanent rose, Indian red,
purple madder alizarin, blue black, and
Permalba white; her preferred brand is
Winsor and Newton. “I explain to stu-
dents that there are some colors they
aren’t going to get. For example, with a
red/green palette, a truly vibrant blue is
not possible. However, the blue you do
get will maintain the harmony of the
painting, and when the viewer sees it in
relation to the other colors in the piece
it will appear blue.” Washor also notes
that there seem to be a wider range of
grays when working with this type of
palette.
Jacob Stevens, an artist based in
Tucson, Arizona, began working with
a complementary palette for the same
reasons as Washor. “I am a profes-
sional video game artist, but I work in
traditional media such as oil as a way
Three Onions
by Joyce Washor, 2007,
watercolor, 3 x 4. Collection the artist.
Washor used an orange/blue palette
for this piece.
11. 11 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
of exploring my technique beyond the
digital realm,” he explains. “I had been
taught that the primary colors red,
yellow, and blue could be used to mix
any color. That just didn’t seem true
to me—the colors I mixed using the
primary colors were dull and muddy
compared to the premixed colors I
bought at the store.” About a year ago,
Stevens began experimenting with
alternative color palettes in an attempt
to save money on tube colors, as well
as to simplify his color mixing yet still
create colors that were full of life. Of
his several experiments, he has found
the complementary color palette to be
the most intuitive. “I’m also no longer
intimidated by the wide variety of col-
ors offered in art stores because I know
I can make any of those colors using
a complementary palette,” he adds.
Stevens classifies himself as a tradi-
tional realist painter, and, like Washor,
finds his palette suits a whole host of
subjects.
Complementary palettes are effec-
tive for creating rich color because
colors appear most vibrant when placed
next to their complements. In much of
Washor’s work the results of a comple-
mentary palette are many neutral tones
spiked with contrasting bursts of color
and bright highlights—highlights tem-
pered by their complements, which tie
the composition together even tighter.
Using complementary colors can also
draw the viewer’s eye to your focal
point. When mixing colors, Washor
Overturned Vase
by Joyce Washor, 2007, oil painting.
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THE COLOR WHEEL
AND BEYOND
recommends using a palette knife to
add colors in very small amounts. “If
you add too much paint and the color
is too far off, discard the pile and start
again, but save the pile for future use,”
she says in her book. “Ninety percent
of the time I find that it’s applicable
to another part of the painting. This is
another advantage of the complemen-
tary palette. Colors are so harmonious
that even mistakes are usable.” One of
the biggest challenges artists face with
this palette is training their eyes to see
the subtle nuances in color tempera-
ture and intensity. Working slowly and
taking ample time to study a subject
before picking up a brush helps an art-
ist become more familiar with these
subtle variations over time.
Overall, both Washor and Stevens
find that a complementary palette has
far more benefits than disadvantages.
“It takes time to learn to master any
kind of palette,” says Washor. Those
who are interested in experimenting
with a set of complementary colors
should be open, patient, and willing to
take risks as they discover new ways to
render their favorite subjects. n
Melton
by Jacob Stevens, 2007, oil painting
on board, 18 x 25. Private collection.
14. 14 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
STEP ONE
Arrange the colors on your palette,
from warm to cool as shown on previ-
ous page. We recommend that you
read our article: The Educated Palette
at www.theartistsroad.net first and be
thoroughly familiar with all the con-
cepts there. After you have done this,
mix the three secondaries from the
primaries in your palette. To save time
in the field, we suggest that you mix
these secondaries up in advance in
your studio.
Over time, you will arrange your
primary colors to your liking. As
shown here, I have moved my reds and
yellows around a bit to reflect my own
preferences, but I still keep the warms
and cools separated so that I can reach
for them without thinking about where
they are. Once you arrive at the optimal
arrangement, don’t change it and your
brush will always find the right color.
This green mix is perfect - neither too
blue nor too yellow.
Why mix secondaries when we
can easily buy them ready-made?
