Transcripts
1. Introduction: Hello, I'm Professor Jennifer Moore had Welcome to my class and learning about color for fine artists. It's just not limited to fine artists. If you're a graphic designer, interior design, or even into advertising, this class will be helpful for you as well. This class is not really intensified just for color theory because there's just volumes of books on that. But as touching base, sudden lunch, you get an idea of like color does for an artist. First of all, it has all to do with light. It has to do with a sensation, and it has to do perceived color. So I go through a whole maze of things and I can so excited to share these with you because I've colors like my ultimate favorite. So I share my art work, other artists and really go through the spectrum of learning about color. I start out with the basic color wheel, which you've probably done that a million times o now, this is really learning about also the acrylic paints and what it does and how you can mix these together to make effective colors and how to use them effectively. Three, the color theorists, which is looser, Albert's, Johannes Itten. Fabulous things have learning everything of the psychology of color to the color acts. And the wonderful mythologies that didn't have in the seven contrasts of color theory. We do fun exercises which I enjoy doing, and we do an ultimate wonderful project of learning. Really have a color, mix and analysis color, as well as creating something in your own world. Join in, lowering the next segment is my art materials and then jump right into it. It's something that you really need to start from beginning to end to really get the whole overview. And I know you're going to have fun, enjoy it. I look forward to seeing you.
2. Art Materials: Art materials, the art materials that you're going to need are gonna be some acrylic paints that I'll talk to you in just a few minutes about. But there's other things that you're going to need to work with these paints. For instance, you're going to need a palette. They have plastic ones. I prefer to say irregular paper plate throw amount after you use it. So you don't have to be cleaning everything all the time and pretty inexpensive. A surface to paint. I like this. It's acrylic AAPOR. There's only ten sheets in here and there'll be plenty for the class. It has a linen finish to it, but it has the surface to it that it's thick enough, almost like the canvas, very thick, that'll be able to maintain and hold the paints very well. And a water container. You can use plastic containers. I like this one because you can hold your brushes in there if you want to. And it also has this red thing that you can clean off your brushes as if you want to really get going in this. This is pretty inexpensive as well. And the medium that you want to work with, I like this liquid txt hits a gloss varnish instead of just water. We add this to it as well, so we'll keep that wonderful intensity of your paints. Let's go to a brushes. I was gonna show you mine. Obviously they are so used to tell what they are, but I have a chart up here to show you. There's different kinds of brushes as you can see here. But for this class, nice realm brush and a bright. You really don't need it flat or Filburn because he holds so much painting them. Brushes come in many sizes. I'm going to suggest for you to get a six or eight in the round, as well as that in the bright. And I kinda like this that I found that these are great for using with acrylics and has different sizes to work with inexpensive and great for the projects that we were working on in this class. Let's start with the paints that you'll be needing. Start with the black and white, which are not colours for we're gonna be needing this for the values. Titanium white as well as Mars Black. There are different types of paints that I use. I use Holbein and liquid texts as well as Winsor Newton and these are the three of my favorite to work with, but he find others. Please don't use the basic colors or inexpensive student colors because they don't have enough pigment in there. Certain colors that I've chosen for this class so that you can really see the colors and the mixtures of I'm closer to the colors that we're really trying to achieve. You want some Bragg's or paper towels and definitely need to have this. Almost forget. Now I'm just gonna take a cadmium medium, red. And I'm going to place a little bit on my paper plate here. And notice I just use a little bit because I remind you through the whole class on this is much easier to use a little bit and add more to it than putting a lot out there and not being able to use it. If that happens, you can get these little inexpensive plastic containers like a dollar stores and stuff, a whole bunch of these. And if that does happen, you can see with me a federal eventually dry out in these, but it will save usually for a couple days. So if that happens, this is a nice resource to go to to use these. So now I've got my medium red over here and I'm going to get in a medium blue, which would be your ultramarine blue. Right here is my ultimate glute move. And if you ever have problems opening these is to take a pair of pliers will help this as well. It's pretty easy to rip these apart too. So it's pretty much a nice blue and red that you wouldn't say oh, yeah, that that's it. That's it. And I'm just going to take one of my brushes and I'm just going to mix it with water. I'm going to take a little bit of the red and bring it out here. And I'm gonna put that right over here as well so you can see it. You say transparency. The more water I add, more transparent that color is. Can you see that? So I'm going to add a little bit more to this. And now I'm going to add just a touch of blue to this. And this should make my violet, correct? And why does it make this color? This color is kind of a brown coat, but if I try the other way with this, maybe I'm not mixing it right. But where you'll be so frustrated with this sometimes you think, well, I don't know what I'm doing half the time, but she'll find the more you practice with this, the easier it becomes and you'll be very, very comfortable with it. I'll start out with my glue. And this blue has a nice transparency too as well. A permanent rose that we'll be working with as well. And we're gonna put this right next to my red. You'll say, wait a minute, that's kind of a pink color or magenta looking color. And that is correct. So going back to this M60, my blue, and then adding a little bit of that red to it. Even I've got more blue in there. A little more red to it. It looks more like a blue violet there, but it has a very dull quality to it. And as we learn more about these colors, you'll understand why this occurs. So I'm gonna take this ultramarine blue and I'm going to make some of this permanent rows with this. And notice my color over here, Whoa, that truly is a violet. By add more rows to this color, we really get a nice red violet. So we're gonna do a lot of mixtures with this and get closer to our colors on our colour wheel here, the colors that you'll be needing, cadmium red, quinacridone, red. Don't have credit Macedon red. You can use a permanent rose, but I prefer the quote, aka don't read KVM, yellow hands a yellow, civilian blue, ultramarine blue, and fallows cyanide green. If you don't have any chromosome just starting out, this is a good resource that I found and this is by Winsor Newton. And it's a set that's called the Galleria acrylic paint, their smaller tubes, you get your yellows, Jared's your blues and the green, the nice additive or the ochre and your umber colors. You're white. And all you really need to do to add to this would be your Mars black. So I'll see you in the next section because we're going to be learning about the basics of color.
3. The Basics of Color: The basics of color, this is going to be very important to use an artist in the visual arts, color theories of body, of practical guidance to color mixing and the visual effects of a specific color combination. There also definitions or categories of colors based on the color wheel. Primary colors, secondary and tertiary. What is colored and fine art? Well, colorant finiteness, subtractive color that you really have to understand how it mixes in works for an artist. And we'll start with the color wheel and you think, okay, I've seen that forever. And we're gonna take a step further and really understand what the importance of the color wheel is. Start out with the color wheel for some reason, but yellows always at the top. So let me just show you other types of colour wheels just to get an idea about what we're really looking at. I've just chosen three color wheels, but I haven't consistent with the blue on the right side. Now look at each of these, but let's look at them a little more carefully. Let's look at the color red, violet, violet at the bottom here you can see it on the first one on the left. I'm going to, let's try to compare it to the next one, and then the third one on the right-hand side. And really take your time to say, wait a minute, these colours don't match. How can these be the color wheel? Yeah, see, this is where it gets really confusing. So I'm going to try to simplify it and then make you confident and how to look at color. Let's try another one. Let's look at the blue and the blue on this color wheels on the right side. So let's start with the left one. Right, and the other one. And what a variation. The one in the middle has such high what we call intensity because it has a purity of color in that one. Where the one on the right starts to lose its intensity and feels dull. And the one on the left almost looks like black has been added to it. And these are things I'll be teaching you so that you'll be able to distinguish the differences. Let's go back and look at the colour wheel we were looking at earlier. This color wheels by Johanas spin, very famous color theorist. We're gonna get something just as close as this, but we're going to have it that it's already printed like this one that you need for class is by Grumbacher called the colour wheel. What I like about this color wheel, you can hold it in your hand. You can also place it up next year work to kind of get an idea of variation in contrast with the colors, if you see on the top with the yellow, down below is a blue, And now below there is grain. So that mixture of yellow and blue is great though you can also change the dial on this, as you can see in this one, you have green on top mixed with Blue is a blue grains. The back of this also helps you with the different variations of colored mixtures and tense and shades describes a different variations of what's on the color wheel. Gonna name nice. Yellow on top, yellow, orange, primary colors. Always first, it's not orange, yellow, but it's yellow, orange, orange, red, orange, red, red, violet, violet does not purple. It's violet. Purple is introduce a little bit later, but Violet is the correct terminology. Blue, violet, blue, blue-green, green, and yellow green. Let's start with the primary colors. That's yellow, red, and blue. Those are the colors and all the other colors are made from. Now, why is it when we mix red, blue, and yellow together, it produces a brown color. We call this neutral. This is a painting process. These are acrylic paints that we're mixing together. There's additive and subtractive. There's additive when it's dealing with lights. Subtractive when you're dealing with printing and painting. If you look at this more closely, you can see on the left with the lights as a merged together of what colors appear. This would be similar to what you're looking at a computer screen or a TV screen. When you're dealing with printing, you only have three colors. And it says when they mix them all together to black, the CMYK, the yellow magenta kind. But they have an additive, like when you're printing is you're adding the color black, which is called a true black. Why did they call that a true black is because black doesn't really exist in nature or color theory. Black is neither. A colored, ignores white. Black as the absence of all colors were white is a combination of all colors. What's the difference in the printing process versus the painting process is imprinting. The colors are printed on top of another. Therefore they're not mixed and they're read in a different way by the selected wide range of pigments. So they each have their own color, character and degree of opacity in transparency. So in this class for solely thinking about painting with acrylics, or could continue with the thought of painting in that process. And let's continue with color theory in the next segment.
