Technique Talk Part 7 Technique Talk Ann Kingslan, MDA Mary Kingslan Gibilisco, CDA

A Study of the Use of Color In the last issues, we studied value theory how using a wide range of values creates maximum interest. This lesson will concentrate on the use of color. This lesson will introduce the use of color concepts. In the next lesson, we will paint exciting pieces that will show how to work with either a contrasting or related colors. Harmony is the pleasing arrangement or combination of parts. A harmonious composition is a pleasing balance of hues, values, intensities, contrast, size, space, lines, and texture, with a small measure of discordance for interest. Harmony is the summation of all of the elements of art. In essence, harmony is the action of organizing these elements, a process of selection and problem solving that involves unifying all parts to compose a pleasing whole. Color schemes A color scheme is a plan of how to organize color. Color schemes are also referred to as color harmonies. Related harmonies: Monochromatic Monochromatic is the use of one color. The values and intensities should differ. While this is a very safe harmony it can become a very boring scheme. Monochromatic harmonies produce serene moods if the values are very close. Contrast in texture, values, and subject matter will often compensate for the lack of interest in tonal change. Monochromatic schemes are dependent upon value contrast to create the center of interest area. Look at the two illustrations: Tea Cup in Trompe L’oeil and Summer Blossom. It is the different values and hues of blue that add to the interest of the piece.

Triadic Color Harmony Colors that are equally spaced on the color wheel compose a triadic color scheme. The primary colors of red, yellow and blue are the most easily recognized triadic – an example is Herb Bottles. The other triadics are: • yellow green, red orange and blue violet • blue green, yellow orange and red violet (example Beach Still Life) • green, orange and violet (example: Tuscany Trompe L’oeil IV)

Warm Analogous Harmony Analogous harmony is composed of colors that are adjacent to each other on the color wheel. This painting is composed of those that are on the warm side of the wheel and range from yellow orange to red violet. This type of color plan is termed to be related harmony. They are each related through red. The Tuscany II painting is an example of each object (exept the background) contains a degree of red. Since violet is mixed with red and blue the range could be extended to add some cool touches as visible in My Favorite Things.

Cool Analogous Harmony The colors used in this painting are selected from the cool side of the color wheel. They range from violet to yellow green and each has blue as an ingredient. Red Violet (composed of Red and Blue) could also be used in small measure to add variety to the cool temperature.

Complementary Color Harmony: Complementary color arrangements are the most difficult to balance since they are compose of opposites on the color spectrum. One color is warm while the other is cool as they rest in their natural position on the color wheel. Control of value and intensity are essential when dealing with this dynamic color plan. The blue green/red orange combination in Tuscany IV works well because the two colors do not compete like two primaries colors would. The most difficult to control is the yellow/violet combination. These two colors are not only opposite on the spectrum but also on the value scale as well. The combination of red and green can be difficult because they are almost the same

value. Orange and blue can work well in Oranges on Museum Canvas but orange can be a challenge as it tends to lean to the greenish side when neutralized. The Dutch Old Master Floral is another example of the use of orange and blue.

Polychromatic Color Harmony: Used in the painting, The Philosopher, is every color on the color wheel. Establishing a dominant color and temperature creates the harmony in this piece. Confusion would result if each color were used equally. Through the use of a high proportion of cool colors dominance is created by leaning the painting overall to the cool side. In a different setting, the warm colors could dominate and provide a totally different atmosphere. In a polychromatic, choose the dominant color and allow the other eleven to be supportive

In the next issue, we will begin to explore related and contrasting harmonies through an actual piece!