-Paint pigments were limited to the classical painters. New discoveries in Chemistry and visual perception enabled painters to use colors that were not possible before.
-Science of perception (Colors are understood only in relation to each other)
-New Pigments (Prussian blue, cobalt blue, chrome yellows, and cadmiums)
-Plein-air Practice (Collapsible paint tube patented in 1841--outdoor painting)
-Some artists insisted on completing their paintings entirely outdoors (ex: Stanhope Forbes, "Fish Sale" to the right) claiming that it was "essential to capture the truthful effects of light and atmosphere." Others were content with touching theirs up in the studio.-Glaze painting-achieves more depth of color and a sense of glowing.
-Walter Everett ("The Loneliness of Peter Parrot" below) used broken color-placement of adjacent strokes of contrasting hues, which mix vibrantly in the eye.
Chapter 4 Elements of Color
-Sir Isaac Newton proposed wrapping the spectrum around the circle by merging the two ends of the visible spectrum, red and violet. (Tradition Color Wheel-below)
-The hues gradate smoothly into each other (fig 1), but the 6 color diagram is traditionally accepted among artists-ROYGBV (fig 2).
1-Primary Colors: Yellow, Red and Blue (Any color can be mixed from these colors)
2-Secondary Colors: Orange, Violet and Green (created by mixing primary colors)
3-Tertiary Colors: made by mixing full saturation of one primary color with half saturation of another primary color and none of a third primary color.
-Complementary Colors: YV, OB, RG, etc. Any color positioned directly across the wheel from another. Brown and Gray are created by mixing complementary colors.
-Hue: Where a color appears around the edge of the color wheel.
-Chroma (Saturation): How pure or grayed down the color appears. The perceived strength of a surface color, seen in relation to white. As the colors swatches progress outward from the hub to the rim of the wheel, the colors increase in chroma. At the center is neutral gray (images below-Yurmby Wheel and Munsell System display this).
-Value/Lightness: Below, Munsell's Color Space/Solid shows all possible colors according to these three dimensions above: Hue, Chroma and Value.
-Yurmby Wheel: Placing RGB between CMY
-Munsell System: 10 evenly spaced spectral hues. Red on the left. (image below)
-Digital Primaries: Cyan, Magenta and Yellow (With Black (K), it's known as CMYK).
-Digital Secondaries: Red, Green and Blue (RGB). (Primary colors of LIGHT, not pigment)
-Local Color: Color of the surface of an object as it appears close up in white light.
-Grays and Neutrals: Mix complementary colors to make gray, then place those color accents near the gray, and they'll harmonize, because the gray contains an element of each. In painting below, Gurney used cad red and cobalt blue in the sky, then used those colors as accents in the boats, car and sign.
-Green
-vary mixtures of green at both small scale (leaf to leaf) and large scale (tree to tree)
-mix a supply of pin/reddish gray to weave in and out of the greens ("smuggling reds")
-prime the canvas with pinks or reds
Chapter 3 Light and Form
-Grouping planes:
-1: Top planes
-2: Side planes in lighter halftone
-3: Front planes in darker halftone
-4: Side planes in shadow
-Hard light--sharp edge
-Two side-by-side lights (headlights)--two side-by-side shadows
*The edge of the shadows softens the further away the object casting the shadow gets. (ex: cast shadow from a tall building will gradually go from sharp to very blurry as you follow it from the base to the top.
**In bright sunlight, a newspaper in shadow is darker than a black shirt in the light!
-Cast Shadows:
-Cast shadows are flooded by various sources: blue sky, clouds, buildings, other bright objects
-The nature of the cast shadow is closely related to the nature of the light source.
-Soft light--blurry edge
-Frontal Lighting:
-It's one of the few times when outlines actually appear in real life. The outline is really the thin fringe of shadow that appears at the very edge of the form. It varies in weight and proportion to the width of the plane that is turning away.
-Contre Jour:
-A type of backlighting where a subject blocks the light--standing against a bright sky or a lit doorway. SILHOUETTE
-Colors lose saturation
-Reflected Light:
-upward planes: cool, downward planes: warm
-reflected light falls off quickly (unless it's large, like a lawn)
-On a sunny day, vertical objects have two sources of light: warm ground light and blue sky light
-Can be higher in chroma if the the object reflecting the light is high in chroma.
-Spotlight:
-cast shadow in spotlight should match the color of the other shadows (ambient)
Chapter 9 Surfaces and Effects-
-Transmitted light: Sunlight shining through semitransparent material is richly colored; light that bounces off the surface is fairly dull by comparison. (Stained-glass window effect)
-Subsurface scattering: (Orange, fingers, earlobesm glass of milk...)
-Translucent flesh
-Small forms
-Backlighting
-Color zones of the face: (more pronounced in men)
-Light golden
-Reddish
-Bluish, Greenish or Grayish
-Hair: Just state the largest masses! Use large brushes
-Annular Highlights: highlights don't just form in the center of large objects; they can form into a circular pattern of scratches, such as on a cookie sheet. The object situated perpendicular to the light source will reflect the light.
-Annular Highlights: highlights don't just form in the center of large objects; they can form into a circular pattern of scratches, such as on a cookie sheet. The object situated perpendicular to the light source will reflect the light.