4. The Basics of Color 2: The basics of color Part two, we know our primary colors, yellow, blue, and red. Now let's look at our secondary colors. Those will be the mixtures between are primarily colors such as red and yellow being orange, yellow and blue being green, and blue and red being violet. Next we have the tertiary colors, and those are inbetween, the secondary and primary colors always remember that anytime you're saying a tertiary color, it's the primary color first, such as if you look in at yellow on the top to your right would be a yellow, orange. Next on the color wheels are red, orange, red, violet, blue, violet, blue, green, and a yellow green. Now, since we have the foundation, that color wheel, we break it down into color schemes. I have six listed here, complimentary split, complementary, triadic, analogous, monochromatic and TETRAD. If I'm not going to include the tetrarchic, it's a double complementary. As a painter, it's kind of an off category. So we're going to stay with the five. Let's start out with the complimentary colors. The colors that are complementary or straight across on the color wheel. That's why the color will so great, because that's your reference point. Let's start out with the yellow and violet, definitely straight across. And also the strongest contrast because the intensity of the yellow, a lot lighter in value than the tensity of the violet, which is a little bit deeper in its value. And comparison seems complicated, but we're going to be covering this in class, so you'll understand this and that's so exciting. Let's look at a few more. Let's look at red-green. Let's look at orange and blue. And let's look at yellow, orange, and blue, violet. Basically any two colors that are across from each other on the color wheel are complementary. The next scheme is split compliments. Instead of going directly across, you're going to take the two other colors beside that compliment. So it's a split complement and will involve three colors. Here's a split complement. The Violet's complement is yellow. So if you split it, and those are the colors on either side, yellow green and yellow, orange. That's your split complement. Let's turn this around, but the yellow inviolate, if we split it the other way, it's the yellow with the blue violet and the red violence. So this works with all your compliments. And you can look at your color wheel and you can see your split complements. At this point, you should have memorized these colors by now, and I know you have. So when I call them out, you should just immediately have them in your mind. If not, go back to the color wheel and really look at it, because from now on, I'm going to be calling the colors by name, and you should be able to associate that color with that name. Our next color scheme is triadic colors. Try to, colors are the furthest three colours on the color wheel which makes to try and go. And it's called triadic because it meaning three related things. Let's start with the first one being yellow, blue, and red are primary colors, are triadic colors. So they're very powerful and composition because they're so far apart on the color wheel. Let's look at another triadic, and this one being your secondary colors, orange, green, and violet. Again, it's any three combinations that make a triangular format. Your cover, we'll even yellow, green, red, orange, and blue violet that you see here. And next is analogous colors that make a really harmonious color scheme. And there are three to four colors that are next to each other on the color wheel. For instance, yellow, orange, orange, and red orange would be three colours next to each other on the color wheel, if you wanted to add a fourth color, you could introduce the red, that would give me your four colors next to each other, or the yellow, another combination, yellow, green, green, blue-green. Another one, blue, blue, violent violet. Again, any three or four colors next to each other on the color wheel. Now our last color scheme on her list, monochromatic, monochromatic colors or all the colors of a single queue. Mono meaning one, romantic meaning colour. But if you're only using one color, them, what are you mixing it with? Black and white because they're not considered colors. And you can see here with the blue violet of the different variations, what we're looking at, our tints in shades of a color as you see here in yellow. Here's a variation using red, but where's their true hue in there? If you look very closely, it's going to be the most intensified color. Yep, That's where it's at. Let's look at Blue. Whereas blue located with the intensity. Here it is very good. Now let's start thinking about schematic things, such as using this monochromatic and a painting and looking at the variations that you can create. And then also looking at more famous artists works. And this is considered a monochromatic painting. And although you can see that yellow ochre in there, but mainly this is the blue period for Pablo Picasso called the old guitarists. This is just an example of things I'll be introducing you to, to several artists so you can get an idea how they're working with color schemes. Well, let's get painting. See you in the next segment on whew.
5. Hue: This section is on Hue. It'll be learning the meaning of Q, learning to color mix with acrylics, color wheel matching, exercise warm versus cool colors, and examples of artists artwork that mainly use Hue colors, a term for the pure spectrum colours, commonly referred to as color names like red, orange, yellow, and so forth. Theoretically, all hues can be mixed from three basic cues known as primaries. And you'll find out not really, Hugh versus color colors. The general term we use to describe every q, q is the colour family, and that's the difference of it. For example, the color pink you see on your left would be at color because it's a name, although the hue of this particular color would be red to make that pink, you would need red and white mixed together to create that color. And we're going to be working with 12 different colors. So we can think of this format like you'll clock. And let's go ahead and place in 12 spots. So we'll go one across from each other, will go across from each other this way. And then to inbetween and making those a little bit smaller. Nothing perfect knows already smeared it, just something we can work on. So let's get started with our yellows. And you only want to put a little bit advocate, as I said before, you can always add to its, I put as little as I can. Already looking at these colors, you'll notice there's a difference in their. And what it is is that these colors also have a color in them as well, such as your cadmium yellow has more of an orange to it as you can see here. And the hands on as more of a green tone. So this is cool while this is warm. Now what are warm and cool colors? Well, refer back to your color wheel. Half of it's going to be your warm colors, the other half are your cool colors. Try to associate this like the sum being warm and the red being the hot and the heat, and that will be your warm colors. You're cool colors. Think of foliage or the ocean and the blues and the greens there. And these are going to be so important when you're painting and dealing with color contrast and color zeta, valence and receive. Here's an example just to even your waterfalls as at the sink, they have colors on them for the hot and cold water, and you'll see it one more color mixing. We're going to start with our yellow. Obviously neither one of these are the peer yellow. So we're going to have to mix these together. I'm going to add a little bit of water to my brush and added here, I'm going to add a little bit of my Liquitex. Let me put a little bit more on the side so I can see it. Just kinda blending it together. We're going to add a little bit of that cadmium, and we're going to add a little bit of a handsome. Does that look right? Let's color up to at noon. What's a little bit. Deep, so we're going to add a little more than Hands up just to brighten it up and get closer. And closer. And a little bit of water on a nice consistent notice I roll my brush around. Let's see what we've got going here. Move nice and bright. But it still needs to be lighter. So I'm going to add more of my hands. And just to a section here. C as it dries, you can see there's a difference there. So I'm going to paint right on top of this and just get it lighter. Here we go. That's a little bit better. Let's go with our read. Now if you remember, we have our crimson as well as our cadmium. So we're gonna put a little bit of a caddy amount right here. And then we're gonna put our crimson and you can use the Crimson or the permanent rose, either one. I'm going to just be working with the Crimson. Again. Color mixing is already in there. You can see that this has a little more orange to it and this has a violet to it. So it has a warm versus cool. I already have little bit of my yellow here, so I'm going to place it here. I'm going to add a little bit of the cadmium because it's going to be more of my warm colors versus the other one. The other one would make a too cool very quickly. I'm going to mix a little bit more known as how it changes so quickly. A little bit more. That looks like a nice yellow, orange. I'm gonna place it right in here. It looks pretty good. I might wanna do just a little bit more to that. Not much. Here we go. I like that. Let's go now to our orange. It's still going to be in the warm areas on Bennett mix my caddy him up with it, adding just a little bit. This looks pretty good already. Like that. Might add a little bit more because you want to see a nice distinction between them. Is might be a little bit too much. No. I think we're pretty good. Nice orange. Now, we're gonna go to our red orange. So a little more of our cadmium. And let's make it a really nice red, orange, red. And they're pretty easy as in as well. If you have the right paints, this makes it much easier than you get an idea about the colors that you're working with. Let's continue on to the next section, q2. I'll see you there.
