Week of 11/16

Hi all,
Sorry for not posting earlier!  This week you are to take a couple of simple, brightly colored objects--preferably with a more or less single local color.  Then you are to put them under a strong light source, arrange them in an interesting way, and paint them realistically.  Treat them the same way we treated the ball and flip-flop.  Don't worry about detail.  Edit out any detail that disappears when you squint at it.  Remember that color mainly behaves in the same way in real life as it does in the color scales, with the exception of reflecting color.  Just do the best you can!  Good luck!

P.S.--Fill a sketchbook page!

Week of 11/9

Hi All,
This week you are to choose a monochromatic object--it should be a bright color, not a dull one--and paint that object in the same manner as the "eggs" that we painted in class.  Whatever object you choose, draw it first by outlining the color/value sections--the shifting from light to dark--and fill in those different sections with the appropriate pure hue, tint or shade.

First decide where the pure hue will go and carefully fill in the whole section.  Then mix and fill in tints and shades as needed.  Remember that the pure hue will follow the same rules as any color: the brightest version of it happens in it's most natural form.  Yellow is very light, red is somewhere in the middle, blue is somewhere in the darker end of the scale.

One last thing: your object should FILL a page of your sketchbook!

Week of 11/2

Hi All,
This week we are starting to explore color!  Below is an explanation of Color that I call "Color Notes."  Some of the info in it is stuff that we discussed in class, and some is new.  Read it thoroughly before making your color scales.

Color breaks down into three parts:

1.                   Value—the lightness or darkness of a color; how close is it to black or white?

2.                   Hue—the title of a color: yellow, red, blue, brown, etc.

3.                   Chroma—the strength or intensity of a color; also called saturation.

So, if any one of these elements changes from one color sample to another, then those two colors are technically not the same.  For instance, if the value and hue are the same, but the chroma is slightly more or less, then the colors being compared are different.   In the same way, two colors can actually be closer in nature than they initially appear by having the hue and chroma similar but the value much different.

Black and White

It is also important to note that black and white hues theoretically do not have chroma, only value.  Therefore they cannot be considered true colors (even though we tend to refer to them as such).  A color mixed with black is called a shade, color mixed with white is called a tint, and color mixed with a combination of black and white (achromatic gray, explained below) is called a tone.  The nice thing about black and white not being true colors is that a tint or a shade of any color is a change to that color’s value without changing that color’s hue.  It will also change the color’s intensity/chroma by diluting the pigment in the paint, and therefore making it less chromatically saturated or intense.  The density of a pigment suspension in oil paint is pretty much directly related to that color’s intensity.   Because of this, a color is at its highest intensity straight out of the tube, so a color mixed from two different pigments cannot be as chromatic (theoretically speaking) as the pigments on their own.

Chroma at Value

Another thing that you must be aware of is that each hue reaches its highest intensity at a different value.  Yellow is at its highest saturation at a very high key, whereas blue and violet are at their highest at a very low value.  Green, I think, is surprisingly high, similar to orange, which are both a little higher than red (though not much).  Earth tones tend to come from either broken prismatic (pure) colors or dark shades of high key hues.

It is worth noting that as shades of yellow darken—with more black added—the color that results looks green, even though the hue is still technically  yellow and hasn’t changed at all.  As more black is added to orange—without changing the hue—it gets brown.

Grays

There are basically two types of grays: “achromatic” grays and “chromatic” grays.  Achromatic grays are literally grays without any color, that is, they don’t have hue and very little intensity, only value.  They are grays made by mixing black and white.  Chromatic grays are, not surprisingly, grays with color, or grays that involve mixing complimentary colors (and possibly white and/or black).  The range of chromatic grays is almost infinite, and a color is considered a chromatic gray as long it is at least slightly broken, or mixed with a compliment.  You can have a color that is mixed with equal parts of red and green to make a very broken color that is close to the center of the color wheel, or one made of very unequal parts closer to the edge of the color wheel.  For instance, any blue that has even the slightest bit of orange in it is really a chromatic gray, because it is at least slightly broken by the orange.  It could still look extremely blue, especially if it’s put up against a much more broken or contrasting color, but it is a “gray” nonetheless.  So, paintings that look intensely colorful are often merely made up of chromatic grays.s

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So, this week you are to make 6 color scales--one for each primary and secondary color (so red, yellow, blue, green, orange, violet).  If you have multiple versions of a color, if you have more than one red for example, choose the one closest to prismatic red. 

Each scale is to be 7 boxes, with white as the next step up from the top and black being the next step down from the bottom, just like we did in class.  First, you are to choose where the pure color hue  would fit in the scale immediately out of the tube.  Then, mix white into the hue to match the ascending color tones, and mix in black to match the descending color tones.

So one of the boxes will be pure color with the rest being tints or shades as needed.  Make sure each step is the same as all the rest!  

This project is to be done in your sketchbooks, so be sure your page is dry before you close it!  Feel free to fit several color scales on each page.  Neatness  counts!  Make the edges of all your boxes clean and sharp.  Good luck!