Chapter 2 Sources of Light
-Direct Sunlight: Three sources of illumination:
-The sun
-The sky
-Reflections from lit objects
-Night Condition:
-Moonlight-blue/gray, and Orange flame-based lights (in the olden days)
-Electric lighting introduced more light options into the night scene
-Compose scenes with at least 2 sources of light in mind. It makes the scene more interesting
Chapter 6 Color Relationships
-Monochromatic
-Warm and Cool (Cut the color wheel between green straight through violet)
-Additive Color Mixing (when two different colored lights (not pigment) on a form mix at the intersecting points) The mixed color is higher in value (lighter)
-Complementary Shadow Colors: When you have two light sources of different colors shining on the same form, the case shadow from each source will be the color of the other source. (Cast shadow from cool light source will pick up the warmth of the warm source on the other side of the object)
-Triads: scheme composed of any three basic colors (but all don't have to be full chroma..cool reds, blue-greens and dull yellow for example)
-Color Accent: Throwing a bright color into an otherwise dull and monochromatic scene.
Chapter 10 Atmospheric Effects
-Sky Blue: The sky is generally duller/grayer around the vicinity of the sun in comparison to he area opposite in the sky from the sun, which is more saturated and blue/violet.
-As we move our view down from zenith (the "dome" apex of the sky, at sunset and sunrise) to horizon, it usually gets lighter because we're looking through more atmosphere
-Atmospheric perspective: Through ILLUMINATED atmosphere. If it's cloudy, then it will just get darker.
-darkest areas are affected first, becoming lighter and bluer
-warm colors become cooler and duller
-White objects: they become warmer in color (instead of cooler like dark objects) ex: SUN becomes instense orange or red, Clouds also become darker orange.
-Reverse atmospheric perspective: Entire scene gets warmer as it goes back in space.
-Golden hour lighting: Upper section of sky is deeper blue because the low angle of the sunrays scatters more blue light rays. Shadows of golden objects appear more blue than usual
-Fog, mist, smoke, dust: contrass drops off rapidly because sun can't penetrate deep fog layer.
-Skyholes: just a touch darker in value as the light from behind passes through the foliage. Paint leaves first, then punch in the skyholes.
-Cloud shadows:
1: edge between light and shadow must be a very soft edge.
2: size and spacing of cloud shadows must be matched by clouds visible in sky.
3: shadow area is darker and cooler than lit area (but not as blue as on a clear day)
-Snow: picks up colors of everything around it, especially in shadow. Cast shadows take on color of sky, whether it's blue, gray, reddish, etc
-Water reflection and transparency:
-at steep angles, the water appears darker
-at shallow angles,water becomes almost like a mirror, light mostly bouncing/reflecting
-reflections are slightly darker than objects themselves.
Chapter 11 Light's Changing Show
-Serial Painting: Several plein air paintings of same subject under different lighting conditions.
*The colors that you mix for a landscape painting often owe more to the particular conditions of light and atmosphere than to the local color of the objects themselves.
-This practice helps you become more aware of the small nuances of each time of day
Chapter 8 Visual Perception
-Rods detect li'ghtness and darkness (value)
-Cones detect colors
-these receptors carry the information separately all the way to the part in the brain that processes it. crazy!
-Moonlight is actually reddish, but our eyes perceive it as blue. Our cones are practically disabled at night (can't see color), so our rods kick in, only seeing the flat value of objects.
-Edges and depth: to suggest depth and to create a center of focus, it's good to blur the edges of objects. This is what separates objects onto different planes. At night/moonlight, soften edges, because we can't see details in the dark
-Color Constancy: we automatically interpret local colors regardless of effects of colored illumination
-ex: a firetruck will always look red, no matter whether we see it lit by orange light of fire, blue sky, or blinking light of ambulance. This may be why students often struggle to place the correct color in a scene affected by different lighting, because their mind knows it should be a certain color.
Healing colors: violet, purple, blue, turquoise, soft greens and oranges, etc
Chapter 5 (96-99; 104-107) Paint and Pigment
-Lightfastness: resistance to fading from sun exposure
-Fugitive: susceptible to fading
-Colors to avoid!
-alizarin crimson will eventually fade
-yellows, magentas and violets tend to fade (Depends on each individual pigment)
-Look for paints with ASTM ratings of II or I (if doesn't have rating, probz not lightfast)
-Keep art in dark place
-Use UV filtered glass
-Don't hang in direct sunlight
-Warm underpainting: It will force you to cover the canvas with opaques. especially helpful for paintings of skies or foliages, or any painting with BLUE or GREEN tonality.
-With oil paintings, it's best to do the underpainting with oil, instead of acr-ylic gesso, so the painting doesn't "sink in"
-Sky panels: Paint the sky gradient first, without clouds or other details first, allow it to dry, then rub it with a thin layer of medium before painting the clouds, trees, and other details over it.
*Store paints in jars so they don't dry out
Chapter 7 Premixing
-Color strings: Include 4 values of each hue: from which you can mix whichever color value you need
-Gamut mapping: end points are the subjective primaries, and the middle of the points are the subjective secondaries. Choose your gamut and stay within the range.
-generate new schemes by rotating the gamut shapes around the color wheel.
-Atmospheric gamut (analogous color scheme) : more moody and subjective
-Complementary gamut: long diamond shape.
-mood and accent gamut scheme (Atmospheric gamut with complementary dash from other side of wheel
Mixing gamut: choose starting colors (endpoint subjective primaries) and mix several value strings of each hue. Refrain from reaching outside gamut
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