6. Hue 2: Q2, more color mixing. I'm going to add over here a new pallet. Notice I've made some message, doesn't matter, this is spared just practicing and having fun with this. And I'm going to mix my pure red over here. Obviously, I don't want to use that and want to really get my brush a little cleaner. I don't want to carry over color's already. So let's take him by my crimson color and we're going to mix it with the other brand. And let's get As close to an even bright red as we can. Ooh, that looks pretty good right there. And they'll look really like that. And they will darken. And you can mix different acrylic paints together. They're all blend itself. So I really like that red. We're moving into a red violets and now we gotta get our blues app. Have to blues. We have our ultramarine blue. And then we have our Cyrillic and blue. Ultramarine blue has a little bit of purple in there where our civilian blue as a little more green. Can you see that? So again, we have a warm blue and a cool blue in keep a little bit as red on here because we're going to start with the red. Which one would you add when you add the Cyrillic into it, or the ultramarine to get your violet it, we bring more of your ultra marine cassettes cooler. Kinda dark, isn't it? Not really looking for this red violet because we have a little of that KVM in there that has orange. And let's take our trypsin and mix it with our blue loop. And a little bit notice a difference in the vibrancy that we want to achieve here. So I'm going a little more. And there we go. Starts to get too thick, then just blend that in so you just see how it kinda dried out. And now it has a nicer consistency of moving the paint around. I spread violet, they're happy with that. Now we're gonna go into our violet. So we're going to add more of this ultramarine blue because it's still the coolness of it. And to make a beautiful violet writing here, ooh, it's a good one. It's fun when they, they work. Curse, I get excited about color pretty easily. Alright, now we're gonna go to our blue violet and we're going to be added not that spirulina, but still more of the ultimate nice blue violet. The deeper here. And I'm getting close. I'm pretty happy with it. Now we're going to be mixing for our Blue. Obviously the civilian is a little bit too light and warm. The ultramarine is too dark and cool. So we're gonna do a combination of these. And I'm going to start with my civilian because I know it's a little brighter. Also brought out a sheet of paper just so that you can see what I'm looking at. And you can tell it's a rather transparent color soak up than it is when you paint it out. But next to this blue sheets just to light. So we're going to add a little bit of the ultramarine blue to it. And how quickly it changes. Every close enough to that blue. Looks pretty good, doesn't it? It could even go a little bit darker. I'm going to add a little bit more of the ultimate green. Then we're going to match it up over here. And it's going to be probably the closest we're gonna get to up, pretty clean. Blue. Otherwise we're going to go too dark and to life. So that's pretty good for load. Let me place it on over here. Very transparent, very, very transparent. It's alum or paint to it and see if we can get a little bit more in there. I'm going to let this dry a little bit. You'll notice I've painted these over. That was filming and for some reason I'm not lucky m rows. So you could see what I was doing. But it was pretty good. I was getting pretty nice was there. So I had to start again. And you can really see how transparent is pain is. We've got our blue dot. We're going to go with our blue-green. Me thinking, all right, we've got are going to be going towards the yellow. So let's take this color that I've created right here. And I'm gonna mix a little bit of this with my hands. He loses its intensity. It's not too bad for this one. And mixing it a little bit with our cadmium, it becomes a really muddy color. They're just not clear enough. That's why I had you select this fallow green because these are going to make the really beautiful greens in here that are very hard to make with these particular blues. Let's start mixing our fallow grain to make more colors. And our next section, Q3.
7. Hue 3: Three, the last time we talked about the blue, this is our balloon mixture. And we were adding our cadmium yellow and our hands a yellow. Remember that the cadmium yellow has orange in it where your hands a yellow has the green. So let's go back to our blue and trying to make a grain and just a mixture or Yellow Cadmium. Notice that it doesn't come close to this, maybe a little bit the yellow, green, but it's a little bit darker in value. We try it with a Hadza which has more green to it, gets closer to the green, but it's cool in there. I just wanted to show you just with the ultramarine blue and the Cyrillic in blue. If you'll notice, when we add this yellow to the ultimate green, which is a very cool blue, you've got a warm and cool. We're just gonna make a very dark kind of a muddier color. Will be add this to the grants that we have, a cooler color, but it still doesn't have the intensity that will be seen in a few moments. The civilian has a warmer tone to it. You can see all the way down with the greens also uncaptured that warmer tone. Mixer, the caddy with the orange and has a more of a murky, muddier color to it. And into the hands. It has little more vivacious and the color, but certainly close to the colors that we're looking for. I have a clean caliph and I placed in here by altering blue, civilian blew my cadmium yellow and my hands are yellow. And I'm going to introduce you to the next colour, which is fallible cyanide. I colleges fallow salad greens. And we're going to put a little bit right up here. Now what we're trying to attempt right now is our blue-green. So definitely going to have to start with their blue mixture that we already created. And a place it over here. Maybe add a little bit more. Now we're going to add a little bit in the salad green to it. Wow, look at that. Changed so drastically. It's pretty close to that. Let's see how it looks. So I'll just do a little bit so it's a little bit blue in there, doesn't f. So we'll add a little bit more. This looks a little better. Here we go. So we added these together. These are the three colors have we work with to create the blue-green. Now we're gonna go to green and yellow green. Now I've mixed my blue green with a little bit of the cadmium and then it again. But the blue and the cooled gather ME more of a murky tone. I added this color along with my Panza, invader, very bright green. We're looking for this green. What will you make so that you're getting smart here, we're going to be mixing this color with both these yellows. So let's take a little bit of our blue-green bring it over here. Mixing thing. We're going to add a little bit of the Kantian and a little bit of the hands. And a nice screen that's creating. We can add a little bit more if we want to warm it down. How it changes so quickly. Pretty happy with that color. See this notice notice my brushes getting too dry and see the edges of it. Can now I'm adding a little bit more of my medium two here. It's a pretty good green there. Now what do we gonna mix to get close to this? Well, we know this one is warm, so we're going to definitely add a little bit more, more of a caddy. And we're getting close to this color. I think we are a little bit more to it. And let's go ahead and move. That's a nice sila Green, I'm happy with that. So knowing the differences that you're warm and cool colors, it truly helps. Knowing that color wheel, knowing your colors, you definitely will be able to paint much better. So we are finished with our colour wheel. Pretty exciting. There's lot of going back and forth with colors and I'm sure you've learned a lot. Now I'd like to show you some artists that work primarily just using Hughes. These artists I'm going to show you are the farthest painters that term Fall of ism as a French term, I mean the wild geese. These are 20th century artists that really wanted to play with the idea of working with unusual and not natural colors like the Impressionists use. We start looking at Matisse's work here, and this is called the dance. And in Matisse's work you can see three colors that he's mainly using. We have a red, orange, we have a green and a blue element of color. I'd like to introduce to you is that warm colors advance as cool colors recede. If you'll look at the blue colors, the blue and the green that's used in this painting. It's certainly pushes things to go back. This is a visual thing that we see. The warm colors of the figures that are dancing around. Peer to advance, look at these paintings and see if we can see our colors in here. Notice that fallow green that's used on the right side in the background by Duran. Beautiful oranges and reds in the foreground. Is the sky warm or cool? In this particular painting, the skies warm. Here we have a painting by friends Mark and other fathers painter, and this one is called Blue horses in the horses themselves you can see that Cyrillic in blue and the lighter blue. And you can also see that altering blue and the darker blues. And if you look down below, you can definitely see the differences of the yellows that are being used down there. You can see almost that pansy yellow. And to your left more of your cadmium yellow. It's fun to see how you can apply the hews to a painting directly. Now in our next segment, we'll be investigating the psychological effects of color. It's pretty interesting, and I'll see you then.
8. Psychology of Color: This section is on the basic psychological effects of color. The information that should be receiving in this particular segment is from Dr. Mack solution, he believes sensory perception of color is objective and commonly shared by others. Also, color preferences are subjective, which allow us to objectively be measured by using colored tests does just a fun thing to learn about, but it has a nice relationship of how we feel about color. Color can be perceived in different countries much differently from each other. This is not coming directly for me. This is coming from Dr. Max looser. So this has to be enjoyed and have a playful way of looking at color because it's very important to understand of how we select Color. The book that this refers to, salute your color test in this book is a short version of using only eight colors. His real testing that he had done work with 70 plus colors. So let's just learn about the psychological tests are going to have you choose the colors from most liked to lease liked, and put them in that order. Don't associate these colors like something that you would purchase, like a car or a color for boots, try to just look at the color as best you can and isolate everything and then choose them. I'm gonna have you name these colors, black, brown, violet, grey, yellow, blue, green, and red. So you can list them out in a sequence. So the first two that you've selected in your list, let's say it was blue and green. You're going to combine those two together as you read the definitions of the sensations and a little bit, the first two combined is what you want to be the next in your list, the third, fourth selection is what you are. Fifth six on your list is what you feel you are. And the last two of your lease liked is what you are turning away from. Now, each one of these I'm going to explain some of the feelings and the sensitivities of what these colors evoke in us. So it's a sensation as what we visually see, but it's more of a feeling. So don't be offended by anything. This is fun. Now, blue, blue's a color of truth. The calorie evokes a depth of tranquility, peace and harmony. Other elements of this color, orderly environment with communists and no disturbances. It enhances wisdom of the intellect and its tenderness and love. Lets go to yellow. Yellow is a stipulative. It's the brightest color and evokes cheerfulness, originality, and exhilaration. Yellow is a feeling of hope for greater happiness activates out of left-brain activities, which is your creative side in your brain activities, events related to expressiveness of new ideas. Red. Red is the color of desire. Color is force of will. It hasn't intensity of an experiences in full light, aggressive, competitive and over dramatic, creative endeavor and passionate green. Green is the color balance, the color you books firmness and the resistance to change. The color is the elasticity of the will. Wants to impress a needs to be recognized. Persistence, defensiveness and passiveness, greater balance in our mental, emotional, physical energies. As in nature, we see things grow that are green and a feeling of hopefulness. Millet. Five, It is a color of originality. The color inspires creativity with intellect, needs approval for their charm, sensitive and appreciative and emotionally immature. Brown. Brown has a color of stability. The color represents a sensation as it applies to the physical body. Brown is feeling of comfort, contained an earthy, safe and protective nutrition, health and goodness. Gray. Crazy color of neutrality. The color evokes in parcel newness, not taking either side. So it's dispassionate, quiet, reserved, and conservative, non involvement and concealment. And then lastly, black. Or black is the negation of color. The color represents the unknown and mysterious power control of self and others, ultimate surrender and relinquishment, secretive, unwilling to show feelings. I hope you enjoyed your test. Every day can change so you can do it again. And if you're interested in the next segment, I took a fast variety that tests, it's too fun, so I hope I see you there. And after that, we're going to be starting with value.
