COLOR

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COLOR
COLOR
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Y
O
G
R
B
V
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informal definitions
HUE a particular gradation of color. It is
another word for color.
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PRIMARY secondary
RED
PURPLE
BLUE
GREEN
YELLOW
ORANGE
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Primary Red, Yellow, Blue. All Colors come from
these three colors. Plus black and
white.Secondary These colors are made by
mixing two primary colors.
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COLOR WHEEL
HUE
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R o y G B (i)V

• Red
• Orange
• Yellow
• Green
• Blue
• ( Indigo- which is an unseen color in the
  spectrum. It is a type of Blue-Violet)
• Violet ( purple)

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R
V
O
B
Y
G
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Paul Cézanne, Still Life with Green Melon,
1902-06 BW
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Paul Cézanne, Still Life with Green Melon,
1902-06 CO
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Monochromatic
- using only one color
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Picasso, Guernica, 1937
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Mark Tansey, The Bricoleurs Daughter, 1987
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Gunther GerzsoSouthern
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MichaelangeloSistene Chapeldetail (medallion)
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Monochromatic medallion
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Barnett Newman, Yellow Painting, 1949
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Gunther GerzsoOpposite
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Mark Rothko, untitled, 1968
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Complementary Colors

• opposites on the color wheel

• unsettling, hard to look at, but they go together

When Complementary colors are mixed together they
make brown.
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Church, Frederic EdwinRainy Season in the
Tropics1866, Oil on canvas, 56 1/4 x 84 3/16 in.
The Fine Arts Museums of San Francisco
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Robert Delaunay, Circular Forms, c. 1912
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Gunther GerzsoPersonaje
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Barnett Newman, Dionysius, 1944, 67x49in.
Complementary colors
Analagous colors
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Matisse,Seated Riffian,1912-13
Analagous colors
Complementary colors
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Monet, Impression Sunrise, 1872
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Analogous Colors

• neighbors on the color wheel

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Van Gogh, Sunflowers, 1888
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BUT WHAT ABOUT BLACK AND WHITE?

• Black makes a color darker- a shade
• White makes a color lighter- a tint
• Black and White are Non colors- they modify a
  color.
• Black and White can create value in colors.
• Black and white make gray so mixing both with a
  color will gray down a color.

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Where does color come from?

• A ray of light is the source of all color.
• Without light, color does not exist.
• Light is broken down into colors of the spectrum.
  You can often see a variety of colors in a
  bright beam when you look at something like a
  rainbow.

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Pigments

• Pigments are substances that can be ground into
  fine powder and used for adding color to dyes and
  paints.
• Pigments were originally derives from animal,
  mineral, and vegetable sources.
• Examples
• Purple from shellfish
• Red dye from the dried bodies of scale insects
• To create our own color wheel, we will be mixing
  different pigments together to create all the
  colors in the color wheel.

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History of Color

• Colors are often symbolic.
• Lets talk about what role color has played in
  different times in history.

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In China

• Yellow has religious significance and is still
  the Imperial color today!

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In Greece and Rome

• Red was believed to have protective powers.
• Purple was restricted to use by nobility.

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The Egyptians

• Adorned walls of tombs and temples with brilliant
  colors of blue, tangerine, and green.

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In the Italian Renaissance

• Colors were vibrant reds, greens, golds and blues.

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In the Rococo period

• Tastes became very feminine, colors became less
  vibrant.

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In 18th Century England

• There was great elegance. Colors were rich,
  showing a strong Chinese influence in the use of
  red and gold.

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VALUE
TINT adding white to a hue, or a hue to white
SHADE adding black to a hue or vice versa
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A shade

• Color plus black
• Clue Its darker in the shade- we shade with a
  pencil to put in the darker parts on a white
  paper.
• Navy blue is a shade of blue
• Maroon is a shade of ___

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A Tint

• Color plus white
• Pink is a tint of red
• Lavender is a tint of violet

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And what about brown?

• Various browns are made by mixing all three
  primary colors together. Red, Blue and Yellow
  make brown. Mixing complements together will also
  work because you are basically mixing all three
  primaries with those two colors. Orange (R,Y)
  mixed with Blue will make a brown. Black and
  white can modify your browns to make them lighter
  or darker.

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Robert Delaunay, Circular Forms, c. 1912
a very aware use of contrasts of complementary
analogous colors AND shades and tints
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Franz Marc, Fighting Forms
SATURATION brilliance or depth of color
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LUMINENCE
LUMINENCE
LUMINENCE
LUMINENCE
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Monet, Impression Sunrise, 1872
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Monet, Impression Sunrise, 1872
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Ellsworth KellyRed, Yellow, Blue I, 1963a/c, 3
joined panels, 90" x 90" overall
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Ellsworth KellyRed, Yellow, Blue I, 1963a/c, 3
joined panels, 90" x 90" overall
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Raphael, Madonna dell Granduca, c.1505 33x22in
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Raphael, Madonna dell Granduca, c.1505 33x22in
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Triadic Color Schemes
NOT JUST ANY 3 COLORS
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Raphael, School of Athens, 1511
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Ellsworth KellyRed, Yellow, Blue I, 1963a/c, 3
joined panels, 90" x 90" overall
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Raphael, Madonna dell Granduca, c.1505 33x22in
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Also note countershading
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COLOR CONCLUSION

• Color can be an important part of an artworks
  impact notice it!
• Color can be optimized analyzed for greatest
  effect

• Timbre in music is considered to be analogous to
  color in painting some kinds of harmony and
  scales are also considered to be analogous to
  color in painting. They are DIFFERENT try not
  to confuse them.

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Color Wheel Project
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Color Wheel Project
Students will design a Color wheel Criteria Studen
ts will use an original design Students will use
the original color, 2 shades and 2 tints The
color wheel will be put in the correct order The
each color on the color wheel will show its
complementary color.
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Examples