We believe that the only way to truly
understand color relationships is
to experience mixing them. The
confidence and speed you get from
knowing which colors will make what
mixed tone and how colors affect each
other will automatically improve your
paintings.
Green
secondary
mixed from
Cad. Yellow
Light and
Cobalt Blue.
Orange
secondary
mixed from
Cad. Red
Light and
Cadmium
Yellow Light.
Violet
secondary
mixed from
Quinacridone
Rose and
Ultramarine
Blue. To get
a cleaner,
brighter
violet, I added
Quinacridone
Rose to my
palette.
15. 15 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
Take your time when mixing the
secondaries! It is very important to
mix them so that they do not lean
toward one or the other primary.
They should sit right in the middle.
Compare them to the pure primaries
as you mix, using your palette knife
like a trowel or cake spatula to smooth
the colors into each other with a flat,
sawing motion. Then place them in
your palette where you can cross-mix
them to develop those beautiful grays.
STEP TWO
Once you have located your subject
and set up your gear, develop an
effective composition and get that
drawn on your canvas or board. If
you are unsure of how to achieve
this, refer to our article, The Artist‘s
Road Guide to Composition at
www.theartistsroad.net, for exact
information.
My painting subject in
Abiquiu, New Mexico.
16. 16 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
STEP THREE
Using your palette knife, premix
the colors in your landscape
subject. We suggest that you first
mix only the one or two largest
masses of color, which you
determine by squinting. As you
mix these base colors, constantly
compare them in value to your
subject. This process is made
simpler by the use of a sight-
through gray scale, as shown.
First match the actual observed
value of your major masses to a
point on the scale, and then mix
your color to match that gray
value, using a palette knife. Just
hold up your brush or palette
knife with the mixed color on it
in front of the scale and adjust
it until it matches the value you
have determined is correct.
You will want to use the gray
scale for every plein air painting.
To modify it like the one we use,
see, Perspectives No. 86, Hit the
Right Values Every Time. In this
painting, one of my main masses
is green, which is a secondary
color, and the other mass is violet,
another secondary, so this is an
easy-to-understand example of our
basic principles.
ABOVE
My gear and
finished study
ABOVE
Getting the values right
with the sight-through
grey scale.
17. 17 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
6
STEP FOUR
Placing your two piles of accurately mixed base color in your
palette as shown, start blending one into the other. Use the
flat of a large palette knife with a sliding, sawing motion
to do this. Move a small amount of color A over to color B
where you’ll get some of that mixed in and then work that
back toward A again. Repeat this operation until you have
a gradated set of colored grays that represent all the various
tones of the two colors as they change in hue from A to
B. You have just harmonized your two base colors to each
other!
Premixed colors on my palette.
18. 18 www.artistdaily.com
THE COLOR WHEEL
AND BEYOND
STEP FIVE
Let’s take this a step further and create some more harmonized
grays on either side of our two main colors. I like to use
complementaries or even tertiary colors to do this, so that I can
get a nice range of cools and warms. In this example, I’ve used
Cadmium Orange to the left of A, and Alizarine Crimson to the
left of B, and mixed them with my knife as above. Look at those
beautiful grays! Joaquin Sorolla said that “the money is in the
grays”, and he was right. 90% of our paintings should consist
of colorful grays such as these, with only touches of pure colors
here and there to bring it all together. These are now all the colors
I will need to complete my painting, and because they all share
something of each other, they are all in harmony together.
STEP SIX
Paint the entire picture with only
these colors, not adding new
colors after this point. They will
stick out like a sore thumb. If you
run out of a color, stop and remix
it the same as before. Over time
you’ll get a sense of how much
paint to mix up front. My original
two base colors now work as pure
hues, while all the other mixes are
gradations of those main tones. It
is a simple matter at this point to
add white to any of these colors
to effect a tint or highlight, or add
black to make an accent. Note:
when you need a large quantity of
highlight color, start with a pile
of white paint first, and then add
small amounts of your premixed
color to it, not the other way
around. You’ll avoid wasting lots
of white paint this way. n
Where I used the
premixed colors in
this painting.