9. Example: My Color Test: My color test, I'm gonna do my color test, just a basic one, not the full one. You'll notice that colors are different on the covered. These little cards come with the book and kind of contract that come with it. And so there are little cards. Again in those difference of coloration. The testing itself is pretty extensive. I mean, it can be done several times. It adds up two numbers and more intensive evaluation. I'm just giving you something that's very basic and just kinda fun to just to see what it has to say. Okay, I'm going to play Cs star with the first one that I liked the most to the least. Let me take a moment to look at these and figure out how I want to place them. Hmm. Okay. This phone here. I think this is the order though, but least part today because they could always change. I could pick a different order tomorrow. And now I'm going to put them together into these four segments. And remember, this is what I want to be. This is who I am, and this is who I feel I am, and this is what I'm turning away from. So let's see what happens as we look into the K. Now with the book itself, they have numbers behind it and so the name, so I have 61. And my book says, I want commitment, physical 0s and the absence of conflict. Well, who doesn't come and needs security and things too as not to have to suffer loneliness or separation. Wow, that's pretty intensive. I have to think about. Alrighty, let's go to the next one. That's what I want to be. Like. It's, it's a kind of preserved one. Okay. I 0, and let's look at one. Alright. It says The fear or rebuff of extreme caution of approach make it difficult to achieve a degree of identification that I desire. Fear off, well, I think everyone's fear, rejection, but that's who I am. Ashley gets intense. Hmm, all right, the next fun is this is what I feel I am. That's three and Sabbath. Yeah, I'm just doing a real modification of this is it's a lot more extensive. I just kinda fun just to show you. 37, red and black. Circumstances are restrictive in hampering, forcing him to forgo all joys and pleasures for the time being. Kind of that's kinda how I feel. Let's see what I'm turning away from. This is four into. Ok. Let's see. I'm just going to get a little about disappointment and unfulfilled hopes have given rise, anxious, uncertainty while doubts that things will get any better in the future. Oh boy, okay, and leads to postponement of essential decisions. Here you go, kind of correlates with that other funds. Wow, that's pretty interesting. It's interesting to see how color does affect you. So, but word, looking more at the Fine Arts aspect of it and the feelings of it. So I hope you enjoyed this. This is just beginning and understanding. We're going to continue learning about value. So I'll see you in the next segment.
10. Value: In this section, we're gonna be learning about value. We will be dealing with Hughes, tense, towns and shades. Hues are the colors. Tenths are colors with white added to it, tones or colors with gray added and chaser colors with black added to them. There are three main qualities of color, which is hue, saturation, and value. Hughes, the color saturation is the purity of color and value is the intensity of the tone, the lightness or darkness of the color itself. Now, Q when you look at Hughes to get the true luminosity is not to have any diluted parts to the cue color being diluted. We'd be adding another color, adding, diffusing. And if you were working with paints as adding water to it would dilute it. The intensity of contrast of hue diminishes as Hugh goes away from the primaries, Such as red, yellow, and blue are the strongest. Your secondary colors are second to the strongest, and then third year tertiary colors, though the strongest value of the hue would be yellow to violet. But we'll go more into it in the next section where we're dealing with contrast, a saturation deals with the amount of gray in color, as you can see on this scale here, the very top part has the highest degree of saturation as it diffuses as it goes down. Other terms are intensity and chroma. Good diagram of looking at all the hues and seeing the great attitude. You have to understand that value is so important because it has so many variables that really make paintings successful. So understanding this of the darks and lights and really visually seen it and able to create these values will really improve your art. It's so important to understanding color is to sharpen your sensitivity to shading, to be able to see the hues and the values within a color in this diagram of values of tense and shades with their primary colors and secondary colors. You can already see. Hopefully, if you look at the red, the red, it looks like another color added to it. Now with different kind of scale, you'll see such a difference of colorations. We've already seen that already. And what Judas test your sensibilities on this. And let's go from left to right, will start with the red and to choose the hue, which is the peer intensity color. And then we'll keep moving over from red, orange, yellow, green, blue, and violet. Take a few moments and you'll learn by the more you deal with color, the faster you'll be able to see these. This is the red, this is the orange, yellow, green, blue, and violet. I'm going to show you a few paintings of artists and how they apply these strong contrast of light and dark in their paintings using primarily a monochromatic style. This is Harabagiu, he's in the 17th century, said Dutch golden age. And they really work with that strong usage of dark and light. And this contrasts it of these deep dark colors are the lighter Hughes really give you a sense of three dimensionality in the artwork to always amazed me when I viewed these paintings in museums. I think How did they get that particular yellow that looks gold? How did they create these beautiful colors, man, it, we can't get it. Well, it doesn't have to deal with that so much, but is the contrast of what that color is next to it. So it's pretty amazing. Figure out if what kinda color this is. Going back to our chart. What I'm going to do with my chart to make it easier to go right next to this painting, or actually a print of a painting. I'm going to cut these out. I'm just leaving some of this because I can always uses of my scrap papers so I can look at my swatches. Is I always need paper to painting and I can make any shape I want to, I'm gonna go with the square. They don't have to be perfect. This is just, again, an exercise. So here's one of them. And I'll cut to the rest step. And you'll notice I'm cutting these up. They're not all the exact size. Now trying to eliminate any of the white showing. So I'm as close as I can to the edges of the circle like that. Now what care of arpeggios painting? Although the printer bit, I'm losing some of the strength of the colour. But we're going to get pretty close enough to it. Now, looking at all our colors and it's mainly monochromatic, Would I want you to do is start to visualize and see and pull out that color. And when we call it, this would be called the q. What? Hugh isn't this painting? I see this one. And it appears a little bit sometimes in here, but pretty much it's tearing orange. So that is the hue of this painting, this monochromatic painting. Another one could bicarb SEO and how intense it is. You can see that enlightened arcs all the way through and another one. And how wonderful and luscious those colors are there. One by Rembrandt, who's famous for the gold towns in his work. And we'll finish off with Goya's work and how powerful just using that yellow, orange against those darks. Let's start mixing values. I'll see you in the next section.
11. Value Mixing: The segments about value mixing. Not only are we using value, but we're using talons. I wanted you to see this artist's work by Jesse rash ski. And looking at these monochromatic paintings, It has a softer look to it. And you can see the variations are a little more subtle than the Dutch painters. Here's another painting by Jesse brushy. Look at the subtlety. We have two birds that a tree even or compositional structure is very basic, but it's a very powerful painting on its own. There's a blue sky and the tree is more of a blue-green in there. And the birds also kind of admit a blue-green, just beautiful and make seeing colors. We're going to be doing mars black, which is a cool black. Actually. There's a lamp black that's warms other blacks. But Mars Black does a great job of mixing. Our next color will be titanium white. Titanium white is see, this is even broke on tap and a mess. But anyway said, titanium white is also a cool white. Ivory in flake white are both warm. But this is also a very powerful mixing white, which is most commonly used. Well, let's choose one of the colors to work with. I'm going to choose the blue to work with. And I'm not gonna do this combination, but I'm just gonna go straight from my acrylic paints. And I'm going to choose the altering blue. So it's a cool blue that I'm gonna be working with. So this quick exercise, his choose from one of the tubes. So the ultra marine, the Cyrillic, or the Kantian medium, any of those who'd like to start with. So I'm going to place it ultimately also on my palette. Now remember that the term brightness refers to how much white or black we add to this blue. Saturation means when you're adding the blue to the greys. Let's get started with fine. Unless they're a little bit of my Navy him right here. And I'm going to start with my blue just straight mixes, a nice consistency. Let's kind of blotchy. So I'm adding group at the media, maybe a little water to it, just getting a nice consistency. And I'm going to start about right here. I'm going to do just one swatch of N. Now, I'm going to start adding white to this set of adding the white to the blue itself. I'm going to start with the white over here and then add the blue. So just a little bit of the blue to this will come quickly to changes. I'm going to go way up here with it. Now a little more blue to that. Kind of fun to see how many differences you can change right over here. And keep any more rich colors, say luck, dumped me. And I want you to visually see the value changes in each one of these. And I'm going to go straight over here to the straight blue Elmore excited, nice consistency already going. And keep moving n, wow. I'm just gonna go halfway over here. C is much distinction and you get the idea of mixing this with annual Moore. But it's really hard to see that distinction. Even though you can see they say there's like 3 million colors. It's visually how are to see the differences of the 3 million colors. So you want that nice value change. I think we're doing great. And then going just really straight to the pure blue right here. Let's keep going. See you in the next segment. A value mixing too.
