Colour Theory Explained
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- Regina Higgins
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1 Colour Theory Explained And Why all artists need to understand it. The beginnings of how we now understand colour Sir Isaac Newton discovered the spectrum in the 1660 s The colour (similar to how we see a rainbow) is what happens when white light is passed through a prism.
2 The Colour Wheel The center of the wheel = red, yellow and blue. These are called the primaries. The adjoining long triangles = green, orange and purple these are the secondary colours (made up of mixing two primaries together). On the outer circle you see the primaries and the secondaries, and the colours in between are called tertiary colours.
3 3
4 Complimentary Colour There are 3 primaries red yellow and blue The compliment of any one of those 3 colours is the colour made up of mixing the other two primaries. So the compliment of yellow is the colour made up by mixing red and blue -- orange. The compliment of red is the colour made up by mixing blue and yellow = green The compliment of purple is the colour that is Not used when mixing purple (red and blue) - yellow. With this knowledge you will make better paintings.
5 Analogous Colours Those colours located close together on a colour wheel. Any four colours around the wheel will make an analogous palette. Paintings worked with an analogous palette tend to be more harmonious and restful.
6 Warm and Cool Colours The simple wheel in this image (made up of primary and secondary colours) shows How the colours on the wheel can be seen As warm and cool colours. Warm colours are those that are bright and Warm red orange and yellow they appear to advance towards us. On this wheel the yellow Green would be just in the warm half. Cool colours green blue and purple are used in painting to give distance, as they seem to recede.
7 The colour wheel can be divided into ranges that are visually active or passive. Active colours will appear to advance when placed against passive hues. Passive colours appear to recede when positioned against active hues. Most often warm, saturated, light value hues are "active" and visually advance. (eg reds and yellows) Cool, low saturated, dark value hues are "passive" and visually recede. (eg blues and purples)
8 So to Re Cap The primary colours are the ones that cannot be made from mixing other colours together. Secondary colours are made by mixing two primaries together. Warm colours seen to advance Cool colours seem to recede. The complimentary of red is = The complimentary of blue is = The complimentary of yellow is=
9 Bluebells at Alston Hall This painting full of the soft greens and blues of the bluebell woods in Summer in completed in the analogous colour scheme not the opposites On the colour wheel but a selection of 4 colour which site side by side on The wheel. The overall effect of such a colour scheme can be much quieter And softer that paintings completed in opposite complimentaries. Autumn Skidaw pastel sketch This sketch used two core colour theories: Complimentary colour on the orange/blue theme but mainly on the yellow /purple theme. It also illustrates the cool colours receding and the warm ones seeming to advance colour temperature.
10 Bobbie 16 x 20 Golden Retriever A hint of complimentary colour balance gold and purple. Note the overlays of cool lilac over the gold background which echo the gold in the coat the shadows on the coat being cooled down with a purple grey. The background technique by blending two complimentary colours together, they nullify the vibrancy of the other and a more subtle colour is produced Perla Spanish Mastin 24 x 19 Complimentary colour does not always look bold and dramatic. Perla s lovely Brindle coat had a hint of gold/orange so the white fur when in shadow benefitted from a touch of blue grey. The background was graduated using the blue grey at the top to show off her head.
11 Sol e Sombre 19 x 24 I had fun with this portrait. It is built around the idea of using the gold /purple colour palette. Her clothing and the background being totally tones of gold and yellow. Tarifa 19 x 24 This one is interesting re colour theory. The background is built with a succession of layers and no blending with anything other than the pastel. Lilac and gold layers with a sharp blue door frame which in itself is complimentary to his face. But the main colour balance is in the robe which is built again from layers of lilac/purple and gold/cream
12 This is a good description of how some pastel manufacturers make their expended range of colour eg Rembrandt. The start with one base colour and add white in varied amounts so they eventually get to a light tint of the original colour. They make the shades by doing the same with black to the same base colour.
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