12. Value Mixing 2: Value Maxime two. Sorry to see that I think is still have white on my papers. But careful a bath. Okay. So pretty much the same right through here. So we get a nice, nice purple color right there. Let's start with mixing with our blue again. This way, we're going to start with the black. The difference of this with black, we're adding a little bit and the black to the blue. Just a little bit. Much that changes. We'll start over here. Wow. And you'll find, because it's a darker value hue, to begin with, you could only go so many times through the value changes before you. It's really dark. And see how quickly it changes where I had a lot more variations the other way. It's pretty much gonna be. And then it's pretty dark. So this gives you the, the idea of working with monochromatic. You can try all your colors if you want to, and see the differences and see how it progresses along. Now, I mix the gray towns creating these, but at what I did is create just with the gray itself mixed together. Then I added the blue directly to that gray to create these colors. And that's why you call it saturation. Notice the low saturation of the color. So you just really toned down. That's another term is tones. Or these are the values. I could add a little more blue to my gray tone if I'm on a tube and creating. And remember there's so many variations, you know, try to get as close to as many variations that you can. Like I didn't here and just really play with this and fill up the whole space of mixing using one color. Now you get tired of this, try another color and work with that as well. Since I chose a cool color, maybe next time. And I'll just do a little here to show you is, let's look at a warm color. But Benkler I've chosen is a caddy and yellow ring that's also a warm yellow as well. This member has orange in it. So it's going to really change much differently than the blue. Notice the value of it on its own, the Q is much lighter. Medium method. I'm going to go put it right here. Well, that's pretty bright. Let's add a little bit of, remember, we're gonna do the, yet, the white First, I already have a little bit yellow added in there. Lookup. It happens so quickly, changes so dramatically, I think. And know a little more to add it alone or is this new seal black in their learning they can tell. Let's take our yellow and add a little black to it. Whoa, look at a change dramatically. Or knowing vars black has glue at it. You can see the greenness in that color. So knowing your colors that you're working with and knowing that they're warm and cool really helps you figure out how you're going to be blending and mixing these. C, it has really a green tone to it already. Let's try a little bit of our tones by mixing a great tone together. And you can keep on adding it lighter and darker to the grey town as well. But since we have that black in there, it has a green, yellow, or white to it. It's kind of neat. It's even add more white. Boy. That's wildly, isn't it? Yeah. So you can see that it has just a hint of that yellow medium in there, but beautiful in regards to towns and very distinctly strong and the values. Okay. So i, me in the next segment, we'll pain AS simple monochromatic painting.
13. Monochromatic Exercise: Let's begin our monochromatic exercise. Alright, for this project, just find some simple object for not looking for anything too intense, but you want a nice three-dimensional object to work with. And also have a sunlight or some kind of lighting system on its. I opened the shade a little bit, some sun seeking good. It was pretty interesting. Looks pretty good. I'm doing this angle so you can see what actually I'm painting. So I have a palate and we're going to be doing a monochromatic so you can choose any color you'd like to work with. What you something different. I'm going to work with the fallow green. I thought that might be interesting. I'm going to get everything setup on my palette, and then we'll begin. I place the three colors here. My black, my white, and the My fallow green. Kinda got, got a little bit too much. Maybe the white try not to put too much down because again, it does dry very quickly. I wanted to do something to you and this is just a water spray bottle. And you can see I can paint on it already added. It makes a very fine mist. Said I can spray on this very lightly to keep my acrylics wet a little bit longer so they don't dry out so fast. Since we're working with these colors a little bit longer, this will help your colors not driving so fast. So I'm going to set the Soviet here. I'm going to work off a new pallet. Going to place a sheet of paper right here. I have my water. I'm going to put a little bit of my medium over here. With the medium helps with sometimes is to keep the true intensity of the colors. Sometimes when the color is dry, they become very matte, which is very non glossy, having the gloss to keep set color a little more intense. So that's another reason why I have the gloss varnish particularly versus the map varnish. I think just my my understanding of colored light, I like working with. We're gonna start with just with our towns. So I'm going to create a nice medium gray tone right here. And we'll get him agreeing to it. Just getting a middle tone like this here. And I'm gonna add a little more white to it and a lot more white to it. And get a little lighter tone in here, maybe adding a little more green to it. So I have a couple of variations. Maybe right in here. I'm going to just start trying to work with three variations. Great. So I've got a light medium and a darker tone right now to start to begin with ms. spray this little bit, because I'm going to be going back and forth with it. A way to paint is to be painting all over. So we're going to start with these colors first, kinda the medium tones, and then build up more with our lights and darks. There's so many ways to do this. This is the way I suggest to start out using acrylics plotted times. I work from very dark to light because I do a lot of value changes and a lot of layering effects. And I'll give you an example of and then sometimes I go from very light to dark. Just depends what I'm painting. But for right now, it's really good to kind of get your middle value since so you don't get to start with the white and the black. I'm going to paint this fairly large and I'm not going to be drawing it out. I'm going to be painting is going to look a little different from my angle here. I'm really showing you at a different position, but I want you to see what I'm painting. Now. All this has been drawn on a, had been thinking about my values yet. Now I'm going to start. I am i three values here. I'm going to start with my darkest 1 first. Get a little bit darker in here. And I'm looking at my light source coming from here. So it's going to certainly be on the other side. So I'm going to start painting my dark. I can start now to blend it out a little bit by adding the other tones. And what this does, because the more I'm adding and you don't want to paint over the whole thing, you want to blend it in. So you're creating a multitude of values in tones in here. Each color or each value that it just doesn't get isolated, but it becomes more harmonious that you're working these colors all at the same time. Let's finish up this exercise in the next segment, which is titled Bottle chromatic exercise to, in this segment, most of my videos are speeded up for your time-saving viewing. See you then.
14. Monochromatic Exercise 2: Welcome to monochromatic exercise, to change squatter. Mixing those grays anymore. This is going to be the amount that I'm using with my tones. Do some little bit. Changes quickly, doesn't mean it's a great colored to work when you're doing something. I see looks to it a little bit more on creating value. Okay. Talk to me. Okay. Okay. Now, how many values and towns do you see in this painting? You take a moment and also look at yours. Are there more than five? Yes, sir. R I've counted close to 20 and beyond. So using a lot of the middle tones in the beginning and then doing your values at the end. You are able to create a lot more distinction between this monochromatic painting with the values and tones. If you have very little, then you need to be adding more. Our next segment is going to go further into color theory and learn about contrasts with Josef Albers. And it.
15. Color Theorist: Josef Albers: Josef Albers, the Interaction of Color. Josef Albers, born in Germany in 188891976. He is really most noted for being a color theorist. He really investigated how colors so relative and changes in relationship to other colors around it. I'm going to be related to Josef Albers book, which is called the Interaction of Color. It's a handbook about color theory, but a different approach. He's talking more about the tonal theory of it, but more the experimental approach of understanding color in this book is colors are a continuous state of unsteadiness because color really defines itself with another colored next to it. When you change another color next to it, that color changes again. So it's really fluctuates on how it's presented colors seen differently by people. We've already reviewed that, the psychological approach to it and how each one of us feels differently about how we look at color. All colors have two key elements, the brightness of a color and the lightness will be investigated. This was some exercises, practice of experimenting with colors, how you really learn about the theory of colour. So practice is imperative. So just looking at color is one thing, actually putting it together and mixing it and working with it is another thing and this is what you really gain knowledge of understanding color. Now you wonder where his study came from, and this is from the Bauhaus that houses a very important school that was founded in Germany in 1919. And it was a school that was dedicated to combining designed for just not only art, but design, graphic design and architecture and furniture making. So it was a whole combination to 1933 close down, but the effect is still important today. The topography coming out of the Bauhaus School, and we can see furniture. Here's a booklet about Bauhaus topography. You can see Josef Albers were candid skis word less is more, meaning they're having just the essential things is better than having way too much or a surplus of things. Here's a picture of Josef Albers he had taught in the United States, the Black Mountain College in the hand. Sometimes students like Rauschenberg, Motherwell, really excellent Color Field Painters. And then he taught and was the head of the design department at Yale University, which is considered really the number one art school the United States. So his teachings were just so dramatic and so impactful to how we involve ourselves in looking at color. Now let's take a look at his work. The homage to the square paintings were created by layering a thin layer of paint, which is strictly from the tubes, have pain. And using a palette knife directly over the canvas. Didn't use any tape or anything, but he really liked how the colors interacted with each other. Here we see a variety of his paintings. These are done between 1949 to 1976. Here's his book, The introduction of color, and it gives even one example of what we're going to be delving in. Now, the small square of the brown, this kind of an orange brown that you see in the blue area. And then one in the orange area are the exact same color. But because color place to round it, it changes that cult. There's so much blue around it on the top one that it appears more orange into that square. Were the yellow and orange down below is making that square appeared to have more blue in there. So it appears darker. You can see on these axes of down below that they connect it. They're exactly the same color. But because of the color behind it, it changes that colors. So this is what we call the Interaction of Color. Here we have one more. Boy, this really gets your eyes move on all over the place, but it's really pushing that green back and forth and changing it. This is written by Dana Pulaski, elders passion for exploring how colors work scientifically, subjectively and subconsciously, Albert's develop the colors series while teach at Yale University. He posed a series of questions to his students, say responded by creating collages at a colored paper. The collages became the color blocks. And this collections book, his idea about his teaching method is, by a quote by him, is good teaching is more of a giving him right questions than the giving the right answers. He believed in leading students to a greater awareness, obscene, unlocking that magic of color, just to see color. Last I'm going to show you is an after image. After images occur because of the photochemical activity in the retina continues even when the eyes are no longer experiencing original stimulus. It's a common physiological afterimage is the dim area that seems to float before one's eyes. After briefly looking into the light source such as a camera flash, you when you close your eyes, you'll see things that are bouncing around because our brain is still working image. If you'll look at the dot, the black dot on the left-hand side. I want you to just to wait a few seconds and view that. Not have your eyes move around because what's going to happen with colors going to really go into the cones your eyes. And when you look to the right, it will certainly make some changes, but just fix your eyes on that dot and waited a few seconds. And then to shift your eyes to the right and fix on that black dot and area of the white. And what appears pretty interesting and almost looks like the reversal, but it's such a light, light violet is almost appears white. This is the after image. So our eyes physically do things with colored theirs. So we've learned so many things about it. So let's start to investigate and play with color and experiment with it.
16. Paper: Color Exercises: Exploring color interactions, having piece of work here by Victor chord. And it's kind of a muted tones in here, that kind of soft blue greens, light blue and this Brown. And I would just want to talk about Brown for just a moment. Brown is made up of the three primary colors, red, blue, and yellow. And in that mixture it makes what they call a neutral tone. And once you get this neutral tone, it's very hard to change it out. Now if you'll notice, if you go across from the color wheel, like green and red, Red's your primary color. But the yellow-blue make the greens so complimentary colors are the same thing. Now you know that all these colors are mixed in here, so you can do so many variations with brown. That's why this after image you can really see in the Browns because of the mixture colors. I've chosen this just to play with ideas. I've cut out things from magazines, different colors. Just look at what it looks like at a white with this pink here. It's very bright here. Well, this pink has a little bit of violet in there. Once I move it over here because I have this brown tone, it appears lighter. So there's a lot more violating here then in here that adds more yellow to this. Let's go with kind of a brown. When here. It has like an orange quality to it. Let's go place it over here. A lot more red tones in here. Then by itself, here we have a green that's very close to these grains that actually get lost. Lookup docket is here, but over here then almost gets lost within here. We can move it over and notice how it changes in almost looks like you can see through it. Oh, it's just a matter of looking at color in one way with the white on the background and then placing it with color and seeing how much it changes. So play around with that. So you can visually start to see lightness and darkness on the different value changes that occur using my acrylic paper. Because we're gonna be painting here in a few minutes. And if you remember back to what we cut out with our colour wheel. So I have all these, what we call our queues are bright intensity, Hughes. And let's try start with one. That's awfully, let's try with the blue. And I'm going to place this here for a few seconds. Let your eyes absorbed this. John was your eyes move around but just think of putting your eyes right on to this area right there. Don't watch my hand. Move away. Give yourself a few seconds now I'm going to remove it. The don't have your eyes move around. Okay. And I'm going to pull it around. And what happens? Yep. You got an orange. Is it a light orange or a dark orange? It's a light orange because this value is darker, so you see the exact opposite. So these are things you can try on your own. Let's try with this red. Same thing. And now we have kind of a yellow green in there. So how fun is this? So the after images, what we physically see in her eyes, her eyes have cones in there and they absorbed so much light that it tries to compensate and produce the other colors. So it's pretty interesting. So these are really important elements. Understands these afterimages To understand how when you place colors next to each other. Now let's try to make color appear the same, as well as color to appear differently by understanding and fluctuating with the colors around it.
17. Albers: Painting Exercise: Elders exercise. I'm going to work with my ultramarine blue Caddy, him read and my light hands a yellow. And if you remember, I had that extra paper that I cut out from the color wheel. I'm going to cut these into squares so I can put colors on this. I'm going to combine a little bit of yellow with the red and create his nice light orange. So I've got two squares already cut out. And we're going to paint them. Try to make it pretty even. Let's say I want to make this appear darker. What color am I going to put around it member, you can't do an even amount. It has to be a little bit larger for that color to create and change in, Interact into that color. What would I put over here to make this darker, something lighter, Correct? Yep. Plus even just do a little bit of a yellow, have a little bit of orange to it. Now putting this yellow down, what is the color that's going to change it? Well, and birds, that's the opposite. So it's going to make it like a darker violet debit there, ah, changes right away. So let's take this one. How are we going to make this one litre? Certainly it's going to have to be a little bit darker back there, right? The darkness of value, we'll make something lighter. So we're gonna go, I'm kinda nice, mixing the blue and the red togethers kinda make an RED dark violet there. Let me put that right here. Pretty dark value in there, isn't it? Again, does not be painted perfect. Just exercises just so that you're painting and making those changes. Sink color. Look what we got going there. Do you see a difference? Oh, yes. Much lighter on this one and darker than this one. We created the exact color to change. And let's do two different colors and see we can make them look like. And let's try with the green. I'm gonna go with my yellow and a little bit of my blue here. Let's make it a little bit lighter. Okay, that's going to be one of my colors. I'm gonna make it even a little bit lighter in here. Let's make it a little bit lighter. It's less challengers I, k plus two, these two colors and see what we can come up with. These are pretty far apart. Boy, this is going to be challenging. It's gonna be tried to make this one look lighter, making this one looks a little darker. This has more blue added to it. So what color which you put here? If it's the opposite of blue, it would be the orange, right? Yeah. You guys are just, oops. It's exciting. Challenge to this versus the red. But it's going to have to be a lighter orange, correct. To make that appear darker. Now I'm going to add a little bit of white to this orange color. Here. Are yellow. And see what happens here. To close some value is changed, Seymour went lighter. Much different set is OK, now it's looking darker. And the meantime, as we're making that look darker, we want this to be lighter and more yellow. There'd be a dark violet. We're going to cut these down so they'll change even more. So consider fairly large. So let's see if this helps. Looking at this, it's pretty good to get these a little bit closer together. Playing with this, understanding what color does and how it interacts with each other is so imperative. It's the amount of colors or when you're painting, every time you put a stroke of color down there changes everything all the time. So you're constantly changing colors. You really need to understand color. This is the time to practice. Not to be proud to see him while you're painting because it takes away from the creative field an atmosphere of what you're working with. Practice as much as you can see what happens and how you can create interesting things. Enjoy play. Get to know your colors, mix, mix, mix. That's how you're going to learn and you'll have the knowledge.
18. Itten : Contrast: It in another color theorist dealing with color contrast, hm is born 1888 and died in 1967. He was a Swiss expressionists of Painter and color theorist. He also comes out of the Bauhaus movement, just like Josef Albers, he was the one that developed the color wheel, the vec, the Colombo we had worked with earlier in this class. This book, it in the elements of color, is an excellent book to understand the teachings of Newton's color theory. And I've also used this book as a textbook for the classes I taught in color theory at the university level. Here's an example starting with the gray scale, a number one, number two, monochromatic, which the Whew, there's the blue that we have high key, high cuz when white is added to it, another term is tints and then loci, another term is tone. It and was one of the first to really develop most successful way of looking at contrasting colors. He went further of how color affects us psychologically and how we view color. I'm just touching base with a few of the things. And then I'll go directly into the seven contrasts that he developed where you have an example how color appears on white and black. Let's begin with the yellow. The yellow is such a bright intense colour when it has white against it, which is also intense, a kinda loses itself against the black. It's certainly becomes a very strong, powerful color. You kind of see the same thing happening in the red. Now on the other squares he has yellow, red, and blue on different color formats and viewing how color relates to each other. Hearing oh, an example of the simultaneous contrast. Here we have a strong yellow and to the left is a blue violet in the center. And all these centers, you will see that the same gray, but it affects differently what colors behind it? If we'll begin with the color yellow, the yellow again is very bright and intense, much lighter than the gray. The gray becomes darker and also has more violet in there. Another interesting one is the contrasts of extension, and this is the proportion of color to each other. So it really has a different effect, such as the red and green have the same dynamic of equality to each other. So that's something like a viewer seeing red and green displayed here, black and white, you wouldn't be able to distinguish the differences because the value is pretty much the same, you see a difference of yellow to Violet is the strongest one, as well as the blue and the orange. Now, it didn't develop the seven studies of arranging colors using Hughes contrasting properties. We're gonna go through each one of these and I'm going to give you three examples. One of a photograph that I've made, I l, one of and famous artists and one of my pieces of work, starting with the contrast of HW, HW, the brightest intensity of the colours. Here we have a contrasts in, in this photograph of the blue sky, the yellow sunflower and the green beliefs, very striking intense contrasts of colors. Let's move to Roy Lichtenstein, a pop artist. Here, he purposely uses these bright colors because he's almost look like comets strip paintings, although they're very large, very powerful, very impactful. And here's a, an acrylic painting that I've painted of. You can see of a pond and the fish, and you have very strong blue and orange and the green fairy contrasting and giving a lot of movement. So now we're using color in a composition. The next one is contrast of light and dark. As you see in this photograph, front is very dark with the tree almost looks like a silhouette and as it goes back, you see it lighter. That can have a reversal also, but we just called atmospheric perspective. If you've ever seen the mounds, they look almost blue in the background. This, I discussed more and my class on space. Here we have a painting by Georges Dillard tour look at the contrast here. A light sources really being defined in the center and lit up on the clothing. How dramatic and how wonderful this pieces. And here's a pastel piece that I've done of a landscape in creating that differences of light and dark that it cascades across all these landscapes of photographs. I'd take, right? I, my property. So it's really something that I definitely look at on a daily basis. Contrasts, cool and warm is a photograph of Dudley and Tanner, my horses. What a beautiful fall day with all the leaves on the ground who's beautiful oranges and reds and yellows, nice warm colors. And then you go off into the grass, which is the green that kind of recedes back and also the blue of the sky. Really nice feeling to this. And here we have Edgar Degas was ballerinas screen and diagonal composition. Very strong, dramatic. And here we have the wonderful warm of the wall as well as the fluorine and this blue-green that's just so beautiful of the ballerinas, two 2's, and here's my acrylic painting of the pond. And it was an early morning. So it has this warm feeling going over the coolness of the water and the contrasts of the shadows and also the leaves. In the next segment, we're going to finish it in seven studies of contrast. See you there.
19. Contrast 2: Welcome back. As we finish up with kittens, colour contrasts, contrasts of compliments. Here of a photograph of a flower, a blooming flower, beautiful red petals against the wonderful green would a contrast. Here we have a painting by the artist Vincent van Gogh. He had mainly use a lot of these wonderful complimentary contrasts and His work to make them very powerful and exciting. We have two complimentary colors going here, where the tables are sitting in. There's a lot of orange and that's in contrast to the blue of the sky. We have this beautiful yellow, orange to our left and a blue-green of the foliage on the right. So it surrounds itself with contrast. Here's a pastel that I created, and this blue violet against that yellow orange is so dramatic in the sky. I just really enjoyed this piece. Here's our fifth contrast. This is simultaneous contrast. And I found this yellow flower that's right next to the purple vows, then it really begins to brighten up enormous change the color with the flower actually was so that these colors that are next to each other try to change those colors. I really like this definition here. Simultaneous contrast is a phenomenon that happens when two adjacent colors influence each other, changing our perception of these colors more or less saturated, more or less bright. It can be observed both with different hues are luminosities. This has to be always makes it fascinating. Here we had an adverts monks piece. You've probably seen this many good times. It's titled The Scream is, these colors are so influential on each other. That dark blue background against that yellow orange sky makes it really pop out everything in here. It gives a sense of luminosity, especially in the face, but it's the colors around it that really create these colors. In this pastel of mine, I really created the simultaneous contrast in bands of these colors going all the way down. The blues and the yellows, the violence, the oranges, the greens, the line green's a little bit of red in there, that there's constant contrast going all the way through contrasts, a saturation. Here's a photograph, the skies that I see around here that just every day is something different. And I tried to depict him just sitting there enjoying them to a wonderful Here we have a high concentration of saturation and these colors in the skies. The underside chose was Claude Monet. And I actually have two of his pieces of work to show you. This one is a high saturation of contrasts, which would be a high key Heikki that it's brighter or lighter white is usually added to this versus another one of his paintings would very famous for Sunrise. Impression is low key, very subtle. I really like this quote from Monet to give you an idea about his painting. This is what Monet wrote. Would you go out to paint? Try to forget what objects you have before you. Tree house or a field or whatever, merely think, here's a little square of blue. Here's a blog of pig. Here's a streak of yellow and painting just as it looks to you, that exact color and shape. This is how you'll really be able to paint, not to so much. And we're looking at the shape of the object, but to really look at the color and how it blends and how it contrasts. You're really become a great painter. Having this knowledge isn't acrylic painting that I've depicted. If a horse and the winner is snow and our early morning and with the light, just a many nouns so that things are very kind of subdued. So this definitely has a low-key who's a seventh and last contrast, contrasts of extension. And this photograph you can see the blue sky and the way in the background. And then you have a rim around the clouds of this wonderful yellow, orange. But the cloud is very large, so it incorporates a larger space down below, we have a little bit of an orange or a pinkish color, and then a great magnitude of the green and the dark green. This contrastive extension truly exhibits more of a intensity. Here's a watercolor by Winslow Homer, and now you can see the extension of color in the wall and also in the background of the sky. And then you have a little bit of these flowers that create such an interests because it's just a little bit there to contrast about the extension of the other colors. This is a watercolor of mine. Here I've not had that layering a color that you see in my paintings as well as my pastels, but really isolating colors and using a different amount of extension in it to create a lot more dynamism in there. I painted this very recently while doing this class. And I think I just learned a lot from Alberta as well as IT. And the idea of less is more, I think at this really pushed me into a different way of looking at colors. So I hope you're learning as much as I am. Now we're coming up to our next segment, which is our class project. Here we're gonna be doing color mixing. We're really going to explore matching colors and incorporating them into your own artwork. This is going to be lots of fun and always remember any exercise that you do as definitely the project is to place it in the project galleries for me to look at as well as other two view. It's really fun to share.
20. Color Project (part one): Let's start on our color project. A color project objectives are one, seeing color when you look at it, color to see what type of colours are mixed. And this is through a great deal of practice by mixing colors and looking at colors. We're gonna be doing a little bit of color analyzing and looking at other colors schemes that artists produce and picking out these colors and seeing how they relate to each other really gives you a unique perspective how to maybe incorporate that into your own work. We're gonna be doing color mixing to match colors. This really forces us to really see how color changes so quickly. And that's a number four is that's a will observe. And so adding little amounts is going to change it and going back and forth into really manipulate how color can be mixed to the color that we want to achieve. And definitely, number five is have fun while learning about color. Just an example, this is a photograph of my pond out in front. It was like early morning and the colors are just so unusual for me. I had to take a photograph because I couldn't memorize those colors or paint them that quickly. So I took a color copy of this and I started painting colors trying to match him. I thought this doesn't look right. So when I print it again, I get closer to it and you can see all my color variations trying to match those colors. Look a little bit on the red side, no, no to read there then go back in the green too dark that way, going back and forth with it. But I didn't have to do it exactly, but I wanted to get close enough to get that feel. And that's what I was trying to achieve. Here's my final piece that I created using acrylic paints. I feel really comfortable with that. I got that glow going in there and that softness and that early morning field. And here you can see the contrast of the actual photograph on the left and my painting on the right. I've modulated some of the colors to get a better feel in a softness to it. And certainly changed a little bit in the foliage and got rid of that leaf on the right hand corner. And that's what's being an artist is about. You look at things and you manipulate them to work in a very satisfying compositional unit. I was pretty happy with this. There are three color uses. One is local color, the subjective color. This is what the color actually is of what you see. Two is optical color. This is when there's color variations in it can be dependent on how the light sources affect the color. And three is subjective color, and that is colors that you choose that you want to use within your subject matter. Here's a still life painting by Paul Cezanne. This is local colors. So these are, this is also objective colors. You have orange for the oranges. You have this white cloth, you have this wonderful drapery fold in the back. And let's go take it a step further. And let's just take apart six colors from this painting. And when you see the colors, he really projects a whole different field. You can see that the majority of colors, even throughout the whole piece, the hue that's being used is this yellow, orange. So it has a very calm feeling to it. This is a low-key, an egoless color scheme could use the term harmonious, but that's dealing with the design principles. Right now we are just dealing the art element of color. This is a painting by Claude Monet. This is a painting out of his haystack series. This would be optical color. We know that hay is more of a golden color. The haystack appears to be this fiery orange red. And it's because of the time and day of how the sky illuminates all of the objects and the shadow affects that occurs. So it occurs to us optically, the color scheme going on here is pretty interesting. I've also picked out six colors, very intense. The colors scheme here is complimentary. In the foreground, you have the bread and the green, and in the background of the sky of the Orange, and also the landscape is blue. So you have a compliment there as well. And you have a painting by Marc Chagall. His style of painting is Bohr's symbolism. So here it would fit into the category of subjective color because he's choosing the color he wants and each of the objects such as this yellow and bluish color for the cat. But we look at this color scheme, has colors are certainly saturated, the very high intense hues and his color scheme is triadic. Let's look at all the color schemes together, starting with the one on the left, Cezanne's middle Monet and the right Chagall. If you were to use all those colors together, it gets very confusing unless you really know what you're doing, how to utilize these colors. And also go into the thought of, well, one of them could be the most dominant and he could play with it. But think about using color, starting out with a few and being more schematic. Let's go back and look at each of these schematically. The left would be the analogous complimentary in the middle and the triadic. This is the one that I'm going to show you is an example by Richard deepened corn. I've chosen this because I really enjoy his work as well as working with these yellow colors finite, our piece that interests you, really challenge yourself to use colors that you usually do not choose like I did with the yellows. It's fun just to research and open your eyes to new types of art. Once you selected your outward, make a color copy for the project. So I'll see you back in the next segment and let's make some paint.
21. Color Project (part two): Color project part two, which you want to do is capture an image that she liked the best. And I captured this image. I made a copy of it, but I really like the colors out of this. So I'm gonna cut this out and I'm going to paste it down onto my acrylic paper. Use it another sheet that I'm going to make my squares and paid the zone so I can fix them to the sheet. I cut it out and I'm just going to glue it down. Here's another nice one, a piece by Mark Rothko. So I'm just going to center it right here. In these six rectangles there, about oh, about six inches, about 1.5 and not perfect at all of them. Can then I'm really left over with the sheet, like seven by six, which is kind of a nice sheet to work with. I thought this would be pretty interesting. And once I paint and get close to one of these colors, I'm going to also pay it on this. And I'm going to incorporate something that's fantasy and abstract. And I'm going to create it into something that's more optical and into a landscape. So each color is going to be process right on to this board. So you'll see the process as I go along. Just to hint a rarely used Mars Black, I always use another color to really turn these down and said it tends to gray out and really lose its color. And the color black is nothing in nature. So if I'm working on a landscape, I'm not going to include black. So I'm starting out with my hands and my cadmium, my currents and read. And my caddy inbred must start with this color. I'm going to use this to begin. And I'm going to be painted over here. That's real different from here to there. I can already tell it's too light. I'm going to add more of the caddy him to it. And there's something interesting that you find about your colors. There's colors underneath colors which really changes it as well. There's so much about color that this class is a basic color theory class. I can tell already it's two orange there, but maybe it's closer to this color. So I'll start over here. Put a little bit on that to light, but not bad. I'm going to, since I'm going to have to tone this down a little bit, what would I do with this color here be my violet, wouldn't it? So I'm going to introduce my blue in there as well. I'm gonna mix a little bit of my Crimson with my ultramarine blue. And I'm going to just add a little bit to it. It's going to be a nice color for this one. You can see that your colors just come through. Me and I just get so excited by color, but is all over the place. Ooh, that's pretty good there. I'm going to keep going with this color since I already have this meetup. And I'm going to touch a little more blue to this one. To create this color might do pretty good. I'm gonna say that's a, that's a, that's a giver. Don't forget to add medium to its, uh, that color stays nice and appear on the way here and let it sit over here on this to let it dry. And remember, a dries darker. I'm going to take this color always make sure you have enough. And if I'm doing my landscape, I'm gonna have my Violet is part of my trays here. Who've, I've, I've done one. Let's go back to our yellow mixture here. We're going to add a little bit to it. But why? Ooh, that tone, my middle one down. I'm going to grab another one. Because I'm looking at this colour. Ooh, what's going on with that code? I can definitely see it's gotta have grain added to it. And that's just a touch, touch, touch, touch, a green touch, touch, touch. Man. Too much, too much too fast. See if I can bring it again a little bit. I can okay. See how it's changing. It's a subtle one, but look how it turns it down. Yep, even need a little bit more so touched each such as getting to green. So I'm going to add just a flick of red. And I'm going to go around in here now. Pretty good. Yep. That's it. And make a big square here. Let it dry and maybe do this. And I'm gonna put this one in my sky. So it's nice you don't have to make a lot for this project and you can have fun with it. Or you could do like a still life or, or make a fantasy bond depending on what you're working with. Okay, there we go. Let's continue to paint in the next segment, which is titled Color project three.
22. Color Project (part three): And I'm kind of getting close to being too overly done here. So some of this stuff left painted a little bit more in here. Let's go back to that orange over here that I was starting to work with. And it looks, looks like it's definitely orange and lemon views my cadmium. Zinc goes fast, doesn't it? What's happening here? Closer to this one? You see what that looks like. Ooh, not bad. Rather light. We add to this. This is orange. We're going to add just a touch, a blue. I have to be so careful. Look at that. Look at that. Still needs to touch a bloom worth. And it's, it's, it's amazing. It looks like it over here, but when you get close to it, it certainly changes. It doesn't mean it down. Down. Okay, I'm going to put a layer. I could do the other side, doing too many layers on there. Nice rich town there. I kind of like that. Still need the town down. Remember, it's going to dry dark that I still think it needs to be toned down. And I'm going to do down there anyways. Now we've gotten to yellow, we got to, we got too far away from the read data about me. I still like this cadmium red medium. Oop, that's good. That's a nice tone to that. I really like that. And she's gonna she's gonna dry a little bit darker on there. And I'm gonna put it right in here. This wonderful color. I'm gonna move this side. I'm going to finish up with the colors that are here. See how this really creates itself. Now, I'm just doing this as I go along. I mean, you can pre-plan which you want to do. This is a fun exercise that you taking color and looking at other people's color schemes. And I'm going to really need clean this table top. Mom, through. Its nice. My mother never got mad at me about making Mrs. she just said go for it will probably because I cleaned up afterwards. But in the process, it's a process. And I love. So we've got some kind of fun going already. I'm going to go in and clean up little bit and come back. Alright, we have three colors already done. I'm going to cut them out so I know which ones they are. Let me go back to this one over here. Little bit of thinking, the cadmium. And it has a little bit of blue on it because it's toned down. I make my hands in everything. Okay. So this color right over here, I have started with my cat and put a little bit of my cadmium red in there just to start out what it looks like, not bad. It's just that little bit of blue will come faster, changes it. See what that looks like. Notice how transparent it is member, it's very light on there. What do you think? It's I think a little more boom here, right? Will go right over it. Now if you were in my color comp class, you'd have to make these so perfect. Keep doing this for quite Ohio. So they were gone as close as we can get an idea on how thick that looks great. Let that dry. And take this color here. I'm just going to play with it in areas here. Green, I get everywhere. Okay. Let me move this away, maybe keep it cleaner. Let's go back to this. I put over here to have enough of that color, go head and don't be afraid to make some more. She should be, should have a good feeling for it. When people say, oh, I already mixed it and I can't make said can't shrink. A little bit lighter.
23. Color Project (part four): Glad to see, hear, and color project part four. Here you'll see me finish up on my project. I have, these four colors have created thus far. I'm thinking this blue and that blue, kinda finish it off. And you've got your yellow violet. You can see that already, your oranges with the blows. So definitely this is a complementary color scheme. I'm going to add, I'm going to add my Cyrillic blue to this group. Because this color blue is definitely civilian in their slot warmer than that blue and I know definitely this has ultramarine blue in it. So this is where you're really understanding color and check in and saying, Okay, I can see that in there and that one there. And if you keep practicing with this and you can do it several times, 2pi, just be amazed how much in year1 and going back and forth and, and seeing how much do you add to each one of these? You notice they don't have any white left over here, so I'm gonna add some white to go. Start with the bite. I haven't have a little bit of yellow in there should have plenty of this cleaned up a little bit better. Start again. Because then you're going to get something that's going to be green already. I'm not sure if I want to go in that direction. Seats much cleaner. So we'll start with this. We'll start really with the civilian cassettes, our main whew, right? Yes. See you guys know all these things. And then when you look over here, definitely two lights, I need more hue color. But there's certainly something different in there. I'm going to add that color right there. Let's get a little bit of orange to it. A little bit more to that, you start understanding how the artists works with this color palette is using that's to my beautiful committed to light there. But I'm going to need an ad. I'm going to need to add a little bit of my ultramarine To get it darker. Number just a little bit. That's kind of the trick to mixing ultramarine. Ok, very cool. Fast. I'll show you right next to this, see how cool delegates fast. And you can go over here, maybe a little bit more. Now it's getting to cool. What do we need to add to that? I want to say a little bit of this. Getting darker to violet, warmer. You can see, see that a painter 10K green, a little bit more. As I can see, that green right underneath it. There's ways to lift it up, but the yellow is going to change it too much. I'm going to maybe do a little bit of yellow. Let's do the hands a little bit. The Hadza and the White. I got too long, too warm to fast. Back to my blue. I think I might have it with this one. Right? Yep. That's it. That was a hard one. Pink murdered over that area. It's got so many colors going on underneath it. And we're going to paint a little bit of this blue right on top of it like that. There we go. Amazing. Amazing. Whoa, that was a tough water. You don't give up. This is color. Okay. We have one more to go, and that's this blip. Now I know definitely that's ultimately glue. And it's going to, it's going to trick me. I'm going to use the back of this up and using a lot of the light. So we now know that I'm gonna put a little bit of white. Boy, that's not it at all, is going to be very careful that white it just changes it, see, see how dark it is. That's telling me. I'm going to add a little bit of this to see a little bit amazing how that change. And I'm going to add nice, really blue. I think I added too much, too fast. I'm gonna go back. Go back again. That's not bad right there. How rich that colors. Happy, happy person. That is super. Notice that we use a lot of this colors. So now I've gotta go back to my painting right before I forget that, Here's a chance to distribute by finished product here, I'm hoping that you successively a completed yours. I would love to see it. So please posted into the project Galleria. I'd love to see your work. Join me next for my final thoughts.
24. Final Thoughts: Well, these are my final thoughts. I hope you really enjoyed the class. I sure did. I learned tons of stuff. Their necessity, a few more pieces of my work. I just want you to think about color and how to enjoy every day I'm in my studio. I have a photograph here of my studio and I look out every day and it's new to me and I just love sharing this with you all about color. If you'd like to take more of my classes, which I hope so. And we're gonna give you my profile page and you can look up there and seeing my other classes that I teach. And I hope you are enjoying keep making art. Really love to see your art work and the project gallery. Fun. Thanks.
Jennifer Moorhead, Artist, Art Professor, and Entrepreneur
